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Relevant bibliographies by topics / Muslim calligraphers

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Journal articles

Academic literature on the topic 'Muslim calligraphers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Muslim calligraphers"

1

Yunita, Yuyun. "THE ROLE OF CALIGRAPHIC ARTS IN CIVILIZATION ISLAMIC CULTURE." Ri'ayah: Jurnal Sosial dan Keagamaan 7, no. 2 (2022): 263. http://dx.doi.org/10.32332/riayah.v7i2.5841.

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Calligraphy, one of the Islamic arts, has received great attention in the Muslim community. Basically, calligraphy is artistic writing ( khat ) taken from the Al-Qur'an and it is named based on the place: Makki , Madani , Anbari and Baghdadi. By the time, names of ( khat ) are shown, seems like Khufi , Mutsallats , Mudawwar and some other types of writing. Calligraphy has a big role in developing Islamic civilization in the world. The influence of Islamic power the development of calligraphy and influenced the development of science especially in the Abbasid period. after the Abbasiyyah period

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2

Musri, Muhapril. "VISUALISASI KALIGRAFI ISLAM PADA MEDIA SENI RUPA DI INDONESIA (ANALISIS ETIKA, ESTETIKA, DAN NILAI-NILAI)." Tabuah 26, no. 1 (2022): 11–20. http://dx.doi.org/10.37108/tabuah.v26i1.682.

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The presence of art as an expression can be assumed as a characteristic of the soul's life which is overflowing and arid from values. That is why, the artists try to find the values of life that are full of values, by pouring their ideas and ideas in the form of works of art. The method used in this research is descriptive qualitative with literature and field studies. Two Islamic calligraphers were involved as resource persons. As a result, the current strong influence of modern art has caused Islamic calligraphy to be affected. This can be seen from the emergence of various tendencies of Mus

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3

Kurfi, Mustapha Hashim. "Hausa Calligraphic and Decorative Traditions of Northern Nigeria: From the Sacred to the Social." Islamic Africa 8, no. 1-2 (2017): 13–42. http://dx.doi.org/10.1163/21540993-00801003.

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In the past, sacred Islamic calligraphies were used strictly in sacred places, whereas profane calligraphies were used in secular spheres. However, the trend now among some Hausa artists is to extend the sacred Islamic calligraphic tradition to the social domain. Some Hausa calligraphers do so by “desacralizing” their Islamic-inspired calligraphies. This article deals with the extension of Islamic decorations to secular social domains in Kano, Northern Nigeria. Such works are produced by calligraphers like Sharu Mustapha Gabari. I show how Hausa calligraphers like Mustapha Gabari creatively ex

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4

Zamir Shakhbanovich, Zakariyaev. "Hadiths and utterances of Islamic figures in Arabic inscriptions in Akhtynski district of Dagestan." Islamovedenie 15, no. 1 (2024): 53–62. http://dx.doi.org/10.21779/2077-8155-2024-15-1-53-62.

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Among the sources on the history of Islam in Dagestan, an important place is occupied by numerous epigraphic monuments of the region, the vast majority thereof being compiled in Arabic. During field studies of Arabic-language epigraphy in the villages of Akhtynski district of Dagestan, we identified inscriptions of various genres, whose texts included hadiths and utterances by prominent Islamic fig-ures and scholars of theology. Inscriptions consisting entirely of utterances by authoritative Muslim figures of the early era of Islam have been recorded. Such epigraphic monuments had not previous

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5

Mammaev, M. M. "MUSLIM GRAVESTONES OF THE 14th - 15th CENTURIES IN THE VILLAGE OF KUBACHI: THE PECULIARITIES OF THE DECORATIVE FINISH." History, Archeology and Ethnography of the Caucasus 13, no. 3 (2017): 77–99. http://dx.doi.org/10.32653/ch13377-99.

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The article covers the problems of decorative finish of Muslim gravestones of the 14th - 15th centuries in the village of Kubachi. The author of the article describes the technique of headstone carving, shows that specialties of stone-cutters, calligraphers and ornamentalists were inherited, and notes that the decorative finish of the gravestones was made by the local stone-cutters with the direct participation of the craftsmen who arrived or were specially invited from the countries of the Middle East. In the article, the evolution of decorative finish of the gravestones is traced from compar

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6

Zakariyaev, Zamir S., and Magomedrashid A. Gasanov. "EPIGRAPHY OF THE XII–XVIII CENTURIES FROM THE AGUL VILLAGE OF RICHA (NEW DATA)." History, Archeology and Ethnography of the Caucasus 16, no. 1 (2020): 6–49. http://dx.doi.org/10.32653/ch1616-49.

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In the abundance of epigraphic monuments and their historical and cultural significance, the ancient Aghul village of Richa stands out among other mountain villages and auls of Dagestan. The aim of this paper is to present the results of the study of Arabic inscriptions found in the village of Richa. More than twenty previously unknown inscriptions in various genres of epigraphy – construction, ownership and vital records, epitaphs and religious texts – have been for the first time introduced into modern linguistics. Notable among them are the most ancient monuments of Arabic Kufic writings, p

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7

George, Kenneth M. "Designs on Indonesia's Muslim Communities." Journal of Asian Studies 57, no. 3 (1998): 693–713. http://dx.doi.org/10.2307/2658738.

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On october 15, 1991, Haji Muhammad Soeharto, President of Indonesia, became the first official calligrapher for theAl-Qur'an Mushaf Istiqlal—The National Independence Illuminated Qur'an—by inking in the initial letter of theBasmallahin the opening sura (Al-Fatihah, the prologue; see Fig. 1). Four years later, just after commemorating the fiftieth anniversary of Indonesian independence, he put the finishing touch to the closing sura of the Qur'an (An-Naas, or “Humanity,” Suta 114), signed the completed manuscript, and presented it to the people of Indonesia and to the Muslim world community. Al

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8

Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.

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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this

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9

Mammaev, M. M. "SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI." History, Archeology and Ethnography of the Caucasus 13, no. 4 (2017): 54–73. http://dx.doi.org/10.32653/ch13454-73.

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This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists

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10

Blair, Sheila S. "Transcribing God's Word: Qur'an Codices in Context." Journal of Qur'anic Studies 10, no. 1 (2008): 72–97. http://dx.doi.org/10.3366/e1465359109000242.

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For Muslims the Qur'anic text is immutable, yet written versions vary enormously in materials, format and aspect. This article presents a broad overview of the various forms Qur'an codices have assumed during the first millennium of Islamic history, treating these manuscripts as both physical objects and cultural signifiers. It takes a functional approach, relating physical changes such as differing materials and format to social and historical ones such as changes in the status of copyists and illuminators who made these manuscripts, changes in the types of people or institutions for whom the

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