Draft: this lesson was written with AI help and has not yet been read by a human editor.
1 What your class asks
This lesson asks you to identify secondary and postsecondary pathways and careers related to visual arts. The museum offers two crafts of the Islamic past, the architect and the calligrapher, and what the records say of how people trained. Present-day programmes and careers come from your class. 1
Curriculum expectations, with their official codes
- B3.2 identify a variety of secondary and postsecondary pathways and careers related to visual arts […]
2 Before you start
A thought to carry into the lesson.
3 The lesson
How did a person get into this work?
For each career, write down what the record says about learning and training. Note where the record says nothing, and do not fill the gap from memory.
Which of these paths exists today?
Find a present-day school programme or job that is close to one of these crafts. Say what is similar and what is different.
Go deeper
In the Ottoman state, the palace office of architects was a school. Able young men were chosen from the Janissaries, from the palace's artists or from outside. They learned theory and practice in a master-apprentice relationship 2. After the Imperial Land Engineering School was founded in 1795, its graduates began to qualify as architects, and it was decided that the chief architect should be chosen from among them 2. The calligrapher's craft also gained a school: in 1914 the School of Calligraphers was opened to revive the art, and Hasan Riza Efendi was appointed teacher of naskh and thuluth there 3 4.
Often misunderstood
Architect, mason and carpenter were not one trade. The record says that in Ottoman usage the building trade included masons, carpenters, stonecutters and other workers, and that the word bennâ usually named builders of walls. Architects were described as men learned in geometry, because their work needed knowledge of building technique, land measurement and proportion 5.
How do we know?
The titles that survive do not settle who did what. Titles such as bennâ, neccâr, mühendis and mimar are recorded against the names of craftsmen, but they do not show at which stage of the work their holder took part, and not everyone who held them was an architect 5. The entry does not describe the calligrapher's part in a building; it notes that the names of masters are read in building inscriptions 5. For calligraphers, the record says the two entries read for it name no guild, so it writes nothing about one 3 6.
Think about it
The palace office trained young men beside a master, and after 1795 graduates of a school qualified as architects. Which is the better way to train a builder, learning beside a master or learning in a school, and what is the strongest argument against your choice?
Into the museum
- The architect: the palace office, its pay and its licences.
- The calligrapher: training, licence and the places where calligraphers taught.
- Hasan Riza Efendi: the teacher named at the School of Calligraphers in 1914.
Try this
Read the records on the architect and the calligrapher. Draw a path that a young person could follow into one of these careers, using only what the record states.
4 Check yourself
Nothing here is marked or sent anywhere. It is for you.
In your own words: what does Architect (mi'mar) have to do with this lesson?
Compare with the card
Geometry, building and a palace school. The TDV entry says the architect designs a building and oversees its construction, and was expected to know geometry, building technique and the measurement of land. The entry on the chief architect adds that the palace office was a school: chosen young men learned theory and practice in a master-apprentice relationship. After the Imperial Land Engineering School was founded in 1795, its graduates began to qualify as architects. Which path would you have taken?
In your own words: what does Calligrapher (khattat) have to do with this lesson?
Compare with the card
Meshk and the licence. The TDV entry on the calligrapher says teaching is called meshk, or practice: the master writes a model line in a lesson, and the pupil copies it and shows it to him. The licence is given once the pupil has copied a piece by an old master chosen by his teacher, at a ceremony before a jury of calligraphers who endorse it in writing. What would you copy first?
I can now
Notes
- 1. Ontario Ministry of Education, The Ontario Curriculum: The Arts
- 2. MİMARBAŞI (chief architect) — TDV İslâm Ansiklopedisi (Şerafettin Turan), p.90-91
- 3. HATTAT — TDV İslâm Ansiklopedisi (M. Uğur Derman), p.493-499
- 4. Hasan Rıza Efendi — TDV İslâm Ansiklopedisi, p.344-346
- 5. MİMARİ (architecture) — TDV İslâm Ansiklopedisi (Selçuk Mülâyim), p.91-95
- 6. HAT — TDV İslâm Ansiklopedisi (M. Uğur Derman), p.427-437