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Persian Calligraphy Persian Calligraphy This book is an exploratory adventure to defamiliarize calligraphy, especially Persian Nastaliq calligraphic letterforms, and to look beyond the tradition that has always considered calligraphy as pursuant to and subordinate to linguistic practices. Calligraphy can be considered a visual communicative system with different means of meaning-making or as a medium through which meaning is made and expression is conveyed via a complex grammar. This study looks at calligraphy as a systematic means in the field of visual communication, rather than as a one- dimensional and ad hoc means of providing visual beauty and aesthetic enjoyment. Revolving around different insights of multimodal social semiotics, the volume relies on the findings of a corpus study of Persian Nastaliq calligraphy. The research emphasizes the way in which letterforms, regardless of conventions in language, are applied as graphically meaningful forms that convey individual distinct meanings. This volume on Persian Nastaliq calligraphy will be inspirational to visual artists, designers, calligraphers, writers, linguists, and visual communicators. With an introduction to social semiotics, this work will be of interest to students and scholars interested in visual arts, media and communication, and semiotics. Mahdiyeh Meidani is a visual artist and a researcher in the field of Media and Visual Communication. After studying Fine Arts and Media and Communication, she has worked as a graphic designer, text artist, and calligrapher and has held indi- vidual and group exhibitions in calligraphy, typography, and lettering. She has also taught Persian calligraphy and lettering. Her main research interests include multi- modality and social semiotics, as well as visual semiotics and materiality of fine arts and writing. Iranian Studies Edited by: Homa Katouzian, University of Oxford and Mohamad Tavakoli, University of Toronto. Since 1967 the International Society for Iranian Studies (ISIS) has been a leading learned society for the advancement of new approaches in the study of Iranian society, history, culture, and literature. The new ISIS Iranian Studies series published by Routledge will provide a venue for the publication of original and innovative scholarly works in all areas of Iranian and Persianate Studies. 34 Iran and the Nuclear Question History and the Evolutionary Trajectory Mohammad Homayounvash 35 The True Dream An English Translation with Facing Persian Text Ali-Ashgar Seyed-Gohrab and Senn McGlinn 36 Popular Iranian Cinema before the Revolution Family and Nation in Filmfarsi Pedram Partovi 37 Persian Literature and Modernity Production and Reception Edited by Hamid Rezaei Yazdi and Arshavez Mozafari 38 Rival Conceptions of Freedom in Modern Iran An Intellectual History of the Constitutional Revolution Ahmad Hashemi 39 Iran and Palestine Past, Present, Future Seyed Ali Alavi 40 Persian Calligraphy A Corpus Study of Letterforms Mahdiyeh Meidani For more information about this series, please visit: https://www.routledge.com/ middleeaststudies/series/IRST Persian Calligraphy A Corpus Study of Letterforms Mahdiyeh Meidani First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 Mahdiyeh Meidani The right of Mahdiyeh Meidani to be identified as author of this work has been asserted by her in accordance with Sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Every effort has been made to contact copyright-holders. Please advise the publisher of any errors or omissions, and these will be corrected in subsequent editions. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-0-367-20904-9 (hbk) ISBN: 978-0-429-26404-7 (ebk) Typeset in Times New Roman by Swales & Willis, Exeter, Devon, UK This effort is dedicated to my parents, whose being is a crown of honor on my head and whose name is a reason for being. Their endless love keeps pushing me forward all the time. Contents List of illustrations viii Foreword xxi Preface xxii 1 Introduction 1 2 Corpus analysis 20 3 Graphetic analysis 39 4 Toward semiotics of Nastaliq calligraphy 95 5 Holliday’s triple metafunctions: as requisite of any semiotic mode – in Nastaliq calligraphy 147 6 Toward a distinct feature analysis 249 7 Conclusion 294 References 320 Index 326 Illustrations Figures 1.1 Individual letterforms 11 1.2 Second letterforms 11 1.3 Extensive letterforms 12 1.4 Compound forms based on convention 12 1.5 Compound forms regardless of compositional principles 12 2.1 Outline of the descriptive schema of SHAPE as Johannessen (2010, 2013) suggests 23 ye) 25) ﻯ / ﻳ / ﻴ / ﯽ Individual form of letter 2.2 2.3 A simple shape with only one structural variant 28 2.4 Analysis of the form of dot, counted as an individual letterform in the corpus, based on the SHAPE system of analysis 29 S] 30] /ﺳﯿﻦ Analysis of the extensive form of letter 2.5 2.6 Outline of the ENSHAPENING system suggested by Johannessen (2010) 31 2.7 Coordination between black positive figures with blankness that creates blank white negative figures 34 2.8 Siyah-Mashq/black practice created (in 1926) by Mohammad Hossein Seifi Qazvini (1868–1935) 35 2.9 Positive/conjoined/massive 35 2.10 Positive/compound/massive 35 2.11 Positive/conjoined/contour 36 2.12 Positive/compound/contour 36 2.13 An individual dotted letterform 36 3.1 The three factors of affordance involved in the process of creating graphic forms as Johannessen (2010) suggests 40 3.2 The mutual relation between material substance and reader/per- ceiver of the performance 43 3.3 Siyah-Mashq (black practice graphed by the author), in which the letterforms are spontaneously chosen, with no predeter- mined plan of being literally meaningful 45 Illustrations ix 3.4 Different specific bodily actions (within two-time points of 1 be, IPA: [b]) 49) ﺏ and 2) used in performance of the letter 3.5 The role of the body in preparation/generation of materials, tools, and conventions that contribute in performance 50 3.6 Contribution between the factors of affordance in performance and their final interaction with perceiver that causes communi- cative differences 51 S 54/ﺳﯿﻦ The extensive circular form of letter 3.7 N 54/ﻥ The single circular form of letter 3.8 3.9 A piece of Chalipa (i.e., a common compositional style in Nastaliq) graphed by Gholamhossein Amirkhani (2000, p. 35) 56 3.10 A single row-line with three extensive letterforms, while each letterform is placed at the same distance from the baseline, exactly tangent on the baseline 56 3.11 A single row-line with one extensive letterform, while the first and last letterform are placed above the baseline 57 3.12 A piece of Nastaliq before and after punctuation 57 3.13 Virtual descent 59 3.14 Virtual ascent 59 3.15 A single row-line Nastaliq by Gholamhossein Amirkhani, retrieved from Heravi, 1544, the chanting letters of Imam-Ali/ p. 14)60 ,2008) ﻭﺮﻫ ﯼ ﻠﻋ ﯽ ﻣﯿ ﻪﺑﻪﺑﻂﺧﺮ : ﻠﻋ ﯽ ﺮﻀﺣﺕ ﯼ ﺕﺎﺟﺎﻨﻣﻪﻣﺎﻧ 3.16 A double baseline, performed by Gholamhossein Amirkhani, retrieved from Heravi, 1544 (2008, p. 15) 61 3.17 A piece of Chalipa (i.e., a common style of Nastaliq compos- ition) performed by Mir Emad Hassani Qazvini (1554–1615) 62 3.18 Two different ways of approaching calligraphic forms toward the assumptive baseline that result in two different overall appearances of the row-line 63 produced ,ﺡ/and H ,ﻥ/Individual circular forms of letters: N 3.19 through Chalipa software 64 created by using ink and reed pen 65 ,ﺏ/Individual form of letter B 3.20 a] through using two different reed pens] ﺍ/ﺁ Performing letter 3.21 (indeed with two different angles of broad-edged pen) that result in the same angle (cross-section) in the letterform in the case of using two different angles of hand movement (according to the hand comfort of the calligrapher) 67 a] 68] ﺍ/ﺁ Letter 3.22 b] 72] ﺏ The extensive form of letter 3.23 Y] performed through three]/ﯼ Individual form of letter 3.24 movements 73 a] through using dot as a] ﺍ/ﺁ Measuring the form of the letter 3.25 standard criterion/indicator 79 3.26 Different sectors of the Nastaliq reed pen 80 3.27 The back sectors of the Nastaliq reed pen 82 x Illustrations 3.28 Different sectors of the edge-cross of the reed pen; each area is applicable in writing particular parts of a given letterform, during the process of tracing 82 b] 88] ﺏ Level L displayed in the extensive form of letter 3.29 3.30 Level “–L” 89 3.31 Various micro events in performing the extensive form of letter b] 89] ﺏ 3.32 Using different sectors of the pen during tracing/performing letterforms 90 3.33 An event composed of several tiny events produced by different hand pressures and different densities of ink over substance 91 4.1 A piece of Poem by Hafez written in two different styles of Iran- ian and Indian Nastaliq, retrieved and reproduced from Zekr- goo (2005) 101 4.2 A comparison of configuration of two words written in different styles of Nastaliq, Iranian and Indian 101 4.3 A complex sign or a multimodal text (e.g., poster) in a specific context 103 4.4 The interaction among writing system, social-cultural contexts, configuration of calligraphy, sign-making, and meaning-making 104 b].
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