Calligraphy Is an Important Art Form in Islam Because

Visual art related to writing

"Calligrapher" redirects here. For the novel, run into The Calligrapher.

Calligraphy (from Greek: καλλιγραφία) is a visual art related to writing. It is the pattern and execution of lettering with a pen, ink brush, or other writing musical instrument.^{[1] : 17} A contemporary calligraphic practice can be divers as "the art of giving form to signs in an expressive, harmonious, and proficient manner".^{[i] : eighteen}

Modernistic calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.^{[1] [ page needed ]} Classical calligraphy differs from blazon blueprint and non-classical hand-lettering, though a calligrapher may practice both.^{[2] [3] [4] [5]}

Calligraphy continues to flourish in the forms of wedding invitations and event invitations, font design and typography, original hand-lettered logo design, religious fine art, announcements, graphic design and commissioned calligraphic art, cut stone inscriptions, and memorial documents. Information technology is also used for props and moving images for motion picture and boob tube, and also for testimonials, nascency and death certificates, maps, and other written works.^{[six] [seven]}

Tools [edit]

A calligraphic nib, with role names

The principal tools for a calligrapher are the pen and the castor. Calligraphy pens write with nibs that may be flat, round, or pointed.^{[8] [ix] [10]} For some decorative purposes, multi-nibbed pens—steel brushes—can be used. However, works accept also been created with felt-tip and ballpoint pens, although these works practise not employ angled lines. There are some styles of calligraphy, such equally Gothic script, that crave a stub nib pen.

Writing ink is ordinarily water-based and is much less gummy than the oil-based inks used in printing. Certain specialty paper with high ink absorption and constant texture enables cleaner lines,^[11] although parchment or vellum is often used, as a knife tin be used to erase imperfections and a light-box is not needed to allow lines to pass through it. Usually, light boxes and templates are used to achieve straight lines without pencil markings detracting from the work. Ruled newspaper, either for a calorie-free box or direct use, is most often ruled every quarter or half inch, although inch spaces are occasionally used. This is the case with litterea unciales (hence the name), and college-ruled newspaper often acts as a guideline well.^[12]

Common calligraphy pens and brushes are:

• Quill
• Dip pen
• Ink brush
• Qalam
• Fountain pen
• Categorical marking

World traditions [edit]

East asia and Vietnam [edit]

Chinese calligraphy is locally called shūfǎ or fǎshū ( 書法 or 法書 in Traditional Chinese, literally "the method or law of writing");^[thirteen] Japanese calligraphy is shodō ( 書道 , literally "the style or principle of writing"); Korean calligraphy is called seoye (Korean: 서예/ 書藝 , literally "the art of writing"); and Vietnamese calligraphy is chosen thư pháp (Vietnamese: Thư pháp/書法, literally "the way of letters or words"). The calligraphy of Eastward Asian characters is an important and appreciated aspect of traditional East Asian culture.

History [edit]

Chinese soldier in calligraphy competition

In ancient Cathay, the oldest known Chinese characters are oracle bone script (甲骨文), carved on ox scapulae and tortoise plastrons, considering the rulers in the Shang Dynasty carved pits on such animals' bones and then baked them to gain auspice of military machine affairs, agricultural harvest, or even procreating and weather.^{[ clarification needed ]} During the divination ceremony, after the cracks were made, the characters were written with a castor on the shell or os to exist later carved. (Keightley, 1978). With the development of Jīnwén (Bronzeware script) and Dàzhuàn (Large Seal Script)^[14] "cursive" signs continued. Mao Gong Ding is 1 of the virtually famous and typical Bronzeware scripts in Chinese calligraphic history. Information technology has 500 characters on the statuary which is the largest number of bronze inscription nosotros accept discovered then far.^{[ clarification needed ] [fifteen]} Moreover, each archaic kingdom of current Red china had its own set of characters.

In Imperial Prc, the graphs on old steles—some dating from 200 BCE, and in Xiaozhuan mode—are still accessible ^{[ analyze ]}.

About 220 BCE, the emperor Qin Shi Huang, the first to conquer the entire Chinese bowl, imposed several reforms, amongst them Li Si's graphic symbol unification, which created a set of 3300 standardized Xiǎozhuàn (小篆) characters.^[sixteen] Despite the fact that the main writing implement of the fourth dimension was already the castor, few papers survive from this menstruation, and the master examples of this fashion are on steles.

The Lìshū style ( 隸書 / 隸书 ) (clerical script) which is more regularized, and in some ways similar to mod text, were also authorised under Qin Shi Huangdi.^{[17] [ self-published source? ]}

Between clerical script and traditional regular script, there is another transitional type of calligraphic work called Wei Bei. It started during the North and South dynasties (420 to 589 CE) and ended before the Tang Dynasty (618-907).^[xviii]

Kǎishū fashion (traditional regular script)—even so in apply today—and attributed to Wang Xizhi ( 王羲之 , 303–361) and his followers, is fifty-fifty more regularized.^[17] Its spread was encouraged by Emperor Mingzong of Later Tang (926–933), who ordered the press of the classics using new wooden blocks in Kaishu. Printing technologies here allowed a shape stabilization. The Kaishu shape of characters k years ago was mostly similar to that at the end of Imperial China.^[17] But pocket-size changes accept been made, for example in the shape of 广 which is non absolutely the same in the Kangxi Dictionary of 1716 as in modern books. The Kangxi and current shapes have tiny differences, while stroke order is still the aforementioned, according to the erstwhile style.^[19]

Styles which did non survive include Bāfēnshū, a mix of 80% Xiaozhuan style, and twenty% Lishu style. ^[17] Some variant Chinese characters were unorthodox or locally used for centuries. They were mostly understood simply always rejected in official texts. Some of these unorthodox variants, in addition to some newly created characters, compose the Simplified Chinese character prepare.

Technique [edit]

Traditional East Asian writing uses the 4 Treasures of the Study ( 文房四寶 / 文房四宝 ):^[20] ink brushes known as máobǐ ( 毛筆 / 毛笔 ) , Chinese ink, paper, and inkstones to write Chinese characters. These instruments of writing are also known as the 4 Friends of the Written report (Korean: 문방사우/文房四友, romanized: Munbang sau ) in Korea. Besides the traditional iv tools, desk-bound pads and paperweights are also used.

Many different parameters influence the final result of a calligrapher's piece of work. Physical parameters include the shape, size, stretch, and hair type of the ink brush; the color, color density and water density of the ink; equally well as the paper'south water absorption speed and surface texture. The calligrapher's technique also influences the consequence, equally the await of finished characters are influenced by the quantity of ink and h2o the calligraper lets the brush take and by the pressure, inclination, and direction of the castor. Changing these variables produces thinner or bolder strokes, and smooth or toothed borders. Eventually, the speed, accelerations and decelerations of a skilled calligrapher'southward movements aim to give "spirit" to the characters, greatly influencing their terminal shapes.

Styles [edit]

Cursive styles such every bit xíngshū ( 行書 / 行书 )(semi-cursive or running script) and cǎoshū ( 草書 / 草书 )(cursive, rough script, or grass script) are less constrained and faster, where more movements made by the writing implement are visible. These styles' stroke orders vary more, sometimes creating radically different forms. They are descended from Clerical script, in the same time as Regular script (Han Dynasty), simply xíngshū and cǎoshū were used for personal notes only, and never used as a standard. The cǎoshū style was highly appreciated in Emperor Wu of Han reign (140–187 CE).^[17]

Examples of modernistic printed styles are Song from the Song Dynasty's printing press, and sans-serif. These are not considered traditional styles, and are normally not written.

Influences [edit]

Japanese, Korean and Vietnamese calligraphy were each greatly influenced past Chinese calligraphy. Calligraphy has also influenced ink and launder painting, which is accomplished using similar tools and techniques. Calligraphy has influenced most major fine art styles in East asia, including ink and wash painting, a manner of Chinese, Japanese, and Korean based entirely on calligraphy.

The Japanese, Korean and Vietnamese people have also adult their own specific sensibilities and styles of calligraphy while incorporating Chinese influences.

Japan [edit]

Japanese calligraphy goes out of the fix of CJK strokes to besides include local alphabets such as hiragana and katakana, with specific problematics such as new curves and moves, and specific materials (Japanese paper, washi 和紙 , and Japanese ink).^[21]

Korea [edit]

The Hangeul and the existence of the circle required the cosmos of a new technique which normally confuses Chinese calligraphers.

• 

  Calligraphy past 1 of Korea'due south well-nigh historic calligraphists, Kim Jeong-hui (1786-1856).

• 

  Mod Korean calligraphy. Hangeuls meaning "Wiktionary".

Vietnam [edit]

Vietnamese calligraphy is quite special, since Vietnam has abolished the Chữ Nôm and Chữ Hán, an old Vietnamese writing system based on Chinese characters and replaced it with the Latin alphabet. However, the calligraphic traditions continue to be preserved.

Mongolia [edit]

Mongolian calligraphy is besides influenced past Chinese calligraphy, from tools to mode.

Tibet [edit]

Tibetan calligraphy is central to Tibetan culture. The script is derived from Indic scripts. The nobles of Tibet, such as the Loftier Lamas and inhabitants of the Potala Palace, were usually capable calligraphers. Tibet has been a center of Buddhism for several centuries, and that faith places a bully bargain of significance on written word. This does non provide for a large body of secular pieces, although they exercise exist (but are usually related in some way to Tibetan Buddhism). Almost all loftier religious writing involved calligraphy, including messages sent by the Dalai Lama and other religious and secular authority. Calligraphy is particularly evident on their prayer wheels, although this calligraphy was forged rather than scribed, much similar Arab and Roman calligraphy is ofttimes found on buildings. Although originally done with a reed, Tibetan calligraphers now use chisel tipped pens and markers likewise.

new movement [edit]

Temporary calligraphy is a practice of water-only calligraphy on the floor, which dries out within minutes. This practice is especially appreciated past the new generation of retired Chinese in public parks of China. These volition oft open up studio-shops in tourist towns offering traditional Chinese calligraphy to tourists. Other than writing the clients name, they also sell fine brushes as souvenirs and limestone carved stamps.

Since late 1980s, a few Chinese artists have branched out traditional Chinese calligraphy to a new territory by mingling Chinese characters with English language letters; notable new forms of calligraphy are Xu Bing's square calligraphy and DanNie's coolligraphy or cooligraphy.

Southeast Asia (except Vietnam) [edit]

Philippines [edit]

The Philippines has numerous ancient and ethnic scripts collectively chosen as Suyat scripts. Diverse ethno-linguistic groups in the Philippines prior to Spanish colonization in the 16th century upwards to the independence era in the 21st century have used the scripts with various mediums. By the end of colonialism, only four of the suyat scripts survived and keep to exist used by certain communities in everyday life. These 4 scripts are Hanunó'o/Hanunoo of the Hanuno'o Mangyan people, Buhid/Buid of the Buhid Mangyan people, Tagbanwa script of the Tagbanwa people, and Palaw'an/Pala'wan of the Palaw'an people. All four scripts were inscribed in the UNESCO Memory of the Globe Programme, under the proper noun Philippine Paleographs (Hanunoo, Buid, Tagbanua and Pala'wan), in 1999.^[22]

Due to dissent from colonialism, many artists and cultural experts have revived the usage of suyat scripts that went extinct due to Spanish persecution. These scripts beingness revived include the Kulitan script of the Kapampangan people, the badlit script of diverse Visayan ethnic groups, the Iniskaya script of the Eskaya people, the Baybayin script of the Tagalog people, and the Kur-itan script of the Ilocano people, amidst many others.^{[23] [24] [25]} Due to the diverseness of suyat scripts, all calligraphy written in suyat scripts are collectively called as Filipino suyat calligraphy, although each are distinct from each other.^{[26] [27]} Calligraphy using the Western alphabet and the Arabic alphabet are also prevalent in the Philippines due to its colonial past, but the Western alphabet and the Arabic alphabet are non considered as suyat, and therefore Western-alphabet and Standard arabic calligraphy are not considered as suyat calligraphy.^{[28] [29]}

Southward Asia [edit]

India [edit]

Religious texts are the most frequent purpose for Indian calligraphy. Monastic Buddhist communities had members trained in calligraphy and shared responsibility for duplicating sacred scriptures.^[30] Jaina traders incorporated illustrated manuscripts celebrating Jaina saints. These manuscripts were produced using cheap textile, like palm leave and birch, with fine calligraphy.^[31]

Nepal [edit]

Nepalese calligraphy is primarily created using the Ranjana script. The script itself, along with its derivatives (like Lantsa, Phagpa, Kutila) are used in Nepal, Tibet, Bhutan, Leh, Mongolia, littoral Nihon, and Korea to write "Om mani padme hum" and other sacred Buddhist texts, mainly those derived from Sanskrit and Pali.

Africa [edit]

Arab republic of egypt [edit]

Egyptian hieroglyphs were the formal writing organization used in Aboriginal Egypt. Hieroglyphs combined logographic, syllabic and alphabetic elements, with a total of some 1,000 distinct characters.

Ethiopia/Abyssinia [edit]

Ethiopian (Abyssinian) calligraphy began with the Ge'ez script, which replaced Epigraphic South Arabian in the Kingdom of Aksum, that was developed specifically for Ethiopian Semitic languages. In those languages that utilize it, such as Amharic and Tigrinya, the script is chosen Fidäl , which means script or alphabet. The Epigraphic South Arabian messages were used for a few inscriptions into the eighth century, though not whatsoever South Arabian language since Dʿmt.

Early inscriptions in Ge'ez and Ge'ez script have been dated to as early on as the 5th century BCE, and in a sort of proto-Ge'ez written in ESA since the 9th century BCE. Ge'ez literature begins with the Christianization of Ethiopia (and the civilisation of Axum) in the 4th century, during the reign of Ezana of Axum.

The Ge'ez script is read from left to right and has been adapted to write other languages, commonly ones that are also Semitic. The most widespread apply is for Amharic in Ethiopia and Tigrinya in Eritrea and Ethiopia.

Europe [edit]

History [edit]

Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about 600 BCE, in Rome, and by the first century^{[ clarification needed ]} developed into Roman royal capitals carved on stones, Rustic capitals painted on walls, and Roman cursive for daily use. In the second and 3rd centuries the uncial lettering style developed. As writing withdrew to monasteries, uncial script was found more than suitable for copying the Bible and other religious texts. It was the monasteries which preserved calligraphic traditions during the fourth and fifth centuries, when the Roman Empire fell and Europe entered the Dark Ages.^[32]

At the height of the Empire, its power reached as far as Great Britain; when the empire fell, its literary influence remained. The Semi-uncial generated the Irish Semi-uncial, the pocket-size Anglo-Saxon.^[33] Each region developed its own standards post-obit the main monastery of the region (i.e. Merovingian script, Laon script, Luxeuil script, Visigothic script, Beneventan script), which are mostly cursive and hardly readable.

Christian churches promoted the development of writing through the prolific copying of the Bible, the Breviary, and other sacred texts.^[34] Two distinct styles of writing known as uncial and half-uncial (from the Latin "uncia", or "inch") developed from a multifariousness of Roman bookhands.^[35] The 7th–9th centuries in northern Europe were the heyday of Celtic illuminated manuscripts, such as the Book of Durrow, Lindisfarne Gospels and the Book of Kells.^[36]

Charlemagne's devotion to improved scholarship resulted in the recruiting of "a crowd of scribes", according to Alcuin, the Abbot of York.^[37] Alcuin adult the style known every bit the Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783)—a Gospel book written by the scribe Godescalc.^[38] Carolingian remains the i progenitor hand from which modern booktype descends.^[39]

In the eleventh century, the Caroline evolved into the Gothic script, which was more than compact and made information technology possible to fit more text on a page.^{[40] : 72} The Gothic calligraphy styles became ascendant throughout Europe; and in 1454, when Johannes Gutenberg developed the get-go printing press in Mainz, Germany, he adopted the Gothic style, making information technology the first typeface.^{[xl] : 141}

In the 15th century, the rediscovery of sometime Carolingian texts encouraged the cosmos of the humanist minuscule or littera antiqua. The 17th century saw the Batarde script from France, and the 18th century saw the English script spread across Europe and world through their books.

In the mid-1600s French officials, flooded with documents written in various easily and varied levels of skill, complained that many such documents were beyond their ability to decipher. The Role of the Financier thereupon restricted all legal documents to three easily, namely the Coulee, the Rhonde, (known every bit Round hand in English) and a Speed Hand sometimes simply chosen the Bastarda.^[41]

While there were many great French masters at the fourth dimension, the nigh influential in proposing these hands was Louis Barbedor, who published Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel circa 1650.^[41]

With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to exist replaced by a technological refinement, the Italic Chancery Circumflessa, which in plough fathered the Rhonde and later English Roundhand.^[41]

In England, Ayres and Banson popularized the Round Hand while Snell is noted for his reaction to them, and warnings of restraint and proportionality. Still Edward Crocker began publishing his copybooks forty years before the aforementioned.^[41]

Fashion [edit]

Modern Western calligraphy

Sacred Western calligraphy has some unique features, such every bit the illumination of the showtime letter of each book or chapter in medieval times. A decorative "carpeting page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 CE) are an early on example.^[42]

Equally with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" club of the lines on the page. Each character had, and often still has, a precise stroke club.

Unlike a typeface, irregularity in the characters' size, fashion, and colors increases aesthetic value,^{[ dubious – discuss ]} though the content may exist illegible. Many of the themes and variations of today'south contemporary Western calligraphy are found in the pages of The Saint John'southward Bible. A particularly modern instance is Timothy Botts' illustrated edition of the Bible, with 360 calligraphic images as well as a calligraphy typeface.^[43]

Influences [edit]

Several other Western styles use the same tools and practices, but differ past character set up and stylistic preferences. For Slavonic lettering, the history of the Slavonic and consequently Russian writing systems differs fundamentally from the i of the Latin language. It evolved from the 10th century to today.

Islamic world [edit]

The phrase Bismillah in an 18th-century Islamic calligraphy from the Ottoman region.

Islamic calligraphy (calligraphy in Arabic is khatt ul-yad ( خط اليد ) and in Persian is Khosh-Nevisi ( خوشنویسی ) has evolved aslope Islam and the Arabic linguistic communication. As it is based on Arabic letters, some call it "Standard arabic calligraphy". However the term "Islamic calligraphy" is a more appropriate term every bit it comprises all works of calligraphy by Muslim calligraphers of different national cultures, similar Western farsi or Ottoman calligraphy, from Al-Andalus in medieval Spain to China.

Islamic calligraphy is associated with geometric Islamic art (arabesque) on the walls and ceilings of mosques besides 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.

Instead of recalling something related to the spoken word, calligraphy for Muslims is a visible expression of the highest art of all, the fine art of the spiritual world. Calligraphy has arguably become the most venerated class of Islamic art because information technology provides a link between the languages of the Muslims with the religion of Islam. The Qur'an has played an important office in the evolution and evolution of the Arabic language, and by extension, calligraphy in the Standard arabic alphabet. Proverbs and passages from the Qur'an are still sources for Islamic calligraphy.

During the Ottoman civilization, Islamic calligraphy attained special prominence. The city of Istanbul is an open up exhibition hall for all kinds and varieties of calligraphy, from inscriptions in mosques to fountains, schools, houses, etc.

Mayan civilization [edit]

Mayan calligraphy was expressed via Mayan hieroglyphs; mod Mayan calligraphy is mainly used on seals and monuments in the Yucatán Peninsula in Mexico. Mayan hieroglyphs are rarely used in authorities offices; even so in Campeche, Yucatán and Quintana Roo, calligraphy in Mayan languages is written in Latin script rather than hieroglyphs. Some commercial companies in southern United mexican states use Mayan hieroglyphs as symbols of their business. Some community associations and modern Mayan brotherhoods use Mayan hieroglyphs as symbols of their groups.

Almost of the archaeological sites in Mexico such as Chichen Itza, Labna, Uxmal, Edzna, Calakmul, etc. take glyphs in their structures. Carved stone monuments known as stele are common sources of ancient Mayan calligraphy.

Persia [edit]

Example showing Nastaliq's proportional rules

Farsi calligraphy has been present in the Persian region before Islamisation. In Zoroastrianism, cute and clear writings were always praised.^{[ citation needed ]}

It is believed^{[ by whom? ]} that ancient Farsi script was invented by about 600–500 BCE to provide monument inscriptions for the Achaemenid kings.^{[ citation needed ]} These scripts consisted of horizontal, vertical, and diagonal boom-shape letters, which is why it is chosen cuneiform script (lit. "script of nails") ( khat-e-mikhi ) in Persian. Centuries subsequently, other scripts such as "Pahlavi" and "Avestan" scripts were used in ancient Persia. Pahlavi was a center Persian script developed from the Aramaic script and became the official script of the Sassanian empire (224-651 CE).^{[ citation needed ]} The Persian-Avestan alphabet (alefbâ Pârsi Avestâyi) was created^{[ when? ]} by Lourenço Menezes D'Almeida and is an alternative script for writing the Persian and Avestan languages.^{[ citation needed ] [ original enquiry? ]}

Contemporary scripts [edit]

The Nasta'liq manner is the almost popular gimmicky style among classical Persian calligraphy scripts;^{[ citation needed ]} Western farsi calligraphers call it the "bride of calligraphy scripts". This calligraphy style has been based on such a strong construction that it has changed very little since Mir Ali Tabrizi had institute the optimum composition of the letters and graphical rules.^{[ citation needed ]} It has merely been fine-tuned during the by seven centuries.^{[ description needed ]} It has very strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece.^{[ citation needed ]}

Modernistic calligraphy [edit]

Revival [edit]

Later on printing became ubiquitous from the 15th century onward, the production of illuminated manuscripts began to turn down. ^[44] However, the ascent of printing did not hateful the finish of calligraphy.^[45] A clear stardom betwixt handwriting and more elaborate forms of lettering and script began to make its fashion into manuscripts and books at the beginning of the 16th century.

The modern revival of calligraphy began at the end of the 19th century, influenced by the aesthetics and philosophy of William Morris and the Arts and Crafts movement. Edward Johnston is regarded every bit existence the begetter of modern calligraphy.^{[46] [47] [48]} Subsequently studying published copies of manuscripts by builder William Harrison Cowlishaw, he was introduced to William Lethaby in 1898, principal of the Fundamental School of Arts and crafts, who advised him to written report manuscripts at the British Museum.^[49]

This triggered Johnston's involvement in the art of calligraphy with the apply of a broad-edged pen. He began a instruction course in calligraphy at the Key School in Southampton Row, London from September 1899, where he influenced the typeface designer and sculptor Eric Gill. He was commissioned past Frank Pick to design a new typeface for London Underground, notwithstanding used today (with pocket-size modifications).^[50]

He has been credited for reviving the art of modern penmanship and lettering single-handedly through his books and teachings – his handbook on the discipline, Writing & Illuminating, & Lettering (1906) was particularly influential on a generation of British typographers and calligraphers, including Graily Hewitt, Stanley Morison, Eric Gill, Alfred Fairbank and Anna Simons. Johnston also devised the simply crafted round calligraphic handwriting way, written with a wide pen, known today as the Foundational hand. Johnston initially taught his students an uncial hand using a flat pen angle, just afterward taught his hand using a slanted pen bending.^[51] He first referred to this manus as "Foundational Hand" in his 1909 publication, Manuscript & Inscription Letters for Schools and Classes and for the Use of Craftsmen.^[52]

Subsequent developments [edit]

Graily Hewitt taught at the Central Schoolhouse of Arts and crafts and published together with Johnston throughout the early part of the century. Hewitt was central to the revival of gilding in calligraphy, and his prolific output on type design likewise appeared between 1915 and 1943. He is attributed with the revival of gilding with gesso and gold leaf on vellum. Hewitt helped to found the Social club of Scribes & Illuminators (SSI) in 1921, probably the world's foremost calligraphy guild.

Hewitt is not without both critics^[53] and supporters^[54] in his rendering of Cennino Cennini's medieval gesso recipes.^[55] Donald Jackson, a British calligrapher, has sourced his gesso recipes from earlier centuries a number of which are not before long in English translation.^[56] Graily Hewitt created the patent announcing the honor to Prince Philip of the title of Duke of Edinburgh on November xix, 1947, the mean solar day earlier his marriage to Queen Elizabeth.^[57]

Johnston's pupil, Anna Simons, was instrumental in sparking off interest in calligraphy in Germany with her High german translation of Writing and Illuminating, and Lettering in 1910.^[46] Austrian Rudolf Larisch, a instructor of lettering at the Vienna Schoolhouse of Fine art, published six lettering books that greatly influenced High german-speaking calligraphers. Because German-speaking countries had not abandoned the Gothic mitt in printing, Gothic also had a powerful effect on their styles.

Rudolf Koch was a friend and younger gimmicky of Larisch. Koch's books, type designs, and teaching made him 1 of the most influential calligraphers of the 20th century in northern Europe and later in the U.S. Larisch and Koch taught and inspired many European calligraphers, notably Karlgeorg Hoefer, and Hermann Zapf.^[58]

Gimmicky typefaces used by computers, from word processors similar Microsoft Word or Apple Pages to professional design software packages like Adobe InDesign, owe a considerable debt to the by and to a small number of professional person typeface designers today.^{[ane] [4] [59]}

Unicode provides "Script" and "Fraktur" Latin alphabets that can be used for calligraphy. Come across Mathematical Alphanumeric Symbols.

Meet besides [edit]

• Asemic writing – Wordless open up semantic form of writing
• Bastarda – Blackletter script used in French republic and Germany
• Blackletter – Historic European script and typeface
• Book hand – Legible handwriting style
• Brāhmī script – Aboriginal script of Key and S Asia
• Calligraffiti – Calligraphy/typography/graffiti art form
• Chancery hand – Any of several styles of celebrated handwriting
• Concrete verse – Genre of poetry with lines arranged as a shape
• Court mitt – Style of handwriting used in medieval English language police force courts
• Cursive – Style of penmanship in which characters are written joined together in a flowing manner
• Handwriting – Writing created past a person with a writing implement
• History of writing – Creation and development of permanent, physical records of language
• Italic script – Semi-cursive, slightly sloped style of handwriting and calligraphy adult in Italia
• List of calligraphers
• Mathematical Alphanumeric Symbols
• Micrography – Art genre using minute Hebrew messages
• Palaeography – Report of historic handwriting
• Penmanship – Technique of writing with the paw
• Ronde script (calligraphy)
• Rotunda (script) – Medieval blackletter script
• Round paw – Blazon of handwriting
• Secretary paw – Fashion of European handwriting
• Siyah mashq – Calligraphic practice sheets
• Sofer – Jewish scribe

Notes [edit]

1. ^ ^{a b c d} Mediaville, Claude (1996). Calligraphy: From Calligraphy to Abstract Painting. Belgium: Scirpus-Publications. ISBN978-90-803325-ane-5.
2. ^ Pott, Chiliad. (2006). Kalligrafie: Intensiv Training [Calligraphy: Intensive Training] (in High german). Verlag Hermann Schmidt. ISBN978-3-87439-700-1.
3. ^ Pott, One thousand. (2005). Kalligrafie: Erste Hilfe und Schrift-Training mit Muster-Alphabeten (in High german). Verlag Hermann Schmidt. ISBN978-3-87439-675-two.
4. ^ ^{a b} Zapf, H. (2007). Alphabet Stories: A Chronicle of technical developments. Rochester, NY: Cary Graphic Arts Printing. ISBN978-i-933360-22-v.
5. ^ Zapf, H. (2006). The world of Alphabets: A kaleidoscope of drawings and letterforms. CD-ROM
6. ^ Propfe, J. (2005). SchreibKunstRaume: Kalligraphie im Raum Verlag (in German). Munich: Callwey Verlag. ISBN978-3-7667-1630-nine.
7. ^ Geddes, A.; Dion, C. (2004). Miracle: a celebration of new life. Auckland: Photogenique Publishers. ISBN978-0-7407-4696-iii.
8. ^ Reaves, Grand.; Schulte, East. (2006). Brush Lettering: An instructional transmission in Western brush calligraphy (Revised ed.). New York: Design Books.
9. ^ Child, H., ed. (1985). The Calligrapher'due south Handbook. Taplinger Publishing Co.
10. ^ Lamb, C.M., ed. (1976) [1956]. Calligrapher's Handbook. Pentalic.
11. ^ "Paper Properties in Standard arabic calligraphy". calligraphyfonts.info. Archived from the original on 2017-03-xiii. Retrieved 2007-06-01 .
12. ^ "Calligraphy Islamic website". Calligraphyislamic.com. Archived from the original on 2012-06-08. Retrieved 2012-06-18 .
13. ^ 書 (Taiwanese) being here used as in 楷书 (Cantonese) or 楷書 (Taiwanese), significant "writing style",^{[ clarification needed ]}
14. ^ Categories of Calligraphy – Seal Script. (northward.d.). Retrieved May 30, 2018, from http://www.cityu.edu.hk/lib/about/effect/ch_calligraphy/seal_eng.htm
15. ^ The Bell and Cauldron Inscriptions-A Feast of Chinese Characters: The Origin and Development_Mao Gong Ding. (north.d.). Retrieved May 30, 2018, from https://www.npm.gov.tw/exh99/bell/3_en.htm
16. ^ Fazzioli, Edoardo (1987). Chinese Calligraphy: From Pictograph to Ideogram: The History Of 214 Essential Chinese/Japanese Characters. Calligraphy by Rebecca Hon Ko. New York: Abbeville Press. p. xiii. ISBN978-0-89659-774-7. And and then the first Chinese dictionary was born, the Sān Chāng, containing iii,300 characters
17. ^ ^{a b c d eastward} R. B. Blakney (2007). A Course in the Analysis of Chinese Characters. Lulu.com. p. 6. ISBN978-ane-897367-11-7. ^{[ self-published source ]}
18. ^ Z. (n.d.). Chinese Calligraphy. Retrieved May 30, 2018, from http://www.ebeijing.gov.cn/Culture/Culture_Recommendation/t1068241_2.htm
19. ^ 康熙字典 [Kangxi Zidian] (in Chinese). 1716. p. 41. . See, for case, the radicals 卩 , 厂 , or 广 . The 2007 common shape for those characters does not clearly prove the stroke order, merely one-time versions, visible on p. 41, clearly allow the stroke lodge to be determined.
20. ^ Li, J. (Ed.). (n.d.). "Four treasures of Study" tour. Retrieved May 30, 2018, from http://www.chinadaily.com.cn/m/anhui/travel/2010-06/02/content_9948922.htm
21. ^ Suzuki, Yuuko (2005). An introduction to Japanese calligraphy. Tunbridge Wells: Search. ISBN978-1-84448-057-9.
22. ^ "Philippine Paleographs (Hanunoo, Buid, Tagbanua and Pala'wan) – United Nations Educational, Scientific and Cultural Arrangement". www.unesco.org.
23. ^ "'Educate starting time': Filipinos react to Baybayin as national writing system". 27 Apr 2018.
24. ^ "House panel approves Baybayin every bit national writing system". 24 Apr 2018.
25. ^ "5 things to know about PH's pre-Hispanic writing arrangement". ABS-CBN News. 25 April 2018.
26. ^ Stanley Baldwin O. Run across (15 August 2016). "A primer on Baybayin". gmanetwork.com.
27. ^ Michael Wilson I. Rosero (26 Apr 2018). "The Baybayin bill and the never ending search for 'Filipino-ness'". CNN Philippines. Archived from the original on 5 May 2020.
28. ^ "ten Perfectly Awesome Calligraphers You Need To Check Out". brideandbreakfast.ph. 12 Baronial 2015.
29. ^ Deni Rose M. Afinidad-Bernardo (ane June 2018). "How to ace in script lettering". philstar.com.
30. ^ Salomon, Richard (1998). Indian Epigraphy: A Guide to the Report of Inscriptions in Sanskrit, Prakrit, and the Other Indo-Aryan Languages. Oxford, New York: Oxford University Press. ISBN978-0195099843.
31. ^ Mitter, Partha (2001). Indian Art. Oxford, New York: Oxford University Printing. p. 100. ISBN9780192842213.
32. ^ Sabard, V.; Geneslay, V.; Rébéna, L. (2004). Calligraphie latine: Initiation [Latin calligraphy: Introduction] (in French) (7th ed.). Paris. pp. 8–11. ISBN978-2-215-02130-8.
33. ^ Insular Manuscripts: Paleography Section 6: Language on the Page in Insular Manuscripts Layout and Legibility. (northward.d.). Retrieved May thirty, 2018, from https://www.vhmml.org/school/lesson/insular-paleography/layout
34. ^ de Hamel, C. (2001a) The Book: A History of the Bible. Phaidon Press
35. ^ Knight 1998: 10
36. ^ Trinity College Library Dublin 2006; Walther & Wolf 2005; Chocolate-brown & Lovett 1999: xl; Backhouse 1981
37. ^ Jackson 1981: 64
38. ^ Walther & Wolf 2005; de Hamel 1994: 46–48
39. ^ de Hamel 1994: 46
40. ^ ^{a b} Lovett, Patricia (2000). Calligraphy and Illumination: A History and Practical Guide. Harry Northward. Abrams. ISBN978-0-8109-4119-9.
41. ^ ^{a b c d} Joyce Irene Whalley (c. 1980). The Art of Calligraphy, Western Europe & America.
42. ^ Brown, M.P. (2004). Painted Labyrinth: The Globe of the Lindisfarne Gospel (Revised ed.). British Library.
43. ^ The Bible: New Living Translation. Tyndale Firm Publishers. 2000.
44. ^ de Hamel 2001a; de Hamel 1986
45. ^ Zapf 2007; de Hamel 2001a; Gilderdale 1999; Gray 1971
46. ^ ^{a b} "The Legacy of Edward Johnston". The Edward Johnston Foundation.
47. ^ Cockerell 1945; Morris 1882
48. ^ "Font Designer — Edward Johnston". Linotype GmbH. Retrieved 5 November 2007.
49. ^ such as the Ramsey Psalter, BL, Harley MS 2904
50. ^ The Eric Gill Society: Associates of the Society: Edward Johnston
51. ^ Gilderdale 1999
52. ^ Baines & Dixon 2003: 81
53. ^ Tresser 2006
54. ^ Whitley 2000: 90
55. ^ Herringham 1899
56. ^ Jackson 1981: 81
57. ^ Hewitt 1944-1953
58. ^ Cinamon 2001; Kapr 1991
59. ^ Henning, Westward.E. (2002). Melzer, P. (ed.). An Elegant Paw: The Golden Age of American Penmanship and Calligraphy. New Castle, Delaware: Oak Knoll Press. ISBN978-1-58456-067-eight.

References [edit]

• Oscar Ogg (1954), Three classics of Italian Calligraphy, an entire reissue of the writing books of Arrighi, Giovanni Antonio Tagliente & Palatino, with an introduction, Dover publications inc. New York, United states of america
• John Howard Benson & Arthur Graham Carrey (1940), The Elements of Lettering, John Stevens, Newport, Rhode Island, printed by: D. B. Updike at The Merrymount Press, Boston
• John Howard Benson (1955), The first writing book, an English translation & fascimile text of Arrighi's Operina, the first Transmission of the chancery manus, London Oxford University press, Geoffrey Cumberlege New Haven Yale University Press.
• Berthold Wolpe (1959), A newe writing booke of copies, 1574, A fascimile of a unique Elisabethan Writing book in the Bodleian Library Oxford, Panthera leo and Unicorn Printing, London
• Diringer, D. (1968). The Alphabet: A Key to the History of Mankind. Vol. 1 (third ed.). London: Hutchinson & Co. p. 441.
• Fairbank, Alfred, (1975). Augustino Da Siena, the 1568 edition of his writing volume in fascimile, David R. Godine (Boston) & The Merrion Press, (London), ISBN 0-87923-128-9
• A. S. Osley (editor), Calligraphy and Paleography, Essays presented to Alfred Fairbank on his 70th birthday, October House Inc. New York, 1965.
• Fraser, M.; Kwiatowski, Due west. (2006). Ink and Gold: Islamic Calligraphy. London: Sam Fogg Ltd.
• Gaze, T. & Jacobson, M. (editors), (2013). An Anthology Of Asemic Handwriting. Uitgeverij. ISBN 978-90-817091-7-0
• Johnston, Eastward. (1909). "Plate half dozen". Manuscript & Inscription Letters: For schools and classes and for the employ of craftsmen. San Vito Printing & Double Elephant Press. tenth Impression
• Marns, F.A (2002) Diverse, copperplate and grade, London
• Mediavilla, Claude (2006). Histoire de la calligraphie française (in French). Paris: Michel. ISBN978-2-226-17283-9.
• Shepherd, Margaret (2013). Larn World Calligraphy: Find African, Arabic, Chinese, Ethiopic, Greek, Hebrew, Indian, Japanese, Korean, Mongolian, Russian, Thai, Tibetan Calligraphy, and Beyond. Crown Publishing Group. p. 192. ISBN978-0-8230-8230-8.
• Annemarie Schimmel, Calligraphy and Islamic Culture. New York University Printing. 1984. ISBN978-0-8147-7830-2.
• Wolfgang Kosack: Islamische Schriftkunst des Kufischen Geometrisches Kufi in 593 Schriftbeispielen. Deutsch – Kufi – Arabisch. 380 Seiten. Verlag Christoph Brunner, Basel 2014, ISBN 978-3-906206-10-iii.

External links [edit]

• Calligraphy alphabets, a list of major historical scripts (simplified version) at Lettering Daily
• Calligraphy at Curlie
• French Renaissance Paleography This is a scholarly maintained site that presents over 100 carefully selected French manuscripts from 1300 to 1700, with tools to decipher and transcribe them.

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Source: https://en.wikipedia.org/wiki/Calligraphy

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