جستجوی مقالات مرتبط با کلیدواژه "خوشنویسی" در نشریات گروه "هنر و معماری"

Qaraquyonlu ruled around the years (810-872 AH). Jahanshah, the most famous king of Qaraqoyunlu, has done his extensive conquests with his son Mirza Abulfath Pirbodagh. His conquests were in areas such as Kerman, Baghdad, Shiraz, Herat, Isfahan, Yazd and Khorasan, but Pirbudaq was the ruler of Shiraz and Baghdad on his father's side. Activities were carried out in the scientific, cultural and intellectual environment of Iran during the period of Jahanshah and Pirbodagh and they had an impact on Iranian culture. To the extent that these emirs were interested in Persian art and literature, they developed and prospered the bookbinding workshops that were left over from the Jalairian and Timurian eras. Meanwhile, in addition to Jahanshah, his crown prince, Pir Bodaq, during his short reign until his death, caused the growth and promotion of book editing, and his period is one of the important periods of the development of book editing, which unfortunately has been less discussed. The present research seeks to answer the following question: what effects did Pirbodaq have on the development of the art of book layout in the second half of the 9th century AH? For this purpose, various aspects of the art of book design, including writing, calligraphy, painting, gilding, and binding, are considered by examining manuscripts in the period of Pirbudaq's rule, with emphasis on the geographical area of his rule in Shiraz and Baghdad. The research method was descriptive-analytical and historical as well. Describing the decorations of the copies and analyzing it by mentioning the name of the scribe, the place of writing and its date, and the historical developments of the time of Pirbudaq and the political situation of that period that caused the transfer of artists. Although Pirbodagh's reign was short and mostly in the two cities of Shiraz and Baghdad, the number and date of the manuscripts written during his time were many in proportion to the short period of his reign, and it shows his support in maintaining workshops, encouraging artists and scribes. In that era, the value of their profession and art has been respected and precious copies were created, which has remained in the history of art under the name of Pirbudaq period. In the end, the result is that Pirbodaq, by creating a context for the exchange of artists, has caused transferring the center of book design from the east to the west of Iran and has boosted the western school of Iran with a variety of artists with different tastes, and in the meanwhile has transferred those artists and has emphasized on the importance of book design workshops. In addition to the importance of book design, Pirbudaq was interested in scribes, poets, painters, and letter writers to provide the necessary materials for writing.

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it.  The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

Nasta'liq is the second specific Persian script. Due to its aesthetic features, this script has been nicknamed "the bride of the Islamic scripts" and in Arab countries it is called "al-Khat al-Farsi". Its initial foundation was from changing Naskh and Ta'liq scripts in the manuscripts of the second half of the eighth century AH. In this regard, there are several manuscripts in which the initial movements of the Nasta'liq script had been introduced and presented. According to the date of calligraphy and its features, it seems that the Emad collection of Faqih Kermani's poetry manuscript in the Islamic consultative assembly library (IR. 1584) is one of these manuscripts that can be observed for the initial signs of pre-Nasta'liq. Therefore, the aim was to investigate the pre-Nasta'liq in this manuscript. It seeks to answer the question, what kind of calligraphy was used in the manuscript of Emad Faqih Kermani, and what was its characteristic? Also, considering that no independent study has been done on it, the study of this manuscript was serious. This study was carried out through a descriptive-analytical method, and the information has been collected through the library method and by studying visual documents (the manuscript). The examples are selected and magnified from the original manuscript of Emad Faqih Kermani. The criteria for selecting samples are based on the classification of Habibullah Fadaeli in the book Ta'alim Khat (2009), which divides the entire Persian alphabet into three categories: singulars, stretched, and circles. Therefore, it has been tried to compare the script used in the Emad Kermani’s manuscript and the Nasta'liq and Ta'liq scripts.
Based on the page of ‘Tatameh’ (the last page of the manuscript) and ‘Anjameh’, it was determined that this manuscript had been written in 783 AH / 1381 AD, and historical assessments showed that it was probably sponsored by Shah Shoja in Shiraz or Sultan Hussein Jalayer in Baghdad. Since Nastaliq first flourished in Shiraz, it was quickly noticed and became prevalent in Baghdad; another center of literature and art in that period. Shah Shoja supported art workshops in Shiraz during this period. Also, it preceded the calligraphy of the poem of Emad Faqih Kermani in Shah Shuja’s library in Shiraz, like the manuscript calligraphy by Mansour bin Ali bin Muhammad bin Hossein Tusi Kashani in 786 AH/ 1394 AD which is preserved in the National Library of Paris. So, it was possible that this manuscript was prepared under his auspices. On the other hand, in 783 AH / 1381 AD, it was a contemporary of Shah Sultan Hussein Jalayeri in Baghdad. The support of the Jalayari kings for the Nasta'liq led to its development during these years. Based on the analysis of calligraphy, the script of this manuscript can be recognized between Naskh and Ta'liq script or Naskh leaned to Ta'liq which underlies the emergence of the Nasta'liq script. Some letters were still written like in the Naskh script, such as (ا), (آ), (ط), and (ب); several letters were written softer and more curved due to the effects of the Nasta'liq script, such as (د), (م), (و), (ک), (س), (ق), (ل), (ن) and (ی); and some letters were similar to both scripts, such as (ر), (ه), (ف), (ح) and (ع). Many letters are connected due to shorthand or are influenced by the Ta'liq script such as (و), (ر), and (د). Probably, the addition of the dot was based on the common orthography in the 8th century and also followed the writing tradition of earlier periods; because in the orthography of the early centuries -unlike the new orthography- a dot or dots are placed under some letters, in order to distinguish them from similar letters. Accordingly, the scribes from the early to the eighth century of Hijri have acted like this. In general, there are three types of Pashani (extensive writing) in this manuscript; Space between letters, Space between words, and Space between lines. Due to the use of Mastar (kind of ruler), and attention to tabulation, the distance between lines is entirely regular, but the distance between letters and words does not follow the same rule. The calligrapher of Emad Faqih Kermani's manuscript has paid attention to written elongations. Due to the type of calligraphy used in this manuscript, in addition to elongation letters (ب, ف and ک), some circles such as (ق, ص, ص, ل, ن) and elongation (س) and the inverted letter (ی) have also been written as elongations. These elongations were located in different positions of the line (hemistich), and in order of priority, they are positioned in (2), and (4) jointly, position (2), position (4), and position (3).

Calligraphy, as a common cultural heritage among Islamic countries and generally in Islamic civilization, is highly regarded. From the dawn of Islam until now, many Muslims have devoted themselves to calligraphy and have always brought about developments towards the dynamism and evolution of this art. The attention to calligraphy reached its peak during the Ottoman period, and this art gained a special position among Islamic arts. Thuluth and Muhaqqaq scripts are recognized as two of the six scripts, and both are used in writing Quranic verses. Thuluth and Muhaqqaq scripts are to a large extent visually and structurally similar and both are derived from each other, but the similarities and differences between these two scripts have not been fully examined. In this study, the aim is to find the commonalities and differences in the writing style, and visual and structural aspects of letters and words in these two scripts, to determine the most readable and practical script for writing the Quran. This article seeks to answer the question of what characteristics Thuluth and Muhaqqaq scripts have in terms of visual and structural aspects of writing, what similarities and differences exist between these two scripts, and which one is more suitable for writing Quranic verses. The research method is descriptive-analytical, and the information was collected using library research and referring to written sources. The results show that the visual and writing structure of the Muhaqqaq script is very simple, clear, and fluent, and it does not have complex combinations. Due to the shape and form of the letters, the script has a high readability. In addition, each letter in this script has its specific form, and no letter is mistaken for others. Therefore, the Muhaqqaq script is considered the most suitable and practical script for writing the Quran, while the Thuluth script is more suitable for writing decorative lines and headings of Quranic surahs due to its visual beauty and ornamentation.

Abdollāh Tabbākh Heravi was a 9th AH/15th AD century calligrapher who worked at the Timurid kitābatkhāneh (transcription center) in Herat. He was an apprentice of Ja’far Bāysonquri. In addition to the application of the aqlāme sitteh (the six pens), he was also fairly skilled at nasta’liq script. The climax of his artistic career coincides with uproars in Herat and consequently, the dispersal of artists from Bāysonqur’s workshop. Therefore, he could be regarded as a connection between two periods of heyday at Herat court. Today a Quranic manuscript in his handwriting is preserved in Āstāne Qods Razavi, Mashhad. This manuscript has been accomplished on the order of Alāod-dawleh, Bāysonqur’s son, and the deputy, Shāhrokh Teymuri in 845 AH/1442 AD. The present essay examines the status of Abdollāh Tabbākh Heravi in the Timurid history of calligraphy, and does so the mentioned Quran and its particular features.

Calligraphy has a special place in Islamic civilization and post-Islamic Iran. One of the most widely used post-Islamic manuscripts is the Naskh, which writes the typical books and small Mus'hafs. The traits of this Calligraphy include cleanliness, balance, level and distance, and the same strengths and weaknesses. It is also the basis for the design of most contemporary typographies because it is easier for readers to read. This study aimed to investigate the possibilities of indentation in Persian script scripts by writing method based on the technological capabilities of variable font design. Accordingly, the research method is qualitative and practical in terms of purpose. Data collection was done by survey and by referring to library resources for filing and direct observation of works and their comparison with each other. The case studies of this research have been selected from the leading Iranian manuscript writers from the seventh to the thirteenth century AH. Yaghoot Mustasemi (7 AH), Abdullah Tabakh (9 AH), Shams Baysanghari (9 AH), Ahmad Neirizi (12 AH) and Mohammad Shafi Arsanjani (13 AH) have been studied. The reason for choosing these calligraphers is that they were able to create a unique style in writing calligraphy. Also, by selecting calligraphers from different periods, diversity in the way of writing Iranian manuscripts is considered, and it is possible to study more tastes. The selected works are all selected from the writing of Surah Al-Hamd - written by these calligraphers - to allow the comparison of a written sample with the same content among the works of calligraphers. Another reason for choosing this particular surah is that in most writings, Surah Al-Hamd has been written in a unique way and with fewer lines or larger fonts, which shows the greater attention, accuracy, and quality of these manuscripts in the works of calligraphers. An essential difference in the indentations in examining each piece will be connecting the letters with their dimension or before. Since the location of points relative to the letters is not essential in the study of indentations, the set of notes is divided into two groups "B, P, T, S, N, Y" (which in this study is called group "B") and "S, Sh" (Which in this study is called the "sin" group) is reduced. On the other hand, according to the location of the dent, the words of all indentations can be divided into the five groups: group "first b," group "middle," group "last," group "only," and group "sin."
To analyze the indentation changes in Surah Al-Hamad, only the indented part of these words is examined, i.e., in words: Bism, Rahim, Rabb, Al-Alamin, Yum, Al-Din, Ayak, Nabd, Nasta'in, Ahtna, Al-Mostaqim, Allazin, Alnamta, Alayhem, Qair, Al-zallin. For ease of review, several words that are repetitive and similar in terms of dent form, such as "Ya" in "Ayak" and "Na" in "Ahtna,” are removed. The part of the word in which the indentation is used is also examined. For example, in the word "al-Din,” there is an indentation only in the "yen" section. Therefore, the compounds considered in this research are as follows: Bism, Haim, B, La'almin, Yu, Yin, Ya, Nabd, Nasta’in, Na, Lmostqim, Yen, Nemat. It is also necessary to explain that the three words "Alayhem" "Qair" and "Al-zallin" are not considered because of the similarity of the place and type of teeth in them with other words.
To achieve a method for analyzing dent changes, define seven indentation characteristics in the Persian scriscriptor of chair placement, pen cut, pen thickness, strengths and weaknesses, elongation, ascent and descent, and decorations, respectively, and then in each of these five versions. The indentations have been analyzed according to the writing to get their effect on the letters’ design. The results show that in the measured indicators in terms of length, the difference in thickness in the discussion of pen thickness is minimal and can be ignored. The characteristics of strength and weakness are also slightly different, but due to its minimum amount, it has a difference of nearly three times its maximum. In-chair placement and elongation, the amount of difference in different groups of indentations is very significant, and the difference between the minimum and maximum characteristics in the elongation index is more. Regarding the measured indices in terms of angle, in general, between the two studied indices, the minimum and maximum difference between the ascending and descending indices is more noticeable than the pen angle. Also, the variable does not have a specific value in the decorations section. However, the decoration of calligraphy on the indentations, due to the use of this possibility by some calligraphers, can be considered a possibility in typography design. In general, the amount of variability of the features can be regarded as from order to more or less in the teeth of the script in the way of writing: Thickness difference, strengths and weaknesses, embellishments, stylus, ascending and descending, placement and elongation.
Based on this, in Dent font variable design, an attempt was made to show the degree of variability and its effects on the indentations of Persian script letters with the software capabilities of variable font design. Therefore, it is possible to implement this possibility in other letters of the transcript line, read Dent’s designed font, and create more options and variations in letter design. Finally, based on the achievements of the research and according to the technological capabilities of the variable font, typography called Dent was designed to show the applicability of the study. In this typeface design, variability of the seven studied features was considered, and the axes were developed and introduced based on the variables. According to the research, six items which introduced as variable features, but since the strength and weakness and angle (diameter) of the pen have the same result in the typographic design, these two features are considered together, and finally, five main axes for each The variable index was applied to the typeface in order of its effectiveness: first axis: stretch for the stretch index; second axis: height (height) for the chair placement feature; third axis: slope for ascending and descending characteristics; fourth axis: angle for two characteristics: pen angle, strength and weakness, and fifth axis: ornaments (serif) for ornaments. Also, according to the five-axis design in typeface Dent, other main modes are designed. These states are considered binary, triple, quadruple, and fifty based on the maximum axes.  Accordingly, thirty-one different ways can be designed for each glyph. Also, some glyphs can be divided into various components. The repetitive elements of each glyph can be repeated in other glyphs, thus making it possible to change the axes more quickly and uniformly.

The art of calligraphy depends on aesthetic components that have changed over a long history, but these components are mixed with unstable formal rules. Calligraphy is a complex skill based on the rules of writing geometry, in which the importance of text and a comprehensive understanding of writing, the capabilities of the tool and the writing platform are discussed. Paying attention to each of these factors leads to the identification of a neglected aspect called fluid rules. This article takes a different look at identifying the fluidity of these rules to discover its hidden capabilities and capacities in the ranks of seeing, reading, understanding, enjoying with a special taste along with a new narrative. to be; So far, we have been faced with a kind of homogenization in the rules and principles in the evaluation of the works, and most of them have introduced the maximum observance of morphological rules along with a combination of visual beauty in the writing. In this article, the author has investigated the variety of shapes of lines from the perspective of form, character, practical and practical features, using descriptive-analytical method and using calligraphy letters and library sources. The result of this research is to know the formal capacities of lines and their capabilities in calligraphy, which can lead to the development of calligraphers and letter designers in renewing the dynamics of lines and producing mirror lines and blocking the flow of lines and fonts. destroy the new

Existence and role, (Surah Noor, verse 35, "Allah is the light of the heavens and the earth"), God is the light of the heavens and the earth. The manifestation of God's presence in Islamic architecture and religious spaces is light. The surrounding of light is that which includes itself and others. Light actually illuminates others as well. Light is something that is apparent by its essence. It also appears.In this research, he examines the judgment of the Noor verse in the Quranic inscriptions, taken from the Quranic verses. Light is always the manifestation of God, which has been used in Islamic architecture as a valuable example. In the research method, the interpretation approach and the text analysis method have been used in understanding the verses of the Qur'an. In Quranic teachings, light is the expression of God's manifestation and the creation of a spiritual atmosphere, the symbolic role of that revelation, and being guided to pure light and illumination. The function of sacred art in general is to be a carrier for the divine presence, and the result of the Muslim artist imagines this function as the presence but also as the release of the mysterious whole. It is not just some kind of glimmer of light from another world.

The theoretical principles of calligraphy are the studies in the field of nature and philosophy of calligraphy, its aesthetics, stylistic analysis and the historical foundations. Over the past fifty years, such theoretical bases have been largely neglected. Most studies in the mentioned period of time have actually followed the tradition of historiography and writing biography, and not been directed towards phenomenological and analytical approaches. The essential difference in the field of calligraphy research in the first and second half of the present century (14th SH) lies in their inclinations towards the nature and philosophy of calligraphy, its aesthetic and stylistic analysis, as well as the historical foundations. However, there is limited, incomplete understanding of theoretical and aesthetic concepts in this regard. As a result, proposing an explanation for the theoretical principles of calligraphy seems necessary.

In the historical periods of Islamic Iran, particularly from the 4th century AH/ AD 10th century onward, many historical texts have been written the necessity of a careful reassessment and analysis of which is felt for extracting and recording details of art history of Iran. Despite making amendments to and publication of a number of such historical texts, there are still many ones not been amended nor published yet, nor even been referred to by researchers properly. Tārīkh Wassāf is a good, classic example of such texts in which its writer deals with biographies and works of artists as well as artistic matters, besides recounting historical events. Safī al-Dīn Irmuwī is among the artists mentioned in this book. The present essay aims to study the life and works of this distinguished artist from the perspective of the accounts of Tārīkh Wassāf. Irmuvī is mentioned here as an accomplished artist in music in four narrations, however not been referred to as a talented calligrapher.

Iran’s art, especially calligraphy, had specific place in Timurid 120-year era. Most masters in calligraphy came to Herat from Tabriz and joined Shah Ismail Safavid’s court in 1514. Nasta’liq script spread in India for the first time in Mongols era when Babur attacked this land in 1525 and he was accompanied by some calligraphers. Based on this support, large amount of Iran’s calligraphers moved to that territory and one of those calligraphers was Seyed Ali Khan Tabrizi. Javaher Raqam (alive in 1683) came to India at the end of Orang Zib’s domination (1656 -1706) and Orang Zib himself was one of his calligraphy students, so chose him as other princes’ master and teacher. This article, not only talks about the recognition of basics and principles of Nasta’liq script and studying the evolution of calligraphy from the end of Timurid era to its spreading in India and also introduction of Tabriz’s position and effective Nasta’liq calligraphers from Tabriz, but also talks about Seyed Ali Khan Tabrizi’s transcription of singular letters combinations (Hosn-e-tashkil) which is the main purpose of this research. Here are the questions: 1- How principles and proportion, which are two rules of letters combination (Hosn-e-tashkil), are observed in Seyed Ali Khan Tabrizi’s artworks? 2- How are dots (Noqte-ha) and singular letters (Mofradat) transcribed in Seyed Ali Khan Tabrizi’s artworks? The work of calligraphy is beautiful when it has value and credibility among scholars and experts in this field, which, firstly, is based on the two general rules of "Hosn-e-tashkil” and “Hosn-e-khat ", secondly, its composition and appropriateness rules are well observed. The words should be appropriate to each other and from the seat line, because seat style is a part of good-establishment and is closely related to composition, and thirdly, its context should be appropriate to the text and writing. One of the important points in the issue of Hosn-e-tashkil" and "Hosn-e-khat" is the style of transcribing. In addition to the general principles, governing the form of letters and words in calligraphy, the style of transcribing each calligrapher depends on the style of the pen and the angle of the pen with the paper, and other factors such as how the pen is held, how the artist sits and masters the paper while writing affect this issue. The angle of the artist's pen at the beginning of each word and phrase while transcribing, affects the way his pen rotates. The crucial point is that the style of writing can be strong and the weakness of the calligraphic effect, which is one of the pillars of calligraphy, is effective. Therefore, examining the artist's style of writing, in addition to showing the geometry of his script, can be an important factor in examining the originality of works and examining and recognizing changes in the artist's style during his artistic life, the possibility of comparing the artist's style with other artists that in this way, provide a review of the technical evolution of the script. Accordingly, it can be important to examine the writing style of the artists of a period, a style or a geographical area. The research method of this article is analytical- descriptive and it is a practical research. The information has been gathered based on statistics, computerized measurement and with the help of sources in libraries. It is also consisted of personal visual studying by the authors. The statistical population of this research is Chalipa artworks of Seyed Ali Khan Tabrizi Javaher Raqam. So, five Chalipa artworks of Javaher Raqam have been studied with analytical approach based on letters combinations (Hosn-e-tashkil) of singular letters by visual analysis. The method of the analyzing in this article is quantitative and it depends on statistical results which are obtained by studying all points in five selected artworks and their letters, and the results of the data in searching and studying are presented in quantitative forms. The results of this research show that, “dot” (Noqteh) in Seyed Ali Khan Tabrizi Javaher Raqam’s style is not only static, but also has stable and concentrated energy. The gradient of dots is also transcribed in their best conditions. So, this feature has considerably affected the dots’ visual charisma. The remarkable point is the angle of letters’ gradient which is different but appropriate. The presentation of weakness and the power in performance of the letters is close to each other and this point has caused more proportions in the scripts. Studying the examples of Seyed Ali Khan Tabrizi Javaher Raqam’s artworks shows that the size and dimensions of letters have good balance and the pen has impressive straight movement. This point must be mentioned that some features like transcribing (the angle of writing each letter) change a little during the artist’s life, whereas the quality of calligraphy has ups and downs during the years.

The study of manuscripts shows that one of the important arrangements of the scribes in the process of writing texts was diagonal writing. However, the applications of diagonal writing and how to use it have received less attention. The purpose of this article is to study the application and how to perform diagonal writing in the seventh and eighth centuries AH in the manuscripts of the Malek National Library and Museum. The questions of this research in order to analyze the subject are: 1-What have been the benefits of diagonal writing for scribes? 2-In what cases and to what extent has diagonal writing been used? Also, 3-what form of structure can be considered for diagonal writing? To answer these questions, all 226 manuscripts of the seventh and eighth centuries AH published on the website of the Malek National Library and Museum, which mainly include scientific and literary books, especially poetry, were studied in a descriptive-analytical manner.The topics of the manuscripts selected for this research are diverse. From scientific and medical manuscripts to religious manuscripts, each of which has its own characteristics from the point of view of writing. Writing a version with the subject of geometry, which has a shape and table, has different necessities and page layout from a jurisprudential manuscript. In addition, the quality of the writing and the skill of the scribes in the manuscript are also different. Also, the quality of the calligrapher in writing exquisite manuscripts is superior to conventional manuscripts, which are mostly done in a hurry and for the purpose of transcription or simple writing. Every writer, regardless of proficiency, has been faced with these questions, what are the limitations of each subject and how to write it, given that writing is a difficult and time-consuming task, and at the same time, a mistake in writing is inevitable. Hence, the scribes have chosen different solutions to solve these problems. For example, by creating a margin on each page, they anticipate the possibility of correcting mistakes next to the original text. One of the important strategies of scribes to face these two challenges has been the use of diagonal writing.The findings of this study show that for the scribes of this period, the applied aspect of diagonal writing had a higher priority than the beauty and decoration of the page. The use of diagonal writing has been in the two main parts of completing and correcting the text and creating a distinction in the text. Correction and differentiation of a word or sentence in the text are some of the main goals of diagonal writing in the manuscripts selected in this course. Distinguishing the rhyme in the poem and coordinating the form and text in the scientific manuscripts have been some of the reasons for using diagonal writing. It should also be noted that the movement of the hand when writing without creating a line does not follow a straight line and deviates naturally, which was an unwanted thing for the scribes. Therefore, diagonal writing has also occurred without a practical reason. Diagonalizing the text in the final part of the manuscripts is another way to differentiate. The structure of the diagonal is also obtained by examining the length of the lines and their angle to each other. Examining the practical solutions of scribes in the face of the challenges and problems of writing provides a deeper understanding of their approach. The difference in their creative methods and solutions provides a more complete picture of the writing of this period, which is distinct from later periods. In later periods, more attention was paid to the decorative and aesthetic aspects of diagonal writing, and new structures emerged in the layout. Diagonal writing in the form of a cross (Chalipa) also became very popular for poems.In this research, while specifying the terms of diagonal writing and some related concepts, an attempt has been made to investigate the possibility of distinguishing between practical and intentional types of diagonal writing in some unwanted forms of diagonal writing. In the following, the applications of diagonal writing in correction and differentiation of text and finally the structure of diagonal writing in selected versions have been analyzed.

Dot is the first and the most important element in Islamic calligraphy. The most important function of the dot in Nasta’liq script is to determine scales, calligrapher’s pen’s angle, and also line and specimen compositions. This fact can differ in each individulal calligrapher. So, the main goal of this research is to study the pen’s angle, baseline, and dot’s scattering in Mir Ali Heravi’s selected Chalipas based on fine art principles which has done according to: a) pen’s angle b) horizontal diameter of the dot toward baseline c) baseline itself and dots’ positions and scattering. Therefore, these questions are going to be analyzed and answered in this paper: According to baseline in Mir Ali Heravi’s artworks, what are the pen’s angle of the dot, and the horizontal diameter of the dot? What about the position of the dots’ baseline and their scattering in Mir Ali artworks? What are the principles for recognizing the forged and original artworks of Mir Ali Heravi based on the evaluation of the dots? In this research, the method of data collection was desk-baesd, and the descriptive-analytical method was used to study the qualitative review of the dots in Mir Ali selected Chalipas. The results show his dots’ style. The method in this article is descriptive-analytical and it is a practical research. The gathering information method was documentation, and statistical methods, computerized measurement, bibliographic, and also visual observations by authors were used. Statistical society of this research was Mir Ali’s Chalipas. The size and angle of the script may be varied based on the calligrapher’s desire. Due to studies done on selected Chalipas, Mir Ali Heravi’s nib was medium. It is deduced that the least angle is 50 degrees and the most angle is 66 degrees and the average pen’s angle is 60 degrees. Among 108 studied dots, 25 of them are 60 degrees. This result doesn’t show a vast number of differences but this important tip must not be forgotten that dots’ angles are not similar to each other because this is the proportion principle in Nasta’liq. Also, a tremendous difference between angles can show that the artwork is not original and it is forged. Another reason is the method alteration, pen’s nib and the specifications of using pen. Generally, it is believed that the dots’ angles in Nasta’liq are 62 till 63.5 degrees but studying Mir Ali artworks shows us that hand’s angle of each artist can be different and also it can be different in each artwork of each artist. Huge differences in this issue can make us think that some artworks are not original and they can be forged.

Astan Quds Razavi Library in Mashhad holds four parts of a ten-part Quran on parchment, which have been endowed to the Shrine of Imam Riẓa in AH 383/993-4 CE by Abū al-Qāsim Sīmjūr, the last emir of the Sīmjūrid dynasty in Khurasan and governor of Neyshābūr (also spelled Nīshāpūr). Due to the rarity of the tenth-century Quran manuscripts with signatures, the study of the artistic characteristics of this codex is of prime importance in understanding the calligraphy and illumination of the Qurans copied in this period in Khurasan. Not only does this article introduce and examine the script and decorations of the extant parts of this Quran in Astan Quds Razavi Library, but also studies the artistic links between this Quran and other manuscripts in the same century. The results of this research indicate that the script and illuminations of this codex resembles the works of the artists in Ghaznavīd scriptoria. This article also reveals novel findings about the development of the Ghaznavīd style which had its roots in the work of the warraqs (copyists) in Neyshābūr; in addition, since Abū al-Qāsim Sīmjūr was the then governor of Neyshābūr, it is speculated that this ten-part Quran was produced in this city.

Author, creator, creator, and titles like this remind every human being of the holy essence of God and the pure nature of God. In the meantime, and in the passing of days and ages, there have been people who, by thinking and creating an idea, have given an earthly and concrete manifestation to the heavenly nature of the unique creator. The religion of Islam also provided this platform for calligraphers to think about the appearance of all kinds of lines and try their luck to embody and illustrate the divine word. As the most beautiful Islamic calligraphy, which is nicknamed the bride of Islamic calligraphy, it seems that after years of transformation and development, it tries to show those beautiful divine manifestations as well as other noble human themes. This research tries to address the issue of whether the invention of this method of calligraphy has been effective in the introduction and expansion of Iranian and Islamic art. To give a clear answer on the role of explaining the Nastaliq calligraphy in Islamic culture and art. In the upcoming research, which has been carried out by a descriptive-analytical method and conducting library and documentary studies in a combined manner, with observations made from the images of existing written documents and referring to some theories of historians and experts in the field of Islamic arts, as well as reviewing the circumstances. And the life of Mir Ali Tabrizi as the creator of the Nastaliq script, the originality of Mir Ali's achievement in regularizing the Nastaliq script has been discussed. Also, considering that this line has had a tremendous impact on the aesthetics of Islamic arts over the years, it is examined as a cultural flow in Islamic wisdom and art.

The shrine of Sahl Ibn Ali is one of the religious buildings in Iran that is located in Astaneh city in the southwest of Markazi province. It was founded for a man who was one of the descendants of Zein al Abedin. Although many historical documents give us little information about this building, there isn’t any evidence about the exact time of construction. However, according to historical studies  there was a tombstone and a wooden case above it with the date of seventh century AH and they had inscriptions that description this grave belongs to the Sahl Ibn Ali. Unfortunately, the wooden case has been missing and the tombstone inscription is illegible. Consequently, according to the oldest historical document we can deduce that it was built before the Safavid dynasty. Nevertheless, similar to other religious buildings, it has many historical decorations that occupy a significant part of it, which consists of inscription, mural, mirror work, tile, and woodwork that belong to Qajar and Safavid era. Although a few contemporary studies on the religious characteristics of Sahl Ibn Ali have only indicated the art decorations, there is no any specific research on the artistic characteristics. These sources prove that there were many decorations especially calligraphic that are missing and for this reason it is important to study the architecture and its decorations. Besides mural, mirrors and other decorations, inscriptions are remarkable for vary executive technique, location and information. For this reason, this research focuses on inscriptions and calligraphies to find their functions among other decorations. One of the remarkable characteristics of these inscriptions is their complexion. Three of them have dark-blue background colors with white or yellow inscriptions on them that made them for viewers legible in the distance. Two of these three inscriptions is including a Sura of Qoran located under the dome that it had written with Tholth. unfortunately, the one situated in the highest part under the dome  has been damaged since of the water that leak from the dome. One of these dark-blue inscriptions is located in the loggia which is a poem that described the restoration that had been done by Hesam Alsaltanah, who was one of the Princes of the Qajar dynasty. This inscription has written in Nastaligh and has a kind of plasterwork technique that is painted with blue and yellow. Unfortunately, by the destructed of the loggia, the first and last part of this inscription has been removed. Another group of inscriptions is those engraved and located above the main door that belongs to the Qajar era and the other one is located above the loggia door from Safavid era. This inscription inclouds hadith of Mohammad, the prophet of Islam who authentic Ali as his successor. And this inscription with its date and names of artists could be important evidence of the importance of this building because this hadith usually used as a political-religious motto by Safavid kings in their religious buildings to develop Shiites. It includes the name of Ali Akbar Isfahani that who may be the person who was a great architect in the Safavid era and Mohammad Reza as it’s calligrapher. If the architect of this building(Ali Akbar) is the same as the architect of Imam Mosque of Isfahan it could be remarkable as an unknown work of Ali Akbar Isfahani. The other group of inscriptions is several small pieces of paper that maintain under the glass in the loggia. These papers with their information about artists, supporters, and the date of repair could be a historical document about this building. They are written with black, green, and red ink and have only just a simple pattern of birds with several thin lines around words as a border. In summarize , one of results in this research is finding the lost scripts belonging to the Qajar dynasty. The inscriptions in this tomb have been written with two kinds of calligraphies, Nastaliq and Tholth and based on their content we can divide them into two groups, historical and religious. The religious inscriptions have been written with Tholth, do not have any information such as date and artist’s name, they are with fresco and they are located under the dome and the roof of the porch. The historical inscriptions have been written with Nastaliq with various techniques such as petroglyph, calligraphy on paper and are located on the west porch. Also they give us much information about artist’s and sponsor’s name and the date when the building was repaired. After considering all inscriptions in this tomb we can say that main cause of used historical inscriptions is their information, and their aesthetic functions is of second importance. These inscriptions form an important evidence that proves that this building was remarkable for the government and that the officials ordered to repair and decorate it.

The expansion of calligraphic scripts in Islamic communities necessitated writing on calligraphy and transcription from the very beginning of the Islamic period. In early centuries of the Islamic calendar writings were mostly related to instructive purposes, but from the 4th century AH/ AD 10th century onward the act of writing scripts’ history and calligraphers’ biographies became widespread and it continued with fluctuations until the 11th century AH/ AD 17th century. In the mid-12th century AH/AD 18th century some calligraphers and experts in Islamic lands, particularly in Iran and the Ottoman Empire, embarked upon writing biographies of calligraphers with a look at the past documents. With the advent of modernity, researchers in both lands accomplished together the development of scripts as well as the process of biography writing. On the basis of new methodologies, they adopted a more analytical approach and they used more substantial resources, either written or visual. Structural and thematic conformity in the works of Persian and Turkish researchers in this field is indicative of common cultural foundations in the two lands. Such a matter is still evident in both sides, but it seems to have become rather monotonous with some fixed standards for historiography and biography writing. We should note that there remain challenges in the field of Islamic calligraphy to tackle.Adopting a comparative and critical approach, the present essay is to briefly examine historical and research books on calligraphy during the past 150 years in Iran and Turkey and it is to show their impacts on each other or their independency, as well as to propose some suggestions for the future scholarship.

As a famous treatise in teaching calligraphy, “Midād al-Khutūṭ” has been frequently used and referred to by contemporary scholars and calligraphers as a result of being a work ascribed to Mīr-‘Alī Hirawī, the prominent Persian calligrapher. The present essay would test the authenticity of such a work and reassess this treatise’s status in the history of calligraphy. The results indicate that “Midād al-Khutūṭ” is not a genuine treatise and not a work by Mīr-‘Alī Hirawī, but a poor, disorderly adaptation of other treatises in calligraphy. The major part of this work has been taken from “Savād al-Khaṭ” by Majnūn Rafīḳī Hirawī, mingled with some notes and subject matters from other treatises, including “Rasm al-Khaṭ” by Majnun Rafiḳi Hirawī, “Usūl-i Khaṭ” by ‘Abd Allāh Ṣayrafī and “Usūl wa Ḳawā’id-i Khuṭūṭ-i Sitta” by Fath Allāh Sabziwāri. Belief in the authenticity of “Midād al-Khutūṭ” treatise has brought about some false evaluations and analyses, especially of Mīr ʿAlī Hirawī’s and Sulṭān ῾Ali Mashhadi life and career by scholars in the field of calligraphy.

Astan Quds Razavi has had the most extensive administrative network among the religious sites of Iran. A various number of seals have been used for the accreditation of documents and correspondence in this complex. Many of the mentioned seals are in the name of the custodians of the regular affairs in Astan Quds Razavi. All the same, a number of seals in the name of Ali ibn Musa al-Riza (PBUH) are also available which may be considered the sacred seals of the collection. The physical characteristics and combination method of three sample seals have been examined in this article. The seals were made during nearly forty years (1856-1894 BC) in the Qajar period. The research adopts a historical-analytical approach and is written based on library research. The examination and comparison of the seals indicate that their text content is selected relatively similar in terms of content and structure. The relatively large dimensions of the seals and their shapes which resemble a Mihrab or a crown also confirm their significance and the spiritual dignity of the holy shrine of Razavi. Moreover, Nasta’liq and Thuluth scripts are used in the composition of the seals, and the calligraphic scripts of their main frame are based on the basic rules of composition in late Islamic seals. The sacred seals of Ali ibn Musa al-Riza (PBUH) can be compared and matched with the administrative seals of Qajar kings in terms of script, composition and physical characteristics.