Raqs-e Qalam – International Conference schedule

The three-day conference, which runs from January 21 to 23, addresses fundamental issues in the art of calligraphy. The intercultural status of this art among the countries of the Silk Road, the role it plays in creating unity, peace and rapprochement of nations, will be among the important goals discussed on the first day of the conference.

A study of the status of contemporary calligraphy and educating of such art in countries, latent spirituality and the essential relationship between calligraphy and music along with structural and formal studies of the lines of nations in different periods and versions will be done on the second day of the conference, also the audience and those interested in the art of calligraphy will be introduced to the features, developments and structural commonalities of such art in different geographies, then on the third and last day of the conference, with a conscious mind and waiting to welcome the recognition of the history and rich background of this art in pre-Islamic Iran, we go to cross borders to explain the position of decorative arts such as Gilding and Tasheir ) Decoration of Manuscript( along with calligraphy.

Panel 1: 21 Jan 2020 (morning) – Opening Ceremony

Panel 1: 21 Jan 2020 (morning) – Opening Ceremony


Panel 2: 21 Jan 2020 (evening) – Intercultural Role of Calligraphy across Silk Road Countries

Panel 2: 21 Jan 2020 (evening) – Intercultural Role of Calligraphy across Silk Road Countries

Mehdi Sahragard

Musa Zaki Zada

Lee Juhyeong

Saba Javeed

Impact of culture of a country on art of calligraphy and Inter influence of art of calligraphy across Silk Road countries

Abstract:

Art has no boundary, in cross culture it shares same roots. Art significantly influence the norms, trust and attitude of people and builds a society on the roots of harmony even in resilient territories. This phenomenon brings the logic of art acceptance and increases the value of expatriate art in foreign lands. The emergence of art influence brings diversification in contemporary art although the traditional calligraphy shows very minor modification and variation.

The Silk Road is a big source of combining and introducing the art and culture of the countries it crosses. Though most of the countries share same foundation of religion Islam so they have inter influence of art, calligraphy and culture. The modification and diversification in traditional khatt style is very appreciated and accepted warmly in cross border, and that is why master calligrapher of one country is also respected as master calligrapher and his rules are followed in other countries.

Our topic of discussion is the differentiation of calligraphy in different regions of my country and also the influence of foreign art of calligraphy in home country. When an artist combines all the festive and warmth of culture in one frame holding all the traditions and norms firmly becomes a whole representativeness of his country. Similarly, when an artist efforts to combine the traditional art of other countries in one artwork through specific elements by moving from primitive style of calligraphy to medieval period of Ottoman era to the modern art in one artwork in khatt Kufi is my focused topic of discussion, for my artwork “Hilye Sharif”.

Keywords: traditional calligraphy, khatt kufi, resilience, expatriate, culture

Mohammad Hossein Ahmadi 

The role of calligraphy art in creating unity and closeness of Silk Road nations

Abstract:

Art is an illustrative and influential language for sending any message among the arts, calligraphy art because at the same time beauty is all without complexity and directly and with complete simplicity and psychological depiction of themes, texts, poems and thoughts has an unmatched role in the emergence of thoughts and thoughts, which has a profound impact on the relationships between nations.

             The capacities of calligraphy art in interaction between nations are very high, one of these reasons is calligraphy artists themselves. Calligraphers have to spend many years in the culture, art, love and mysticism, which makes the artist grow up and become one of the most cultural people along with acquiring good writing skills. Altruism becomes one of the distinguishing qualities of the calligrapher, and calligraphers are considered the most peaceful people on the planet. And this idea emerges in their works. If we look at the works of calligraphers in the past and present, we see nothing but love, knowledge and mysticism. And wherever they are present, they promote the good, beauty, knowledge and love. Regardless of the political boundaries and political connections of the countries, calligraphy artists communicate with each other as if they were a nation. A nation that is a good role model for all politicians and statesmen of the world, especially silk road countries. And this is thanks to the sacred art of calligraphy. The position of this art in Silk Road countries, especially the high status of this art among the nations of this field can play an important role in creating unity and close proximity of Silk Road nations.

Rahab Bitar


Panel 3: 22 Jan 2020 (morning) – Current Status of Calligraphy in Silk Road Countries

Panel 3: 22 Jan 2020 (morning) – Current Status of Calligraphy in Silk Road Countries

Mehdi Sahragard

History of Transoxiana School of Calligraphy and some of its most Prominent Calligraphers

Abstract:

The history of Transoxiana calligraphy can be divided into the following two main periods: the first period (2nd – ۹th century AH): from the arrival of Islam to the Timurid era, and the second period:  (9th-۱۴th century AH): from the Timurid era to Soviet colonization.

In the first period of calligraphy history in Central Asia, the school of Transoxiana calligraphy came into being based on the writing of works in Arabic, Persian and Turkish languages ​​using different forms and types of Arabic calligraphy made in the centers of the Arab Caliphate such as Mecca, Kufa, Basra, etc., and Ahmad Ibn Ash’ath Samarkandi (3rd century AH), Ahmad Tabib Shah Mā Warāʾ an-Nahri (5th century AH), Ali Banakati (5th century AH), Jamshid Shashi (6th century AH) etc. were famous and prominent calligraphers of this school.

In the second period calligraphy history, in different parts of the central Asia, several schools of calligraphy were established, which were distinguished by their characteristics, and the use of new types of Arabic script, created by calligraphers of Persian and Turkish ethnic groups (such as Shekasteh, Nastaliq , Uyghur, etc.), spread. Some schools of calligraphy became famous; for example, the school of calligraphy of Herat, which was established in the 9th century AH with support of the Timurid sultans and prominent calligraphers such as Sultan Ali Mashhadi (926-841 AH), Darwish Mohammad Taghi Heravi (9th  century AH) and Abdul-Jamil Katib (died in 911 AH) were calligraphers of the school, and the school of calligraphy of Bukhara, which was founded in the 10th century AH , by the efforts of the khans of the Sheibanian dynasty and famous calligraphers such as Mir Ali Heravi (died in 951 AH), Mir Obaid Bukhari (died in 1009 AH), Mir Hossein Kolnaki Bukhari (10th centaury AH), Seyyed Abdullah Bukhari (died in 1057 AH), Haji Yadegar (died in 1073 AH) and Ahmad Danesh (1827-1897 AD) were calligraphers of the school. In addition, in the early 12th century AH (18th century AD) in the territory of the Khiva and Kokand dynasties , Khwarazm and Fergana calligraphy schools were formed, and in the 13th century AH (19th  century AD), Samarkand and Tashkent calligraphy schools were formed. Mounes Khwarazmi (1778-1829 AD) and Kamel Khwarazmi (1825-1899) from the school of Khwarazm calligraphy, Mirza Sharif Dabir (19th centuary AD) and Mohammad Amin Khajeh Mirza khajeh Oghli Moghimi (1850-1903 AD) from the school of Fergana, Achildi Morad Miri Kateh Ghorghani (1830-1899 AD) and Abdul Jabbar Orguti Samarkandi (1885-1910 AD) from the Samarkand School of Calligraphy and Mohammad Younes Katib (19th century AD) and Mohammad Shahmorad Katib (1850-1922) from Tashkent School of Calligraphy were among the most famous calligraphers in this period.

Keywords: Calligraphy, Arabic script, Nastaliq, Transoxiana School of Calligraphy, Herat School of Calligraphy, Bukhara School of Calligraphy, Khwarazm School of Calligraphy, Fergana School of Calligraphy, Samarkand School of Calligraphy, Tashkent School of Calligraphy.

Tamir Samandbadraa Purev

Current status of calligraphy and its education in Mongolia

Abstract:

Talking about Mongolian calligraphy, we speak about calligraphy written in the traditional vertical script which was created specifically for the Mongolian language in the beginning of the XIII century. It used to be the most widespread and universal alphabet of the Mongol people until it was replaced by the Cyrillic alphabet in 1946 in Mongolia and abandoned during the whole socialist period of Mongolian history.

Since the 2000’s decade calligraphy in Mongolia has started to find its new form after a 54 years break. Due to the end of socialism and introduction of democratic changes in Mongolia, the interest in Mongolian traditional script and calligraphy has increased distinctly especially among the artists first and gradually among the wider audience. Nowadays there are around 100 calligraphers in Mongolia and many more amateurs in this field.

This new beginning for Mongolian calligraphy has created unique conditions for the development of this art. On one hand, the style of calligraphy of Mongolians from Inner

Mongolia in China, who had continued using Mongol Bichig in the XX century, has been copied. On the other hand, the independent esthetic and forms have evolved as well as new rules of calligraphy have been established. An entirely new genre to emerge in the history of Mongolia’s fine art.

However, because the tradition of calligraphy has been profoundly demolished in socialist period, a common education in this field has not yet taken a fixed form. It depends mostly on personal initiative of Mongolian language teachers or students themselves.

Keywords in English: Mongolian calligraphy education, rebirth of Mongolian calligraphy,

calligraphy in modern Mongolia

Keywords in French: enseignement de la calligraphie mongole, renaissance de la calligraphie mongole, calligraphie en Mongolie modern

Bekhzod Khadjimetov

Contemporary Calligraphy Art of Uzbekistan

Abstract:

This article is devoted to the development of science, education, culture in the ancient cities of Central Asia, such as Samarkand, Bukhara, Khorezm, Kokand, Tashkent, the history of calligraphy, scientists who worked in this area and contributed to the development of calligraphy. In addition, opinions were expressed about the development of calligraphy in Uzbekistan in recent years, its achievements and problems. Examples – images of architectural monuments of historical importance, decoration of modern buildings and compositions used as examples of calligraphy.

Keywords: Central Asia, Uzbekistan, Samarkand, Bukhara, Khorezm, Kokand, Tashkent, calligraphy, composition, art, architectural monuments

Muhammad Sher Ali Khan

Calligraphy Education in Pakistan: Atelier versus Academia

Abstract:

Islamic calligraphy, essentially a literary and artistic expression of the Arabic script, travelled along with the Islamic faith to different parts of the world. It has been rooted in the Indian Subcontinent through Arab countries and Iran, and flourished in the region; particularly, under the royal and affluent patrons. Besides severing as court scribe, some calligraphers were appointed to teach calligraphy to the royalties and courtiers in imperial ateliers and libraries. Both in patronage and practice, calligraphy witnessed its zenith in the Mughal dynasty. During the Colonial period, royal patronage faded except some rulers of independent states. In Pakistan, the tradition of learning calligraphy was then held in private ateliers, mosques and madrassas. Scribes in printing presses and signboard painters also assisted in learning and practicing calligraphy. Ironically, art academies shelved traditional arts and crafts. However, since 1960s, these entered into the national curriculum, and then; since 2000s, became part of the degree programme in higher education. Although the inclusion of calligraphy in art syllabi remained a failed promise in academia; however, academies along with art councils and galleries in the country accelerated the fervency of calligraphy by holding exhibitions, seminars and workshops. With these activities, not only new and creative styles were developed but a new art form, calligraph-art, also emerged. Yet, it is hard to deny that best calligraphers who excelled in traditional calligraphy were initially trained in family circles or casual ateliers. This paper aims to appraise the formal and informal approaches of calligraphy education in Pakistan.

Keywords: Calligraphy Education, Calligraphy ateliers and apprenticeship, Islamic Calligraphy in Pakistan

Muhammad  Ashraf  Heera

Calligraphy Education in Pakistan: Atelier versus Academia

Abstract:

Islamic calligraphy, essentially a literary and artistic expression of the Arabic script, travelled along with the Islamic faith to different parts of the world. It has been rooted in the Indian Subcontinent through Arab countries and Iran, and flourished in the region; particularly, under the royal and affluent patrons. Besides severing as court scribe, some calligraphers were appointed to teach calligraphy to the royalties and courtiers in imperial ateliers and libraries. Both in patronage and practice, calligraphy witnessed its zenith in the Mughal dynasty. During the Colonial period, royal patronage faded except some rulers of independent states. In Pakistan, the tradition of learning calligraphy was then held in private ateliers, mosques and madrassas. Scribes in printing presses and signboard painters also assisted in learning and practicing calligraphy. Ironically, art academies shelved traditional arts and crafts. However, since 1960s, these entered into the national curriculum, and then; since 2000s, became part of the degree programme in higher education. Although the inclusion of calligraphy in art syllabi remained a failed promise in academia; however, academies along with art councils and galleries in the country accelerated the fervency of calligraphy by holding exhibitions, seminars and workshops. With these activities, not only new and creative styles were developed but a new art form, calligraph-art, also emerged. Yet, it is hard to deny that best calligraphers who excelled in traditional calligraphy were initially trained in family circles or casual ateliers. This paper aims to appraise the formal and informal approaches of calligraphy education in Pakistan.

Keywords: Calligraphy Education, Calligraphy ateliers and apprenticeship, Islamic Calligraphy in Pakistan

Mohammad Mehdi Mirzaei

Spirituality in the art of Contemporary Calligraphy

Abstract:

Speech and script are windows for meanings and concepts. To have partial and general perceptions, there is no way better than speech and writing. The goodness and ugliness of meanings are shaped by spoken and written words, in a way that human being avoid using ugly utterances and writing them dawn.

               The writers and calligraphers deal with spiritual concepts and human’s perception. Art of calligraphy is a way for entering the world of meaning in terms of Philosophy, science, literature, poem, art and technology, mysticism and ethic, religious rules and beliefs.

. An excellent hand script is a way for reaching to the spiritual pleasure. Hand scripts and art of calligraphy is the best means for self awareness, providing knowledge on the essence of presence, making a connection between human beings and the infinite existence and ultimate goal which is the same “God”

The best supporter for what has been mentioned above is that the Almighty God has sworn by the pen. So the calligraphy in the Islamic world has the highest status in the world of arts.

Keywords: spiritualitycalligraphy, ethic

Bahman Panahi

Musicalligraphy, the relationship between calligraphy and music

Abstract:

 Throughout the centuries, different scholars, poets, and calligraphers have referred to calligraphy as “music for the eyes”, visual music.

This conference explores the common points in the understanding, structure, application and execution, and pedagogical aspects that exist between calligraphy and music. It is an in depth analysis that shows in very specific terms how calligraphy and music are created, developed and realized in the mind of the artist. The concept I have named “Musicalligraphy”.

Keywords: Musicalligraphy, visual music, calligraphy


Panel 4: 22 Jan 2020 (evening) – Formal & Structural Analysis of Calligraphy and Manuscript

Panel 4: 22 Jan 2020 (evening) – Formal & Structural Analysis of Calligraphy and Manuscript

Mehdi Sahragard

In the first period of calligraphy history in Central Asia, the school of Transoxiana calligraphy came into being based on the writing of works in Arabic, Persian and Turkish languages ​​using different forms and types of Arabic calligraphy made in the centers of the Arab Caliphate such as Mecca, Kufa, Basra, etc., and Ahmad Ibn Ash’ath Samarkandi (3rd century AH), Ahmad Tabib Shah Mā Warāʾ an-Nahri (5th century AH), Ali Banakati (5th century AH), Jamshid Shashi (6th century AH) etc. were famous and prominent calligraphers of this school.

In the second period calligraphy history, in different parts of the central Asia, several schools of calligraphy were established, which were distinguished by their characteristics, and the use of new types of Arabic script, created by calligraphers of Persian and Turkish ethnic groups (such as Shekasteh, Nastaliq , Uyghur, etc.), spread. Some schools of calligraphy became famous; for example, the school of calligraphy of Herat, which was established in the 9th century AH with support of the Timurid sultans and prominent calligraphers such as Sultan Ali Mashhadi (926-841 AH), Darwish Mohammad Taghi Heravi (9th  century AH) and Abdul-Jamil Katib (died in 911 AH) were calligraphers of the school, and the school of calligraphy of Bukhara, which was founded in the 10th century AH , by the efforts of the khans of the Sheibanian dynasty and famous calligraphers such as Mir Ali Heravi (died in 951 AH), Mir Obaid Bukhari (died in 1009 AH), Mir Hossein Kolnaki Bukhari (10th centaury AH), Seyyed Abdullah Bukhari (died in 1057 AH), Haji Yadegar (died in 1073 AH) and Ahmad Danesh (1827-1897 AD) were calligraphers of the school. In addition, in the early 12th century AH (18th century AD) in the territory of the Khiva and Kokand dynasties , Khwarazm and Fergana calligraphy schools were formed, and in the 13th century AH (19th  century AD), Samarkand and Tashkent calligraphy schools were formed. Mounes Khwarazmi (1778-1829 AD) and Kamel Khwarazmi (1825-1899) from the school of Khwarazm calligraphy, Mirza Sharif Dabir (19th centuary AD) and Mohammad Amin Khajeh Mirza khajeh Oghli Moghimi (1850-1903 AD) from the school of Fergana, Achildi Morad Miri Kateh Ghorghani (1830-1899 AD) and Abdul Jabbar Orguti Samarkandi (1885-1910 AD) from the Samarkand School of Calligraphy and Mohammad Younes Katib (19th century AD) and Mohammad Shahmorad Katib (1850-1922) from Tashkent School of Calligraphy were among the most famous calligraphers in this period.

Keywords: Calligraphy, Arabic script, Nastaliq, Transoxiana School of Calligraphy, Herat School of Calligraphy, Bukhara School of Calligraphy, Khwarazm School of Calligraphy, Fergana School of Calligraphy, Samarkand School of Calligraphy, Tashkent School of Calligraphy.

Agata Chmielecka

Formal and structural analysis of practical calligraphy works:

“Analysis of contemporary Mongolian calligraphy style development on the example of Tamir Samandbadraa Purev’s artworks.”

Abstract:

Mongolian calligraphy in traditional Mongolian script, seen not only as a pragmatic tool of transferring the text’s meaning but as a form of art, is a relatively recent phenomenon that emerged in the ’۹۰s of the XX century in Mongolia. One of the pioneers in this field, calligrapher Samandbadraa Purev, known better under his artist name Tamir, has developed a particular style of calligraphy that became one of the major sources of inspiration for Mongolian calligraphy amateurs. Because of Tamir’s unique artistic pathway and his art’s influence on many aspirant calligraphers, his artworks are taken as an example showing the development of contemporary Mongolian calligraphy styles.

The study focuses on the analysis of selected artworks by the artist from different periods of his career. By the formal and structural analysis, the development of the artist’s personal style is presented. The main differences between different styles are clearly shown and discussed.

Results of the analysis show that the artist’s calligraphic style has changed significantly throughout the years. A significant number of new elements of composition, abstract elements, new mediums and techniques such as porcelain have been introduced by the artist for the first time in the history of contemporary Mongolian calligraphy. This has undoubtedly a big impact on the development of calligraphy art in Mongolia and will further influence the next generations of calligraphers.

Keywords in English: contemporary Mongolian calligraphy, Mongolian calligrapher, Mongolian calligraphy styles

Keywords in French: calligraphie mongole contemporaine, calligraphe mongol, styles de

 Ariunbold Arigun Erdenekhuyag 

Historical Changes of Mongolian Literature and Structural Analysis of the Letters of the Great Kings of the Mongolian Empire

On the historical development of ancient Mongolian literacy

From centuries ago, to the present day, the minds and education of the Mongols, one of the most ancient cultures in Central Asia, have been valued that indicates such as books, correspondence, diplomatic relations documents, artifacts, statue petroglyphs, various scripts, temples, historical and cultural monuments, library, scientific archives, and libraries worldwide and museums which is a rich heritage for the international Mongol scholars.

Hundreds of artifacts are still unearthed by collectors and researchers of ancient cultural relics, indicating that the Mongols had a high calligraphic culture, such as the writing style, various writing styles, and the depiction of the tribal seals of the Great Khans of the Mongol Empire. For thousands of years, origins of literacy, origins of the literacy system, types of marking methods, the evolution of their spelling rules have been studied by a variety of scholars specialized in ancient literature. The origins, development, and education of literacy have evolved to its current level, varying from country to country, not simultaneously, depending on the nation’s cultural development. It is common to use and borrow ideas from the script used by neighboring nations.

Literacy and Linguistics are based on historical research of researcher and scientists of Historical Archeology, Culture, Arts and Linguistics, including ancient and modern development, original writing, Archeology, Objective script, and Ethnography, Ethnography, Paleography, Pictography, Ideography, Phraseography, Calligraphy, and PAX Mongolica. *

Mongolians have used more than scripts in their history and there are still literary and cultural monuments that are still in use today. There are many literary monuments in Mongolia’s history, including Run script or Script of Proto-Mongols Mongolian (national) Script, Khitan script/characters Phags-pa Script ~ Square Script Clear Script ~ Oirat Script, Bold script, Manchu script, Soyombo script, Vagindra, Latin script, and Cyrillic script culture that has been used for centuries and remains a cultural monument.

Hiral Kaulav Bhagat

Formal and structural analysis of practical calligraphy work

Abstract:

The fundamental purpose of writing is to convey ideas, but man was a designer long before he wrote, and it follows that in the pictures, drawings and arrangements the design factor took a prominent place from the beginning. (Alexander Nesbitt, The history and Technique of lettering)

Throughout the history calligraphy work had reflected the formal, the structural, technical considerations as well as the high aesthetic standards of the people of that time. Form and structure are the physical shape, the constitutive essence of letters, signs, individual and collective. The study of aesthetic quality will help us to assess the formal aspect of various writing systems and its development. Content and form of written material is like soul and body.

The focus of this abstract is form and structure of the Gujarati calligraphy.

The Gujarati is one of the official and local languages of India. State of Gujarat is located on the West side of India.

The Gujarati script historically used in parts of lower Rajasthan, Malwa and west India. In Utter Pradesh it has known as Mahajani or Bania script. This script was used in writing account by traditional accountants (Munim), so they used to write very fast and with all connected letters without lifting of the pen. This may be one of the reasons of character of letterforms. The Gujarati script has derived from 10th century Devnagari. Several characters still have some form as in seen in the Devnagari script. Since this script was used to write account, initially they drew continuous top line (Shirorekha) like Devnagari but eventually to achieve the speed in writing, the top line is removed. Hence it acquired distinct rotundity.

Fauzia Maraam

Islamic Calligraphy in India: Exploring Behārī / Bihārī script and Reflections on Qur’ānic manuscript(s) in Behārī / Bihārī

Abstract:

Islamic Calligraphy had been one of India’s most significant parts of Muslim culture and civilization. With the beginning and development of proper

Muslim society, various calligraphic scripts were being practiced in the Indian subcontinent during the Muslim rule. Behārī / Bihārī ( خط بہاری ) script is a significant contribution of the Afghan race and Indian Afghans to the field of

Calligraphy, though significantly less is known about it. Historically, it is seen that whenever a Muslim dynasty came into existence in a particular place, a new script has developed along with the local variant of any pre-existing script.

Javad Bakhtiari

Ali Ghertassi

Yacine Semri


Panel 5: 23 Jan 2020 (morning) – History of Calligraphy at the National and the International Levels

Panel 5: 23 Jan 2020 (morning) – History of Calligraphy at the National and the International Levels

Hossein Razavi Fard

Komiljon Rahimov Abdolghafour Razzaq Bokhari

Anwar Khan

History of Calligraphy and its Developments in the Context of Time

Abstract:

Calligraphy is the art of Muslims. And the fact is that this art is related to the Quran. The Qur’an is the last book revealed by God Almighty. The Qur’an is the axis for the individual and collective life of Muslims. Every Muslim loves this book and recites it daily. His recitation created the art of Tajweed and recitation, his writing created the art of Tajweed calligraphy. From day one, the Muslim community has been appreciating this noble art. From kings and emperors to the people, they have been equally involved in its reverence and sanctity. The names of Sufis and architects, Haddad, Zarkob, etc. are found on public lines. In fact, it was common in Muslim society to have a taste for curd. A poet has said well.

As long as Muslims flourished, this world of appreciation continued. But since the emergence of the foreign nations on the Islamic world and the Western civilization has touched the hearts and minds of the Muslims, the decline of this art has begun. The art of calligraphy will be important to real printing and instrumental printing. Demand for this specialty has grown significantly as a result of recent corporate scandals. Masterpieces of art gradually fell into disrepair. The art of calligraphy was overshadowed. Early art education in schools became obsolete.

Mehdi Sahragard

History of Transoxiana School of Calligraphy and some of its most Prominent Calligraphers

Abstract:

The history of Transoxiana calligraphy can be divided into the following two main periods: the first period (2nd – ۹th century AH): from the arrival of Islam to the Timurid era, and the second period:  (9th-۱۴th century AH): from the Timurid era to Soviet colonization.

In the first period of calligraphy history in Central Asia, the school of Transoxiana calligraphy came into being based on the writing of works in Arabic, Persian and Turkish languages ​​using different forms and types of Arabic calligraphy made in the centers of the Arab Caliphate such as Mecca, Kufa, Basra, etc., and Ahmad Ibn Ash’ath Samarkandi (3rd century AH), Ahmad Tabib Shah Mā Warāʾ an-Nahri (5th century AH), Ali Banakati (5th century AH), Jamshid Shashi (6th century AH) etc. were famous and prominent calligraphers of this school.

Alireza Hasheminezhad

From Round script to the six pens (the sextet hands)

Abstract:

The term “Mostadir” means rotary, round, circular, and a kind of structure based on curvature in the first methods of writing Arabic script. In a more general usage which may not be true, all methods of writing the Arabic script-except the Kufic script, which was not used to write Qur’an until the third century- have been described as round (Mostadir) script. These scripts, formerly referred to as “Naskh”, are also known as “khatt al-mansoob (proportioned script). The beginning of these major changes in these scripts dates back to the late third and early fourth centuries, when there was a tendency to standardize and lay down rules in various religious sciences such as Hadith and Tafsir, in the reading and structure of the Qur’an. Some scholars believe that this tendency, and as a result the revolution, may have been influenced by the Sunni caliph’s theological beliefs and is the result of the dominance of a theological view. But this change seems to be based on the creation of a geometric structure, which was probably explained before the caliph’s decision in the views of philosophers, including in the Epistles of the Brethren of Sincerity, and other works on the role of geometry, proportion and proportion in relation to beauty and even self-purification. Muslims described the dignity of geometry as the mediator of a sensible and tangible world. But the tool for realizing this geometry and proportion in script was pen. In the same vein, “the type of pen and the material that pen is made of, the method of sharpening the pen, how to hold the pen, how to put it on paper or move the pen on paper” are also considered as factors in the emergence of round script. Other factors of this development include the rivalry between the two centers of Kufa and Baghdad, the social, cultural and political position of calligrapher in society, the caliphate and the Persian region, and the creation of two groups of calligraphers and scholars. Persia was the center of calligraphers. In Shiraz, calligrapher was higher than scholar.

Bahram Broumand Amin

Legacy of pre- Islamic Iranian Calligraphy

Abstract:

Knowledge about the art of calligraphy had been gained in Iran from pre- Islamic era and the rules of writing letters and words beautifully or the same aesthetic writing has been left in inscriptions and texts. Based on the available sources we have been informed that with the formation and gradual evolution of common scripts in the Sassanid era, steps were also taken to apply the rules of legibility and aesthetic writing of letters.

Written texts and remnants of the Sassanid  period are in fact composite techniques and arts that have been created by using the art of calligraphy and represent the level of  knowledge on calligraphy at that time.The knowledge of the predecessors on the art of  aesthetic writing of the letters and its effectiveness in interaction with neighboring civilizations and the transfer of this knowledge to the Islamic civilization is the subject of this lecture

Panel 6: 23 Jan 2020 (evening) – Status of Calligraphy Among Other Arts (music, decorative patterns, …)

Panel 6: 23 Jan 2020 (evening) – Status of Calligraphy Among Other Arts (music, decorative patterns, …)

Mehdi Sahragard

Shakila Alemi

Reem Kubtan


Abstract:

The art of ornamentation and gilding appeared in complement of the calligraphy and handwriting arts in order to bring out the calligraphic picture most beautifully.

The  types  of  ornamentation  varied, and  different  raw  materials  and colors  were  applied  in  addition  to  pure  gold  in  gilding  calligraphic tableaus and manuscripts.

Further, their forms varied where in some positions, they depended on frequent traditional ornamental units. Miniatures were also introduced where different kinds of flowers and roses were added to such ornamental pictures as well as drawings attributed to humans, animals, birds, natural scenery and geometric shapes in service of the variety of ornamentation schools and subject to the topic, beauty and consistency of the picture in question.

The  art  of  gilding  was  applied  in  the  Holy  Quran  not  only  for  its aesthetics but for functional requirements. Studies uncovered close relevance  between  the  ornament/  gilding  positions  and  the  Quranic verses in terms of chapter subdivisions and gilt framework around  the Quranic script  in order to preclude any distortion  of God  Almighty’s words whether  by increase or decrease of the verses. Sun figures were applied in the form of medals comprising information on the book in the first page.

However, the lower part of the book last page was ornamented and called (conclusion), and (gilding the preface) was called on the niche in the first page as triangle or square shaped. Moreover, flowers decorate the beginning and end of the Quranic verses. Such ornaments in which gold artwork was illuminated are exclusively called (halkar).

Artists were creative in their state-of-art and ornamental styles due to the high standing of the Holy Quran maintained by artists and calligraphers throughout the different Islamic ages.

Muhammad Behiri

Ali Mashhadi Rafi

Chronological Stylistics of Ta’liq Script

Abstract

The descriptions given in the written sources about the Ta’liq script and its evolution from the beginning of its formation in the medieval ages to the time of its decline in the Qajar period are so scattered and mixed with contradictory information, which makes the study of this script and its evolutionary history truly difficult. One of these obvious contradictions is the introduction of more than four inventors in historiographies for the invention of Ta’liq script, which sometimes is such scattering that two different calligraphers are mentioned as the creators of this script in one single historiography.

A significant part of the available information about the styles, calligraphic techniques and even the instructions for reading the texts written in Ta’liq is more or less the result of the efforts of researchers in the field of Persian Diplomatics, which mostly include those of efforts regarding reading and somehow decoding words and phrases written in calligraphic style of Ta’liq. In fact, a significant part of the historical written materials left in this script are a notable number of Persian medieval documents, through comparing which with a handful of fragments in calligraphic Ta’liq different styles of this script could be identified.

This article is aimed to compare the descriptions mentioned in historiographies and epistolary art handbooks about Ta’liq with some examples left in this script and furthermore to suggest a preliminary classification for stylistic of Ta’liq on the basis of its evolution.

Keywords: Ta’liq, Islamic Scripts, Stylistics, Persian historical Documents.

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