Arabic and Persian Scripts Emerged as Decorative Elements in Art and Architecture in China
Abstruse
Calligraphy is a historical term that nonetheless has an elegant value in our mod society. Calligraphy was extensively engaged by the Greek artists as a sense of ornamentally displaying an expression. In nowadays- day, Calligraphy In-script has been a cardinal aspect of Islamic and Chinese art, as information technology is applied in most of their creative work. Calligraphy In- script in Islamic culture has been varied in the sense that it has been instrumental in shaping the Quran, mosques and palaces. The nearly intriguing feature is how calligraphy has been applied in tuning letters in the Quran past embracing the Arabic language. In this sense, the Calligraphic do of writing was used because the Arabs viewed it as a style of aesthetic and thus it simplified memorizing the Quran (Schimmel, 1970). With evolving times, Arabs generations take been able to come up with designs of calligraphy, which has resulted in varying decorations to raise the beauty.
Chinese calligraphy is another historical form of art. It was suggestive of conveying idea and beauty (Grube & George, 1978). Information technology draws similarities with other forms of calligraphy in lodge such equally Islam. The calligraphy was employed in organized religion, keeping records of events that typically occurred during the Shang dynasty (Grube & George, 1978). Over time, the technique establish its place in building architectures and other artful dimensions in society. The calligraphic blueprint has evolved to encompass; Qur'an verses, script, metalwork, tiles, coins and poetry verses. In this sense, information technology has been seen to connect the Islam religion direct with the individual Muslim language (Saeed, 2006). Qur'an continues to play a key function in developing Arabic every bit a language. Withal, standardized and average writing tools have not been instituted for decorative calligraphy since the employ of paw-copying wording is still broadly employed.
Introduction
Calligraphy is designated as a kind of visual art. It encompasses the aspects of ornamental lettering. Present-day calligraphy endures to curl in forms of wedding and upshot invites, lettering pattern, logo design, and religious art, broadcasts designs, cutting rock engravings and monument documents (Schimmel, 1970). Additionally, they are used in poignant images in films and televisions, maps and other works involving writing.
This paper gives a brief account of calligraphy by embracing Islam History and the Quran. The paper also explores the historical Islamic and Chinese calligraphy, during the Timurid period. Further, the paper explores how calligraphy played an important part in shaping mosques and Madrasa. It singles out Ding Xian mosque which Calligraphy has played a significant role in shaping. Finally, this paper explores the similarities and differences between Chinese and Islamic.
History of Islamic Calligraphy
Standard arabic language, Islam and religion, have been cited as the contributory factor to the rise of Islamic calligraphy. This is because calligraphy was strongly ingrained in Arabic messages it is ofttimes called Arabic calligraphy; however, the Islamic calligraphy fits the context as it involves all works of calligraphy washed by Arabs calligraphers in Prc and Kingdom of morocco, considered every bit ground point of calligraphy influence (Saeed, 2006).
Islamic Calligraphy is connected with symmetry existing on ceilings, mosques and walls. Present-day Islamic artists describe on the tradition of calligraphy to employ calligraphic engravings or ideas. Islamic art comprises the work of visual arts adult by communities that lived among the ancient non- Muslim and Muslim eras. These communities which practiced Islamic art constituted of both Muslims and non-Muslims origins. According to Safadi (1979), Islamic calligraphy constitutes a variety of art forms, which includes calligraphy, architecture, ceramic art, friezes, manuscript illumination, textile design, aureate smothery, painting, architectural decoration and many others. Islamic art is a combination of art fundamentals from early Christians, Greeks, red china cultures, Heart East cultures and the Bharat cultures (Safadi, 1979).
The Greek architects were the designers of the early buildings in the Islamic empire. The buildings having being the works of the Greek architects, they resembled the buildings in the late Roman Empire. Due to the fact that they were building the mosques, unlike the churches, the Greek architects saw the need to try out some new designs. This contributed to the ascent of different models of Islamic style. According to Safadi (1979, p.125), the Greek architects constructed the first mosque in Jerusalem. They referred to this mosque as "Dome of the Rock". It is octagonal-shaped and very like to the Hadrian's Pantheon (Grube & George, 1978). In North Africa, the new Arab rulers constructed numerous great mosques in such places as Cordoba in Spain and in Tunisia.
In Baghdad, the caliph'due south architects constructed numerous mosques and palaces. The structural designs of the mosques in Baghdad were different from the ane built by the Greek architects. The structural designs in Baghdad emulated Sassanian architectural traditions due to the fact Baghdad was in the Sassanian Empire (Saeed, 2006).
Gratis and easy motion of people inside the Islamic empire contributed to the spread of calligraphy to other regions (Safadi, 1979). This enabled the architects to connect and share cognition on unlike construction styles. The kings in these empires appreciated the value brought near by calligraphic compages in; palaces and mosques. For instance, the Al-Azhar mosque in Cairo Arab republic of egypt was built by the Fatimid'due south in the 900's Advertisement while the Almohads of Spain constructed their palace at Granada, the Alhambra, in the late 1200'due south AD (Meinecke, 1996).
The influences of Islamic Architecture
According to Meinecke (1996), the Islamic systems of architectures were mirrored to byzantine and Sassanid models. The effects of these models inspired the architects of the time hence it contributed to building of like models such as the; dome of the rock in Jerusalem. The dome of the rock is adorned with arabesque patterns and the neat epigraphic frieze (Meinecke, 1996). In other Arab countries similar Jordan and Syrian arab republic, palaces build in the desert were embraced by the caliphs equally response halls, baths and living quarters.
Architectural concepts and plans were enhanced by embracing the communication of borough and religious leaders. This was to strengthen the diversity and anchor a religious philosophy which was a characteristic at this age. Buildings such as Umayyad mosque acted equally a criterion for builders and historians for their future piece of work (Meinecke, 1996).
The holy volume of Qur'an is written in Arabic thus the Arabs played a vital function in the Islamic fine art. About of the diction in the works of the Arabs is portrayed in symbols and signs due to their interests in astronomy and mathematics. The Arabs had also inherited some knowledge from the Romans which made them eloquent in calligraphic in-script (Saeed, 2006).
The Turkish dynasties ruled a vast area of the Islamic empire for a long period of fourth dimension. This rule can exist directly linked to their spread of the Islamic fine art (Grube & George, 1978, p.208). The Turkish practical several ideas of art work which they learned while they were on their long journey to Egypt. The Turkish dynasty embraced figurative and non-figurative art designs which they had acquired from Asia. Most of the modern Islamic art works adorn a idea, tradition and taste of the Turkish influence and origin (Meinecke, 1996).
Quran
According to Haleem (2005), Quran was a symbolic representation of the heavenly mercy according to the Islamic religion. Muslims accords the Qur'an greatest respect considering of the holy teachings of its contents). The artistic style employed in writing the Qur'an was unique thus fifty-fifty the presumptuous makkan society failed to understand (Haleem, 2005. The makkan society were fluent in the language and were very distinctive thus the objects of applause from all. The Qur'an was palpable, and whatever private who felt dissatisfied with any chapter in the Qur'an was permitted to supersede it, but no one e'er succeeded (Nasr, 1987).
The bulletin of Prophet Muhammad's anchored in the Qur'an is the ground of emotional esteem and cognitive ability (Haleem, 2005). It has endeavored to preserve the honor of Qur'an. Hence, the purity has given rising to two expansions; which are; circulation of books as the background of knowledge, and o the expression of the characters in the Qur'an in a situation in which the holiness status of the book is outstanding. Therefore, a major conclusion is that the Qur'an devoutness is the rationale mark of all types of writing, which is the fundamental of all holy symbols (Haleem, 2005). This expansion had a significant and straight effect on the application of the holy characters of the book to the holy characters in the mosque surfaces.
A Serial of Arabic verses with cute calligraphic fine art in the Quran:
Qur'an and Calligraphy in Mosque
Typically, the Quran encompassed the Illumination and calligraphy, whereas ornamentation calligraphic inscriptions and inscriptions are associated with the mosque's compages's. Co-ordinate to Nasr (1987), with the emergence of Islam, a novelty religious and secular architecture came into existence which covered southern Espana, Due north Africa and southwest asia. The mosque advanced to a well-established pattern with spatial structure such equally surface decoration, mimbar, mihrab and the calligraphic inscriptions. The prayer was outlined clearly past the Qur'an although the characteristics of the mosque were not specified clearly (Haleem, 2005). The medina mosque was where prayers were led by the prophets until the time when spatial necessities such as the mihrab were needed. Mosque compages rose through the Umayyad control which saw the onset of architectural piece of work of art. The project managers and engineers tried in vain to outdo the ideas in decoration, and calligraphic inscriptions just, the quality and productivity levels were immense.
Timurid Calligraphy
Co-ordinate to Ruggles (2011), Timurid calligraphy was widely in practice during this menstruum. The art grew stronger after the nativity of Timur. This was considering, Timur grew upward to exist a great conquistador and at the age of 31 years old, he conquered Mongol dynasty thus, becoming the ruler of Samarkand. This magnificent success gave rise to the Timurid Empire, an Islamic empire (Gruber, 2010). The Timurid Empire was a predecessor of the Mughal Empire. The mosques in Yezd and Kernan were typical to those in the Timurid. The Timurid was known for distinguished painting schools in places such as the Herat and Shiraz. In volume binding and the Islamic arts of calligraphy, Herat had a variety of wonderful painted manuscripts (Ruggles, 2011). The Timurid art was viewed as a modification of the basic elements of the Islamic art in the eastward.
In the Western farsi culture, Shah-i-Zinda stands out for the reigning king and in cardinal Asia; it is the normally recognized necropolis. The necropolis constitutes of some ritual buildings and a mausoleum. Ruggles (2011) explore that Timur constructed Shah-i-Zinda based on the sacred legend that Prophet Muhammad's cousin was beheaded on that footing while preaching Islam. A variety of the Ilkhanid's ornamentation was made up of a combination gilt, bluish and white tile work. Gur-e-Amir stands for the king'southward tomb co-ordinate to the Persian civilisation. It stands out every bit the benchmark model for the Mughal architectures. The Gur-e-Amir was thousand thus; it was considered as the essence of the imperial fashion in the most parts of central Asia. The construction project was engineered past a Farsi architect known as Muhammad-bin- mahmudisfahani (Ruggles, 2011).
The following is a series of the Timurid architectural arts:
The figure below shows a busy mausoleum, Timurid necropolis and the portal of shah-i-zinda
The figure beneath shows Ilkhanid rosette on the interior and exterior of necropolis
A variety of the Ilkhanid'south decoration was made upward of a combination gold, blue and white tile work.
The images below depicts the ceiling and the interior design of the Gur-e-Amir dome
The epitome below shows the exterior front portal of the Gur-e-Amir
In the beginning of the year 1400, Timur started a major construction of the Bibi Khanym Mosque. It was a very huge mosque, took 4 years to complete and the construction piece of work involved architects and artists from throughout cardinal Asia. The mosque got its name from the wife of Timur. The inscriptions of Bibi Khanym Mosque were made out of patterns made from the mosaic tile piece of work (Safadi, 1979). The mosque entire mosque structure was synthetic using precious stones.
The picture below is an exterior structure of the Bibi Khanym mosque
Calligraphy Art in Mosques and Madrasa
The Islam developed unique styles, which camouflaged walls, of mosque and madrasa's. The principle involved the application of infinite patterns on the surfaces of any medium. The final art work was a superimposed element which tricked the eye into an illusion of the paradigm. The illusive aspect was enhanced by the use of decorative works. Tiles and plaster decorations were used to cover upward solid walls of Mosques and Madrasa while arches and vaults were camouflaged with epigraphic and floral decorations. Infinite patterns of radiating designs were put into dome which reduces the solidity of masonry and rock. This art made the stones to appear in a crystallized form.
The figure below depicts the frontal exterior portal of the Sher-Dor madrasa.
Sher-Dor is a Persian discussion which can be translated to mean 'having tigers'. In the figure above, two tigers can be clearly seen from the front part of the entrance to the madrasa.
Islamic Architecture in China
Co-ordinate to Abe (2010), Islam made its entry in China during the 7th century. Thus, the entry of Islam has left a tangible mark in Chinese civilization, which in years, has shared close similarities with other cultures such every bit Indonesia. Abe (2010) explored the link existing Communist china and Islamic culture; he described Islamic contribution to the country in terms of Islamic heritage in China. According to Abe (2010) one of the significant contributions of Islam in Red china is the edifice architecture every bit it can exist seen in calligraphy and ornaments. Rosten (2005, p.125) explores that Islam present in Prc was first felt as a event of building the first mosque in the seventh century. This menses coincided with the Tang dynasty hence it is interesting to note that, the get-go mosque constructed depicted traditional Chinese architecture.
The Chinese are well versed with Islamic calligraphy, which they called Sini. Popularity of Sini is traced in the mosque in Eastern part of China. Chinese Calligraphy gained much popularity during Mainland china's reform era, thus; 1 tin notice such calligraphy crafted with philosophical substances, on walls of homes, plagues and mosques. Moreover, such contents can exist found in weddings, birthdays, greetings and condolences messages (Chiang, 1973, p. 69). Historical records betoken that the Chinese employed pictures to communicate which in turn lead to developments of lines, symbols to suggest the item that was referred to. The symbols and lines take played a basis to what is known presently as the Mandarin language. In calligraphy, the fine art of lettering was ultimately enriched.
Calligraphy received reputable position in the eyes of Chinese club. Perhaps, this is the reason as to why calligraphic silk scrolls are often witnessed in nigh Chinese architectures (Abe, 2010). Besides, the Muslims communities in china have profoundly contributed to the enrichment of the china landscape. Thus, they have created Islam Chinese fusion of calligraphy. This has been witnessed through the construction of numerous mosques and the introduction of Islamic architecture in prc. This encouraged the continuation and preservation of the Islamic civilization and religion in china. According to Features (2006) the presence of the groovy mosque in Xi'an urban center indicates the beingness of the Muslim religion in china. This encourages Muslims to go permanent and temporary residents of china. In that location are several Islamic architectures in Xi'an city, which includes; the mausoleum of Qin Shihuangdi, emperor Tang Taizong tomb and the terracotta ground forces (Features, 2006). Xi'an city is likewise a permanent residential place for some smaller Asian ethnic group. Muslims population entered people's republic of china during the era of the Tang, and they settled in trading centers and port cities which were essential, for business organization activities.
The great mosque in Xi'an is a fountain of religious benefits to the Muslim residents. The structure of the not bad mosque comprises of a combination of Islamic elements and the aboriginal Chinese architecture. The mosque stood stiff despite China'due south harsh Cultural Revolution which witnessed the destruction of numerous buildings (Chiang, 1973).
Ding Xian mosque, China
Ding Xian mosque is one of the major and well conserved historical mosques in Red china. The Mosque was constructed during the Ming Dynasty. This catamenia was characterized past fusion of Chinese architectural features into mosque structural design. Similar other leading Mosque such as the Guangzhou and Hangzhou, Ding Xian Mosque is believed to be during the seventh century (Digital Library, 2011).
Xian mosque occupies an area of about 48 x 248 meters. The walls enclose a surface surface area of twelve thousands foursquare meters. In dissimilarity to about Chinese Mosques, Xian mosque depicts the layout of traditional Chinese temple. On its single axis, courtyard is decorated with pavilions and pagodas; this is to cultivate Islamic meaning. Moreover, the chiliad axis of Xian is linked from due east to west, thus facing Mecca. The interesting feature of the Nifty Mosque is that, information technology is made upwards of v sequential courtyards; each is composed of a screen gateway, pavilion, and a lead to a prayer hall situated at the w side of the axis (Digital Library, 2011). The archway of 1 of the v courtyards is washed using two gates located in the North and South of confines walls. On the Eastern part, the boundary wall has been built using beautiful grounds and elegant bricks. Besides, it is engraved with flowery decorations, ordered into iii equilateral forms.
Xian mosque has rooms on the northern walls. These rooms have amazing fronts with "a strong pavilion" at the center. Pavilion being used as a lecture hall is made upwards of 3 havens which are broad and has a hipped ridge; it is moreover abutted with an outcrop at the heart.
The 2d courtyard is detached from the first ane past a narrow pavilion. The narrow pavilion is fabricated up of uncurving stone, known as pailou which has been built to depict a wooden edifice (Digital Library, 2011). Information technology is as well fabricated up of 3 entrances; the primary is broad and higher than the two. All the iii entrances have engravings. As well, the 2d courtyard has a unconnected perpendicular brick berths, engraved with sumptuous flowery themes and capped with smooth tiles. These decorations are repeated in the third courtroom yards, and are farther strengthened with Arabic engravings, and stone tablets located at the periphery.
The quaternary courtyard has three main entrances. They are made of wooden doors busy with marbles. The roofline links three different pavilions thus extending from the main central hexagonal configuration towards the pyramidal ceiled marquees. The prayer Hall, which is a primal layout, is fabricated up of a porch and an extended hall. It has a prominent gibla bay; these three sections comprehend an expanse of near i,270 meters (Digital Library, 2011).
Differences and similarities betwixt the calligraphy in-scripts in the Chinese and the Muslims religions
The major difference between the Chinese and the Muslim Calligraphy tin exist denoted in the physical appearance of the in-scripts. The in-scripts in the Chinese characters appear enticing to the centre since they are very neatly done in a square form. The majority of the Chinese houses and temples are designed in a symmetrical square matrix. The Chinese are used to reading words which are usually boxed in a square. The Chinese calligraphy tends to overestimate the deft strokes of sini scripts and the curves (Saeed, 2006). Opposite to the Arabic mosques in which the placards appears in flowing Sini script. The features in the Chinese calligraphy employ a diverseness of calligraphic styles, and the net weight is e'er placed in cases of unmarried characters of the single down stroke style. The calligraphy in Arabic is sometimes boxed in a rectangle. The names of the prophet or God are usually wrapped on the exterior of the border of the rectangular frame.
Islamic writings accept which take flowing tails this is in dissimilarity with the Chinese lettering which are crafted in a foursquare form. The writings illustrate their architectural flair of consistency and square buildings. Although a slight divergence exists betwixt the Islam Calligraphy and the Chinese, they take common features. One of the universal similarities is the use of flowing Sini Scripts. Both Chinese and Islam use the flowing Sini scripts in their artistic works. Chinese hangs the works written past flowing scripts such as odes scripts in the archway of their temples and houses. Also, they both utilize the employ of flowing Sini Scripts signs with Arabic writings. These are commonly institute in entrances in mosques and temples. The Sini scripts are encircled in a square or diamond like squares which symbolizes of success.
Also, another similarity is the rectangular calligraphy feature with the proper noun of God vertically extended. This is common in Standard arabic Calligraphy. Too, Sini script is used to represent objects and is referred to as calligraphic art (Nasr, 1987). Objects are used to represent words in this form of art. Sini scripts are known to depict a rich mixture of iconographical and pictorial ideas in both Islam and Chinese culture.
Lastly, both Chinese and the Islamic calligraphy use hard parchments to lay downwards their arts despite the being of fine paper. This practice ensures the art made is not damaged equally a result of hard surface or in other unforeseen circumstances.
Conclusion
As we have seen, the art of calligraphy has contributed to shaping history of Islam and Chinese in various aspects. For instance, Islamic compages derived its style from the foundation of Islam and shows a wide range of both religious and secular styles. These styles have been expressed in unlike edifices and buildings thus representing the unique Islamic civilisation. Calligraphic decorations have played a function in ornamenting mosques, palaces tombs and forts. Also, the practice has ingrained in nowadays lodge in terms of beautifying wedding cards, announcements and animation in moving pictures seen in films and TVs.
This newspaper has explored the history of Islam calligraphy and its influence. The newspaper has too looked into Quran, and how Quran influenced the use of calligraphy in Islam and it place in Mosques. Also, the paper has explored the calligraphy during the Timurid menstruum. This period influenced the use of art in schools, mosques and in places among other places. In add-on, the paper has addressed calligraphy in mosques and madras. Chinese calligraphy emerged as a issue of interaction with Islam culture. The paper has besides explored the influence of calligraphy on architectures in Cathay, and the art of In-script in shaping the Ding Xian mosque. Lastly, the paper has compared and contrasted Islam and Chinese calligraphy.
References
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Features, 2006. Islamic Calligraphy in Prc. Web.
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Grube, Eastward., J., and George, Grand., 1978. Architecture of the Islamic World: Its History and Social Significant, With a Complete Survey of Cardinal Monuments, Morrow, Michigan.
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Meinecke, M., 1996. Patterns of Stylistic Changes in Islamic Architecture: Local Traditions Versus Migrating Artists, NYU Press, New York.
Nasr, S., H., 1987. Islamic Art and Spirituality, SUNY Press, New York.
Rosten, Chiliad., 2005. One time In Republic of kazakhstan: The Snow Leopard Emerges. iUniverse, Nebraska.
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Saeed, A., 2006. Islamic idea: an introduction. Taylor & Francis. London.
Schimmel, A., 1970. Islamic calligraphy, Brill Archive, Leiden.
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