اسم المؤلف:
احمد مزهر داخل
اسم المشرف:
كريم حواس علي الساعدي
المستخلص:
نال الخط العربي النصيب الاوفر من الفنون الاسلامية من حيث المكانة النفسية والقدسية لدى الفنان المسلم , لما يحمله من اهمية بالغة لارتباطه الوثيق في الدين الحنيف والمعتقدات التي تترتب عليه , فضلا عن حث النبي الاكرم صلى الله عليه واله وسلم للمسلمين على الاهتم | Arabic calligraphy has gotthe largest share of Islamic art in terms of the psychological status and sanctity to the Muslim artist , because of the magnitude of its extreme importance and close association with the true religion and beliefs of the artist entails , as well as the holy Prophet , peace be upon himurged the Muslims to pay attention to reading and writing and the imposition of Education in line with the mandatory requirements of the new life that have undergone the instructions of Islam and the laws of the divine , which contribute to the establishment of an Islamic culture and civilization deployed to all corners of the globe The top calligraphers took into account This causes that led to the need to a new strategy - evolutionary oriented concerned with the improvement and proficiency in writing , which was later known as the art of calligraphy , and through the evolutionary changes that caused this art through innovation types of calligraphy that gained the desirability of social taste , as well as satisfy the functional aspects and adoption of means of communication among the nations The Thuluth calligraphy is among those Arab calligraphies that passed through a series of transformations and developments that have emerged a form characterized by mature and perfect, through different stages of styles and ways of performance and writing conducted by some early calligraphers in the art of calligraphy through possessing a sense of unique creativity, as it is known Yaqotyia school initially basing style and balance to those who followed, and then the stage known as phase HamdallahAl Amasy which in turn made some changes contributing to the variance of the the aspect ,ratio, formalism of the letters that based of theYaqotyia school , then with the developments of Hafiz and Alraqm how mature and complete those letters. This Thesis included four chapters, the first chapter of which included the research problem and its importance, objectives, and boundaries, and the definition of terms. The second chapter included three sections , the first dealt with structural transformation and its implementation in art and a review of the transformations that have occurred in art in general, while second section consider the biases of thevisual discourse of calligraphy schools and patrons, presenting the most important phases of writing in general and Calligraphy in special , with mention of Some early pioneers who have contributed to the enrichment of the art of calligraphy, and the third section studied the Thuluth calligraphy and its measures ,sizes, characteristics and styles, and developments that have passed upon it by the pioneers of school stages of calligraphers, through that sections theoretical framework indicators have emerged, and then came previous studies that end the chapter. The third chapter has included research procedures and adopted the descriptive analytical method and set up a table of comparison between the products of calligraphers , and the selection of samples in accordance with the selective conditions for the samples, and the adoption of a set of Turkish calligraphers ( HamdallahAl Amasy , and Hafiz Osman , Mustafa Alraqm ) and choose their artworks as samples for the research with comparison among them , and after the process of analysis emerged a number of results , including : Emerged through the process of analysis and comparison between the ABCs of the calligraphers (HamdallahAl amasy, and Hafiz Osman, Mustafa Alraqm) compared with Yaqotyia school bases prepared by the researcher as a balance, a set of results was reached, as follows : Alefletter : the transformation was clear in the works of the calligrapher Hamdallah, across delete Altsairh and give charactera slop to the left, while Hafiz andAlraqmgave mature to the character by controlling how to draw the character and letterhead fluency. Alaba character : not being a remarkable transformation in the form of formal character, while all of calligraphers, each according tohis phasegave a stylistic side, the long descent, which led to the maturing of the character and completed a formality. It turned out through analysis and comparison adoption of calligraphers ( Hamdallah and Hafiz Osman and Mustafa Alraqm ) in how to write outstanding letters approved Yaqotyia school , without any noteworthy transformation.through analysis the transformation was evident in the line of sequentialwords ( with one level ) in how to deal with the construction of words and characters and upright on the line according to the three imaginary lines ensure centrist line basis erections and flow outstretched sections , while the inclusion of the upper letters line omens , and adopted the bottom line for basing and erection letters of calamity , that was by the calligrapher Hamdallah , so that a stylistic transformation adopted in building the line from that of Yaqouty school that based on the climb gradually to the left , and this is what was followed by calligraphers ( Hafiz Osman and Mustafa Alraqm).In light of these results, the researcher reached to the conclusions , including : 1 - the reason reliance Hamdallah to pursue a different way to what it was in the Yaqoutiya school , was due to his quest to establish a calligraphy school contrary to the school Baghdadi , characterized by new forms , later called the Ottoman school , as well as the request of the Ottoman authorities at the time to establish Ottoman school different from Baghdadi school.2 - Adoption of outstanding letters as they are known at Yaqout , by calligraphers ( Hamdallah , and Hafiz Osman , Mustafa Alraqm) , due to the formal body in Baghdad school completion , and not to create unambiguous when the receiver in the case to make any change or transformation.3 - that the reason for the adoption of the erection of the letters and syllables on the line between the two lines and limited only by the fictitious calligrapher Hamdallah and stay away from the way of Yaquote in how to create the line , due to the possibility of creating heterogeneity and diversity and identify stylistic aesthetically characterized by Hamdallah Al amasy.
