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The Hurufiyya movement (Arabic: حروفية ḥurūfiyyah adjectival form ḥurūfī, 'of letters' of the alphabet) is an aesthetic movement that emerged in the second half of the twentieth century amongst artists from Muslim countries, who used their understanding of traditional Islamic calligraphy within the precepts of modern art.
In modern times, calligraphy has been done frequently in the Latin-based Vietnamese alphabet, as chữ Nôm and chữ Hán have largely fallen out of use. [5] Chữ quốc ngữ calligraphy gained popularity during the New Poetry and Free Poetry Movements , due to the increasing popularity of using the Vietnamese vernacular, as well as ...
First page of Paul's epistle to Philemon in the Rochester Bible (12th century). A modern calligraphic rendition of the word calligraphy (Denis Brown, 2006). Western calligraphy is the art of writing and penmanship as practiced in the Western world, especially using the Latin alphabet (but also including calligraphic use of the Cyrillic and Greek alphabets, as opposed to "Eastern" traditions ...
Islamic calligraphy is associated with geometric Islamic art on the walls and ceilings of mosques as well as on the page or other materials. Contemporary artists in the Islamic world may draw on the heritage of calligraphy to create modern calligraphic inscriptions, like corporate logos, or abstractions.
The prevalence of calligraphy in Islamic art is not directly related to its non-figural tradition; rather, it reflects the centrality of the notion of writing and written text in Islam. [7] Islamic calligraphy developed from two major styles: Kufic and Naskh. There are several variations of each, as well as regionally specific styles.
Arabic calligraphy can be on occasion be found in places of worship for Muslim's known as Mosques with engravings of Quranic verses / Ayah present on parts of the architecture itself. [16] The most widely recognized example of Arabic Calligraphy on a place of Islamic worship is the Kaaba present in Mecca, Saudi Arabia. [17]
Hsu turned away from traditional calligraphy because he felt it was too steeped in conservatism to be relevant to contemporary Chinese society. [7] While the content and aesthetic of Hsu's works are postmodern, he maintains the traditional relationship between calligraphy and Zen practice, focusing on the act of painting as opposed to the work ...
A handscroll has a backing of protective and decorative silk (包首) usually bearing a small title label (題簽) on it. [6]In Chinese art, the handscroll usually consists of a frontispiece (引首) at the beginning (right side), the artwork (畫心) itself in the middle, and a colophon section (拖尾) at the end for various inscriptions.