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The sarpech (Urdu: سرپیچ /Hindi: सरपेच, from Persian), also known as an aigrette, is a turban ornament that was worn by significant Hindu, Sikh and Muslim princes. Sar means "head" or "front" and pech means "screw", giving the word "sarpech" the literal meaning "that which is screwed onto the front (of the turban)".
Bahishti Zewar (Urdu: بہشتی زیور transl. "jewels of paradise"; English: Heavenly Ornaments) is a volume of Deobandi beliefs and practices written by Ashraf Ali Thanwi and Ahmed Ali Fatehpuri. [1] The book is comprehensive handbook of fiqh, Islamic rituals and morals, it is especially aimed at the education of girls and women.
Spanish manzana de Adán calques English Adam's apple (nuez de Adán, meaning "Adam's nut", in standard Spanish), which in turn is a calque of French pomme d'Adam See also: Spanglish Also technological terms calqued from English are used throughout the Spanish-speaking world:
Islamic ornament is the use of decorative forms and patterns in Islamic art and Islamic architecture. Its elements can be broadly divided into the arabesque , using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy , consisting of religious texts with stylized appearance, used both ...
Different ornament names can refer to an ornament from a specific area or time period. Understanding these ornaments is important for historically informed performance and understanding the subtleties of different types of music. This list is intended to give basic information on ornaments, with description and illustrations where possible.
[3] [4] It is known in Arabic as khatt Arabi (خط عربي), literally meaning 'line', 'design', or 'construction'. [ 5 ] The development of Islamic calligraphy is strongly tied to the Qur'an , as chapters and verses from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based.
In recent years, this calligraphy form has been receiving more popularity for use in ornaments (such as in decorated clocks, frames, stickers), logos (that usually implies Islamic enterprises in government and private sectors), and even in freestyle Arabic calligraphy competitions.
The dominant tradition of miniature painting in the late Middle Ages was that of Persia, which had a number of centres, but all usually dependent on one key patron, whether the shah himself, or a figure either governing a part of the country from a centre such as Herat, where Baysunghur was an important patron in the early 15th century, or the ruler of a further part of the Persianate world in ...