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Journal articles on the topic 'Muslim calligraphers'

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

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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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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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11

Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.

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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany an
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12

Moore, Nancy G. "Calligraphies: Asian Dance in Chicago." PAJ: A Journal of Performance and Art 26, no. 2 (2004): 80–86. http://dx.doi.org/10.1162/152028104323048296.

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13

Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 2 (2020): 69–80. http://dx.doi.org/10.11113/umran2020.7n2.374.

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Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the p
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14

Erkinov, Aftondil. "Navoi’s manuscript of the Metropolitan Museum of Art and the question of its composition(905/1499-1500 years, calligrapher - Sultanali Mashhadi)." Golden Scripts 5, no. 1 (2023): 4–20. http://dx.doi.org/10.52773/tsuull.gold.2023.1/izjv1122.

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This article is about the manuscript of the collection of poetry of Alisher Navai, kept in the Metropolitan Museum of Art in New York. This collection was rewritten by the famous calligrapher Sultan Ali Mashkhadi in 905/1499-1500 in the city of Hirat. It is valuable because it is the product of the latest creative collaboration between Navai and Mashkhadi. Textological reasoning about the composition of this collection is given.
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15

Fillinger, Martin G., and Ronald Hübner. "Relations Between Balance, Prototypicality, and Aesthetic Appreciation for Japanese Calligraphy." Empirical Studies of the Arts 38, no. 2 (2018): 172–90. http://dx.doi.org/10.1177/0276237418805656.

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Aesthetic appreciation of pictures partly depends on the perceptual balance of their elements. This relation has also been supported by objective measures predicting balance ratings as well as preference. Gershoni and Hochstein, however, applied these measures to Japanese calligraphies and failed to find such a relation, which questions the generality of these balance concepts. In our first experiment, we, therefore, tried to replicate these results with a slightly different method. In addition, we calculated further balance measures and collected liking ratings. As result, perceptual balance
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16

Mirza-Abolqasemi, Mohammad Sadeq. "Ibrāhīm Sulṭān’s Muṣḥaf: The Qurʾān Calligraphed by Ibrāhīm Sulṭān in the Pars Museum". Iranian Studies 52, № 5-6 (2019): 973–90. http://dx.doi.org/10.1080/00210862.2019.1631702.

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17

Matochkina, Anna. "Synthesis of Calligraphy and Music in the Work of Bahman Panahi." Oriental Courier, no. 4 (2022): 199. http://dx.doi.org/10.18254/s268684310023812-1.

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The paper looks into to the work of the modern Iranian calligrapher and artist Bahman Panahi. On the example of his works, one can see the dynamism of the art of calligraphy. This type of Muslim art continues to develop actively and, in combination with other types, such as ornament, music or graffiti, gives rise to new interesting directions. In the work of Bahman Panahi, calligraphy is so naturally combined with music that the artist himself refers his works to the genre of musicalligraphy. “Musicalligraphy” is a term that the artist proposed to refer to his work while studying at the Sorbon
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18

Mammaev, Misrikhan M. "TWO ARTISTICALLY FINISHED MUSLIM STELES OF THE 14th CENTURY FROM KUBACHI (DAGESTAN, RUSSIA)." History, Archeology and Ethnography of the Caucasus 18, no. 3 (2022): 793–804. http://dx.doi.org/10.32653/ch183793-804.

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The article describes two tombstones of the XIV century. in the form of high trapezoidal stone slabs (the lower end is narrower than the upper part) from the largest artistic center of Dagestan - the village of Kubachi. They are located in the medieval Muslim cemetery "Bidakh Khuppe" (in the lane with Kubach - "Cemeteries on the other side"), 1.5-2 km south of the old part of Kubacha, in the lower half of the northern slope of Mount Tsitsila. The monuments under consideration are decorated at a high artistic level with late Kufic relief Arabic inscriptions and floral ornaments. The inscription
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19

Amir, Or. "Niẓām al-Dīn Yaḥyā al-Ṭayyārī – An Artist in the Court of the Ilkhans and Mamluks". Asiatische Studien - Études Asiatiques 71, № 4 (2018): 1075–91. http://dx.doi.org/10.1515/asia-2017-0005.

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Abstract Reading through the sources written in the Mamluk Sultanate (1250–1517), one receives the impression that the political borders between the Mamluk and Ilkhanid realms were just that – in no ways cultural or even serious physical barriers. This paper will demonstrate this by focusing on the biography of Niẓām al-Dīn Yaḥyā al-Ṭayyārī (685–760/1286/7–1358/9~). His father served under the Ilkhans as a physician and scribe, while Niẓām al-Dīn grew up into the Ilkhanid elite and became a prolific calligrapher, scribe and musician in his own right, being especially close to the Sultan Abū Sa
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20

Demers, Patricia. "Tails of Cross-Channel Comets: From Acclaim to Obscurity." Renaissance and Reformation 43, no. 2 (2020): 213–34. http://dx.doi.org/10.33137/rr.v43i2.34797.

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This article explores the diverse materialities of texts created by three female luminaries that expand our understanding of translation and transformation in early modern Europe. Lady Anne Cooke Bacon’s translation of Bishop Jewel’s Apologia was praised as the official text of the Elizabethan Settlement and printed without change for the edification of both English readers and Continental sceptics. Yet despite its centrality in the vitriolic controversy between Jewel and Louvain Romanist Thomas Harding, within a generation Bacon’s name disappeared. Bilingual calligrapher and miniaturist Esthe
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21

Belozerova, Vera G. "Analysis of the Scroll “Ba Bridge in the Snow”: The Results of the Creative Journey of Shen Zhou (1427–1509)." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 186–203. http://dx.doi.org/10.21638/spbu15.2021.202.

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Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reve
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22

Saad Jihad ATTIYA, Saad Jihad ATTIYA. "Calligraphy, Its historical roots and its philosophical and aesthetic impact: الخط العربي، جذورهُ التاريخية وأثرهُ الفلسفي والجمالي". المجلة العربية للعلوم و نشر الأبحاث 8, № 1 (2022): 74–61. http://dx.doi.org/10.26389/ajsrp.d190921.

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This study revolves around the subject of Arabic calligraphy with its deep cultural roots, the stages of its development, progress, advancement and interaction in the field of art and its aesthetic philosophy, and its embodiment as a form of fine art by incorporating it into the artistic painting as an element or an artistic dimension, thus generating harmony, or the fusion of symbols and their interaction. And writing does not necessarily mean Arabic calligraphy because the difference between them is great and cannot be confused, as the word calligraphy is a term associated with the Arabic ca
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23

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 (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 liter
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24

Gori, Alessandro. "Exploring the Ethnicity and Social Condition of Muslim Calligraphers: A Short Note on Two Scribes from the Horn of Africa in the Mamlūk Period." Aethiopica 26 (May 7, 2024). http://dx.doi.org/10.15460/aethiopica.26.2059.

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Thus far, very little is known of the social origin and position of scribes and calligraphers in the premodern Islamic world. The difficulty in finding data on the biographies and activities of the professional practitioners of calligraphy in historiographical works is probably one of the main causes of this regrettable situation. Taking as a starting point the results of some previous groundbreaking research, the present article gathers scattered information retrieved from different sources about two calligraphers from the Horn of Africa that lived and worked in the Middle East during the Mam
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25

"MIRZO BEDIL'S WORKS AND JADID LITERATURE." Philology matters, December 28, 2020, 30–40. http://dx.doi.org/10.36078/987654461.

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Mirzo Abdulkadir Bedil is a poet who had a strong influence on the Uzbek literary environment of the XIX-XX centuries. His works have been diligently read by Uzbek enlighteners, especially Uzbek Jadid intellectuals. Those who could read Bedil's works well and make comment on their content were given a "bedilkhan" name. It is also known that Bedil's works were skillfully copied by calligraphers who lived in the territory of modern Uzbekistan, and these calligraphers were given the status of "bedilnavis". These facts justify the fact that Bedil's work was extremely popular among the Uzbek people
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26

Asadi, Shaham. "Taj Mahal is the Crystallization of Iranian Architecture and a Symbol of God's Throne on Earth." Academic Research Community publication, October 31, 2023, 34–47. http://dx.doi.org/10.21625/archive.v7i3.1036.

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The Taj Mahal is basically related to the idea of Islamic architecture; although the influence of Islamic architecture on the Taj Mahal is clearly visible, traces of the influence of Iranian, Hindu, British, and Akbari architecture are evident in its structure. Taj Mahal is often known as a monument of love, but you can see it as a combination of architectural traditions and a monument of Iranian and Indian multiculturalism.According to the beginning of the arrival of Muslims in the Indus Valley, in the 8th century AD, except for the ruins of a small mosque, there is no other trace left from t
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27

Hammers, Roslyn. "Roslyn L. Hammers. Review of "Breath of the Universe: Paintings and Calligraphies of Qing Teng and B. Yang from the Palace Museum and the Shanghai Museum" by Macau Museum of Art." caa.reviews, January 11, 2007. http://dx.doi.org/10.3202/caa.reviews.2007.4.

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