Document Type : Articles

Author

Assistant Professor, Department of Graphics, Faculty of Art and Architecture, University of Guilan, Rasht, Iran

10.22034/jltll.v4i1.121

Abstract

The manuscript of Nahj al-Balaghah belonging to the Safavid period is one of the treasures of the National Library's treasury of documents. of writing this work by the traditional way shows the visual knowledge of the calligrapher and his unique creativity in managing the written text. Its layout is written with distinct visual arrangements. The present study seeks to answer the question of what visual and semantic space creates a visual and semantic space in the audience in the manuscript of Nahj al-Balaghah belonging to the Safavid period and what visual principles and basics influence the creation of this sensory space. The hypothesis of researching the beauty of form and content in a linear work owes much to the heartfelt belief in Islamic-Shiite teachings as well as the creative use of framing and page layout management based on the principles of image organization to convey meaning to the audience Creating a relaxing and amazing atmosphere for the audience of the present age. The purpose of this research is to explain the semantic and visual aspects of influential page layout of Nahj al-Balagheh manuscript as part of the traditional graphics of the Islamic period. The research method is descriptive-analytical, the method of collecting library materials is through phishing and image reading. Based on the studies, it can be concluded: The creation of this manuscript by Shiite calligrapher is associated with love of beauty and enlightenment to the truths of divine existence and self-cultivation, and provides the background for the creation of aural writing on the page, the beauty of form in the Nahj al-Balaghah manuscript, it owes much to the use of conventional and creative frameworks formed the basis for the formation and management of writing. There is a harmony between gilding and writing in conveying a soothing sensory meaning on some pages. Visual arrangements follow the transmission of special meanings such as harmony and calmness, visual movement and effervescence, rhythm and rhythm, darkness and light, distance and proximity, contrast and contrast. The author of this work has used the principles of image organization such as harmony, contrast, balance, mastery, movement and proportion, to convey the sensory meaning, attract the view and visual guidance of the audience.

Keywords

Chen ,Design Associates.(2011). "Finger print" No 2: The evolution of handmade elements in graphic design.Blue Ash,Oh: How book
Klanten,R,.Ehmann S.Hubner, & Sinofzik, A. (2012). "High touch: Tactile Design"
Arnheim, R., (2007) "The Art and Visual Perception of Creative Eye Psychology", translated by Majid Akhgar, Tehran: Samat Publishing.
Stinson, O., Wiig.Boon.C., (2011), "Fundamentals of Art", Theory and Practice, translated by Mohammad Reza Yeganehdoost, Tehran, Samat Publishing.
Borkhart, T., (1987), "Islamic Art of Language, Expression," Massoud Rajabnia, Tehran: Soroush
Beheshti, T., (2019) "Compilation of page layout system governing three samples of Timurid Qurans preserved in the National Museum of Iran", Journal of Fine Arts, Volume 23, Number 2, 79-86
Dandis, Donis A., (2008), "Principles of Visual Literacy", translated by Masoud Sepehr, Tehran, Soroush Publications.
Rahimi, F., (2012) "Middle of Art Aesthetics", Tehran: Payame Noor University.
Rikhtegaran, M., (2001) "The Art of the Beauty of Thought", Tehran: Saghi Publishing.
Shafiee, N., Marathi, M. (2014), "A study of the structure and page layout of the opening pages of the Holy Quran from the fifth to the twelfth century AH", Volume 9, Number 31, 22-35
Sheikhs, N., (2006), "Sensory Graphics", Tehran: Loh Negar.
Azimi, Habibollah, (2013), "Text Research in Nahj al-Balagheh with reference to two authoritative versions of the 5th and 6th centuries AH", Journal of National Library and Information Studies, Volume 24, Number 96
Fadavi, S.m, (2015), "Illustration Techniques", Tehran: Mirdashti Cultural Center.
Kazemi, S., (2008) "A Study of the Principles of Layout of Qurans of the Ilkhanid Period", Journal of Fine Arts, No. 32, 95-102
Nasr, Seyed Hossein, (2010) "Spirituality in Islamic Art", translated by Rahim Ghasemiyan, Tehran: Hekmat Publishing.
Klim Kite, H., (2005), "Manichaean Art", translated by Abolghasem Esmailpour, Tehran: Myth Publishing.
Lapotor, M., (2006), "Page layout", translated by Farhad Goshayesh, Tehran: Lotus Publications.
Mahdavi, M. Amin, (2009) "Evidence of network layout in Iranian manuscripts", visual language of Shahnameh, translated by Seyed Davood Tabatabai, Tehran: Institute for Compiling, Translating and Publishing Text Art works
Manuscript of Nahj al-Balaghah, (1065-1055) Written by Mohammad Mahdi Sharifi Tabrizi, book code 812635, treasure trove of manuscripts of the National Library.
Wang, W., (2001), "Principles of Design and Form", translated by Azadeh Bidarbakht, Nastaran Lavasani, Tehran, Ney Publishing, First Edition
Hay Smith, C. (2016), "What Goes Within a Paragraph? Principles of Typography", translated by Farzaneh Ariannejad, Tehran, Black Publishing
Yavari, H., (2011) "The Manifestation of Light in Traditional Iranian Arts", Tehran: Surah Mehr Publishing