Volume 3, Issue 1 (Spring & Summer 2020)                   Cult Herit Rec Stud 2020, 3(1): 64-81 | Back to browse issues page

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Taheri Karimi A, Nazari Fardoei N. Comparative Study of Seljuq Inscriptions of the Two Towers of Segunbad in Urmia and Mehmandoost in Damghan. Cult Herit Rec Stud. 2020; 3 (1) :64-81
URL: http://chrs.richt.ir/article-3-324-en.html
1- Assistant Professor, Department of Architectural Decorations, Research Center for Conservation of Buildings and Fabrics, Cultural Heritage and Tourism Research Center, Tehran Iran
2- M,A Student, Department of Conservation of Historical Buildings and Fabrics, Science and Research Branch, Islamic Azad University, Tehran, Iran , nafiseh.nzr@gmail.com
Abstract:   (2384 Views)
Having great visual characteristics, the Kufic script has become one of the special aspects of inscriptions. Learning the illustrative capabilities of calligraphy in Iran and considering the graphic principles, give designers interesting ideas. Like other visual elements in the graphic arts, it plays a variety of roles and can be the main element of the work; it either penetrates into the image and creates a single entity, or is seen as a surface of a collection and homogeneous elements along with other levels. It can also interfere with information and express it, or at least fill the vacancies. The letters of the alphabet are a set of visual cues, and they are best illustrated when the relationship between the form and the content is perfect. From the Kufic inscriptions used as brick decoration in architecture, two inscriptions were chosen that have the same phrase and were written in the same historical period (Segunbad tower in Urmia and Mehmandūst tower in Damghan); both will be studied regarding their form and quality. The question is what the calligraphers or designers of these inscriptions have done, while writing a common term and given the adherence to the simple Kufic script, to create a unique form? The assumption of the article is that, despite the same pattern in all samples, using a simple Kufic script, the calligrapher has created different types of design of letters in his work. As a result, according to the sample and the form of speech, it seems that the designers of these samples have considered the letters as forms to design.
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Type of Study: Original Research Article | Subject: Iran Heritage
Received: 2019/04/9 | Accepted: 2019/04/7 | Published: 2020/03/29

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