Paper-marbling artist (Born 9 February 1920 Istanbul – Death 12 September 1990 Istanbul). His father is Saim Efendi who was the imam of Abdülbâki Efendi and Aziz Mahmud Hüdâyî Mosques which are in the same district. Upon completing his primary education he started to work in his father’s herbal shop in Üsküdar bazaar. In 1938 his mother’s uncle the Calligrapher Necmettin Okyay enrolled him to State Fine Arts Academy’s Turkish Ornament Arts Department. He learnt here from Necmettin Okyay and other teachers in a short period old style cover and paper-marbling. Due to various reasons he left school for some time and returned to his father’s profession, herbalist's trade. And he continued this profession until the end of his life.
Düzgünman, who produced beautiful examples of classical cover called “şemse” during his study years in the academy, had to leave it after a while since it was demanded by very few. He has been busy with paper-marbling until his death especially after 1957.
Although he was open to innovation in various fields, in paper-marbling he remained strictly loyal to classical understanding. His teacher Necmettin Okyay said that he surpassed him in paper-marbling. Düzgünman added the daisy flower to other flower figures in paper-marbling produced by his teacher. Besides he edited some of his flower shapes. During his paper-marbling career which started in 1940 and lasted for fifty years until his death, he contributed to the introduction and spread of this art with his works and students. He opened various exhibitions and participated to others starting from 1967.
Mustafa Düzgünman was also interested in Sufism apart from paper-marbling. He benefited in this field from prominent masters such as Hafız Eşref Ede, Hafız Muhittin Tanık who was also known as “Mızıkalı” since he was educated in Muzıka-I Hümâyun, TâcettinYalım and Hüsnü Sarıer.
Düzgünman, who was also known as a good performer due to his recital of internal adhan (T.N. Islamic call to prayer) in Aziz Mahmud Hüdâyî Mosque for long years on Fridays and of chants between tarawih prayers, owns about twenty chants he composed in different maqams and lyrics of some of these also belong to him.
These chants which prove his composition skills and which are important in terms of religious music repertoire of recent years were transcribed to notes by his close friend Neyzen Niyazi Sayın. Besides he made it possible that some religious songs he learnt in earlier times were recorded by singing them to recording devices.
Düzgünman, who was the tomb keeper of Aziz Mahmud Hüdâyî Lodge between 1953 and 79, wrote poems in ballad style in colloquial language. Among these is Ebruname the most famous which consists of twenty strophes and which explains the history, characteristics and essence of paper-marbling.
Düzgünman has a collection of rosaries, calligraphic boards, and his own paper-marbling, book covers in form of şemse, boxes and frames. Some of around thousand calligraphy samples recorded to emission glass via an old style accordion camera by him were published in works titled Kalem Güzeli (Ankara, 1981) and İslam Mirasında Hat Sanatı ( Istanbul, 1993 ). Originals of these photography glasses are later donated to Türkpetrol Foundation by him.