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200114s2020 inu o 00 0 eng d |
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|z 2019045756
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|a 9780253049230
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|z 9780253049216
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|a MdBmJHUP
|c MdBmJHUP
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|a Akın, Esra,
|e author.
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|a Muthanna / Mirror Writing in Islamic Calligraphy :
|b History, Theory, and Aesthetics /
|c Esra Akın-Kıvanç.
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|a Bloomington :
|b Indiana University Press,
|c 2020.
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|a Baltimore, Md. :
|b Project MUSE,
|c 0000
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|c ©2020.
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|a 1 online resource (352 pages).
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
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|a Introduction: Axes -- Part I. A history of mirror writing. 1. Perspectives: previous scholarship on mirror writing -- 2. Foundations: the practice of mirror writing -- 3. Orientations: reversed and repeated writing in non-Arabic and Arabic scripts -- 4. Convergences: mirror writing in Greek and Arabic -- 5. Diffractions: mirror writing in Arabic -- Part II. A theory of mirror writing. 6. Reflections: mirrors in Islamic studies -- 7. Illuminations: a new discourse on mirror writing -- 8. Directions: the single-letter muthanna -- 9. Receptions: multiletter and multiword muthannas -- 10. Projections: calligraphic nazires and mobility -- Conclusion: Refractions -- Works consulted -- Index.
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|a "Muthanna, also known as mirror writing, is a compelling style of Islamic calligraphy composed of a source text and its mirrored image placed symmetrically on a horizontal or vertical axis. This style elaborates on various scripts such as Kufi, naskh, and muqahhaq through compositional arrangements, including doubling, superimposing, and stacking. Muthanna is found in diverse media, ranging from architecture, textiles, and tiles to paper, metalwork, and woodwork. Yet despite its centuries-old history and popularity in countries from Iran to Spain, scholarship on the form has remained limited and flawed. Muthanna/Mirror Writing in Islamic Calligraphy provides a comprehensive study of the text and its forms, beginning with an explanation of the visual principles and techniques used in its creation. Author Esra Akın-Kıvanç explores muthanna's relationship to similar forms of writing in Judaic and Christian contexts, as well as the specifically Islamic contexts within which symmetrically mirrored compositions reached full fruition, were assigned new meanings, and transformed into more complex visual forms. Throughout, Akın-Kıvanç imaginatively plays on the implicit relationship between subject and object in muthanna by examining the point of view of the artist, the viewer, and the work of art. In doing so, this study elaborates on the vital links between outward form and inner meaning in Islamic calligraphy"--
|c Provided by publisher.
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|a Description based on print version record.
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650 |
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7 |
|a Islamic calligraphy in art.
|2 fast
|0 (OCoLC)fst01430566
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650 |
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7 |
|a Islamic calligraphy.
|2 fast
|0 (OCoLC)fst01430565
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650 |
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7 |
|a Calligraphy, Arabic.
|2 fast
|0 (OCoLC)fst00844384
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650 |
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7 |
|a ARCHITECTURE / Buildings / Religious
|2 bisacsh
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650 |
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|a Calligraphie arabe.
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650 |
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|a Calligraphie islamique dans l'art.
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650 |
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|a Calligraphie islamique
|x Histoire.
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650 |
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|a Calligraphy, Arabic.
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650 |
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|a Mirror-writing
|x In art.
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650 |
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0 |
|a Islamic calligraphy in art.
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650 |
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0 |
|a Islamic calligraphy
|x History.
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655 |
|
7 |
|a History.
|2 fast
|0 (OCoLC)fst01411628
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655 |
|
7 |
|a Electronic books.
|2 local
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2 |
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|a Project Muse.
|e distributor
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|a Book collections on Project MUSE.
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|z Texto completo
|u https://projectmuse.uam.elogim.com/book/97413/
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945 |
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|a Project MUSE - Custom Collection
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