Visual Representative of Verbal Creatiion as a Figure of Speech in Nasta'liq Calligraphy with an Emphasis on Artworks of Calligrapher Gholamhossein Amirkhani

جستارهای نوین ادبی

Article 3, Volume 53, Issue 2 - Serial Number 209, August 2020, Pages 49-67   

Document Type: Research Article

DOI: 10.22067/jls.v53i2.86781

Authors

Somayeh Bazi^{* 1}; Farzaneh Farrokhfar²

¹MA Candidate in Art Research, University of Neyshabur, Neyshabur, Iran

²Assistant Professor, Department of Art Research, University of Neyshabur, Neyshabur, Iran.

Abstract

Extended Abstract

Introduction

Being melodic is one of the commonalities of many literary works, particularly in Persian poetry and Nasta'liq calligraphy. Apart from the structure of the Persian language and the Nasta'liq calligraphy form, which is elegant and delicate, poets and calligraphers use methods to make their works more melodic. In literature, these methods are the subject of “verbal innovative”. The aim of this study, which is conducted in a descriptive-analytical manner and with a comparative approach, is to show the similarities of these methods in Persian literature and Nasta'liq calligraphy, despite their different explanatory methods. The question is how the visual equivalents of verbal figures of speech are manifested in the Nasta'liq calligraphy. To this purpose, the calligraphic works of Gholamhossein Amirkhani have been studied and analyzed from this perspective. The reason for choosing him is easy accessibility to his works and also his ability to present quality works in different formats.
There is a lot of research on the synchronicity of literature and calligraphy; one of them is Annemarie Schimmel's research in the book, Islamic Calligraphy and Culture (1992), in which she deals with the issue of the relationship between calligraphy and poetry, of course, from the perspective of the impact and use of calligraphic terms in poetry. Qilichkhani in his book, An Introduction to Iranian Calligraphy (2013), has dealt with the issue of synchronicity and harmony between literature and calligraphy. The existence of rhythm or music in calligraphy that is discussed in this study is also a favorite topic of some researchers. For example, we can refer to the master's thesis entitled Study of the common aspects of Iranian calligraphy and music (Farhangi, 2012). Also in discussing the existence of tricks similar to literary arrays in the visual arts, we can refer to the article Literary array puns, visual array of comparative comparison of verbal and visual puns by Yahaqi (2009) in which the author takes a new, and an interesting look at the use of puns array in Animation is addressed. In general, what can be deduced from the study of available sources is that less research has been done directly in relation to the discussion of this article, the visual equivalent of Persian word arrays in Nasta'liq script, and it can be said that this article is one of the few interdisciplinary studies. It explores the beautiful commonalities in the two novel fields of literature and calligraphy.

Theoretical Framework

Nasta'liq script is the best and most beautiful form of calligraphy in Islamic word, which is placed after the Ta'liq script in terms of origin and is in the eighth row of Islamic calligraphy, but in terms of accessibility and ease of reading, it is in the second place after Naskh script.
Word/speech in Persian literature is adorned with verbal/spiritual figures and metaphors. The figures of speech is that the ornament and beauty of the word depends on the words, so that if we change the words while preserving the meaning that goodness will disappear. Rhetorical novelty is the study of tools and techniques that create music in speech (in prose) or enhance music (in poetry). In other words, rhetorical novelty is the study and recognition of tools and methods by which certain proportions and relations are created between the components of speech.
Components of speech are intertwined by a series of verbal or semantic proportions, and cohesive networks emerge from phonetic or semantic connections called literary words. The instrument that creates or enhances the music of the word and creates artistic relations between the components of the word is called figure of speech. These instruments sometimes have a verbal aspect and increase the music of the word in terms of phonetic relations, and sometimes they have a semantic aspect and make the speech more coherent through proportions and semantic relations. Discussion in the figures of speech that enhance or create verbal music is the subject of the rhetorical novel, and study in the instrument that produces the spiritual music of the word is the subject of the innovative spiritual. Figures of speech are poetic tools that the quality of using them shows that the poet, according to the subject and content, as well as what he has learned and his literary capital, has been able to use existing tools or invent tools or even other functions according to his work. In addition to creating music, these figures of speech can create coherence as well as various implication.

Method

The research method of this article is analytical, comparative and data collection is based on library sources and documents. Considering the objective of the study, the visual representation of figures of speech in Nasta'liq calligraphy pieces is done with emphasis on the works of Gholamhossein Amirkhani.

Results and Discussion

From the perspective of interdisciplinary studies of literature and art, this research points to the common aesthetic techniques in literary innovation and calligraphy. The purpose of this study is to prove the similarity between the tricks that Persian language poets and calligraphers of Nasta'liq use to create more music in their work, which in literature are called figures of speech.
In this regard, after a brief acquaintance with Nasta'liq script, a novel explanation of the word and the segmentation of figures of speech based on the methods of recitation, transliteration and repetition were performed, and then the selected works of calligraphy were analyzed and applied.
By studying speech figures and analyzing and describing calligraphy works from the perspective of using these figures and combining the two, it can be concluded that calligraphers use the same methods to create rhythm and harmony in their works that poets use to create more music in their words and this can be attributed to the common nature of the two, which is art. The main factor in creating beauty in these tricks is repetition because repeating something, reminding it and receiving it, is joyful.

Conclusion

Calligraphers use methods to create rhythm, or in other words, visual music, in their works that are very similar to the methods that poets use to enhance their verbal music, and we know them as methods of rhyme, simile, and repetition. A closer look at the calligraphy works reveals that this similarity is even to the extent that a visual equivalent can be found for other speech figures that have been proposed under these methods. The similarity between the aesthetic techniques in speech figures and Nasta'liq calligraphy can be due to the commonalities of ideation and creation of literary-artistic works, common culture, and the harmony and interdependence of Iranian literature and calligraphy with each other.
The aim of this research is to show a small part of similarity between literature and calligraphy (speech figures in Persian poetry and Nasta'liq script). However, these similarities can be traced in the spiritual figures section, Persian poetry formats and Nasta'liq calligraphy, and in other Islamic calligraphy such as Naskh and Sols calligraphy, which are mostly used to write the words of the Holy Quran. From this perspective, this research has the potential to expand and more profound studies can be done.
 

Keywords

Nasta'liq Script; Figures of Speech; Gholamhossein Amirkhani

Supplementary Files

3-farokhfar-Final.pdf

References

اسحاق‌زاده، روح‌ا.... (1394). اصول و مبانی خط نستعلیق. اصفهان: نشر مهرآذین.

اسحاق‌زاده، روح‌ا... و صادقیان، حمید روحانی اصفهانی، الهام. (1397). مقایسۀ ارتباطات بصری در خط نستعلیق بین دو شیوه صفوی و معاصر (میرعماد و امیرخانی). نشریه هنرهای زیبا هنرهای تجسمی. دوره 23. شماره 2. صص 46-35.

امیرخانی، غلامحسین. (1376). ترکیب بند محتشم کاشانی. چهارم. تهران: انجمن خوشنویسان ایران.

--------------. (1380). صحیفه هستی. اول. مشهد: انتشارات کلهر.

--------------. (1386). جلوه‌های نیاز مناجات منظوم منسوب به حضرت علی. اول. تهران: انتشارات امیرخانی.

--------------. (1388). آداب الخط. هشتم. تهران: انجمن خوشنویسان ایران.

--------------. (1391). آفتابی در سایه. اول. مشهد: انتشارات میردشتی با همکاری انجمن خوشنویسان مشهد.

پایدارفرد، آرزو؛ سلیمانی‌فر، مجتبی. (1393). نگاهی به عناصر بصری موسیقایی در هنرهای تجسمی. نشریه چیدمان. سال سوم. شماره 7. صص 112-106.

داندیس، دونیس. (1385). مبادی ســواد بصری. ترجمه مسعود سپهر. چاپ چهاردهم. تهران: انتشارات سروش.

رمضان‌ماهی، سمیه؛ بلخاری قهی، حسن؛ ریخته‌گران، محمدرضا؛ محمودی، ابوالفضل. (1397). نسبت زیبایی‌ شناسی و هنرهای سنتی در حکمت هنر هندو. نشریه کیمیای هنر. سال هفتم. شماره 27. صص 108-93.

شمیسا، سیروس. (1389). بدیع. بیستم. تهران: دانشگاه پیام نور.

شیمل، آن‌ماری. (1389). خوشنویسی و فرهنگ اسلامی. اسدالله آزاد. چهارم. مشهد: انتشارات آستان‌قدس.

طاهریان، غلامرضا. (1382). نگاهی علمی به زاویه قلم نستعلیق. تهران: نشر کلک دیرین.

عقیقی بخشایشی، عذرا. (1375). هنر خط و زنان خوشنویس در تمدن اسلامی. اول. تبریز: نشر آذربایجان.

فرهنگی، زهرا. (1391). بررسی وجوه اشتراک خوشنویسی و موسیقی ایرانی. پایان نامه کارشناسی ارشد دانشگاه تهران. پردیس هنرهای زیبا. گروه مطالعات عالی هنر. استاد راهنما: سیدحسام الدین سراج.

فلسفی، امیر احمد. (1376). نگاهی به ترکیب در نستعلیق. تهران: انتشارات یساولی.

قطاع، محمدمهدی. (1383). مبانی زیباشناسی در شیوه میرعماد. کتاب ماه هنر. شماره 69 و 70. صص 104-110.

قلیچ‌خانی، حمیدرضا. (1392). درآمدی بر خوشنویسی ایرانی. اول. تهران: موسسه فرهنگ معاصر.

محمودی، آزاد. (1387). اصطلاحات خوشنویسی در شعر شاعران بزرگ ایران. تهران: فرهنگستان هنر جمهوری اسلامی ایران.

مشتاق، خلیل. (1386). خط و کتابت. اول. تهران: آزاد اندیشان.

معنوی راد، میترا. (1392). تعامل ساختار و سبک در شکسته‌نویسی. تهران: فصلنامه علمی-پژوهشی نگره.

وحیدیان کامیار، تقی. (1390). بدیع از دیدگاه زیبایی شناسی. پنجم. تهران: سازمان مطالعه و تدوین کتب علوم انسانی دانشگاه‌ها (سمت).

ورامینی، نیما (1390). تفکر خلاق در گرافیک. تهران: انتشارات فرهنگسرای میردشتی.

هاسپرز، جان و اسکراتن، راجر. (1379). فلسفه هنر و زیبایی‌شناسی. ترجمه یعقوب آژند. تهران: انتشارات دانشگاه تهران.

همایی، جلال‌الدین. (1361). فنون بلاغت و صناعات ادبی. تهران: توس

یاحقی، فرید. (1388). «جناس؛ آرایه ادبی، آرایه بصری مقابسه تطبیقی جناس‌های لفظی و بصری در انیمیشن». نقد ادبی. سال 2. شمار5. 195-176.

 

Baumgarten, Alexander Gottlieb. (2012). Aesthetica, Volume 1, (Latin Edition), Publisher: Nabu Press.

Levinson, Jerrold. (2005). The Oxford Handbook of Aesthetics (Oxford Handbooks Series).