Adab-ol-mashghs as Calligraphers’ Fotovat-nameh

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RAVANJOO AHAD

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Journal: JOURNAL OF THEORETICAL PRINCIPLES OF VISUAL ARTS Year:2021 | Volume:- | Issue:10 Page(s): 112-123

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Information Journal Paper

Title

Adab-ol-mashghs as Calligraphers’ Fotovat-nameh

Author(s)

RAVANJOO AHAD | Issue Writer Certificate

Keywords

Fotovat-nameh

chivalry

Adab-ol-mashgh

Calligraphy

generosity

Abstract

Fotovat-namehs are slangy inscriptions that chivalrous people from different classes of Bazaar wrote to use in favor of their professions. These writings value a certain occupation, showing the holy side of it, praising the good deeds and focusing on teaching the traditional culture, and spreading the acknowledgment. In the case of Fotovat-nameh and Adab-ol-mashgh, masters tried to be trustworthy to the profession so they interviewed the pupils before teaching them. They teach the basics and the relation between master and the pupil to the beginners. It is a source for aesthetics, foundation, and details of Calligraphy. Writing these inscriptions started at Timurids and ended in Safavid historical era, have had a huge impact on calligraphers' knowledge about their profession. The most important part of it is Baba-shah-e-isfahani's Adab-ol-mashgh that has all the components that "literature" should have had. chivalry can be researched by exploring through the Fotovat-nameh and knowing the generosity and culture. These kinds of scripts are called “ literature” . Adab-ol-mashgh is just like Fotovat-nameh, it sets the connection between the guild on the inside and the costumers on the outside and surely the right manners and behaviors between them. In this article, we consider Adab-ol-mashgh, as the Fotovat-nameh of the Calligraphy, since it contains the condition of the guild, the relation between master and the pupil, the master’ s position, the guild’ s dignity, principles, and the span of the profession, the same thing that Fotovat-namehs did with chivalrous cultures. This article will show the complete accordance between Adab-ol-mashgh and Fotovat-nameh and shows the innocent side of Calligraphy while being in the business world and the bazaar as a tool. The explanation of chivalrous people from Ghaboos-ebn-voshmgir shows the common culture back in the days; when chivalry was based on their behavior in every class of the community and they followed an instance to always be pure. Ayaran were the people who spent their whole lives developing and promoting Fotovat-nameh, even if they had jobs it would’ ve been chivalry related. From what’ s recalled about the Ayari culture in fairytales and legends about their bravery (like Ya’ qub-layth) it’ s like they fought just to spread the word and chivalry was the main goal of their lives. Here we’ re going to look at Henry Corbin’ s writings (1984) that shows the godly side of chivalry. He did an analytical introduction about chivalry, he explained the “ chivalry movements” to be “ mystical conducts” and named “ chivalry” the “ mystical knights” that do major movements and they have a strong relation with Islam’ s Shi’ a religion, he found it similar to Europe's renaissance courses. This article is an effort in the cognition of chivalry taking chivalrous actions and deeds into consideration by researching and analyzing the history of chivalry licenses and adapting it to the Adab-ol-mashgh educational context. Fotovat-nameh and its contents are authentic Adab-ol-mashghs with Calligraphy studies so it is calligraphers Fotovat-nameh and it has the same impact on Calligraphy that Fotovat-nameh had on the traditional cultures. The behavioral and cultural context has had the same impact on eastern Asia as well. Guiding students how to learn from the master, guidelines, and contexts covering different grounds of learning to use different materials and getting more experienced along the way, these contexts are called “ literature” or “ etiquettes” you can find lectures about using certain kinds of tools and the way that papers are supposed to be and other elements that would help a student to start their journey, etc. This research has been done by a qualitative method and by the method of library study and reviewing historical texts. Its purpose is to clarify the hidden angles of this class of market professions in order to clarify their social status as a class of gentlemen who are culturally considered intellectuals of the market professions. Gentlemen who adhered to all the norms and customs of the ritual of Fotovat, in addition, had the benefit of aesthetics and traditional art, the study of which is very important for the people of art.

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APA: Copy

RAVANJOO, AHAD. (2021). Adab-ol-mashghs as Calligraphers’ Fotovat-nameh. JOURNAL OF THEORETICAL PRINCIPLES OF VISUAL ARTS, -(10 ), 112-123. SID. https://sid.ir/paper/363999/en

Vancouver: Copy

RAVANJOO AHAD. Adab-ol-mashghs as Calligraphers’ Fotovat-nameh. JOURNAL OF THEORETICAL PRINCIPLES OF VISUAL ARTS[Internet]. 2021;-(10 ):112-123. Available from: https://sid.ir/paper/363999/en

IEEE: Copy

AHAD RAVANJOO, “Adab-ol-mashghs as Calligraphers’ Fotovat-nameh,” JOURNAL OF THEORETICAL PRINCIPLES OF VISUAL ARTS, vol. -, no. 10 , pp. 112–123, 2021, [Online]. Available: https://sid.ir/paper/363999/en

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