Comparison of visual communications in hieroglyphics between the Safavid and contemporary style (Miremad and Amirkhni)
Abstract:
Word and image are two important factors to establish the connection. Formation of a signal in the form of letters, for expressing ideas and mental concepts took place distant past. Using text glyphs if the distance of time and space, get a sense was also easier. Writing and calligraphy In addition transferring messages through images and words, are visual structure. So in hieroglyphics only the characters but the message transfer agent Calligraphy artist initiative has been verified and tasteful field writing. The principles and rules of calligraphy in the beauty and attention to visual quality, including features that The line of visual and aesthetic structure has been privileged over other lines. The works surviving from Mir Emad Calligraphy in the Safavid period, showing the peak of the evolution of this line is that after centuries of formation, Attractions and hidden in the works of the best artists of his works of contemporary calligraphy in terms of visual and visual communications verifiable and comparable. So that by comparing the strengths and weaknesses of each of these works can be in terms of aesthetics and visual qualities outlined Selected samples to compare the effects of each period, the index of similar works Miremad the Safavid period and Amirkhni the contemporary period. Such relationships Nstlyq three categories: visual communication, understanding and communication connections are writing. Here are a dedicated communications objective and perceived communication or hidden in two contemporary style and Safavi has been studied. Considering the importance of hieroglyphics as the most beautiful bride Islamic lines and lines of Persian literature, research activity, comprehensive, adequate and functional aesthetic principles have been done in the discussion.
Basically without careful analysis and rational calligraphic works great and can not index any new developments in the field of calligraphy found his way.
So far, few studies have been done on the bases of visual nastaliq
Therefore, none of the visual elements of visual communication objective and hidden relationships and the visual quality of the calligraphy analyzed Nstlyq not taken seriously
In this paper, collecting information through library and documentary descriptive, analytical qualitative comparison of excerpts from the works of Mir Emad and Amirkhni addressed, Objective and comprehensive communications effort is intended to be reviewed in two ways Safavid and contemporary. According to the research are among the examples given.
Questions are being raised in this paper is to both apparent and hidden hieroglyphics need to make contact there, Intuitive knowledge in understanding what role this communication, mainly the similarities and differences in the difference between the samples of Miremad and Amirkhni similar effects are. The result of the research shows is that sensitive artist Safavid period, especially relations of visual communications objective and perceptual visual elements more contemporary artists have been hidden. In addition to recognizing the principles and rules as well as understand the communication writing, Requires a thorough understanding and recognition of objective and perceptual relationship between visual elements and visual quality of the calligraphy is nastaliq Safavid period in the works of the artist fully considered the issue.
Article Type:
Research/Original Article
Language:
Persian
Published:
Journal of Fine Arts, No. 74, 2018
Pages:
35 - 46
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