Digital Quran Computing: Review, Classification, and Trend Analysis
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Islamic Civilization Experienced a Golden Age Under the Abbasid Dynasty, Which Ruled from the Mid 8Th Century Until the Mid 13Th Century
Included lands & peoples from parts of three continents (Europe, Africa, & Asia) Preserved, blended, & spread Greek, Roman, Indian, Persian & other civilizations. Enjoyed a prosperous golden age with advances in art, literature, mathematics, and science. Spread new learning to Christian Europe. A period of great prosperity or achievement, especially in the arts Islam began in the Arabian Peninsula in the early 7th century CE. It quickly spread throughout the Middle East before moving across North Africa, and into Spain and Sicily. By the 13th century, Islam had spread across India and Southeast Asia. The reasons for the success of Islam, and the expansion of its empire, can be attributed to the strength of the Arab armies, the use of a common language, and fair treatment of conquered peoples Arab armies were able to quickly conquer territory through the use of advanced tactics and the employment of horse and camel cavalry. Islamic rulers were very tolerant of conquered peoples, and welcomed conversion to the Islamic faith. All Muslims must learn Arabic, so they can read the Qur'an, the Islamic holy book. This common language helped to unite many different ethnic groups within the Islamic empire. It also made possible the easy exchange of knowledge and ideas. Islamic civilization experienced a golden age under the Abbasid Dynasty, which ruled from the mid 8th century until the mid 13th century. Under the Abbasids, Islamic culture became a blending of Arab, Persian, Egyptian, and European traditions. The result was an era of stunning -
Applying Arabic Kashida to Latin Letters in Display Typography
Applying Arabic Kashida to Latin Letters in Display Typography Antoine Abi Aad Ph.D., Lecturer - Coordinator, Advertising and Graphic Design, Académie Libanaise des Beaux- Arts, UOB, Lebanon [email protected] Abstract-Arabic, like Hebrew, is a script that was Syriac scripts were developed from Aramaic. Figure extensively used visually because of religious 2 represents one sentence written in Syriac and in 5 purposes. In Islam, as in Judaism, the visual Arabic . The similarities between the two scripts are representation of saints, prophets and holy people is evident. not allowed. However, the desire and the passion to create images were stronger than the fear of blasphemy. Figure 1 has three word-pictures: the first is a Masoretic illustrated text written in Hebrew1 and the other two are animals drawn with Arabic letters: the bird is written in Turkish2 while the tiger is Figure 2. Syriac and Arabic letters written in Persian3. The Kashida replaces the letter space used with Latin letters. Furthermore, it improves the appearance of justified text by visually lengthening words rather than increasing the blank between the letters. Interestingly, the Kashida can be stretched unevenly in one word, serving aesthetics needs. Figure 1. Words as image Today, people using Arabic letters are linked to many centuries of visual words, a heritage that can be transformed into display typography. It is pointless to keep reminiscing on the splendors of great eras. Artists and designers should rather look inward yet forward and produce new visuals. This paper explores display typography through the kashida, the soul of Arabic writing. Applied to Latin letters, the Figure 3. -
Islam and Women's Literature in Europe
Islam and Women’s Literature in Europe Reading Leila Aboulela and Ingy Mubiayi Renata Pepicelli Contrary to the perception that Islam is against women and against the European way of life, some Muslim women based in Europe write novels and short stories in which Islam is described as instrument of empowerment in the life of their female characters. No more or not only an element of oppression, religion is portrayed as an element of a new identity for Muslim women who live in Europe. The Translator1 and Minaret2 by Leila Aboulela (Sudan/United Kingdom) and “Concorso”3 by Ingy Mubiayi (Egypt/Italy) are three works that demonstrate how the re-positioning of religion functions in women’s lives and struggles. I will first analyze the two novels written in English by Aboulela, followed by the short story written in Italian by Mubiayi. In The Translator (1999), Aboulela tells the story of Sammar, a young Sudanese woman who follewed her husband, a promising medical student, to Scotland. After her husband dies in a car accident, Sammar is alone in this foreign country. In Aberdeen she spends several painful and lonely years, far from her home and son who, after the terrible accident, lives in Khartoum with her aunt/mother-in-low. During this time, religion, day by day, becomes her only relief. Suddenly she finds work as an Arabic to English translator for an Islamic scholar, Rae, at a Scottish University, and she falls in love with him. Though her love is reciprocated, they have a problem. Rae is not Muslim, and for Sammar, Islam shapes and affects all aspects of life. -
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. -
Volume 7: Shaping Global Islamic Discourses : the Role of Al-Azhar, Al-Medina and Al-Mustafa Masooda Bano Editor
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eCommons@AKU eCommons@AKU Exploring Muslim Contexts ISMC Series 3-2015 Volume 7: Shaping Global Islamic Discourses : The Role of al-Azhar, al-Medina and al-Mustafa Masooda Bano Editor Keiko Sakurai Editor Follow this and additional works at: https://ecommons.aku.edu/uk_ismc_series_emc Recommended Citation Bano, M. , Sakurai, K. (Eds.). (2015). Volume 7: Shaping Global Islamic Discourses : The Role of al-Azhar, al-Medina and al-Mustafa Vol. 7, p. 242. Available at: https://ecommons.aku.edu/uk_ismc_series_emc/9 Shaping Global Islamic Discourses Exploring Muslim Contexts Series Editor: Farouk Topan Books in the series include Development Models in Muslim Contexts: Chinese, “Islamic” and Neo-liberal Alternatives Edited by Robert Springborg The Challenge of Pluralism: Paradigms from Muslim Contexts Edited by Abdou Filali-Ansary and Sikeena Karmali Ahmed Ethnographies of Islam: Ritual Performances and Everyday Practices Edited by Badouin Dupret, Thomas Pierret, Paulo Pinto and Kathryn Spellman-Poots Cosmopolitanisms in Muslim Contexts: Perspectives from the Past Edited by Derryl MacLean and Sikeena Karmali Ahmed Genealogy and Knowledge in Muslim Societies: Understanding the Past Edited by Sarah Bowen Savant and Helena de Felipe Contemporary Islamic Law in Indonesia: Shariah and Legal Pluralism Arskal Salim Shaping Global Islamic Discourses: The Role of al-Azhar, al-Medina and al-Mustafa Edited by Masooda Bano and Keiko Sakurai www.euppublishing.com/series/ecmc -
Richard Ishida 2
Richard Ishida 2 The Internaonalizaon Working Group at the W3C is involved in reviewing specificaons for internaonalizaon issues – specificaons from inside and outside W3C. It also creates resources for content authors, specificaon developers and others related to internaonalizaon features of the Open Web Plaorm, including educaonal ar0cles, tests, etc. This presentaon will focus on one addi0onal area that has been gathering pace recently – the development of documents that describe text layout requirements for a given language or script. We will start by giving a brief outline of a couple of issues that illustrate the need for these documents. 3 The CSS3 Text module (hNp://www.w3.org/TR/css3-text/) will specify how to apply internaonal typographic effects to web pages. One example is text jus0ficaon, which produces straight lines down both the leU and right margins. Richard Ishida 4 Let's suppose that we want to jus0fy this Arabic text, so that there are straight lines at both leU and right margins. Generally speaking, received wisdom says that Arabic does this by stretching the baseline inside words, rather than stretching the inter-word spacing (as would be the case in English text). Richard Ishida 5 To make it simple, lets just focus on these two lines. Richard Ishida 6 One way you may hear that this can be done is by using a special baseline extension character in Unicode, U+0640 ARABIC TATWEEL. The slide shows some Arabic text from a newspaper where we have jus0fied the first two lines using tatweels in exactly the same way it was done in the newspaper. -
Computers Math. Applic. Vol. 17, No. 4~, Pp. 751-789, 1989 0097-4943/89 $3.00+0.00 Printed in Great Britain. All Rights Reserved Copyright © 1989 Pergamon Press Pie
Computers Math. Applic. Vol. 17, No. 4~, pp. 751-789, 1989 0097-4943/89 $3.00+0.00 Printed in Great Britain. All rights reserved Copyright © 1989 Pergamon Press pie IN THE TOWER OF BABEL: BEYOND SYMMETRY IN ISLAMIC DESIGN W. K. CHORBACHI Harvard University, Dudley House, Cambridge, MA 02138, U.S.A. Abstract--A personal account of an interdisciplinary inquiry into the study of Islamic geometric design and architectural decoration touching on the fields of History, History of Science, Scientific Theory of Symmetry and History of Art. The study stresses the necessity of the use of a common scientific language of Symmetry Notation in order to discuss and communicate in a precise manner about Islamic geometric pattern. To understand Islamic geometric design, it is necessary to move beyond the symmetry issues, to the step-by-step process of design. This is based on primary sources of scientific manuscripts of practical geometry written specifically for the Muslim artisans. The research demonstrates not only a direct meeting but a collaborative work between science and art in Islamic civilization. The story of arrogant men building the Tower of Babel (Genesis 11) reads as follows: "Now the whole earth had one language and few words. And as men migrated from the east, they found a plain in the land of Shin/i.r and settled there. And they said to one another, 'Come, let us make bricks, and burn them thoroughly.' And they had brick for stone, and bitumen for mortar. Then they said, 'Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves, lest we be scattered abroad upon the face of the whole earth.' And the Lord came down to see the city and the tower, which the sons of men had built. -
New Features in Mpdf V6.0
NewNew FeaturesFeatures inin mPDFmPDF v6.0v6.0 Advanced Typography Many TrueType fonts contain OpenType Layout (OTL) tables. These Advanced Typographic tables contain additional information that extend the capabilities of the fonts to support high-quality international typography: ● OTL fonts support ligatures, positional forms, alternates, and other substitutions. ● OTL fonts include information to support features for two-dimensional positioning and glyph attachment. ● OTL fonts contain explicit script and language information, so a text-processing application can adjust its behavior accordingly. mPDF 6 introduces the power and flexibility of the OpenType Layout font model into PDF. mPDF 6 supports GSUB, GPOS and GDEF tables for now. mPDF 6 does not support BASE and JSTF at present. Other mPDF 6 features to enhance complex scripts: ● improved Bidirectional (Bidi) algorithm for right-to-left (RTL) text ● support for Kashida for justification of arabic scripts ● partial support for CSS3 optional font features e.g. font-feature-settings, font-variant ● improved "autofont" capability to select fonts automatically for any script ● support for CSS :lang selector ● dictionary-based line-breaking for Lao, Thai and Khmer (U+200B is also supported) ● separate algorithm for Tibetan line-breaking Note: There are other smart-font technologies around to deal with complex scripts, namely Graphite fonts (SIL International) and Apple Advanced Typography (AAT by Apple/Mac). mPDF 6 does not support these. What can OTL Fonts do? Support for OTL fonts allows the faithful display of almost all complex scripts: (ܐSyriac ( ,(שלום) Hebrew ,(اﻟﺴﻼم ﻋﻠﻴﻢ) Arabic ● ● Indic - Bengali (ামািলকুম), Devanagari (नमते), Gujarati (નમતે), Punjabi (ਸਿਤ ਸੀ ਅਕਾਲ), Kannada ( ), Malayalam (നമെ), Oriya (ନମସ୍କର), Tamil (வணக்கம்), Telugu ( ) ನಮ ជបសួរំ నమరం ● Sinhala (ආයුෙඛා්වන්), Thai (สวัสดี), Lao (ສະບາຍດີ), Khmer ( ), Myanmar (မဂလပၝ), Tibetan (བ་ས་བ་གས།) Joining and Reordering র + ◌্ + খ + ◌্ + ম + ◌্ + ক + ◌্ + ষ + ◌্ + র + ি◌ + ◌ু = িু cf. -
Reza T. Ahmadi, 'Symbolism in Persian Rugs'
Rezu T. Ahmudi SYMBOLISM IN PERSIAN RUGS It is a common mistaketo assumethat Oriental rugs can be The above analysissuggests that form, as well as the most identihedby their designsor synbols alone.While it is true basic organization of the rug, is influenced early on by that certain symbols are ciosely associatedwith specific lo- theme. calities or weaving groups, it would take an exceptionally One of the most common themes in Persianrugs is confidentperson to identify a rug without confirming their Floral. The image of a lush gardenis one that is deeply opinion by carefully checking the weave, materials, and rooted in both the religious and cultural heritage of the dyes. This is especially true today, due to a substantial Persiandesign. In a region of the world where water is a number of high-quality Persian copies coming onto the precious commodity, it is perhapsnot surprising that the market from India, Pakistan,and the Balkan countries.This garden,with an abundanceof flora and fauna, is the Mus- article attempts to discussthe most common design ele- lim symbol of paradise.The weaverswere fufther inspired ments and symbols used in Persianrugs, their meanings, by their belief in the Islamic afterlife[3], which promises and the region of the origin. This discussionof themesand that the faithful will dwell in paradise.Floral themes are symbolswill hopefully serve as an aid in the identihcation generally divided into three categoriesof All over floral, ofPersianrugs. Garden, and Panelleddesign [4]. All over floral designs The symbols and designsof the rug do give informa- feature floral forms without the addition of a medallion, tion about its weaver. -
Tatar National and Religious Revitalization in Post-Soviet Kazan, the Republic of Tatarstan
TATAR NATIONAL AND RELIGIOUS REVITALIZATION IN POST-SOVIET KAZAN, THE REPUBLIC OF TATARSTAN A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment Of the Requirements for the Degree MASTERS OF ARTS By Liliya Nigmatullina May, 2010 Thesis Approval: Roman Cybriwsky, Thesis Advisor, Geography and Urban Studies Department Benjamin Kohl, Committee Member, Geography and Urban Studies Department Sanjoy Chakravorty, Committee Member, Geography and Urban Studies Department ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Professor Roman Cybriwsky, who showed great interest in my topic and was my guest in Kazan in summer 2010. It was an honor for me to show you Kazan. Thank you for being so helpful to me by providing your support and great ideas on how to enhance my thesis. I would like to thank my dear father and mother, who were born and raised in Kazan and witnessed both the Soviet and the post-Soviet periods. Thank you for sharing your valuable experiences and memories about the Soviet Kazan, and helping me out with some illustrations which I used for this work. I would also like to thank my husband Vladimir for being my endless source of inspiration and support. Thank you for believing in me. i TABLE OF CONTENTS Page ACKNOWLEDGEMENTS i LIST OF TABLES iv LIST OF FIGURES v LIST OF ILLUSTRATIONS vi CHAPTERS 1. INTRODUCTION 1 1.1 Introduction 1 1.2 Thesis Objectives 2 1.3 Important Facts about Tatarstan 6 1.4 Important Facts about Kazan 10 1.5 Background Information about Tatars 13 1.6 Conclusion 18 2. -
Islam, Postmodernism and Other Futures: a Ziauddin Sardar Reader
Inayatullah 00 prelims 18/11/03 15:35 Page iii Islam, Postmodernism and Other Futures A Ziauddin Sardar Reader Edited by Sohail Inayatullah and Gail Boxwell Pluto P Press LONDON • STERLING, VIRGINIA Inayatullah 00 prelims 18/11/03 15:35 Page iv First published 2003 by Pluto Press 345 Archway Road, London N6 5AA and 22883 Quicksilver Drive, Sterling, VA 20166–2012, USA www.plutobooks.com Copyright © Ziauddin Sardar 2003 © Introduction and selection Sohail Inayatullah and Gail Boxwell 2003 The right of Ziauddin Sardar, Sohail Inayatullah and Gail Boxwell to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0 7453 1985 8 hardback ISBN 0 7453 1984 X paperback Library of Congress Cataloging in Publication Data Sardar, Ziauddin. Islam, postmodernism and other futures : a Ziauddin Sardar reader / edited by Sohail Inayatullah and Gail Boxwell. p. cm. Includes bibliographical references and index. ISBN 0–7453–1985–8 (HB) –– ISBN 0–7453–1984–X (PB) 1. Islam––20th century. 2. Postmodernism––Religious aspects––Islam. 3. Islamic renewal. 4. Civilization, Islamic. I. Inayatullah, Sohail, 1958– II. Boxwell, Gail. III. Title. BP163 .S354 2003 297'.09'04––dc21 2002152367 10987654321 Designed and produced for Pluto Press by Chase Publishing Services, Fortescue, Sidmouth, England Typeset from disk by Stanford DTP Services, Towcester Printed and bound in the European Union by Antony Rowe, Chippenham and Eastbourne, England Inayatullah 00 prelims 18/11/03 15:35 Page v Contents Introduction: The Other Futurist 1 Sohail Inayatullah and Gail Boxwell I Islam 1. -
Arabic Typesetting Using a METAFONT-Based Dynamic Font
Arabic typesetting using a METAFONT-based dynamic font Amine Anane [email protected] TUG 2019 - Palo Alto, California, USA August 9-11, 2019 How the project started ? I cannot find a searchable pdf document of the Quran. PDF documents are raster images of hand-written book : cannot be searchable. big size. blurry image due to pixelation Other formats (Office Word, HTML [http://tanzil.net]) : based on Unicode text file + OpenType Font. 1 OpenType Font vs Handwritten text Much smaller font size to accommodate the widest line Increase in interword space for other lines 2 Objective Typeset an electronic copy of the Medina Mus’haf (book) re- specting calligraphic rules and having the same Font size, page number and line Why Medina book ? Quranic book is a reference in Arabic calligraphy Written by one of the most renowned Arabic calligrapher beautiful, clear, easy-to-read style each page finishes by a verse and each section (30 sections) in 20pages (15 lines each) Justification is applied extensively If objective is reached, we should reach ultimate goal : High-quality Arabic → typesetter fulfilling Arabic calligraphic rules 3 Where to start? Existing systems and technology for typesetting Arabic text Font standards such as OpenType and Apple Advanced Typography Advantage : Availability of tools Disadvantage : justification does not conform to Arabic calligraphy such as horizontal stretching using Kashida (Tatweel) ditroff/ffortid system Advantage : based on dynamic PostScript fonts Disadvantage : does not model the way stretching is done