Relevant bibliographies by topics / Arabic calligraphy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Arabic calligraphy'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Arabic calligraphy"

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Ali Atia Hmood. "Formal Organization in the Calligraphy Panel of the Calligrapher Hashim Muhammad Al-Baghdadi." Integrated Journal for Research in Arts and Humanities 2, no. 3 (May 25, 2022): 38–47. http://dx.doi.org/10.55544/ijrah.2.3.31.

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This research study is concerned with (formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi) and the research problem was represented by a basic question: What is the formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi? The research aims to study the forms used in the comprehensive painting of the calligrapher Hashem Al-Baghdadi in terms of the formal organization of the calligraphic elements and the artistic contribution by arriving at defining the characteristics of the system and the technically approved form in the comprehensive painting, and thus may benefit calligraphers and those interested in studying Arabic calligraphy and calligraphy painting. The theoretical framework included a review of the following topics: the stages of development of the emergence of the Arabic calligraphy and the calligraphy board, the lines used in the implementation of the calligraphy painting of the calligrapher Hashem Al-Baghdadi, the formal organization in the calligraphy board, and the design systems adopted in the calligraphy board. In his research procedures, the researcher followed the descriptive (analytical) approach through the adult research community represented in the form of the university linear board, from which an intentional sample was chosen, represented by a diagram of the structural structure, and the analysis form was designed and presented to experts to ensure its validity to achieve the goals. The formal organization and the research reached the following results: 1- The general design of the whole linear panel was subject to the division of its space through the two axes (horizontal and vertical) that bisect the total space, allowing organizational options in dividing it, sometimes with binary symmetry and at other times with quadrilateral symmetry. 2- Employing a basic anchor that serves as a starting point for placing the other partial divisions within the geometric element (the circle) occupying the center of the design. in spreading. 3- Employing arcs with varying areas in measurement, in which the designer sought to enhance their changing role as incubators for the relatively larger geometric shapes (circles) with their neighboring smaller circles, keeping the horizontal and vertical axes achieving greater organizational diversity without relying on the element of the circle.
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Mohammed Alashari, Duaa. "The Aesthetics Of Contemporary Arabic Calligraphy in Duaa Alashari Painting: The Story of Love." Idealogy Journal 7, no. 1 (April 1, 2022): 89–93. http://dx.doi.org/10.24191/idealogy.v7i1.320.

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Arabic calligraphy is known as Islamic calligraphy. Alashari artworks introduce Arabic calligraphy as an art form to contemporary viewers and show them how to identify, understand and appreciate its varied styles and modes. This paper aims to present the aesthetics of contemporary Arabic calligraphy and the spirituality in the Alashari painting. The method used in this study is the descriptive-analytical method. The study concluded that this painting expresses movement, rhythm and dynamism as seen through the calligraphic marks and dripping.
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Alashari, Duaa Mohammed, Abd Rahman Hamzah, and Nurazmallail Marni. "Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art." UMRAN - International Journal of Islamic and Civilizational Studies 6, no. 3 (October 21, 2019): 33–45. http://dx.doi.org/10.11113/umran2019.6n3.342.

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The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains about some of various of Arabic fonts style, and some important Quranic colour that has significant in the Islamic culture. Arabic calligraphy, which is also known as Islamic calligraphy, has a long history of development starting from the first written form of the Quran, in the early 7th century. The Arabic calligraphy art presents how to understand and appreciate its varied styles and modes. Calligraphers start creating their art by using some passages from the Quran or Arabic poems as a starting point then they develop their compositions in a complex and intricate piece of art by the overlap of Arabic letter and words that integrate. Arabic calligraphy is about movement, rhythm and dynamism as seen through the calligraphic marks in most mosques or Islamic building or Islamic calligraphy painting. Islamic calligraphy presents the aspect of aesthetic principles and demonstrate the love for Arabic language and culture with the aesthetic methods of traditional Arabic art.
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Ali abbas, Hussein. "The decorative structure in the calligraphic painting." Al-Academy, no. 107 (March 15, 2023): 129–46. http://dx.doi.org/10.35560/jcofarts107/129-146.

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The decoration structure in calligraphy painting is one of the variables that characterized the structure of the calligraphic composition due to the artistic, aesthetic and expressive properties of the letters of the Arabic calligraphy, which are represented by flexibility, compliance and the ability to form. Therefore, the researcher defined his problem by asking the following question: What is the decorative structure in the calligraphic painting? The study aimed to reveal the structure of the ornamentation in the calligraphy painting, while the researcher dealt with in the second chapter three sections, the first (the ornamental concept and meaning) and the second topic (the structural characteristics of the Arabic letter in the calligraphic calligraphy painting) and the third topic (the aesthetic foundations in the calligraphic calligraphy painting) and then Indicators of the theoretical framework and previous studies, while the third chapter dealt with the research procedures, where the researcher adopted the descriptive analytical approach of the research community and sampled it by 10%. (The ability of the Arabic letter and its response to formation contributed by employing it to produce calligraphic lettering paintings with lunar structures) and then recommendations to benefit from the results and findings of the research to support researchers, scholars and specialized colleges, and the researcher suggested a study (the formal significance of the trapping effect in the lettering calligraphy painting).
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Duaa Mohammed Alashari. "The Role of Arabic Calligraphy in Displaying the Aesthetics of Linear Configurations in the Kiswah of Kaaba." Journal of Islamic Thought and Civilization 12, no. 2 (December 13, 2022): 242–54. http://dx.doi.org/10.32350/jitc.122.17.

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The Kiswah of the Kaaba, in the Saudi era, is adorned with Arabic calligraphy, executed in the complex Thuluth calligraphy. These calligraphic formations are compatible with the aesthetic and spiritual function of the Kiswah of Kaaba. In addition, the contribution of these formations and Arabic calligraphy creates formative elements of a distinctive aesthetic nature that glorifies the kiswah with a special kind of spiritual beauty associated with the writing of Qur’ānic verses. Arabic calligraphy, especially the Thuluth script, is one of the essential Arabic fonts that express the aesthetic values of Arabic calligraphy in the covering of the Kaaba. Therefore, this study aims to reveal the role of Arabic calligraphy and the characteristics of the Thuluth line, which have enhanced in highlighting the aesthetics of the linear formations of the Kiswah. The study also aims to discuss the aesthetic features and patterns that characterize the linear formations. The method used in this study is the content analysis method, bearing in mind that the primary tool used is inference based on observation. The study concluded that the Thuluth font possesses several aesthetic and technical characteristics compared to the rest of the other Arabic fonts. Moreover, these technical characteristics gave this line an evident prominence in decorating and beautifying the covering of the Kaaba with the appearance of the single letter in several bodies through the morphological diversity of the character drawing. Keywords: Arabic calligraphy, aesthetics, Kiswah of Kaaba, linear configurations, Thuluth script.
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Sobhan, Arshia, Philippe Pasquier, and Adam Tindale. "Unveiling New Artistic Dimensions in Calligraphic Arabic Script with Generative Adversarial Networks." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (July 19, 2024): 1–12. http://dx.doi.org/10.1145/3664210.

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We present an artistic exploration into calligraphic Arabic script, focusing on the nastaliq style predominant in Iran, by harnessing the affordances of Generative Adversarial Networks (GANs). Recognizing the unique challenges posed by Arabic script's cursive nature and its inadequate representation by conventional tools, our work seeks to bridge the gap between traditional calligraphy and novel technological capabilities. Two custom datasets are introduced, Nas4-60k and Nas4-60k-aug, designed to train our generative networks in producing calligraphic Arabic. Utilizing the StyleGAN2-ada architecture, our approach successfully generates stylistically coherent and high-quality calligraphic samples. These samples exhibit meaningful feature extraction and generalization of calligraphic features, extending beyond the training sets. Furthermore, our system reveals a continuous spectrum of calligraphic features through latent space interpolations, leading to the creation of dynamic, innovative artworks that blend traditional and contemporary elements of Arabic calligraphy. Drawing inspiration from the compositional form of siyah-mashq, our work culminates in multiple publicly presented artworks that exhibit a new mode of creative expression and highlight the potential of GANs in unveiling new artistic dimensions in calligraphic Arabic script.
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Azizah, Salma, and Hikmah Maulani. "Pengaruh Perkembangan Seni Kaligrafi Arab Terhadap Budaya di Indonesia." Shaf: Jurnal Sejarah, Pemikiran dan Tasawuf 1, no. 2 (March 26, 2024): 22–37. http://dx.doi.org/10.59548/js.v1i2.102.

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This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values ​​and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.
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Mohsen, Ali A., Wissam K. Abdul Amir, and Amin A. Yassin Al-Nouri. "Artistic Signature's Aesthetic Consistency and Differentiation in Arabic Calligraphy." Journal of Islamic Thought and Civilization 13, no. 2 (December 6, 2023): 70–85. http://dx.doi.org/10.32350/jitc.132.05.

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The artistic signature of calligraphers has been regarded as a significant aspect of Arabic calligraphy since its inception. As the art form evolved and acquired an aesthetic dimension, the artistic signature became an integral part of this dimension. The calligrapher failed to include his name on the frames, a practice that has become customary among calligraphers nowadays. This tradition allowed to trace the evolution of Arabic calligraphy and identify certain gaps in the calligraphy composition. Additionally, the inclusion of calligrapher's name contributes to the achievement of visual balance within the calligraphy composition, signifying consistency or formal separation. The current study concentrated to investigate the aesthetics of artistic signature in Arabic calligraphy, comprising of four parts. These parts include the research problem, its significance, objectives, area, and the definition of key terminologies. The current study analyzed a total of 25 samples, out of which 5 were selected for further analysis. The researchers appointed a descriptive approach to examine the sample models thereafter, the implementation of artistic signatures varied across the models, with the utilization of calligraphy,(Al-Ijaza, Kufi, Ta'liq, Diwāni, and Raq’a). Alterations in the structure and measurement of certain signature letters facilitated the creation of shorthand, which reduced the spaces within the signature structure and achieved formal closure. Additionally, the placement of signatures was distributed among different locations.
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Ahmad Zarnuji, Hanif Amrulloh, and Isnaini Nur Azizah. "Utilization of Rice Husk Waste for Paper Raw Materials as An Arabic Calligraphy Media." Engagement : Jurnal Pengabdian Kepada Masyarakat 3, no. 1 (May 30, 2019): 43–54. http://dx.doi.org/10.29062/engagement.v3i1.49.

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Rice husk is an organic waste found in Indonesia as a raw material for paper products. The society has not yet realized that the material could also be a medium of Arabic calligraphy. This research-based community service action aims to introduce the benefits of rice husk as a raw material for making paper. To practice the production of paper from rice husk as the basis for making Arabic calligraphy art, so it is needed to make a business community of paper production from rice husk based on Arabic calligraphy. By using the Asset-Based Community Development method, the community mentoring process is carried out by helping the business community of rice husk paper based on Arabic calligraphy during the production to the marketing process. To control the quality of the art of Arabic calligraphy, the EL-KA Lampung calligraphy community was involved. The result shows that the Arabic calligraphy created by the assisted community has high artistic value with different textures from rice husk paper, then it was created a rice husk paper business community based on Arabic calligraphy.
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Andrew, Alex M. "Arabic calligraphy: phishing." Kybernetes 37, no. 6 (June 17, 2008): 729–31. http://dx.doi.org/10.1108/03684920810876927.

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Dissertations / Theses on the topic "Arabic calligraphy"

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Аззаарі, Алі. "Arabic calligraphy: elements and features." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15244.

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Zeyad, Sultan. "Investigation of the education and practice of calligraphy in Saudi Arabia." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1085627452.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains vii, 251 p. ; also includes graphics (some col.). Includes abstract and vita. Advisor: Georgianna Short, Dept. of Art Education. Includes bibliographical references (p. 248-251).
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Al-Ansari, Banan Ahmed. "Interrelated Histories, Practices, and Forms of Communication: Using Arabic Calligraphy to Learn Arabic Typography." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804911/.

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In this self-study inquiry, I studied my graphic design practice in a professional setting, focusing on my Arabic typographic skills and knowledge. My roles as researcher and design educator indivisibly intertwined throughout this research. I worked to understand the value of calligraphy in art and design education, highlighting its power as an art form while also emphasizing its pedagogical potentials. I utilized two theoretical approaches suited to investigating and understanding the Arabic letters as text and image, Ibn Arabi’s science of letters, or 'ilm al-hurûf, and semiotics. I applied my theoretical framework to three distinctive artworks to investigate their uses of the Arabic letters, contemplating their roles in modern and contemporary Arab art. Essential to my research was learning Arabic calligraphy through two approaches: 1) I attended a calligraphy workshop, and 2) I conducted three self-study experimentations. I analyzed my experience through visual representations, commentary, and narrative inquiry to assess Arabic calligraphy’s significance for graphic design education. As such, my experimentations confirmed Arabic calligraphy’s aesthetic and educational value. I employed my findings to create a contemporary Arabic typography curriculum suitable for university-level students. This curriculum is built on learning theories such as visual culture analysis, semiotics, constructivist theory, play principles, and critical thinking, aiming to situate Arabic calligraphy as a modern learning model significant for typography education. Finally, I constructed a basic course for Arabic typography to support students’ development of Arabic typography fluency.
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Osborn, J. R. (Wayne). "The type of calligraphy : writing, print, and technologies of the Arabic alphabet /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3304007.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed June 13, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 353-375).
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Nabeel, S. Ali. "Reviving the art of Arabic calligraphy by practical exercises in interactive multimedia." Thesis, University of Brighton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302292.

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Edin, Sounia Alam. "El grafiti en Siria 2011-2016: entre letras latinas y caligrafía árabe." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405984.

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La presente tesis doctoral tiene los siguientes objetivos: - Describir el graffiti escrito en Siria entre los años (2011-2016) a través de un catálogo de fotos recogidas a a modo de muestras. - Un desarrollo de los métodos y el procedimientos de las caligrafías árabes contenidas en el catálogo tomando como módulo el desarrollo de las caligrafías latinas. - Generar un sistema arquitectónico de construcción de alfabeto árabe con base caligráfica, para la estandarización de las escrituras no caligráficas mediante tecnologías industriales. La investigación se ha desarrollado mediante dos métodos dife- rentes. El primero principalmente ha consistido en la realización de un catálogo de imágenes recogidas relativas al graffiti en Siria entre los anos 2011-2016. Estas fotos son muestras de graffiti escrito en árabe con diferentes estilos y técnicas. Mientras que el catálogo estandari- zado permite obtener datos representativos del uso caligráfico de las letras árabes en el graffiti sirio. El segundo método ha sido un análisis de las tres caligrafías clásicas Thulth, Nasj y Ruq`a utilizadas en el graffiti de Siria, tomando como módulo el desarrollo de las caligrafías latinas para obtener las proporciones de cada letra con las pautas y los trazos. Los resultados obtenidos muestran que la caligrafía árabe tie- ne escasa presencia en el graffiti de Siria. Solo ocupa el 21% de las muestras del catálogo debido a la difcultad de su realización. Al analizar las tres caligrafías se establece un sistema de construcción de los caracteres basado en los trazos. A través de estos trazos se realiza una clasifcación de formas obtenidas que nos sirven para realizar un sistema que se puede aplicar usándolo en una tecnica de graffiti como el estarcido. Finalmente, a partir del análisis de datos y la perspectiva teórica de la investigación se genera un sistema arquitectónico de construcción de alfabeto árabe con base caligráfica, para la estandarización de las escrituras no caligráficas mediante tecnologías industriales.
This doctoral thesis has three objectives: - Describe the written graffiti in Syria between the year 2011 and 2016 Producing a catalog of collected photos as samples. - A development of the methods and procedures of Arabic calligraphy contained in the catalog, taking as a module the development of Latin calligraphy. - Generate an architectural system of construction of Arabic alphabet with a calligraphic basis, for the standardization of the non-calligraphic writings, by means of industrial technologies. The research has been developed by two different methods. The first one is the realization of a collected catalog with graffiti images from Syria between 2011 and 2016. These photos are samples of Arabic written graffiti with different styles and techniques. This standardized catalog allows to obtaining data about the calligraphic use in Arabic the Syrian graffiti. The second method has been an analysis of the three classic calligraphy used in Syria graffiti: Thulth, Nasj and Ruq'a taking as a module the development of Latin calligraphy. The results show that the Arabic calligraphy has a timid presence in Syria graffiti, just a 21% of samples in the catalog, because of their strict rules and the limitation of their traditional techniques. Finally, the analyzing of the three calligraphy established a system of construction of the characters based on the strokes. A classification of shapes obtained through the analyzed strokes. That these forms establish a system which can be using in the graffiti with the stencil technique.
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Alkharoubi, Amer. "Modern arabic calligraphic-based logos." Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1548348.

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Calligraphy in the Arabic language is an ancient form of communication and a method of documenting history. The Arabic script started in a very simple form with characters similar to each other. However, through the years, many developments have occurred within this form of communication. These developments were created by several artists and calligraphers, which resulted in generating a variety of styles of scripts with unique treatments. Since the twentieth century, these traditional calligraphic styles have started to lose their importance, and the use of modern Arabic calligraphy is becoming more dominant, especially in the fields of modern design such as graphic design. However, traditional Arabic calligraphy still has a noticeable impact on modern Arabic designs. This thesis introduces a new way of understanding the influence of traditional Arabic calligraphy on modern Arabic calligraphic-based logo designs. The process is accomplished by explaining and substantiating these influences in a step-by-step study applied on six selected Arabic calligraphic-based logos. As a conclusion, the study confirms a strong influence of traditional Arabic calligraphy on modern Arabic calligraphic-based logo designs.

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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.

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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Atanasiu, Vlad. "Le phénomène calligraphique à l'époque du sultanat mamluk : Moyen-Orient, XIIIe-XVIe siècle." Paris, EPHE, 2003. http://www.theses.fr/2003EPHE4027.

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L'étude offre un cadre global à la calligraphie : graphique, social, fonctionnel et applicatif. Des caractéristiques spatiales et qualitatives sont définies en termes utiles à l'informatisation. Allographes contextuels et microvariations servent une méthode de restauration de l'écriture. Les particularités graphiques définissent les identités des individus et des groupes utilisant la calligraphie comme medium de compétition sociale. Le rôle de la calligraphie dans le système mamluk et l'importance des compétences linguistiques des soldats sont discutés. La situation dans le sultanat mamluk est comparée à celle de Perse et de l'empire ottoman. Les XIIIe-XVIe siècles sont une période de transition qualitative et d'émergence du calligraphe moderne. L'ancrage social est rendu possible par une culture graphique : un réseau de récits, de pratiques et de relations sociales. Offrant des modèles de belles formes, la calligraphie simule la réalité et entraîne la décision basée sur l'estimation visuelle
The study offers a global framework for calligraphy: graphical, historical, functional and applicative. Spatial and qualitative characteristics are defined in terms useful in computer programs. Contextual allographs and microvariations are the basis of a method for reconstructing script. Graphic peculiarities define identities of individuals and groups, who use calligraphy as a medium for social competition. The role of calligraphy in the Mamluk system and the importance of linguistic competences of soldiers are discussed. The situation in the sultanate is compared to those of Persia and the Ottoman Empire. The 13th - 16th centuries are a transition period at a qualitative level and by the emergence of the modern calligrapher. The social anchoring of calligraphy is made possible by a graphic culture: a web of narrative, practice and social relations. By setting models for beautiful shapes, calligraphy acted as a simulation of reality and a training object for human decision based on visual estimation
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Gmach, Nomen. "La médiation du signe, les lieux du corps : vers une contemporanéité maghrébine." Paris 1, 2010. http://www.theses.fr/2010PA010693.

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A l'instar d'une icône, l'espace de l'écriture serait un écran médiateur entre deux univers. Entre le champ profane et matériel et le champ sacré d'un au-delà « immatérialisable », l'écriture puis la calligraphie offrent une communication immédiate faisant de l'espace du signe un écran, une fenêtre, «une figure» de l'ouverture et de l'entre-deux. A travers son « tanzil », le texte sacré opérera un passage de l'au-delà vers le monde matériel comme une transcription d' « un corps divin ». Transcription qui implique une transposition d'un code dans un autre. Il implique, par ailleurs, à travers sa mise en lettre, la transformation de sa forme et de son sens mais aussi sa marge d'ouverture à l'interprétation. Et si le « tanzil » s'apparentait à une forme de transgression par l'apparition des lettres profanes, la production calligraphique s'assimilerait alors a la production de traces de signes transfigurés à mi-chemin dans la voie du retour. Le signe calligraphique, en investissant le champ de la contemporanéité, s'introduit tel un langage pictural porteur de revendications identitaires. De plus, il amènera une dimension mystique certaine et ne cessera d'interroger le regard sur les lieux de l'incarnat et du divin. De surcroît, ce dernier, à la lumière de la pensée hallâdjienne, se confond au corps du calligraphe faisant de l'espace du signe un espace miroitant
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Books on the topic "Arabic calligraphy"

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Blair, Sheila. Islamic calligraphy. Edinburgh: Edinburgh University Press, 2006.

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Ṣabrah, Khalīl. al- Khaṭṭ al-ʻArabī: Al-mawsūʻah al-taʻlīmīyah lil-kitābah al-khaṭṭ al-ʻArabī. Bayrūt: Dār al-Jawharah, 1985.

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Gauhar, K̲h̲vurshīd ʻĀlam. Naqsh-i Gauhar: K̲h̲at̤t̤-i s̲ulus̲, nastaʻlīq, nask̲h̲ ... Lāhaur: Riyāz̤ Barādarz, 1998.

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Riḍā, Aḥmad. Risālat al-khaṭṭ al-ʻArabī: Nashʾatuhu wa-taṭawwuruhu wa-al-madhāhib fīhi. Bayrūt, Lubnān: Dār al-Rāʾid al-ʻArabī, 1986.

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Jubūrī, Kāmil Salmān. Jamharat al-khuṭūṭ al-ʻArabīyah. Bayrūt, Lubnān: Dār wa-Maktabat al-Hilāl, 2000.

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Jubūrī, Kāmil Salmān. Jamharat al-khuṭūṭ al-ʻArabīyah. Bayrūt, Lubnān: Dār wa-Maktabat al-Hilāl, 2000.

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Efendi, Şevki. Şevki Efendi'nin sülüs ve nesih meşk murakkaı. İstanbul: Kubbealtı Neşriyatı, 1996.

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Khalīfah, Shaʻbān ʻAbd al-ʻAzīz. al- Kitābah al-ʻArabīyah fī riḥlat al-nushūʼ wa-al-irtiqāʼ. al-Qāhirah: al-ʻArabī lil-Nashr wa-al-Tawzīʻ, 1989.

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Mace, John. Beginner's Arabic script. Lincolnwood, Ill: NTC/Contemporary Publishing, 1999.

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Jubūrī, Maḥmūd Shukr. al- Khaṭṭ al-ʻArabī wa-al-zakhrafah al-Islāmīyah: Qayyim wa-mafāhīm. Irbid: Dār al-Amal, 1999.

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Book chapters on the topic "Arabic calligraphy"

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Hamzah, Ali A., and Hanaa Bayomi. "Text Steganography with High Embedding Capacity Using Arabic Calligraphy." In Advances in Intelligent Systems and Computing, 127–38. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33582-3_13.

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ALSalamah, Seetah, Riza Batista-Navarro, and Ross D. King. "Using Prior Knowledge to Facilitate Computational Reading of Arabic Calligraphy." In Intelligent Data Engineering and Automated Learning – IDEAL 2019, 293–304. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33617-2_30.

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Mansour, Osama, and Rossana Netti. "The Arabic Calligraphy: An Identifying Parameter in Space, Time and Contents." In Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination, 313–29. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41018-6_27.

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Healey, John. "Nabataean to Arabic: calligraphy and script development among the pre-Islamic Arabs." In Law and Religion between Petra and Edessa, III—1—III—18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420675-3.

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Al-Hawamdeh, Suliman, and Gul N. Khan. "Content Based Indexing and Retrieval in a Digital Library of Arabic Scripts and Calligraphy." In Research and Advanced Technology for Digital Libraries, 14–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-45268-0_2.

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Alanmi, Adel. "Arabic Language as Arab Characters Related to Arabic Language Alphabet." In Advances in Media, Entertainment, and the Arts, 213–27. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5753-2.ch009.

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All languages in this universe have a rich history behind them and culture among the people who speak them. Arabic calligraphy is a timeless craft that has resounding relationship with the Arabic culture and Islamic heritage. The word calligraphy originated from Greek words, namely kallos and graphos, which mean beauty and writing, respectively. Many calligraphic works may seem effortless at a glance, but that is not the case as calligraphy requires keenness and the final piece is as a result of accurate and measure brushstrokes. This chapter is going to look at and analyze the different artwork and calligraphy works related to the Arabic language that have significance to the Arabic world and Muslim culture.
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Backus, Madeline, and Ken Koltun-From. "Writing the Sacred in Craig Thompson’s Habibi." In Comics and Sacred Texts, 5–24. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819215.003.0001.

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This chapter discusses how Craig Thompson’s Habibi (2011) constructs the oriental sacred through Arabic calligraphy, weaving sacrality into the visual and textual narrative of the imagined, exotic other. The exotic and even erotic forms of calligraphy stylize a natural and imminently accessible sacred that works within an oriental mode of visual exposure. We can see this oriental sacred in the natural landscape, in the mythic and salvific animals, in the Islamic textual traditions of hadiths and Qur’an, and in the material body of Dodola who captures the young Zam’s erotic fantasies. Thompson deploys calligraphy to open Islamic and Arabic culture to the oriental gaze, imagining the sacred within the imagined world of Richard Burton’s 1,001 Arabian Nights. Within this space and gaze, Arabic calligraphy takes on the form and function of the sacred orient.
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"Chapter Three. The Standardization of Arabic Script." In Islamic Calligraphy, 77–100. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9781474464475-007.

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"Chapter One. Arabic Script: Its Role and Principles." In Islamic Calligraphy, 3–40. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9781474464475-005.

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"M. Calligraphy." In Arabic and Persian Manuscripts in the Birnbaum Collection, Toronto, 125. BRILL, 2019. http://dx.doi.org/10.1163/9789004389670_015.

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Conference papers on the topic "Arabic calligraphy"

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Aldayel, Mashael, and King Saud University. "Khatti: An Interactive Mobile Application for Training of Arabic Calligraphy." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004536.

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Arabic calligraphy serves as a powerful symbol of cultural identity and heritage, evolving and adapting to modern contexts, contributing to a dynamic and vibrant cultural landscape. The issue of handwritten recognition and training training in Arabic script nature has attracted many researchers from both academic and industrial fields. Khatti, an innovative mobile application, was proposed to facilitate the training and learning of Arabic calligraphy. It can help the trainee to improve their calligraphy using technology-driven approach that utilizes interactive features to clarify the details of script, fostering an intuitive learning experience, guiding beginners through the fundamentals and supporting seasoned calligraphers in honing their artistry. This paper investigates the conceptual framework and technical aspects of Khatti, highlighting its potential to revolutionize calligraphy education with the integration of machine learning algorithms. Additionally, application's potential for future development and its possible applications in artistic research and cultural preservation was discussed.
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Ahmed, Mahmood Abdulhameed, Mohsen Ali, Jassim Ahmed Jassim, and Hesham Mohamed Al-Ammal. "Generative Adversarial Networks (GAN) for Arabic Calligraphy." In 2021 International Conference on Innovation and Intelligence for Informatics, Computing, and Technologies (3ICT). IEEE, 2021. http://dx.doi.org/10.1109/3ict53449.2021.9581388.

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Anshory, Abdul Muntaqim Al. "Technology-Based Arabic Calligraphy Learning in a New Era." In International Conference on Engineering, Technology and Social Science (ICONETOS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210421.027.

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Raden, Agung Zainal Muttakin, Wirawan Sukarwo, and M. S. Andrijanto. "Anthropomorphic Arabic Calligraphy: The Elements of Srabad in Cirebon." In 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.010.

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Sulaiman Humaid Alharthy, Prof Mohammed. "The influence of electronic software in Arabic calligraphy digitization." In VI. International research Scientific Congress of Humanities and Social Sciences. Rimar Academy, 2024. http://dx.doi.org/10.47832/ist.con6-1.

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Azmi, Mohd Sanusi, Khairuddin Omar, Mohammad Faidzul Nasrudin, Khadijah Wan Mohd Ghazali, and Azizi Abdullah. "Arabic calligraphy identification for Digital Jawi Paleography using triangle blocks." In 2011 International Conference on Electrical Engineering and Informatics (ICEEI). IEEE, 2011. http://dx.doi.org/10.1109/iceei.2011.6021785.

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Kaoudja, Zineb, Mohammed Lamine Kherfi, and Belal Khaldi. "An efficient multiple-classifier system for Arabic calligraphy style recognition." In 2019 International Conference on Networking and Advanced Systems (ICNAS). IEEE, 2019. http://dx.doi.org/10.1109/icnas.2019.8807829.

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Bataineh, Bilal, Siti Norul Huda Sheikh Abdullah, and Khairudin Omar. "Arabic calligraphy recognition based on binarization methods and degraded images." In 2011 International Conference on Pattern Analysis and Intelligent Robotics (ICPAIR). IEEE, 2011. http://dx.doi.org/10.1109/icpair.2011.5976913.

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Azmi, Mohd Sanusi, Khairuddin Omar, Mohammad Faidzul Nasrudin, Azah Kamilah Muda, and Azizi Abdullah. "Arabic calligraphy classification using triangle model for Digital Jawi Paleography analysis." In 2011 11th International Conference on Hybrid Intelligent Systems (HIS 2011). IEEE, 2011. http://dx.doi.org/10.1109/his.2011.6122194.

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Ismail, Anis, Zena Kamel, and Reem Mahmoud. "HICMA: The Handwriting Identification for Calligraphy and Manuscripts in Arabic Dataset." In Proceedings of ArabicNLP 2023. Stroudsburg, PA, USA: Association for Computational Linguistics, 2023. http://dx.doi.org/10.18653/v1/2023.arabicnlp-1.3.

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