{"id":3235,"date":"2026-11-12T12:39:41","date_gmt":"2026-11-12T09:39:41","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=3235"},"modified":"2026-11-12T12:46:45","modified_gmt":"2026-11-12T09:46:45","slug":"abderrahim-oujaha-magribde-semail-ve-hilye-i-nebeviyye-sanati-cenab-i-nebeviye-s-a-v-duyulan-muhabbet-ve-tazimin-uzun-bir-tarihine-baglidir","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2026\/11\/12\/abderrahim-oujaha-magribde-semail-ve-hilye-i-nebeviyye-sanati-cenab-i-nebeviye-s-a-v-duyulan-muhabbet-ve-tazimin-uzun-bir-tarihine-baglidir\/","title":{"rendered":"Abderrahim Oujaha: Ma\u011frib\u2019de \u015fem\u00e2il ve hilye-i nebeviyye sanat\u0131, Cen\u00e2b-\u0131 Nebev\u00ee\u2019ye (s.a.v.) duyulan muhabbet ve tazimin uzun bir tarihine ba\u011fl\u0131d\u0131r"},"content":{"rendered":"\n

Abderrahim Oujaha, Fes\u2019teki Sahr\u00eec Medresesi\u2019nde hat dersi veren Fasl\u0131 bir hattat. \u00c7al\u0131\u015fmalar\u0131n\u0131n merkezinde Ma\u011frib\u00ee \u015fem\u00e2il-i \u015fer\u00eef levhalar\u0131 yer al\u0131yor. Kendisiyle bu gelenek \u00fczerine bir s\u00f6yle\u015fi yapt\u0131k.<\/p>\n\n\n\n

Bize k\u0131saca sanat yolculu\u011funuzdan ve hat sanat\u0131na duydu\u011funuz tutkunun nas\u0131l ba\u015flad\u0131\u011f\u0131ndan bahseder misiniz? Bu k\u00f6kl\u00fc sanatla ilk temas\u0131n\u0131z nas\u0131l oldu?<\/strong><\/em><\/p>\n\n\n

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\"\"
Abderrahim Oujaha<\/figcaption><\/figure>\n<\/div>\n\n\n

Ben hattat Abderrahim Oujaha<\/a> . Hat sanat\u0131yla ba\u011f\u0131m \u00e7ocukluk y\u0131llar\u0131mda ba\u015flad\u0131: Harflerin g\u00fczelli\u011fi ve ahengi beni cezbederdi, nerede g\u00fczel bir yaz\u0131 g\u00f6rsem durup dikkat kesilirdim. Bu ilgi ba\u015flang\u0131\u00e7ta, Kur\u2019\u00e2n mekteplerinde (k\u00fctt\u00e2blarda) Kur\u2019\u00e2n-\u0131 Ker\u00eem\u2019i h\u0131fzetmeye ba\u011fl\u0131yd\u0131. Kil s\u00fcr\u00fclm\u00fc\u015f tahta levhalara kam\u0131\u015f kalemlerle ve hokkalardaki is m\u00fcrekkebiyle (sam\u011f) \u00e2yetleri yazmak, g\u00f6rsel zevkimi \u015fekillendiren ilk tecr\u00fcbe oldu. H\u0131fz hocalar\u0131n\u0131n yaz\u0131lar\u0131n\u0131, klasik yazmalar\u0131n bar\u0131nd\u0131rd\u0131\u011f\u0131 zenginli\u011fi ve din\u00ee kitaplar\u0131n ba\u015fl\u0131klar\u0131n\u0131 seyretmek de bu tutkunun derinle\u015fmesinde b\u00fcy\u00fck rol oynad\u0131.<\/p>\n\n\n\n

Y\u0131llar ge\u00e7tik\u00e7e bu meyil bilin\u00e7li ve disiplinli bir prati\u011fe d\u00f6n\u00fc\u015ft\u00fc; bilhassa hatt\u0131n ilk prensiplerini ve kaidelerini muhterem hocam Abdellah Hmine\u2019den ald\u0131ktan sonra. 2017\u2019de, Fes\u2019teki Karaviyy\u00een \u00dcniversitesi\u2019ne ba\u011fl\u0131 Sahr\u00eec Medresesi\u2019nde a\u00e7\u0131lan Arap hat sanat\u0131 program\u0131na, program\u0131n ilk d\u00f6nem \u00f6\u011frencileri aras\u0131nda kat\u0131ld\u0131m. Bu d\u00f6nem, sanat\u0131n us\u00fbl\u00fcne derinlemesine n\u00fcfuz etmeme ve becerilerimi sa\u011flam ilm\u00ee ve sanatsal temeller \u00fczerinde geli\u015ftirmeme imk\u00e2n veren \u00f6nemli bir merhale oldu.<\/p>\n\n\n\n

Daha sonra, \u00f6\u011frendiklerimi aktarmaya ve yeni hattat nesillerinin yeti\u015fmesine katk\u0131da bulunmak \u00fczere ayn\u0131 programa hoca olarak tayin edildim. Yolculu\u011fumda iftiharla and\u0131\u011f\u0131m bereketli d\u00f6n\u00fcm noktalar\u0131ndan biri de Ma\u011frib\u00ee Hat Sanat\u0131nda VI. Muhammed M\u00fckemmellik \u00d6d\u00fcl\u00fc\u2019n\u00fc alm\u0131\u015f olmamd\u0131r.<\/p>\n\n\n\n

Ma\u011frib\u2019de \u015fem\u00e2il ve hilye-i nebeviyye geleneklerinin tarih\u00ee arka plan\u0131 nedir? Bu levhalar \u00fczerinde \u00e7al\u0131\u015fmak ilm\u00ee bir ic\u00e2zet ya da bu sanat\u0131n \u00fcstatlar\u0131ndan al\u0131nm\u0131\u015f \u00f6zel bir sened gerektirir mi, yoksa bu alan her hattata a\u00e7\u0131k m\u0131d\u0131r?<\/strong><\/em><\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Ma\u011frib\u2019de \u015fem\u00e2il ve hilye-i nebeviyye sanat\u0131, Cen\u00e2b-\u0131 Nebev\u00ee\u2019ye (s.a.v.) duyulan muhabbet ve tazimin uzun bir tarihine ba\u011fl\u0131d\u0131r. Bu ba\u011f, b\u00f6lgenin miras\u0131na gerek telif eserler gerekse hat ve tezyinat yoluyla a\u00e7\u0131k\u00e7a yans\u0131m\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Bu alan\u0131n temellendirilmesine katk\u0131da bulunan en \u00f6nemli kaynaklar\u0131n ba\u015f\u0131nda, Kad\u0131 \u0130y\u00e2z\u2019\u0131n Hz. Peygamber\u2019in (s.a.v.) yarat\u0131l\u0131\u015f ve ahl\u00e2k\u00ee vas\u0131flar\u0131n\u0131 bir araya getirdi\u011fi e\u015f-\u015eif\u00e2 bi-ta\u2018r\u00eefi huk\u00fbki\u2019l-Mustaf\u00e2<\/em> adl\u0131 eseri gelir. Bu gelenek daha sonra \u015eeyh Muhammed b. S\u00fcleyman el-Cez\u00fbl\u00ee\u2019nin Del\u00e2il\u00fc\u2019l-hayr\u00e2t<\/em>\u2019\u0131yla geni\u015fleyip ufkunu b\u00fcy\u00fctt\u00fc; bu eser salav\u00e2t ve zikirlerle yetinmeyip Ravza-i \u015eer\u00eefe, Mescid-i Har\u00e2m ve Nal\u0131n-\u0131 \u015eer\u00eef gibi mukaddes mek\u00e2n ve emanetlerin tasvirleriyle ilgili sembolik unsurlar\u0131 da ihtiva eder. Bunlara All\u00e2me Ahmed el-Makkar\u00ee\u2019nin Fethu\u2019l-m\u00fcte\u2018\u00e2l f\u00ee medhi\u2019n-ni\u2018\u00e2l<\/em>\u2019ini de eklemek gerekir.<\/p>\n\n\n\n

Sanat y\u00f6n\u00fcne ve \u201cRavz-\u0131 \u015eer\u00eef\u201d levhalar\u0131n\u0131n geli\u015fimine gelince, XX. y\u00fczy\u0131l\u0131n ilk yar\u0131s\u0131nda hattat Ahmed et-T\u00e2dil\u00ee er-Rib\u00e2t\u00ee \u00f6ne \u00e7\u0131kt\u0131. T\u00e2dil\u00ee, Del\u00e2il\u00fc\u2019l-hayr\u00e2t<\/em>\u2019ta yer alan mirastan ilham ald\u0131\u011f\u0131 unsurlar\u0131 b\u00fct\u00fcnl\u00fckl\u00fc sanatsal kompozisyonlar h\u00e2linde d\u00fczenledi; bu kompozisyonlar bu sanatta \u00f6nemli bir nirengi noktas\u0131 oldu.<\/p>\n\n\n\n

G\u00fcn\u00fcm\u00fcze gelindi\u011finde ise hocam Dr. Mohamed Abdelhafid Khabta El Hassani El Idrissi, Ravz-\u0131 \u015eer\u00eef sanat\u0131n\u0131n yeniden ihyas\u0131nda ve tarih\u00ee ve sanatsal a\u00e7\u0131dan temellendirilmesinde \u00f6nemli bir rol \u00fcstlendi. Unsurlar\u0131n\u0131 inceleyip belgeledi; hilye ve Ravz-\u0131 \u015eer\u00eef levhas\u0131 i\u00e7in b\u00fct\u00fcnl\u00fckl\u00fc bir geometrik tasavvur ortaya koydu; levhay\u0131 da usta hattat Omar Adala ile birlikte icra etti.<\/p>\n\n\n\n

\u0130c\u00e2zet ve senede gelince, bana g\u00f6re mesele ill\u00e2 \u015fekl\u00ee bir hat ic\u00e2zetine sahip olmaktan ibaret de\u011fildir; as\u0131l gereken, muhtevaya dakik bir vukuf, onun tarih\u00ee ve sembolik boyutlar\u0131n\u0131 ve dayand\u0131\u011f\u0131 kaideleri hakk\u0131yla kavramakt\u0131r. Hat program\u0131ndaki e\u011fitimim s\u0131ras\u0131nda bu y\u00f6n\u00fc, el-Hilyet\u00fc\u2019n-nebeviyyet\u00fc\u2019l-Ma\u011fribiyye<\/em> kitab\u0131n\u0131n m\u00fcellifi olan hocam Dr. Mohamed Abdelhafid Khabta\u2019dan okuma imk\u00e2n\u0131 buldum; kitab\u0131ndaki klasik \u00f6rnekleri, bilhassa Ahmed et-T\u00e2dil\u00ee er-Rib\u00e2t\u00ee\u2019nin eserlerini incelemekten de b\u00fcy\u00fck \u00f6l\u00e7\u00fcde istifade ettim.<\/p>\n\n\n\n

Bu verilerden hareketle benim tecr\u00fcbem de Ravz-\u0131 \u015eer\u00eef\u2019in geleneksel mimar\u00eesinden ve hilye-i nebeviyyenin hususiyetlerinden istifade etti. \u00c7al\u0131\u015fmam, ba\u015fka levhalarda da\u011f\u0131n\u0131k h\u00e2lde bulunan unsurlar\u0131 bir araya getirmeye ve \u015fer\u00eef vas\u0131f metinlerini levhaya yerle\u015ftirmeye y\u00f6neldi; bunu yaparken levhaya kendine has damgas\u0131n\u0131 vuracak sanatsal tercihler ve bak\u0131\u015f a\u00e7\u0131lar\u0131 da katt\u0131m \u2014 Mescid-i Nebev\u00ee\u2019nin ve K\u00e2be-i M\u00fc\u015ferrefe\u2019nin sembolik minyat\u00fcrlerini \u00e7izmek gibi. Gaye her zaman, bir yanda us\u00fble h\u00fcrmeti ve bu sanat\u0131n ruhunu korumay\u0131, \u00f6b\u00fcr yanda \u00f6l\u00e7\u00fcl\u00fc bir i\u00e7tihada ve yenilenmeye geni\u015f bir ufuk a\u00e7may\u0131 bir araya getirmektir.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Osmanl\u0131 hilyesinin \u00e7o\u011funlukla dikey bir tasar\u0131ma dayand\u0131\u011f\u0131n\u0131, Ma\u011frib hilyesinin ise yatay bir forma meyletti\u011fini g\u00f6r\u00fcyoruz. Bu fark\u0131n ard\u0131ndaki sanatsal, estetik ve sembolik sebepler nelerdir?<\/strong><\/em><\/p>\n\n\n\n

Kanaatimce bu farkl\u0131l\u0131k, her levhay\u0131 olu\u015fturan unsurlar\u0131n mahiyetinden ve metinlerle sembollerin levhan\u0131n genel sahas\u0131 i\u00e7inde da\u011f\u0131t\u0131lma bi\u00e7iminden kaynaklan\u0131r.<\/p>\n\n\n\n

Osmanl\u0131 hilyesi, hattat H\u00e2f\u0131z Osman\u2019\u0131n temellerini att\u0131\u011f\u0131 o dikey d\u00fczende karar k\u0131lm\u0131\u015ft\u0131r. Unsurlar\u0131 kademeli bir s\u0131rayla dizilir: En \u00fcstte besmele, ard\u0131ndan y\u0131ld\u0131zl\u0131 g\u00f6bek ve hil\u00e2l, onlar\u0131 takip eden ku\u015faklar ve Kur\u2019\u00e2n\u00ee metin bloklar\u0131; nihayet levhan\u0131n alt k\u0131sm\u0131na var\u0131l\u0131r. Bu, tek bir g\u00f6rsel merkeze ve a\u00e7\u0131k bir dikey ak\u0131\u015fa dayanan bir yap\u0131d\u0131r.<\/p>\n\n\n\n

Ma\u011frib hilyesi ise \u015fem\u00e2il edebiyat\u0131ndan ve Cez\u00fbl\u00ee\u2019nin Del\u00e2il\u00fc\u2019l-hayr\u00e2t<\/em>\u2019\u0131ndan beslenen Ravz levhalar\u0131 gelene\u011finden etkilenmi\u015ftir; bunu Ahmed et-T\u00e2dil\u00ee er-Rib\u00e2t\u00ee\u2019de a\u00e7\u0131k\u00e7a g\u00f6r\u00fcr\u00fcz. Bu y\u00fczden onun yap\u0131s\u0131 farkl\u0131d\u0131r ve belirgin bi\u00e7imde yatay bir yay\u0131lmaya meyleder. Bunu birka\u00e7 sebep zorunlu k\u0131lar:<\/p>\n\n\n\n

Birincisi: Geni\u015f bir yatay sahaya ihtiya\u00e7 duyan sembolik unsurlar\u0131n varl\u0131\u011f\u0131. Bunlar\u0131n ba\u015f\u0131nda, bir \u00e7ift m\u00fcbarek nal\u0131ndan olu\u015fan Nal\u0131n-\u0131 \u015eer\u00eef tims\u00e2li gelir.<\/p>\n\n\n\n

\u0130kincisi: \u0130\u00e7 d\u00fczenin kar\u015f\u0131l\u0131kl\u0131l\u0131k ve simetri \u00fczerine kurulmas\u0131. Bir tarafta lafza-i cel\u00e2l \u201cAllah\u201d, Mescid-i Har\u00e2m tasviriyle birlikte yer al\u0131r; kar\u015f\u0131 tarafta ise \u201cMuhammed\u201d (s.a.v.) ismi, Ravza-i Nebeviyye ve mihrap tasviriyle ona mukabil konur.<\/p>\n\n\n\n

\u00dc\u00e7\u00fcnc\u00fcs\u00fc: Levhada evr\u00e2d ve dualara ayr\u0131lm\u0131\u015f ku\u015faklar\u0131n ve k\u00f6\u015felerinde murabba (ma\u2018k\u0131l\u00ee) k\u00fbf\u00ee yaz\u0131lar\u0131n (\u201cBereket\u00fc Muhammed\u201d ibaresi gibi) bulundu\u011fu pervazlar\u0131n yer almas\u0131. Bu durum yatay yay\u0131lmay\u0131, kompozisyonun kendi tabiat\u0131n\u0131n ve sembollerinin \u00e7oklu\u011funun dayatt\u0131\u011f\u0131 bir tercih h\u00e2line getirir; b\u00f6ylece y\u0131\u011f\u0131lma olmadan ve genel yap\u0131 bozulmadan denge sa\u011flan\u0131r.<\/p>\n\n\n\n

Levhan\u0131n g\u00f6rsel kompozisyonunu kurarken Kand\u00fbs\u00ee ve Ma\u011frib\u00ee k\u00fbf\u00ee gibi farkl\u0131 hat t\u00fcrlerini, Nal\u0131n-\u0131 \u015eer\u00eef gibi sembollerin ve metin bloklar\u0131n\u0131n yerle\u015fimiyle nas\u0131l ba\u011fda\u015ft\u0131r\u0131yorsunuz? Sabit, geleneksel bir kal\u0131ba m\u0131 dayan\u0131yorsunuz, yoksa her eserde kompozisyon de\u011fi\u015fiyor mu?<\/strong><\/em><\/p>\n\n\n\n

B\u00fct\u00fcn eserlere kendini dayatan kat\u0131 bir geometrik kal\u0131p yoktur. Her levhan\u0131n, metinlerinin hacminden ve estetik maksad\u0131ndan do\u011fan bir hususiyeti vard\u0131r; ger\u00e7i \u00e7\u0131k\u0131\u015f noktas\u0131 her zaman, farkl\u0131 alanlar aras\u0131nda tenas\u00fcp ve ahengi sa\u011flamak i\u00e7in yerle\u015fik kaidelere riayet etmektir.<\/p>\n\n\n\n

Hatlar da\u011f\u0131t\u0131l\u0131rken her hatt\u0131n, g\u00fczelli\u011fini ve i\u015flevini en iyi ortaya koyaca\u011f\u0131 yere verilmesine dikkat edilir:<\/p>\n\n\n\n

    \n
  • \u201cAllah\u201d ve \u201cMuhammed\u201d (s.a.v.) isimleri kand\u00fbs\u00ee hatt\u0131n vakar\u0131yla yaz\u0131l\u0131r; levhada g\u00f6rsel h\u00e2kimiyet kazanmalar\u0131 i\u00e7in onlara yo\u011funluk ve kal\u0131nl\u0131k verilir.<\/li>\n\n\n\n
  • Hulef\u00e2-y\u0131 R\u00e2\u015fid\u00een\u2019in (r.anh\u00fcm) isimleri ve b\u00fcy\u00fck ku\u015faklar\u0131n tezyini i\u00e7in ma\u011frib\u00ee s\u00fcl\u00fcs kullan\u0131l\u0131r.<\/li>\n\n\n\n
  • Nebev\u00ee metinlerin ve \u015fer\u00eef vas\u0131flar\u0131n yaz\u0131m\u0131nda, berrakl\u0131\u011f\u0131 ve son derece kolay okunup kavranmas\u0131 sebebiyle mebs\u00fbt hatt\u0131 esas al\u0131n\u0131r.<\/li>\n\n\n\n
  • Kay\u0131tlar ve ince h\u00e2\u015fiyeler ise m\u00fccevher hatt\u0131na ayr\u0131l\u0131r.<\/li>\n<\/ul>\n\n\n\n

    Murabba k\u00fbf\u00ee ise (\u201cBereket\u00fc Muhammed\u201d ibaresi gibi) k\u00f6\u015felere ve eklem yerlerine yerle\u015fir; alan\u0131 \u00e7er\u00e7eveler, yaz\u0131 bloklar\u0131 ile tezy\u00een\u00ee pervazlar aras\u0131ndaki ge\u00e7i\u015fin geometrisini kurar.<\/p>\n\n\n\n

    Sembollere gelince, Nal\u0131n-\u0131 \u015eer\u00eef tims\u00e2lini muhtevadan kopuk, tecrit edilmi\u015f bir s\u00fcsleme unsuru olarak ele almay\u0131z; aksine onu genel kompozisyonun \u00f6z\u00fcne d\u00e2hil ederiz. Tims\u00e2lin sahas\u0131 i\u00e7ine, uyumlu bir hatla \u015fem\u00e2il ibareleri i\u015flenir; \u00f6yle ki metin ve sembol b\u00fct\u00fcnl\u00fckl\u00fc tek bir dokuya d\u00f6n\u00fc\u015f\u00fcr ve ortaya, bir yandan as\u00e2leti dile getiren, \u00f6te yandan kendine has bir sanatsal bak\u0131\u015f\u0131 ve i\u00e7tihad\u0131 ifade eden dengeli bir levha \u00e7\u0131kar.<\/p>\n\n\n\n

    Bu levhalarda yer alan \u00e2yetleri, hadisleri, dualar\u0131 ve \u015fem\u00e2il-i nebeviyyeye dair metinleri se\u00e7erken hangi kaynaklara ve klasik yazmalara dayan\u0131yorsunuz?<\/strong><\/em><\/p>\n\n\n

    \n
    \"\"<\/figure>\n<\/div>\n\n\n

    Metinlerin se\u00e7imindeki titizlik, eserin estetik de\u011ferinden ayr\u0131lamayan temel bir dayanakt\u0131r. Bu y\u00fczden Kur\u2019\u00e2n-\u0131 Ker\u00eem, S\u00fcnnet-i Nebeviyye ve \u015fem\u00e2il, medhiye ve salav\u00e2t eserleri alan\u0131ndaki g\u00fcvenilir ana kaynaklar esas al\u0131n\u0131r.<\/p>\n\n\n\n

    Bu kaynaklar belirgin ba\u015fl\u0131klar alt\u0131nda toplan\u0131r:<\/p>\n\n\n\n

    Birincisi: \u00c2yet-i ker\u00eemeler<\/p>\n\n\n\n

    Mustaf\u00e2\u2019n\u0131n (s.a.v.) y\u00fcce kadrine ve y\u00fcksek ahl\u00e2k\u0131na \u015fahitlik eden \u00e2yetler se\u00e7ilir. Allah Te\u00e2l\u00e2\u2019n\u0131n \u015fu buyruklar\u0131 bunlardand\u0131r:<\/p>\n\n\n\n

    \u0644\u064e\u0642\u064e\u062f\u0652 \u062c\u064e\u0627\u0621\u064e\u0643\u064f\u0645\u0652 \u0631\u064e\u0633\u064f\u0648\u0644\u064c \u0645\u0650\u0646\u0652 \u0623\u064e\u0646\u0652\u0641\u064f\u0633\u0650\u0643\u064f\u0645\u0652 \u0639\u064e\u0632\u0650\u064a\u0632\u064c \u0639\u064e\u0644\u064e\u064a\u0652\u0647\u0650 \u0645\u064e\u0627 \u0639\u064e\u0646\u0650\u062a\u064f\u0651\u0645\u0652 \u062d\u064e\u0631\u0650\u064a\u0635\u064c \u0639\u064e\u0644\u064e\u064a\u0652\u0643\u064f\u0645\u0652 \u0628\u0650\u0627\u0644\u0652\u0645\u064f\u0624\u0652\u0645\u0650\u0646\u0650\u064a\u0646\u064e \u0631\u064e\u0621\u064f\u0648\u0641\u064c \u0631\u064e\u062d\u0650\u064a\u0645\u064c<\/p>\n\n\n\n

    \u201cAndolsun, size i\u00e7inizden \u00f6yle bir peygamber geldi ki s\u0131k\u0131nt\u0131ya d\u00fc\u015fmeniz ona a\u011f\u0131r gelir; o size \u00e7ok d\u00fc\u015fk\u00fcnd\u00fcr, m\u00fc\u2019minlere kar\u015f\u0131 pek \u015fefkatli, pek merhametlidir.\u201d [Tevbe 9\/128]<\/p>\n\n\n\n

    \u064a\u064e\u0627 \u0623\u064e\u064a\u064f\u0651\u0647\u064e\u0627 \u0627\u0644\u0646\u064e\u0651\u0628\u0650\u064a\u064f\u0651 \u0625\u0650\u0646\u064e\u0651\u0627 \u0623\u064e\u0631\u0652\u0633\u064e\u0644\u0652\u0646\u064e\u0627\u0643\u064e \u0634\u064e\u0627\u0647\u0650\u062f\u0627\u064b \u0648\u064e\u0645\u064f\u0628\u064e\u0634\u0650\u0651\u0631\u0627\u064b \u0648\u064e\u0646\u064e\u0630\u0650\u064a\u0631\u0627\u064b \u0648\u064e\u062f\u064e\u0627\u0639\u0650\u064a\u0627\u064b \u0625\u0650\u0644\u064e\u0649 \u0627\u0644\u0644\u064e\u0651\u0647\u0650 \u0628\u0650\u0625\u0650\u0630\u0652\u0646\u0650\u0647\u0650 \u0648\u064e\u0633\u0650\u0631\u064e\u0627\u062c\u0627\u064b \u0645\u064f\u0646\u0650\u064a\u0631\u0627\u064b<\/p>\n\n\n\n

    \u201cEy Peygamber! Biz seni bir \u015fahit, bir m\u00fcjdeci ve bir uyar\u0131c\u0131 olarak; Allah\u2019\u0131n izniyle O\u2019na \u00e7a\u011f\u0131ran bir davet\u00e7i ve nur sa\u00e7an bir kandil olarak g\u00f6nderdik.\u201d [Ahz\u00e2b 33\/45\u201346]<\/p>\n\n\n\n

    \u0648\u064e\u0645\u064e\u0627 \u0623\u064e\u0631\u0652\u0633\u064e\u0644\u0652\u0646\u064e\u0627\u0643\u064e \u0625\u0650\u0644\u064e\u0651\u0627 \u0631\u064e\u062d\u0652\u0645\u064e\u0629\u064b \u0644\u0650\u0644\u0652\u0639\u064e\u0627\u0644\u064e\u0645\u0650\u064a\u0646\u064e<\/p>\n\n\n\n

    \u201cBiz seni ancak \u00e2lemlere rahmet olarak g\u00f6nderdik.\u201d [Enbiy\u00e2 21\/107]<\/p>\n\n\n\n

    \ufd3f\u0648\u064e\u0625\u0650\u0646\u064e\u0651\u0643\u064e \u0644\u064e\u0639\u064e\u0644\u064e\u0649\u0670 \u062e\u064f\u0644\u064f\u0642\u064d \u0639\u064e\u0638\u0650\u064a\u0645\u064d\ufd3e<\/p>\n\n\n\n

    \u201cVe \u015f\u00fcphesiz sen y\u00fcce bir ahl\u00e2k \u00fczeresin.\u201d [Kalem 68\/4]<\/p>\n\n\n\n

    Bunlar\u0131n yan\u0131 s\u0131ra eseri \u00e7evreleyen ku\u015faklarda \u00c2yet\u00fc\u2019l-K\u00fcrs\u00ee ve ayn\u0131 konuya dair di\u011fer \u00e2yetler kullan\u0131l\u0131r.<\/p>\n\n\n\n

    \u0130kincisi: Hadis ve \u015fem\u00e2il-i nebeviyye kitaplar\u0131<\/p>\n\n\n\n

    Hz. Peygamber\u2019in (s.a.v.) vas\u0131flar\u0131na dair sabit hadislere dayan\u0131l\u0131r. Bunlar\u0131n ba\u015f\u0131nda Tirmiz\u00ee\u2019nin nakletti\u011fi Hz. Ali b. Eb\u00fb T\u00e2lib (r.a.) rivayeti, Kad\u0131 \u0130y\u00e2z\u2019\u0131n e\u015f-\u015eif\u00e2<\/em>\u2019da aktard\u0131\u011f\u0131 Hind b. Eb\u00fb H\u00e2le hadisi ve H\u00e2kim\u2019in el-M\u00fcstedrek<\/em>\u2019inde yer alan \u00dcmm\u00fc Ma\u2018bed el-Huz\u00e2iyye rivayeti gelir.<\/p>\n\n\n\n

    \u00dc\u00e7\u00fcnc\u00fcs\u00fc: Medh-i nebev\u00ee divanlar\u0131<\/p>\n\n\n\n

    Ma\u011frib\u2019in ve \u0130sl\u00e2m \u00e2leminin g\u00f6nl\u00fcnde yer etmi\u015f \u015fiirin se\u00e7kin \u00f6rnekleri de levhalarda yer bulur. Bunlar\u0131n ba\u015f\u0131nda \u0130mam B\u00fbs\u00eer\u00ee\u2019nin el-B\u00fcrde<\/em> ve el-Hemziyye<\/em> kasideleri ile Ka\u2018b b. Z\u00fcheyr\u2019in (r.a.) \u201cB\u00e2net Su\u2018\u00e2d\u201d kasidesi gelir; bunlardan levhan\u0131n ritmine ve sahas\u0131na en uygun beyitler se\u00e7ilir.<\/p>\n\n\n\n

    D\u00f6rd\u00fcnc\u00fcs\u00fc: Salav\u00e2t kitaplar\u0131 ve Ma\u011frib\u2019in klasik eserleri<\/p>\n\n\n\n

    Bunlar\u0131n dire\u011fi, ihtiva etti\u011fi evr\u00e2d, salav\u00e2t s\u00eegalar\u0131 ve mukaddes mek\u00e2n tasvirleriyle \u015eeyh Muhammed b. S\u00fcleyman el-Cez\u00fbl\u00ee\u2019nin Del\u00e2il\u00fc\u2019l-hayr\u00e2t<\/em>\u2019\u0131 ile All\u00e2me Ahmed el-Makkar\u00ee\u2019nin Fethu\u2019l-m\u00fcte\u2018\u00e2l f\u00ee medhi\u2019n-ni\u2018\u00e2l<\/em>\u2019idir. Buna eski Ravz-\u0131 \u015eer\u00eef \u00f6rneklerinin, bilhassa hattat Ahmed et-T\u00e2dil\u00ee er-Rib\u00e2t\u00ee\u2019nin eserlerinin taran\u0131p incelenmesi de eklenir.<\/p>\n\n\n\n

    Dolay\u0131s\u0131yla bu as\u00eel kaynaklara ba\u015fvurmak sadece bir metin derlemesi de\u011fildir; levhan\u0131n yap\u0131s\u0131n\u0131n \u00fczerine kuruldu\u011fu sa\u011flam temeldir. Hatlar\u0131n se\u00e7imi ve unsurlar\u0131n, manan\u0131n cel\u00e2lini ve heybetini koruyan bir g\u00f6rsel d\u00fczen i\u00e7inde da\u011f\u0131t\u0131lmas\u0131 a\u015famas\u0131 ancak bundan sonra gelir.<\/p>\n\n\n\n

    <\/p>\n","protected":false},"excerpt":{"rendered":"

    Abderrahim Oujaha, Fes\u2019teki Sahr\u00eec Medresesi\u2019nde hat dersi veren Fasl\u0131 bir hattat. \u00c7al\u0131\u015fmalar\u0131n\u0131n merkezinde Ma\u011frib\u00ee \u015fem\u00e2il-i \u015fer\u00eef levhalar\u0131 yer al\u0131yor. Kendisiyle bu gelenek \u00fczerine bir s\u00f6yle\u015fi yapt\u0131k. Bize k\u0131saca sanat yolculu\u011funuzdan ve hat sanat\u0131na duydu\u011funuz\u2026<\/p>\n","protected":false},"author":1,"featured_media":3240,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1,59],"tags":[],"abalto_lang":[124],"class_list":["post-3235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roportajlar","category-sanatcilar","abalto_lang-tr"],"yoast_head":"\nAbderrahim Oujaha: Ma\u011frib\u2019de \u015fem\u00e2il ve hilye-i nebeviyye sanat\u0131, Cen\u00e2b-\u0131 Nebev\u00ee\u2019ye (s.a.v.) duyulan muhabbet ve tazimin uzun bir tarihine ba\u011fl\u0131d\u0131r - Eren Ye\u015filyurt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/erenyesilyurt.com\/index.php\/2026\/11\/12\/abderrahim-oujaha-magribde-semail-ve-hilye-i-nebeviyye-sanati-cenab-i-nebeviye-s-a-v-duyulan-muhabbet-ve-tazimin-uzun-bir-tarihine-baglidir\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Abderrahim Oujaha: Ma\u011frib\u2019de \u015fem\u00e2il ve hilye-i nebeviyye sanat\u0131, Cen\u00e2b-\u0131 Nebev\u00ee\u2019ye (s.a.v.) duyulan muhabbet ve tazimin uzun bir tarihine ba\u011fl\u0131d\u0131r - Eren Ye\u015filyurt\" \/>\n<meta property=\"og:description\" content=\"Abderrahim Oujaha, Fes\u2019teki Sahr\u00eec Medresesi\u2019nde hat dersi veren Fasl\u0131 bir hattat. \u00c7al\u0131\u015fmalar\u0131n\u0131n merkezinde Ma\u011frib\u00ee \u015fem\u00e2il-i \u015fer\u00eef levhalar\u0131 yer al\u0131yor. 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