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"Calligraphers."
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Adding or Removing Clarity? Hegel, Hassan Massoudy and the Reason of Arabic Script and Calligraphy
In the third part of his Encyclopaedia of the Philosophical Sciences, Hegel famously claims that “alphabetic writing is in and for itself the more intelligent form” (Philosophy of Mind, 197), as it directs “the mind’s attention … to the spoken word and its abstract elements,” allowing meaning to express itself “immediately and unconditionally” (198). There, Hegel is advocating primarily against Chinese ideograms, but as it will be shown in this paper his views entail also the superiority of alphabetic scripts over abjad writing systems, such as that of the Arabic language (1). The paper thus contrasts Hegel’s ideal of written signs as transparent conveyors of meaning with the inherent logic of the Arabic script as it emerges in the calligraphic tradition, suggesting that, from another perspective, a certain interruption of immediate intelligibility can in fact intensify meaning and clarity. In particular, the works by the Iraqi calligrapher Hassan Massoudy are taken as examples of such intensifications and somehow as practical meta-reflections on the peculiar “reason” operating in Arabic script (2). Finally, Hegel’s remarks on the graphic signs will be reconsidered to ascertain why this kind of reason is rejected (although partially glimpsed) by him and what limits it can highlight as to his way of thinking the relation between writing and language (3).
Journal Article
The book in Mamluk Egypt and Syria (1250-1517) : scribes, libraries and market
This book is the first to date to be dedicated to the circulation of the book as a commodity in the Mamluk sultanate. It discusses the impact of princely patronage on the production of books, the formation and management of libraries in religious institutions, their size and their physical setting. It documents the significance of private collections and their interaction with institutional libraries and the role of charitable endowments (waqf) in the life of libraries. The market as a venue of intellectual and commercial exchanges and a production centre is explored with references to prices and fees. The social and professional background of scribes and calligraphers occupies a major place in this study, which also documents the chain of master-calligraphers over the entire Mamluk period. For her study the author relies on biographical dictionaries, chronicles, waqf documents and manuscripts.
Book
Passionate Copying in Late Medieval Bohemia
This book presents a detailed case study of Crux de Telcz (1434–1504), illustrating the complexity of the manuscript culture of the second half of the 15th century. The scholar reconstructs Crux’s biography using more than 150 colophons and notes, and analyzes his role as an author, translator, complier, glossator and primarily as a scribe. For comparison, Kimberly Rivers’ study on the Würzburg Franciscan scribe Johannes Sintram († 1450) is included in the book. The most conspicuous feature of the examined late medieval manuscript culture is the unprecedented number of scribe’s paratexts (contents, indexes, explanatory notes, references, identification of sources and others), accompanied by a no less unprecedented number of errors, confusions, obscurities and incoherencies.First volume of the Prague Medieval Studies (PRAMS) series.
eBook
Barakamon
\"Seishuu Handa, a handsome young calligrapher, uproots himself and moves to an island on the westernmost edge of Japan. \"Sensei,\" as he comes to be known, is a city boy through and through and has never experienced rural life until now. And by the looks of it, he has much to learn! Luckily , he has a willing teacher in Naru, the energetic expert islander, to help show him the ropes. But can Sensei keep up with the plucky first-grader, or will he get schooled?! Settle in for a heartfelt island comedy about a gruff on the outside, soft on the inside urbanite teacher and his new, unfailingly kind island neighbors!\"--Unedited summary from the book.
Book
A Calligrapher’s Diploma (İlmiye İcâzetnâmesi) By Mimârzâde Mehmet Ali From Ekrem Hakkı Ayverdi’s Collection
Ekrem Hakkı Ayverdi was an engineer, architect, architecture historian, restoration expert, and collector of Ottoman art. His former home in Fatih, Istanbul, still houses his collection, among which contains an ilmiye icazetnamesi (a calligrapher’s diploma) that bares the signature of a “Mehmed Ali” and is illuminated (tezhip) with Baroque and Art Nouveau motifs. This study proposes for the first time that the diploma’s creator is, in fact, Mimarzâde Mehmed Ali (i.e. Mehmed Ali the Architect). Mimarzâde Mehmed Ali -himself a calligrapher, painter, architect, and illustrator- made extensive use of baroque and art nouveau-inspired motifs in much of his artwork (whatever their form). Also the publisher of a periodical, Beyânü’l-hak, exploited the same motifs and calligraphic styles on its cover pages. Those motifs likewise appear on the aforementioned icazetnâme. Two of his oil paintings hang in two mosques in Istanbul-Fatih Mosque and the Blue Mosque. The former is dated 1903; as for the latter, 1905. Both also carry his signature, embedded in the same inscription “Meşihatıulyâ mektubi kalemi hulefâsından Mimarzâde Mehmed Ali...” Both paintings depict the cities of Mecca and Medina, Yıldız Palace, and (part of) the Hejaz Railway. The main and most striking difference between the two is that one of the paintings also contains a second inscription scrawled in the Celi Kufic style (of Arabic letters). He also is responsible for having adorned the Grand (Yıldırım Bayezid) Mosque in the Turkish province of Bolu -namely calligraphic murals (both Celi Sülüs and Müsenna (mirrored)) as well as all of the so-called inscribed Ciharyar-i Güzin panels that hang from the mosque’s dome. This study focuses on Mehmed Ali’s icazetnâme and suggests that he ought to down in the history books as a true Ottoman Renaissance man.
Journal Article
Johnston & Gill : very British types
\"Edward Johnston (1872-1944) and Eric Gill (1882-1940) were originators of two of the world's most enduring typefaces. Johnston still stands as London's primary 'wayfinding' lettering, while Gill Sans is the type of choice within many public and private organisations across the UK today. This book celebrates their significant contribution to Britain's visual culture. Tracing the story of each typeface from inception to the present day, Mark Ovenden skilfully draws together a complex joint history that incorporates Edward Johnston's and Eric Gill's friendship and occasional collaboration, the myriad of revisions to both typeface designs, and the enduring appeal of the two typefaces over the last century among a range of clients, most notably the London Underground (Johnston) and the BBC (Gill Sans). Including rarely seen imagery, this fascinating book is must for all typography, design and cultural history enthusiasts\"-- Provided by publisher.
Book
Hat Sanatında Özgür Yorum: Karalamalar
Güzellik ve sanat iç içe geçmiş iki kavramdır. Bir bakıma güzellik, sanatın özüdür denilebilir. Her sanat dalında olduğu gibi hat sanatında da güzeli arama arzusu ve eşsiz eserler ortaya koyma çabası, hattatları sabırla çalışmaya ve kendi sınırlarını zorlamaya sevk etmiştir. Bir kitap sanatı olan hüsn-i hattın kelime manasının “güzel yazı” olmasına mukabil, daha iyisini yazmak uğruna harcanan çaba yorucu ve zahmetlidir, ancak sabırla çalışan elbette ki karşılığını alır. Başka bir deyişle “Muhakkak ki Allah güzeldir, güzeli sever!” hadis-i şerifi ışığında bu sanata gönül verenler, yazıyı daha muntazam yazma hususunda büyük ölçüde gayret gösterirler. Kişinin muntazam yazmayı başarması ise, sistematik çalışmasına bağlıdır. Yazıyı kaidelerine uygun ve ölçülü yazabilmek bıkmadan usanmadan, karamsarlığa kapılmadan çalışmakla mümkündür. Bu sebeple gerek öğrenme aşamasında ve gerekse sonrasında, harfler defalarca çalışma kâğıdına yazılarak el melekesi artırılır. Kelimeler ve harfler kâğıda kimi zaman noktalanıp ölçülendirilerek, kimi zaman da noktalanmadan yazılır. Talim amaçlı yapılan bu çalışmalar, başka bir deyişle karalamalar, hat sanatının temeli niteliğindedir. Arap alfabesiyle yazılan ve “karalama” adı verilen el alıştırmaları yazıyla uğraşan kişinin o an irticalen elinden çıkan harf veya kelimelerden oluşur ve çoğu zaman bir anlam ifade etmez. Bu çalışmanın amacı, karalamaların estetik unsurlarını ele almak ve zaman içerisinde uğradığı değişime mercek tutmaktır. Hattatların bu özgür yorumları gün geçtikçe daha fazla önemsenmekte ve hayranlık uyandırmaktadır. Harf bünyesini oluşturan kaidelerin dışında satır ve sınırlara bağlı kalmadan yazılan bu yazılar kendi içinde bir kompozisyon oluşturmakta ve çoğu zaman yazan kişiyi dahi hayrete düşürecek özgün çalışmalar ortaya çıkabilmektedir.
Journal Article
Books of Bukhara Emirate Scribes and Their Copied Manuscripts
First President of the Republic of Uzbekistan I.A. Karimov said: \"Historical memory is an important part of the process of reviving the honest and just history of the people, the motherland, and the territory of our state, understanding the national identityandif you wish, the national pride.\" Manuscripts transmitted by the Bukhara calligraphers constitute the \"gold fund\" of libraries in Europe and Asia, Great Britain, Germany, Spain, Russia, France, Egypt, India, Iran and many other countries. [...]the unique works copied by calligraphers are the spiritual property of the whole humanity, not one nation or people. In this article, in the late 19th and early 20th centuries, In Bukhara emirate,scribes and calligrapers provided informationon specialists,who raised to the level of art, such as calligraphers, paper makers,ink makers, ornamentalists.In addition, in the creation of manuscript books, it is noted that the work of paper cutter,calligraphers, gilders,artists and binders, and transcribers as well asthe use of professional calligraphers in religious, folk books, prayers and various brochures. In addition to the creation of manuscript books, a sculptor, a calligrapher, a musahhib (copied, a treasure trove of gold, which is considered to be a gold thread between each piece), a plaque (drawing large ornaments with liquid gold dye on the entrance of the manuscript);The work of planners, miniaturists, artists and illustrators was great and played an important role in determining the quality of the book.
Journal Article
Der Typograph Hermann Zapf
Hermann Zapf (1918-2015) gilt als einer der bedeutendsten Schriftgestalter, Kalligraphen und Typographen des 20.Jahrhunderts.Sein Werk überspannt mehr als sieben Jahrzehnte, in denen er Schriftklassiker wie Palatino, Optima und Zapfino vorgelegt hat.
eBook