Calligraphy Style Research Articles

A Systematic Review on Arabic Calligraphy within Islamic Architecture

Islamic architecture is distinguished by the formulation in various forms and artistic models of the Arabic calligraphy style. Arabic inscriptions are found in several areas of Islamic architecture both in the external elements as well as in the building's internal elements. The art of calligraphy as describing the building has many impacts to improve the different roles that this art offers. This art often has a symbolic significance according to the structure. This study aims to explore existing research into the use of the art of calligraphy as an important component of Islamic architecture. Preferred Reporting Items for Systematic Review and Meta-Analyses (PRISMA) as lead to direct this systematic review and 14 related studies have recognized and selected from databases Web of Science, Scopus, and Dimensions. This paper helps to provide some sources of information that can be used by people who would like to understand and study Islamic calligraphy and Islamic art. Two research questions applied in this review to obtain themes within the data, and two significant themes arose, namely art in Islam and forms of art. The analysis of two main themes further presented a result of five sub-themes that emerged from forms of art and six sub-themes that developed from the types of khat themes.

A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

ИЕРОГЛИФ И ИКЕБАНА: ОТ БАЛАНСА ИНЬ-ЯН К РАЗРУШЕНИЮ ФОРМЫ СИН-ГЁ-СО

This study investigates a deep connection between Japanese characters and Ikebana, which is due to the fact that Japanese characters as well as ikebana express the same picture of the world. Because the basis of this model of the world is laying in the Chinese tradition, we will first examine the Chinese characters and Chinese art of flower arrangement or chahua, and then the Japanese characters and Japanese ikebana. In the study, we refer not only to the works of Russian researchers, such as V.V. Malyavin, V.G. Belozyorova and V.A. Pronnikov, but, to a greater extent, to sources in Japanese (Nakamura Yasuo, Sasaoki Ryuho, Kumakura Isao, etc.), as well as to English-speaking authors or translations (Li Xia, Li Huilin). Analyzing the structure of the Chinese character, we look at lined paper for calligraphy which is usually being used in China. Lines of this paper indicate the connection of the structure of a character with Taiji or Supreme Ultimate, because a character is inscribed in a circle of Taiji, it has Yin and Yang sides and as we can say ‘exists’ in the ‘circle of changes’ or Bagua. In Japan, Chinese lined paper were not widespread, but the styles of calligraphy (regular script, semi-cursive script, cursive script) that came from China were elevated to the principle of simplified and broken form, Shin – Gyo – So, which became the basis for the Japanese type of beauty, kuzushi-no bi. Then we turn to the Chinese flower art, chahua and show its basic principle, which related to the Chinese characters, we mean the balance of Yin and Yang. Japanese art of ikebana we analyze in more detail and observe three main schools of Ikebana: Ikenobo, Ohara and Sogetsu. In the schemes of the Ikenobo (the oldest school in Japan), we find schemes in which floral arrangements are inscribed in a circle of Taiji (rikka flowers). In a later direction of Japanese flower arrangement (shoka, or seika flowers), we meet the principle of Shin – Gyo – So. We consider the same principle on the example of chabana, that is, flower arrangements for a tea ceremony. We also observe ikebana of Japanese literati Bunjin, who strive for a lifestyle of Chinese literati Wenren. The flowers in Chinese taste in contrast with actually Japanese ikebana do not have any patterns, but it has ‘refined riddle theme’ meigogadai with limited combinations of flowers. Also, it has more obvious connection with Chinese characters form. We conclude that a Chinese character shows subtle difference between manifested and unmanifested world, balance of Yin Yang while in Japanese tradition we can see preference of forms broken or simplified with Shin Gyo So. Chinese flower arrangement сhahua is also based on Yin Yang balance while in Japanese Ikebana it was transformed with Shin Gyo So.

An end-to-end model for chinese calligraphy generation

A Chinese calligraphy copybook usually has a limited number of Chinese characters, far from a whole set of characters needed for typesetting. Therefore, there is a need to develop complete sets of Chinese calligraphy libraries for well-known calligrapher styles. This paper proposes an end-to-end network for character generation based on specific calligraphy styles. Specifically, a style transfer network is designed to transfer the style of characters, and a content supplement network is designed to capture the details of stylish strokes. Our model can generate high-quality calligraphy images without manually annotating data. To verify the generated calligraphy styles, a new dataset is constructed for experimental comparison between our method and two other baseline methods. Moreover, a user study is conducted to evaluate our generated calligraphy from a visual perspective. When the experiment participants are asked to distinguish the real calligraphy from generated samples, the correct rate was 53.5%. The results show that the calligraphy styles generated by our model are almost indistinguishable from the original works.

Aesthetic Experience of Field Cognitive Style in the Appreciation of Cursive and Running Scripts: An Eye Movement Study

This study compares the characteristics of the aesthetic experience of different cognitive styles in calligraphy style. The study used a cursive script and running script as experimental materials and the EyeLink 1000 Plus eye tracker to record eye movements while viewing calligraphy. The results showed that, in the overall analysis, there were differences in the field cognition style in total fixation counts, saccade amplitude, and saccade counts and differences in the calligraphic style in total fixation counts and saccade counts. Further local analysis found significant differences in the field cognitive style in mean pupil diameter, fixation counts, and regression in count, and that there were differences in fixation counts and regression in count in the calligraphic style, as well as interactions with the area of interest. The results indicate that the field cognitive style is characterized by different aesthetic experiences in calligraphy appreciation and that there are aesthetic preferences in calligraphy style.

A Study on 'Maniacal and overcautious calligraphy style' in Joseon Dynasty period Calligraphy

조선조 500여년은 중국과 달리 朱子學이 강력한 힘을 발휘하였고, 이런 점에서 유학적 사유에 입각한 인물들의 경우 광견서풍을 취하기에는 일정 정도 제한이 있었다. 이처럼 인간 감정의 節制性을 통한 중화서풍을 존숭한 조선조의 대부분의 문인사대부들은 광기어린 작품을 하기보다는 중화미학의 실현자로 알려진 王羲之를 전범으로 내세우고 본받고자 하였다. 그렇다고 조선조 서예역사에서 광견서풍 혹은 유사 광견서풍을 보인 인물이 전혀 없지는 않았다. 楊士彦의 도가적인 ‘遊仙’지향에 담긴 광기어린 서풍은 그의 선천적 자질과 더불어 한층 빛을 발하였고, 李匡師는 天機自發을 통한 ‘顚狂敧倒’적 광기서풍을 보였고, 李三晩은 노장철학에 입각한 愚拙적 광기서풍을 보였고, 成守琛은 陶淵明의 ‘南山悠然’적 견자서풍을 보였고, 黃耆老가 ‘隱逸’지향적 광견서풍을 보인 것이 그것이다. 이처럼 조선조 500년을 주자학의 중화미학이 득세한 상황에서도 인물에 따라 광견서풍을 보임으로써 조선조 서예는 보다 다양함을 드러낼 수 있었다.The 500th year of the Joseon Dynasty is different from China, neo-Confucianism exerts its powerful power, and the situation of people based on such thinking from the perspective of radical and ultraconservative Calligraphy Style There was a certain limit. In this way, most of the Korean literary masters who revered the calligraphic Neutralization Aesthetics through the moderation of human emotions expressed WángXīzhī that manifested Neutralization Aesthetics rather than expressing crazy for reference. This did not mean, however, that there was a man who showed Maniacal style of writing in the history of calligraphy in Joseon Dynasty. A wild style of writing in Yángshìyàn s the dimension of taoistic the immortal of freedom and happines was brighter with his predecessor, Lǐkuāngshī shows “fall over wildly” a wild style of writing through spontaneous nature, lĭsānwăn shows stupid and clumsy a wild style of writing based on Laozhuang philosophy , Chéngshǒuchēn shows TáoYuānmíng - like “overcautious calligraphy style”, and Huángqílǎo shows seclusion ambition -like maniacal calligraphy style. In this way, the neutralization aesthetics of the 500th year of Chosunology grew up, but by showing a “crazy calligraphy” according to the person, it was possible to show that the Korean calligraphy was more diverse.

조선 서단의 翁方綱 서풍 수용과 상반된 시선 -行書를 중심으로-

본고에서는 조선 지식인과 翁方綱간에 이루어진 한중교류의 동기와 조건, 그리고 기반을 포함한 환경을 추적하기 위해 우선적으로 조선과 청의 상대국에 대한 외교상대우, 乾隆帝가 1780년대 초에 조치한 외국 사신의 공식 행사 참여 확대, 排淸사상을 가진 조선 지식인이 만주족 관료보다는 한족 지식인과 교유를 지속한 점 등, 외부 환경을 검토하였다. 아울러 조선인의 春秋大義와 한족 지식인층의 ‘문명’, ‘군자’, ‘예의’라는 조선에 관한 인식을 바탕으로, 한중 지식인이 공식교류에서 사적교류로 나아가는 과정을 검토하였다.BR 그러나 상기 조건만으로는 조선의 翁方綱서풍 수용을 발생시키기는 힘들다. 이는 1785년에 있었던 강세황과 翁方綱의 교유가 일회성으로 끝난 사실을 통해 알 수 있다. 좀 더 직접적인 조건과 계기는 조선 내부의 기제 변화인데, 송학 중심의 漢宋折衷論을 비롯해 道文分離論의 발생에 따른 蘇軾에 대한 새로운 인식이다. 조선 지식인은 한중교류에서 자신들과 유사한 사고를 가진 청 학자와 교유하기를 원했는데, 翁方綱은 가장 적합한 학자이자 예술가였다. 1790년에 있었던 박제가 및 유득공과 翁方綱간의 교유는 시작 지점에 해당한다.BR 19세기의 김정희는 북학파 등이 남긴 성과를 기반으로 한중교류를 확대해 갔다. 그와 翁方綱사이의 교유는 조선에서 翁方綱의 존재를 확실하게 심어 놓았으며, 19세기의 서단에 변화를 유발시켰다. 그러나 근기남인과 노론 내에는 翁體에 대한 비판의 시선이 표출되었다. 이들은 고전적인 서풍과 조선 전통의 서풍을 대안으로 내세웠다. 이러한 다른 시선은 옹체가 조선에 유입되는 기세는 강력했으나 서단에 광범위하게 수용되지 않았을 가능성을 예증한다.

A novel CNN structure for fine-grained classification of Chinese calligraphy styles

Chinese calligraphy is a valuable cultural heritage belonging to the world. It is liked by many people, and our mission is to endeavor to pursue calligraphy and make contributions to the business with technical means. The automatic recognition of the styles of calligraphy by image processing techniques has important meaning in arts collection and auction, etc. Traditional feature operators have some drawbacks that leave room for modern methods like convolutional neural network (CNN). However, most of the studies focus on the classification of five basic fonts that is somewhat different from styles. In this paper, four kinds of styles belonging to standard font are classified with a novel CNN structure where two squeeze-and-excitation modules that emphasize informative feature maps and suppress useless features are embedded after convolution layers, and a Haar transform layer that fuses the features is imposed before softmax layer. Experiment result shows the significance of the proposed structure over other networks in both font and style classification.

Calligraphic Characteristics and Values of Hangul Calligraphic Manuscript in 18th Century

조선시대 한글 필사본은 1443년 한글 창제 이후 최초의 한글 필사첩인 ｢상원사중창권선문(上院寺重創勸善文)｣(1464)의 시작과 더불어 궁에서부터 한글 확산의 시원을 볼 수 있다. 17세기에 이르러 궁중에서는 계축일기(1624년 경)와 같은 실 기류(實記類) 대형 한글 필사본이 궁중 인물들에 의해 써짐으로써, ‘궁체 라고 하는 독특한 한글 서체 형성의 단초가 마련되었다. 이후 18세기 영․정조시기(1724-1800년)에 이르러서는 한글 필사가 확산되었고 또한 실학적 사회풍토에 따라 서민에 이 르기까지 한글 쓰기가 확대되었다. 이러한 변화는 영․정조대에 와서 한글 문헌이 급속히 많아진 데서 알 수 있다. 이와 관련해서 본고에서는 궁체형성의 정착기로 인지되는 영․정조 시기의 왕과 왕비, 왕실 관련 사대부가 부인의 친필이라는 문헌적 고 귀성이나 서예적 가치가 큰, 3종의 한글자료(표1)를 서예적 측면의 서지사항과 문장 구성의 장법적(章法的) 특징. 문자 짜임인 결구법적(結構法的) 특징, 자모음의획형인 용필법적(用筆法的) 특징으로 나누어 고찰하고, 맺음말에서 종합적으로 18 세기 필사본 중 분석 대상 자료의 서예적 가치에 대하여 밝혀 보았다. 이와 관련하여 18세기 한글 필사 자료 ｢광산 김씨 한글 상언｣, 정조어필한글편지첩, 곤전어필의 서지 및 서체적 특징 등을 분석해 본 결과, 3종의 서예적 고찰은 한글서예사에서 한 획을 그을 수 있는 귀중한 자료들로, 각각 중요한 의의와 가 치를 지니고 있다고 할 수 있다.Hangeul manuscripts of the Joseon Dynasty began with the ｢Sangwonsa Jungchang Kwonseonmun｣(1464), the first Hangeul manuscript since Hangeul was created in 1443, and the spread of Hangeul calligraphy is originated in the Palace. In the 17th Century, a large Hangeul manuscript of authentic record, such as the Gyechuk diary (around 1624), was written by the court people in the palace, and the foundation of a unique style of Hangeul calligraphy called ‘Gungche(the court style of Hangeul calligraphy)’ was prepared. In the 18th century, during the period of King Yeongjo and Jeongjo (1724-1800), the use of Hangul was spread, and according to the social and cultural climate of the society, even the ordinary people wrote the Hangeul. This change led the rapid increase in the number of Hangeul documents in the period of King Yeongjo and Jeongjo. In this regard, in this study, I selected the three types of Hangeul documents (Table 1) with high literacy and high calligraphic value, the handwritings of the king, queen and the wife of the royal family in the period of King Yeongjo and Jeongjo, which is regarded as the time when the formation of Gungche was established. After that, I investigated the calligraphic bibliography, the characteristics of sentences disposition, the characteristics of character structure and the characteristics of wielding brush in the strokes. In conclusion, I have examined the calligraphic value of the analyzed documents among the 18th century manuscripts comprehensively.

A Study on the Vein of Calligraphic Tradition in lljung, Chungheon Kim s Gungche

일중은 가전된 궁중의 우수한 한글서체를 독학으로 익혀 자신만의 서풍을 완성한 근현대서예가이다. 그는 한글과 한자서예를 병행하되, 한글서예를 중시한다. 일중 궁체의 서맥은 순원왕후의 둘째 공주 복온공주가 일중 가문에 하가 시 가지고 온 고전자료에 근거하고 있다. 하지만 고전 임모에 있어서 온고지신의 창작정신으로 용필법은 한자필의를 사용하였고, 결구법은 궁체를 임모하여 자신만의 개성 있는 서풍을 완성한다. 일중이 서예계에 남긴 대표적인 족적은 궁체만으로는 인간의 감성을 표현하기에 부족하다고 여겨서, 한문서체의 5체처럼 한글도 그와 같이 다양한 서체로 표현하도록 훈민정음 제자원리를 근거로 고체(판본체)를 작품화한 것이다. 그러므로 한글서체를 한자서체와 비견할 수 있도록 다양하게 확대하였다. 이와 같이 고전을 중시하는 교육관은 후학들에게도 스승의 아류가 되지 않도록 가르쳤다. 그 일환으로 교과서와 서예교본 등에 소장하고 있는 왕실의 고전 자료를 아낌없이 소개하여 스스로 서법을 터득할 수 있는 토대자료를 제공한다. 아울러 한글서예의 필법에 관한 논문과 교과서 및 저서를 간행하여 일반대중에게 널리 서예를 보급하고자 하였다. 또한 5백이 훨씬 넘는 작품을 궁체정자, 궁체흘림, 고체, 한자의 5체, 한글과 한자의 혼서, 궁체의 변형체 등 다양한 서체로 다양한 규격에 발표를 하였다. 일중은 일생이 학예일치로 온고지신하는 서예가이자 교육자의 삶이었다. 일중의 교육관을 한 마디로 표현하자면 ‘청출어람’이라고 할 수 있다. 자신은 물론 후학들이 보다 발전하고 자신만의 세계를 열어갈 것을 바랐던 것인데, 현재 그의 훌륭한 제자들이 그의 예술정신의 맥을 이어 서예의 발전을 도모하는 데에서 그 가르침과 배움의 열정이 ‘저 강물처럼 밤낮으로 쉬지 않고 흐르는 것’을 볼 수 있다.lljoong is a modern calligrapher who taught himself the excellent writing style of the Korean script used at royal court, which was passed down in the family, and perfected his own style of calligraphy. Although he practiced both Korean and Chinese calligraphy, he put more emphassis on Korean calligraphy. The legacy of lljoong’s Gungche(a court style of Hangul calligraphy) originated from the classical materials that princess Boak-on, the second dauhghter of Queen Soon-won, brought when she was married to lljoong’s family. However, when it comes to imitating classical calligraphy, in the spirit to ‘review the old and learn the new’, he used a writing style of Dhinese characters os to a technique to write calligrphic work with a brush and imitated Gungche for structure, thereby completing his unique calligraphic style. lljoong’s one of the representative footprints is that he worked on the writing style of Jumminjeongeum Haerye on the abasis of the principle of creation of Humminjeongeum, so that Hangeul could be written in many calligraphic styles like the five script styles in Chinese calligraphy. He believed that Gungche alone was not enough to express various human emotions. Therefore, he expanded a writing style of Korean scripts to be comparable to that of Chinese scripts. His view of education emphasizing classics taught hes students not to be simply imitators of their teacher. For instance, he introduced the royal classical works that were possessed in textbooks and calligraphy course books to the students and provided a foundation that they could learn calligraphic styles themselves. Furthermore, he published a number of theses, textbooks and publications regarding writing techniques of Korean calligraphy to spread calligraphy among the general public. Additionally, he released more than 500 works written in various calligraphic styles, such as Gungche in printed form, Gungche cursive writing five script styles of Chinese characters, Korean mixed script, and a variant Gungche. lljoong was a calligrapher and an educator who united study and art with an attitude to ‘review the lod and learn the new.’ lljoong’s view of education can be defined as ‘Cheong-Chul-Eo-Lam’ which means students surpass their master. He wished that not only himself but also his students would develop and advance their own art styles. Now, lljoong’s students inherit his spirit and make efforts to develop calligraphy, which shows that his teaching and the students’ passion to learn ‘continuously flow day and night like a streaming river.’

Introduction

Introduction

A Consideration of the Calligraphic Theory of Creating the New in the 17th and 18th Centuries of Joseon Dynasty - Focused on Heo, Mok․Lee, Seo․Lee, Gwangsa

본 연구는 朝鮮時代에 활동한 문인서예가인 眉叟 許穆(1595-1682)․玉洞 李漵(1662-1723)․圓嶠 李匡師(1705-1777)의 서예론을 통해 17-18세기 한국서예의 創新性에 관해 조명한 글이다. 17세기에 활동했던 미수 허목의 경우, 尙古精神에 입각하여 새로운 서예창작 세계를 개척한 인물이다. 17-18세기에 걸쳐 활동했던 옥동 이서는 당시의 서풍이 정신적으로 무기력 하고 조형적인 기교에 치우쳤던 양상을 타파하려는 革新의 書藝精神을 지향한 인물이다. 18세기에 활동했던 원교 이광사는 당시 柔媚․姸媚한 조선서예의 폐단을 자각하고 「書訣」을 저술하였다. 허목은 六經古文을 통해 서예의 기원과 문자의 기원을 재인식함으로써 자기만의 독특한 서체를 창안하였고, 이서는 易經을 통해 서예의 원형과 正道를 이해함으로써 변화의 서예정신을 이끌어냈으며, 이광사 또한 六經에 바탕한 양명심학의 학문정신을 서예에 투영함으로써 생명정신이 깃든 조선풍의 서예를 강구하였다. 이러한 차원에서 학맥과 인맥의 계통성은 없지만 이 세 사람은 공히 조선의 서예미학사상 진정한 법고창신을 실현하고자 노력했던 인물로 평가될 수 있겠다. 이들의 創新論은 조선의 서예가 중국의 영향에서 벗어나 獨自的인 書藝體系를 갖추게 하는데 일조하였다. 이들의 創新論에는 중국과의 관계에서 한민족의 主體性․自矜心을 회복하려는 정신이 내재 되어 있다. 또한 당시의 암울한 사회․경제․문화에 대한 우려와 새로운 활로 및 부흥을 바라는 마음이 공통적으로 나타나 있다.This study examined the Korean calligraphy’s characteristics of creating the new through the calligraphic theory of Misu Heo, Mok․Okdong Lee, Seo․Wongyo Lee, Gwanga, who were literati calligraphers in Joseon dynasty. Misu Heo, Mok, who lived in 17th century, pioneered a new world of creating calligraphy through the spirit of pursuing the old text. Okdong Lee, Seo, who lived in 17th and 18th centuries, pursued an innovative spirit of calligraphy to change the aspect that the calligraphic style of those days was deficient in spirit and biased towards a formative technique. Wongyo Lee, Gwangsa, who lived in 18th century, recognized the negative effects of Joseon’s calligraphy and wrote Seogyeol. Heo, Mok created his own unique style of calligraphy by recognizing the origin of calligraphy and characters through the old text of the Six Classics. Lee, Seo drew the calligraphic spirit of changes by comprehending the origin and the right Way of calligraphy through the Book of Changes. Lee, Gwangsa devised Joseon’s style of calligraphy with a vital spirit by reflecting the academic spirit of Yangming school of Mind based on the Six Classics in calligraphy. Although their academic traditions and personal connections were not relevant at all, they could be evaluated as the people who tried to realize emulating the old and creating the new in the history of calligraphic aesthetics in Joseon. Their theories of creating the new contributed to make the calligraphy of Joseon have an independent system of calligraphy getting out from under the influence of China. The spirit to revive the independence and the self-esteem of the Korean race in the relationship with China is inherent in their theories. Besides, the theories contain the concerns about the grey situations of society, economy and culture of those days and the wishes to revive by seeking for a way forward.

KHASHAISH KHATH AL TSULUTS WA MUMAYYIZATUHU WA ASRARUHU

Arabic calligraphy has been recognized by Indonesian society, especially in learning Arabic texts, such as Qur’an and Hadith. Nowadays, it is not even used in a manuscript only, but also used as home and mosque decoration. There are many kinds of calligraphy letterform; one of them is called “S\ulus\” (khat S\ulus\). S\ulus\ is the most used letterform both in calligraphy books and decoration. It may caused by the flexibility of its letterform and its elasticity of the structure that makes it looks charismatic. In this research, there is a new model of calligraphy which does not only depend on the history, but also relates to the secret or the meaning contained in the forming of S\ulus\. In addition, there is also a description of a more comprehensive calligraphy style which makes the idiosyncrasies of S\ulus\ are revealed in the forming of a calligraphy style.

Training a calligraphy style classifier on a non-representative training set

Training a calligraphy style classifier on a non-representative training set

Inskripsi pada Kompleks Makam Raja-raja Mempawah, Kalimantan Barat

The objective of this paper is an examination of the religious inscriptions found in the cemetery of the kings of Mempawah, an Islamic kingdom in Ponti-anak Regency, West Kalimantan. The pioneer research focuses on an inventory and description of field data collected at the graveyard. It documents examples of the inscriptions and their transliterations which are then classified according to the contents and style of calligraphy.

Classifying fonts and calligraphy styles using complex wavelet transform

Recognizing fonts has become an important task in document analysis, due to the increasing number of available digital documents in different fonts and emphases. A generic font recognition system independent of language, script and content is desirable for processing various types of documents. At the same time, categorizing calligraphy styles in handwritten manuscripts is important for paleographic analysis, but has not been studied sufficiently in the literature. We address the font recognition problem as analysis and categorization of textures. We extract features using complex wavelet transform and use support vector machines for classification. Extensive experimental evaluations on different datasets in four languages and comparisons with state-of-the-art studies show that our proposed method achieves higher recognition accuracy while being computationally simpler. Furthermore, on a new dataset generated from Ottoman manuscripts, we show that the proposed method can also be used for categorizing Ottoman calligraphy with high accuracy.

The Calligraphy Style of Seong Su-chim

The Calligraphy Style of Seong Su-chim

文字の下部における縦画の美的強調

This study was designed to examine the aesthetic impression of vertical strokes in the block style of calligraphy. A pair of vertical strokes in characters have been analyzed for their lower parts on both sides. Regarding the relationship between the vertical strokes, a vertical stroke on the right side is more accentuated (i. e., longer) than that on the left side. The reasons for this accentuation have been studied from an aesthetic perspective. To understand the aesthetic impression objectively, an evaluation measure has been adopted ; it is composed of three elements : proportional beauty, activity, and potency. These elements were constituted in our earlier study. A survey was conducted at a public calligraphy exhibition, and participants were chosen randomly from those present. Of the persons selected for the survey, 66.7% had some experience in calligraphy, while 33.3% did not. As a result, higher appreciation levels were noted for characters with accentuated vertical strokes on the right sides.

إضافات جديدة إلى النقوش الكتابية الإسلامية المكتشفة في مصر (A New Addition to Islamic Inscriptions Recently Discovered in Egypt)

Ancient Arabic inscriptions, is a leading position among material sources for the study of Islamic monuments in terms of form and content, and distinction for its role in highlighting building context, applied arts and various types of plastic arts. The theme of this research study is two inscriptions in Egypt to be published scientifically for the first time, through two stelea not registered among the Islamic monuments, and found in Lower Egypt, in two villages belonging to the town of Abyar, one of the large villages in Kafr El Zayat, Gharbia Governorate. The first inscription is a tombstone dated to year 313 AH / 925 CE, and the second is a text of an extinct mosque of the Mamluk era Marine during the reign of Sultan al-Nasir Muhammad ibn Kalaoun, and attributed to one of his princes dating Year 730 AH / 1329 CE. This research is a study of these two inscriptions, in terms of form and content, through examing the styles of calligraphy, and what they contain concerning religious texts, advertisements and titles, with a comparative analysis of other inscriptions. The research includes five panels and three tablets. (Please note that this article is in Arabic)

Chinese Calligraphy Brush Stroke Interactive Model with Ink Diffusion Style

This paper presents an interactive method of using ink diffusion, and gradually approaching simulation brush character with style of Chinese painting and calligraphy. Try to use materials based on the Chinese ink painting: ink and rice paper, according to their characteristics to build the diffusion rules to simulate text ink. Although the initial can show the phenomenon of ink rendering, they can only show diffusion of the ink with black lines, Can not rendering a complete ink diffusion behavior, it is difficult to form a sense of artistic calligraphy. It proposes Interactive model to amend the power of the brush pen and puts forward a binding behavior of ink broken down. The results show that based on the pratice physical meaning, considering the interaction of the two materials(ink and rice paper), appropriate to improve the mathematical equation model to render the calligraphy image more in line with Chinese ink painting style.