He was born in Nevşehir, whose former name was Muşkara, in 1662, Sipahi Ali Aga, known as his father, the voivodes of Izdin, is his mother Fatma Hanım. He went to Istanbul in 1689 to see his relatives and to find a job.

The abilities of Ibrahim, who directed the government from 1718 to 1730, preserved an unusual internal peace in the empire, though the frontier provinces were often the scenes of disorder and revolt. This was repeatedly the case in Egypt and Arabia, and still more frequently in the districts northward and eastward of the Black Sea, especially among the fierce Noghai tribes of the Kuban. The state of the countries between the Black Sea and the Caspian Sea was rendered still more unstable by the rival claims of Russia and the Porte; it was difficult to define a boundary between the two empires in pursuance of the partition treaty of 1723.

The Tulip period, called Lâle Devri (the Tulip epoch) was a time of extravagant garden parties and sumptuous entertainment. In 1730, when Tahmasp II of Safavid attacked Ottoman possessions, the empire's leadership was caught unprepared. Infuriated by the Ibrahim Pasha's apparent indifference to state affairs and by the sultan's life of inordinate luxury — ‘which was rendered the more distasteful to his subjects by its faintly European flavor’ — and by his hesitation in taking up the Safavid challenge, the people and troops in Constantinople revolted. They were led by Patrona Halil, an ex-Janissary from Macedonia. Ahmed III sacrificed Ibrahim and other viziers to the mob in order to save himself.

Sultan Ahmed III did not leave İbrâhim Efendi next to him. He promoted himself quickly and brought rickah-i humayun to the district governor with his wife . Thus, İbrâhim Pasha, who was a damâd-i nocturnal, remained with the sultan in Istanbul as the district governor with the rank of second vizier during the Austrian campaigns (1717-1718). Meanwhile, the steadfastness did not accept offers; He declined to lead the government of a state at war. During the meeting of the armistice that will end the war with Austria and Venice, He accepted Ahmed's offer of grand vizier. Unlike the other grand viziers, Ahmed gave his daughter’s groom the emerald seal of the Tuğra, which he used, as the “seal of humor”.

İbrâhim Pasha first discussed the peace talks with Austria that will end the war. He wrote a letter to the Austrian applicant on peace; He also sent instructions to the Ottoman delegates. He left the army and left Edirne in order to be prepared for the possibility that peace talks would not result. He remained in Sofia until he got the result of peace. Meanwhile, Austria has aggravated the peace conditions and Turkish delegates were mistreated and interim meetings were interrupted. However, through the ambassadors of the UK and the Netherlands. According to this treaty, Small Wallachia, Timişoara, Belgrade, Northern Serbia were left to Austria. Mora was taken from the Venetians and given back to the Ottoman State.

The Mughal Emperor Farrukhsiyar, a grandson of Aurangzeb, is also known to have sent a letter to the Ottomans which was received by the Grand Vizier Ibrahim Pasha, providing a graphic description informing him of the efforts of the Mughal commander Syed Hassan Ali Khan Barha against the Rajput and Maratha rebellion.

Ibrahim Pasha was married to the daughter of the sultan, Fatma Sultan, in 1717 when the Princess was fourteen years old and Ibrahim was fifty years old. This marriage into the Ottoman dynasty earned him the epithet "Damat" (Turkish: bridesgroom, son-in-law). The Couple had two sons.

İbrâhim Pasha was a resilient, generous, modest, forward-thinking, supporter of innovation and a man of greatness. He is renowned for his scholars, poets, and artisans of his time. He protected his relatives so much that he tried to keep those he saw rivals away from the center. He was keen on history and fine arts. He was also busy with calligraphy and sulcus and naskh were from the Prophet Osman. He had also learned from the painter Ömer Efendi.

The translations made by Yanyalı Esad Efendi from Aristotle are dedicated to İbrâhim Pasha. A thirty-two people delegation consisting of scholars and scribes, which can be considered as the academy of the period, was established in Istanbul in 1725 during the period of his tradition.

Ibrâhim Pasha left many charity works. The most important of these are the mosque, madrasa, classroom, school, fountain, fountain, public bath, inn and double bath in Nevşehir, and the Dardanhadis Masjid, the fountain, the fountain, the library and the source of their income, built together with his wife Fatma Sultan in Şehzadebaşı. It consists of eighty-two foundation shops. In addition, there was a school in the Hocapaşa district and a dispenser under it, a darülhadis and a hammam behind the New Post Office in Sirkeci, near the Acı Musluk Masjid.

Apart from these, a mosque in Sâdâbâd, a mansion next to Beşiktaş Mevlevi in the Çırağan area in Beşiktaş, next to the Orta Mosque in Yeniodalar in Istanbul and in Sultanahmet and Yalıköy, in Kuruçeşme, and in Bahariye. In addition, there were fountains, public fountain and pools around Mîrâhur Köşkü and Eyüp, in Şemsipaşa in Üsküdar, around Malatyalı Mosque in Üsküdar, near Çubuklu Mosque and Mesire Fountain in Feyzâbâd. There were about ten fountains in Ürgüp and a bazaar known as the Egyptian Bazaar by the sea in Izmir. There were also foundation vineyards and gardens in Antalya, Rumelia and Islands.

The complex was built in a rectangular area, and at the corner where the two streets meet, there is a fountain and a fountain next to it. Behind this is the mosque. The mosque, which is entered from Dedefendi street, has two porches with seven sections, each with a mirror vault, in front of the qibla wall and the side facade. The mosque, made of mixed material in series of stones and bricks, is square in shape and its top is about 10 m. It covers a diameter dome. The transition to the dome was provided with sectional trumpets with sliced bottom and muqarnas. Although the minaret seen today is very new, it is understood that the original minaret, which is entered from the right corner of the mosque, is also here and sits on a massive base behind the fountain. As reported in Hadîkatü'l-cevâmi, the minaret and pulpit of the mosque were built by Küçük (Sinek) Mustafa Pasha (d. 1763-64), the same lineage for a short time.

This complex of Nevşehirli Damad İbrâhim Pasha is an architectural work that must be carefully preserved and kept alive without losing its integrity, as well as the importance of the person who built it on the city's busiest main street. It is also one of the last structures of the classical period of Turkish art among small complexes. In addition, the plan arrangement of the complex consisting of a mosque, library, madrasah, fountain and bazaar is an extremely harmonious and successful example, with no other counterpart.

On 1 October 1730 the body of İbrâhim Pasha, who was murdered in the morning on the morning, was handed over to the soldiers with the corpses of their grooms. The body of İbrâhim Pasha was wandered in the streets of Istanbul and shattered after various insults in Sultanahmet Square.

Ibrahim Muteferrika was born in Kolozsvár (present-day Cluj-Napoca, Romania). He was an ethnic Hungarian Unitarian who converted to Islam. His original Hungarian language name is however unknown.

At a young age, Ibrahim Muteferrika entered the Ottoman diplomatic services. He took an active part in the negotiations with Austria and Russia. Ibrahim Muteferrika was an active figure in promoting the Ottoman-French alliance (1737-1739) against Austria and Russia. Ibrahim Muteferrika was also acclaimed for his role in the Ottoman-Swedish action against Russia. During his services as a diplomat he is known to have befriended many influential personalities including Osman Aga of Temesvar, a fellow diplomat of Transylvanian origins and former prisoner of war imprisoned in Austria.

It was during his years as a diplomat that he took a keen interest in collecting books that helped him understand the ongoing Renaissance, the emergence of Protestant movements in Europe, and the rise of powerful colonial empires in Europe.

His volumes, printed in Istanbul and using custom-made fonts, are occasionally referred to as "Turkish incunabula". Muteferrika, whose last name derived from his employment as a Müteferrika, head of the household, under Sultan Ahmed III and during the Tulip Era, was also a geographer, astronomer, and philosopher.

Following a 1726 report on the efficiency of the new system, which he drafted and presented simultaneously to Grand Vizier Nevşehirli Damat İbrahim Pasha, the Grand Mufti, and the clergy, and a later request submitted to Sultan Ahmed III, he received permission to publish non-religious books (despite opposition from some calligraphers and religious leaders). Muteferrika's press published its first book in 1729, and, by 1743, issued 17 works in 23 volumes (each having between 500 and 1,000 copies). The first book ever published by Muteferrika is "Vankulu Lügati", a 2-volume Arabic-Turkish dictionary. Printing religious books was prohibited (and remained prohibited until 1803).

Among the works published by Müteferrika were historical and generically scientific works, as well as Katip Çelebi's world atlas Cihannüma (loosely translated as: The Mirror of the World or the World Seer). In a digression that he added to his printing, Müteferrika discussed the heliocentrism of astronomy in detail, with references to relatively up-to-date scientific arguments for and against it. In this regard, he is considered one of the first people to properly introduce heliocentrism to the Ottoman readers.

After 1742, however, Ibrahim Muteferrika's printing activities were discontinued and an attempt by the British diplomat James Mario Matra, motivated by the exorbitant prices for manuscript books, to reestablish a press in Istanbul was aborted in 1779. In his account, Matra refers to the strong opposition of the scribes which Müteferrika’s enterprise had to face earlier:

“A Press had been set up here about sixty years ago in the turbulent reign of Ahmed III but those who maintained themselves by copying of Books, apprehending with reason that their trade would be totally ruined, were so loud in their clamours as to alarm the Seraglio, and as they were supported by a seditious Corps of Janissary, the Sultan apprehending what really did after happen, that as he mounted the throne by one insurrection, he might be tumbled from it by another, gave way to their complaints, and suppressed the Press, before anything better than the Quran, Sunnah, and some trifling books of Mathematics had been struck off.” (İ. Kalaycıoğulları, Y. Unat, Kopernik Kuramının Türkiye'deki Yansımaları ("Reflections of Copernican Theory in Turkey"), presented at the XIVth National Astronomy Congress, September 2004, Kayseri, Turkey)

Muteferrika died in Istanbul.

A statue of Muteferrika can be found in the Sahaflar Çarşısı adjacent to the Grand Bazaar in Istanbul.[10]

A total of 17 titles have been published by Muteferrika at his own press during his lifetime :

1. Kitab-ı Lügat-ı Vankulu (Sihah El-Cevheri), 2 volumes, 1729
2. Tuhfet-ül Kibar fi Esfar el-Bihar, 1729
3. Tarih-i Seyyah, 1729
4. Tarih-i Hind-i Garbi, 1730
5. Tarih-i Timur Gürgan, 1730
6. Tarih-I Mısr-i Kadim ve Mısr-i Cedid, 1730
7. Gülşen-i Hülefa, 1730
8. Grammaire Turque, 1730
9. Usul el-Hikem fi Nizam el-Ümem, 1732
10. Fiyuzat-ı Mıknatısiye, 1732
11. Cihan-nüma, 1732
12. Takvim el-Tevarih, 1733
13. Kitab-ı Tarih-i Naima, 2 volumes, 1734
14. Tarih-i Raşid, 3 volumes, 1735
15. Tarih-i Çelebizade, 1741
16. Ahval-i Gazavat der Diyar-ı Bosna, 1741
17. Kitab-ı Lisan el-Acem el Müsemma bi-Ferheng-i Şuuri, 2 volumes, 1742

(Most of the copies of the book Tarih-i Çelebizade have been bound into the third and last volume of Tarih-i Raşid and sold together with it and thus have erroneously led several sources to believe a total of 16 items have been published.)

• Risâle Islâmiyye (available in manuscript form) (published by [Esed Cosan] in 1993)

Nedim, whose real name was Ahmed (أحمد), was born in Constantinople sometime around the year 1681. His father, Mehmed Efendi, had served as a chief military judge (قاضسکر kazasker) during the reign of the Ottoman sultan Ibrahim I. At an early age, Nedim began his studies in a medrese, where he learned both Arabic and Persian. After completing his studies, he went on to work as a scholar of Islamic law.

In an attempt to gain recognition as a poet, Nedim wrote several kasîdes, or panegyric poems, dedicated to Ali Pasha, the Ottoman Grand Vizier from 1713 to 1716; however, it was not until — again through kasîdes — he managed to impress the subsequent Grand Vizier, Ibrahim Pasha, that Nedim managed to gain a foothold in the court of the sultan. Thereafter, Nedim became very close to the Grand Vizier, who effectively served as his sponsor under the Ottoman patronage system. Ibrahim Pasha's viziership coincided with the Ottoman Tulip Era, a time known both for its aesthetic achievements and its decadence, and as Nedim fervently participated in this atmosphere he is often called the “Poet of the Tulip Period.” Nedim is thought to have been an alcoholic and a drug user, most likely of opium.

It is known that Nedim died in 1730 during the Janissary revolt initiated by Patrona Halil, but there are conflicting stories as to the manner of his death. The most popular account has him falling to his death from the roof of his home in the Beşiktaş district of Istanbul while attempting to escape from the insurgents. Another story, however, claims that he died as a result of excessive drinking, while a third story relates how Nedim — terrified by the tortures enacted upon Ibrahim Pasha and his retinue — suddenly died of fright. Nedim is buried in the Üsküdar district of Istanbul.

Nedim is now generally considered, along with Fuzûlî and Bâkî, to be one of the three greatest poets in the Ottoman Divan poetry tradition. It was not, however, until relatively recently that he came to be seen as such: in his own time, for instance, the title of reîs-i şâirân (رئيس شاعران), or "president of poets", was given by Sultan Ahmed III not to Nedim, but to the now relatively obscure poet Osmanzâde Tâib, and several other poets as well were considered superior to Nedim in his own day. This relative lack of recognition may have had something to do with the sheer newness of Nedim's work, much of which was rather radical for its time.

In his kasîdes and occasional poems — written for the celebration of holidays, weddings, victories, circumcisions, and the like — Nedim was, for the most part and with some exceptions, a fairly traditional poet: he used many Arabic and Persian loan words, and employed much the same patterns of imagery and symbolism that had driven the Divan tradition for centuries. It was, however, in his songs (şarkı) and some of his gazels that Nedim showed his most innovativeness, in terms of both content and language.

Nedim's major innovation in terms of content was his open celebration of the city of Istanbul. This can be seen, for example, in the opening couplet (beyit) of his "Panegyric for İbrâhîm Pasha in Praise of Istanbul" (İstanbul'u vasıf zımnında İbrâhîm Paşa'a kasîde):

بو شهر ستنبول كه بىمثل و بهادر

بر سنگکه يكپاره عجم ملکی فداءدر

Bu şehr-i Sıtanbûl ki bî-misl-ü behâdır

Bir sengine yekpâre Acem mülkü fedâdır

O city of Istanbul, priceless and peerless!

I would sacrifice all Persia for one of your stones!

Moreover, in contrast to the high degree of abstraction used by earlier poets, Nedim was fond of the concrete, and makes reference in much of his poetry to specific Istanbul districts and places and even to contemporary clothing fashions, as in the following stanza from one of his songs:

سرملى گوزلی گوزل يوزلی غزالان آگده

زر کمرلى بلى خنجرلى جوانان آگده

باخصوص آرادغم سرو خرامان آگده

نيجه آقميا گوﯖل صو گبى سعدآباده

Sürmeli gözlü güzel yüzlü gazâlân anda

Zer kemerli beli hancerli cüvânân anda

Bâ-husûs aradığım serv-i hırâmân anda

Nice akmaya gönül su gibi Sa’d-âbâd’a

There are kohl-eyed fresh-faced gazelles there

There are gold-belted khanjar-hipped young people there

And of course my love's swaying cypress body is there

Why shouldn't the heart flow like water towards Sa'd-âbâd?

These lines also highlight Nedim's major innovation in terms of language; namely, not only are they a song — a style of verse normally associated with Turkish folk literature and very little used by previous Divan poets — but they also use a grammar and, especially, a vocabulary that is as much Turkish as it is Arabic or Persian, another aspect not much seen in Divan poetry of that time or before.