Persian Calligraphy

This book is an exploratory adventure to defamiliarize calligraphy, especially Persian Nastaliq calligraphic letterforms, and to look beyond the tradition that has always considered calligraphy as pursuant to and subordinate to linguistic practices. Calligraphy can be considered a visual communicative system with different means of meaning-making or as a medium through which meaning is made and expression is conveyed via a complex grammar. This study looks at calligraphy as a systematic means in the field of visual communication, rather than as a one-dimensional and ad hoc means of providing visual beauty and aesthetic enjoyment. Revolving around different insights of multimodal social semiotics, the volume relies on the findings of a corpus study of Persian Nastaliq calligraphy. The research emphasizes the way in which letterforms, regardless of conventions in language, are applied as graphically meaningful forms that convey individual distinct meanings. This volume on Persian Nastaliq calligraphy will be inspirational to visual artists, designers, calligraphers, writers, linguists, and visual communicators. With an introduction to social semiotics, this work will be of interest to students and scholars interested in visual arts, media and communication, and semiotics.

Mahdiyeh Meidani is a visual artist and a researcher in the field of Media and Visual Communication. After studying Fine Arts and Media and Communication, she has worked as a graphic designer, text artist, and calligrapher and has held individual and group exhibitions in calligraphy, typography, and lettering. She has also taught Persian calligraphy and lettering. Her main research interests include multimodality and social semiotics, as well as visual semiotics and materiality of fine arts and writing.

1. Introduction 2. Corpus Analysis 3. Graphetic Analysis 4. Toward Semiotics of Nastaliq Calligraphy 5. Holliday's Triple Metafunctions: As Requisite of Any Semiotic Mode - In Nastaliq Calligraphy 6. Toward A Distinct Feature Analysis 7. Conclusion