البحث — المستودع الرقمي العراقي

نتائج البحث: 4 من أصل 4

تقويم التكوينات الخطية في جدران العتبة الحسينية المقدسة == Evaluating The Calligraphic Formations On The Walls of The Holy Husseini Shrine

اسم المؤلف: جواد كاظم حداوي

اسم المشرف: جواد عبد الكاظم فرحان الزيدي

الموضوع العام: الفنون الجميلة

السنة: 2013

الموضوع الدقيق: الخط والزخرفة

الدرجة: ماجستير

الجامعة: جامعة بغداد - كلية الفنون الجميلة - قسم الخط العربي والزخرفة

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: The Arabic calligraphy art is considered one of the great and distinct products in the Islamic art history, which cover wide areas in the Islamic architecture, including the walls of the holy Husseini shrine, until they gained Islam's indication and became resembling its symbol according to its function in the font of the holy Quranic texts, where this characteristic formed a strong incentive to seek its development. The emergence of the calligraphic formations is one of the products of this continual endeavor, and an advanced stage at the level of technical and expressive development as well as one of the natural products generated by the font development and the increase of their functioning methods through what they registered at the level of formal characteristics and the systems of their formational levels. Yet, the absence of the analytical critical aspect of these works led to the weakness of aesthetic visions to them, in that these products were not confined to only calligraphic accommodations, but they reflected a constructiveness of calligraphic and decorative varieties according to various showing techniques. Because this topic was not studied in a form that clarifies the aspects of weakness and defect or strength and quality in calligraphic formations, and this can be achieved by the extent of their convergence and divergence from their artistic and rule properties as well as their executive techniques which focus totally within the topic (Evaluating the Calligraphic Formations on the Holy Husseini Shrine); therefore, the researcher sought in the first chapter of his study to pose the problem in the following questions : • What is the artistic evaluation criterion of the calligraphic formations on the walls of the holy Husseini shrine? • What is the artistic evaluation of the calligraphic formations on the walls of the holy Husseini shrine which is built on the base of this criterion? In order to arrive at the desired results, the research aims at identifying the calligraphic formations on the walls of the holy Husseini shrine through the study of artistic and rule properties of the calligraphic formations on the walls of the holy Husseini shrine and the systems of their formation levels and executive techniques. The researcher defined its research population for its current position (1433AG/2012AD). The axes of the theoretical framework in the second chapter based on topics like (the origin of wall calligraphic formations, the artistic and rule properties of the calligraphic formations on the walls of the holy Husseini shrine and the executive techniques of the calligraphic formations on the walls of the holy Husseini shrine). As to the third chapter, it was dedicated to display the research procedures which population included the calligraphic formations mounted (40) examples from which the researcher selected his purposeful samples mounted (10) examples, which formed a percentage of (25%) out of the total population. He followed the descriptive method making use of the instrument represented by an analysis form constructed on several axes on which validation was supervised by a group of experts in this domain, as well as it included the sample analysis. While the fourth chapter comprised of a display of (results, conclusions, recommendations and proposals). Through analyzing the selected samples, a group of results emerged as the following : Through analyzing the selected samples, a collection of results were shown as follows : 1 - Some letters in all samples were written in a way that contradicts the structure of the real letters and some of which were effaced in addition to the clear abuse of their positions and bases in a way irrelevant to the Arabic calligraphy whatsoever. 2 - The reduplicating line decreases the clarity and readability at the vision level in terms of the place of calligraphic formations on the wall, which manifest its specialty where its letters' size is more accurate that the letters' size of the evident or normal Thuluth font when written with the same pen, as in example (1). 3 - Among the aesthetic characteristics of Naskh and Thuluth fonts, the location of the construing and decorative movements add a sobriety and beauty on the calligraphic line and fulfill a functional and aesthetic harmony with the letters and words which is obvious in example (2). 4 - The calligrapher did not consider the interval ratios among the lines and sentence paragraphs in the sample examples, and the non - proportion in size among them, for they form the most important fundamental pivots in the constructional map of the calligraphic formation, which was not previously laid as well as the absence of the technical experience required for achievement which formed a constructive malfunction for these examples. As to the most important conclusions, they were represented by the following : 1 - The location of the construing and decorative movements adds to the calligraphic line a sobriety and beauty and fulfils a functional and aesthetic harmony with the letters and words, yet the nonuse of construing and decorative movements in fulfilling their goals which were found for them made the interaction with the calligraphic achievement weak and unable to motivate the receiver's aesthetic taste. 2 - The non - writing of the calligrapher's signature and the date of achievement in all samples form a phenomenon of plundering the artistic rights and effacing the artistic phenomenon which should be supported and documented because it accounts for the presence of calligraphic art and its future. 3 - The construing and decorative movements were written in a way uncommitted to the standard norms and rules put for them; therefore, their forms came cadaverous and they were unsuitable to be used in the formations of the clear Thuluth font. In continuance with the results and conclusions, the recommendations and proposals came followed by a list of references, figures and appendices, and then the researcher ended the research with its English abstract.

خاصية الاختزال والاشتقاق في تكوينات الخط العربي == The Property of Stenography And Derivation In The Arabic Calligraphy Formations

اسم المؤلف: محمد كاظم حمزة

اسم المشرف: جواد عبد الكاظم فرحان الزيدي

الموضوع العام: الفنون الجميلة

السنة: 2013

الموضوع الدقيق: الخط والزخرفة

الدرجة: ماجستير

الجامعة: جامعة بغداد - كلية الفنون الجميلة - قسم الخط العربي والزخرفة

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: Represent the property of stenography and Derivation an artistically act reflect Calligrapher skill in dealing with characters, and gives to calligraphic achieved a structure In terms of aesthetic or design or indicative to provide a favorable environment for characters in terms of its deliberation in the space available to it, Which interpret to subdue characters structure through its relate with what it made approach formality and analogous its sketching , to show alternative calligraphic comparisons and exceptional options for design necessities of a aesthetic output processing resulted in a result of a very ingenuity and skillfulness , and for each of stenography and derivation property an operational technique according to available metaphorical forms participate in establishing this property and allow through it for characters joints and corners to take alternative situation from other characters within artistic justification fit its forms, create in turn productive field of creations and inventions qualified a various of formalism extractions made it available the character ability in response to the formation and compliance and flexibility in recruitment and adaptation according to formative space in written textile which organized as calligraphic achieved , and for the importance which embodied it these two properties which striking apart of interest for what fall below various recruitments in calligraphic formation, so it was worth highlighted in a detailed and focused study to highlight its importance and role, and through that the researcher felt takes upon himself going into this field to study stenography and derivation in calligraphic formation within a study included several chapters represented the main pivots in study of these two properties , the first chapter included the study problem and its significance , objectives , limits and terms.The researcher amplified at the focus on determining the term and to highlight the definition of derivation and stability on the concept meets the purpose of this artistic act and stand on an accurate diagnosis him, after that there were many concepts addressed this term and circulations , causing confusion with the concept of stenography, and dismantling of confusion between them according to their recruitment and operational in the calligraphic achieved.the second chapter included three sections every one include several pivots the first section revealed the historical depth of the concept of stenography property and metaphorical technique for parts of characters structures and what the outcome of the diversity of the functions and operational both in the structure of the character or the entire map directorial calligraphic formation, while the second section has Search in the general concept of derivation through a historical review of early this property and Basic Principles that are based on them, also included the determinants of construction for structural characters and processing of building that fall under it functional inthe calligraphic formation, the third section contained artistry aspects operations for both two properties and their applications in calligraphic formations through their recruitment in a variety of fields and construed to him metaphorical building to both in terms of semantic or aesthetic design.The third chapter, represent study procedures , which included his community on calligraphic sketches embody the stenography and derivation of various calligraphic formations included most of the lines, numbered (110) portrait, the researcher select of them (11) model of the samples were intentional, which represented 10% of the total the research community, as followed by the researcher in his analysis of the descriptive approach (content analysis) based analysis tool of form for analysis, which included vertebrae Prime subset represented the pillars of art that adopted in the analysis of specimens designed according to the outcome of informatics and what came out of the indicators represented trends research was presented to the group of experts to amend paragraphs and suitability statement.The fourth chapter guarantees the results are a summary of what the outgrowth of analysis including : The property stenography among the mechanisms supported in calligraphic formation both in the structure of characters or at the level Systems distribution lines and types, invoked stenography and derivation to the rules of standard and standard officer, indifference side spell and Title ( Reading) as far as the importance it attaches to the side of aesthetic relied upon in the calligraphic formation, represents the stenography and derivation tradeoffs alternative and exceptional in the calligraphic formation both in the Artistic Direction or the need to design or achieve appropriate semantic, the stenography wider than in the derivation which includes the first structure of the characters and distribution systems lines and types The second is limited to the structure and anatomy letters only, represented voluntarily characters and their flexibility and diversity of forms major fountain draws him calligrapher variety in stenography and derivation, the researcher then need attention to the Title (sequence reading) and dispose of the spell, and not excessive in the recruitment of these two property in configuration linearity, focus on the skills of hand workmanship and proper performance and compliance with the rules of art in the structure of the letters or organized and installed in the calligraphic formation, and taking into account their employment in the sacred texts and not hyperbole to act that affects the prestige of the text, the researcher then some of the proposals put forward in the form of studies to supplement benefit envisaged Search : 1. variety to reduce the technical infrastructure design in calligraphic paintings.2. Treatment directorial stenography property and derivation in decorative formations.

اسس بناء تصاميم الزخارف النباتية الجدارية في العتبة الكاظمية المقدسة == The Foundation of Building And Designing Wall Plant Ornaments In The Holy Shrine of Imam Kadhum

اسم المؤلف: سؤدد مشعان حواس

اسم المشرف: عبد المنعم خيري حسين العاني

الموضوع العام: الفنون الجميلة

السنة: 2013

الموضوع الدقيق: الخط والزخرفة

الدرجة: ماجستير

الجامعة: جامعة بغداد - كلية الفنون الجميلة - قسم الخط العربي والزخرفة

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: تمثلت مشكلة البحث بتساؤل اساس ماهي : اسس بناء تصاميم الزخارف النباتية الجدارية في العتبة الكاظمية المقدسة ؟ وتجسدت اهمية البحث بالاسس البنائية للزخارف النباتية الجدارية بوصفها ممثلة لتنوع من الفنون العربية الاسلامية وعلاقتها بالمرجعيات الفكرية والفلسفية، | The problem of study is summed up in the following question : The Foundation of Building and Designing Wall Plant ornaments in the Holy Shrine of Imam Kadhum?The importance of the study lies in the bases of building and designing wall Plant ornaments as representing the variety of the Arabic Islamic arts and its relationship to ideological and philosophical references. The present study aims at answering the questions. It also was confined to the external and internal facades carried out on the glazed and marbled slabs in the Shrine for the present status 2012/1433 ah. Chapter Two included the following themes, a short historical review of the emergence of the ornaments in the holy shrine of imam, the most important elements constructing it and the contents of the wall plant ornaments. In addition to the most important vessel, flora and bough existing in the designs of the shrine. Some of these designs include vessels, heart shaped frames and pillars, animals and realistic shapes as well as natural scenes to obtain one basic needs of the shrine as well as the technical shape.The researcher followed in the procedures the descriptive approach in order to arrive at achieving the results of her research. She chose purposely her samples. The sample attained 10 samples out of 191 design. The analysis form was based on the indicators of the theoretical frame and were shown before the experts to verify their validity. According to the analysis form, the samples chosen were analyzed. The following were found : 1 - the weak interest in the organization and adjustment which was conducted on some designs by demolishing some of the slabs and using instead designs that do not suit the old slabs. In addition to the lack of a cadre specialized in calligraphy.2 - the appearance of more than one bough movement inside the one design like (spiral, wavy, circler) which were conditioned according to the requirements of the area and were divided into (dual, quadruple, radial, reticulate) in addition to the free designs. 3 - more than the shape of the form, this spatial occupation of the plant ornaments (vessels, floral) were more,. There are other plant unties like (vessel, heart shape) ornaments. 4 - the designer was inspired in carrying out his color treatment according to the closely allied relations and the chromatic graduation among the colors and the other formations, in order to show the dominance of the appearance on the other formations. 5 - the ornate designer tried to activate the structural bases through his expertise and taste in carrying out the ornament product to achieve unity and repeating them in the artistic ornament work. According to the results reached to by the researcher the following was concluded : 1 - the use of more than one type of ornament in one design (plant, linear, animal. Heart shape, vessel and architectural) in order to accomplish the appearance enrichment as well as to achieve variety. 2 - The use of the technique of carrying out the glazed and veined slab raw to reflect the richness and brilliant color. 3 - The design bases contribute to the process of founding the for structure of the plant ornaments, especially those with identical formations according to the (balance, dominance, repetition, homogeny, variance, unity and variation) to achieve the functional and embellishing objective.According to what the researcher has reached out, and in completing to the benefit and knowledge, the researcher recommends the following : 1 - making benefit of the findings of this research and inserting them in the curricula of the Artistic Ornament studied like the institutes and college of fine arts (Dept. of Archaeology) as well as the offices and institutions concerned with this holy shrines in Iraq. 2 - employing new technique suiting with the moral value of the status of the Holy Shrine of Imam Kadhum in the execution of (outstanding and cavernous ornament) technique with a consideration of the rules and principles of ornaments to vary the executive techniques.In completion to the requirements and to achieve scientific benefit, the researcher suggests making these subsequent studies : 1 - studying the artistic and technical ornaments in the Arabic Islamic art.2 - studying the balance of concepts for the aesthetic concepts to employ Islamic ornaments between the modern and postmodern arts.3 - studying the artistic characteristics of the plant ornaments and designs in the ideological and philosophical values.4 - studying the building of a program to analyze the formation of ornament by the use of computers

جمالية الوحدات الزخرفية في المسجد الاقصى == Aesthetics motifs in the Al - Aqsa Mosque

اسم المؤلف: اسراء ابراهيم فليح الربيعي

اسم المشرف: صفا لطفي عبد الامير

الموضوع العام: الفنون الجميلة

السنة: 2013

الموضوع الدقيق: الخط والزخرفة

الدرجة: ماجستير

الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الخط العربي والزخرفة

اللغة: العربية

مكان الجامعة: بابل

الصفحات الاولى: