Thus Calligraphy has been embedded in each and every aspect of the Islamic society. It is used to enhance the aesthetic senses in architecture, decorative arts, coins, jewelry, textiles, weapons, tools, paintings, and manuscripts. The prohibition of picture images spurred Calligraphy in the Muslim world to new heights. With the invention of the printing press in European countries, the art of calligraphic writing mostly vanished. Secondly, Islamic Art cannot be depicted by the use of pictures therefore, using words as creativity avoids this problem as well. This makes it sacred for Muslims all over the world. The premier form of Islamic Art is calligraphy, which is derived from the French word calligraphie and Greek word kalligraphia, meaning "beautiful handwriting." One of the main reasons that the calligraphy is given a pedestal status in Islam is the Muslim belief that Allah (SWT) used the Arabic language to narrate his divine message to the Prophet Muhammad in the form of Holy Quran. He also worked at the Sisli Mosque in Istanbul and on other buildings in Istanbul and Ankara. He worked on a number of magnificent manuscripts, including Korans. celi-sülüs) style with Mehmed Nazif (1846–1913), the naskh and thuluth styles with Kamil Akdic (1862–1941) and the ta`liq style with Mehmed Hulusi (1869–1940). As a calligrapher he practised the jali-thuluth (Turk. He changed his name to Hamid Aytaç, and in the early years of the Turkish republic made labels and calling cards. After the war he resigned his job and began to work independently. During World War I he worked for one year in Germany, where he prepared military maps. He went on to direct the Rusumat press and then worked at the press of the Military Academy in Istanbul. In 1910 he became a writing teacher at the Gülsen school in Istanbul, where he taught the calligrapher Halim Özyazici.
However, he was soon forced to give up his studies to earn a living. He practised writing in Diyarbakir with his school teacher Mustafa Akif Tütenk and others, and in 1908 went to Istanbul to continue his education, first at the School of Law and then at the Fine Arts Academy. Originally called Musa Azmi, he was the grandson of Seyyid Adem, a famous calligrapher of Diyarbakir.
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