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To browse Academia. Tatyana Svetasheva. Mariusz Drozdowski. The position deserves attention, as it opens a discussion on the important phenomenon of visual culture history, which is currently widely discussed among many researchers.
A historian, even if he is not an art historian, often analyses iconographic art in his work. The author brilliantly shows that history is not only a collection of past facts and events but lives in its visual dimension, becoming a continuation of history itself. It is only important that, as far as possible, every viewer or reader can and should remain exactly as critical as in the process of interp Zahra Kazani.
This article focuses upon the arrangement of written words in geometric shapes or patterns, specifically in Arabic script. The script is employed in conjunction with or independent of geometric lines and curves, with its ligatures compressed and elongated, and words repeated, ornamented, or oriented multidirectionally to augment the geometric shape. The aesthetic manipulation of the script in this manner severely compromises the legibility of the words--the pages invite a viewing of the script rather than a reading of the text.
By closely examining a set of four such compositions-articulated as diagrams-the article demonstrates the semantic value of the visual script patterns when read in concert with the verbal content. Furthermore, by focusing on the extralinguistic components of the diagrams, I argue that the arrangement of text in geometric patterns is a vital medium of transmitting knowledge-the form not only shapes the reception of verbal messages but also augments an aesthetic image; operates as a cognitive device; and transforms the text into a scientific representation.
