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1

CALLIGRAPHIC INSCRIPTIONS IN THE SEHZADE, SÜLEYMANIYE AND SELIMIYE MOSQUE

100%
Zübeyde C. Ö.
Rocznik Orientalistyczny
|
2008
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vol. 61
|
issue 2
103-116
EN
The mosques are very similar to art galleries due to the architectural and decorative properties. The calligraphy art was profound and applied on specific spots following specific rules. The calligraphy at the mosques of Sinan the Architect was written by the famous calligraphists of the time, Ahmet Karahisari, Hasan Celebi, Demircikulu Yusuf and Hasan Üsküdari. In this article, the calligraphy in the mosques of Istanbul Sehzade (1544-1548), Süleymaniye (1550-1557) and Edirne Selimiye (1569-1575) is researched to reveal the arrangement of calligraphy art in Sinan's mosques. The writings, almost resembling jewelry, in the mosques of Sinan complement the architecture. We wish that these writings will be preserved for the future generations.
2

MODERN CHINESE WRITERS' MANUSCRIPTS OR: WHEN DID AUTHORS START TO KEEP THEIR DRAFTS?

100%
Findeisen R. D.
Asian and African Studies
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2009
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vol. 18
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issue 2
265-292
EN
This paper raises the question about the meaning of 'keeping a draft manuscripts' in literary production, taking a famous calligraphy from Tang dynasty (8th cent.) as an early Chinese hand-writing that bears clear marks of intervention in a creative process. Taking four modern manuscripts as samples, it explores the blurred limits between calligraphy and manuscripts, and proposes to merge the millennium-old scholarly tradition of ‘collation' (jiaokan) in with methodological tools.
3

ON WRITING AND HANDWRITING

63%
Kučera M.
Pedagogický časopis (Journal of Pedagogy)
|
2010
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vol. 1
|
issue 2
11 – 28
EN
Writing is often considered secondary to the spoken language, as it is only coded sound-by-sound. But other scholars have demonstrated that writing is similar to ‘arithmetic’: a cognitive structuring, a shift to the meta-level (‘for the eye’). Handwriting (referred to here as the cursive writing in the sense of joined up handwriting, of ‘écriture liée’) differs from writing (in the first analysis): it has its own grammar composed of paradigmatic gestemes and tracemes and its own syntagmatic rules that connect them. In emotional terms, handwriting is designed to provide a special pleasure by its own drive (instinct, ‘Trieb’). But there is also cognitive aspect to it: the rapidity and fluidity of a cursive writing could be (in professional writing, for instance) more important (at the climax of the creative process) than it being legible for all eternity. The project of the new handwriting reform for Czech schools, abolishing the liaison between letters, is shown to be a modern and technically simplified form of calligraphy.
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