Classical Designs

Seljuki Journal

Morroccan style tanned goat leather is sliced up to 0,2mm thickness for implementing the leather on cover elegantly. Paper block of Seljuki Journal is French Papeterie Zuber Rieder 90gr Acid-free paper; this paper is ink friendly, you may see no feathering even the thinnest fountain pen ink. Spine knots are hand-sewn though enough for the stability of the journal’s base. Both headbands are also handsawn. End papers are made by a traditional turkish technique “zerefşân” (Zerefshaan) which is sprinkling 24k gold leaves on a paper and burnished with agathe. Endpapers are custom colored in our atelliers. Marbling is also optional for end papers.

Design of both faces are hundred percent done by PurSanat Art Studio. The center of the design is blank for implementing any inquiry of the owner. In the pictures you can see a peagon applied by illustrator and illuminist Serhat Tokmak with brush. Any kind of text/image can be applicable. Any golden implementation is purely 24k gold.

This journal is built with two traditional parts of Turkish Bookbinding: Mikleb and Sertab. These external organs of binding are in use for protecting the other side of the paper blank from outsider affects.

Geometric Seljuki Journal

Moroccan style tanned goat leather is sliced (0,2mm thickness) and dyed by hand. Seljuki geometric forms are ornamented within Rumi motifs. All the gilding is 24k pure gold. Paper blank is ink friend 90gr Galgo Acid-free paper. Spine and headbands are hand-sewn. End papers and mikleb (external organ of Turkish binding) is marbled paper. The quality and the beauty is the best over generations.
 

 
 

Journal with “Daheelek yaa Rasulallah” Composition

Morroccan style tanned goat leather is sliced up to 0,2mm thickness for implementing the leather on cover elegantly. Paper block of Seljuki Journal is French Papeterie Zuber Rieder 90gr Acid-free paper; this paper is ink friendly, you may see no feathering even the thinnest fountain pen ink. Spine knots are hand-sewn though enough for the stability of the journal’s base. Both headbands are also handsawn. End papers are marbeled together with top, bottom and foredges.
Taleeq Calligraphy Composition by Grand Master Ottoman Calligrapher Sami Ephendi is applied by mould on cover, surrounded by rumi motifs. All gilding is 24k pure gold and burnished with agathe.

Traditional The Holy Qoran Cover

Morroccan style tanned goat leather is sliced up to 0,2mm thickness for implementing the leather on cover elegantly.  Spine knots are hand-sewn though enough for the stability of base. Both headbands are also handsawn. End papers are made by a traditional turkish technique “zerefşân” (Zerefshaan) which is sprinkling 24k gold leaves on a paper and burnished with agathe. 
 

 

 

The Holy Qoran Cover Restoration

The binding had been restored 18 years before, and implemented by fabric cover. The cover is renewed with goat leatner in PurSanat Studio. Simple Rumi and Khatai relief is applied on both faces with mould. End papers are marbled paper. Text block of the book is shaved and sinatures are alsa restored.
 

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