Tughrahs, which are a kind of signature of Ottoman Sultans, states the orders of the Sultan as they are documents written in Divan-u Hümayun (Imperial Council). In earlier times, placed at the top of the documents such as firman, berat (certificate), waqfeyah, tughrahs extended their use of fields in time and they started to be printed on seals, coins, stamps and inscriptions. As time passed, its use was liked and they were used as basmalah, ayah, hadith and names as well. While the earlier forms were horizontal and wider, the tuğ (flagstaff) and zülfe (the shape of a fringe) were extended upward; they were even formed as triangles, they formed the shape of cypress tree and were decorated. There became additions to the texts in tughrahs in time and they were
* Dr. Öğr. Üyesi. Ankara Hacı Bayram Veli Üniversitesi, Sanat ve Tasarım Fakültesi, Geleneksel Türk Sanatları Bölümü. email@example.com
decorated in line with the artistic style, motive and composition feature of the era. The Tughra of Ahmed I, which is the subject matter of the current study, in the Kuyud-u Kadime Archive of the General Directorate of Land Registers was investigated in terms of its decoration. The motive and composition features of the tughrah, the colours used, the technique used and the current positon were determined and drawings were made. At the end of the study, it was found that the current position of the Tugrah of Ahmed I was good and that there were no falls in the gold and colours used and there became no stain or tearing on the paper. The negative technique, Haliç work technique, free Roumi branch composition, three-thread Roumi composition and needle glazing was applied on the tughrah. It reflects the characteristics of the era in terms of its decoration.
Keywords: tughra, Ahmed I, gilding, decoration