Study of the Importance of Association between Form and Content in "Names of God" Typography

Maryam Safa, Hossein Abed Doost

Abstract


Communication and coordination between form and content is inevitable in the transfer and impact of the Creator's purpose. The use of most forms in visual works, relying on visual elements, is to express the meaning and true context of the work, so the type of element selection and how they will also have a direct impact on the content that the artist desire. Of these works, typography, especially the typography of Names of God, has a special place, because apart from its graphical structure, it also contains the semantic meaning of the word. Therefore, the main point of the study is how much the association between form and material is important in typography of Names of God?

Therefore, the researcher has decided to consider the objectives of this research, including the establishment of a broad message communication with respect to visual elements and the form and content of expression in Names of God's typography works and to better express the truth and content of Names of God in typography, In general, the form and content of these posters are analyzed using descriptive - analytic research methodology to analyze the data qualitatively. This transfer of context and meaning in Names of God typography is of particular importance; because their content, apart from holiness, has a deep and profound truth. Also, the interpretation and paraphrasing of these names and attributions that are the same essence of the God is one of the categories that needs to receive and study their special sciences. The use of special Islamic forms that artists have used to convey religious truths and religious beliefs to a great extent can also contribute to the translation of the meaning of divine names.

Keywords


Form, Content, Typography, Names of God.

Full Text:

PDF

References


Asrar, Mostafa (1996). Knowledge of the Qur'an. Mahia Publications.

Ja’afari, Hussein. (2010). Preferred advices. Tabriz: Aharar Publications.

Khane zarrin, Ibrahim (2000). Spiritual drugs. Lahiji Publications

Musavi Jazayeri, Seied Mohammad Vahid. (2010). calligraphy . Aban Book Pub.

Pahlavan, Fahimeh (2006). Introduction for the analysis of pictorial elements in the logo. Tehran: University of Art pub.

Pahlavan, Fahimeh (2008). A visual connection from the semantic perspective. Tehran: University of Art pub.

Homayounfar, Rashnooh. (2009). Principles of typography. Magazine. Brochure. Catalog. Tehran: Plateau Pub.

Charai, Abdul Reza. (2013). Creativity in typography. Tehran: Mirdashti Cultural Center.

Burghard, Titus (1986). The Holy Art, Tiggism and Expression. Translated by Massoud Rajabnia. Tehran: Soroush Publication.

Balkhari, Hassan. (2005). The mystical foundations of Islamic art and architecture. Vol. 1 & 2. Sura Mehr Pub.

Maroofi, Abraham. (2006). A Survey on Typography in Iranian Posters (2006 -1991). The moon Art book. No. 99 and 100. From 28 to 35.

Razavi Ganji, Masoumeh Sadat. (2013). A reflection on designing the letters of applied ideology in typography. Moon art book. No. 176. From 32 to 39.

Demirchillo, Hoda; Sujudhi, Farzan. (2011). Semantic Persian typography analysis. Moon art book. Number 152. From 90 to 101.

Rezaei Nabard, Amir. (2010). typography styles. Moon Art Book. No. 150 46 to 57.

Ahmadi Baghbadrani, Sedigheh. (2009). Religion and art. Moon Art Book. No. 133. From 24 to 41.

Alireza, Azizi Yusufkand. (2010). From calligraphy to typography. Moon art Book. Number 150. From 28 to 33.

V. Tatarkieh Vich. (2002). Form in the history of aesthetics. Translated: Keyvan doostkhah. Art and Architecture; Art Quarterly. No. 52. 46 to 61.

Haj Seied Javadi, Saied Kamal. (1362). A review in History of Islamic calligraphy: Reading the Source of All Consciousness. Art and Architecture; Art Quarterly. No. 4. From 216 to 235.

Elyasi, Behrooz. (2008). Sacrifice in Islamic Calligraphy. Art and architecture; the arena of art. No. 5. From 38 to 48.

Images No. 1-10-14 - Annual Typography Exhibition of Letter Writing Poster –of divine names- Works of the 4th Exhibition (2008) Tehran – city pub. 2009.

Picture 2 - Charai, Abdul Reza - Creativity in Typography - Mirdashti Cultural Center - 2013.

Pictures No. 3-5-6-7-8-9- Kemarei, Mohammad Reza - Bostan-e Bi-sme Allah- Mashq d’art pub-2009.

ZAIDULLINA C.N, DEMYANOVA O.V., Enhancement of the Choice of Innovation Strategy of Industrial Enterprise, Astra Salvensis, Supplement No. 2, 2017, p. 297.

Images No. 4-13 - International Typography Exhibition of Letter Writing Poster of divine names - Fifth Exhibition (2009) Tehran - city pub. 2010.

Images 11-12. International Typography Exhibition of Letter Writing Poster of divine names - The Second Exhibition (2006) Tehran – city Publishing -2006 First Edition and 2008 Second Edition.

TUAN V.V., Communicative Competence of the Fourth Year College Students: Basis for proposed English Language Program, Astra Salvensis, Supplement No. 2, 2017, p. 45.

Sources and references

- Holy Quran

- Feiz al-Islam, Haj Seied Alinaghi (1991). Translation and description of Nahj al-Balaghah. Feiz-al-Islam Publications. Volume 1 to 6.

Tabatabaei, Seied Mohammad Hossein – Transcription of Al-Mizan. Vol 19. Tehran: Muhammad Publication Center.

- Qomi, Haj Sheikh Abbas (1996). Colleges of the keys of the Jinan . Translation of Hoja-al- Islam Mousavi Damghani. Correcting by Hussein Ostad vali. Feiz Kashani Pub.

Kemarei, Mohammad Reza. (2009). Boostan Bi-sme Allah. Tehran: Mashq d’Art pub.

ESU González, JVV Antúnez (2016). Bioética como marco de la responsabilidad social en hospitales públicos. Opción, Año 32, Especial No.12 (2016): 830-856.

JV Villalobos (2016). DE NUEVO AL DEBATE SOBRE LA CUESTIÓN DE LOS PARADIGMAS CIENT í FICOS. Opción 32 (81).


Refbacks

  • There are currently no refbacks.




Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Revista Publicando.

Licencia de Creative Commons

 

This Content is available under licencia de Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional.