#naskh

[tanween]

The Timeless Elegance of Arabic Calligraphy.

What skill would you like to learn? Arabic calligraphy is a fascinating and intricate art form that combines both visual aesthetics and the rich tradition of the Arabic language. This ancient practice involves writing Arabic script in a highly stylized and artistic manner. It holds immense cultural and historical significance in the Islamic world and beyond. Arabic calligraphy has evolved into…

[hindisoup]

Leaning Urdu through Hindi is so. much. fun! I’m just going through the alphabet at this point but having constant tiny epiphanies like بات - बात or بجانا - बजाना is so amazing. I mean my text book is teaching Urdu through English but I just skip translating mentally from Urdu to English to Finnish part and keep comparing Hindi and Urdu and almost feel like speed learning.

[kiragecko]

Hey, guys! Want to vote on the best 6th-10th Century script (writing system) that I, Gecko, personally like?

Of course you do! Writing systems are SO COOL!

And here's a bit about each of the contenders:

Arabic (Naskh Script)

Derived from the Aramaic Script, which grew out of Phoenician, Arabic has a variety of forms. The Naskh script is the one I find the most beautiful, with it's extreme variation on character length and height. I also love the use of multiples colours for Ḥarakāt (vowel marks and other diacritics). Add in the elegant curves and solid lines, and Naskh Script becomes one of the most stylish scripts around.

Latin (Insular Script)

Derived from Greek, the Latin alphabet is usually a competent and pleasant mix of lines and curves, uprights and descenders. Insular script plays with these qualities, and the result is electric! many of the uprights (t, d, f) are gone. New descenders are added (r, s, f). Horizontal lines take a new prominence. Line weight is increased, and the curves become more angular. Something old to us becomes new again.

Chinese (Semi-Cursive Script)

There are many ways to write Hanzi (Chinese characters), and Semi-Cursive Script manages to combine the best qualities of most of them! The expressive curves and flow of a cursive script. The solid shapes and readability of Regular Script. One of the joys of Hanzi is the visual interest of so many unique characters; which share components, but use them differently. Semi-Cursive keeps much of that interest, while also providing a dynamic energy and movement.

Sogdian (Cursive Script)

Derived from the Syriac script, which grew out of the Aramaic Script, the Sogdian Alphabet was developed by traders who met most of the major cultures of the Old World, and let all of those cultures affect their language and writing. Sogdian can be written write to left, like most Aramaic scripts, but also top to bottom, like the Chinese Scripts of their main trade partner. Curvy cursive lines, and characters of wildly varying length, give this script a interesting sense of flow.

Hebrew (Ktav Ashuri Script with Palestinian Vocalization)

Another offshoot of the (Imperial) Aramaic Script, the Hebrew Alphabet has a really interesting, heavy, square, solid feel. In contrast, Palestinian Voicing (an extinct form of writing vowels where all of them were above the consonants) is really light, stacked on top their vowels in little floaty towers. It's a cool combination!

Maya (Classical Maya Script)

The most famous script of the Americas, Maya has one of the most unique reading orders of any script. Characters are written in blocks, which are then read in a zigzag (right, and then down-left) pattern. Full of heads (both animal and human), torches, seeds, and other half-identifiable shapes, Maya texts are works of art, and the more you study them, the more beautiful they become.

Nubian (Old Nubian Script)

Derived from Greek with additional letters from Coptic (Egyptian) and Meroitic (a previous Nubian culture). Lines above letters are used to skip parts of words deemed unnecessary. The mixture of rectangles and triangles, heavy and light line weights - it reminds me of telegrams, or early typewriter text. I love it!

Khmer (Angkorian Khmer Script)

Derived from the Pallava Script, which derived from the Brahmi Script, Khmer is probably my favourite script to write. The curves feel so good! The spirals so pleasing! You write consonant clusters by writing little letters below the main one! A joy to create, and a joy to look at.

Japanese (Cursive Script)

See these wiggles? They're Chinese characters. Elegant, looking like poetry no matter what they're saying, Cursive Japanese is art. It's also ridiculous. 3 different characters, each with multiple strokes, indicated by wiggling the brush as you draw a line! Most cursive scripts are like this, but the contrast between the square solidness of Regular Script and the flow of Cursive is one of the more extreme. What a delight!

Sanskrit (Siddham Script)

I had SO MANY options for Sanskrit (Brahmi) Scripts, you guys. SO MANY! But in north-west India, during the period I study, this version of Siddham is the prettiest. Look at the curves! Those aren't just decorative, each curvy line that goes above or below the text is a vowel. Consonant clusters are shown by combining the characters together in one spot. The lines at the top haven't yet started connecting, like they do in modern Devanagari, but there's already a sense of it's existence. Such a cool script!

[u-mspcoll]

An outstanding icazetname in Isl. Ms. 438

First part of a calligraphy license or diploma (icazetname) in naskh (nesih) script, mounted in fol.17b in Isl. Ms. 438, Islamic Manuscripts Collection 

Second part of a calligraphy license or diploma (icazetname) in naskh (nesih) script, mounted as a separate piece in fol.21a in Isl. Ms. 438, Islamic Manuscripts Collection 

Enjoy this post by Sumeyra Dursun, 2023 Heid Fellow, from her research in the Islamic Manuscripts Collection. Sumeyra is a doctoral candidate in the history of Islamic arts at Yildiz Technical University in Istanbul.

Read more!

[gothhabiba]

Over 46 million people in Nigeria, Benin, Burkina Faso, Cameroon, Chad, etc speak the Hausa [hau] language. Although Hausa has been written using the Latin script since about 1880, and it has had an official orthography in use since the 1930s, Hausa still does not have an adequate standard orthography (Warren-Rothlin, page 274). Additionally, the Latin-script orthographies in Nigeria and Niger are slightly different. Regarding both the Latin orthography and the Arabic script (ajami) orthography, Warren-Rothlin says “…it is perhaps surprising that even Roman-script Hausa, far predominant over ajamin Hausa, does not yet have an adequate standard orthography. Hausa is also the language most liable to appear in both standard Arabic-script orthographies—Ḥafṣ in the printed Al-Fijir newspaper (with adaptations marked by hand on the front page and only irregularly inside), and Warš in the handwritten Tijaniyya booklets…” Wikipedia agrees: “Hausa has also been written in ajami, an Arabic alphabet, since the early 17th century. There is no standard system of using ajami, and different writers may use letters with different values.” Warren-Rothlin’s explanation that both the Ḥafṣ and Warš traditions (orthographic traditions of the Qur’ān) are used for Hausa enables us to understand a bit better why there are differences in ajami orthographies.

Hausa characters needed

This proposal is for two characters as used in the Hausa orthography. Both of the characters have a small 3 dot wagaf above them. “Wagaf” is the Hausa form of the Arabic word وقغة,” full stop, period”. The Hausa orthography has six characters with the small wagaf above them (however, four of them are already encoded in Unicode). Warren-Rothlin (p. 275) calls all the characters using the wagaf “glottalized”. He says “This term is used here to refer to a range of sounds, common in Afroasiatic languages, which may be realized as implosives or ejectives.” Warren-Rothlin (p. 276) says “three dots usually smaller than standard nuqat may be added above for labialization and below for palatalization.” [...] Table 2 illustrates the contrast between the basic character and the new characters with wagaf.

In 2015 a committee of the Ajamin Hausa Bible Translation Project of the Bible Society of Nigeria met to decide on the Hausa ajami orthography that they would use for publishing the Bible and other religious literature. Figures 1 and 2 are photos of the whiteboard where they came to agreement on the wagaf characters. They made it clear that the vowel must position directly above the wagaf (despite the fact that many of our samples have the wagaf shifted in order to avoid collisions and some examples have the wagaf below). However, they also made it clear that they consider the wagaf to be a modifier letter rather than part of the base character.

The following characters are proposed for adding to Unicode. Since the ajami style of writing for this region is so different, we have included a column to assist with recognizing the characters in the samples.

[ID: A table showing the two characters proposed, "Arabic letter ghain with three dots above" (IPA symbol /gy/), and "African qaf with three dots above" (/ƙy/). A column on the left shows each character in "standard naskh style" in isolate, initial, medial, and final position; a column on the left shows the same characters but in "Kano/Maghribi" ajami style, which is more angular and boxy and uses a downward point instead of a deep left-facing bowl for the ghain. End ID]

The following characters are also used in this orthography. The size of the three dots above is smaller than for all other characters. However, we believe they are glyph variants to characters already encoded in Unicode.

[ID: The same as above, but for the characters "Arabic letter beh with dot below and three dots above" (IPA symbol /ɓ/) "tah with three dots above" (/ts/), "keheh with three dots above" (/ky/), and "Farsi yeh with three dots above" (/ƴ/). End ID]

[...] Figure 4: Spellbook C, page 3. Arabic letter tah with three dots above (initial), Arabic letter keheh with three dots above (initial and medial), “kwarjini”, “tsamiya”, and “kwana”.

[ID: Handwritten text in black on white paper in the Kano/Maghribi style showing examples of the characters above named. End ID]

Figure 5: Spellbook C, page 7. Arabic letter tah with three dots above (initial), Arabic letter farsi yeh with three dots above (initial), “tsari” and “'ya'ya”.

Lorna Priest Evans and Andy Warren-Rothlin, "Proposal to encode additional Arabic script characters for Hausa to the UCS." 2018. Unicode document L2/18-094.

[ottoman-empire]

Art of Illumination and Naskh Scrip by Hafez Osman Nuri (II Abdülhamid Collection, nr 173)

[letsgostealthelouvre]

This is a key, in the name of Sultan Al-Malik Al-Nasir Faraj ibn Barquq. I’m not sure what it being “in the name of” really means; it appears to be a sort of tribute or votive. It’s tagged “religious furniture” in the record, which amuses. The inscription gives the name of the commissioning Sultan and offers prayers that his first and last sins will be forgiven and he will be directed on the right path. 

[ID: A large metal key covered in beautiful gold and silver decoration, including an inscription on the shaft in Naskh Arabic; rather than having a grooved shaft and teeth, like modern keys, it has a flat oblong shaft with a protrusion at the end, a four-armed shape designed to fit in and turn a lock.]

[tawakkull]

SPIRITUALITY IN ISLAM: PART 2: THE ORIGIN

As the history of Islamic religious sciences tells us, religious commandments were not written down during the early days of Islam; rather, the practice and oral circulation of commandments related to belief, worship, and daily life allowed the people to memorize them.

Thus it was easy to compile them in books later on, for what had been memorized and practiced was simply written down. In addition, since religious commandments were the vital issues in a Muslim’s individual and collective life, scholars gave priority to them and compiled books on them. Legal scholars collected and codified books on Islamic law and its rules and principles pertaining to all fields of life. Traditionists established the Prophetic traditions (hadiths) and way of life (Sunna), and preserved them in books. Theologians dealt with issues concerning Muslim belief. Interpreters of the Qur'an dedicated themselves to studying its meaning, including issues that would later be called “Qur'anic sciences,” such as naskh (abrogation of a law), inzal (God’s sending down the entire Qur'an at one time), tanzil (God’s sending down the Qur'an in parts on different occasions), qira'at (Qur'anic recitation), ta'wil (exegesis), and others.

Thanks to these efforts that remain universally appreciated in the Muslim world, the truths and principles of Islam were established in such a way that their authenticity cannot be doubted.

While some scholars were engaged in these “outer” activities, Sufi masters were mostly concentrating on the Muhammadan Truth’s pure spiritual dimension. They sought to reveal the essence of humanity’s being, the real nature of existence, and the inner dynamics of humanity and the cosmos by calling attention to the reality of that which lies beneath and beyond their outer dimension. Adding to Qur'anic commentaries, narrations of Traditionists, and deductions of legal scholars, Sufi masters developed their ways through asceticism, spirituality, and self-purification in short, their practice and experience of religion.

Thus the Islamic spiritual life based on asceticism, regular worship, abstention from all major and minor sins, sincerity and purity of intention, love and yearning, and the individual’s admission of his or her essential impotence and destitution became the subject matter of Sufism, a new science possessing its own method, principles, rules, and terms. Even if various differences gradually emerged among the orders that were established later, it can be said that the basic core of this science has always been the essence of the Muhammadan Truth.

The two aspects of the same truth the commandments of the Shari'a and Sufism have sometimes been presented as mutually exclusive. This is quite unfortunate, as Sufism is nothing more than the spirit of the Shari'a, which is made up of austerity, self-control and criticism, and the continuous struggle to resist the temptations of Satan and the carnal, evil-commanding self in order to fulfill religious obligations. While adhering to the former has been regarded as exotericism (self-restriction to Islam’s outer dimension), following the latter has been seen as pure esotericism. Although this discrimination arises partly from assertions that the commandments of the Shari'a are represented by legal scholars or muftis, and the other by Sufis, it should be viewed as the result of the natural, human tendency of assigning priority to that way which is most suitable for the individual practitioner.

Many legal scholars, Traditionists, and interpreters of the Qur'an produced important books based on the Qur'an and the Sunna. The Sufis, following methods dating back to the time of the Prophet and his Companions, also compiled books on austerity and spiritual struggle against carnal desires and temptations, as well as states and stations of the spirit. They also recorded their own spiritual experiences, love, ardor, and rapture. The goal of such literature was to attract the attention of those whom they regarded as restricting their practice and reflection to the “outer” dimension of religion, and directing it to the “inner” dimension of religious life.

Both Sufis and scholars sought to reach God by observing the Divine obligations and prohibitions. Nevertheless, some extremist attitudes occasionally observed on both sides caused disagreements. Actually there was no substantial disagreement, and it should not have been viewed as a disagreement, for it only involved dealing with different aspects and elements of religion under different titles. The tendency of specialists in jurisprudence to concern themselves with the rules of worship and daily life and how to regulate and discipline individual and social life, and that of Sufis to provide a way to live at a high level of spirituality through self-purification and spiritual training, cannot be considered a disagreement.

In fact, Sufism and jurisprudence are like the two schools of a university that seeks to teach its students the two dimensions of the Shari'a so that they can practice it in their daily lives. One school cannot survive without the other, for while one teaches how to pray, be ritually pure, fast, give charity, and how to regulate all aspects of daily life, the other concentrates on what these and other actions really mean, how to make worship an inseparable part of one’s existence, and how to elevate each individual to the rank of a universal, perfect being (al-insan al-kamil) a true human being. That is why neither discipline can be neglected.

Although some self-proclaimed Sufis have labeled religious scholars “scholars of ceremonies” and “exoterists,” real, per-fected Sufis have always depended on the basic principles of the Shari'a and have based their thoughts on the Qur'an and the Sunna. They have derived their methods from these basic sources of Islam. Al-Wasaya wa al-Ri'aya (The Advices and Observation of Rules) by al-Muhasibi, Al-Ta'arruf li-Madhhab Ahl al-Sufi (A Description of the Way of the People of Sufism) by Kalabazi, Al-Luma’ (The Gleams) by al-Tusi, Qut al-Qulub (The Food of Hearts) by Abu Talib al-Makki, and Al-Risala al-Qushayri (The Treatise) by al-Qushayri are among the precious sources that discuss Sufism according to the Qur'an and the Sunna. Some of these sources concentrate on self-control and self-purification, while others elaborate upon various topics of concern to Sufis.

After these great compilers came Hujjat al-Islam Imam al-Ghazzali, author of Ihya’ al-‘Ulum al-Din (Reviving the Religious Sciences), his most celebrated work. He reviewed all of Sufism’s terms, principles, and rules, and, establishing those agreed upon by all Sufi masters and criticizing others, united the outer (Shari'a and jurisprudence) and inner (Sufi) dimensions of Islam. Sufi masters who came after him presented Sufism as one of the religious sciences or a dimension thereof, promoting unity or agreement among themselves and the so-called “scholars of ceremonies.” In addition, the Sufi masters made several Sufi subjects, such as the states of the spirit, certainty or conviction, sincerity and morality, part of the curriculum of madrassas (institutes for the study of religious sciences).

Although Sufism mostly concentrates on the individual’s inner world and deals with the meaning and effect of religious commandments on one’s spirit and heart and is therefore abstract, it does not contradict any of the Islamic ways based on the Qur'an and the Sunna. In fact, as is the case with other religious sciences, its source is the Qur'an and the Sunna, as well as the conclusions drawn from the Qur'an and the Sunna via ijtihad (deduction) by the purified scholars of the early period of Islam. It dwells on knowledge, knowledge of God, certainty, sincerity, perfect goodness, and other similar, fundamental virtues.

Defining Sufism as the “science of esoteric truths or mysteries,” or the “science of humanity’s spiritual states and stations,” or the “science of initiation” does not mean that it is completely different from other religious sciences. Such definitions have resulted from the Shari'a-rooted experiences of various individuals, all of whom have had different temperaments and dispositions, and who lived at different times.

It is a distortion to present the viewpoints of Sufis and the thoughts and conclusions of Shari'a scholars as essentially different from each other. Although some Sufis were fanatic adherents of their own ways, and some religious scholars (i.e., legal scholars, Traditionists, and interpreters of the Qur'an) did restrict themselves to the outer dimension of religion, those who follow and represent the middle, straight path have always formed the majority. Therefore it is wrong to conclude that there is a serious disagreement (which most likely began with some unbecoming thoughts and words uttered by some legal scholars and Sufis against each other) between the two groups.

When compared with those who spoke for tolerance and consensus, those who have started or participated in such conflicts are very few indeed. This is natural, for both groups have always depended on the Qur'an and the Sunna, the two main sources of Islam.

In addition, the priorities of Sufism have never been different from those of jurisprudence. Both disciplines stress the importance of belief and of engaging in good deeds and good conduct. The only difference is that Sufis emphasize self-purification, deepening the meaning of good deeds and multiplying them, and attaining higher standards of good morals so that one’s conscience can awaken to the knowledge of God and thus embark upon a path leading to the required sincerity in living Islam and obtaining God’s pleasure.

By means of these virtues, men and women can acquire another nature, “another heart” (a spiritual intellect within the heart), a deeper knowledge of God, and another “tongue” with which to mention God. All of these will help them to observe the Shari'a commandments based on a deeper awareness of, and with a disposition for, devotion to God.

[artifacts-archive]

Jug (Mashraba) with Human-Headed Inscription and Zodiac Signs

Persian, 12th-early 13th century

The Arabic inscription around the neck of this jug is written in a naskh script that terminates in human heads and reads, “Glory, success, dominion, safety, happiness, care, and long life to the owner.” The inscription on the foot reads, “Glory, success, dominion, happiness, safety, intercession, and long life to the owner.”

[mariberlajarbersama]

Halaqah 22 - Beramal, Ridha Dan Berserah Diri Dengan Hukum-Hukum Yang Belum Dihapus (Naskh) Di Dalam Kitab-Kitab Allāh

Halaqah yang ke-22 dari Silsilah ‘Ilmiyyah Beriman Dengan Kitab-kitab Allāh adalah tentang “Beramal, Ridha Dan Berserah Diri Dengan Hukum-Hukum Yang Ada Di Dalam Kitab-Kitab Allāh”. Diantara cara beriman dengan kitab-kitab Allāh; ⑷ Beramal, ridha dan berserah diri dengan hukum-hukum di dalam kitab-kitab tersebut, baik yang kita ketahui hikmahnya atau tidak. Allāh Subhānahu wa Ta’āla berfirman:

وَمَا كَانَ لِمُؤْمِنٍ وَلَا مُؤْمِنَةٍ إِذَا قَضَى اللَّهُ وَرَسُولُهُ أَمْرًا أَنْ يَكُونَ لَهُمُ الْخِيَرَةُ مِنْ أَمْرِهِمْ وَمَنْ يَعْصِ اللَّهَ وَرَسُولَهُ فَقَدْ ضَلَّ ضَلَالًا مُبِينًا

“Dan tidak pantas bagi seorang yang beriman laki-laki dan wanita, apabila Allāh dan RasūlNya sudah menetapkan sebuah perkara, kemudian mereka memiliki pilihan yang lain di dalam urusan mereka. Dan barangsiapa yang memaksiati Allāh dan rasulNya, maka sungguh telah sesat dengan kesesatan yang nyata.” (QS Al-Ahzāb: 36) Dan Allāh berfirman:

فَلَا وَرَبِّكَ لَا يُؤْمِنُونَ حَتَّى يُحَكِّمُوكَ فِيمَا شَجَرَ بَيْنَهُمْ ثُمَّ لَا يَجِدُوا فِي أَنْفُسِهِمْ حَرَجًا مِمَّا قَضَيْتَ وَيُسَلِّمُوا تَسْلِيمًا

“Maka demi Rabbmu, mereka tidak beriman sampai mereka menjadikan engkau wahai Muhammad sebagai hakim di dalam perkara yang mereka perselisihkan. Kemudian mereka tidak menemukan rasa berat di dalam hati-hati mereka terhadap apa yang engkau putuskan dan mereka menerima dengan sebenarnya.” (QS An Nisā: 65) Adapun hukum yang sudah dihapus, maka tidak boleh diamalkan, seperti: • ‘Iddah 1 tahun penuh bagi wanita yang ditinggal mati suaminya. ⇒ Sebagaimana di dalam surat Al-Baqarah ayat 240. Maka telah dihapus dengan ayat 234 dari Surat Al-Baqarah yang isinya bahwa: ✓Masa ‘iddah wanita yang ditinggal mati suaminya adalah 4 bulan 10 hari. Dan semua kitab yang terdahulu secara umum hukum-hukumnya telah dihapus dengan Al-Qurān. ⇒ Artinya, tidak boleh seorangpun baik jin maupun manusia mengamalkan hukum-hukum yang ada di dalam kitab-kitab sebelumnya, setelah datangnya Al-Qurān. Allāh Subhānahu wa Ta’āla berfirman:

وَأَنْزَلْنَا إِلَيْكَ الْكِتَابَ بِالْحَقِّ مُصَدِّقًا لِمَا بَيْنَ يَدَيْهِ مِنَ الْكِتَاب�� وَمُهَيْمِنًا عَلَيْهِ فَاحْكُمْ بَيْنَهُمْ بِمَا أَنْزَلَ اللَّهُ وَلَا تَتَّبِعْ أَهْوَاءَهُمْ عَمَّا جَاءَكَ مِنَ الْحَقِّ لِكُلٍّ جَعَلْنَا مِنْكُمْ شِرْعَةً وَمِنْهَاجًا

“Dan Kami telah menurunkan kepadamu Al-Kitāb (yaitu Al-Qurān) dengan haq yang membenarkan kitab-kitab sebelumnya dan muhaymin kitab-kitab sebelumnya. Maka hendaklah engkau menghukumi diantara mereka dengan apa yang Allāh turunkan. Dan janganlah engkau mengikuti hawa nafsu mereka dengan meninggalkan kebenaran yang datang kepadamu bagi masing-masing dari kalian telah kami jadikan syariat dan juga jalan.” (QS Al-Māidah: 48)

Bahkan Nabi Mūsā sekalipun yang diturunkan kepadanya Taurat harus berhukum dengan Al-Qurān, seandainya beliau masih hidup ketika Al-Qurān turun. Rasūlullāh shallallāhu ‘alayhi wa sallam bersabda:

وَالَّذِي نَفْسِي بِيَدِهِ لَوْ أَنَّ مُوسَى كَانَ حَيًّا مَا وَسِعَهُ إِلَّا أَنْ يَتَّبِعَنِي

“Demi Zat yang jiwaku ada di tangannya, seandainya Mūsā hidup, niscaya tidak ada pilihan baginya kecuali mengikuti aku.” (HR Ahmad dan dihasankan oleh Syaikh Al-Albāniy rahimahullāh) Oleh karena itu Nabi ‘Īsā ‘alayhissalām salam yang diturunkan kepadanya Injīl di akhir zaman, ketika beliau turun akan berhukum dengan hukum Islam yang dibawa oleh Nabi Muhammad shallallāhu ‘alayhi wa sallam. Itulah yang bisa kita sampaikan pada halaqah kali ini dan sampai bertemu kembali pada halaqah selanjutnya.

[atplblog]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Akbarnāma, or The History of Akbar, by Abu’l-Fazl (d. 1602), is one of the most important works of Indo-Persian history and a touchstone of prose artistry. Marking a high point in a long, rich tradition of Persian historical writing, it served as a model for historians across the Persianate world. The work is at once a biography of the Mughal emperor Akbar (r. 1556–1605) that includes descriptions of his political and martial feats and cultural achievements, and a chronicle of sixteenth-century India. The fifth volume details the bellicose seventeenth to twenty-second years of Akbar’s reign, including accounts of the conquest of Gujarat, the capture of Rohtas fort from rebel Afghans, and the invasions of Patna and Bengal. The Persian text, presented in the Naskh script, is based on a careful reassessment of the primary sources. Publisher ‏ : ‎ Harvard University Press; Bilingual edition (31 March 2019) Language ‏ : ‎ English Hardcover ‏ : ‎ 400 pages ISBN-10 ‏ : ‎ 0674983955 ISBN-13 ‏ : ‎ 978-0674983953 Item Weight ‏ : ‎ 898 g Dimensions ‏ : ‎ 13.34 x 4.06 x 20.32 cm Country of Origin ‏ : ‎ India [ad_2]

[hindisoup]

Hiii, I've been following your blog since some time. And I've been very fascinated and impressed by your journey. I'm sure at this point you know hindi better than me (I'm not proud of this, I'll focus better on Hindi from now). And I've always had this question, I'm not sure if I asked you or if you have already answered it or not. But how did you start learning Hindi? Are you Indian or indian origin? And how has your journey been? Did you find difficulties? What was easy for you and what did you like/dislike about the culture as you continued learning the language? I'm very curious.

Hi and thank you so much for such a nice ask!

Here's my previous answer to how I got into Hindi in the first place.

In short, I am just a Finnish linguaphile with no connection to India or South Asia whatsoever. I have loved learning about different languages since childhood but Hindi (and Urdu on the side) has been my passion for the past six to seven years now.

I got into the language very typically through Hindi cinema but more than just the aesthetics I'm fascinated by the history, art, socio-political fabric, nature and just all of it. I love learning new things in general and there's always something new about Indian people or culture that draws my interest. Looking at things - whether political, religious or whatever - from a distance, I try to observe and form an understanding more than form opinions - it's not my place and all I have is endless respect for Indian people. I've never been to India but believe me I have long to-do and to-see lists when I eventually one day get to go there.

My language journey has been very enjoyable. I've done some online courses, had iTalki tutors, done some videos to practice pronunciation, made a huge Anki deck and done lots of reading, podcast listening and film watching. I was making great progress but my learning has been on somewhat hiatus since last autumn when I got a new job that took all my energy. Since January I've been writing a PhD thesis proposal that has taken all my spare time and my Hindi learning has diminished to scrolling Tumblr poems and listening to film songs while commuting. The passion is still there and I intend to return to my routines as soon as possible.

What I love most about Hindi as a language is the logic of it. It's - for me at least - very easy to 'get' Hindi, as in understanding the grammar rules - why things are the way they are. Hindi is a very learner-friendly language that way. A bigger issue is the immense vocabulary and understanding of the historical and cultural roots around borrowing sounds and words from Sanskrit, Persian and other languages - how they play together and how they do not etc. When learning Hindi you are never just learning Hindi!

I had some trouble learning Devanagari at first and learning to differentiate all the sounds (and produce them from my mouth). It took time, but one day they clicked. I'm not perfect and there's a lot of room for improvement but seeing the progress I've made is very encouraging and helps me keep on learning. Learning Nastaliq and Naskh is another story - and another journey altogether!

[sefiriyd3]

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu Gaziantep, tarihi ve kültürel zenginlikleriyle Türkiye'nin önemli şehirlerinden biridir. Özellikle mutfağıyla ünlü olan bu şehir, aynı zamanda sanatsal faaliyetleriyle de dikkat çekmektedir. Arapça kaligrafi, bu şehirdeki sanatsal etkinliklerin önemli bir parçasını oluşturur. Bu makalede, Gaziantep'te düzenlenen Arapça kaligrafi kurslarının önemi, içeriği ve bu sanatı öğrenme sürecinde katılımcılara sağladığı faydalar üzerinde durulacaktır.

sefiriyd

 Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, tarihi ve kültürel zenginlikleriyle Türkiye'nin önemli şehirlerinden biridir. Özellikle mutfağıyla ünlü olan bu şehir, aynı zamanda sanatsal faaliyetleriyle de dikkat çekmektedir. Arapça kaligrafi, bu şehirdeki sanatsal etkinliklerin önemli bir parçasını oluşturur. Bu makalede, Gaziantep'te düzenlenen Arapça kaligrafi kurslarının önemi, içeriği ve bu sanatı öğrenme sürecinde katılımcılara 

Arapça Kaligrafi Nedir?

Arapça kaligrafi, Arap alfabesi kullanılarak yapılan sanatsal yazım biçimidir. Bu sanat, yalnızca bir yazı türü olmanın ötesinde, bir estetik ve ruhsal deneyim sunar. Kaligrafi, harflerin şekilleri, süslemeleri ve düzenlemeleriyle bir araya gelerek görsel bir sanat formunu oluşturur. İslam kültüründe önemli bir yere sahip olan Arapça kaligrafi, dini metinlerin yazımında, mimaride ve diğer sanat dallarında sıkça kullanılmıştır.

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مشاريع التدفئة

المساعدات الإنسانية و

التبرعات

تبرعات مشاريع التدفئة

تبرعات اللاجئين السوريين

تبرعات مشروع بناء المساجد

مشاريع توزيع الخبز

مشروع توزيع الخبز

مشاريع جفظ القرأن الكريم

معاهد سفير الشرعية

تكريم حفظة القرأن

مخيم القرآن الصيفي

Gaziantep’te Arapça Kaligrafi Kursları

Gaziantep'te Arapça kaligrafi kursları, hem yerel hem de uluslararası katılımcılar için çeşitli seviyelerde sunulmaktadır. Bu kurslar, genellikle sanat okulları, kültürel merkezler veya kişisel atölyelerde düzenlenmektedir. Kursların içerikleri, katılımcıların deneyim seviyelerine göre değişiklik göstermektedir.

Kurs İçeriği

Kursların genel içeriği şu başlıklar altında toplanabilir:

Temel Bilgiler: Arap alfabesi ve harflerin yapısı hakkında bilgi verilir. Katılımcılar, harflerin temel formlarını öğrenirler.

Yazım Teknikleri: Farklı kaligrafi stilleri (örneğin, Diwani, Thuluth, Naskh) hakkında bilgi verilir. Her stilin kendine özgü yazım teknikleri ve kuralları vardır.

Pratik Uygulamalar: Katılımcılar, öğrendikleri bilgileri uygulayarak yazım pratiği yaparlar. Bu bölümde, bireysel rehberlik ve geri bildirim sağlanır.

Süsleme ve Estetik: Arapça kaligrafide süsleme teknikleri ve estetik unsurlar üzerinde durulur. Katılımcılar, çalışmalarını daha zengin hale getirmek için çeşitli süsleme tekniklerini öğrenirler.

Eser Oluşturma: Kursun sonunda katılımcılar, kendi kaligrafi eserlerini oluşturma fırsatı bulurlar. Bu süreç, öğrendiklerini pekiştirmek için önemlidir.

Eğitmenler

Gaziantep'teki kurslarda genellikle alanında uzman kaligrafi sanatçıları ve eğitmenler görev alır. Bu eğitmenler, katılımcılara sadece teknik bilgi vermekle kalmaz, aynı zamanda sanatı sevdirmek ve ilham vermek için de çaba gösterirler.

 منظمة سفير للمساعدات الإنسانية       تبرعات تركيا     تبرعات

Sefiriyd      sefiriyd      sefiriyd

Arapça kaligrafi kurslarına katılanlar genellikle farklı yaş gruplarından ve mesleklerden gelmektedir. Öğrenciler, sanatseverler, öğretmenler ve hatta iş dünyasından profesyoneller, bu kurslarda yer alarak hem sanatsal becerilerini geliştirmek hem de yeni bir hobi edinmek amacıyla katılmaktadır.

 Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Arapça Kaligrafinin Faydaları

Arapça kaligrafi öğrenmenin birçok faydası bulunmaktadır:

Sanatsal Gelişim: Katılımcılar, yaratıcılıklarını geliştirme fırsatı bulur. Kaligrafi, zihinsel bir dinlendirici olarak da işlev görür.

Kültürel Farkındalık: Bu sanatı öğrenmek, katılımcılara Arap kültürü ve tarihi hakkında derinlemesine bilgi edinme imkanı sunar.

Dikkat ve Odaklanma: Kaligrafi, dikkat ve odaklanmayı artıran bir aktivitedir. Katılımcılar, harfleri yazarken büyük bir dikkat ve özen göstermek zorundadır.

İletişim Becerileri: Kurslar, katılımcıların sosyal becerilerini geliştirmelerine yardımcı olur. Farklı geçmişlerden gelen insanlarla etkileşimde bulunmak, yeni arkadaşlıkların kurulmasına zemin hazırlar.

Gaziantep, Arapça kaligrafi sanatıyla ilgilenenler için kıymetli bir merkez haline gelmiştir. Bu kurslar, sadece kaligrafi öğrenmekle kalmayıp, aynı zamanda katılımcılara kültürel bir deneyim sunmakta ve sanatsal becerilerini geliştirmelerine yardımcı olmaktadır. Gaziantep'te yer alan bu kurslar, hem yerel hem de uluslararası sanatseverler için bir buluşma noktası olarak önemli bir rol oynamaktadır. Arapça kaligrafi, sadece bir yazı sanatı değil, aynı zamanda bir ifade biçimidir ve Gaziantep, bu sanatı öğrenmek isteyenler için ideal bir ortam sunmaktadır

[sefiriyd2]

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, Türkiye: Arapça Kaligrafi Kursu Gaziantep, tarihi ve kültürel zenginlikleriyle Türkiye'nin önemli şehirlerinden biridir. Özellikle mutfağıyla ünlü olan bu şehir, aynı zamanda sanatsal faaliyetleriyle de dikkat çekmektedir. Arapça kaligrafi, bu şehirdeki sanatsal etkinliklerin önemli bir parçasını oluşturur. Bu makalede, Gaziantep'te düzenlenen Arapça kaligrafi kurslarının önemi, içeriği ve bu sanatı öğrenme sürecinde katılımcılara sağladığı faydalar üzerinde durulacaktır.

sefiriyd

 Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Gaziantep, tarihi ve kültürel zenginlikleriyle Türkiye'nin önemli şehirlerinden biridir. Özellikle mutfağıyla ünlü olan bu şehir, aynı zamanda sanatsal faaliyetleriyle de dikkat çekmektedir. Arapça kaligrafi, bu şehirdeki sanatsal etkinliklerin önemli bir parçasını oluşturur. Bu makalede, Gaziantep'te düzenlenen Arapça kaligrafi kurslarının önemi, içeriği ve bu sanatı öğrenme sürecinde katılımcılara 

Arapça Kaligrafi Nedir?

Arapça kaligrafi, Arap alfabesi kullanılarak yapılan sanatsal yazım biçimidir. Bu sanat, yalnızca bir yazı türü olmanın ötesinde, bir estetik ve ruhsal deneyim sunar. Kaligrafi, harflerin şekilleri, süslemeleri ve düzenlemeleriyle bir araya gelerek görsel bir sanat formunu oluşturur. İslam kültüründe önemli bir yere sahip olan Arapça kaligrafi, dini metinlerin yazımında, mimaride ve diğer sanat dallarında sıkça kullanılmıştır.

التبرع لبناء مسجد

مشاريع التدفئة

المساعدات الإنسانية و

التبرعات

تبرعات مشاريع التدفئة

تبرعات اللاجئين السوريين

تبرعات مشروع بناء المساجد

مشاريع توزيع الخبز

مشروع توزيع الخبز

مشاريع جفظ القرأن الكريم

معاهد سفير الشرعية

تكريم حفظة القرأن

مخيم القرآن الصيفي

Gaziantep’te Arapça Kaligrafi Kursları

Gaziantep'te Arapça kaligrafi kursları, hem yerel hem de uluslararası katılımcılar için çeşitli seviyelerde sunulmaktadır. Bu kurslar, genellikle sanat okulları, kültürel merkezler veya kişisel atölyelerde düzenlenmektedir. Kursların içerikleri, katılımcıların deneyim seviyelerine göre değişiklik göstermektedir.

Kurs İçeriği

Kursların genel içeriği şu başlıklar altında toplanabilir:

Temel Bilgiler: Arap alfabesi ve harflerin yapısı hakkında bilgi verilir. Katılımcılar, harflerin temel formlarını öğrenirler.

Yazım Teknikleri: Farklı kaligrafi stilleri (örneğin, Diwani, Thuluth, Naskh) hakkında bilgi verilir. Her stilin kendine özgü yazım teknikleri ve kuralları vardır.

Pratik Uygulamalar: Katılımcılar, öğrendikleri bilgileri uygulayarak yazım pratiği yaparlar. Bu bölümde, bireysel rehberlik ve geri bildirim sağlanır.

Süsleme ve Estetik: Arapça kaligrafide süsleme teknikleri ve estetik unsurlar üzerinde durulur. Katılımcılar, çalışmalarını daha zengin hale getirmek için çeşitli süsleme tekniklerini öğrenirler.

Eser Oluşturma: Kursun sonunda katılımcılar, kendi kaligrafi eserlerini oluşturma fırsatı bulurlar. Bu süreç, öğrendiklerini pekiştirmek için önemlidir.

Eğitmenler

Gaziantep'teki kurslarda genellikle alanında uzman kaligrafi sanatçıları ve eğitmenler görev alır. Bu eğitmenler, katılımcılara sadece teknik bilgi vermekle kalmaz, aynı zamanda sanatı sevdirmek ve ilham vermek için de çaba gösterirler.

 منظمة سفير للمساعدات الإنسانية       تبرعات تركيا     تبرعات

Sefiriyd      sefiriyd      sefiriyd

Arapça kaligrafi kurslarına katılanlar genellikle farklı yaş gruplarından ve mesleklerden gelmektedir. Öğrenciler, sanatseverler, öğretmenler ve hatta iş dünyasından profesyoneller, bu kurslarda yer alarak hem sanatsal becerilerini geliştirmek hem de yeni bir hobi edinmek amacıyla katılmaktadır.

 Gaziantep, Türkiye: Arapça Kaligrafi Kursu

Arapça Kaligrafinin Faydaları

Arapça kaligrafi öğrenmenin birçok faydası bulunmaktadır:

Sanatsal Gelişim: Katılımcılar, yaratıcılıklarını geliştirme fırsatı bulur. Kaligrafi, zihinsel bir dinlendirici olarak da işlev görür.

Kültürel Farkındalık: Bu sanatı öğrenmek, katılımcılara Arap kültürü ve tarihi hakkında derinlemesine bilgi edinme imkanı sunar.

Dikkat ve Odaklanma: Kaligrafi, dikkat ve odaklanmayı artıran bir aktivitedir. Katılımcılar, harfleri yazarken büyük bir dikkat ve özen göstermek zorundadır.

İletişim Becerileri: Kurslar, katılımcıların sosyal becerilerini geliştirmelerine yardımcı olur. Farklı geçmişlerden gelen insanlarla etkileşimde bulunmak, yeni arkadaşlıkların kurulmasına zemin hazırlar.

Gaziantep, Arapça kaligrafi sanatıyla ilgilenenler için kıymetli bir merkez haline gelmiştir. Bu kurslar, sadece kaligrafi öğrenmekle kalmayıp, aynı zamanda katılımcılara kültürel bir deneyim sunmakta ve sanatsal becerilerini geliştirmelerine yardımcı olmaktadır. Gaziantep'te yer alan bu kurslar, hem yerel hem de uluslararası sanatseverler için bir buluşma noktası olarak önemli bir rol oynamaktadır. Arapça kaligrafi, sadece bir yazı sanatı değil, aynı zamanda bir ifade biçimidir ve Gaziantep, bu sanatı öğrenmek isteyenler için ideal bir ortam sunmaktadır

[luckiassia]

The Art of Calligraphy: A Journey Through Time and Expression

Calligraphy, often referred to as the art of beautiful handwriting, is more than just penmanship. It represents a unique blend of aesthetic beauty, cultural heritage, and personal expression. With roots that span across continents and centuries, Calligraphie has evolved from a functional necessity to an art form that captivates artists and enthusiasts alike. In this article, we will explore the history, cultural significance, and modern-day revival of calligraphy.

The Origins of Calligraphy

The word "calligraphy" comes from the Greek words "kallos" (beauty) and "graphein" (to write), literally meaning "beautiful writing." Calligraphy's origins can be traced back to ancient civilizations where writing was not only a tool of communication but a symbol of intellectual and cultural prestige.

Ancient China: Chinese calligraphy is one of the oldest forms, with roots dating back more than 3,000 years. Developed during the Shang Dynasty, Chinese calligraphy emphasized brush techniques and the harmonious balance of strokes. Scholars considered it a spiritual practice, and mastery was a lifelong pursuit.

Islamic Calligraphy: With the spread of Islam, calligraphy became an essential form of artistic expression. Because Islam prohibits the depiction of human figures in religious art, intricate scripts like Kufic and Naskh were developed to adorn the walls of mosques, books, and everyday objects with verses from the Quran. Islamic calligraphy, often written in Arabic, remains one of the most revered art forms in the Islamic world.

Western Calligraphy: In the West, calligraphy emerged as a formal script with the development of the Roman alphabet. Medieval monks transcribed religious texts by hand in elegant scripts such as Carolingian minuscule and Gothic, which paved the way for the classical calligraphy styles that are still popular in Western cultures today.

Calligraphy as a Cultural Symbol

Throughout history, calligraphy has been seen as more than mere decoration; it is a reflection of culture, philosophy, and values.

Chinese Calligraphy as a Philosophical Art: In Chinese tradition, calligraphy is regarded as an art that conveys the inner world of the writer. Each brushstroke symbolizes balance, rhythm, and order, reflecting the principles of Taoism, Confucianism, and Buddhism. The act of writing is seen as a form of meditation, connecting the writer to the universe.

Islamic Calligraphy as Spiritual Expression: In Islamic culture, calligraphy is seen as a sacred act. The Quran's verses are written with great reverence, and every stroke is imbued with religious significance. The flowing curves and intricate designs of Islamic scripts represent the infinite nature of Allah's creation.

Western Calligraphy and Humanism: Western calligraphy, particularly during the Renaissance, was associated with humanism and the revival of classical learning. Scholars like Petrarch and Erasmus emphasized the importance of elegant writing as a sign of intellectual refinement.

Modern-Day Revival and Contemporary Calligraphy

While Calligraphie has deep historical roots, it has experienced a resurgence in modern times. As technology continues to dominate everyday life, many people are turning to traditional crafts like calligraphy as a way to reconnect with the tangible, human element of creativity.

Calligraphy in Design and Branding: Today, calligraphy plays a prominent role in the design world. From logos to wedding invitations, many designers incorporate hand-lettering to add a personalized and artistic touch to their work. Calligraphy fonts and lettering styles are also popular in branding, where they evoke a sense of tradition and craftsmanship.

Calligraphy as a Meditative Practice: For many, the practice of calligraphy offers a retreat from the fast-paced digital world. The slow, deliberate movements required to create elegant letters provide a form of mindfulness, similar to meditation or yoga. The repetitive nature of calligraphy allows practitioners to focus on the present moment, reducing stress and increasing a sense of calm.

Social Media and Calligraphy Communities: The rise of social media platforms like Instagram and YouTube has sparked a global interest in calligraphy. Artists from around the world share tutorials, showcase their work, and build communities centered on the art of lettering. This online exposure has not only revived traditional styles but has also led to the development of modern, experimental forms of calligraphy.

The Tools and Techniques of Calligraphy

Despite its elegant appearance, calligraphy is a highly technical art that requires a deep understanding of tools and techniques.

Pens and Brushes: The type of pen or brush used is critical to the final product. Broad-edged pens, pointed pens, and brushes all create different effects. Broad-edged pens are ideal for Western scripts, while pointed pens are often used for flourishing and modern calligraphy. In East Asia, the brush reigns supreme, producing dynamic, expressive strokes.

Paper and Ink: Paper texture and ink quality can significantly influence the appearance of calligraphy. Smooth, high-quality paper allows for even strokes, while rougher surfaces can create interesting textures. Traditionally, calligraphers use ink made from soot and resin, though modern inks come in a wide array of colors and finishes.

Mastering the Strokes: Calligraphy is all about mastering the relationship between thick and thin lines. This is achieved through the application of pressure, the angle of the pen, and the speed of the stroke. While beginners may focus on copying letters, experienced calligraphers aim for flow and rhythm, giving each letter a unique sense of life.

Conclusion

Calligraphy, though rooted in ancient traditions, is an art form that continues to thrive in contemporary culture. Whether it's the disciplined elegance of Chinese brush strokes, the ornate curves of Islamic scripts, or the crisp lines of Western lettering, calligraphy embodies a universal human desire for beauty and expression through writing. In a world where digital communication is increasingly dominant, the revival of calligraphy offers a reminder of the power of the hand and the timeless art of the written word.

This ancient craft, blending mindfulness, artistry, and history, remains as relevant and cherished today as it was thousands of years ago. For More Details click here: assialucki.com