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Flexible grippers require appropriate stiffness to ensure stability and efficiency in unpredictable environments. While combining materials with variable stiffness and elastomers holds significant promise in this regard, concurrently achieving actuation and stiffness modulation typically results in heightened structural complexity and responsiveness issues. In this study, a giant electrorheological dielectric elastomer (GERDE) with high dielectric and high electrorheological (ER) properties is obtained by introducing giant electrorheological particles into silicone elastomers, further substantiating the ability to functionally couple actuation and stiffness‐tuning, as well as application of a flexible gripper in mimicking emotive calligraphy. Specifically, GERDE exhibits better actuating (area strain rate of 33%) and ER performance (storage modulus increment of 1.5 MP) than existing conventional dielectric elastomer (DE) actuators (such as PDMS and VHB4910) under a low electric field. Compared to reported flexible grippers, bionic flexible grippers based on GERDE actuator have enhanced actuation, stiffness adjustment capability (i.e., stiffness is increased by 2.4 times), fast response (≈180 ms), and coupling effect, and can write Chinese calligraphy of different emotions by the same trajectory. This work provides ideas and methods for achieving the integration of actuator‐variable stiffness and emotional transmission in robots. [ABSTRACT FROM AUTHOR]

This article provides an overview of the Indo-Persian identities in Medieval Muslim Deccan, specifically focusing on the cultural and artistic influences from Persia and Central Asia on the Deccan region of central India between the 14th and 16th centuries. It discusses the political, social, diplomatic, and religious aspects of the Deccan sultanates, highlighting the syncretism between Islam and Hinduism and the patronage of culture, arts, and architecture by the princely courts. The article also explores the rise of immigrant Muslim elites in the Deccan states, the disintegration of the Bahmani Sultanate into smaller successor states, and the history and cultural influences of the Bijapur, Golconda, and Qutb Shahi dynasties. Overall, it emphasizes the unique Indo-Muslim symbiosis that emerged in the Deccan region during this period. [Extracted from the article]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of ISTEM is the property of ISTEM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Saudi Art & Design Journal is the property of Saudi Art & Design Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yildiz Journal of Art & Design is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Robot artistic painting and robot calligraphy do require brush models for brushstroke simulation and painting robot control. One of the main features of the brush is its compliance, which describes the relationship between the brush footprint shape and the pressure applied to the brush. In addition, during motion, the brush footprint position lags from the brush handle position in a complicated manner. To date, the question of creating a physically correct model of these effects and choosing the best method for the model parameter calibration has not been presented in the literature. In the current paper, we derive equations of the brush contact patch motion, give their closed-form solutions, and investigate three methods for the brush model calibration: capturing brush footprints on a matte glass with a camera, painting calibration brushstrokes, and capturing a brush shape side projection with a camera. As we show, calibration brushstrokes give us primary information on brush contact patch displacement during painting, and capturing the brush side projection allows the accurate estimation of the gap from the brush tip to the center of the contact patch. Capturing brush footprints is useful for creating a brushstroke executable model. As an example, a model for a round artistic brush was created and verified in three tests, including measuring the coordinates of an angular brushstroke center line, simulating an angular brushstroke, and writing a signature using a robotic setup. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From Twitterature to Instapoetry, several literary forms owe their genesis and propagation to social networking sites, or SNSs. Amongst these, Instapoetry has enjoyed the most notoriety, though at the cost of its demerits overshadowing its merits. One of Instapoetry's merits is its ability to induce a sense of nostalgia with the help of evocative aesthetic modalities deployed by a poet during an Instapoem's formulation. Some of these aesthetic modalities include the typewriter font, black and white images, sepia or Polaroid images, vintage stationary, calligraphy, and textured paper. Leaning on the concept of "nosthetics" or nostalgic aesthetics proposed by Tanja Grubnic, this paper decodes the temporal hypermediacy prominent in the works of American Instapoet and photographer Tyler Knott Gregson, particularly in his first poetry collection, chasers of the light: poems from the typewriter series. Published in 2014, the collection possesses a temporal aura which not only romanticizes the past but also conveys the present as a part of the past by impersonating pre-digital analog techniques and materials. Through Gregson's collection, this paper aims at understanding the various designs or ploys behind the habituation of nostalgic sensibilities and relics in modern digital creative expressions that have come to dominate the current field of cultural production. This paper reveals how Gregson's works resurrect, temporalize, nostalgize, restore, rehabilitate, remember, reflect, conserve, eternalize, memorialize, physicalize, sensualize, play, beguile, daydream, journey, mask, elevate, legitimize, and tout. The paper ends with a conclusion highlighting the importance of Instapoetry with regards to the preservation and continuation of historical literary practices, and with a suggestion encouraging further scholarly exploration on the topic. [ABSTRACT FROM AUTHOR]

A novel multi-directional (MD) circular-shaped fiber piezoelectric sensor was developed to detect calligraphy writing force from various directions quantitatively. The sensor was fabricated using polyvinylidene fluoride (PVDF) piezoelectric fibers doped with Graphene and spun using direct-write near-field electrospinning (NFES) technology. The NFES collector, designed as a rotating disc system, orderly collected the fibers to enhance the piezoelectric effect and dipole moments, forming the circular sensor. Flexible electrical electrodes with multiple signal output circuits were incorporated for calligraphy stroke sensing, bonded with circular PVDF fibers to create the flexible MD sensor. With inner and outer diameters of 20 mm and 60 mm, the circular sensor responded to deformable signals induced by calligraphy strokes. Parameters of sensor fabrication were optimized using the uniform design experimental method. Calibration involved tapping tests at 1–10 Hz to correlate fiber output voltage with the corresponding force. The single sensor reached a maximum voltage output of approximately 908 mV and detected forces ranging from 0.1 to 50 N. After validating the MD circular-shaped piezoelectric sensor, a 3 × 3 sensor array was configured for calligraphy writing force sensing, providing quantitative measurements of dynamic responses during writing, valuable as a data source for apprentice learning. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to discuss the model for the creation of wayang figures depicting Kekayon Khalifah, specifically focusing on Khalid bin Walid, a renowned figure in leading battles. The method employed involves Artistic Research and Practice Based Research in contemporary art. The focus of this discussion lies in the development of practice-based artistic techniques. Furthermore, it explores the realization of these figures on buffalo skin, portraying the character as a respected warlord by his troops and feared by his enemies. Realization of embodiment through decorations and ornaments on beautiful leather crafts. This leathercraft works will produce artifacts in the form of the Khalid bin Walid paraga puppet. The ornaments and decorations in this work are complemented by the calligraphy of the characters' names. Then an interesting visual is created and can imply a certain message to the audience. Especially when this media is exhibited. Works that can be enjoyed by viewers. So this art can be used as education to the public, both formal and non-formal. [ABSTRACT FROM AUTHOR]

The Intelligent Evaluation System for Calligraphy Characters (IESCC) is used for teaching calligraphy, and users can learn calligraphy through the modifications given by the system. Chinese character skeleton extraction is an important step in the intelligent evaluation algorithm of calligraphic characters. The skeletons of Chinese characters extracted by traditional refinement algorithms are prone to redundant branches and deformed skeletons, which can lead to skeleton extraction results that do not conform to the topology of the original character. In this study, the focus lies on hard‐pen regular script, and skeleton repair and extraction are performed for these characters. According to the writing characteristics of regular script, the redundant burs are removed and the deformation zone of the thinned skeleton is detected, and then the idea of first splitting is used, then restructuring, to propose a skeleton extraction algorithm based on stroke characterization and ambiguous zone detection for hard‐pen regular script, referred to as SCAD. First, a thinning algorithm is used to extract the skeleton of Chinese characters and remove redundant pixels. By analyzing the stroke characteristics of regular script, the burrs are classified and different conditions are set to detect and remove the burrs. Then the ambiguous zones are detected according to the different kinds of junction points. Then, curvature, stroke width and direction deviation are used to analyze the continuity of stroke segments, and the decision function is used to classify the stroke segments. Finally, the stroke segments with optimal pairings were compensated by interpolation according to the direction trend. This concludes the skeleton extraction. Skeleton extraction is performed on 1000 sample characters, and the SCAD algorithm can extract the skeleton of Chinese characters with an accuracy of up to 98.37%. It is proved that the SCAD method proposed here is a practical and effective method to extract the skeleton of hard‐pen regular script. [ABSTRACT FROM AUTHOR]

Recent years have seen a significant surge in the global popularity of Chinese webnovels as an emerging form of participatory transcultural storytelling. This research combines computational and interpretive textual analysis to map the cultural features embedded in webnovel content, aiming to identify the genre elements, common lexicon, and story themes of 4040 translated Chinese webnovels on global platforms. The analysis shows the hybridisation of Chinese cultures, digital cultures, and genre fiction elements in webnovel storytelling, contributing to the growing spectrum of diverse voices in international self-publishing. Simultaneously, webnovels depict a varied mosaic of imagined China, based on both cultural sharing and nonsharing within today's complex Chinese society and beyond the notion of 'Chineseness' rooted in common heritage or official values, amplifying diverse perspectives like subcultures and resistances in transcultural storytelling. While webnovels bear witness to China's cultural outreach and digital prowess converging in a new storytelling form, this research posits that their cultural production remains bound within a material process where borderless digital cultures collide with the imposed boundaries of platformed publishing and government control. [ABSTRACT FROM AUTHOR]

Copyright of Chinese as a Second Language Research is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture. [ABSTRACT FROM AUTHOR]

Calligraphy is the treasure of traditional Chinese culture and it is ubiquitous in China. Because of the unique aesthetic characteristics of calligraphy, the difficulty of calligraphy teaching lies in the assessment of calligraphy works. The major problems concerning calligraphy assessment are the low time efficiency of calligraphy assessment and low engagement of students in the assessing process. As an active learning method, peer assessment (PA) has been widely applied to education. This research aims to explore the application of PA to the calligraphy class. With reasonable training, elementary school students can act rationally as an assessing group. On the basis of students' scores, this study further takes the most reasonable scores based on clustering analysis as the final score. Through the comparative analysis of the students' scores and the teachers' scores, it shows that the students' scores of calligraphy writing can obtain results that are close to the teachers' scores. The significance of the study lies in enhancing the time-efficiency of calligraphy assessment and maintaining the learners' high levels of engagement in the assessing process. The results show that the use of PA in the assessment of calligraphy writing is an effective and accurate method of calligraphy assessment, which contributes to students' command of the key points of calligraphy marking and plays an integral role in guiding students' future calligraphy practice. [ABSTRACT FROM AUTHOR]

Oracle bone inscriptions (OBIs) are the earliest Chinese characters and reserve abundant historical information. OBIs are detected by locating their positions in digital images. This has been a foundational task in modern archeological studies. Due to the development of deep neural networks(DNNs) in computer vision, detecting OBIs can be implemented by a more concise method instead of designing complicated hand-crafted features. However, existing models cannot perform well when noise areas are similar to some inscriptions. In this work, we present a simple but effective pseudo-label-based architecture for OBIs detection. Different from previous approaches, our method performs OBIs detection with the employment of information from multilabel annotations rather than single location information. We append a plug-and-play module that predicts the pseudo-label of an inscription after the backbone network for learning the particular structure prior to each inscription and brings this information to the backbone network by means of feature fusion. We make remarkable improvements on different backbone networks when using the proposed method on an OBIs detection dataset. The quantitative and qualitative results show that the proposed model can detect OBIs well and is an effective tool for assisting in the discovery and recognition of ancient writing. [ABSTRACT FROM AUTHOR]

The perception of artifice or art is inextricably intertwined with the rich regularities manifest in the environment in which individuals are immersed. Taking my cue from James Gibson, I recast the problem of perception of works of art as part of a wider problem of possibilities for perceptual experience and selection of attention toward specific invariants in a populated environment, drawing upon examples from music, sketch comedy, and East Asian calligraphy. When a work of art is viewed not merely as a configuration of stimuli, but rather as something that makes available the information (in Gibson's terminology) that lies open to further scrutiny, the range of possible discrimination is unlimited. At the same time, through selectively emphasizing specific invariants, a work of art offers the real possibility for active perceivers to discover for themselves what is important, which might otherwise remain unnoticed. Fundamental to theories of perception of artifice is the recognition that our modified environment is still indefinitely rich, in which individuals are provided with open-ended possibilities for tuning in on the specific regularities that are relevant to concerns at a particular time and place. [ABSTRACT FROM AUTHOR]

This article examines contemporary Chinese artist Xu Bing's (b. 1955) 2012 animation video, The Character of Characters, which remediates Zhao Mengfu's (1254–1322) calligraphy and painting. The video, in which Chinese written words become the true protagonists, was originally a commissioned installation presented at the Asian Art Museum of San Francisco from October 2012 to January 2013. The article aims to model a form of extremely close analysis of new media art, which borrows vocabulary and methodologies from both art history and media studies. While making a timely contribution to Xu Bing scholarship by focusing on an understudied work in his oeuvre, it also adds new lines of inquiry: first, with regard to text-image reciprocity, which continues to be a focal point in studies of contemporary Chinese art; and second, with regard to animation-calligraphy reciprocity, which begs more critical attention. The Character of Characters, I argue, invokes a double vision that sees words on screen simultaneously as linguistic texts and pictorial shapes, a vision through which and because of which the activities of looking and reading are combined into one. [ABSTRACT FROM AUTHOR]

Robot calligraphy visually reflects the motion capability of robotic manipulators. While traditional researches mainly focus on image generation and the writing of simple calligraphic strokes or characters, this article presents a generative adversarial network (GAN)‐based motion learning method for robotic calligraphy synthesis (Gan2CS) that can enhance the efficiency in writing complex calligraphy words and reproducing classic calligraphy works. The key technologies in the proposed approach include: (1) adopting the GAN to learn the motion parameters from the robot writing operation; (2) converting the learnt motion data into the style font and realising the transition from static calligraphy images to dynamic writing demonstration; (3) reproducing high‐precision calligraphy works by synthesising the writing motion data hierarchically. In this study, the motion trajectories of sample calligraphy images are firstly extracted and converted into the robot module. The robot performs the writing with motion planning, and the writing motion parameters of calligraphy strokes are learnt with GANs. Then the motion data of basic strokes is synthesised based on the hierarchical process of 'stroke‐radical‐part‐character'. And the robot re‐writes the synthesised characters whose similarity with the original calligraphy characters is evaluated. Regular calligraphy characters have been tested in the experiments for method validation and the results validated that the robot can actualise the robotic calligraphy synthesis of writing motion data with GAN. [ABSTRACT FROM AUTHOR]

The objective of the research is to explore the motive behind building this Mosque through its calligraphic inscriptions that either it was an act of reverence and bestowment or an endowment project, to serve public faith, by the royal patron. Epigraphic schemes of Mughal Mosques reflect the thought behind the construction of their Mosques, such is the case of Maryam Zamani Mosque of 1614 at Lahore built during the reign of Jahangir in the name of his mother Maryam Zamani. This Panchmukhī Masjid is profusely decorated with nonfigurative motifs in fresco among which calligraphic scripts Nast'alīq, Thuluth and Ṭughrā compositions have their own significance. Most of the scholarship related to Maryam Zamani Mosque is limited to descriptive information related to its locality and plan of the Mosque. The research deploys Feldman's art historical research method by qualitatively analyzing the collected data from on-site visits, photography, study of the inscriptions and related scholarly data. The novel aspect of studying its epigraphic scheme, comprised of Quranic and poetic inscriptions, to explore its construction as a bestowment Imperial project is of prodigious significance which will add valuable knowledge to the existing sparse information on Mughal calligraphy at Lahore. This research also conserves the faded vanishing epigraphy which can be used for restoring the calligraphic specimens. [ABSTRACT FROM AUTHOR]

The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture. [ABSTRACT FROM AUTHOR]

This article examines the popular practice of water calligraphy (dishu) across Changsha, Guiyang and Chongqing to demonstrate its aesthetic potential. Specifically, it suggests that dishu can be interpreted as a new expression of calligraphy and an exemplary case of living aesthetics. To demonstrate this, this article discusses the author's on-site observations and conversations with water calligraphers alongside the longstanding aesthetic principles of traditional calligraphy and the experimental works by Wang Dongling (b. 1945) and Song Dong (b. 1966). Moreover, by adopting a socio-geographical and historical lens, it views water calligraphy as a living, familiar and slow practice against China's spectacular and fast urban rhythms. Overall, this article demonstrates that water calligraphy can contribute to the discourse of living aesthetics by favouring sensual encounters within the familiar, collective and slow-paced everyday. Last, this article can contribute to shaping a new aesthetic paradigm that favours the living in a non-western context. [ABSTRACT FROM AUTHOR]

As technology continues to advance, Computer Aided Geometric Design (CAGD) is gaining popularity as a mathematical method for generating curves and surfaces. CAGD, a branch of applied mathematics, focuses on developing algorithms for creating smooth curves and surfaces efficiently. This paper explores the application of CAGD techniques to Khat Thuluth, a form of Arabic calligraphy known for its complexity and the skill required to create it. The study employs two methods of Trigonometric Bézier Curves, namely Quasi-Quartic and Quasi-Quintic, to reconstruct Arabic calligraphy. By examining how variations in shape parameters affect curve modifications, the research investigates the factors influencing the outcome. Comparison between the resulting figures and the original images, as well as the computational performance in terms of CPU time required for the entire calligraphy creation process, is conducted to evaluate the effectiveness of the two interpolation methods. The findings indicate that the Quasi-Quartic Trigonometric Bézier curve offers the most efficient reconstruction of Arabic calligraphy outlines, with a minimal CPU time of 8.453 seconds.

The emergence of various kinds of technological tools, digital media, and social media are making learning easier, by using online correction systems both in learning Tahsin al-Kitabah and Khat Araby. Apart from that, there are many applications related to khat learning, such as kitabahku, Mashq, Ana Mukhtariful khat, Kelk, and other applications that not only support students in learning Khat but also support the development of their creativity in creating work. This requires educators to utilize digital media as a medium to support learning. The implementation of Tahsin al-Kitabah learning using the "Abajadun" method and also learning Khat Araby using Manhaj Hamidi have their respective advantages. The Abajadun method emphasizes understanding the keys of mufrodat and murokkab using the keys of alif, ba', jim, and dal. Meanwhile, Manhaj Hamidi uses a tiered system from easy types of khat to difficult types of khat. And one of the advantages is the Khat Diploma as a standardization of the Sanad system. Both methods are innovative learning methods based on digital media because the learning process also uses digital technology as a learning support. The results show an increased effectiveness of khat learning. Even though in practice, there are several problems, efforts to improve and improve the quality of learning must still be made. Meanwhile, the use of digital-based applications such as Kitabahku and also digital-based guidebooks is a learning model that uses a Learning Visualization approach because students are greatly helped in the learning process by understanding the writing of Tahsin al-Kitabah and Khat Araby. Third, using the Mashq, Ana Mukhtarif al-Khat, and Kelk applications, is one of the strategies and approaches using the Active Learning model, where students are also actively involved in learning using these media both for practice and the work process. So, they can master calligraphy from basic to advanced level and be able to work well using manual or digital media.

The art of Islamic calligraphy developed along with the development of Islam brought by the Prophet Muhammad SAW. Until now, calligraphy has grown rapidly and become a popular work of art among the general public to various Islamic institutions. Especially in Islamic boarding schools in various regions, both traditional and modern. Researchers made the Wali Songo modern boarding school as an object of research. The purpose of conducting this research is so that researchers can find out the concept of calligraphy learning at the Wali Songo modern boarding school. Researchers used descriptive qualitative methods in conducting research, using a literature review approach to collect similar data, and conducting interviews with respondents who had a relationship with the Wali Songo modern boarding school. The results obtained from this research are that the Wali Songo modern boarding school uses modern media in the learning process such as blackboards, markers, blackboard rulers, notebooks, reference books, calligraphy special pens, and liquid ink. The students get special guidance from teachers who are competent in the field of calligraphy.

Extracurricular activities are activities outside of learning hours to hone students' interests, talents and creativity. Creativity is very important in learning, especially in the development of writing Qur'anic verses through calligraphy. Calligraphy Art Extracurricular Activities are a series of teaching and learning activities programs that focus on training and developing calligraphy art. This research uses a qualitative approach, which describes and describes the analysis of calligraphy extracurricular activities in Islamic educational institutions. The data collection technique used in this research is a literature study (Library Research) where literature study is an activity of collecting materials related to research originating from books, scientific journals, literature and other publications that deserve to be used as sources for research that the author will examine, by describing and describing the data is through several opinions of experts. The purpose of this writing is to find out calligraphy extracurricular learning in Islamic educational institutions. And the results of this study resulted in the conclusion that calligraphy extracurricular activities can help improve the ability to develop students.

The Qur'an is one of the revelations of Allah SWT revealed to the Prophet Muhammad SAW and is a guide for Muslims. The AL-Qur'an is full of meanings that are very related to life, also the discussion in the AL-Qur'an is relevant to the times. The SU Islamic Center Foundation is one of the modern-based boarding schools that has produced thousands of memorizers of the Qur'an. However, there are difficulties for male students and female students in writing Arabic letters, and the Qur'an contains Arabic writing. This research aims to find a comprehensive understanding according to the title under study. This research methodology is a type of qualitative descriptive method, namely literature study by looking for references from journals and theses that are appropriate regarding the effectiveness of calligraphy on maharah al-kitabah (calligraphy) of memorizing the Qur'an. In terms of analyzing data, researchers use data collection techniques, namely through observation, direct interviews with resource parties at Ma'had Tahfizhil Qur'an Islamic Center SU Foundation and documentation. The results of the study show that male students or female students do not all have a high interest in learning maharah al-kitabah (calligraphy), especially at the Madrasah Aliyah level, and also lack of skills in writing

This paper explores the integration of Arabic language with interior design, focusing on the case study of the Museum of the Future in Dubai. By analyzing the successful blending of these two distinct domains, the study aims to uncover the potential synergies and implications for cultural representation and immersive experiences in architectural spaces. The research adopts a qualitative approach, combining observations, and a thorough literature review. The findings reveal a seamless integration of Arabic language and interior design within the museum, with strategic placement of signage, calligraphy, and quotations. The paper discusses the cultural significance and symbolism associated with the incorporation of Arabic language, highlighting its role in fostering a sense of connection and belonging. Furthermore, it explores the enhanced user experiences resulting from this integration. The study contributes to a deeper understanding of the fusion of language and interior design, providing valuable insights for practitioners and opening avenues for future research in this emerging field.

Calligraphy is the world's oldest abstract art. It means to make it easy to master the art of beautiful writing! This art is covering now areas ranging from a handwriting and letters in their functional aspect and takes the form of artwork in their aesthetic aspect. The designer treats a single letter as a flexible moldable element having a beautiful look, form and function. Calligraphy is considered an important element in brand's design, where the later of a single letter or more than a letter or a word is in need to calligraphy in its design and is described as a mixture between verbal and visual communication at once, and this, in turn, helps in performing its communicative function better and faster. Besides the linear mark has the ability to define the name of the organization in a clear font, we notice that the calligraphy's font design itself reflects connotations, meanings and messages could be utilized in design of the brands. Calligraphy enabled students in in the Faculty's Advertising Department to produce different designs of the brands by using an infinite variety of typographical words and letters filled with energy, creativity and cutting-edge vision conveys the spirit of the age in drafting and composition

Chinese calligraphy is a symbol of cultural heritage; it is widely used in visual design (e.g., film posters and modern fashion) for its aesthetic value. In human-computer interaction, visual design complexity strongly influences users' preferences. Indeed, the relevance of visual complexity to aesthetic preference has been confirmed. However, the visual complexity of calligraphy artworks has seldom been investigated and the process of how visual complexity affects aesthetic preference remains vague. Therefore, in this work we proposed a computational method to evaluate complexity and conducted several perception studies. Results showed that layout features and calligraphy style (regular script, running script, and cursive script) affected visual complexity. The level of visual complexity (low, medium, and high) affected aesthetic preference but calligraphy style did not. Furthermore, Chinese calligraphy with moderate visual complexity evokes strong aesthetic preference. The present findings can help designers redesign websites and interfaces for high aesthetic preference and can provide insights for developing the theoretical design of calligraphic art for advanced interaction in cultural heritage, such as in interactive systems for teaching calligraphy based on aesthetic cognition. [ABSTRACT FROM AUTHOR]

The industrial revolution and the emergence of 21st-century skills challenge educators in preparing their students to compete globally. Lecturers are responsible for integrating their teaching with 21st-century skills. This research is one of the efforts to develop teaching materials for Arabic calligraphy courses based on 21st-century skills. The research method used in this study is research and development. The research and development model used adopts the Dick and Carey model, which is summarised in the ADDIE phases, combined with the curriculum design model of Merdeka Belajar Kampus Merdeka (MBKM). The research phases consist of five stages: needs analysis, design of teaching materials, development of teaching materials, implementation of teaching materials, and evaluation of the teaching material product. In the validation process, the researcher used open- and closed-ended questionnaires, product testing through validation and reliability testing, involving subject matter experts, instructional experts, lecturers using the teaching materials, and a small group test involving 20 students from the first semester of the academic year of 2022-2023 in Semester 119. Data collection for expert assessment was done through questionnaires, while one-on-one testing was conducted through interviews. Data analysis used the Guttman scale, scoring 1 for "Yes" and 0 for "No." Based on the assessment of subject matter experts and lecturers, the developed teaching material was considered very good and in line with the principles of developing 21st-century skills. [ABSTRACT FROM AUTHOR]

Since the dissemination of Islamic art in Central Asia, square kufic calligraphy has held a significant place in the identity of Islamic architecture. Despite its earlier usage in Anatolia, it was rarely employed in Ottoman structures. Consequently, the square kufic script failed to become a prominent feature in mainstream calligraphy education or certification culture. Due to the lack of an education tradition and the abstract nature of the script, square kufic calligraphy poses challenges to readability. Nonetheless, there has been a growing interest in square kufic calligraphy in contemporary times, owing to its compatibility with modern aesthetics. The absence of a formalized education system has resulted in erroneous works during restoration or new designs. Consequently, there is a pressing need for scholarly research, documentation of historical examples, and detailed analysis of readings and compositions in this field. This article examines historical square kufic script examples in Istanbul’s historical buildings from the post-Mimar Sinan period to the beginning of the republic era. It provides detailed readings of the compositions, identifies any spelling errors, including missing or superfluous parts, and aims to offer corrective suggestions to prevent the recurrence of erroneous compositions in the future. [ABSTRACT FROM AUTHOR]

The thoughts and ideas of artists and craftsmen, according to the way they perceive the manifestations of the world, are preserved in the form of works of visual arts, architecture and decorative crafts which are exhibited, as souvenirs of culture human. Aesthetics and art sciences introduce these works according to the change and transformation of human experiences, thus the precision and elegance "creativity" of artists throughout history, cultural value, dignity and validity of works of art are measured and determined. Today, given the new dimensions that have changed with technological progress and the production of new technical tools, the way of seeing the world and material effects has transformed and led to the creation of works of art more detailed and more complete. Paying more attention to (space) and creating new precise and comprehensive artistic dimensions is considered one of the modern achievements. The characteristics of design and creation of forms, which occupied the artist's mind throughout the ages to see the world better and create better especially when he used "geometry", he went through the exact terms of the world of senses and reason. Recently, some artists have paid special attention to the new common branch between mathematics, geometry and art called fractal geometry, which provides information about the common secret and harmony of the universe. Among them, modern architects and visual arts have created significant works in this regard. [ABSTRACT FROM AUTHOR]

In his recent publications, the Prix Goncourt-awarded Franco-Afghan novelist-artist Atiq Rahimi explores cross-cultural contemplations beyond linguistic signs. Across his bilingual calligraphies, inspired by European, Asian and African philosophies, Rahimi emphasizes the effects of war on marginalized groups beyond borders. In this interview, Rahimi allows insight into his lifelong practice of calligraphies. He comments not only on calligraphies published in L'Invité du miroir (Rahimi 2020) but also on callimorphies published in his latest piece Mehstî, chair des mots (Rahimi 2023), He further explicates the notion of translingualism and challenges the definition of 'exoticism' from his perspective as an artist in exile. [ABSTRACT FROM AUTHOR]

Chinese calligraphy is an invaluable legacy of Chinese culture, since it bears great artistic and aesthetic value. In this paper, we aim at the problem of Chinese calligraphy style classification, which is an important branch of Chinese calligraphy study. Chinese calligraphy style classification remains a challenging task due to its dramatic intra-class difference and tiny inter-class difference. Therefore, we propose a novel CNN embedded with feature fusion and feature decomposition modules to solve this problem. We first fuse the features of several images from the same category to augment their potential style-related features. Then we feed the fused feature to an attention module to decompose it to two components, viz. style-related feature and style-unrelated feature. We further apply two types of loss function to jointly supervise our network. On the one hand, we feed the style-related feature to a style classifier which is supervised by cross-entropy loss. On the other hand, we construct a correlation loss based on the Pearson correlation coefficient to make the two decomposed features as orthogonal as possible. By optimizing these two types of loss simultaneously, our proposed network has obtained the accuracies of 98.63 % and 94.35 % respectively on two datasets. Besides, substantial experiments demonstrate the effectiveness of the feature fusion and decomposition modules. The proposed approach compares favorably with state-of-the-art methods. [ABSTRACT FROM AUTHOR]

In recent years, with the rapid development of technology and multimedia in China, the economic effects generated by the visual content information of multimedia have become increasingly important because the knowledge conveyed by this visual information is very attractive. During this period, the most important Internet development and reform technology also achieved rapid development, and promoted the dissemination of multimedia visual technology. The purpose of this study is to explore the application of optical imaging devices in digital calligraphy information processing systems and its impact on user experience. The existing digital calligraphy information processing system is investigated and analyzed, and the performance is optimized and improved by combining optical imaging technology. The research results show that the optical imaging equipment can effectively improve the accuracy and real-time of the digital calligraphy information processing system, and realize the interaction between users and the system. In the process of designing system hardware and software, in order to improve user convenience, the design center is always on the user themselves, retaining some writing habits of calligraphy practitioners, and then completing subsequent design work. The system designed in this article is mainly to improve the user experience, allowing more people to purchase and use. [ABSTRACT FROM AUTHOR]

The essence of Chinese calligraphy inheritance resides in calligraphy education. However, it encounters challenges such as a scarcity of calligraphy instructors, time-consuming and inefficient manual assessment methods, and inconsistent evaluation criteria. In response to these challenges, this paper introduces a deep learning-based automatic calligraphy evaluation model. Initially, hard-pen handwriting samples from 100 volunteers were collected and preprocessed to create a dataset consisting of 4800 samples, along with the corresponding label files for hard-pen calligraphy evaluation. Subsequently, YOLOv5 was utilized for region detection and character recognition on the evaluation samples to obtain the corresponding standard samples. Lastly, a Siamese metric model, with VGG16 as the primary feature extraction submodule, was developed for hard-pen calligraphy evaluation. To improve feature extraction and propagation, a transformer structure was introduced to extract global information from both the evaluated and standard samples, thereby optimizing the evaluation results. Experimental results demonstrate that the proposed model achieves a precision of 0.75, recall of 0.833, and mAP of 0.990 on the hard-pen calligraphy evaluation dataset, effectively realizing automatic calligraphy evaluation. This model presents a novel approach for intelligently assessing hard-pen calligraphy. [ABSTRACT FROM AUTHOR]

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In 1777, Emperor Qianlong issued an edict to compile the Researches of Manchu Origins. This edict existed in multiple Chinese and Manchu versions. The Chinese versions were mostly consistent. However, the Manchu versions of this edict as recorded in Veritable Records, Imperial diaries, and Researches of Manchu Origins differed from each other. There is a discrepancy between the Manchu translation of Researches of Manchu Origins and the Manchu translation of Imperial Diaries in terms of wording and sentence sequencing. By comparison, the Manchu translation of Veritable Records and the Manchu translation of Imperial Diaries share largely similar sentence sequencing but not the wording (or the choices of words), and their word grouping and punctuating are more coherent to the Chinese version of Veritable Records. This indicates that the compilation of the Manchu Veritable Records at the time did not entirely duplicate the Manchu Imperial Diaries and did not reference the Manchu Researches of Manchu Origins that had previously been completed. The reasons could be that the Manchu Imperial Diaries was hastily compiled and the Manchu Veritable Records was a result of a moderately modifield version of the Manchu Imperial Diaries. The Manchu translations of the aforementioned texts are a secondary source and the translators place more focus on faithfully conveying the meanings of the Chinese texts than on checking on the semantic connection between the two to follow a consistent choice of words between different versions of Manchu translations. This goes to show that in the narration and documentation system (of the Qing dynasty), there was a higher demand for conveying the semantics and meanings than duplicating the words, which would therefore result in a case of "variations in the same theme" when translators hold discrepant views on the same Chinese text. [ABSTRACT FROM AUTHOR]