Known as the “Master of Calligraphers,” Hasan Celebi whose signature graces numerous mosques around the world died in Istanbul on February 24. He was 88.

Turkish President Recep Tayyip Erdogan expressed his sorrow over Celebi's passing, and offered his condolences to the family, relatives and students in a post on X.

Celebi dedicated his life to the meticulous craft of Islamic calligraphy, reviving and preserving an art form deeply rooted in Ottoman heritage. Few have contributed to this tradition as profoundly as Celebi whose works not only adorn mosques across the world but whose students continue to carry his legacy forward. 

“There is no other calligrapher whose work is featured in so many mosques and who has trained so many students,” tells Ayten Tiryaki, a prize-winning calligrapher, TRT World.

Celebi’s works are not confined to galleries or manuscripts—they grace the walls of some of the world’s most iconic mosques, including the Prophet’s Mosque in Medina and the Blue Mosque in Istanbul.

His calligraphy is found in Türkiye, Saudi Arabia, and the United Arab Emirates. His script adorns the Dome of the Rock in Jerusalem, the King Fahd Mosque in Los Angeles, and the Sakirin Mosque in Istanbul. 

In essence, his devotion to calligraphy perpetuated the art form. Through his students, his teachings have rippled outward to carry his art form forward.

“His pupil continues to train others. For this reason, the art of calligraphy has spread all over the world and continues to develop by gaining momentum,” says Tiryaki. 

Born in Erzurum, Türkiye, in 1935, Celebi came of age at a time when the classical arts of the Ottoman world were receding into history. But where others saw decline, he saw a duty.

Undeterred, he sought out the last great masters of the Ottoman tradition, learning under the renowned Hamid Aytac, who was among the few remaining calligraphers of the classical school. 

“Hasan Celebi was a classicist. He knew, wrote, and taught many types of calligraphy. He had a very strong memory and a witty style. He would tell parables, couplets, stories, and memories in his lessons. Especially when he talked about his own life and his childhood years, our admiration for him grew," says Tiryaki, one of Celebi’s students. 

Specialisation in mosque scripts

Trained as a classicist, Celebi’s expertise spanned multiple scripts, but in Jali Thuluth and Jali Diwani – that are known for their distinctive styles – he found his true voice.

His Syrian student, Muhammed Enes Huri (Sami), described his mentor’s impact on mosque calligraphy: "The school of calligraphy is an extension of the Ottoman tradition. Master Hasan was greatly influenced by Hamid Aytac. Celebi was a master in most scripts, especially Jali Thuluth and Jali Diwani, but he was particularly distinguished in mosque scripts.”

Celebi’s compositions exude both grandeur and fluidity, seamlessly blending into the intricate designs of Islamic architecture.

“Due to his excellence in intertwined structures, he was sought after to write inscriptions for many mosques in and outside Türkiye,” says Huri.

What set Celebi apart was not simply his technical brilliance, but his ability to harmonise script with architecture. His compositions were not just static embellishments; they were living, breathing extensions of the spaces they adorned, as if the letters themselves had always belonged to the walls.

Celebi was commissioned for the OIC inscriptions in Jeddah, and he restored those of Masjid al-Nabawi in Medina.

Celebi had his first solo exhibition at IRCICA in 1982, followed by shows in Malaysia and Jordan. In 1987, he spent a year inscribing the reconstructed Quba Mosque in Saudi Arabia, later conducting seminars and exhibitions in Kuala Lumpur in 1992.

By 1994, he marked his 30th year in calligraphy with a special exhibition. A dedicated teacher since 1976, he certified nearly 100 students worldwide, cementing his legacy as one of the most prolific calligraphy instructors. 

Celebi was the recipient of the Necip Fazil Honor Award and Türkiye’s Presidential Grand Award for Culture and Arts.

 “Come if you have a sack of patience”

The master’s name is now etched not just in history, but in the very architecture of devotion. His students write, and through them, Celebi still holds the pen.

Celebi not only produced countless inscriptions but also trained a new generation of calligraphers, ensuring the survival and flourishing of the art.

“I started the course in 1983 and received my license in 1989,” says Tiryaki. “He would say to those who wanted to start lessons with him, ‘Come if you have a sack of patience.’”

His patience and kindness left an indelible mark on his students. He never discouraged, nor dismissed a struggling learner. Instead, he guided them with wisdom, offering meticulous corrections and gentle encouragement.

His South African student, Muhammed Hobe, says: “Studying with Master Hasan was a blessing. He was very patient with students, very kind. He never criticised a student harshly. He would always look for the best letters and comment on those. He always said we should concentrate on the anatomy of the letters before anything else. He used to say that we should first perfect the letters before trying new and modern ways.”

Celebi gained his mastery over his art form through sheer dedication.

“He used to say that to be successful in the art of calligraphy, one should work 30 hours,” Tiryaki says.

Ink that never fades

Hasan Celebi’s impact on the world of Islamic calligraphy is immeasurable. His students have become masters in their own right, spreading his teachings across continents.  But what they remember him by is not just the craft but his humility and selfless mentorship.

“The aspect that impressed me the most was how he helped students with all his humility. He was a real mentor. The thing that made me most happy was that he gave me the task to give lectures to the students. I was very touched by this,” says Huri.

Celebi’s generosity extended beyond the classroom. His students were not just pupils; they seemed to be his family.

“He advised me, in his home, to consider getting married to the girl I’m married to,” says Hobe.

“He was the one who asked for the girl’s hand and performed our wedding. He later on suggested a name for our daughter. My daughter was fortunate enough to have met the master many times and she used to call him ‘Dede’ (grandfather). He has left a huge void in our hearts, and he will be forever missed.”