Volume 7, Issue 14 (3-2018)                   mth 2018, 7(14): 17-29 | Back to browse issues page

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Hosseini Roshtkhar F, Reza Ghelichkhani H R, Nemati babaylou A. Comparative Study of Analogous Cross Calligraphic Style by Gholam Reza Isfahani and Gholam Hossein Amir Khani. mth 2018; 7 (14) :17-29
URL: http://mth.aui.ac.ir/article-1-823-en.html
1- faculty of handicrafts, Isfahan University of art, Iran , s.f.hoseiniroshtkhar@gmail.com
2- University of Delhi, Iran National Library, Iran
3- Isfahan University of art, Assistant professor, Faculty of applied arts, Tabriz Islamic Art University, Iran
Abstract:   (4441 Views)
Mirza Gholam Reza Isfahani (D. 1304 Ah) Qajar era’s calligrapher, is a comprehensive personality with own way in Iran’s calligraphic history, who is a unique calligrapher in Qajar era. Mirza Gholam Reza has been proficient at all common dengues and templates in calligraphy, and especially he has created a new way in black homework template. Gholam Hossein Amir Khani (B. 1318) is one of the most famous calligraphers in the contemporary era and also one of those artists that has picked up the combined way in different periods of his art life. Furthermore, in his works, there seen the trace of those great masters’ works like Safavid era famous calligrapher Mir Emad- Particularly Qajar era calligrapher Mohammad Reza Kalhor. In chalipa, we encounter clear differences in studying the works of Mirza Gholam Reza Isfahani and Amir Khani. Therefore, in this article, we study two crosses that have the same text. The goal of this article is to comparatively study and identify the style in the works of Gholam Reza Isfahani and Gholam Hossein Amir Khani. In this article, attempts were made to extract the used rules in writings of those two works due to the superficial similarity to specify the common aspects and structural differences. The comparison is according to what exists in calligraphy tradition; that is, firstly it studies the material calligraphy, then words and at last words compound and seats style of calligraphy in these two works. Since, in a chalipa work, important points and rules are hidden in the structure, the identification of this structure can help to extract correct information from Chalipa and Nastaliq calligraphy. This research is an applied research and has been done with descriptive- analytic method and the comparative approach, data collection is librarian method and the analysis is done through a qualitative to non-narrative method.
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Type of Study: Research | Subject: Visual Arts

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