DOCSLIB.ORG

This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. THE SPIRITUAL IN ISLAMIC CALLIGRAPHY: A PHENOMENOLOGICAL APPROACH TO THE CONTEMPORARY TURKISH CALLIGRAPHIC TRADITION Francesco Stermotich Cappellari Ph.D. University of Edinburgh 2017 DECLARATION This is to certify that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: Francesco Stermotich-Cappellari ii ABSTRACT The aim of this thesis is to highlight the relevance of the spiritual dimension of Islamic calligraphy, focusing on the Turkish contemporary calligraphic tradition. Academic literature in the field has been dominated by the tendency to focus on the objects produced by artists, neglecting their personal experience and understanding of the art. Using a phenomenological perspective, I give voice to calligraphers I met in Istanbul and Konya, letting emerge their views on issues related to the relationship between art, religion and spirituality. I explore several themes that have arisen from the interviews I conducted with fifteen exponents of the contemporary tradition, organised as a journey from the most material aspects to the most abstract ones. The exploration of these themes starts with the symbolism hidden behind physical calligraphic tools, moving to the analysis of the symbolism of the point and the letters, elementary forms of the calligraphic creations. The bodily dimension has been taken into consideration, showing how the control of the body is an essential aspect of the calligraphic practice. The art can be conceived as a pathway requiring the development of several moral qualities and virtues, all necessary to improve both the artistic capabilities and the spiritual maturity of the practitioner, until the achievement of the authorisation to teach the art. Once a calligrapher reaches the license and the mastery of the art, they bear the responsibility of transmitting the art to others. Furthermore, they become agents of remembrance, portraying in the most beautiful manners the verses of the Quran in social religious spaces, as in mosques, or on calligraphic panels acquired by individual collectors or museums. Since their artwork focuses on representing religious materials, including the remembrance of the attributes of God and of Prophet Muhammad, their art is considered an act of worship. Finally, I investigate what the meaning of Divine Beauty is in Islamic calligraphy, presenting the perspectives of Turkish calligraphers and analysing the connections between the artistic form and the meaning of the contents of specific calligraphic works. In conclusion, I have not limited my analysis to the formal aspects of the art, rather I have highlighted the existential dimension of a complex iii practice which connects together several aspects of the human being, including the spiritual dimension. Thus, the traditional stream of Turkish contemporary calligraphy can be seen as a full manifestation of a culture, a lifestyle and a religion. iv TABLE OF CONTENTS Declaration ................................................................................................................... ii Abstract ....................................................................................................................... iii Table of Illustrations ................................................................................................. viii Acknowledgements ..................................................................................................... xi Note on the Transliteration of Arabic and Turkish .................................................... xii INTRODUCTION.............................................................................................................. 1 Islamic Calligraphy and the Spiritual ....................................................................... 2 An Introduction to Islamic Calligraphy ............................................................... 3 The Spiritual in Islamic Calligraphy.................................................................... 8 Islamic Calligraphy in the Contemporary Era .................................................. 11 Methodology and Fieldwork .................................................................................. 13 The Philosophical Foundations of IPA .............................................................. 14 Fieldwork and Applied Methodology ................................................................. 17 Overview of the Thesis .......................................................................................... 19 1. THE OTTOMAN AND TURKISH CALLIGRAPHIC TRADITION ...................................... 22 1.1 Ottoman Calligraphy ........................................................................................ 24 1.2 Nineteenth and early Twentieth Centuries ....................................................... 30 1.3 The Contemporary Turkish Calligraphic Tradition ......................................... 37 Conclusion ............................................................................................................. 53 2. SPIRITUAL MATTER: THE PEN, THE INK, AND THE PAPER ........................................ 56 2.1 The Pen ............................................................................................................ 63 2.2 The Ink ............................................................................................................. 75 2.3 The Paper ......................................................................................................... 84 v Conclusion ............................................................................................................. 94 3. SPIRITUAL FORMS: THE POINT, THE LETTERS AND THE WORDS .............................. 96 3.1 The Point .......................................................................................................... 97 3.2 The Letters ..................................................................................................... 101 3.3 Words into Art and Calligraphic Compositions ............................................. 109 3.3.1 Calligraphic Exercises ............................................................................ 110 3.3.2 Karalama ................................................................................................ 113 3.3.3 Calligraphic Compositions ..................................................................... 115 Conclusion ........................................................................................................... 118 4. THE TERRESTRIAL AND CELESTIAL BODIES .......................................................... 120 4.1 The Terrestrial Body ...................................................................................... 121 4.1.1 Embodiment of the Divine Word ............................................................. 122 4.1.2 Struggle, Control, and Physical Empowerment ...................................... 125 4.1.3 Adab ........................................................................................................ 134 4.2 Health and Art ................................................................................................ 140 4.3 The Oneiric Body ........................................................................................... 145 Conclusion ........................................................................................................... 153 5. THE PATH .............................................................................................................. 155 5.1 The Relationship with the Master .................................................................. 158 5.2 The Calligraphic Training and the Development of Virtues .......................... 166 5.2.1 Self-Cultivation in Relation to the Practice of the Art ............................ 167 5.2.2 The Relationship with other Human Beings............................................ 175 5.2.3 From the Self to the Universal Self: the Relationship with the Divine ... 178 5.3 The Ijāza as the End and the Beginning of the Path ...................................... 183 Conclusion ........................................................................................................... 191 6. REMEMBRANCE AND WORSHIP ............................................................................. 194 vi 6.1 Remembering the Creator .............................................................................. 198 6.2 Remembering the Messenger ......................................................................... 203 6.3 Worship and Calligraphy
Load more

Recommended publications
  • A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me.
    [Show full text]
  • DIRECTOR's REPORT September 20, 2018 FIGHTING COMMUNITY
    DIRECTOR’S REPORT September 20, 2018 FIGHTING COMMUNITY DEFICITS On July 10th, OLBPD hosted its annual Family Fun and Learning Day in Cleveland at the Lake Shore Facility. OLBPD hosted 85 registered patrons who enjoyed tours of the Sensory Garden and OLBPD, as well as guest speakers Tracy Grimm from the SLO Talking Book Program, and Beverly Cain, State Librarian of Ohio. OLBPD patrons also enjoyed listening to keynote speaker Romona Robinson, WOIO-TV evening news anchor and author of “A Dirt Road to Somewhere,” and Pam Davenport, Network Consultant from the National Library Service. Exhibitors were also on hand from the Cleveland Sight Center, Guiding Eyes for the Blind, Magnifiers and More, and others offering products and services of interest to our patrons. FORMING COMMUNITIES OF LEARNING Summer Reading Club The 2018 Summer Lit League (SLL), formerly known as Summer Reading Club provided reading and engagement activities that were thematically aligned with Yinka Shonibare’s art installation The American Library. The exhibit in Brett Hall was a part of FRONT International: Cleveland Triennial for Contemporary Art, a regional art show held in Cleveland, Oberlin and Akron. Key aspects of the collaborative exhibition include international cultural diversity, immigration and the ever- changing political climate of an American City. As it relates to summer programming, the key aspects FRONT built the programmatic foundation of the SLL programmatic experience. Programming content focused on world art and culture activities. Throughout the summer program, participants participated in a variety of enrichment activities that promoted the arts, inclusion, community building, reading, writing and other forms of creative expression.
    [Show full text]
  • Value and Vulnerability Assessment of a Historic Tomb for Conservation
    Hindawi Publishing Corporation e Scientific World Journal Volume 2014, Article ID 357679, 10 pages http://dx.doi.org/10.1155/2014/357679 Research Article Value and Vulnerability Assessment of a Historic Tomb for Conservation Aykut Erkal and Hakki O. Ozhan Department of Civil Engineering, Istanbul Kemerburgaz University, Mahmutbey Dilmenler Caddesi, No. 26, Bagcilar, 34217 Istanbul, Turkey Correspondence should be addressed to Aykut Erkal; [email protected] Received 27 February 2014; Revised 7 June 2014; Accepted 18 June 2014; Published 7 July 2014 Academic Editor: Dimitrios G. Aggelis Copyright © 2014 A. Erkal and H. O. Ozhan. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Monumental tombs reflect various social, cultural, architectural, religious, economic, and engineering features of a community. However, environmental weathering, natural disasters, poor maintenance, vandalism, and misuse unfortunately pose serious threats to these cultural assets. Historic monuments are often exposed to the highest risk due to their vulnerability. The Ottoman- style Nis¸ancı Hamza Pas¸a tomb located in Karacaahmet Cemetery, Istanbul, the largest and oldest public cemetery in Turkey, is a case in point. The tomb consisting of six granite columns and a brick dome supported by six arches was constructed in 1605. Cracks, material loss, and decay as a result of adverse environmental effects and past earthquakes are evident. Therefore, this paper analyses the overall value of the tomb with respect to its historical, communal, evidential, and aesthetic aspects. Using the finite element approach and data on the tomb’s material properties, a structural analysis under the self-weight and a time history analysis based on the earthquake ground motion data recorded in Duzce, Turkey, in November 1999 were conducted to encourage the conservation of this tomb and similar cultural heritage assets all over the world.
    [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]
  • The Unique Ibn Al-Bawwab Manuscript
    D.S.RICE THE UNIQUE IBN AL-BAWWAB MANUSCRIPT The text of the Qur'an was recorded'in the Prophet's lifetime, on a variety of writing materials.These inclu- ded such diverse materials as papyrus, parchment, leather, limestone slabs,shoulder blades,ribs, saddle- boards, &c. The Qur'an was first collectedunder the first caliph, Abu Bakr, and codified under the third caliph, 'Uthman. It was, in all likelihood, written on parchmenton both occasions,although one sourcehas it that papyrus was used on the first. All the early Qur'ans which have so far come to light are on parchment, with the exception of a small frag- ment on papyruswhich is attributed to the third Islamic century. The earliest Qur'ans w\ich have reachedus are written in variety of angular scripts commonly-but inappro- priately-describedas Kufic. No completeKufic Qur'an has, to my knowledge, survived and none is provided with a colophon. It is still a matter of controversy whether we possessany Qur'an which can be dated to the first century of the Muslim era.There are a number "signatures" of coclices which bear of the caliphs 'Uthman and 'Ali, but these have been shown to be later pious forgeries. Thanks to the studies published in the course of the last fifty years,especially by B. Moritz, J. von Karaba- cek, G. Bergstrásser,O. Pretzl,A. Grohmann, N. Abbott, and G. Levi della Vida much progresshas been made in the provisional dating of certain Kufic Qur'ans to the late first and to the second century of the Hijra.
    [Show full text]
  • The Study of the Principles of Philosophy of Islamic Art Hasti Safavi University of Exeter Stocker Road, Exeter, United Kingdom, EX4 4PY
    RUDN Journal of Philosophy 2020 Vol. 24 No. 1 23—38 Âåñòíèê ÐÓÄÍ. Ñåðèÿ: ÔÈËÎÑÎÔÈß http://journals.rudn.ru/philosophy DOI: 10.22363/2313-2302-2020-24-1-23-38 Research Article / Научная статья The Study of the Principles of Philosophy of Islamic Art Hasti Safavi University of Exeter Stocker Road, Exeter, United Kingdom, EX4 4PY Abstract. The main discourse on Islamic art in the western academia primarily views Islamic art through the lens of art history and sociology of art. Islamic art is considered as sacred in Islamic civilisation and culture, and derives its sanctity from the Quran as the fountain from which it has emanated, which Muslims consider to be the Word of God, much like Christ is the Word of God in Christianity. The Quran has played a formative role in shaping the trinity of sacred Islamic art which is Quranic recitation, calligraphy and architecture. However, another approach which not only is viable but can be considered of great importance to the study of Islamic art, is the employment and utilisation of principles of Islamic philosophy and Sufism which were the pillars of the intellectual milieu in which a given work of art is produced. The application of such principles allows a more comprehensive and detailed interpretation of a work of art. In this paper, the primary Islamic philosophy and sufi doctrines that will be dis- cussed are the concepts of imagination, colour, and calligraphy and examples of their applica- tion in the khānqāh and shrine ensemble of Shaykh Ṣafi al-Din Ardabīlī in Ardabil, Iran. Keywords: Islamic art, philosophy, Sufism, Quran, imagination, colour, calligraphy, Shaykh Ṣafi al-Din Ardabīlī’s shrine ensemble Article history: The article was submitted on 03.10.2019 The article was accepted on 06.11.2020 For citation: Hasti Safavi.
    [Show full text]
  • Qadi-S and the Political Use of the Mazalim Jurisdiction Under the ’Abbasids Mathieu Tillier
    Qadi-s and the political use of the mazalim jurisdiction under the ’Abbasids Mathieu Tillier To cite this version: Mathieu Tillier. Qadi-s and the political use of the mazalim jurisdiction under the ’Abbasids. Christian Lange, Maribel Fierro. Public Violence in Islamic Societies: Power, Discipline, and the Construction of the Public Sphere, 7th–18th Centuries CE, Edinburgh University Press, pp.42-66, 2009. hal- 00587370v1 HAL Id: hal-00587370 https://hal.archives-ouvertes.fr/hal-00587370v1 Submitted on 21 Apr 2011 (v1), last revised 8 Aug 2011 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. GRAHAMS IMAC:Users:Graham:Public:GRAHAM'S IMAC JOBS:11654 - EUP - LANGE:EB0038 - LANGE TXT GRAHAMS IMAC:Users:Graham:Public:GRAHAM'S IMAC JOBS:11654 - EUP - LANGE:EB0038 - LANGE TXT 2 Qāḍīs and the political use of the maẓālim jurisdiction under the ʿAbbāsids Mathieu Tillier* The role of the maẓālim jurisdiction is generally regarded as threefold by present-day historians. As ordinary courts – all grievances could in theory be brought to the caliph – the maẓālim symbolized the discretion- ary authority vested in the ruler who could, at any time, exercise a power that he would ordinarily delegate to other judges.
    [Show full text]
  • TURKISH 7Ilrkre
    white red BULGA.RiA o 15 150 km GEORGIA " ..•. -•.. _ •."-_.­ j o 15 l;,Oml AZ£.R. '" "._, .. " ." Samsun'··· "._" .._--._---_.. -­ ...... -"'.-" Trabzon " Erzurum ·Ballkesir .Sivas .Manisa -.".. .~. ," "'... Turkey • Kayseri •Konya ,_Antalya Aege-a n fR,AQ {vf.editer"'ranean ~Sea CYPRLJS..<"c r" '-:.,." ~ ciaworldbook.com SECTION 41 Vol. II r? TVRK1SH AlPHA13£T AA Aa Bb Cc <;9 Dd Ee Ff Gg Gg Hh Ii 1i Jj Kk LI Mm Nn 00 05 Pp Rr Ss ~§ Tt Uu 00 Vv Yy Zz OSMANll (OTTOMAN) SCR1PT . .J oJ ~ .f.j ~ L L ~ t '"A". '-'• I .~ c b t 9 c l t P tJ ­ '. h .. {. (. 10 b~,.,r,j'~ J J J , ;, Z r j ~ I. ~ stl s j •• ... ~. •• ~c) ~ ~ ~ ~ 0~ c) U ~ J y h "of n m I Ii g k ~ f , Y r f.. 0 '\ V 1\ ~ 0 2 3 4 5 6 7 8 9 {.>,. .. "(l~ omniglot.com II TURKISH 7ilrkre HISTORICAL BACKGROUND The land which we now know as Turkey is a land of dichotomies that has had an illustrious, as well as an infamous past, filled with great tolerance and even greater intolerance. It is the land of Troy, birthplace of Homer, Santa Claus and tulips, tryst place of Marc Anthony and Cleopatra, kingdoms of Croesus and Midas, the rescuer of the Jews, the perpetrator of the world's first genocide, and the refuge of the Virgin Mary. The words of Julius Caesar's veni, vidi, vici resounded across Amasya, east of Ankara in 47 BCE. Thus, it is a land of antiquity and iniquity, although Anatolia, the western area of Asian Turkey, is one of the oldest inhabited (as early as 7500 BCE) lands, Turkey, as a national state, is one of the youngest (1918).
    [Show full text]
  • Studies and Sources in Islamic Art and Architecture
    STUDIES AND SOURCES IN ISLAMIC ART AND ARCHITECTURE SUPPLEMENTS TO MUQARNAS Sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. VOLUME IX PREFACING THE IMAGE THE WRITING OF ART HISTORY IN SIXTEENTH-CENTURY IRAN BY DAVID J. ROXBURGH BRILL LEIDEN • BOSTON • KÖLN 2001 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Roxburgh, David J. Prefacing the image : the writing of art history in sixteenth-century Iran / David J. Roxburgh. p. cm. — (Studies and sources in Islamic art and architecture. Supplements to Muqarnas, ISSN 0921 0326 ; v. 9) Includes bibliographical references and index. ISBN 9004113762 (alk. papier) 1. Art, Safavid—Historiography—Sources. 2. Art, Islamic—Iran– –Historiography—Sources. 3. Art criticism—Iran—History—Sources. I. Title. II. Series. N7283 .R69 2000 701’.18’095509024—dc21 00-062126 CIP Die Deutsche Bibliothek - CIP-Einheitsaufnahme Roxburgh, David J.: Prefacing the image : the writing of art history in sixteenth century Iran / by David J. Roxburgh. – Leiden; Boston; Köln : Brill, 2000 (Studies and sources in Islamic art and architectue; Vol 9) ISBN 90-04-11376-2 ISSN 0921-0326 ISBN 90 04 11376 2 © Copyright 2001 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers MA 01923, USA.
    [Show full text]
  • A Novel Algorithm for Generating an Islamic Pattern Based on Cellular Automata
    A Novel Algorithm for Generating an Islamic Pattern Based on Cellular Automata Seyed mir Hadi MinoofamA, 8am BastanfardAA AIslamic 8ad Bniversity of Ca8vin, minoofamDqa8viniau.ac.ir AAIslamic 8ad Bniversity of 5araj, bastanfardDkiau.ac.ir Abstract: Creating algorithmic approach for generating Islamic as square kufic or rectangular kufic, because its letters are patterns extends its applications in architectures, decoration and art. Researchers face with many challenges in developing like rectangles and squares and are often used in tiling algorithms such as providing a simple and applicable architectures. Ma'qeli is an rabic name refers to this fact algorithm to describe complex patterns. This paper used that the design and reading of these patterns require very cellular automata with extended Moor neighborhood to much thinking %12'. Ma'qeli script is based on square tiles generate Ma' eli script patterns. The proposed approach leads to accurate and scalable algorithm for generating words like chess cells and written using geometrical shapes like pattern. The joint and disjoint pattern shapes of the letters will squares, rhombuses, rectangles, parallel and intersecting be reserved in this approach. The results of implemented lines and usually with lack of points %1,'. 6ecause algorithms demonstrate our approach with a variety of Ma' eli Ma'qeli scripts are patterns based on square grids, patterns. therefore we can construct these patterns with cellular automata %15'%16'%11'. This paper describes a new Keywords: Cellular automata, Islamic patterns, Ma'qeli method for generating 3Muhammad3 pattern in Ma'qeli script, Non-photo realistic rendering, Pattern formation. script with cellular automata. 7e use extended Moore 1.
    [Show full text]
  • Intelligent System for Persian Calligraphy Learning a Thesis
    INTELLIGENT SYSTEM FOR PERSIAN CALLIGRAPHY LEARNING A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF APPLIED SCIENCES OF NEAR EAST UNIVERSITY By BEHZAD SOROUSH BARHAGHI In Partial Fulfillment of the Requirements for the Degree of Master. of Science Ill Information Systems Engineering NICOSIA, 2016 Behzad Soroush Barhaghi: Intelligent System for Persian Calligraphy Learn We certify this thesis is satisfactory for the award of the Degree of Master of Science in Information Systems Engineering Examining Committee in charge: Prof. Dr. Fahreddin Sa~rvisor, NEU . -- ~ Assist.Prof.~ Şekeroğlu,Departmentoflnf. SystemsEng.,NEU Assist.Prof. Dr. Y"sal Ever, SoftwareEng.Dept.,NEU I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name,Lastname: ~u.J. ~JrdvJt /3eır~· Signature: L Date: 19.r,ıl ACKNOWLEDGEMENTS It is not possible to thank everybody who has had an involvement with me during the course of my studies for the degree of MSc. However, there are some people who must be thanked. Firstly, I would like to thank my supervisor Prof. Dr. Fahreddin Sadikoglu for his guidance and encouragement throughout the thesis. He has walked me through all the stages of the writing of my thesis. Without his consistent and illuminating instruction, this thesis could not have reached its present form. I would like to thank especially to my lovely wife whose encouragement and support has helped me achieve beyond my greatest expectations.
    [Show full text]
  • Istanbul Emre Öktem
    SECRET ISTANBUL EMRE ÖKTEM ALSO AVAILABLE: JONGLEZ PUBLISHING HISTORIC PENINSULA HISTORIC PENINSULA THE FRAGMENTS OF THE BLACK STONE 23 OF THE KAABA OF MECCA Sokollu Mosque Şehit Mehmet Paşa Yokuşu, nos. 20-24 Kadırga area Also accessible from Su Terazisi Sokak Street • Tram: Sultanahmet Fragments short distance from Sultanahmet, the brought back Sokollu Mosque is a little masterpiece from Mecca in A by the architect Sinan that possesses a feature that is almost entirely unique in the the 16th century Islamic world. Under the entrance door, on the mihrab (recess at the back indicating the direction of Mecca), on the minber (pulpit) “and under the dome of the minber, are four pieces of the Black Stone (Hajar al Aswad, Hacer-i Esved in Turkish) of Mecca. The Black Stone of Mecca is an ovoid sacred stone measuring 30 In 605, the Kaaba was damaged in a fire and the Black Stone broken up by centimetres in diameter which is situated one and a half meters above the the heat. After it had been cleaned up, there were disputes among the chiefs ground in the south-east corner of the Kaaba (the large cube located in the of the tribes of Mecca over the question of who would be given the honour of centre of the mosque in Mecca). According to tradition, the Black Stone of putting the Black Stone back in its place. The conflict threatened to degenerate Mecca was placed there by Abraham. Legend has it that this antediluvian stone into warfare, and so it was eventually decided that the task would be carried was originally white, but became black following the flood at the time of Noah, out by the young Muhammed, who had not yet become the Prophet but who as the waters had been polluted by the sins of mankind.
    [Show full text]