Abstract: Many buildings in Hong Kong are graced with enchanting works of Chinese calligraphy. An excellent example is Tao Fong Shan Christian Center founded by a Norwegian missionary, Karl Ludvig Reichelt (1877-1952) in 1930. Adorned with many inspiring works of Chinese calligraphy, the center functions as a place for the study of Christianity where people of different religions can meet to have religious discussions and intellectual exchanges. This paper examines the pivotal role played by Chinese calligraphy in creating a significant context for the center to fulfill her visions and missions. The methodology of this research involves stylistic and textual analyses of works of calligraphy, in particular through an examination and interpretation of their extended meanings in terms of architectural symbology and social and cultural contexts. Findings showed that Chinese calligraphy was effectively used as a powerful vehicle for a purposeful development of contextual Christian spirituality in Hong Kong.
Abstract: Architecture in Iran has a continuous history from at least 5000 BC to the present, and numerous Iranian pre-Islamic elements have contributed significantly to the formation of Islamic art. At first, decoration was limited to small objects and containers and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, which was prevalent in the form of motifs (animals and plants) in pre-Islam, was used in the aftermath of Islam with the art of calligraphy in decorations. The splendor and beauty of Iranian architecture, especially during the Islamic era, are related to decoration and design. After the invasion of Iran by the Arabs and the introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy decoration of the mosques in Iran. The principles of aesthetics in the art of calligraphy in Iran are based precisely on the principles of the beauty of ancient Iranian and Islamic art. On the other hand, after Islam, calligraphy was one of the most important sources of Islamic art in Islam and one of the important features of Islamic culture. First, the calligraphy had no cultural meaning and was only for decoration and beautification, it had the same meaning only in the inscriptions; however, over time, it became meaningful. This article provides a summary of the history of calligraphy in the mosques (from the entrance to Islam until the Safavid period), which cannot ignore the role of the calligraphy in their decorative ideas; and also, the important role that decorative elements play in creating a public space in terms of social and aesthetic performance. This study was conducted using library studies and field studies. The purpose of this study is to show the characteristics of architecture and art of decorations in Iran, especially in the mosque's architecture, which reaches the pinnacle of progress. We will see that religious beliefs and artistic practices are merging and trying to bring a single concept.
Abstract: Objects are usually horizontally sliced when printed by 3D printers. Therefore, if an object to be printed, such as a collection of fibers, originally has natural direction in shape, the printed direction contradicts with the natural direction. By using proper tools, such as field-oriented 3D paint software, field-oriented solid modelers, field-based tool-path generation software, and non-horizontal FDM 3D printers, the natural direction can be modeled and objects can be printed in a direction that is consistent with the natural direction. This consistence results in embodiment of momentum or force in expressions of the printed object. To achieve this goal, several design and manufacturing problems, but not all, have been solved. An application of this method is (Japanese) 3D calligraphy.
Abstract: The mosques have been appearance in Thailand since
Ayutthaya Kingdom (1350 to 1767 A.D.) Until today, more than 400 years later; there are many styles of art form behind their structure.
This research intended to identify Islamic Art in Thai mosques. A framework was applied using qualitative research methods; Thai
Muslims with dynamic roles in Islamic culture were interviewed. In
addition, a field survey of 40 selected mosques from 175 Thai
mosques was studied. Data analysis will be according to the pattern
of each period. The identification of Islamic Art in Thai Mosques are
1) the image of Thai identity: with Thai traditional art style and Government policy. 2) The image of the Ethnological identity: with
the traditional culture of Asian Muslims in Thailand. 3) The image of
the Nostalgia identity: with Islamic and Arabian conservative style.
4) The image of the Neo Classic identity: with Neo – Classic and
Contemporary art. 5) The image of the new identity: with Post
Modern and Deconstruction art.