DOCSLIB.ORG

9789004165403.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
9789004165403.Pdf The Arabic Manuscript Tradition Supplement Handbook of Oriental Studies Section 1, The Near and Middle East Editors H. Altenmüller B. Hrouda B.A. Levine R.S. O’Fahey K.R. Veenhof C.H.M. Versteegh VOLUME 95 The Arabic Manuscript Tradition A Glossary of Technical Terms and Bibliography – Supplement By Adam Gacek LEIDEN • BOSTON 2008 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Gacek, Adam. The Arabic manuscript tradition : a glossary of technical terms and bibliography : supplement / by Adam Gacek. p. cm. — (Handbook of Oriental studies. Section 1, the Near and Middle East) Includes bibliographical references and index. ISBN 978-90-04-16540-3 (hardback : alk. paper) 1. Manuscripts, Arabic—History—Bibliography. 2. Codicology—Dictionaries. 3. Arabic language—Dictionaries—English. 4. Paleography, Arabic—Bibliography. I. Title. II. Series. Z6605.A6G33 2001 Suppl. 011'.31—dc22 2008005700 ISSN 0169–9423 ISBN 978 90 04 16540 3 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. 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 Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. PRINTED IN THE NETHERLANDS CONTENTS Transliteration table ........................................................................ ix Acknowledgements ......................................................................... xi Preface ............................................................................................. xiii 1 .................................................. (ﻯ – ﺍ) Part One: GLOSSARY Abbreviations .................................................................................. 87 1. Sources/References ................................................................... 87 2. Technical terms in the glossary ............................................. 103 Part Two: BIBLIOGRAPHY .................................................... 105 I. GENERAL AND INTRODUCTORY STUDIES .............. 107 1. Bibliographies ......................................................................... 107 2. Periodicals ............................................................................... 107 3. Conference proceedings and composite works .................. 107 4. General studies and surveys ................................................. 108 5. Selected studies of one or more manuscripts ...................... 110 6. Manuscript production and culture (wirāqah) .................... 112 7. Libraries ................................................................................... 113 8. History of manuscripts (ownership statements, seal impressions, waqf-statements, etc.) ...................................... 114 9. Popular culture in manuscripts ............................................. 115 10. Forgeries .................................................................................. 115 11. Terminology ............................................................................. 116 12. Western and Hebrew manuscript studies ............................ 116 vi CONTENTS II. WRITING SURFACES, MATERIALS AND IMPLEMENTS ............................................................................. 117 1. General studies .......................................................................... 117 2. Papyrus ....................................................................................... 117 3. Parchment ................................................................................... 118 4. Paper ........................................................................................... 118 a) Non-watermarked paper and paper in the Islamic world ..................................................................................... 118 b) Watermarked paper and filigranology .............................. 120 5. Inks, inkwells, pens and other writing accessories ................ 120 III. TEXTBLOCK (QUIRES, SIGNATURES AND FOLIATION) ...................................................................... 121 IV. THE TEXT, ITS COMPOSITION AND ARRANGEMENT ....................................................................... 121 1. Types of compositions, their parts, etc. ................................ 121 2. Page lay-out (mise en page) ................................................... 122 3. Colophon and scribal verses ................................................... 122 4. Dates, dating and numerals .................................................... 123 5. Abbreviations ............................................................................. 124 6. Arabic nomenclature, titles of honour, etc. .......................... 124 7. Transcription, corrections and etiquette ................................ 125 V. TRANSMISSION OF KNOWLEDGE ............................... 125 1. General studies ......................................................................... 125 2. Transmission of individual works .......................................... 127 3. Ijāzāt and samāÆāt ..................................................................... 127 VI. ARABIC ALPHABET, SCRIPTS AND PALAEOGRAPHY ................................................................... 128 1. Library and exhibition catalogues with reproductions of specimens ................................................................................... 128 2. Studies ........................................................................................ 129 CONTENTS vii VII. THE ARTS OF THE BOOK ............................................ 131 1. General studies and exhibition catalogues ........................... 131 2. Calligraphy ................................................................................ 133 a) Bibliographies and dictionaries ........................................ 133 b) Exhibition catalogues ......................................................... 133 c) Pre-20th century texts on calligraphy and penmanship .......................................................................... 133 d) Calligraphers and calligraphers’ diplomas ...................... 140 e) Studies and albums (by modern calligraphers) .............. 141 3. Ornament and painted decoration .......................................... 144 4. Painted illustration .................................................................... 145 5. Decorated paper (marbled paper, etc.) .................................. 148 6. Bookbinding .............................................................................. 148 VIII. QURæANIC MANUSCRIPTS ......................................... 150 1. General studies ......................................................................... 150 2. Exhibition, library catalogues and lists ................................. 150 3. Early Quræans and fragments .................................................. 151 4. Later Quræans ............................................................................ 154 5. Facsimile editions and CD-ROMs ......................................... 158 IX. TEXTUAL CRITICISM AND EDITING ........................ 159 X. CATALOGUING .................................................................... 161 XI. PRESERVATION AND CONSERVATION ..................... 162 XII. CATALOGUES OF MANUSCRIPTS, COLLECTIONS, ETC. .............................................................. 163 1. World catalogues ....................................................................... 163 2. Catalogues and lists of rare manuscripts .............................. 163 3. Bibliographies and bio-bibliographies of the Arabic heritage ....................................................................................... 165 4. Descriptions of collections and catalogues .......................... 166 5. Catalogues of edited manuscripts .......................................... 168 Index of Works Cited (AMT and Supplement) ........................ 169 TRANSLITERATION TABLE qāf – ﻕ zāy/zāæ – ﺯ alif – ﺍ kāf – ﻙ sīn – ﺱ bāæ – ﺏ lām – ﻝ shīn – ﺵ tāæ – ﺕ mīm – ﻡ ād◊ – ﺹ thāæ – ﺙ nūn – ﻥ ād¥ – ﺽ jīm – ﺝ hāæ – ﻩ flāæ – ﻁ Ωāæ – ﺡ wāw – ﻭ āæ˙ – ﻅ khāæ – ﺥ yāæ – ﻯ Æayn – ﻉ dāl – ﺩ ghayn – ﻍ dhāl – ﺫ fāæ – ﻑ rāæ – ﺭ N.B. The hamzah, normally indicated as æ (e.g. mā’il) is not shown in transliteration at the beginning of the word. The alif maq◊ūrah is indicated by an acute accent (e.g. fatwá). Normally the tā’ marbūflah is transliterated as ‘h’, except in the construct state where it is (ﺓ) ﺫ ,ﺙ :rendered as ‘t’ (e.g. Ωāshiyat al-kitāb). In Persian the letters .ˇ are rendered as –, and ﺽ and ACKNOWLEDGEMENTS I am very grateful to my colleague Steve Millier for proof-reading the text, and to the Montreal-based calligrapher Burhan Zahraæi for drawing the selected letterforms accompanying the relevant entries in the glossary. PREFACE Since the publication of the original volume of The Arabic manuscript tradition (AMT) in 2001 a good number of new source materials have come to light and a considerable amount of new research has been published.1 These
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]
  • Shifting Sands of Writing Inks in Yemen. the Occurrence of Sparkling
    Chroniques du Manuscrit au Yémen عدد ٧ )٢٦(، يوليو ٢٠١۸ N° 7 (26) / Juillet 2018 Directrice de la Publication Anne REGOURD Contact Secrétariat [email protected] Comité de rédaction Tamon BABA (Université de Kyushu, Japon), Jan THIELE (Centro de Ciencias Humanas y Sociales, Consejo Superior de Investigaciones Científicas, Madrid), Anne REGOURD Revue de presse Maxim YOSEFI (Université de Göttingen) Conseil de rédaction Geoffrey KHAN (Faculty of Asian and Middle Eastern Studies, Université de Cambridge (GB)), Martha M. MUNDY (The London School of Economics and Political Science, Dépt d’anthropologie), Jan RETSÖ (Université de Gothenburg, Dépt de langues et littératures, Suède), Sabine SCHMIDTKE (Institute for Ad- vanced Study, Princeton) Correspondants Tamon BABA (Université de Kyushu, Japon), Deborah FREEMAN-FAHID (FRAS, Assistant Con- servateur, Dir. de publication, The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Koweït), Stéphane IPERT (Res- ponsable Préservation & Conservation, Qatar National Library), Abdullah Yahya AL SURAYHI (Manuscrits, Université d’Abu Dhabi, Bibliothèque nationale, Abu Dhabi) Comité de lecture Hassan F. ANSARI (Institute for Advanced Study, Princeton), Anne K. BANG (Université de Bergen, Norvège), Marco DI BELLA (Indépendant, Conservation/restauration manuscrits arabes), Deborah FREEMAN- FAHID (FRAS, Assistant Conservateur, Dir. de publication, The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Ko- weït), David G. HIRSCH (Advisor for Library Services, Mohammed bin Rashid Library, Dubai), Michaela HOFFMANN-
    [Show full text]
  • "Three Unpublished Pen Boxes Preserved in the Museum of the Faculty of Applied Arts –Helwan University – Egypt- Analytical Artistic Study"
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 12, Ver. 8 (December. 2017) PP 63-75 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org "Three Unpublished Pen Boxes Preserved in the Museum of the Faculty of Applied Arts –Helwan University – Egypt- Analytical Artistic Study" Dr. Ghadeer Dardier Afify Khalifa Associate Professor - Islamic Department- Faculty of Archaeology-Fayoum University, Al- Fayoum, Egypt. Corresponding Author: Dr. Ghadeer Dardier Afify Khalifa Abstract: The Pen is a mean of science, learning, and transferring science, where Allah Ta'ala explained of what is concerning of the Pen or "by the pen" in the fourth verse of Sūrat al-ʻAlaq. This is like Allah's saying; "Who has taught by the pen". Ibn al-Qayyim-may Allah have mercy- said; "with pen, science is immortal and without writing, the news of some of the times is interrupted". From here, the importance of the pen and the pen boxes were specified, as well as the attention for the quality of the raw material from which pen were manufactured, likewise the variety of ornament and materials used in decoration. So, the analytical and artistic study of the three unpublished pen boxes preserved in the Museum of the faculty of Applied Arts -Helwan University will reflect and clarify the value and importance of the scientific life in Islamic Egypt. Keywords: Pen Boxes, Raw Material, Ornament, Metalworks, Woodwork, Floral motifs, Inscriptions. --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 05-12-2017 Date of acceptance: 29-12-2017 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION The pen is a mean of science, learning, and transferring science, where Allah Ta'ala described and explained of what is concerning of the Pen or by the pen in Sūrat al-ʻAlaq.
    [Show full text]
  • Art History 101 Calligraphy Lesson Plan by Rudy Navarro Learning Objectives
    Art History 101 Calligraphy lesson plan By Rudy Navarro Learning objectives 1. Recall that calligraphy is one of the three design elements in Islamic art 2. Distinguish between Kufic and cursive styles of calligraphy 3. Recall the principles of calligraphic aesthetics a. Calligraphy is the most important of the three design elements in Islamic art b. Calligraphy is beautiful writing c. In calligraphy, the word is also an image d. Koranic calligraphy’s beauty is meant to express the divinity of God’s word e. Koranic calligraphy embodies the beauty that is God. f. The calculated proportions of calligraphic scripts reflects the harmony and order of God and God’s creation. 4. Demonstrate knowledge of Arabic orthography a. Reading from right to left b. Letter position c. Letter connection Introduction Of all the artistic practices of Islam, calligraphy is the most important. Not only has calligraphy been highly aestheticized and systematized by Islamic artists over the centuries, but when used to transcribe the teachings of God in the Koran, calligraphy is charged with religious and spiritual power. If purity of writing is purity of the soul, according to the Arabic proverb, then calligraphy is the means to achieve that state of piety. In this module you will learn the aesthetic and cultural principles of Islamic calligraphy and the basics of Arabic writing so that you can better understand what you are seeing when you look at Islamic calligraphy. You won't be learning Arabic, but just the basic logic of how the written language works. In class you will get some experience writing in Arabic and creating your own calligraphy with traditional reed pens.
    [Show full text]
  • Creating Standards
    Creating Standards Unauthenticated Download Date | 6/17/19 6:48 PM Studies in Manuscript Cultures Edited by Michael Friedrich Harunaga Isaacson Jörg B. Quenzer Volume 16 Unauthenticated Download Date | 6/17/19 6:48 PM Creating Standards Interactions with Arabic Script in 12 Manuscript Cultures Edited by Dmitry Bondarev Alessandro Gori Lameen Souag Unauthenticated Download Date | 6/17/19 6:48 PM ISBN 978-3-11-063498-3 e-ISBN (PDF) 978-3-11-063906-3 e-ISBN (EPUB) 978-3-11-063508-9 ISSN 2365-9696 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019935659 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Dmitry Bondarev, Alessandro Gori, Lameen Souag, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Unauthenticated Download Date | 6/17/19 6:48 PM Contents The Editors Preface VII Transliteration of Arabic and some Arabic-based Script Graphemes used in this Volume (including Persian and Malay) IX Dmitry Bondarev Introduction: Orthographic Polyphony in Arabic Script 1 Paola Orsatti Persian Language in Arabic Script: The Formation of the Orthographic Standard and the Different Graphic Traditions of Iran in the First Centuries of
    [Show full text]
  • Leila's Alphabet Journey Text Book 2019 -Reduced
    Leila’ s Alphabet Journey A Practical Guide to the Persian Alphabet By Parastoo Danaee Beginner Level !1 Contents To The Students 4 Introduction | Facts about Persian Language 6 Unit 1 | Persian Alphabet 14 Letter Forms 15 Persian Vowel Forms 17 Practice 1 18 Unit 2 | Basic Features of the Persian Alphabet 20 Practice 2 22 Unit 3 | Letter Forms 23 Non-Connecting Letter Forms 23 Letter Forms 24 Persian Vowel Forms 26 Practice 3 27 Unit 4| Features of the Persian Vowels 29 Short Vowels 29 Long Vowels 30 Diphthongs 30 Practice 4 31 Unit 5| Persian Letters Alef, Be, Pe, Te, Se 32 Practice 5 34 Unit 6| Persian Letters Dâl, Zâl, Re, Ze, Zhe 36 Practice 6 38 Unit 7| Persian Letters Jim, Che, He, Khe 40 Practice 7 42 Unit 8| Persian Letters Sin, Shin, Sât, Zât, Tâ, Zâ 44 Practice 8 46 Unit 9 | Persian Letters ‘Ain, Ghain, Fe, Gh"f 48 Practice 9 50 Unit 10| Persian Letters K"f, Gh"f, L"m,Mim 52 !2 Practice 10 54 Unit 11| Persian Letters Nun, V"v, He, Ye 56 Practice 11 58 Unit 12 | Short Vowels 60 Practice 12 61 Unit 13 | Long Vowels 63 Practice 13 64 Unit 14 | Additional Signs 66 Practice 14 67 !3 To The Students Welcome to Persian! Leila’s Alphabet Journey represents the first in a series of textbooks aimed at teaching Persian to foreign students and is followed by Leila Goes to Iran . Leila, the leading character is a generation 1.5 young lady who grow up in Los Angeles in a home in which Persian language is spoken.
    [Show full text]
  • Some Remarks on Manuscripts and Other Writing Supports in Ancient Greece*
    20 PERILLI | WRITING, PRESERVING , AND DISSEMINATING SCIENTIFIC KNowLEDGE Article Writing, Preserving, and Disseminating Scientific Knowledge: Some Remarks on Manuscripts and Other Writing Supports in Ancient Greece* Lorenzo Perilli | Rome In the study of written culture and its circulation, specialist need to look for convincing interpretations of the historical knowledge rather than literary texts, due to its peculiarities, information we have access to. deserves a closer scrutiny. By specialist knowledge I mean the knowledge of scientists: mathematicians as well as Loose sheets or papyrus rolls? engineers, architects as well as physicians. In the field of How did ancient scientists and authors work when it came science, perhaps even more than in any other, the vicissitudes to writing? Did they write personal notes first, and then of the textual transmission have substantially reduced the copy them or had them copied on a different support at amount of the originally existing material to a tiny fraction. a later stage? How easy was it for them to obtain papyrus For the ancient time before the age of Plato we often only rolls, sheets, tablets, parchment? How much was the result have scraps of information. In some fields, such as those of their work influenced by the difficult working conditions of ancient engineering or architecture, we know very little they faced?1 According to ancient sources the Greek historian about how technical knowledge was handed down from Thucydides, in the fifth century BCE, wrote his work on the one generation to another, but the consensus is that this war between Athens and Sparta starting from personal notes, kind of knowledge was transmitted orally.
    [Show full text]
  • Modern Calligraphy Tools & Materials
    Modern Calligraphy Tools & Materials A Prototype Thesaurus Jennifer Scott INFO 622 Content Representation September 6, 2017 Table of Contents Table of Contents................................................................................................................. 2 Introduction......................................................................................................................... 3 Scope Notes and Formatting............................................................................................. 4 Hierarchical Display........................................................................................................... 6 Alphabetical Display.......................................................................................................... 9 References & Resources.................................................................................................... 28 CALLIGRAPHY TOOLS & MATERIALS !2 Introduction Calligraphy, derived from the Greek for “beautiful writing”, is an ancient and dichotomous art form. Its skillful execution requires both a thorough knowledge of the correct size, form, and proportions of various letterforms and the artistry and design savvy to render the letter forms in a harmonious and beautifully executed way. This balance of technical precision and design savvy make it an exciting and incredibly useful art form. ! ! ! Examples of different calligraphic approaches: broad edge, pointed pen, and brush. Many cultures around the world have rich calligraphic traditions. Chinese
    [Show full text]
  • The Judeo-Arabic Heritage
    The Judea-Arabic Heritage 41 Chapter 3 tice my speaking skills, and my wife was clearly delighted to show off her Ashkenazi American husband who could speak their native tongue. A short while later, after the woman departed, I noticed that my wife had tears in her eyes. When I asked her why, she told me that she suddenly The Judeo-Arabic Heritage remembered how years earlier, when she was a schoolgirl, that if she saw that same woman from a distance, she would walk blocks out of her way to avoid her. This was to avoid embarrassment from having to speak Norman A. Stillman Moroccan Arabic in public because of the strong prejudice against Jews from Muslim countries (so-called mizrahim, or Oriental Jews) and espe­ cially Moroccan Jews. In the 1950S and early 1960s, it was not at all chic to speak Arabic of any kind in Israel-and certainly not to be Moroccan. The great irony in these two personal anecdotes is that, amongst all the Introductory Reflections many Jewish Diaspora languages of post-Talmudic times (Yiddish, Ladino, Shuadit (Iudeo-Provencal), Judeo-Persian, Iudeo-Greek, Iudeo-French, Nearly forty years ago, I brought my fiancee, who had been born in Iudeo-Tat, Iudeo-Berber, and still others less well known), [udeo-Arabic Morocco and raised in Israel, home to meet my family. I shall never forget held a place of special distinction. It had the longest recorded history after the moment when she met my grandmother. My grandmother, whose Hebrew and Aramaic (from the ninth century to the present)." It had the English, even after fifty years in the United States, was still heavily widest geographical diffusion, extending across three continents during accented, asked my fiancee, "Does your family speak Jewish?" Not under­ the Middle Ages.
    [Show full text]
  • Estelle Whelan, 'Writing the Word of God: Some Early Qur'
    WRITING THE WORD OF GOD: SOME EARLYQUR'AN MANUSCRIPTS AND THEIR MILIEUX, PART I BYESTELLE WHELAN One is left wondering how anyone dares to date a MS. from the cursive scripts of the calligraphers.4 In 1911 Bernhard writing alone. Moritz commented, rather confusingly, "it is impossi- S. -A. Tritton1 ble to avoid the conclusion that the difference between the two types was chiefly due to the nature of the WESrERN SCHOLARSCOMING TO GRIPSWiTH ARABIC MANU- material written on, though at the same time there scripts for the first time after years of striving to master existed a tendency to create a separate monumental the language from printed texts often find the experi- script."5Nabia Abbott attempted to identify some of the ence disheartening. Not only are they cast adrift among early Qur'anic scripts from brief textual descriptions. the idiosyncrasies of individual handwriting, their firm For example, a single phrase in the fourth-/tenth- grasp of grammar sabotaged by scribal ignorance or century Fihrist of Ibn al-Nadlim led to her identifying carelessness and their confidence shaken by violations Uijaz1 script by three rather general traits, none of of the orthographic rules (connection of supposedly them exclusive to it.6 She then defined Kfific by the unconnected letters, for example), but they are also absence of this combinationof traits and went on to unlikely to have received from either their teachers or propose two subcategories-one angular, one round- their books much guidance in how to deal with their ed. Without denying the value ofAbbott's work, it must perplexity.
    [Show full text]
  • Arabic Alphabet 1 Arabic Alphabet
    Arabic alphabet 1 Arabic alphabet Arabic abjad Type Abjad Languages Arabic Time period 400 to the present Parent systems Proto-Sinaitic • Phoenician • Aramaic • Syriac • Nabataean • Arabic abjad Child systems N'Ko alphabet ISO 15924 Arab, 160 Direction Right-to-left Unicode alias Arabic Unicode range [1] U+0600 to U+06FF [2] U+0750 to U+077F [3] U+08A0 to U+08FF [4] U+FB50 to U+FDFF [5] U+FE70 to U+FEFF [6] U+1EE00 to U+1EEFF the Arabic alphabet of the Arabic script ﻍ ﻉ ﻅ ﻁ ﺽ ﺹ ﺵ ﺱ ﺯ ﺭ ﺫ ﺩ ﺥ ﺡ ﺝ ﺙ ﺕ ﺏ ﺍ ﻱ ﻭ ﻩ ﻥ ﻡ ﻝ ﻙ ﻕ ﻑ • history • diacritics • hamza • numerals • numeration abjadiyyah ‘arabiyyah) or Arabic abjad is the Arabic script as it is’ ﺃَﺑْﺠَﺪِﻳَّﺔ ﻋَﺮَﺑِﻴَّﺔ :The Arabic alphabet (Arabic codified for writing the Arabic language. It is written from right to left, in a cursive style, and includes 28 letters. Because letters usually[7] stand for consonants, it is classified as an abjad. Arabic alphabet 2 Consonants The basic Arabic alphabet contains 28 letters. Adaptations of the Arabic script for other languages added and removed some letters, such as Persian, Ottoman, Sindhi, Urdu, Malay, Pashto, and Arabi Malayalam have additional letters, shown below. There are no distinct upper and lower case letter forms. Many letters look similar but are distinguished from one another by dots (’i‘jām) above or below their central part, called rasm. These dots are an integral part of a letter, since they distinguish between letters that represent different sounds.
    [Show full text]
  • Persian As Koine: Written Persian in World-Historical Perspective
    University of Pennsylvania ScholarlyCommons Department of Anthropology Papers Department of Anthropology 2012 Persian as Koine: Written Persian in World-Historical Perspective Brian Spooner University of Pennsylvania, [email protected] William L. Hanaway University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/anthro_papers Part of the Anthropology Commons, Near Eastern Languages and Societies Commons, and the Reading and Language Commons Recommended Citation (OVERRIDE) Spooner, B. and Hanaway, W. (2012). Persian as Koine: Written Persian in the perspective of World History. In B. Spooner and W. Hanaway (Eds.), Literacy in the Persianate World: Writing and the Social Order (pp. 1-68). Philadelphia, Pennsylvania: University of Pennsylvania Press. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/anthro_papers/86 For more information, please contact [email protected]. Persian as Koine: Written Persian in World-Historical Perspective Abstract Persian emerged as the common language of court life and administration in the Islamic world east of Baghdad in the 8th and 9th centuries (2nd and 3rd centuries into the Islamic era). The process began in Khurasan, the large historical region of southwest-central Asia, which besides the northeast quadrant of modern Iran included most of modern Turkmenistan, Uzbekistan, and Tajikistan, and northern Afghanistan. Persian radiated out from the pre-Islamic cities that became new power centers, filling the vacuum left by the declining political (as distinct from symbolic) role of the Caliphate in Baghdad. Persian spread to its greatest extent five centuries later, under Mongol and Turkic administrations, when it stretched from the Balkans in the west to southern India in the south and along the trade routes into central China in the east.
    [Show full text]