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Relevant bibliographies by topics / French Calligraphy

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Academic literature on the topic 'French Calligraphy'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "French Calligraphy"

1

Dervišević, Haris. "Julien Breton: Maestro of Light Calligraphy." Društvene i humanističke studije (Online) 7, no. 1(18) (2022): 267–80. http://dx.doi.org/10.51558/2490-3647.2022.7.1.267.

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This paper presents the artistic work of the French artist Julien Breton, known by the nicknameKaalam. In the beginning, he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Bretoncollaborates with other artist

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2

Daniels, Peter T. "Calligraphy and Islamic Culture. Annemarie SchimmelThe Arabic Book. Johannes Pedersen , Geoffrey French." Journal of Near Eastern Studies 46, no. 3 (1987): 237–39. http://dx.doi.org/10.1086/373250.

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Amiri, Lida. "Atiq Rahimi’s Exophonic Entanglements: Multilingual and Multimodal Poetics." Journal of Literary Multilingualism 1, no. 2 (2023): 200–224. http://dx.doi.org/10.1163/2667324x-20230205.

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Abstract In 2008, first-generation Afghan migrant novelist-artist Atiq Rahimi published his first translingual work in French, Syngué Sabour: Pierre de patience. This article interrogates his multilingual and multimodal aesthetics across his translingual oeuvre. In his exophonic novel Les Porteurs d’eau (2019), Rahimi valorizes a polyvocal and culturally diverse Central Asian history. The Prix Goncourt–awarded author introduces Afghanistan’s past and present beyond its intracultural challenges. The epitome of the Rahimi-esque aesthetic is the author’s publication L’Invité du miroir (2020), whi

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Gerasimova, Ekaterina. "V. N. Malov and his contribution to the study of Latin paleography." Vspomogatel'nye istoricheskie distsipliny, no. 43 (1) (2024): 90. https://doi.org/10.7868/s0130086524010074.

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The article is devoted to V. N. Malov’s contribution to the study of Latin paleography, which the scientist addressed throughout his scientific activity. V. N. Malov was the first among Russian historians of paleography to determine the place of treatises on calligraphy in the development of Modern writing; introduced a part of the archive of Cardinal Boisgelin de Cuse into scientific circulation, described Latin and German letters of the XV-XV centuries much more. V N. Malov has published many works on Latin paleography. The article deals with the most important articles and monographs of the

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Kukuryk, Agnieszka. "Écrire l’image dans l’espace – transgression des formes poétiques au début du XXème siècle." Quêtes littéraires, no. 5 (December 30, 2015): 99–108. http://dx.doi.org/10.31743/ql.242.

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The aim of this article is to present the connections between literature and art, as well as a graphic and artistic sing. The main subject of the study is the problem of typography, pictography, calligraphy and the visualisation as a sign created from the merging of a verbal code and a drawing representation. The dialogue of two sisters, due to which poetry has become a verbal painting /pictura loquens/, exhibits the variety of artistic creations based on the selected French literature of the early 20th century. The new tendencies which provoked the writers and painters, they could define the

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Čapaitė, Rūta. "Boguslavo Radvilos autografas XVII a. lotyniškojo kursyvo kontekste." Lietuvos istorijos metraštis 2020/2 (December 2, 2020): 5–40. http://dx.doi.org/10.33918/25386549-202002001.

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THE AUTOGRAPH OF BOGUSLAVAS RADVILA IN THE CONTEXT OF THE 17TH-CENTURY ROMAN CURSIVE The article dwells on the autograph of Boguslavas Radvila (Bogusław Radziwiłł) (1620–1669). The earliest autograph of the duke in the analysed material is detected in two letters in the Polish language dating back to 1622, and one letter in the same language dating back to 1623, written in his name by an adult to Kristupas II Radvila (Krzysztof Radziwiłł). The assumption is that the validation ręką swą in the letters of 1622 and the subscription, signature and validation in the letter of 1623 were made by the

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Zakhama, Yousra. "Artistic communication through light painting technique: Julien Breton model." International Uni-Scientific Research Journal 5 (2024): 57–61. http://dx.doi.org/10.59271/s45298.024.0245.8.

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With technological and technical advancements, the field of visual arts has become a vast space for both artistic and technical interaction. New creative expressions have emerged, and artistic practices have opened up to each other, breaking down barriers. The exhibition space is no longer just a collector of arts; rather, other arts showcase their creativity using the latest technological mechanisms, which create images capable of raising various intellectual questions. Through this simplified definition, we shed light on the presentations of the French artist Julien Breton, who has imposed a

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Natchkebia, Irène, and Nikoloz Nakhutsrishvili. "ON THE AUTHORSHIP OF THE PERSIAN QASID DEDICATED TO NAPOLEON." Near East and Georgia 14 (December 15, 2022): 35–48. http://dx.doi.org/10.32859/neg/14/35-48.

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This article focuses on a Persian qasida consisting of 19 bayts (verses) praising Napoléon. Written in nasta’liq calligraphy, the manuscript is held in the catalog of Persian and Turkish manuscripts at the University Library of Languages and Civilizations in Paris. It is not signed or dated, and was established by Dr. Francis Richard in March 2014, for which we thank him. The qasida is organized into three rows: the first and second contain six bayts each, while the third contains seven. Although the title suggests that it primarily praises Napoleon, the content indicates that it equally conce

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Cankurt, Fatih. "Early Qur’anic Manuscripts Studies: Foreign Resources." Journal Of The Near East Unıversıty Islamıc Research Center 8, no. 1 (2022): 75–90. http://dx.doi.org/10.32955/neu.istem.2022.8.1.05.

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Ancient mushafs are important works that carry the writing experience of the first centuries of Islam to the present day. Early mushaf manuscripts, the way the words are written, the beginning of the chapter information, the number of verses, the signs of verse/stop/prostration, letter points, movements, illumination etc. From many points, it is a source of information for sciences such as calligraphy, history of mushaf, recitation, resm-i mushaf. At the same time, they are works that prove that the Qur'an has not been harmed, and that it has survived to the present day without any distortion,

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Suparba, Radian. "Dilema Droit De Suite Untuk Karya Seni Rupa." JIPRO : Journal of Intellectual Property 2, no. 2 (2019): 38–44. http://dx.doi.org/10.20885/jipro.vol2.iss2.art4.

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Droit de suite is a French term that introduces a law in the sense of the artist's resale right, namely the right granted to artists and their heirs to the resale of their copyrighted works. Then the creator of artworks and his heirs get a part of the return of their works when artworks change ownership through selling. This will bring a balance for copyright in Indonesia, that gave more attention in music and literature. Because music and literature can bring a passive income for all economic activities through royalty. in otherwise artworks couldn't get passive income, because artists just s

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Books on the topic "French Calligraphy"

1

Masʻūd, Ḥasan. Calligraphie de terre. Alternatives, 1997.

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2

Nuwas, Abu. Dīwān Abī Nuwās al-Ḥasan ibn Hāniʾ al-Ḥakamī. Yuṭlabu min Dār al-Nashr Klāws Shvārts, 2003.

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Nuwas, Abu. Shire yayin ṿe-ahavah. ha-Ḳibuts ha-meʾuḥad, 1999.

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Nuwas, Abu. Dīwān Abī Nuʼās. Dār wa-Maktabat al-Hilāl, 1986.

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5

Nuwas, Abu. Bacchus à Sodome. Paris Méditerranée, 2004.

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6

Gaouette, Denise. Pirouette: Cahier de calligraphie cursive. Éditions du Renouveau pédagogique, 2006.

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7

1950-, Kren Thomas, Evans Mark L, and Bourdichon Jean 1457?-1521?, eds. A masterpiece reconstructed: The Hours of Louis XII. The J. Paul Getty Museum, 2005.

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Kaisha, Maruzen Kabushiki, ed. Kokuritsu Kokkai Toshokan shozō Meijiki kankō tosho maikuro-ban shūsei: Denki : Kojin denki (Seiyōjin), ACM. Maruzen kabushiki Kaisha, 1991.

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Kaisha, Maruzen Kabushiki, ed. Kokuritsu Kokkai Toshokan shozō Meijiki kankō tosho maikuro-ban shūsei: Denki : Seishi, Keifu, Kashi, ACG. Maruzen kabushiki Kaisha, 1991.

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Kaisha, Maruzen Kabushiki, ed. Kokuritsu Kokkai Toshokan shozō Meijiki kankō tosho maikuro-ban shūsei: Denki : Denki, ACE. Maruzen kabushiki Kaisha, 1991.

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Book chapters on the topic "French Calligraphy"

1

Hiley, David. "Some characteristic neumes in North French, Sicilian and Italian chant manuscripts." In The Calligraphy of Medieval Music. Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.muma-eb.1.100927.

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Haines, John. "Manuscript sources and calligraphy." In The Cambridge Companion to French Music. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9780511843242.019.

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"Excerpts from Abdelkébir Khatibi, La Blessure du nom propre (Paris: Editions Denoël, 1974)." In Abdelkébir Khatibi, translated by Matt Reeck. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622331.003.0015.

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Both experimental intersemiotics and double critique define the scope of Abdelkébir Khatibi’s La Blessure du nom propre (‘The wound of the proper name’). Published in 1974, this work presents the distinctive way that Khatibi intervenes simultaneously in North African cultural studies and in French semiotics. The two excerpts here include the book’s introduction “The Text’s Crystal” and an excerpt from the chapter on calligraphy, “The Calligraphic Trace.” Translated into English for the first time, these excerpts exemplify Khatibi’s pioneering effort to reimagine Moroccan and Arab/Arabic cultur

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4

Shilton, Siobhán. "Identity and ‘Difference’ in French Art: El Seed’s Calligraffiti from Street to Web." In Post-Migratory Cultures in Postcolonial France. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0014.

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The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘differen

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Warner, Tobias. "The Fetish of Textuality: David Boilat’s Notebooks and the Making of a Literary Past." In The Tongue-Tied Imagination. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.003.0002.

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This chapter sketches the beginnings of literary modernity in Senegal through an analysis of a remarkable nineteenth-century collection of textual artifacts.This collection includes a multilingual corpus of poetry, calligraphy, folktales, and songs, as well as the textual components of several leather-bound protective amulets that for centuries Europeans called “fetishes.” The collection was assembled by David Boilat, a mixed-race priest, who pasted his findings into the pages of a notebook before sending them to anthropologists in Paris. Boilat’s notebook reframes the residues of many differe

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Elhariry, Yasser. "Wine Song." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0005.

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Chapter 3 takes as its focal text a beautiful colour art book by Stétié, Le vin mystique précédé de Al-Khamriya d’Omar Ibn al-Farîdh (1998). Realized in collaboration with the Iraqi calligrapher Ghani Alani, Stétié’s bilingual edition and translation of Ibn al-Fāriḍ’s most celebrated mystical wine poem presents an original reading of a sacred ode to wine and god, which itself forms part of an idiosyncratic genealogy of wine in classical Arabic verse. I analyze the comparative, translational poetics and politics of Stétié’s French translation, which he appends with a long essay composed in Fren

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Tudorica, Ciliana. "The Dual Composition of a Shodō Calligraphic Work." In Fresh Looks on Japan. Proceedings of the Japan Foundation Budapest Office’s Workshops for Doctoral Students of Japanese Studies in Central and Eastern Europe 2020 and 2022. ELTE Institute of East Asian Studies, 2023. http://dx.doi.org/10.21862/bmeas.11.6.

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Mcginn, Colin. "Ayer: Old Scores." In Minds and Bodies. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195113556.003.0009.

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Abstract When I was a quivering graduate student at Oxford in 1973, fresh from the northern provinces, I sat for the John Locke Prize, a voluntary two-day examination for Oxford postgraduates in philosophy. As I had hitherto been a psychology student at Manchester, I thought this would be good practice for my upcoming B. Phil. philosophy exams. It was quite an ordeal (I nearly gave up at one point), and afterward I felt I had a long way to go philosophically. A few days later Professor Ayer, who was one of the examiners, informed me that he had been obliged to require that my papers be typed,

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