| Description |
1 online resource |
| Series |
Iranian studies ; 40 |
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Iranian studies (London, England) ; 40.
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| Contents |
Cover; Half Title; Series Page; Title Page; Copyright Page; Dedication; Table of Contents; List of illustrations; Foreword; Preface; 1. Introduction; Background; Aims and objectives; Experimental materials, the images of corpus, and sampling approach; Theoretical schema; Methodological schemas; Summary; Notes; 2. Corpus analysis; Descriptive schemas of SHAPE and ENSHAPENING; Corpus analysis based on the SHAPE system; The SHAPE constraint in confronting Nastaliq calligraphic letterforms; Corpus analysis based on ENSHAPENING system |
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The ENSHAPENING constraint in confronting Nastaliq calligraphic letterformsSummary; Notes; 3. Graphetic analysis; The theory of graphetic articulation; Human anatomy as aconstant factor in articulatory graphetics; First general convention of graphic forms based on human body conventions: ageneral tendency toward curved motions; Ergonomic efficiency as thesecond general convention of graphic form derived from the human body; Control as the third general convention of graphic form related to the human body; The coordination between hand and eye as the fourth general convention in graphic form |
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Body-support as the fifth common convention in graphic signifiersPen; Paper; Summary; Notes; 4. Toward semiotics of Nastaliq calligraphy; Social semiotic theory of multimodality; Semiotics: signs- form and meaning- in Nastaliq calligraphy; Peirce's model of sign; Nastaliq in relation to the Peirce's model of sign; De Saussure's theory of sign; Nastaliq in relation to the De Saussure model of sign; Peirce and De Saussure's model of sign in acomparative relationship, specificities and contrasts; Peirce and De Saussure's models and their traces in multimodal social semiotics theory |
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Nastaliq calligraphy as asemiotic modeCalligraphy and multimodality; Summary; Notes; 5. Holliday's triple metafunctions: as requisite of any semiotic mode -- in Nastaliq calligraphy; Ideational metafunctions in Nastaliq mode; Interpersonal metafunction in Nastaliq mode; Size as interpersonal resource in Nastaliq calligraphy; Overall composition or framing as adistinct interpersonal resource; Three interrelated systems of visual composition in Nastaliq overall composition/framing; Inscription or epigraph; Siyah-Mashq or black practice |
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Detailed composition as interpersonal resource in Nastaliq modeOrnamental styles as interpersonal resources in Nastaliq; Non-letter calligraphic characters as resources to realize interpersonal senses; Signs of declension and embellishment as interpersonal resources in Nastaliq; Punctuation and dot tracing as interpersonal resources; Baseline setting as interpersonal resource in Nastaliq calligraphy; Textual metafunction in Nastaliq calligraphy; Summary; Notes; 6. Toward a distinct feature analysis; Nastaliq Calligraphy as amedium?; Distinctive characteristics in Nastaliq semiotic mode |
| Summary |
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 ofinterest to students and scholars interested in visual arts, media and communication, and semiotics |
| Notes |
Summary |
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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 individual and group exhibitions in calligraphy, typography, and lettering. She has also taught Persian calligraphy and lettering. Her main research interests include multimodality and social semiotics, as well as visual semiotics and materiality of fine arts and writing |
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Online resource; title from digital title page (viewed on November 06, 2019) |
| Subject |
Calligraphy, Persian.
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ART -- Techniques -- Calligraphy.
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LANGUAGE ARTS & DISCIPLINES -- Linguistics.
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ART -- Middle Eastern.
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Calligraphy, Persian
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| Form |
Electronic book
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| ISBN |
9780429554605 |
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0429554605 |
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9780429264047 |
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0429264046 |
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9780429563546 |
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042956354X |
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0429559070 |
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9780429559075 |
|
