View allAll Photos Tagged script
نسخه ای از گلستان سعدی: حکايت طايفه ی دزدان عرب، منسوب به محمود مذهب، بخارا، قرن 16میلادی
AN ILLUSTRATED AND ILLUMINATED LEAF FROM A COPY OF SA’DI’S GULISTAN: THE CAPTURED ARAB ROBBERS BEFORE THE KING, ASCRIBED TO MAHMUD MUZAHHIB, BUKHARA, MID-16TH CENTURY
gouache heightened with gold on paper, three lines of elegant nasta'liq script in black ink in top right hand corner, the reverse with twelve lines of nasta'liq within margins ruled in colours and gold with a border decorated in gold with foliate scrolls and animal-head terminals
painting: 29.7 by 18.2cm.
leaf: 34.2 by 21.8cm.
طايفه ی دزدان عرب بر سر کوهی نشسته بودند و منفذ کاروان بسته و رعيت بلدان از مکايد ايشان مرعوب و لشکر سلطان مغلوب . بحکم آنکه ملاذی منيع از قله ی کوهی گرفته بودند و ملجاء و ماوای خود ساخته . مدبران ممالک آن طرف در دفع مضرات ايشان مشاورت همی کردند که اگر اين طايفه هم برين نسق روزگاری مداومت نمايند مقاومت ممتنع گردد.
درختى كه اكنون گرفته است پاى
به نيروى مردى برآيد ز جاى
و گر همچنان روزگارى هلى
به گردونش از بيخ بر نگسلى
سر چشمه شايد گرفتن به بيل
چو پر شد نشايد گذشتن به پيل
سخن بر اين مقرر شد که يکی به تجسس ايشان برگماشتند و فرصت نگاه داشتند تا وقتی که بر سر قومی رانده بودند و مقام خالی مانده ، تنی چند مردان واقعه ديده ی جنگ ازموده را بفرستادند تا در شعب جبل پنهان شدند . شبانگاهی که دزدان باز آمدند سفر کرده و غارت آورده سلاح از تن بگشادند و رخت و غنيمت بنهادند ، نخستين دشمنی که بر سر ايشان تاختن آوردد خواب بود . چندانکه پاسی از شب درگذشت ،
قرص خورشيد در سياهى شد
يونس اندر دهان ماهى شد
دلاورمردان از کمين بدر جستند و دست يکان بر کتف بستند و بامدادان به درگاه ملک حاضر آوردند . همه را به کشتن اشارت فرمود . اتفاقا در آن ميان جوانی بود ميوه ی عنفوان شبابش نورسيده و سبزه ی گلستان عذارش نودميده . يکی از وزرا پای تخت ملک را بوسه داد و روی شفاعت بر زمين نهاد و گفت : اين پسر هنوز از باغ زندگانی برنخورده و از ريعان جوانی تمتع نيافته . توقع به کرم و اخلاق خداونديست که به بخشيدن خون او بربنده منت نهد .. ملک روی از اين سخن درهم کشيد و موافق رای بلندش نيامد و گفت :
پرتو نيكان نگيرد هر كه بنيادش بد است
تربيت نااهل را چون گردكان برگنبد است
بهتر اين است كه نسل اين دزدان قطع و ريشه كن شود و همه آنها را نابود كردند، چرا كه شعله آتش را فرو نشاندن ولى پاره آتش رخشنده را نگه داشتن و مار افعى را كشتن و بچه او را نگه داشتن از خرد به دور است و هرگز خردمندان چنين نمى كنند:
ابر اگر آب زندگى بارد
هرگز از شاخ بيد بر نخور
با فرومايه روزگار مبر
كز نى بوريا شكر نخورى
وزير، سخن شاه را طوعا و کرها پسنديد و بر حسن رای ملک آفرين گفت و عرض كرد: راى شاه دام ملکه عين حقيقت است ، چرا كه همنشينى با آن دزدان ، روح و روان اين جوان را دگرگون كرده و همانند آنها نموده است . ولى ، ولى اميد آن را دارم كه اگر او مدتى با نيكان همنشين گردد، تحت تاءثير تربيت ايشان قرار مى گيرد و داراى خوى خردمندان شود، زيرا او هنوز نوجوان است و روح ظلم و تجاوز در نهاد او ريشه ندوانده است و در حديث هم آمده :
كل مولود يولد على الفطرة فابواه يهودانه او ينصرانه او يمجسانه .
پسر نوح با بدان بنشست
خاندان نبوتش گم شد
سگ اصحاب كهف روزى چند
پى نيكان گرفت و مردم شد
گروهى از درباريان نيز سخن وزير را تاءكيد كردند و در مورد آن جوان شفاعت نمودند. ناچار شاه آن جوان را آزاد كرد و گفت : بخشيدم اگر چه مصلحت نديدم .
دانى كه چه گفت زال با رستم گرد
دشمن نتوان حقير و بيچاره شمرد
ديديم بسى ، كه آب سرچشمه خرد
چون بيشتر آمد شتر و بار ببرد
فی الجمله پسر را بناز و نعمت براوردند و استادان به تربيت همگان پسنديده آمد . باری وزير از شمايل او در حضرات ملک شمه ای می گفت که تربيت عاقلان در او اثر کرده است و جهل قديم از جبلت او بدر برده . ملک را تبسم آمد و گفت :
عاقبت گرگ زاده گرگ شود
گرچه با آدمى بزرگ شود
سالی دو برين برآمد. طايفه ی اوباش محلت بدو پيوستند و عقد موافقت بستند تا به وقت فرصت وزيبر و هر دو پسرش را بکشت و نعمت بی قياس برداشت و در مغازه ی دزدان بجای پدر نشست و عاصی شد. ملک دست تحير به دندان گزيدن گرفت و گفت :
شمشير نيك از آهن بد چون كند كسى ؟
ناكس به تربيت نشود اى حكيم كس
باران كه در لطافت طبعش خلاف نيست
در باغ لاله رويد و در شوره زار خس
زمين شوره سنبل بر نياور
در او تخم و عمل ضايع مگردان
نكويى با بدان كردن چنان اس
كه بد كردن بجاى نيكمردان
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
3 tier wedding cake with bride and grooms names scripted at various angles all over the cake, then wrapped in a chocolate brown ribbon
Lesson in monastery school. One of the most important subjects is learning to read tibetan script - as all religious texts are written in this language, which is unfamiliar to Monpas of Tawang.
Get the font
www.myfonts.com/fonts/sudtipos/bowling-script/
—
About the typeface
—
There is plenty of lyric and literature about looking over one’s shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It’s a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It’s never easy to answer.
Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant.
Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele’s work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele’s work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it’s difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways.
Bowling Script is what people who like my work would expect from me. It’s yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists.
The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact.
The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes.
Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format.
More info
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
Shiva (/ˈʃivə/; Sanskrit: Śiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism.[2][3] He is one of the five primary forms of God in the Smarta tradition,[2] and "the Destroyer" or "the Transformer"[4] among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
At the highest level, Shiva is regarded limitless, transcendent, unchanging and formless.[5][6][7][8][9] Shiva also has many benevolent and fearsome forms.[10] In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash,[4] as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.[11][12][13]
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument. Shiva is usually worshiped in the aniconic form of Lingam
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word is[17] means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.[18]
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).[19][20][21]
The Sanskrit word śaiva means "relating to the god Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect.[22] It is used as an adjective to characterize certain beliefs and practices, such as Shaivism.[23]
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.[24][25]
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."[26] Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".[27]
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great god"; mahā "Great" and deva "god"),[28][29] Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"),[30][31] and Parameśvara ("Supreme Lord").[32]
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva.[33] The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition.[34] Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.[35][36]The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.[37][38]The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure.[38] How the persona of Shiva converged as a composite deity is not well documented.[39] According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."[40]
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.[41]
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes.[42] The foremost center of worship of Khandoba in Maharashtra is in Jejuri.[43] Khandoba has been assimilated as a form of Shiva himself,[44] in which case he is worshipped in the form of a lingam.[42][45] Khandoba's varied associations also include an identification with Surya[42] and Karttikeya.[46]Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic[47][48][49] figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.[47][50][51][52] Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
While some academics like Gavin Flood[53][54] and John Keay have expressed doubts. John Keay writes that "He may indeed be an early manifestation of Lord Shiva as Pashu- pati", but a couple of his specialties of this figure does not match with Rudra.[55] Writing in 1997 Doris Srinivasan rejected Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man.[56] According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.[57]
Writing in 2002, Gregory L. Possehl concluded that while it would be appropriate to recognize the figure as a deity, its association with the water buffalo, and its posture as one of ritual discipline.[58]Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.[59]Shiva as we know him today shares many features with the Vedic god Rudra,[60] and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
Hindu text Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.[61] A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods.[62] Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva),[63] and the arrow is an essential attribute of Rudra.[64] This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.[65]
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill",[66] and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".[65] The names Dhanvin ("Bowman")[67] and Bāṇahasta ("Archer", literally "Armed with arrows in his hands")[67][68] also refer to archery.
Agni[edit]
Rudra and Agni have a close relationship.[69][70] The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva.[71] The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."[72] The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.[73]
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities.[74] Agni is said to be a bull,[75] and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned.[76][77] In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.[78]
Indra[edit]
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra.[79] Doniger gives several reasons for her hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3,[80] 6.45.17,[81][82] and 8.93.3.[83]) Indra, like Shiva, is likened to a bull.[84][85] In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.[86]
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion,[87][88] and the Indo-Iranian religion.[89] According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran.[90] It was "a syncretic mixture of old Central Asian and new Indo-European elements",[90] which borrowed "distinctive religious beliefs and practices"[89] from the Bactria–Margiana Culture.[89] At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma.[91] According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.[92]
Later Vedic literature[edit]
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BC), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BC to 100 AD also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.[54][93]
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.[94][95]
Puranic literature[edit]
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.[96]
Tantric literature[edit]
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.[97]Shaivism[edit]
Main articles: Shaivism and History of Shaivism
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
Panchayatana puja[edit]
Main article: Panchayatana puja
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century AD Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.[98]
Trimurti[edit]
Main article: Trimurti
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer.[99][100] These three deities have been called "the Hindu triad"[101] or the "Great Trinity",[102] often addressed as "Brahma-Vishnu-Maheshwara."
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite. It is often not shown but Shiva has 6 heads, of which only five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible while the 6th (Adhomukh) can only be seen by the enlightened.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes,[103] called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources.[104] In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes".[105] However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers".[106][107] These three mother-goddesses who are collectively called the Ambikās.[108] Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā.[109] It has been mentioned that when Shiva loses his temper, his third eye opens which can reduce most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon.[110] The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown")[111][112][113] refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva.[114] The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon.[115] The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence.[116] Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy.[117] These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism.[118] One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.[119]
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair",[120] and Kapardin, "endowed with matted hair"[121] or "wearing his hair wound in a braid in a shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly.[123] His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat").[124][125] Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue.[126][127] (See Maha Shivaratri.)Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva.[128][129] The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair.[130] The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin,[116] an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.[131]
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.[132]
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident.[116] His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru).[133][134] This is one of the attributes of Shiva in his famous dancing representation[135] known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum.[136] This drum is particularly used as an emblem by members of the Kāpālika sect.[137]
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana).[138][139] Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle"[140] and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra.[141] Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".[142]
5 heads: Shiva is known as panchavactra means 5 heads which indicates 5 elements.
Arms: Shiva has 4 arms which resembles 4 vedas
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode.[116] In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.[143]
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.[144]
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important.[145][146][147] These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness".[148] Shiva also means "one in whom the whole creation sleeps after dissolution".[148] Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.[148] Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol,[149][150] although this interpretation is disputed by others, including Christopher Isherwood,[151] Vivekananda,[152] Swami Sivananda,[153] and S.N. Balagangadhara.[154]
JYOTHIRLINGAM
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga.[155][156] In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.[156]
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.[157]Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali[158] and Chandika.[159] Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
The five mantras[edit]
Five is a sacred number for Shiva.[160] One of his most important mantras has five syllables (namaḥ śivāya).[161]
Shiva's body is said to consist of five mantras, called the pañcabrahmans.[162] As forms of God, each of these have their own names and distinct iconography:[163]
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.[164][165] Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.[166] The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.[167]
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)[168]
Forms and roles[edit]
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[169] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
NATARAJA
The depiction of Shiva as Nataraja (Sanskrit: naṭarāja, "Lord of Dance") is popular.[199][200] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.[201] His association with dance and also with music is prominent in the Puranic period.[202] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.[203] The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya.[204][205] and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.[206][207] Lasya is regarded as the female counterpart of Tandava.[207] The Tandava-Lasya dances are associated with the destruction-creation of the world.[208][209][210]
Dakshinamurthy[edit]
Main article: Dakshinamurthy
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति),[211] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras.[212] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.[213] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.[214]
ARDHANARISWARA:
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman".[215] According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.[216] Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[217] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism.[218] The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars.[219] According to the Svetasvatara Upanishad, he has four avatars.[220]
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”.[221] Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).[222][223]
Other traditions regard the sage Durvasa,[224][225][226][227] the sage Agastya, the philosopher Adi Shankara and Ashwatthama as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati.[228] The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.[229]
Buddhism[edit]
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna.[230] In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.[231]
Sikhism[edit]
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi."[232] In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.[233]
Others[edit]
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty,[234] and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan.[235] In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita").[235] He is clad in tiger skin while his attendants are wearing Sodgian dress.[235] In Eastern Turkestan in the Taklamakan Desert.[235] There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls.[235] Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh.[235][236] It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.[236]
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hinduism is "Maharaja Dewa" (Mahadeva).[237]
《Actress rotten script.》
Do you believe it? Snow White and Cinderella is Prince abandoned!
Because they too believe in fairy tales, so reject premarital sex.
But this is for men is a ridiculous and childish thing, they think it has nothing to with the noble identity.
"Just love Well, what stick it?"
Prince says.
「我們還是回家吧！那些逝去的、遺憾的、該來的已走、該走的留不了藉口。我們又不是星光，沒有道理照亮別人的路、卻讓自己的肉體昏暗，連靈魂都要遮蔽視野。」
「但他是我認定的男主角。」
「將來妳會有很多男主角。」
「他是我唯一不會勉為其難的男主角。」
「我欣賞妳的勇敢！但妳應該清楚生命不能浪費在等待。」
「我懷了他的孩子，而且是第二胎。」
「妳活該。」
從此，白雪公主和灰姑娘過著不幸福、不快樂，但卻是婦產科業界龍頭的生活。
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
SUDTIPOS. NEW RELEASE. AUGUST 09.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Cold winter in South America is a perfect time to produce a fresh new font.
We are happy to announce the release of Diplomatic .
Diplomatic is another script from the Koziupa and Paul duo. It relies on calligraphic simplicity to achieve artistic sophistication. Prominent ascenders and descenders work alongside calculated but casual strokes to produce an unmistakably elegant typesetting.
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
We also want to share with you that our font Adios Script was nominated for the »Design Award of the Federal Republic of Germany«. The Design Award of the Federal Republic of Germany is the country‘s highest distinction in the field of design. Yes... a nomination is enough to be more happy!
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Wherever you are, at the hot north hemisphere or at the chilly south, have a nice month!
In a move more gymnast than cyclist, a flying backflip turns the Cowal arena into a launchpad. It’s a blur of limbs, balance, and boldness — and every kid in the crowd now wants to try it at home. (Please don’t.)
Albeit an upside down Script Ohio.
AWESOME!!!!!!
Does anyone know who was the first Marching Band to perform Script Ohio?
Brahmi script, previously written on leaves when paper wasn't available.
This is the ancient Khmer script practiced by monks today and can be heard every morning when the monks do arms.
I believe it stems form the Hindu language, which falls in line with Cambodia's history, previously being a Hindu state. It also forms the foundation for the Thai script.
I've been told there are no letters only sounds, the khmer alphabet is used to represent these sounds. Thats what the monk told me, I cant trad the Khmer alphabet with its 20 odd vowels, let alone script..
More on Cambodia here-
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
Contemporary Script is a new typeface I developed. This typeface is based on the teaching and exemplar of Canadian Calligrapher Mark Lurz. I attended his six week course in the spring of 2013 through the Calligraphic Arts Guild of Toronto and recently developed this typeface. The course was excellent as it focused on a free style of calligraphy which is wildly different from my gothic calligraphy. This course also focused on pen manipulation which is a difficult skill to acquire and almost impossible to learn from a book -- this is a skill best taught in person or by video. Many thanks to Mark for sharing this.
This typeface consists of just under 300 characters including: lowercase, uppercase, numbers, special characters and a few swirls. This typeface is available as beautiful bit map images showing pen opacity. You are looking at the vector letters. These letters can be arranged in Inkscape, GIMP, Photoshop or Adobe Illustrator. Several variations of each letter are provided. Contact me if you are interested in this script.
This free letter style looks amazing against the contrast of a more controlled letter style like gothic.
new script font called Herchey. High quality script font with swashes inspired by modern vintage design and baseball logo. Plus OpenType features with Stylistic Alternates, Swashes, Ligatures, Stylistic set, Terminal Form and Ornament that allows you to mix and match pairs of letters to fit your design. This font good for vintage design, t-shirt, logo, labels,badges, posters and etc.
download : crmrkt.com/8NO5k