Portrait: Mehmet Şefik Bey

The Life and Legacy of Mehmed Şefik Bey, one of the master calligraphers of the Ottoman Era.

Introduction

Mehmed Şefik Bey stands as a towering figure in the history of Ottoman calligraphy. Born in the Kılıçali district of Beşiktaş to Süleyman Mâhir Bey, a notable figure in the Bâbıâli Tahvil Kalemi, Mehmed Şefik Bey's journey in calligraphy is a tale of passion, dedication, and unparalleled skill.

One of the many different stylised signatures of Şefik Bey. Translated as ‘Şefik wrote (this).

Early Life and Education

Though the exact date of his birth is unrecorded, it's believed to be around 1820, given his death at sixty. His initial education in the Dîvân-ı Hümâyun Tahvil Kalemi laid the foundation for his future endeavours. Here, he adopted the mahlas "Sebzî," a tradition among calligraphers, continuing his family's legacy.

A remarkable work by Şefik Bey, written على-فاطمة-حسن-حسين, from the collection of Sakıp Sabancı Museum, Istanbul. The placement of the letter faa inside the faa holds a significant symbolic meaning to the love and affection between Fatima Zahra and Ali ibn Abi Talib.

Pursuit of Calligraphy

Mehmed Şefik Bey’s true calling was in the artistic strokes of calligraphy. Dissatisfied with the monotonous work at Tahvil Kalemi, he ventured into studying calligraphy under the tutelage of Ali Vasfi Efendi at Galata Palace. Here, he mastered thuluth and naskh scripts, earning his ijazah, a testament to his skill and dedication.

Ottoman Traces in the Dome of the Rock (Qubbat aṣ-Ṣakhra): written by Calligrapher Şefik Bey in 1876, by the order of Abdulhamid II; Surah Yasin was written in jali thuluth. 160 m long, surrounding the octagonal outer surface of the Dome of the Rock. Photo by Yasemin Demir, on X.

Details of the Inscription by Şefik Bey applied on Blue Tiles (Çini) from the Dome of the Rock (Qubbat aṣ-Ṣakhra). Photos by Mustafa Yılmaz, on X.

Professional Achievements and Contributions

Şefik Bey's career flourished under Kazasker Mustafa İzzet Efendi, with whom he studied after 1837. For thirty years, he lived and learned in his mentor's house, becoming a part of the family. Sultan Abdülmecid recognized his talent, appointing him to several prestigious positions, including roles in Hademe-i Hümâyun and Muzıka-yi Hümâyun. His work for Sultan V. Murad, especially the writing of the Sultan's tughra, is a highlight of his career.

An extraordinary work by Şefik Bey featuring a poem in Persian, written من مسكين را مغشوق من مست محبت كرد / مردم مجنون مشهور ملامت كرد , translated as “ Poor me, it is my lover who makes me drunk with love. / He is the one who made me the talk of the world like crazy.” from the Topkapi Palace Museum.

Advanced Techniques and Styles

Mehmed Şefik Bey excelled in the celî sülüs script, a large and ornate style of Islamic calligraphy. His methods were innovative, often writing directly without preliminary sketches. His remarkable ability to produce exquisite works rapidly was legendary, exemplified in his work on the Harbiye Nezâreti inscription, completed in just six hours.

On the Entrance Gate of Istanbul University (Bâb-ı Seraskerî), with the calligraphy of Calligrapher Mehmed Şefik Bey: "Dâire-i Umûr-ı Askeriye". Photo by Prof. Dr. Süleyman Berk, on X.

Later Years and Legacy

In his later years, Şefik Bey moved to Hırka-i Şerif, in the Fatih district, to cater to his daughter's health needs. He contributed to the artistic world, notably working on the Grand Mosque of Bursa (Ulu Camii) and Chios Island (Sakız) at Sultan Abdülmecid's request. His teaching legacy is profound, having nurtured several notable calligraphers who continued his artistic vision.

هٰذَا مِنْ فَضْلِ رَبّ۪ي۠ a Jali Thuluth work by Şefik Bey meaning ‘This is by the Grace of my Lord’ from verse 40 of the 27th chapter (sura) of the Qur'an, An-Naml, or The Ant.

Death and Memoriam

Mehmed Şefik Bey's life came to an end at the age of sixty, and he was laid to rest in the Yahyâ Efendi Lodge.

Mehmed Şefik Bey's impact on Ottoman calligraphy is immeasurable. His life was a testament to the power of dedication and creativity. His legacy inspires calligraphers and art enthusiasts, ensuring his memory and art live on in the annals of Islamic art history.

A stunning 7-meter Jali Diwani work featuring the prayer of Prophet Abraham in Bursa Grand Mosque, by calligrapher Mehmed Şefik Bey, dated Hijri 1275 (1859).