The application research of ancient calligraphy recognition model based on improved filtering and AI technology in calligraphy education in colleges and universities by Xing You

“…Abstract With the increase of Chinese emphasis on calligraphy education, more and more students choose to learn calligraphy courses in colleges. …”
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Contemporary reinventions of Chinese calligraphy. A semiotic exploration by Giacomo Festi, Weihuan Hou

Subjects: “…chinese calligraphy…”
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Public Reception of Qur'an Calligraphy at the Iska Mayang Grand Mosque in Sukoharjo by Muhammad Rasyid Ridlo Siyamto, Ainur Rhain, Muhammad Ilham, Saipul Wakit

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Recursive Neural Network-Based Market Demand Forecasting Algorithm for Calligraphy Practice Products by Yi Xue

“…In today’s society, calligraphy, which reflects one’s basic writing skills, is becoming more and more important to people. …”
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Chu Calligraphy on Bamboo Slips. The Visual Evolution from Seal Script to Clerical Script and Its Artistic Value by Mansu Wang

Subjects: “…calligraphy…”
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A Review on the Criteria of Evaluating the Reliability of Persian Manuscripts by Mojtaba Mojarrad

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A Critical Review of the Book “Female Calligraphists of Iran, from Zainab Shahdad to Umme Salama” by Mostafa Rostami, Moeine Sadat Hejazi

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« À l’identique ». Quelques remarques sur la notion d'authenticité en art chinois by Françoise Lauwaert

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The visual resonances of a Harari Qur’ān: An 18th century Ethiopian manuscript and its Indian Ocean connections by Sana Mirza

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Aesthetic evaluation and the perceived properties of Chinese characters. by Qinjing Zhang, Hiroyuki Mitsudo

“…However, it is unclear whether findings based on geometrical figures can be extended to artworks such as paintings and calligraphy, as artworks have their own contents and meanings. …”
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Spectrochemical Technology in Nanomaterial Preparation and Art Appraisal Technology Research by Xiao Tang

“…In addition, this paper also carried out art identification work, using spectral technology to detect some paintings and calligraphy. The experimental results show that the Raman spectra of these paintings and calligraphy papers are in the visible region because their fluorescence is too strong, and almost all the peaks are submerged. …”
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Mystery, History, Minatory! A Historical Critique on the Book Sapiens; A Brief History of Humankind by Abolhasan Fayaz Anush

“…Focusing on the content of the book and the authors method, this article deals with three sections: 1) prehistoric period; from 13.5 billion years ago to the invention of calligraphy in 5.000 years ago 2) historical period; from the invention of calligraphy until now, and 3) posthistoric period; human future. …”
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Typology and Visual Analysis of Seyed Ali Akbar Golestaneh's Shikasta Script Writings by Mehran Behzadi, Seyyed Reza Hoseini, Amin Iranpour, Mohammad Sadegh Mirzaabolghasemi

“…Introduction: Seyed Ali Akbar Golestaneh is one of the prominent Shikasta scriptwriters whose works and status in the history of calligraphy have been the focus of calligraphy artists and researchers. …”
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Chemical Conservation of Paper-Based Cultural Heritage by Yueer Yan, Yi Tang, Yuliang Yang

“…Paper-based cultural heritages, represented by ancient books, archives, calligraphy, and paintings, recorded the development of human civilization [...]…”
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Réflexions sur le choix du manuscrit de base aujourd’hui ou La précaution inutile ? by Olivier Delsaux, Tania Van Hemelryck

“…We will focus on the following criteria : technology (manuscript vs printed book), technique, medium, calligraphy, illustration, craftsman, first owner, dedicatee, reader. …”
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Variazioni della scrittura. Visualità della scrittura e scritture visuali by Valentina Manchia, Salvatore Zingale

“…On the one hand, it may be useful to retrace the path already taken by the history of writing systems and the linguistic, philosophical and anthropological traditions on the subject, trying to reflect on writing as a "semiotic place"; on the other hand, it is possible to draw attention to the constant short-circuits and frequent contaminations that exist between image and writing, in graphics and calligraphy, as well as in poetry and the visual arts, and to try to describe their underlying dynamics.…”
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De la poésie au collage, du cinéma au graffiti by Sophie Dannenmüller

“…Letters applied onto the film strip in his movie Untitled/Aleph (1956-1966) infuse the moving images with subliminal messages, whereas a meticulous calligraphy gives a transcendent and sacred iconic quality to his esoteric graffitis. …”
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Writing and Multimedia. Redesigning the Futuristic Experience by Vincenzo Cirillo

“…It is placed within the context of historical references on the design of writing (as an archaic sign, pictogram, ideogram) and representation technologies (from calligraphy to typography). The relationship between graphic design (writing) and movement (animation) has been addressed in the digital environment through the design of video-graphic products analyzed on the basis of: visual theories of typographic composition; the figurative-generative languages of graphic signs, relational contexts (chromatic, dimensional, formal) along with the integration between image and photo-cinematography (where present); the duration of the audiovisual spot; of the sound component as a key to emotional reading functional to the visual narrative; of communication strategies. …”
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An Attempt to Understand Islamic Arts with Deconstruction by Yaşar Özrili

“…On the contrary, it is based on the hypothesis that some intellectual gaps, contradictions and information pollution can be found by re-evaluating and deconstructing the ornamental and decorative elements of Islamic arts such as architecture, metal, wood, stone, brick, tile, ceramic, calligraphy, miniature, illumination, illumination, binding, marbling, etc. from the perspective of the 21st century consciousness thinking, perception, power to interpret the world, etc. …”
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THE CHORAL OUTLINE IN THE OPERA “ALEXANDRU LĂPUŞNEANU” BY GHEORGHE MUSTEA by Luminiţa GUŢANU

“…When writing the choral score, the composer uses the sound calligraphy of folklore (particularly through melismas, appoggiaturas, glissandos, etc.), as well as rhythmic patterns specific to folk music. …”
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