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WANTED: BOOK ON ARMENIAN CALLIGRAPHY
http://www.reporter.am/index.cfm?furl=/go/article/2012-07-09-wanted-book-on-armenian-calligraphy-&pagewanted=all
Published: Monday July 09, 2012
Notrgir: Armenian letter construction by Ruben Malayan.
Yerevan - Artist Ruben Malayan wants to create a book that will
encompass the most fascinating examples of Armenian calligraphy:
from following its evolution through time, to placing it on a level
upon which it can be studied as an independent art form in itself.
The book will be designed to serve as a source of reference and
inspiration to anyone interested in this subject, hence illuminating
the future of this art form by offering inspiring examples of
contemporary calligraphic work.
Calligraphy is script in its purest form. Its virtues aspire not
only preciseness, beauty, distinctness, and simplicity, but also
originality, proportion, and ultimately, unity, mastership, and
freedom. Calligraphy can be regarded simultaneously as temporary art,
as well as spatial art. By following the letter form, we 'reverse'
time. In other words, by following the traces of the artist's struggle
with the material, we can experience almost the same state as the
artist at the time of creation.
The book's richly illustrated historical research will address script
systems of the Near East, starting from as early as the late Iron Age
(4 millennium B.C.), continuing with the invention of the Armenian
Alphabet (405 A.D), and ending with the present day. The book,
which will be designed to mirror authentic layouts of classical
Armenian manuscripts, will offer a blend of academic research on the
evolution of the tradition of Armenian writing, as well as contemporary
calligraphic practice.
In short, this volume will be revealing a most rich yet most forgotten
legacy of Armenian calligraphy, which can be found in the signatures of
Armenian Cilician Kings, the letters of Komitas Vartabed, Sayat-Nova,
and Archile Gorky, as well as in the correspondence of late 19th
Century Armenian poets beautifully executed in stylized Sla'gir, etc.
The proposed volume will include essays from M. Stone, D. Kouymjian &
H. Lehmann's "Album of Armenian Paleography" (Aarhus Press, 2002),
providing the most recent research on Armenian paleography with
regard to the letter types and their use over time. An insightful
analysis of the arithmetical symbolism and mystical reverence of
the Armenian Alphabet will be offered in an article by James Russell
from Harvard University. A special chapter will be dedicated to the
studies of Armenian calligraphy within the framework of classical
Armenian education prior to the genocide, including (for the first
time published in English) practical guides to Armenian calligraphy
from Venice (1834), Vienna (1837) , Nor Nachijevan (1846), Leipzig
(1873), Tiflis (1884) and Constantinople (1892).
Particular importance will be placed on the quality of printing,
layout, design and typography as well as the binding and finishing
of the book. The intent of this project is to produce a superb volume
of reference and inspiration.
>From Ruben Malayan:
Since the beginning of time man has been plagued by conflicting
creative and destructive forces, surging within him. Forces which
have produced much innovation but have also brought about destruction
and decline. Human kind has spared no effort in destroying what it
has created.
The destruction of the great library of Alexandria (642) & the library
of Baghdad (2008) come to mind- the library of the latter has lost
approximately 95 percent of its rare books. The world will continue to
turn, but these precious manuscripts and the knowledge they contained,
have been lost forever.
Fortunately, these acts of spontaneous or premeditated destruction
have often been contrasted by the presence of individuals capable
of genuinely creative work. Their passion, craftsmanship, skill and
imaginative thinking, vividly displayed in the form of written art,
have inspired my wish to further deepen my knowledge of the all but
forgotten art of calligraphy.
My work focuses on the original techniques employed to complement the
early development of the Armenian alphabet (405 A.D.) and the complex
proportional canons that followed. An insightful graphic analysis
of the arithmetical symbolism and mystical reverence of the Armenian
script system is the cornerstone of this Art Project.
The art of calligraphy demands a considerable amount of inner effort;
observing the purity of lines and outlines, discovering the forms used
as accentuated reinforcements with plastic precision and symbolic
accuracy. One must pay diligent attention to detail, repetition and
variability in different parts of the composition. Its practice
therefore cultivates precision, patience and observation within
the artist. This is the Art of Calligraphy. Perfection is achieved
through constant training and application. In its highest form, it
is as pure and error-free as performed art, where error cannot be
corrected because it has already occurred. Calligraphy is a temporary
and spatial art at once, because by following the form we are able
to 'reverse' time. Tracing the author's struggle with his material;
following the intensity of the stroke, rhythm and movement, adhering
to the discipline and virtues he embodied, one can connect to the
experience of the artist at the time of its creation. Thus it is a
true transmission of energy.
My conviction is that at the current circumstances we must use all
available means to revive our calligraphic tradition. With abundance
of talent but no cultivation or tradition, our children will never
fully realize their artistic potential. Primitivism and functionalism
emasculated the culture of communication. They denied the graphic
writing the opportunity to improve artistically, and a person, to
improve spiritually, by the simplest means, using paper, ink and a
fountain pen or a brush only. Art of beautiful writing is the link
to our past and with the attention it deserves it can help to shape
our future as the nation of rich artistic heritage.
About the Author
Ruben Malayan (born: 1971) is an artist, photographer and art
director. He holds degrees from Terlemezian Art College (painting)
& from the State Institute of Fine Arts (graphics) in Yerevan, Armenia.
Exhibits art locally and abroad.
For past few years Ruben has been working on a book ("The Art
of Armenian Calligraphy") which focuses on the evolution of the
calligraphic tradition and placing it on a stage upon which it can
be studied as an independent art form. It's designed to serve as
a source of reference and inspiration to anyone interested in this
subject and to illuminate its future by offering inspiring examples
of contemporary calligraphic work.
Ruben Malayan is a founder of the "Armenian Genocide in Contemporary
Graphic & Art Posters" project which has received wide coverage and
acclaim in the international press, with posters published in number
of books and magazines worldwide.
Contact details:
Mr. Ruben Malayan
Parbetsi 4, app. 3 Yerevan 0002 Armenia
Mobile: +374 777 26 229
Email: [email protected]
Online portfolio: www.15levels.com/art/armeniancalligraphy/
http://independent.academia.edu/RubenMalayan/Papers
Format Description
Title of the proposed book: "The Art of Armenian Calligraphy"
Projected length (pages in print): 220 / over 140 illustrations
Page dimensions: width: 25,5 cm x height: 35 cm
Number of volumes: 1
Number of copies: 500
Quality of paper: matte 150 gram | 30% translucent paper
Binding: Hardcover, silk cloth (red)
Proposed languages: Armenian & English
See promotion video at http://vimeo.com/39112066
http://www.reporter.am/index.cfm?furl=/go/article/2012-07-09-wanted-book-on-armenian-calligraphy-&pagewanted=all
Published: Monday July 09, 2012
Notrgir: Armenian letter construction by Ruben Malayan.
Yerevan - Artist Ruben Malayan wants to create a book that will
encompass the most fascinating examples of Armenian calligraphy:
from following its evolution through time, to placing it on a level
upon which it can be studied as an independent art form in itself.
The book will be designed to serve as a source of reference and
inspiration to anyone interested in this subject, hence illuminating
the future of this art form by offering inspiring examples of
contemporary calligraphic work.
Calligraphy is script in its purest form. Its virtues aspire not
only preciseness, beauty, distinctness, and simplicity, but also
originality, proportion, and ultimately, unity, mastership, and
freedom. Calligraphy can be regarded simultaneously as temporary art,
as well as spatial art. By following the letter form, we 'reverse'
time. In other words, by following the traces of the artist's struggle
with the material, we can experience almost the same state as the
artist at the time of creation.
The book's richly illustrated historical research will address script
systems of the Near East, starting from as early as the late Iron Age
(4 millennium B.C.), continuing with the invention of the Armenian
Alphabet (405 A.D), and ending with the present day. The book,
which will be designed to mirror authentic layouts of classical
Armenian manuscripts, will offer a blend of academic research on the
evolution of the tradition of Armenian writing, as well as contemporary
calligraphic practice.
In short, this volume will be revealing a most rich yet most forgotten
legacy of Armenian calligraphy, which can be found in the signatures of
Armenian Cilician Kings, the letters of Komitas Vartabed, Sayat-Nova,
and Archile Gorky, as well as in the correspondence of late 19th
Century Armenian poets beautifully executed in stylized Sla'gir, etc.
The proposed volume will include essays from M. Stone, D. Kouymjian &
H. Lehmann's "Album of Armenian Paleography" (Aarhus Press, 2002),
providing the most recent research on Armenian paleography with
regard to the letter types and their use over time. An insightful
analysis of the arithmetical symbolism and mystical reverence of
the Armenian Alphabet will be offered in an article by James Russell
from Harvard University. A special chapter will be dedicated to the
studies of Armenian calligraphy within the framework of classical
Armenian education prior to the genocide, including (for the first
time published in English) practical guides to Armenian calligraphy
from Venice (1834), Vienna (1837) , Nor Nachijevan (1846), Leipzig
(1873), Tiflis (1884) and Constantinople (1892).
Particular importance will be placed on the quality of printing,
layout, design and typography as well as the binding and finishing
of the book. The intent of this project is to produce a superb volume
of reference and inspiration.
>From Ruben Malayan:
Since the beginning of time man has been plagued by conflicting
creative and destructive forces, surging within him. Forces which
have produced much innovation but have also brought about destruction
and decline. Human kind has spared no effort in destroying what it
has created.
The destruction of the great library of Alexandria (642) & the library
of Baghdad (2008) come to mind- the library of the latter has lost
approximately 95 percent of its rare books. The world will continue to
turn, but these precious manuscripts and the knowledge they contained,
have been lost forever.
Fortunately, these acts of spontaneous or premeditated destruction
have often been contrasted by the presence of individuals capable
of genuinely creative work. Their passion, craftsmanship, skill and
imaginative thinking, vividly displayed in the form of written art,
have inspired my wish to further deepen my knowledge of the all but
forgotten art of calligraphy.
My work focuses on the original techniques employed to complement the
early development of the Armenian alphabet (405 A.D.) and the complex
proportional canons that followed. An insightful graphic analysis
of the arithmetical symbolism and mystical reverence of the Armenian
script system is the cornerstone of this Art Project.
The art of calligraphy demands a considerable amount of inner effort;
observing the purity of lines and outlines, discovering the forms used
as accentuated reinforcements with plastic precision and symbolic
accuracy. One must pay diligent attention to detail, repetition and
variability in different parts of the composition. Its practice
therefore cultivates precision, patience and observation within
the artist. This is the Art of Calligraphy. Perfection is achieved
through constant training and application. In its highest form, it
is as pure and error-free as performed art, where error cannot be
corrected because it has already occurred. Calligraphy is a temporary
and spatial art at once, because by following the form we are able
to 'reverse' time. Tracing the author's struggle with his material;
following the intensity of the stroke, rhythm and movement, adhering
to the discipline and virtues he embodied, one can connect to the
experience of the artist at the time of its creation. Thus it is a
true transmission of energy.
My conviction is that at the current circumstances we must use all
available means to revive our calligraphic tradition. With abundance
of talent but no cultivation or tradition, our children will never
fully realize their artistic potential. Primitivism and functionalism
emasculated the culture of communication. They denied the graphic
writing the opportunity to improve artistically, and a person, to
improve spiritually, by the simplest means, using paper, ink and a
fountain pen or a brush only. Art of beautiful writing is the link
to our past and with the attention it deserves it can help to shape
our future as the nation of rich artistic heritage.
About the Author
Ruben Malayan (born: 1971) is an artist, photographer and art
director. He holds degrees from Terlemezian Art College (painting)
& from the State Institute of Fine Arts (graphics) in Yerevan, Armenia.
Exhibits art locally and abroad.
For past few years Ruben has been working on a book ("The Art
of Armenian Calligraphy") which focuses on the evolution of the
calligraphic tradition and placing it on a stage upon which it can
be studied as an independent art form. It's designed to serve as
a source of reference and inspiration to anyone interested in this
subject and to illuminate its future by offering inspiring examples
of contemporary calligraphic work.
Ruben Malayan is a founder of the "Armenian Genocide in Contemporary
Graphic & Art Posters" project which has received wide coverage and
acclaim in the international press, with posters published in number
of books and magazines worldwide.
Contact details:
Mr. Ruben Malayan
Parbetsi 4, app. 3 Yerevan 0002 Armenia
Mobile: +374 777 26 229
Email: [email protected]
Online portfolio: www.15levels.com/art/armeniancalligraphy/
http://independent.academia.edu/RubenMalayan/Papers
Format Description
Title of the proposed book: "The Art of Armenian Calligraphy"
Projected length (pages in print): 220 / over 140 illustrations
Page dimensions: width: 25,5 cm x height: 35 cm
Number of volumes: 1
Number of copies: 500
Quality of paper: matte 150 gram | 30% translucent paper
Binding: Hardcover, silk cloth (red)
Proposed languages: Armenian & English
See promotion video at http://vimeo.com/39112066