Academic literature on the topic 'Calligraphy, Persian'
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Journal articles on the topic "Calligraphy, Persian"
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Sadikoglu, Fahreddin, and Behzad Soroush. "Intelligent System for Persian Calligraphy Learning." Procedia Computer Science 102 (2016): 555–61. http://dx.doi.org/10.1016/j.procs.2016.09.442.
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Teece, Denise-Marie. "“Compassionate Companion, Familiar Friend”: The Turin Safīna (Biblioteca Reale Ms. Or. 101) and Its Significance." Muqarnas Online 36, no. 1 (October 3, 2019): 61–82. http://dx.doi.org/10.1163/22118993-00361p04.
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Abstract This article examines some of the more significant aspects of Turin Safīna manuscript Biblioteca Reale Ms. Or. 101. One of these is its unique and important six-page preface, which refers to the manuscript as a safīna (ship or vessel) and explains in poetic language why some Persian manuscripts are referred to using this term. In addition to this significant preface, which is translated and analyzed in the first half of the article, the manuscript also exhibits delicate illuminations and calligraphy work that may be connected to a network of artist-families active in western Persia (primarily in the region of Shiraz) around the time of its completion. The second half of this article revisits the careers of some of these artists, and discusses the broader artistic context for the creation of the Turin safīna manuscript. Special attention will be given to the careers of the illuminator known as Ruzbehan al-Modhahheb, and his calligrapher father Naʿim al-Din al-Kateb.
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Ahmadian, Amirhossein, Kazim Fouladi, and Babak Nadjar Araabi. "Model-based Persian calligraphy synthesis via learning to transfer templates to personal styles." International Journal on Document Analysis and Recognition (IJDAR) 23, no. 3 (June 18, 2020): 183–203. http://dx.doi.org/10.1007/s10032-020-00353-1.
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Anikeeva, Tatiana A. "About Manuscripts, Lithographs and Early Printed Books of the Karakalpak Institute of Humanities." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 195. http://dx.doi.org/10.31857/s086919080016226-5.
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In the course of work in the manuscript collection of the Karakalpak Institute of Humanities (Branch of the Academy of Sciences of the Republic of Uzbekistan), a collection of manuscripts, lithographs and old-printed books was identified. It consists mainly of new arrivals (the so-called “Chimbay collection” at the place of origin of most of the manuscripts, from the city of Chimbay, formerly Shakhtemir, now in the Republic of Karakalpakstan). According to the information of the Institute's employees, Uzak Rakhmatullayev (born in 1920 in the territory of the modern Chimbay district of Karakalpakstan) collected more than 300 manuscripts and printed publications in Arabic, Persian and Turkic languages and subsequently transferred the collection to the Institute. We started its scientific description. A preliminary list of manuscripts, lithographs, and old-printed books was compiled, and they were distributed by language, chronology and subject. Among these manuscripts are works on Muslim dogmatics, Korans, poetic works (poems by Ajiniyaz, Berdakh, Suleyman Bakyrghani, Ahmad Yasavi, various destans, etc.), treatises on the grammar of the Arabic language (“Tarkib al-Awamil”), historical works, samples of calligraphy on separate folios, etc., in Arabic, Persian and Turkic languages (Chagatai, Tatar, Karakalpak). Together, they represent the area of reading of a Muslim of that era (19-first half of the 20th century) and are one of the illustrations of the close literary and cultural ties between the Aral Sea region (then the Khanate of Khiva), the Volga region, and the Ottoman Empire (where a number of manuscripts were copied).
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Astrini, Wulan, E. B. Kurniawan, and M. Abdillah. "The Characteristics of Mosque Architecture Based on Public Preferences in Malang City." TATALOKA 22, no. 1 (January 31, 2020): 137–45. http://dx.doi.org/10.14710/tataloka.22.1.137-145.
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Mosque is an architectural work and public facility that serves as a worship place for Muslims. Mosque architectural elements include domes (roofs), mihrab, minaret, arch, and ornaments. Mosque architecture comprises of various elements, which adapt to the local culture where the mosque is located. As such, its presence also bears some impacts on the appearance of urban architecture. Malang city as one of the major cities in East Java has numerous rapidly developing mosque architectures, including Jami’ Great Mosque of Malang, Sabilillah Mosque, Nurul Muttaqin Mosque, Ahmad Yani Mosque, and Manarul Huda Mosque. The meaning of architectural work is also closely related to the perception of humans who observe it. The public preference for the architectural characteristics of mosques in Malang city is a manifestation of architectural work. Conjoined analysis is employed as method operative to analyze public preference. This study aims to find out the architectural characteristics of mosques in Malang city according to public preferences. The findings can serve as a recommendation for the development of mosque architectural designs in Malang city, especially those possessing locality values. The architectural characteristics of mosques in Malang city which are driven by the public preferences ranging from the highest to the lowest, which is why mosques generally have calligraphy ornaments, circular arch, pentagon-shaped minaret, Indo-Persian dome, and two-minaret design.
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Ahmed, Ar Sayed. "THE SPIRITUAL SEARCH OF ART OVER ISLAMIC ARCHITECTURE WITH NON-FIGURATIVE REPRESENTATIONS." Journal of Islamic Architecture 3, no. 1 (September 2, 2014): 1. http://dx.doi.org/10.18860/jia.v3i1.2538.
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Art behind Islamic architecture actually based on geometric patterns, developed through a continuous practice<br />over the centuries after centuries by the influences of various earlier cultures such as Greek, Roman,<br />Byzantine, Central Asian and Persian. Basic shapes like squares and rectangles play significant role in Islamic<br />architecture.The reason is, it might recall the principles that govern the order of the world- ‘Purity’, could<br />only be resembled by pure forms. The façades built by rectangular bricks tend to shape the built form in<br />regular modules. This brickwork casts shadows in strong desert sunlight and creates a three-dimensional effect<br />as light is welcoming message from the Devine source, as it is regarded in all religions. In addition, various<br />pointed starry patterns are common practice and get extremely complex when the outer points are joined<br />together and intersections are connected in a systematic way. Another mode is based on organism of floral<br />forms which recalls the feminine nature of life giving. Again, nobody will argue about the contribution of<br />calligraphy is the most patronized art for decoration. Why have Islamic world choose this universal phenomena?<br />As Allah’s creation is pre-decided, the credit of all creativity belongs to the almighty. Also to his messenger,<br />the holy prophet; who taught us to think in this way. The world is only a shadow of real world; here man is on a<br />bewildered search. May be their firm belief; what man can perceive, can only discover the geometric forms to<br />constitute designs which were already existed before in the ‘real world’. Discovered geometric forms,<br />therefore, tries to exemplify that perfect reality because creation of Allah has been obscured by the sins of<br />mankind- Art of the complete surrender.
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Karame, Alya, and Travis Zadeh. "The Art of Translation: An Early Persian Commentary of the Qurʾān." Journal of Abbasid Studies 2, no. 2 (November 6, 2015): 119–95. http://dx.doi.org/10.1163/22142371-12340017.
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This article presents a description and analysis of a Persian translation and commentary of the Qurʾān, entitledTafsīr-i munīr, by Abū Naṣr al-Ḥaddādī (d. after 400/1009), the earliest exegetical work in Persian whose author can be identified. A manuscript of this multivolume work housed in the Topkapı Palace Museum of Istanbul offers an important historical testament to the calligraphic development of Persian exegetical writing and the manners in which scholars and authorities sought creative ways to visually balance the sacred Arabic text of the Qurʾān with vernacular exegetic material. The manuscript also reveals a good deal about Qurʾānic book art, as well as the development of Persian commentaries and translations, thus offering further insight into the history of the Qurʾān across the frontiers of Central Asia and Khurasan.
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Szuppe, Maria. "The Family and Professional Circle of Two Samarkand Calligraphers of Persian Belles-Lettres Around the Year 1600 (ca. 1010 AH)." Eurasian Studies 15, no. 2 (April 26, 2017): 320–49. http://dx.doi.org/10.1163/24685623-12340041.
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Abstract The analysis of several extant manuscripts of the Šāhnāma epics and other Persian literary texts produced by two calligraphers, Ādīna Kātib Buḫārī (fl. 1595-1605) and Mīr Māh b. Mīr ʿArab (fl. 1592-1613), seemingly in the same atelier in Samarkand, opens up an interesting field of investigation. The latter copyist was a close relation of a renowned court calligrapher and Chief Librarian of the Shaybanid rulers of Bukhara, Mīr Ḥusayn “Kulangī” (fl. ca. 1535-85) who himself also specialized in the copy of Persian classical literature; more then 30 manuscripts by his hand are extant today. This article presents the available information on professional biographies of these calligraphers (introducing some hithertho unknown manuscripts), but also it touches upon the issues of the actual organization and practices of skill transmission and book production, some aspects of professional specialization, and the importance of transmission reference figure in professional and family contexts of the late sixteenth- and early seventeenth-century Central Asia.
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Richard, Francis. "Chancellerie et naissance de nouvelles ecritures: la calligraphie persane." Studia Islamica, no. 96 (2003): 75. http://dx.doi.org/10.2307/1596243.
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Melvin-Koushki, Matthew. "Imperial Talismanic Love: Ibn Turka’s Debate of Feast and Fight (1426) as Philosophical Romance and Lettrist Mirror for Timurid Princes." Der Islam 96, no. 1 (April 9, 2019): 42–86. http://dx.doi.org/10.1515/islam-2019-0002.
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Abstract This study presents and intellectual- and literary-historically contextualizes a remarkable but as yet unpublished treatise by Ibn Turka (d. 1432), foremost occult philosopher of Timurid Iran: the Munāẓara-yi bazm u razm. As its title indicates, this ornate Persian work, written in 1426 in Herat for the Timurid prince-calligrapher Bāysunghur (d. 1433), takes the form of a literary debate, a venerable Arabo-Persian genre that exploded in popularity in the post-Mongol period. Yet it triply transgresses the bounds of its genre, and doubly marries Arabic-Mamluk literary and imperial culture to Persian-Timurid. For here Ibn Turka recasts the munāẓara as philosophical romance and the philosophical romance as mirror for princes, imperializing the razm u bazm and sword vs. pen tropes within an expressly lettrist framework, making explicit the logic of the coincidentia oppositorum (majmaʿ al-aḍdād) long implicit in the genre in order to ideologically weaponize it. For the first time in the centuries-old Arabo-Persian munāẓara tradition, that is, wherein such debates were often rhetorically but never theoretically resolved, Ibn Turka marries multiple opposites in a manner clearly meant to be instructive to his Timurid royal patron: he is to perform the role of Emperor Love (sulṭān ʿishq), transcendent of all political-legal dualities, avatar of the divine names the Manifest (al-ẓāhir) and the Occult (al-bāṭin). This lettrist mirror for Timurid princes is thus not simply unprecedented in Persian or indeed Arabic literature, a typical expression of the ornate literary panache and genre-hybridizing proclivities of Mamluk-Timurid-Ottoman scientists of letters, and index of the burgeoning of Ibn ʿArabian-Būnian lettrism in late Mamluk Cairo; it also serves as key to Timurid universalist imperial ideology itself in its formative phase – and consciously epitomizes the principle of contradiction driving Islamicate civilization as a whole. To show the striking extent to which this munāẓara departs from precedent, I provide a brief overview of the sword vs. pen subset of that genre; I then examine our text’s specific political-philosophical and sociocultural contexts, with attention to Naṣīr al-Dīn Ṭūsī’s (d. 1274) Akhlāq-i Nāṣirī and Jalāl al-Dīn Davānī’s (d. 1502) Akhlāq-i Jalālī on the one hand – which seminal Persian mirrors for princes assert, crucially, the ontological-political primacy of love over justice – and the Ẓafarnāma of Sharaf al-Dīn Yazdī (d. 1454), Ibn Turka’s student and friend, on the other. In the latter, much-imitated history Amir Temür (r. 1370‒1405) was definitively transformed, on the basis of astrological and lettrist proofs, into the supreme Lord of Conjunction (ṣāḥib-qirān); most notably, there Yazdī theorizes the Muslim world conqueror as historical manifestation of the coincidentia oppositorum – precisely the project of Ibn Turka in his Debate of Feast and Fight. But these two ideologues of Timurid universal imperialism and leading members of the New Brethren of Purity network only became such in Mamluk Cairo, where lettrism (ʿilm al-ḥurūf) was first sanctified, de-esotericized and adabized; I accordingly invoke the overtly occultist-neopythagoreanizing ethos specific to the Mamluk capital by the late 14th century, especially that propagated at the court of Barqūq (r. 1382‒1399). For it is this Cairene ethos, I argue, that is epitomized by our persophone lettrist’s munāẓara, which it effectively timuridizes. To demonstrate the robustness of this Mamluk-Timurid ideological-literary continuity, I situate the Munāẓara-yi bazm u razm within Ibn Turka’s own oeuvre and imperial ideological program, successively developed for the Timurid rulers Iskandar Sulṭān (r. 1409‒1414), Shāhrukh (r. 1409‒1447) and Ulugh Beg (r. 1409‒1449); marshal three contemporary instances of the sword vs. pen munāẓara, one Timurid and two Mamluk, by the theologian Sayyid Sharīf Jurjānī (d. 1413), the secretary-encyclopedist Aḥmad al-Qalqashandī (d. 1418) and the historian Ibn Khaldūn (d. 1406), respectively; and provide an abridged translation of Ibn Turka’s offering as basis for comparative analysis.
Dissertations / Theses on the topic "Calligraphy, Persian"
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Rashti, Sogol. "Persian in practice." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2003.
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Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth.
Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture.
Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces.
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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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Hosseini, Rad Abdolmajid. "Miniature persane : analyse plastique - source d'inspiration." Rennes 2, 1997. http://www.theses.fr/1997REN20008.
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La miniature persane est remarquablement liée à la littérature iranienne et à la poésie romanesque, épique, mystique. . . Traditionnelle en Iran, elle est puissamment vivante et participe à l'expression plastique contemporaine. Les miniaturistes d'aujourd'hui s'appuient sur l'espace "imaginal" de la tradition en développant le fantastique des émotions sensorielles intégré à la scénographie naturaliste. Mais les créateurs iraniens contemporains cherchent à inventer une nouvelle pensée plastique. Ecrite avec une synchronie visuels - textes rigoureuse "miniature persane : analyse plastique - source d'inspiration", est une étude appuyée sur la lecture contemporaine de la plastique visuelle. La première partie évoque l'esthétique et la symbolique du monde "imaginal" liées aux sources littéraires. Elle analyse le traitement graphique de la figuration humaine jusqu'au XXe siècle. La seconde partie examine le système d'expression de l'espace lié à la combinaison des points de vue familiers ainsi que la qualité du paysage paradisiaque. Elle approfondit la poétique des rythmes animant les scénographies sans ombre portée et l'expressivité des couleurs saturées. Sont également étudiés le fantastique des ornementations ainsi que les modes d'intégration de la calligraphie iranienne dans la miniature. La troisième partie tente une réflexion sur la miniature contemporaine en cherchant a savoir si la belle tradition des persans peut encore être à la source d'une expression bien vivante ? Des travaux personnels issus des rythmes à vivre de la miniature sont présentés dans les dernières pages de cette partie, accompagnes d'une brève représentation de leur structure. Enfin une chronologie générale de la peinture persane est proposée ainsi qu'un glossaireThe Persian miniature is remarkably linked to Iranian litterature and to romantic, epic, mystical poetry. Traditional in Iran, strongly alive, it takes part in the contemporary plastic expression. Miniaturists of today lean on the "imaginal" space of tradition by developing the fantastic of sensory emotions, that is integrated to the naturalist scenography. But the creative Iranian contemporaries seek to invent a new plastic thought. Written with a rigorous synchrony visual-texts "Persian miniature : plastic analysis - source of inspiration", is a study insisting on the contemporary perusal of visual plastic. The first section evokes esthetics and symbolic of the "imaginal world" related to literary sources. It analyzes the graphic processing of human figuration until the XXe century. The second section examines the system of expression of the space concerning the familiar viewpoint combination as well as the quality of the heavenly landscape. It deepens the poetical of rhythms animating shadeless scenographies and the expressivity of saturated colors. Also, the fantastic of ornamentations and integration modes of the Iranian calligraphy in the miniature are studied. The third section is devoted to a reflection on the contemporary miniature by trying to find whether the beautiful tradition of Persians can still be the source of a well alive expression ? Personal works respring from lively rhythms of the miniature are presented in the last pages of this section, with short representation of their structure. Finally, a general chronology and a glossary of the persian paint are proposed
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Rettig, Simon. "La production manuscrite à Chiraz sous les Aq Qoyunlu entre 1467 et 1503." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10196.
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La production de copies littéraires connaît un important développement à Chirâz en Iran sous la dynastie des Turkmènes Aq Qoyyûnlû entre 1467 et 1503. Peut-on cerner des caractéristiques de cette production ? Se différencie-t-elle de celles d’autres centres contemporains, notamment Tabrîz et Hérât ? En examinant un corpus de soixante manuscrits datés, cette étude vise à analyser les différentes composantes du codex de Chirâz (papier, mise en page et réglure, écritures, reliure, …) ainsi que les décors (enluminures et illustrations) mis en œuvre afin d’en dégager les spécificités. Héritiers de la tradition de livres décorés timourides, des artisans du livre deviennent les experts de ce qu’il convient une production en série d’items finement calligraphiés, toujours enluminés et souvent ornés d’illustrations. La présente étude permet de montrer l’évolution d’une production de cour à une conception de copies par des ateliers privés, à un moment où la gestion du pouvoir passe d’un système princier à un gouvernorat de généraux turkmènes vers 1480. Cette période est alors marquée par des changements visuels importants, notamment l’usage d’un style particulier d’écriture nasta‘lîq, employé par les copistes de la ville, des formes d’enluminures stéréotypées, ainsi que l’emploi de styles de peintures qualifiés de « commerciaux ». Il en résulte une forte identité visuelle des manuscrits réalisés à Chirâz dans le dernier tiers du XVe siècle, qui sont largement exportés à travers le monde iranien. La pérennité sera assurée au cours du siècle suivant sous la dynastie safavide par les mêmes familles d’artisans, mais aussi sur une plus grande échelle, dans le domaine ottoman notammentThe production of belletristic copies encountered an important development in the city of Shiraz in Iran between 1467 and 1503. Is it possible to determine characteristics of this production? Are differences visible with manuscripts made in other centres, such as Tabriz and Herat? By examining a corpus of sixty dated manuscripts, this study aims to analyse the physical components of the Shiraz codex (paper, layout and ruling, binding…) as well as decorations (illuminations and illustrations) in order to identify specificities.The book craftsmen inherited their skills and the styles they use from the former Timurid period. They specialized in a mass production of neatly copied items, always adorned with illuminations, and often illustrated. The present research underlines the interactions between this manuscript production and the historical events in Shiraz, in a time when the governorate of Turkmen generals replaced the rule of the prince. The transfer of production from the court atelier to private workshops echoes this change of power. At the same time profound visual changes distinguish the book production, notably a peculiar writing style of nasta‘lîq, only used by Shiraz copyists, as well as stereotyped forms of illuminations and various “commercial” styles of paintings.As a result, a strong visual identity characterises the Chiraz manuscripts. As they were exported to various parts of the Persianate sphere, they had a strong impact on local productions, notably in the Ottoman realm. Furthermore, the same artisans families in Shiraz ensured the permanency of Aq Qoyyunlu models in the first third of the 16th century under the Safavid dynasty
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Rodrigues, Ubirajara Alencar 1966. "O colar perdido da caligrafia." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251132.
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Orientador: Milton Jose de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:20:10Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_D.pdf: 41150719 bytes, checksum: dd62e343c9b0c326b696000c59b681f4 (MD5) Previous issue date: 2011
Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes.
Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Mohsen, Shahab. "The Problem of Stretching in Persian Calligraphy and a New Type 3 PostScript Nastaliq Font." Thesis, 2010. http://hdl.handle.net/10012/4974.
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This research is about a typeface for implementing Persian calligraphy called Nastaliq. The main purpose for developing this font was to handle stretching of letters in order to achieve line justification through a dynamic font. Therefore, a PostScript Type 3 font was developed. However, as the research progressed, it came clear that Nastaliq’s stretching cannot be implemented in a dynamic font. Therefore, the research’s purpose changes to implementing a font containing all the needed glyphs of all needed stretchings of all stretchable letters to allow achieving line justification. For this propose a mathematical formulation to model handwritten Nastaliq was necessary. The result was a PostScript font containing more than 1200 glyphs. To make it possible to use this font in the future, a regular expression grammar was developed to identify and name each glyph as a positioned letter in a particular context. This thesis describes all the steps taken to build the font.
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Mozafari, Ardavan. "Desire of Union." Thesis, 2010. http://hdl.handle.net/10012/5207.
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In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority.
Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization?
This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture.
Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.
Books on the topic "Calligraphy, Persian"
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Reid, Mehry. Persian calligraphic designs. Owings Mills, Md: Stemmer House Publishers, 1995.
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Emâd, Mir. Moraga'-i-Khotut: Album of calligraphy and single leaves. Tehran: Golestan Palace Pub., 1999.
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Khaṭṭ-i Īrān, tamāshāgah-i rāz: Majmūʻah-i ās̲ār. Tihrān: Intishārāt-i Khānah-i Farhang va Hunar-i Gūyā, 2004.
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Khānī, Ghulām Ḥusayn Amīr. Bahār dar pāʼīz: Safīnah-ʼi 77 rubāʻī. [Tihrān]: Intishārāt-i Amīr Khānī, 2005.
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Khvānsārī, Yad Allāh Kābulī. Kilk-i shaydāʾī: Naqsh-i shiʻr dar chalīpā-yi khaṭṭ-i shikastah. [Tehran]: Yad Allāh Kābulī Khvānsārī, 1990.
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Rāhjīrī, ʻAlī. Tārīkh-i mukhtaṣar-i khaṭṭ va siyar-i khvush'nivīsī dar Īrān. [Tihrān]: Kitābkhānah-i Markazī, 1986.
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Muraqqaʻ-i qand-i Pārsī. Tihrān: Muʼassasah-i Pizhūhish va Muṭāliʻāt-i Farhangī, 1989.
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Īrānī, ʻAbd al-Muḥammad. Paydāyish-i khaṭṭ va khaṭṭāṭān. Tihrān: Intishārāt-i Yasāvulī, Farhangsarā, 1990.
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Īrānī, ʻAbd al-Muḥammad. Paydāyish-i khaṭṭ va khaṭṭāṭān. Tihrān: Intishārāt-i Yasāvulī, Farhangsarā, 1990.
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Bayānī, Mahdī. Aḥvāl va ās̲ār-i khushnavīsān. 2nd ed. [Tihrān]: Intishārāt-i ʻIlmī, 1985.
Find full textBook chapters on the topic "Calligraphy, Persian"
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Meidani, Mahdiyeh. "Introduction." In Persian Calligraphy, 1–19. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-1.
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Meidani, Mahdiyeh. "Corpus analysis." In Persian Calligraphy, 20–38. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-2.
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Meidani, Mahdiyeh. "Graphetic analysis." In Persian Calligraphy, 39–94. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-3.
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Meidani, Mahdiyeh. "Toward semiotics of Nastaliq calligraphy." In Persian Calligraphy, 95–146. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-4.
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Meidani, Mahdiyeh. "Holliday’s triple metafunctions." In Persian Calligraphy, 147–248. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-5.
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Meidani, Mahdiyeh. "Toward a distinct feature analysis." In Persian Calligraphy, 249–93. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-6.
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Meidani, Mahdiyeh. "Conclusion." In Persian Calligraphy, 294–319. Routledge, 2019. http://dx.doi.org/10.4324/9780429264047-7.
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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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"2. First Sighting: Baysunghur's Calligraphy Album." In The Persian Album, 1400–1600. Yale University Press, 2005. http://dx.doi.org/10.37862/aaeportal.00153.004.
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Atkins, Paul S. "Teika After Teika." In Teika. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858506.003.0006.
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Criticisms and evaluations of Teika as a person and as a poet began during his own lifetime. The history of reception of Teika’s biography, poetry, and other works is surveyed from the thirteenth century up until modern times. Although Teika was generally regarded as an extremely skilled poet and occasionally venerated as a demigod of waka, factional battles among his descendants led to criticism of his poetry. Rumors of an illicit affair with his contemporary Princess Shokushi inspired a fifteenth-century noh play and further embellished his reputation among early modern readers. Teika’s distinctive calligraphy plays a prominent role in his posthumous fame.
Conference papers on the topic "Calligraphy, Persian"
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Mash'al, Mohamadreza, and J. Sadri. "Persian calligraphy using genetic algorithm." In 2013 First Iranian Conference on Pattern Recognition and Image Analysis (PRIA). IEEE, 2013. http://dx.doi.org/10.1109/pria.2013.6528427.
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Boroujeni, M. M., and A. Meghdari. "Haptic Device Application in Persian Calligraphy." In 2009 International Conference on Computer and Automation Engineering. ICCAE 2009. IEEE, 2009. http://dx.doi.org/10.1109/iccae.2009.55.
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