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Fascinated by the legendary creature known as “monkey”, notorious for descending from the high mountains in the aims to disrupt our livelihoods, I found myself drawn into a quest to know more about these elusive beings. One day, I encountered an individual who perfectly embodied the traits of the “monkey” I have studied about. Convinced of its identity, I swiftly asked for cooperation from those around me to hunt it down. However, to our disappointment, it was later unveiled that the being was in fact not a “monkey”, but a creature called “bear”. Several years down the line, I fell victim to a case of mistaken identity when a stranger, misled by my abundant body hair, mistook me for a “monkey” and hunt me down.This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library.

The article examines the philosophical contrast between Georg Wilhelm Friedrich Hegel's ideal of alphabetic writing and the Arabic abjad script, particularly focusing on the calligraphic works of Hassan Massoudy. It argues that while Hegel viewed alphabetic scripts as superior for their transparency and efficiency in conveying meaning, Arabic calligraphy, with its intricate aesthetics, offers an alternative perspective where the visual beauty of script enhances and reveals deeper meaning.

The utilization of online platforms for the preservation of the culture of Chinese calligraphy has become increasingly common in the digital era. We studied learners' intention to use online calligraphy teaching websites, adopting a mixed research method including both quantitative and qualitative analyses to examine the factors that engage online calligraphy learners. In total, 227 participants from a calligraphy learning community were analyzed using partial least squares structural equation modeling with mediation/moderation analysis. Usability and relative advantage significantly influenced the intention to use calligraphy websites. Perceived usefulness and attitude had a significant impact on usage intention. Both direct and indirect effects were observed for factors, including usability, ease of use, and relative advantage, whereas trialability and compatibility did not exhibit such effects. This study has theoretical and practical applications for scholars, practitioners, and managers in online calligraphy education in creating e-learning systems that align with learners' preferences. [ABSTRACT FROM AUTHOR]

The authors examine philosopher Nelson Goodman's treatment of the art of calligraphy. Topics discussed include Goodman's description of the ontological status of artworks in various art forms, philosopher Liu Yuedi's assessment of the application of Goodman's system to calligraphy, and the position of an art of calligraphy in relation to other art forms.

The calligraphy on Xuan paper written by Cao Hongxun, who was a scholar at the end of the Qing Dynasty, was comprehensively characterized using various analytical techniques in order to provide support for further conservation. Fourier transform infrared (FTIR) spectroscopy was used to identify the type of oil in the stains. The color difference, acidity, microstructure and elemental composition of the paper areas with and without the oil stains were analyzed and characterized using colorimetry, pH measurements, and scanning electron microscope-energy dispersive spectrometry (SEM-EDS), respectively. Paper fibers were observed using SEM and an optical microscope after dying with Herzberg stain. The results demonstrate that the stain in this paper artifact is mineral oil and the paper was produced using softwood, paper mulberry and herb fibers. A large color difference, lower pH and changes in the carbon ratio were present in the oil stains. However, the stains did not affect the elemental composition of the paper. Overall, this study provides evidence for further conservation treatment, such as selecting proper paper and cleaning reagents for the stains. [ABSTRACT FROM AUTHOR]

This study aims to explore the relationships between calligraphy elements, visual communication effects and cultural significance in the context of contemporary visualization of traditional Chinese arts. Thematic analysis was conducted on interview responses to uncover insights into the complex dynamics at play. In-depth interviews with professionals and scholars provided firsthand perspectives on integrating calligraphy elements in visual communication, the effects of visual communication on audience perceptions and the role of cultural heritage in design practice. Comparative analysis with existing literature further enriched the understanding of the variables' relationships and their implications for theory and practice. The findings reveal intricate relationships between calligraphy elements, visual communication effects, and cultural significance. Calligraphy elements enhance visual communication by imbuing design materials with cultural depth, authenticity and emotional resonance. Visual communication influences audience perceptions of cultural significance, shaping their attitudes and behaviors towards cultural artifacts and representations. Furthermore, cultural heritage informs design practice by providing a rich source of inspiration and meaning, guiding the creation of culturally resonant and effective communication materials. This research contributes to theoretical advancements in visual communication, cultural studies and design theory by uncovering insights into the relationships between calligraphy elements, visual communication effects, and cultural significance. The practical implications for professionals in design, marketing and cultural heritage preservation include providing practical guidance for creating culturally resonant communication materials and informing policies and initiatives that support the preservation and promotion of cultural heritage. [ABSTRACT FROM AUTHOR]

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Copyright of China Pulp & Paper is the property of China Pulp & Paper Magazines Publisher 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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Qaraquyonlu ruled around the years (810-872 AH). Jahanshah, the most famous king of Qaraqoyunlu, has done his extensive conquests with his son Mirza Abulfath Pirbodagh. His conquests were in areas such as Kerman, Baghdad, Shiraz, Herat, Isfahan, Yazd and Khorasan, but Pirbudaq was the ruler of Shiraz and Baghdad on his father's side. Activities were carried out in the scientific, cultural and intellectual environment of Iran during the period of Jahanshah and Pirbodagh and they had an impact on Iranian culture. To the extent that these emirs were interested in Persian art and literature, they developed and prospered the bookbinding workshops that were left over from the Jalairian and Timurian eras. Meanwhile, in addition to Jahanshah, his crown prince, Pir Bodaq, during his short reign until his death, caused the growth and promotion of book editing, and his period is one of the important periods of the development of book editing, which unfortunately has been less discussed. The present research seeks to answer the following question: what effects did Pirbodaq have on the development of the art of book layout in the second half of the 9th century AH? For this purpose, various aspects of the art of book design, including writing, calligraphy, painting, gilding, and binding, are considered by examining manuscripts in the period of Pirbudaq's rule, with emphasis on the geographical area of his rule in Shiraz and Baghdad. The research method was descriptive-analytical and historical as well. Describing the decorations of the copies and analyzing it by mentioning the name of the scribe, the place of writing and its date, and the historical developments of the time of Pirbudaq and the political situation of that period that caused the transfer of artists. Although Pirbodagh's reign was short and mostly in the two cities of Shiraz and Baghdad, the number and date of the manuscripts written during his time were many in proportion to the short period of his reign, and it shows his support in maintaining workshops, encouraging artists and scribes. In that era, the value of their profession and art has been respected and precious copies were created, which has remained in the history of art under the name of Pirbudaq period. In the end, the result is that Pirbodaq, by creating a context for the exchange of artists, has caused transferring the center of book design from the east to the west of Iran and has boosted the western school of Iran with a variety of artists with different tastes, and in the meanwhile has transferred those artists and has emphasized on the importance of book design workshops. In addition to the importance of book design, Pirbudaq was interested in scribes, poets, painters, and letter writers to provide the necessary materials for writing.

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it. The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

The article discusses a book by Michael D. Calabria titled "The Language of the Taj Mahal: Islam, Prayer, and the Religion of Shah Jahan." The book examines the Taj Mahal's inscriptional cycle in connection with Shah Jahan's religiosity and personal life. It provides new perspectives on the monument and its relationship to religion and culture in early modern India. The book is commended for its refreshing perspective on Shah Jahan and its exploration of the performative nature of architectural spaces. It is recommended for those interested in architectural history and religious history. [Extracted from the article]

Round and square are important concepts in Chinese aesthetics. The legacy of Chinese calligraphy aesthetics has led the way to modern design. In HCI, interface typefaces influence users' reading experiences. Users' aesthetic preferences may influence their reading experiences as well. The investigation of how human aesthetic preferences are affected by character visual features (e.g., character size and character weight) in type design has received substantial attention. However, it is difficult to accurately study human aesthetic preferences through these visual features in Chinese calligraphy-type design. How Chinese character visual features affect human aesthetic preferences is not clear. Inspired by graphic design, different visual features (e.g., color and texture) can cause changes in impression expressions (e.g., modern and classical), thus affecting human aesthetic preferences. In this article, we introduced a character impression analysis method to investigate how human aesthetic preferences are affected by Chinese character visual features. First, we proposed two impression expressions of character (round and square) from the concepts of Chinese aesthetics; Then, for these two impression expressions, we modeled four visual features of calligraphy characters from the principles of Gestalt psychology. Finally, we conducted two studies to investigate how visual features affect impression expressions and explored the relationship between aesthetic preferences. The results clearly explain how character visual features affect human aesthetic preferences. The present study can give designers a deep understanding of how visual features affect human aesthetic preferences based on character impression analysis. It can guide designers to make better type design decisions to achieve a high aesthetic preference for users. Furthermore, the findings of the present study can potentially provide new insights into Latin type design. [ABSTRACT FROM AUTHOR]

Generative art has drawn increased attention in recent AI applications. Traditional approaches of robot calligraphy have faced challenges in achieving style consistency, line smoothness and high-quality structural uniformity. To address the limitation of existing methods, we propose a dual generator framework based on deep adversarial networks for robotic calligraphy reproduction. The proposed model utilizes a encoder-decoder module as one generator for style learning and a robot arm as the other generator for motion learning to optimize the networks and obtain the best robot calligraphy works. Based on the enhanced datasets, multiple evaluation metrics including coverage rate, structural similarity index measure, intersection over union and Turing test are employed to perform the experimental validation. The evaluations demonstrate that the proposed method is highly effective and applicable in robot calligraphy and achieves state-of-the-art results with the average structural similarity index measure 75.91% , coverage rate 70.25%, and intersection over union 80.68%, which provides a paradigm for evaluation in the field of art. [ABSTRACT FROM AUTHOR]

This article discusses the use of prayer rugs in contemporary Franco-Maghrebi artwork as a space for reflection and reconciliation between conflicting concepts of Islam and the West. Artists such as Mounir Fatmi and Zoulikha Bouabdellah use prayer rugs to challenge societal stigmas and raise issues about the status of Muslim women. These artists aim to create alternative narratives about Islam and highlight the possibility of inclusivity and coexistence. The prayer rug is seen as a safe space for prayer, contemplation, and meditation, and it serves as a metaphor for questioning and reflecting on freedom of thought within Islam. [Extracted from the article]

Since ancient times, calligraphy and meteorology have had an inseparable relationship. Wang Xizhi's Prologue to the Collection of Poems Composed at the Orchid Pavilion records the beautiful scenery of mild wind and bright sun, as well as the relaxed and joyful mood of people in such weather. Su Shi's Cold Food Calligraphy Copybook records the scenery of solar terms and the author's psychological changes during these solar terms through calligraphy. The Quick, Snow and Clear Time Calligraphy Copybook also reflects the grandeur of snowy days and the customs of literati recording weather and sharing it with friends. In Sun Quoting's Shupu, it is clearly stated that the third element of the "five harmony and five obedience" refers to the clear sky, humid air, and pleasant climate, and excellent climatic conditions are conducive to writing. [ABSTRACT FROM AUTHOR]

This article studies the Chinese artist Qiu Zhijie's (b. 1969) three experimental "rewrites" of the canonical text Heart Sutra and their geopolitical connotations within and beyond China. Examining Qiu's copious writings as well as curatorial and artistic practices over a decade, the article shows how the artist's evolving views of Buddhism have triggered, justified, and added nuances to his shifting positions in art and politics, including assertions of "native" identity and aesthetics, pursuits of non-elitist art and "folk" wisdom, and ambivalent takes on cultural colonialism. To contextualize Qiu's Buddhist-affiliated art, the article also traces how the modernized versions of Buddhism entangled with avant-garde art and politics in the postwar era, and how concepts like authenticity and cultural influence claimed not only aesthetic and thus market value, but also territorial ambitions. The citation of Buddhist doctrines and practices, the article argues, enabled Qiu to present his aesthetic maneuvers as ostensibly apolitical and hence more powerful as embodied ideologies. The artworks create "fragile" yet potent symbols of geopolitical connections that serve the discourse of a Sinocentric world, where China shares roots with "peripheries" such as Taiwan and Tibet and draws its soft power from a collectively created yet mystical and singular identity. [ABSTRACT FROM AUTHOR]

This paper presents a generative approach to creating dynamic 3D cursive calligraphy by integrating motion and bio-data captured by EEG and EMG sensors with particle systems driven by vector fields. The artwork created through this method metaphorically and visually represents a calligrapher's energy, inspired by the traditional concept of qi. The authors use the term bio-ink to describe the visualization technique of this digital sculpture, which uses bio-data as parameters to control the flow and dynamism of the particles. Utilizing Unreal Engine 5, the authors create a dynamic 3D artwork that inspires further investigation into the therapeutic benefits of calligraphy highlights the potential use of biofeedback in skill development, and paves the way for combining traditional arts with artists' life-data. [ABSTRACT FROM AUTHOR]

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Chinese calligraphy is a significant aspect of traditional culture, as it involves the art of writing Chinese characters. Despite the development of numerous deep learning models for generating calligraphy characters, the resulting outputs often suffer from issues related to stroke accuracy and stylistic consistency. To address these problems, an end-to-end generation model for Chinese calligraphy characters based on dense blocks and a capsule network is proposed. This model aims to solve issues such as redundant and broken strokes, twisted and deformed strokes, and dissimilarity with authentic ones. The generator of the model employs self-attention mechanisms and densely connected blocks to reduce redundant and broken strokes. The discriminator, on the other hand, consists of a capsule network and a fully connected network to reduce twisted and deformed strokes. Additionally, the loss function includes perceptual loss to enhance the similarity between the generated calligraphy characters and the authentic ones. To demonstrate the validity of the proposed model, we conducted comparison and ablation experiments on the datasets of Yan Zhenqing's regular script, Deng Shiru's clerical script, and Wang Xizhi's running script. The experimental results show that, compared to the comparison model, the proposed model improves SSIM by 0.07 on average, reduces MSE by 1.95 on average, and improves PSNR by 0.92 on average, which proves the effectiveness of the proposed model. [ABSTRACT FROM AUTHOR]

Copyright of Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) is the property of Dinasti Publisher 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.)

Ancient calligraphy manuscripts often suffered from degradation due to human factors and natural weathering. Image restoration techniques restore the degraded contents in calligraphy character images to help text-related research and have great significance for cultural heritage protection. Traditional manual calligraphy restoration relies heavily on professional skills and identifying experts for this process is time-consuming. Automatic digital methods do not usually require experts, which have an unsatisfactory performance for severely degraded calligraphy works restoration. In this paper, we first propose a crowdsourcing-based method to identify experts by a novel character similarity inference (CSI) algorithm to restore severely degraded calligraphy characters. Then, we develop LanT, a system to implement crowdsourcing tasks of restoration. We performed an evaluation on restoring a famous Chinese calligraphy work. The experimental results show that CSI can reliably identify experts. Additionally, we evaluate the usability of LanT and the generalization of CSI for Latin calligraphy character restoration. [ABSTRACT FROM AUTHOR]

In this article Dr. van Gulik (1910–1967) explores the life and times of the Chinese Buddhist monk Donggao 東皐 (1639–1695) who was not willing to live under the Manchu conquerors and left China for Japan. After his arrival in early 1677 he met with hostility, but, thanks to the intercession by his patron, prince Tokugawa Mitsukuni 德川光圀, he was able to stay in Japan, founded a new branch of the Chan school, the Shouchang sect 壽昌, and became the first abbot of this branch at Gionji 祇園寺 in Mito. The erudition of Donggao, and his skill in seal carving, calligraphy, lute-play and poetry, was much admired by Japanese monks and scholars. Dr. van Gulik presents numerous examples of his cultural endeavors, taken from his own sizable collection. This article was written by Dr. van Gulik in 1941 shortly before the Pacific War broke out, resulting in postponement of its publication. The type-written manuscript is now part of the Robert van Gulik archives in the East Asian Library at Leiden University. [ABSTRACT FROM AUTHOR]

This article discusses the theological significance of the works of David Jones, a Welsh painter, calligrapher, wood-engraver, and poet. Jones's art is described as a synthesis of Romano-British, Welsh pagan, and Christian doctrine and liturgy, influenced by his experiences as a soldier in World War I. The author praises Elizabeth R. Powell's new study on Jones's work, which focuses on three specific works and provides a detailed analysis of their theological import. The article also explores Jones's intentional sacramental approach to art and his exploration of the tension between divinity and the darkness of Golgotha. While the author acknowledges that Powell's endorsement of Thomist aesthetics may not be persuasive to all readers, they still find the study to be absorbing and informative. [Extracted from the article]

Waqfeyah is a document that informs the procedures and principles of a foundation and contains information such as what the donated goods are, who will benefit from them, and how and to whom and what amount will be paid. While waqfeyahs reflect the cultural, social, legal and economic structure of the period to which they belong, they are also important documents that reveal book arts practices such as calligraphy, illumination, marbling and binding. The art of illumination, which is one of the manuscript book arts, was generally applied in the past to embellish religious, literary and scientific manuscripts such as Mushaf, delâilü'l-hayrât, important manuscripts such as tughras, edicts and waqfeyahs. In this research, it is aimed to examine the illuminations in the waqfeyah cash book numbered 1444, which includes seven waqfeyahs belonging to Sultan III. Mustafa's daughter Beyhan Sultan. The technical, motif, color and composition features of the illuminated pages in seven waqfeyahs were determined, and the findings were interpreted in appropriate tables. As a result of the research, it has been understood that the colors, motifs and techniques used in the decoration of the foundation cash book numbered 1444, dated to the XIX. century, reflect the illumination characteristics of the period to which it belongs. [ABSTRACT FROM AUTHOR]

Purpose: The research will focus on the traditional and contemporary trends in calligraphy visually capture the essence of the Islamic art. Calligraphy for Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam. Design/Methodology/Approach: Qualitative content analysis method was used in this study to analyze. Findings: This shows that calligraphy which use in writing Quran and see around us and in old thing is developed by the Mughals in the sub-Continent of India. Mughals gave growth and promote Islamic Calligraphy in India mainly by practicing by own selves or bringing the artisans from all over the Islamic world especially Persia. Implications/Originality/Value: So it is concluded that contemporary Calligraphy also celebrates art for its own sake, where the verses of Quran or holy words are may become unclear but they arranged beautifully and attractively. [ABSTRACT FROM AUTHOR]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum 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 National Palace Museum Research Quarterly is the property of National Palace Museum 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 addresses a critical gap in the study of Islamic architecture by exploring the interconnected relationship between Arabic calligraphy and architectural design. Specifically, it examines the principles guiding the placement of Islamic calligraphy within the interior and exterior spaces of Islamic public buildings through a qualitative analysis of two notable case studies, the Al-Hambra Palace in Granada, Spain, and the Al-Azem Palace in Hama, Syria. This research elucidates fundamental principles that underpin the integration of calligraphy in Islamic architectural contexts. To enhance the robustness of the findings, interviews were conducted with three expert master calligraphers, providing skillful insights that enrich the understanding of calligraphy placement. This study reveals significant implications for the decoration of walls and ceilings in Islamic buildings. However, the findings are limited by the scope of the case studies and the subjective interpretations of the interviewed experts. This research contributes valuable knowledge to the field, informing contemporary architectural practices and the preservation of cultural heritage. [ABSTRACT FROM AUTHOR]

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Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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.)

“Ribat”, an Arabic word, means “keeping watch along the border to prevent enemy attacks”. In the history of Islamic architecture, it was used for the structures where soldiers tied their horses and kept watch along the borders. In addition to military training, worship and scientific activities were also important in ribats. Volunteer soldiers, called Muraabituun, would spend their time outside of military training with Qur’an reading, worship and dhikr, and prepare themselves for jihad. Therefore, the military function and the spiritual dimension were intertwined from the beginning. The masjids of the ribats are of great importance when evaluated in this context. The first ribats were built in Central Asia from the VIII century onwards. The Great Seljuks built ribats following the Samanids and Ghaznavids. Ribati Sherif, which is the subject of the research, is one of the most mature examples of the Great Seljukid ribats. Kâtib Ali al-Mansûr Asad b. Muhammed es-Sarahsî was the architect of the caravanserai, which is thought to have been built by the governor Şerefü’d-Dîn Ebû Tâhir b. Sa’d b. Ali b. İsa al-Kûmmî, in 1114-1115 and later became the vizier of Sultan Sanjar. Within the scope of this study, the architectural features and decorations of the two masjids of Ribati Sherif were analysed and evaluated within the architectural heritage of the Great Seljuks. As a result of the research in which literature review and field research methods were used as data collection methods, it is seen that the details of the Great Seljuk plan scheme, building technique, and ornamentation art can be called standardised spread over a large area. [ABSTRACT FROM AUTHOR]

Brandt (2021) ignores Peircean indices as signs and fits them into the category of symbolic signs if they are intentional. He names the third group of signs as diagrams and considers them, along with iconic and symbolic signs, to complete semiotic aspects of the art of life. In this research, we intend to illustrate that Persiancalligraphy has characteristics similar to diagrammatic signs and can be fitted into the category of diagrams. For this purpose, by using the structural perceptions of Persian calligraphy, Gestalt rules and semiotic blending, we analyse perceptually and conceptually a known work of Persian calligraphy art. To discover perceptual meanings, we apply Gestalt rules in the spaces of this work. The meaning obtained from this type of 'ception' is not person-dependent and culture-dependent. Perception of a sign occurs due to the stimulation of Gestalt principles in our mind. For example, if two points are in the scope of our vision, our mind creates a line by stimulating the principle of 'similarity'. This line, in fact, is invisible, but it can be perceived. In order for extracting the conceptional mening, we apply Brandt's blending theory to this work and name the resulting meaning as conceptual meaning. This meaning depends on how to perceive, which itself is dependent on perceptual perspective, and in addition, on our mental schemas. These two factors make conceptual perspective. Special attention has been paid to the perspective within the perceptual and conceptual analyses, because the way and order of observation as well as our schemas can change our interpretaion. It means that with a different perspective, a different interpretation is obtained. In order to conceive a sign, it is necessary to perceive it, because we first perceive the world with our senses. Then, with the formation of mental spaces and the presence of mental schemas, the 'meaning space' is created in our mind. This kind of approach to conceptualization was founded by Fauconnier and Turner in 1997 under the name of blending theory. Brandt, while criticizing the theory of mental spaces proposed by Fauconnier and Turner, presents a supplementary model of the semiotic blending, which includes five mental spaces as well as mental schemas as a conceptualisation interface. According to the model used for the conceptual analysis of this Persian calligraphy work, conceptual meaning is the result of our perception lead to a blending space and our schemas. The analysis of the considered calligraphy work from the perceptual and concetual points of view, focusing on the imagination factors such as selection, perspective, prominence, dynamicity, syntagmatic and paradigmatic relations, clearly illustrated that this calligraphy work can be considered as a diagrammatic sign in nature; because the organization of calligraphy forms based on these cognitive contents has been done in such a way that guarantees the conception of the work. It is assumed that perceptual and conceptual meanings, in addition to the space of Persian calligraphy, can also be obtained in the space of other human arts, based on what was tested in this research. [ABSTRACT FROM AUTHOR]

Background: Sleep disturbances, such as insomnia, are common among the elderly population and have been associated with negative health outcomes. Japanese calligraphy is a traditional art practice previously associated with various health benefits, such as stress reduction and improved cognitive function; however, its association with sleep quality has not been fully explored. Methods: This cross-sectional study included 21,207 subjects with basic attributes, health status, depressive symptoms, artistic practices, and sleep habits. Individuals who satisfied the chronic insomnia criteria were categorized into the following subtypes: sleep onset latency (SOL) insomnia, early morning awakening (EMA) insomnia, and wake after sleep offset (WASF) insomnia. The t-test, chi-square test, and logistic regression analysis were used to determine the association between Japanese calligraphy practice and sleep quality. Results: In this study, 17,597 elderly Japanese individuals were included, among whom 13.7 % practiced Japanese calligraphy. Regarding sleep characteristics, 32.0 % had chronic insomnia, 13.1 % had SOL insomnia, 9.1 % had EMA insomnia, and 14.2 % had WASF insomnia. Japanese calligraphy practice was associated with lower rates of chronic insomnia (odds ratio [OR] = 0.85, 95 % confidence interval (CI) = 0.76–0.95), including SOL insomnia (OR = 0.84, 95 % CI = 0.71–0.98), and EMA insomnia (OR = 0.80, 95 % CI = 0.66–0.97) but had no significant association with WASF insomnia. Conclusions: This study suggests that Japanese calligraphy practice is associated with lower odds of insomnia, particularly SOL and EMA insomnia. Calligraphy may be an effective nonpharmacological intervention for insomnia and poor sleep quality among elderly Japanese individuals.

In many countries, especially in the Islamic geography, there are many mushafs from the early periods. Most of these mushafs are attributed to the third caliph, Hazrat Uthman, but there are also mushafs claimed to be by the fourth caliph, Hazrat Ali. Since he presided over the reproduction of the mushafs during his caliphate, the possibility of the existence of a mushaf belonging to Hazrat Uthman can be considered reasonable. On the other hand, the claim that Hazrat Ali has a surviving mushaf raises many questions. In this study, one of the mushafs attributed to Hazrat Ali, the mushaf with inventory number 458 in the Museum of Turkish and Islamic Arts, is analyzed. The Mushaf is analyzed in terms of its attribution to Hazrat Ali, its formal and historical characteristics. Because early mushafs can contain many important data such as calligraphy, illumination, information on the beginning of the sūrah, and end-of-verse signs. In addition, the extent to which the principles of qiraat and rasm al-mushaf were taken into account in the spelling of the manuscripts can also provide new and remarkable information in these fields. The Qiraat and official mushaf aspects of the Mushaf will be the subject of a separate and comprehensive study. For this reason, the Mushaf, which is the subject of this study in terms of its formal, historical and attribution to Hazrat Ali, was written in kufic calligraphy and then dots were placed to determine the irab and letters. Considering all the features of the mushaf, which is also quite sufficient in terms of illumination elements, it is concluded that it was written in the middle of the second century of Hijri. In addition, it is seen that it is not possible for it to have belonged to Hazrat Ali both in terms of its characteristics and the date it was written

A regular calligraphy script of each calligrapher has unique strokes, and a script's authenticity can be identified by comparing them. Hence, this study introduces a method for identifying the authenticity of regular script calligraphy works based on the improved YOLOv7 algorithm. The proposed method evaluates the authenticity of calligraphy works by detecting and comparing the number of single-character features in each regular script calligraphy work. Specifically, first, we collected regular script calligraphy works from a well-known domestic calligrapher and divided each work into a single-character dataset. Then, we introduced the PConv module in FasterNet, the DyHead dynamic detection header network, and the MPDiou bounding box loss function to optimize the accuracy of the YOLOv7 algorithm. Thus, we constructed an improved algorithm named YOLOv7-PDM, which is used for regular script calligraphy identification. The proposed YOLOv7-PDM model was trained and tested using a prepared regular script single-character dataset. Through experimental results, we confirmed the practicality and feasibility of the proposed method and demonstrated that the YOLOv7-PDM algorithm model achieves 94.19% accuracy (mAP50) in detecting regular script font features, with a single-image detection time of 3.1 m and 31.67M parameters. The improved YOLOv7 algorithm model offers greater advantages in detection speed, accuracy, and model complexity compared to current mainstream detection algorithms. This demonstrates that the developed approach effectively extracts stroke features of regular script calligraphy and provides guidance for future studies on authenticity identification. [ABSTRACT FROM AUTHOR]

The blessed body features, creation, good morals and lifestyle of the Prophet (pbuh) have been the subject of the siyar-i Nabi literature and Turkish-Islamic literature. Hilya, one of these literary texts called shama’il, hilya, mawlid, mi'rajiye, has become famous by writing in the form of calligraphy plates since the 17th century and has survived to this day as a type of calligraphy. Hilya, which we can describe as a manifestation of the love for the Prophet and the longing to see him, have also gained an important place in Turkish and Islamic society. In Ottoman culture, it became a tradition to keep a hilya in every home, or to carry the hilya, written in a smaller form, and people believed that this would protect them from all kinds of evil, disease, trouble and disaster. In some works, It is possible to see that the rose motif representing the Prophet or illustrations such as the Kaaba, sandals of the Prophet, kadam sharif, cardigan of Prophet are used with hilya texts. In this study, an illustrated hilya with interesting design, found in the Ottoman Archives, will be described. [ABSTRACT FROM AUTHOR]