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Showing 2 results for Dot
Faezeh Mojahedi,
Volume 2, Issue 2 (9-2020)
Abstract
This research is focused on a ceramic plate, made in the third or forth century A.H., which is called >>the Ascending Dot«< and is encompassed in the circle of the>> Sacred Art<< and the primary goal of this research is to interpret (dot) on the basis of the mys- tical teachings and to render the deconstructional role of this plate in contrast with the systematic order. The comparison between the Deconstructional process and the Re- ception Theory is the secondary goal of this research. There was no history of focused research about this plate in literature review before this essay. The data of this funda- mental applied research has been gathered through documentary and library study, descriptive analytical data analysis and critical approach. The result shows that >>the Ascending Dot<< tends to stimulate and interact the holders in comparison with the>> Central Absorptive Point«. »The Ascending Dot«< in a cyclic movement descends from the Essence of the Graceful Soul and is manifested in descending arch (circle) from inner and unseen Self (DOT), and thus disclosed in multiplicity and in ascending arch (of the circle), is coming back to the Eternal Unity. The returning journey of the seeker or the encircled existence, that is a manifestation of >>the ultmate truth«<, toward (Fana, extinction of the individual being) is revolving around this Circle of Existence. The usage of Inscribed Plates as the dish of food can have a Cathartic effect (White Death) on the seeker, and even can be a (Dhikr), or remembrance (of God), for him. The Cathartic effect or (white death) is an austerity which purify the seeker through the pain of hunger and help him to find self-control in agony. This is similar to Vedic Sacrifice Ceremony which evokes the unity of Sense of beuty, Taste and Ecstasy.
Mohammad Bagher Ashrafian Bonab, Hasan Bolkhari Ghehi,
Volume 5, Issue 8 (6-2025)
Abstract
Abstract: The treatise on the introduction of the principles of calligraphy from the circle and the dots, written by Muhammad ibn Ali Rawandi, is one of the oldest calligraphy teaching texts in the history of Iranian calligraphy, and is one of the most comprehensive treatises on calligraphy. It was written in the sixth century AH. This treatise can be considered one of the first surviving calligraphy teaching texts in the history of Iranian art. The writing of this treatise, while being short and avoiding formality, uses literary and poetic devices while teaching calligraphy. The placement of this treatise at the end of the book Raha al-Sudur and Ayah al-Surr, which, according to researchers, is a transcription of the book Seljuq-e-Qanamah by Khwaja Zahir al-Din Neyshaburi without citing the source, does not discredit it, considering the author's knowledge and calligraphic profession, and the introduction written on the treatise, which conveys his knowledge of the art of calligraphy and writing, as does the interpretations of the previous chapters of the book. This article, based on fundamental articles and using a descriptive and content analysis method, examines the process of formation of Rawandi's literary and artistic personality and the course of his artistic activity, while introducing and examining the importance of this treatise from the book Raha al-Sudur, its writing style, and its teaching of calligraphy in the art of calligraphy.
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