DOCSLIB.ORG

Using Arabic Calligraphy to Learn Arabic Typography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Using Arabic Calligraphy to Learn Arabic Typography INTERRELATED HISTORIES, PRACTICES, AND FORMS OF COMMUNICATION: USING ARABIC CALLIGRAPHY TO LEARN ARABIC TYPOGRAPHY Banan Ahmed Al-Ansari, BA, MFA Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2015 APPROVED: Nadine Kalin, Co-Major Professor Nada Shabout, Co-Major Professor Adetty Pérez de Miles, Committee Member Denise Baxter, Chair of the Department of Art Education and Art History Greg Watts, Dean of the College of Visual Arts and Design Costas Tsatsoulis, Dean of the Toulouse Graduate School Al-Ansari, Banan Ahmed. Interrelated Histories, Practices, and Forms of Communication: Using Arabic Calligraphy to Learn Arabic Typography. Doctor of Philosophy (Art Education), August 2015, 419 pp., 95 figures, 33 tables, references, 217 titles. In this self-study inquiry, I studied my graphic design practice in a professional setting, focusing on my Arabic typographic skills and knowledge. My roles as researcher and design educator indivisibly intertwined throughout this research. I worked to understand the value of calligraphy in art and design education, highlighting its power as an art form while also emphasizing its pedagogical potentials. I utilized two theoretical approaches suited to investigating and understanding the Arabic letters as text and image, Ibn Arabi’s science of letters, or 'ilm al-hurûf, and semiotics. I applied my theoretical framework to three distinctive artworks to investigate their uses of the Arabic letters, contemplating their roles in modern and contemporary Arab art. Essential to my research was learning Arabic calligraphy through two approaches: 1) I attended a calligraphy workshop, and 2) I conducted three self-study experimentations. I analyzed my experience through visual representations, commentary, and narrative inquiry to assess Arabic calligraphy’s significance for graphic design education. As such, my experimentations confirmed Arabic calligraphy’s aesthetic and educational value. I employed my findings to create a contemporary Arabic typography curriculum suitable for university-level students. This curriculum is built on learning theories such as visual culture analysis, semiotics, constructivist theory, play principles, and critical thinking, aiming to situate Arabic calligraphy as a modern learning model significant for typography education. Finally, I constructed a basic course for Arabic typography to support students’ development of Arabic typography fluency. Copyright 2015 by Banan Ahmed Al-Ansari ii ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Nadine Kalin. Thank you for giving me the trust and space that I needed and for your continuous academic, intellectual, and emotional support throughout the process. Dr. Nada Shabout, thank you for your tremendous feedback and insights that enhanced the quality of this research. Dr. Adetty Pérez de Miles, thank you for your guidance and for helping me to become a better scholar. Dr. Terry Barrett, thank you for teaching me how to describe and interpret my art and design works. Thank you all for a memorable journey. I would like to acknowledge Jassim Mi’raj, who taught me the art of Arabic calligraphy and how to understand the nature of the Arabic alphabet. Pascal Zoghbi, for generously sharing your experience with Arabic typography, thank you. Additionally, I am greatly thankful to Kuwait University, for granting me a generous scholarship that supported me financially throughout my PhD work. I am looking forward to joining Kuwait University in my aspiration to enhance typography and graphic design education to the best it can be. Last but not least, I would not be here without the endless encouragement of my family, which I thank God daily for having. I am very blessed to have them around me, drawing support from their patience, understanding, and never-failing faith. It is with enormous pride and affection that I dedicate this dissertation to my mother, Maymouna, for her ongoing love and support, and to the memory my father, Ahmed Al-Ansari, who was a firm supporter through the seemingly endless years of studying in the United States. I offer a special thank you to my husband, Mohamed, for his cheerful involvement and his continued loving, intellectual support. I will always be indebted to you. And to my daughters, Janna and Lujain, who inspire me to be the best version of myself, my life would not be the same without your grace and love. iii TABLE OF CONTENTS ACKNOWLEDGMENTS............................................................................................................. iii LIST OF FIGURES.........................................................................................................................x LIST OF TABLES.........................................................................................................................xv CHAPTER 1. INTRODUCTION....................................................................................................1 Prologue .................................................................................................................................1 Chapter Overview.......................................................................................................................2 Introduction.................................................................................................................................3 Purpose of the Study...................................................................................................................4 Justification of the Study ............................................................................................................5 Significance of the Study............................................................................................................9 Researcher’s Position in This Self-Study .................................................................................11 Brief Overview of the Study.....................................................................................................12 Theoretical Framework of the Study ........................................................................................13 Research Methodology .............................................................................................................15 Translating the Outcomes of Self-Study Research ..............................................................17 Background of the Study ..........................................................................................................18 Arabic Calligraphy in Art Education ...................................................................................19 Connections between Calligraphy and Typography ............................................................20 Typography Education.........................................................................................................22 Carrying Out this Self-Study Research.....................................................................................24 CHAPTER 2. RESEARCH METHODOLOGY...........................................................................28 Research Problem .....................................................................................................................28 Research Questions...................................................................................................................29 Discussion of Methodology......................................................................................................29 Research Participants................................................................................................................33 Data Collection Instruments .....................................................................................................34 Calligraphy Workshop .........................................................................................................34 Experimental Calligraphic and/or Typographic Art Projects ..............................................35 Commentary on Experimental Calligraphic and/or Typographic Projects..........................37 iv Interviews.............................................................................................................................38 Data Analysis Methods.............................................................................................................39 Visual Representations.........................................................................................................40 Narrative Inquiry..................................................................................................................40 Conceptual Framework.............................................................................................................42 Contexts of my Conceptual Framework ..............................................................................43 Conclusion ................................................................................................................................44 CHAPTER 3. THEORETICAL LENS FOR EXAMINING THE ARABIC ALPHABET..........45 'Ilm Al-Hurûf ............................................................................................................................45 Arabic Writing in Islamic Culture .......................................................................................46 Sufism ..................................................................................................................................46
Load more

Recommended publications
  • Download Fedra Sans Bold
    Download fedra sans bold click here to download Download Fedra Sans Std Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans Expert Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download Fedra Sans SC Bold For Free, View Sample Text, Rating And More On www.doorway.ru Download fedra sans std bold font with bold style. Download free fonts for Mac, Windows and Linux. All fonts are in TrueType format. Download fedra sans std bold font for Windows, Linux and Mac free at www.doorway.ru - database of around free OpenType and TrueType. Fedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Book ItalicFedra Sans Book ItalicMacromedia Fontographer 4. 1 Fedra Sans Pro-Bold. Download OTF. Similar. Fedra Sans Pro-Bold Italic · Fedra Sans Pro Light Light · Fedra Sans Pro Normal Normal · Fedra Sans Pro-Book. Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German. Fedra Sans: Fedra Sans is a contemporary sans serif, highly legible, font Fedra Sans Medium Italic px Fedra Sans Bold Italic px . Is there any reason to make new fonts when there are so many already available for downloading? Fedra Sans is a typeface designed by Peter Bil'ak, and is available for Desktop. Try, buy and download these fonts now! Bold SC Italic. Büroflächen. Bold TF. Font Fedra Sans Std Normal font download free at www.doorway.ru, the largest collection of cool fonts for Fedra Sans Std Bold Italic font.
    [Show full text]
  • Alif and Hamza Alif) Is One of the Simplest Letters of the Alphabet
    ’alif and hamza alif) is one of the simplest letters of the alphabet. Its isolated form is simply a vertical’) ﺍ stroke, written from top to bottom. In its final position it is written as the same vertical stroke, but joined at the base to the preceding letter. Because of this connecting line – and this is very important – it is written from bottom to top instead of top to bottom. Practise these to get the feel of the direction of the stroke. The letter 'alif is one of a number of non-connecting letters. This means that it is never connected to the letter that comes after it. Non-connecting letters therefore have no initial or medial forms. They can appear in only two ways: isolated or final, meaning connected to the preceding letter. Reminder about pronunciation The letter 'alif represents the long vowel aa. Usually this vowel sounds like a lengthened version of the a in pat. In some positions, however (we will explain this later), it sounds more like the a in father. One of the most important functions of 'alif is not as an independent sound but as the You can look back at what we said about .(ﺀ) carrier, or a ‘bearer’, of another letter: hamza hamza. Later we will discuss hamza in more detail. Here we will go through one of the most common uses of hamza: its combination with 'alif at the beginning or a word. One of the rules of the Arabic language is that no word can begin with a vowel. Many Arabic words may sound to the beginner as though they start with a vowel, but in fact they begin with a glottal stop: that little catch in the voice that is represented by hamza.
    [Show full text]
  • BIBLIOGRAPHY N Most Diacritic Letters ( C, I, Ö, ˙ S, Etc.) Are
    BIBLIOGRAPHY Notes Most diacritic letters (ˇc,ı, ö, s, etc.) are alphabetized as separate letters after ˙ the base letter. The abbreviation “ms. NAN KR” stands for “manuscript in the Archives of the National Center for Manasology and Artistic Culture of the National Academy of Sciences of the Kyrgyz Republic,” followed by the archival shelf number. In the Commentary and footnotes, the form of some of the bibliographic citations of mid-nineteenth century Kirghiz epics (recorded by Radlof from anonymous bards, published under separate headings in his Obraztsy/ Proben [1885], and re-edited by Hatto in The Manas of Wilhelm Radlof [1990]) is nearly identical to the citations of analytical articles on the texts that Hatto published in various journals. These are the references to the Radlovian epic texts, which were coincidentally published by Hatto in his re-edition: “Almambet, Er Kökˇcöand Ak-Erkeˇc”;“Birth of Manas”; “Birth of Semetey”; “Bok-Murun”; “Köz-Kaman”; and “Semetey.” Hatto’s articles are cited as: Hatto, “Almambet, Er Kökˇcöand Ak Erkeˇc”;Hatto, “Birth of Manas”; Hatto, “Köz-Kaman”; Hatto, “Semetey.” Listed below by language are references to the main bibliographic entries of the dictionaries, grammars, and other aids used, sometimes without citation, in the preparation of this edition: Arabic Baranov, Arabsko–russkii slovar’ Steingass, A Learner’s Arabic–English Dictionary Baˇskir Akhmerov, Bashkirsko–russkii slovar’ Chaghatay Budagov, Sravnitel’nyi slovar’ turetsko–tatarskikh narechii Shcherbak, Grammatika starouzbekskogo iazyka Radlov, Opyt/Versuch Eastern Turki Jarring, An Eastern Turki–English Dialect Dictionary (Uyghur) Nadzhip, Uigursko–russkii slovar’ Kalmyk Ramstedt, Kalmückisches Wörterbuch Kirghiz Batmanov, Sovremennyi kirgizskii iazyk Hu and Imart, A Kirghiz Reader Imart, Le kirghiz Iudakhin, Kirgizsko–russkii slovar’ ———, Russko–kirgizskii slovar’ 374 bibliography Kirghiz (cont.) Muqambaev, Qır ˙gıztilinin dialektologiyalıq sözdügü, vol.
    [Show full text]
  • Pembangunan Modal Insan Melalui Konsep Tazkiyah Al-Nafs
    Jurnal Maw‟izah Jilid 3 2020 : 17-27 eISSN: 2636-9354 PEMBANGUNAN MODAL INSAN MELALUI KONSEP TAZKIYAH AL-NAFS Siti Nur Aafifah Hashim [email protected] Pusat Kajian Pengurusan Pembangunan Islam (ISDEV) Universiti Sains Malaysia, Pulau Pinang Abstrak Pembentukan nilai dan kecemerlangan modal insan bertunjangkan konsep tazkiyah al-nafs merupakan asas terpenting yang menentukan keberhasilan dan kejayaan dalam proses pembangunan insan. Mekanisme pelaksanaan konsep tazkiyah al-nafs yang akan dibincangkan dalam kertas kerja ini merujuk kepada amalan yang dilaksanakan oleh insan yang berupaya menyingkirkan penyakit berkaitan hati serta berupaya merealisasikan nilai-nilai akhlak mulia. Kajian kualitatif ini meninjau literatur kajian konsep tazkiyah al-nafs dengan menggunakan kaedah analisis dokumen dan berpandukan jadual matrik “Systematic Literature Review (SLR)”. Pencarian artikel diakses dari saluran jalur lebar menggunakan bit data MyJurnal, Scopus dan Google Scholar. Analisis sistematik berkenaan memfokuskan kepada isu yang melibatkan hubungan konsep tazkiyah al-nafs dalam pembentukan modal insan. Hasil analisis terhadap dokumen yang terpilih didapati terdapat 21 artikel yang memenuhi objektif dan kriteria kajian sebagaimana telah ditentukan. Menerusi artikel tersebut telah mengemukakan aplikasi konsep tazkiyah al-nafs untuk pembangunan modal Insan melalui empat proses yang dimulai dengan peningkatan keimanan, seterusnya, kawalan tingkah laku, pembentukan akhlak dan akhirnya melahirkan insan kamil. Kata kunci: Tazkiyah al-Nafs. Pembangunan
    [Show full text]
  • International Journal of Multicultural and Multireligious Understanding (IJMMU) Vol
    Comparative Study of Post-Marriage Nationality Of Women in Legal Systems of Different Countries http://ijmmu.com [email protected] International Journal of Multicultural ISSN 2364-5369 Volume 2, Issue 6 and Multireligious Understanding December, 2015 Pages: 41-57 Public Perception on Calligraphic Woodcarving Ornamentations of Mosques; a Comparison between East Coast and Southwest of Peninsula Malaysia Ahmadreza Saberi1; Esmawee Hj Endut1; Sabarinah Sh Ahmad1; Shervin Motamedi2,3; Shahab Kariminia4; Roslan Hashim2,3 1 Faculty of Architecture, Planning and Surveying, Universiti Teknologi MARA, Shah Alam, 40450, Malaysia Email: [email protected] 2 Department of Civil Engineering, Faculty of Engineering, University of Malaya, 50603, Kuala Lumpur, Malaysia 3 Institute of Ocean and Earth Sciences (IOES), University of Malaya, 50603, Kuala Lumpur, Malaysia 4 Department of Architecture, Faculty of Art, Architecture and Urban Planning, Najafabad Branch, Islamic Azad University, Najafabad, Isfahan, Iran Abstract Woodcarving ornamentation is considered as, a national heritage and can be found in many Malaysian mosques. Woodcarvings are mostly displayed in three different motifs, namely floral, geometry and calligraphy. The application of floral and geometry motifs is to convey an abstract meaning of Islamic teachings to the viewers. However, the calligraphic decorations directly express the messages of Allah almighty or the sayings of the prophets to the congregations. Muslims are the main users of mosques as these are places for prayers as well as other religious and community activities. Therefore, the assessment of users’ opinion about this type of decoration needs to be investigated. This paper aims to evaluate the perception of two groups of mosque users on the calligraphic woodcarving ornamentations from two regions, namely the East Coast and Southwest of Peninsula Malaysia.
    [Show full text]
  • 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.
    [Show full text]
  • Multimedia Foundations Glossary of Terms Chapter 8 – Text
    Multimedia Foundations Glossary of Terms Chapter 8 – Text Ascender Any part of a lowercase character that extends above the x-height, such as in the vertical stem of the letter b or h. Baseline And imaginary plane where the bottom edge of each character’s main body rests. Baseline Shift Refers to shifting the base of certain characters (up or down) to a new position. Capline An imaginary line denoting the tops of uppercase letters. Counter The enclosed or partially enclosed open area in letters such as O and G. Descender Any part of a character that extends below the baseline; such as in the bottom stroke of a y or p. Flush Left The alignment of text along a common left-edged line. Font Family A collection of related fonts – all of the bolds, italics, and so forth, in their various sizes. Gridline A matrix of evenly spaced vertical and horizontal lines that are superimposed overtop of the design window as a visual aid for aligning objects. Justification The term used when both the left and right edges of a paragraph are vertically aligned. Kerning A technique that selectively varies the amount of space between a single pair of letters and accounts for letter shape; allowing letters like A and V to extend into one another’s virtual blocks. Leading A term used to define the amount of space between vertically adjacent lines of text. Legibility Refers to a typeface’s characteristics and can change depending on font size. The more legible a typeface, the easier it is at a glance to distinguish and identify letters, numbers, and symbols.
    [Show full text]
  • The Ogham-Runes and El-Mushajjar
    c L ite atu e Vo l x a t n t r n o . o R So . u P R e i t ed m he T a s . 1 1 87 " p r f ro y f r r , , r , THE OGHAM - RUNES AND EL - MUSHAJJAR A D STU Y . BY RICH A R D B URTO N F . , e ad J an uar 22 (R y , PART I . The O ham-Run es g . e n u IN tr ating this first portio of my s bj ect, the - I of i Ogham Runes , have made free use the mater als r John collected by Dr . Cha les Graves , Prof. Rhys , and other students, ending it with my own work in the Orkney Islands . i The Ogham character, the fair wr ting of ' Babel - loth ancient Irish literature , is called the , ’ Bethluis Bethlm snion e or , from its initial lett rs, like “ ” Gree co- oe Al hab e t a an d the Ph nician p , the Arabo “ ” Ab ad fl d H ebrew j . It may brie y be describe as f b ormed y straight or curved strokes , of various lengths , disposed either perpendicularly or obliquely to an angle of the substa nce upon which the letters n . were i cised , punched, or rubbed In monuments supposed to be more modern , the letters were traced , b T - N E E - A HE OGHAM RU S AND L M USH JJ A R . n not on the edge , but upon the face of the recipie t f n l o t sur ace ; the latter was origi al y wo d , s aves and tablets ; then stone, rude or worked ; and , lastly, metal , Th .
    [Show full text]
  • Technical Reference Manual for the Standardization of Geographical Names United Nations Group of Experts on Geographical Names
    ST/ESA/STAT/SER.M/87 Department of Economic and Social Affairs Statistics Division Technical reference manual for the standardization of geographical names United Nations Group of Experts on Geographical Names United Nations New York, 2007 The Department of Economic and Social Affairs of the United Nations Secretariat is a vital interface between global policies in the economic, social and environmental spheres and national action. The Department works in three main interlinked areas: (i) it compiles, generates and analyses a wide range of economic, social and environmental data and information on which Member States of the United Nations draw to review common problems and to take stock of policy options; (ii) it facilitates the negotiations of Member States in many intergovernmental bodies on joint courses of action to address ongoing or emerging global challenges; and (iii) it advises interested Governments on the ways and means of translating policy frameworks developed in United Nations conferences and summits into programmes at the country level and, through technical assistance, helps build national capacities. NOTE The designations employed and the presentation of material in the present publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The term “country” as used in the text of this publication also refers, as appropriate, to territories or areas. Symbols of United Nations documents are composed of capital letters combined with figures. ST/ESA/STAT/SER.M/87 UNITED NATIONS PUBLICATION Sales No.
    [Show full text]
  • Al-Ghazali's Integral Epistemology: a Critical Analysis of the Jewels of the Quran
    American University in Cairo AUC Knowledge Fountain Theses and Dissertations 6-1-2017 Al-Ghazali's integral epistemology: A critical analysis of the jewels of the Quran Amani Mohamed Elshimi Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Elshimi, A. (2017).Al-Ghazali's integral epistemology: A critical analysis of the jewels of the Quran [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/618 MLA Citation Elshimi, Amani Mohamed. Al-Ghazali's integral epistemology: A critical analysis of the jewels of the Quran. 2017. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/618 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. School of Humanities and Social Sciences Al-Ghazali’s Integral Epistemology: A Critical Analysis of The Jewels of the Quran A Thesis Submitted to The Department of Arab and Islamic Civilization in partial fulfillment of the requirements for the degree of Master of Arts by Amani Elshimi 000-88-0001 under the supervision of Dr. Mohamed Serag Professor of Islamic Studies Thesis readers: Dr. Steffen Stelzer Professor of Philosophy, The American University in Cairo Dr. Aliaa Rafea Professor of Sociology, Ain Shams University; Founder of The Human Foundation NGO May 2017 Acknowledgements First and foremost, Alhamdulillah - my gratitude to God for the knowledge, love, light and faith.
    [Show full text]
  • Arabic Alphabet - Wikipedia, the Free Encyclopedia Arabic Alphabet from Wikipedia, the Free Encyclopedia
    2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia Arabic alphabet From Wikipedia, the free encyclopedia َأﺑْ َﺠ ِﺪﯾﱠﺔ َﻋ َﺮﺑِﯿﱠﺔ :The Arabic alphabet (Arabic ’abjadiyyah ‘arabiyyah) or Arabic abjad is Arabic abjad the Arabic script as it is codified for writing the Arabic language. It is written from right to left, in a cursive style, and includes 28 letters. Because letters usually[1] stand for consonants, it is classified as an abjad. Type Abjad Languages Arabic Time 400 to the present period Parent Proto-Sinaitic systems Phoenician Aramaic Syriac Nabataean Arabic abjad Child N'Ko alphabet systems ISO 15924 Arab, 160 Direction Right-to-left Unicode Arabic alias Unicode U+0600 to U+06FF range (http://www.unicode.org/charts/PDF/U0600.pdf) U+0750 to U+077F (http://www.unicode.org/charts/PDF/U0750.pdf) U+08A0 to U+08FF (http://www.unicode.org/charts/PDF/U08A0.pdf) U+FB50 to U+FDFF (http://www.unicode.org/charts/PDF/UFB50.pdf) U+FE70 to U+FEFF (http://www.unicode.org/charts/PDF/UFE70.pdf) U+1EE00 to U+1EEFF (http://www.unicode.org/charts/PDF/U1EE00.pdf) Note: This page may contain IPA phonetic symbols. Arabic alphabet ا ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع en.wikipedia.org/wiki/Arabic_alphabet 1/20 2/14/13 Arabic alphabet - Wikipedia, the free encyclopedia غ ف ق ك ل م ن ه و ي History · Transliteration ء Diacritics · Hamza Numerals · Numeration V · T · E (//en.wikipedia.org/w/index.php?title=Template:Arabic_alphabet&action=edit) Contents 1 Consonants 1.1 Alphabetical order 1.2 Letter forms 1.2.1 Table of basic letters 1.2.2 Further notes
    [Show full text]
  • 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.
    [Show full text]