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الابعاد الوظيفية والجمالية في الرقع الخطية لخطي الثلث والنسخ == Functional & Aesthetic Dimensions In Calligraphy Patches of Thuluth& Nusukh Fonts

Author name: احمد مزهر داخل
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: تعد الرقع الخطية من الانجازات الفنية المهمة في تاريخ فن الخط العربي , اذ اكتسبت اهتمام الخطاط المسلم خاصة , وذلك كونها اعتمدت في تدوين الايات القرانية والاحاديث الشريفة , زيادة على انها تمثل مدى التوصلات التجويدية للخطاط في فن الخط من خلال احتواء هذه الرق | The calligraphy patches consider from the important artistical achievements in history of Arabic calligraphy , because it gained interest the Moslem artist specially , because it depended in writing the holy Quraan & holy converses , add to this it represent what the extent of access bettering of calligrapher in art of calligraphy thru containing these patches upon both of Thuluth & Nusukh fonts which consider hard & beautiful Arabic kinds of fonts therefore capasitating from both of these fonts consider adnouns of good calligrapher, therefore calligraphers tried in all ages to defining their bettering skills thru these patches. some of beavering beginning from calligraphers in cantoning area and situation directional for the Nusukh font lines.some patches contain the decorations treatments to defining aesthetic side and this add different functional dimension , also patches different each others in attachment in texts , where some texts depended attachment meaning in some patches , others patches depended in partial attachment, while some patches depended texts whit no attachments in meaning totally. This study contains four chapters. chapter one include the problem of the study and it important , aims , limits , terms define. Chapter two include four sections , first section talking about the bettering stages for Thuluth font , and show the most important bettering & modern calligraphers to this font thru different ages accessible to the present.while the second section talking about the bettering stages for Nusukh font and talking about this font calligraphers everybody in accordance with his way belong it , and add to this talking about important features to this font , third section include the fundaments & aesthetics Arabic calligraphy and it founders. while in section four show appearance stages to calligraphy patches and development. From these sections pointers theoretic frame appearance and then article last studies coming which chapter finished. Chapter three include procedures study , search society which contains it limits upon Turkey & Iraq and selected some samples from all which came ( 25 ) samples , after analyze found some results : 1. Often affiance on read & bettering side as a functional dimension to the calligraphy patches more from it been learning or calligraphy permit or volute , this rate was 64% , volute rate was 16% , learning rate was 12% , calligraphy permit rate was 8%. 2. Calligraphers keeping fit cantoning & proportionate between texts areas so they give every font write area to compassing text in accordance with kinds , in analyze appearance rate of proportioning is 88% from patches which have proportionate area cantoning. 3. Calligraphers consult the proportioning between size of Thuluth pen & Nusukh pen thru keeping the favorite rate which it appreciative ( 1 : 3 ) , the rate of samples which keeping this rate 88% from all samples. 4. Clear thru analyze to study samples affiance of black ink with colors in tune in most of patches , where found use rate this ink with these colors is 52% , beside affiance this ink in writing on alturma almussafer papers in rate 48%. 5. Found thru analyze most of calligraphy patches have duet arrangement , patch cantoning to two area , one for Thuluth font and one for Nusukh font , the rate of patches with duet arrangement was 36% from all , while the rate of patches which have trio arrangement was 16% , the rate of patches which have multi arrangement was 32% , patches which affiance the lines principle was 12% , found the affiance of calligraphy hierarchy rate was 4% from all. In view of the obtained results , the following conclusion have been reached at : 1. Affiance on read & bettering side as a functional dimension to the calligraphy patches thru affiance Nusukh font and affiance sequence line for Thuluth font was because these patches was used to write the holy Quraan & holy converses which made reading more easy for all peoples in Islamic society. 2. The getting of resultant proportionate from calligraphy area arrangement caused by give Thuluth & Nusukh fonts enough area to assimilate text for both fonts. 3. Appearance calligrapher to his skills in production to these calligraphy patches because Thuluth & Nusukh fonts considers hard and beautiful Arabic kinds of fonts , also perfecting these fonts consider adnouns of good calligrapher , and thru bettering these fonts clear his skill in this art. The thesis end up with appendices , and resources, and the summary in English.

الخصائص الفنية الزخرفية في المدرسة المغربية == Decorative Artistry Characteristics In Moroccan School

Author name: لؤي نزيه مطلك
Supervisor name: كريم حواس علي الساعدي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: ان الفنان المسلم استلهم مفرداته من الطبيعة ومن الاشكال البسيطة كالمستقيمات والمربعات والمثلثات والدوائر، وقد كان هناك اوجه تشابه واختلاف في الوقت نفسه بين المدارس الزخرفية، مما جعل الامر يلتبس على كثير من المزخرفين لا سيما الدارسين في حقل الاختصاص، وقد ات | Muslim artist inspired his vocabularies from the nature and from simple forms such as straights , squares , triangular and circles. At the same time there was similarity and contrast in decorative school which led to confusion for many of those practice decoration (decorators ) specially the specialists. Due to exploratory studying and continuation upon research society represented in Moroccan Islamic Architecture through photographs and images in books and references concerning Moroccan decorations of Islamic architecture , it was obvious to the researcher that artistry and scientific necessities required identify those artistry characteristics of Moroccan school and the most prominent characteristics and features of Moroccan school.Accordingly the researcher formulated the problem of the research through the following question : " what are the artistry characteristics in the Moroccan decoration " ? The importance of the research has embodied in identifying the artistry characteristics of the decoration and all its kinds ( plants , geometrical and linear ). The researchers exposed the contributions of Moroccan school in designing and execution o decoration upon Islamic architecture. The objective of the research is to answer the mentioned question within the problem of the research. The research was defined with decorative artistry characteristics in Moroccan school with its kinds ( plants , geometrical and linear ) in mosques , schools , shrines and those executed on ( stone , gypsum , wood , vitrified tiles ) from the period of ( 745H - 1345A.D )to ( 1390H - 1971 A.D ). The second chapter included the following subjects : The stages of development of Moroccan decoration , architectural decorative components , Islamic architecture elements, areal divisions of the decorations , besides the design foundations of architecture decoration , construction relation , raw materials and execution techniques. followed by theoretical framework and previous studies.The researcher followed in conducting the research descriptive method ( analyzing the content ) in order to reach the objectives of the research. The samples were chosen intentionally. The researcher chose ( 6 ) six samples for his research and the total number of the sample were ( 60 ) sixty samples represented the society of the samples. The analyze form was in accordance theoretical framework and exposing it to several experts to confirm its validity. According to the analyzing form, the selected analyzing sample, where showed a collection of results as follows : - 1 - Single work of one decoration type( engineering), which is based on steroid shapes, which originated non - steroid shapes resulted from the crossed lines and their reflections represented by the straight and vertical ,horizontal and diagonal, which shaped multiple shapes amongst semi - steroid elements and rhombus shapes and irregular shapes.2 - Dual two types decoration work ( plan and engineering), the plant decorations have involved cupped indentations of single, double and triple pods as for the geometrical shapes inspired from bees hives and the Muslim artist has inspired these shapes to express the accuracy and regularity via repeated of geometrical shapes regularly.3 - Three decoration work( plant, geometry, writing)the basic unit included texts with Al - Thulith and Al - Nasakh Moroccan calligraphy due to sequenced line distribution system interspersed by plant decorations whose construction leaves and single double and triple cup items in addition to geometrical decorations represented by steroid and non - steroid shapes, as for the steroid shapes which included eight steroid and non - steroid shapes represented by irregular geometrical shapesBased on the results , the researcher have reached to a collection of conclusions represented by the following : - 1 - The development and the maturity that the Moroccan decoration art has reached along the development stage, does not come emptiness but connected series extended to be integral period for the previous one and it is an evidence to the innovation mental development extent, and the skill decoration expertise of the Moroccans at the same time.2 - The plant, geometrical and writing decorations of the arts widely used in the Moroccans Islamic architecture and has come the most distinguished elements and gains the Moroccan decoration attention via various the historical eras of the ancients fundamentals, also has dominance in a lot of architecture land marks.3 - The diversity in the decoration items( plant, geometrical and writing) of general appearance and the interior stuff and with colored diversified outcomes whether for single , double and triple types have contributed in add the diversified and multiplicity of the decoration items in one connected design unit.According to what the researcher has reached of results and conclusions and to complete the benefit and knowledge, the researcher has viewed to specify to a collection of recommendations most important of which are : 1 - To get benefit from the current research results to enhance curricula for the concerned Dept. amongst calligraphy and Islamic decoration Dept. in the institutes and colleges of fine arts.2 - Paying attention with the Moroccans school in the field of decoration of its various types of their aesthetic distinguished richness, on the executed works of Islamic architecture. And to complete the requirement of the research and to realize the scientific benefit, the researcher has presented a collection of suggestions ,benefited to be successive studies as follows : - 1 - The artistic characteristics of the Moroccans decorations on the pottery.2 - Aesthetic of the Moroccans decoration on the plate form

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

Author name: محمد كاظم حمزة
Supervisor name: جواد عبد الكاظم فرحان الزيدي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: 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.

البنية التصميمية في الاجازات الخطية == Structure Designing In The Calligraphic Authorization

Author name: حسـين علي يونـس السعداوي
Supervisor name: محمد سعدي لفتة
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: للخط العربي اهمية كبيرة في الحضارة العربية الاسلامية بدات مع النهوض الحضاري في صدر الاسلام، وقد تجلت فضيلة الكتابة والخط ان جعلها الله عز وجل في اول اية نزلت (( اقرا وربك الاكرم الذي علم بالقلم علم الانسان مالم يعلم))( )، فاضاف تعليم الخط الى نفسه وامت | Calligraphy of great importance in the Arab Islamic civilization began with the advancement of civilization in early Islam, has manifested the virtue of writing and calligraphy that make them God Almighty in the first verse revealed, adding the line to the same education and stronger by the slaves, was a witness to the greatest extent writing. The concept began to leave written evolve based on an essential element in the completion, a proficiency in writing and duly written rules, and regulating mechanism of vocabulary and structural elements in order to add value expressionistic, and the goal is linked to the functional and the aesthetic dimension. So it became back and one of the artistic achievements that have been made in the history of calligraphy and helped it spread and keep the rules in place, which is a prerequisite indispensable, has excelled where calligrapher and patterned through the expertise and skill of the design in the output of the artwork beautiful image to fit and the importance of vacation in calligraphy , and shed light on aspects that gave him the permanence and impact of fertility and, because of their structural properties is the originality and uniqueness, which requires a detailed study concerned with showing the structure design in calligraphic leaves. The problem and the search by asking the following : What structure in the design of calligraphic authorization? In order to reach results that aims her current research, which detect the structure design in calligraphic authorization through the known types of authorization, and to identify the pillars of the structure's design leaves calligraphic, defined by the researcher Macs that have emerged in Iraq and Turkey, within the period determined by the year (1219 AH - 1804 AD) and up (1430 - 2010 AD). Dealt with the theoretical framework the following topics; origination degree in calligraphy, in the design of structural foundations leave written, formal structure in the design of calligraphers license, building permits in the text calligraphers, and variations in the structure of the calligraphic authorization. The third chapter devoted to display the search procedures, which included his population on the boards authorization written all kinds, which are (100) sample, researcher selected ones appointed by selective style (10) sample, accounted for (10%) of the community overall, and follow descriptive method of analysis in a way, using the instrument whose form for analysis, which was built on several axes, were presented to the experts to ensure their validity, to achieve the goals. The fourth chapter evolved to include the results of which : 1 - varied Arabic fonts used in the calligraphic authorization by the student, a metaphor (thulth, nusukh, Alle - ns - taliq, Diwani,jele Diwani, and kufi), except ( al - ijaza) calligraphy validity of Licenser only. 2 - changed the structure design of the calligraphic authorization, appeared to them (the board of sin, and patchworks of sin, and the ornament of the Prophet, and the painting Quartet, and painting the all, and painting Almusahfeh), giving high flexibility and complete freedom for the calligraphy to highlight his talent and being able to master the calligraphics in the use of the type of painting that wants access to leave denominated. 3 - Formed calligraphy decoration calligraphic authorization a noticeable improvement in the diversity of design styles, from the use of motifs realism in painting and calligraphic fragment Ornament prophetic and Almusahfeh, to decorative designs in a variety of unites and repetition and symmetry and colors. 4 - The adoption of a particular division to design a symmetrical or asymmetrical design space given various options through a variety of motifs occupancy within the space in a uniform manner. The researcher recommended that invoked to determine the structure design in authorization to Based critical in assessing the achievements of sin, as well as relying on the methods of calligraphic and decorative followed in designs authorization because of its specificity characteristic for the heritage of the calligraphy and decorative, in the relevant departments within colleges and arts institutes. The researcher conducting studies suggested the following : 1. Diversity in decorative formations calligraphic authorization written in the Islamic countries. 2. Relations in the design of calligraphic authorization in other Arab countries. 3. Content approaches in calligraphic authorization for Science and the Arts in Islamic Heritage (comparative study)

تنوع التراكيب الخطية في لوحات الخطاط حامد الامدي == Diversity of Calligraphy Formations In The Paintings of Calligrapher Hamid Alaamdi

Author name: ميثم عبد ابراهيم
Supervisor name: جواد عبد الكاظم فرحان الزيدي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: This research aims to study the diversity of compositions written in the paintings of calligrapher (Hamid Aamidi), being an area rich achievements written for this type of art, and showed its different kind, where they have been used Kufi, Diwani and Thulth Jelly calligraphy for its ability to form potential in the formation of beautiful structure depends on these scripts that enable perform their skills in order to achieve different results in these compositions for other calligraphers, research has included four chapters, the first chapter of which comprised the research problem and its significance, objectives and limits of the search, as well as search terms. The second chapter includes three sections. First section dealt with diversity concept and meaning in general, and second section addressed identifying the types of structures of sin, and the technical underpinnings of the structures of scripts, and the third section focused on script composition features by (Hamid Aamidi), as well as his biography, and indicators of the theoretical framework, and previous studies that seal out the second quarter. The third chapter dealt with the research procedures and rely on the analytical descriptive method and the research tackled (150) model of calligrapher's paintings (Hamid Aamidi) distributed on three types of scripts : are (Thulth Jelly, Diwani Jelly and Kufi), were selected each sample of (10) models, and after analysis of the sample according to the search form appeared number of results that were addressed in the fourth chapter as follow : 1 - assure the diversity of outcomes (Aamidi) through adoption different forms some of which is inline with its three types (one level, two levels, three levels and above), also the geometric forms of the following (circular, oval, oval, triangle, square, rectangle), as well as all achieved through the adoption of forms (corresponding, iconography and Tgra?ah).2 - was found through analysis of the sample adoption of a variety of geometric forms and to varying degrees as follows : A - Adoption of mounting ring Satari and radiographic by 10% each. B - appeared adoption rate of installation Albbi 20% of the total samples. 3 - iconic compositions is characterized by matching the text with the content in the products of (Aamidi), which appeared during the analysis of 20% of the total sample. The researcher set out conclusions, including : 1 - The calligrapher in most of the scripts achievements depended on Satari structure that has three levels (heavy), so as to demonstrate the Altjoadah skill, the fact that this structure is a measure of the calligrapher Previews, through which the great calligraphers are compete, as well as reveal beautiful decorative dimension and create diversity for by organizing forms of letters and words within the levels of structure. 2 - characterized most of the structures with technical fine art compositions, being one of the key pillars that must be met in the design script achievements, to give some kind of integration of the technical achievements. Number of recommendations and suggestions been addressed which will be another focus in the script search and leading to appendices and resources concluding of the current research.

الخصائص الابداعية في تكوينات الخط القيرواني : اعمال الخطاط عامر بن جدو انموذجا == Creativity Characteristics In Formation of Al - Qarawani Calligraphy In Works of Calligrapher Amir Bin Jado

Author name: عبد الجبار وهيب احمد
Supervisor name: عبد المنعم خيري حسين العاني
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: الخصائص الابداعية في تكوينات الخط القيرواني اعمال الخطاط عامر بن جدو انموذجا , ومن خلال الدراسة الاستطلاعية استطاع الباحث ان يحدد مشكلة بحثه بالنقاط الاتية : 1. الخطوط اليابسة ( السطرية ) لا تحتاج في كتابتها الى مهارات حدسية اما التكوينات الخطية وخصوصا | The problem of the research represented by the following : - 1 - The dry ( linear calligraphy) do not need in their writing to sensitive skills as for the linear formation in special the dry calligraphies that need to study the type of the formation.2 - Missing or absence of specifying the transference circle in the line calligraphic in the creative formations discovered by the questionnaire study in calligraphic works of the calligrapher Amir Bin Jadao.And from these starting points the researcher has formulated the research problem with the following question : 3 - What are the creative characteristics in Al - Qairwan calligraphic formation in calligraphic works of the calligrapher Amir Bin Jadao as a model?The importance of the research represented as follow : - Could be contributed in activation of Al - Qairwan calligraphic letter balance, and to specify the transference period from linear calligraphic to the calligraphic formation in Al - Qairwan calligraphy, and the research objective to specify the transference point from the linear calligraphy to the linear formation in Al - Qaurwan calligraphy, besides the analytic study for the Tunisian calligrapher works Amir bin Jado, and the research specified for the period from (2006 A.C - 1427 A.H to 2013 A.C - 1432 A.H).As for the second chapter which includes historical view to the Arabic calligraphy reaching the starting of Al - Qairwan calligraphy, besides, studying( Al - Hadhna Quran) which was written in Al - Qairwan calligraphy by the calligrapher Ali bin Ahmed Awaraaq with an order from Almueiz bin Badis in 1019 A.C - 410 A.H and the characteristics of this calligraphy, also studying the creative characteristics in formation of the calligraphy, followed by indicators displayed by the theoretical frame of the research. The researcher followed the descriptive method, the style of ( the content analyzing) for realizing the research results and the samples chosen randomly,. The researcher has chosen (6 samples) represented the research sample, of (60) design and has depended analysis form according to the theoretical framework indicators and expose it to the experts in order to confirm its validity. In accordance with analysis form, the selected samples have been analyzed and reached the following results : 1. Line system formations are in Kofi and Qairawani calligraphy which are light formations and depend on successive reading sequence in which the words are distributed upon writing lines without overlapping or imbrications , besides using of the reed in writing those formations.2. Execution of free formations in an overlapping way , which depends on organized reading sequences from down to the top or vice versa. Some of it did not adopt organized reading sequences.Some formations got heavy overlapping , besides imbrications of the letters specially those of vertical expansion.According to the results the researcher has reached several conclusions : 1. The appearance of iconic formations in Kofi and Qairawani calligraphy is to confirm the range of strength of calligrapher mind and his wide imagination to achieve such kinds of formations , besides to confirm compliance of the letters of this calligraphy for flexibility and formation.2. Consolidate the capabilities of the calligrapher to produce such line formation through adjusting rules and regulations and origins of Kofi and Qairawani calligraphy and his abilities of expression about the subject directly with clear signs.According to the mentioned results and conclusions reached by the researcher , and as complementary knowledge and use the researcher proposed some recommendations such as : Keeping on fundamentals and design relationship in line formations due to its capabilities to open new fields for creation in this kind of Arabic calligraphy and expression of the calligrapher potentialities to manipulate the texts and utilizing them in proper context. To complete the research requirements and realizing the scientific utility, the researcher suggested a collection of suggestions valid to be a next study, amongst : studying the Andalus calligraphy according to the design bases.

التنوعات التصميمية في اللوحة الحروفية الخطية == Design Variation In The Colourful Calligraphic Paintings

Author name: علاء عطية داخل محمد
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: يعنى هذا البحث بدراسة التنوعات التصميمية في اللوحة الحروفية الخطية، بوصفها واحدة من الاتجاهات الفنية الجديدة، وما تميزت به من مواصفات فنية شكلت انفتاحا نوعيا للخطاطين في السعي بهذا الاتجاه. وقد ساعد ذلك في اغتناء وتطوير التنوعات التصميمية لهذه الل | This research study deals with designing varieties of painted calligraphy, as one of the new Artistic trends, and was characterized by its artistic specifications that formed a start for calligraphers to pursue this trend.This has helped in enriching and developing the designing varieties of these paintings, considering these calligraphic paintings as achievements that bring out alphabetical letters in specific artistic formats. This has had a clear impact on the tendency towards an artistic development and bringing out design structures that are unrestricted with traditional structural forms. The emergence of these artistic calligraphy paintings is a natural outcome of the development of Arabic Calligraphy and how it has been handled designingly in accordance with the principles of Arabic Calligraphy and its general restrictions.Using samples of these Calligraphies, the researcher has presented his research study issue with the following question : What are the designing variations of the Calligraphy paintings?The importance of this research is related to the fact that these calligraphic paintings are a wide field of invention, renewal, creativity, and change, especially in the composing structure of the painting. This research will be more helpful for future researchers in the field of Arabic Calligraphy.The focus of this research is to uncover the designing varieties of the Calligraphy paintings and identifying the areas of creativity and beauty that emerged in countries like Iraq, Egypt, Iran & Turkey through the period (1965 AC/1385 H) till (2013 AC/1434 H).The second chapter contains the theoretical frame work which in its turn is composed of three researchable subsections : the first one deals with The Emergence and Development of the Calligraphic Paintings and what they went through during the developmental process till the birth of the concept of Alphabetical Calligraphic Paintings. The second subsection is dealing with the Artistic Characteristics and Beauty of these Calligraphies. The third section handles the varieties of designs in both the Free and geometrical aspects. Followed by reading of the theoretical indicators of the framework and previous studiesThe third chapter has the research methodology which has adopted a descriptive method. There were 79 calligraphic paintings and the researcher took 8 selected painting which is approx. 10% of the total number of the paintings. The selected paintings have undergone an analysis using an analysis form which has 4 pillars accredited by Specialists The fourth chapter presents the outcomes and conclusions which are : 1) Benefitting from the flexibility of the Arabic Calligraphy in finding calligraphic compositions.2) The artistic variability of the calligraphic painting in both ways : organizing or composition construction. 3) The flexibility in changing the measurement shapes and direction of the letters leads to inventing new distinctive letter compositions.4) The various shapes of one letter help the calligraphist in deciding the suitability of one formatting instead of another in the process of building the structural design of the compositions of calligraphy.5) The Arabic Calligraphic Compositions are considered as a kind of liberation from the domination of the (classical) traditional compositions.6) The characteristic of composing and overlapping the letters and words have lead to a designing connection which helped in forming the composition and the general outlook.7) The calligrapher has been able to make the letters flexible to satisfy their artistic taste by extending and lengthening the letters when composing in order to show the infinite beauty of the letter.The researcher comes to the following conclusions : 1) The calligraphic painting is the outcome of the development of the Arabic Calligraphic Art and this is due to the fact that the global art movement is in continuous developing and the calligraphers sought to make this kind of art global.2) The calligraphic paintings have the ability to produce compositions with different shapes and designs, particularly the free format designs : the constructional feature, multi - faceted and the variety of the letters.The researcher recommends the following : 1) Teaching the designing variety of Calligraphy in the college of Fine Arts and the equivalent educational institutes considering it as a new trend in the Arabic Calligraphy. Take the research study conclusions and outcome into consideration and get the most benefits of them and consider them as evolutional point when comparing between calligraphers in art events competitions, exhibitions and festivals.

التنواعات التصميمية في التراكيب الخطية الايقونية == The Designing Variations In The Compositions of Calligraphies Iconography

Author name: حيدر جبار عبد
Supervisor name: محمد سعدي لفتة
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: تعد التراكيب الخطية الايقونية نوع متميز من التراكيب الخطية المتداولة ؛ يعبر عن التطور الحاصل في الخط العربي عموما والتراكيب الخطية خصوصا، ولعدم وجود دراسة سابقة بحثت هذا المنحى الفني (بحدود علم الباحث)، فقد تمت دراستها وصيغت مشكلة البحث بالتساؤل ا | The compositions written iconic distinct type; expresses the evaluation in the calligraphy in general and compositions written especially, the absence of a previous study that examined the technical - oriented (up science researcher), has been studied and formulated the research problem by asking the following : ( What are the structural foundations of the variations in the design of linear structures iconic ?) The objective of this research was to determine (by reaching structural foundations of design variations in compositions written iconography), has been identified by research.1 - (Compositions written in the iconic paintings calligraphers since the beginning of the eighth century AH to 1434 AH). The researcher came out of the theoretical frame work adopted by the indicators in the design of his research tool ; analysis of samples for the purpose of the adoption of a set of actions contained in Chapter III , namely : 1 - Collect researcher community's consideration and (200) plate; was classified into : Iconic structures in the form of plant and animal and human figures and architectural and industrial (Max) and a variety of bodies. Then extracted six samples by one sample from each category. The researcher came out a set of results, was the most prominent : 1 - The third line is the most obvious lines adopted by calligraphers in linear iconic building installation. 2 - The levels of installation rates were relatively close.3 - Has been the adoption of the rules and regulations in calligraphy. The majority of movements syntactic language used within the need. 4 - The most iconic compositions written coincided with indications of the contents of iconic texts directly. The researcher set out conclusions, including : 1 - Can be expressed as the content of the text through the iconic figure and approving letters and words and read it without having to read the text linguistically; without the need to adopt the colors. 2 - The third line is clear and one - third the average for the largest share in two iconic structures. The researcher came out a set of recommendations, including : 1 - Emphasized by the jury in exhibitions and competitions on the availability of safety requirements for spelling and reading sequence and the rules and regulations of Arabic calligraphy in the paintings of the iconic installation.2 - that is the introduction of competition in the production of plates written with iconic structures, in order to make way for creativity in the field of calligraphy.The researcher came out a set of proposals; including : 1 - A comparative study between the compositions written iconography Iraqi and other other countries.2 - A comparative study between a group of compositions written iconography of the period of time past and the other in the present time and the extent of development in the directorial vision.

التنوع التصميمي لزخارف مشبكات الاضرحة الاسلامية المقدسة في العراق == Design Variety of Ornament of Sacred Islamic Shrines Lattices In Iraq

Author name: ظافر عباس جسام العيساوي
Supervisor name: عبد المنعم خيري حسين العاني
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: تمثلت مشكلة البحث بالنقاط الاتية : 1. تعدد الاشكال" العناصر الزخرفية النباتية والهندسية والتكوينات الكتابية" في تصاميم مشبكات الاضرحة مما اثر في وحدة الشكل ووحدة التصميم الزخرفي. 2. ان تعدد الخامات والتقنيات المعدنية المستخدمة في تزيين المشبك اثر عل | Problem of the research is represented in the following points : - 1. Multi forms " engineering and vegetal ornament elements and written formations in the designs of shrines lattices which affected form unity and ornament design unity "2. Multiplicity of raw materials and metal techniques used in adornment of the interlace , affected the design meaning which leads to losing the functional side of the interlace of the shrines.Accordingly , the researcher formed the problem of the research according to the following question : - (Design Variety of Ornament of Sacred Islamic Shrines Lattices in Iraq ?) The importance of the research is embodied by warning the designer to adhere to the unity of the subject in ornamented design specially for the shrines due to their spiritual and doctrine sanctity , and commitment with elements signs and the technologies of the material used by accurate expression of both sides functional and aesthetical due to the sanctity of these places and the reason of using. The objective of the research is to response the above question mentioned in the problem of the research. The research deals with design variety of ornament of sacred Islamic shrines lattices in all its kinds ( vegetal , engineering and calligraphy ) in Iraq ( Holy Najaf , Holy Karbala and Baghdad ) for the period from ( 1928 A.D - 2013 )( 1347 A.H - 1435 ). The second chapter is dealing with the following subjects : historical background about the beginning of holy Islamic shrines and lattices , meaning dimensions in the variety sacred Islamic shrines lattices , besides the variety in areal division of the ornament of sacred shrines lattices , variety of ornament of sacred Islamic shrines lattices in all its kinds ( vegetal , engineering and calligraphy ) , ornamented design elements and the basics of ornamented design , and finally adopted raw materials in executing sacred Islamic shrines lattices , besides technical methods in execution used in sacred Islamic shrines lattices. Then followed by theoretical framework and previous studies. The researcher adopted descriptive method ( analyzing the content ) in order to reach and achieve the objective of the research. The samples have been chosen intentionally , so the researcher chose ( 5 ) lattices of the shrines out of ( 20 ) lattices. Analyze form has been made for the selected samples according to the indications of theoretical framework , then presented to the experts to check its validity. According to the analyze form, the selected samples have been analyzed and showed the following results : - 1. The designer adopted one system for ornamented design process in sacred Islamic shrines lattices , in which the ornamented design were similar in general design by adopting unified design system ( bi - similarity ) across halved vertical pivot of ornamented formations 2 - The mobilized decorations have appeared in net of a scared Islamic shrines in Iraq of three types(plantation - calligraphic, engineering ) where they could be assorted as follows : A - Single work of one decoration type ( Flower) and (liner) and ( engineering ).B - Double work of two decoration( of cup and vase shape) and reality and calligraphic and(vassal , calligraphic, shape).3 - Several materials have embodied in designs ( decoration, lattice of sacred Islamic shrines, depending three material (gold, silver, and enamel ).4 - It was depended on the type of material(gold, silver and enamel) essentially via using various methods in accomplishment of decorations and writings, such as prominent cold hammering , crafting and perforation, besides using another colors for the mobilized decoration on Enamel materials. Based on results, the researcher has reached to a number of conclusions represented by the following : - 1 - The Islamic lattice of sacred shrines of engineering shapes( rectangular solid), that make for the designer, availability to implement one front and to repeat it on the other fronts, besides, depending, diversity of area division for the single lattice to get of the red tape of recurrence.2 - Depending the decoration diversity( vegetable, engineering, calligraphic) in Sacred Islamic lattice of shrine to realize the appearance opulence and to highlighted the estheticism, which contributed in self relation of the visitor via effectiveness added by these decoration to human spirit, and adding the spirit of humility and sublimation.3 - Not to mobilize the detective decoration( human and animal) in Islamic sacred lattice of shrine, and this related to the researcher's belief of credit motives, and hatred of picturing the creatures especially in the sacred places. According to what the researcher has reached of results , conclusions, and to complete the utility and knowledge, thus he deems specifying a group of recommendations , most important of them are : 1 - Make use of the current research results to sustain the academic curricula for the given departments. Amongst , the Arabic calligraphy and Islamic decoration in institutes and colleges of fine arts.2 - Emphasizing on the scientific and academic aspect in the process of selecting decoration especially in the Sacred Islamic lattice of shrines to realize the unison of the subject.And to meet the requirement of the research, and to realize the scientific utility, the researcher has suggested collection of suggestion useful for the successive studies, amongst : Studying the design manipulation for the lattice of sacred Islamic of shrines in another Islamic countries.

اساليب التصميم الزخرفي في الفن الاسلامي : دراسة مقارنة == Styles of Decorative Design In Islamic Art (Comparative Study

Author name: بسام صعب حمد
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: بعدما قام الباحث بدراسة استطلاعية، على التصاميم الزخرفية النباتية المنجزة على المخطوطات الورقية، في القرن العاشر الهجري/ السادس عشر الميلادي. وجد ان هنالك ثمة اوجه تشابه متعددة، ولكن ثمة اختلافات واضحة، سواء على مستوى المفردات والمكونات، او على مستوى الان | After an exploratory study done by the researcher on plant decorative designs on paper manuscripts during the 10th AH century / 16th AD century. The researcher found that there are many similarities, yet there are also some obvious differences, both at the level of motifs and components, or at the level of construction and configuration, also he noticed that there are two distinct Art schools which had established their characteristics and properties gradually through the Safavid school in Persia and the Ottoman school in the land of Anatolia (turkey). Although the two schools are included in the Islamic circle of Art, both show distinct and obvious characteristics. Thus a detailed study required to show both similarities and differences, especially as the researcher had found out as a result of his continuous research in this field and his study of curriculum in the departments of Arabic calligraphy and ornamentation in the scientific institutions concerned in this type of art. That there is confusion and overlap in the way decorative design is applied in these institutions. This requires that we show these differences by answering the following : {What are the similarities and the differences between the two schools of art (the Safavid and the Ottoman) regarding the styles of designing floral decoration?} The importance of research, in that : 1 - It can contribute to enrich the students with the knowledge and competence in various fields.2 - It can contribute in cementing the curriculum, especially in the field of Islamic decorative arts. The research aims at : Revealing the nature of the decorative design styles in the two Islamic schools of art (Safavid and Ottoman) during the 10th AH century /16thAD century.This is achieved by conducting a comparison between these styles and determining the similarities and differences between these schools, based on the following criteria : 1 - Systems of space division.2 - Styles of construction and structure.3 - Types of decorative design.4 - Units of floral motifs.5 - Treatment of colors and methods of illumination. The research is also limited to floral decorative designs which are colored and illuminated on paper manuscripts, such manuscripts are found in the Riza Abbasi Museum in Iran and in Sulaimani Library in Turkey during the above mentioned period. The theoretical framework included the following subjects : Emergence of plant motifs in Islamic art (Introduction) and then referred to the school Safavid in Persia, and to the school the Ottoman Empire in Anatolia, styles of floral decorative design (regarding space division, and methods of construction and structure), color treatment and methods of illumination, components of floral decorative design, types and units of floral motifs (glass, flower), as well as structural units and design bases of floral decorations. The researcher followed in his procedures a descriptive analytic method to reach the results that can accomplish his goal in solving the problem.A sample has been chosen on purpose, 8 samples have been chosen out of a community of 80 forms. The analytic form have been designed and presented to the experts to ensure its validity an ability to achieve the desired goal.The research has reached the following result : 1 - The styles of the Safavid school was influenced by the styles of Chinese arts and the styles of Tamarid school , whilst the Ottoman school was influenced by the Safavid school , and by the Roman Seljuks arts , as well as the Chinese arts.2 - The systems of space division seems to be alike in both schools (Ottoman and Safavid), represented by five divisional systems which are : (bilateral, quadrilateral, radial, network, stripes) systems.3 - The two schools show similarities in their utilization of the double construction (flower cup, floral), yet they show differences in their utilization of the single style of construction for one of these types, the differences are shown in both ways of space construction which are the free and the repetition styles, or even through the use of units belonging to other types within other types of construction.4 - The components of the design (structures) show similarities in both schools regarding their construction of design and the way of placement.5 - Generally, the two schools have used the same methods in utilizing units and types of floral motifs, yet they differ in the minute details of the motif shapes.6 - Color treatment in both schools are close, both utilize the same colors like (deep blue) and (gold dye), these two colors in particular cover most of the space in the chosen samples.7 - Ottoman and Safavid schools used the same illumination methods called (tazmik)

معالجات الاعمال الخطية باستخدام برامج التصميم الرقمية == Treatments of Calligraphic Acts By Digital Design Programs

Author name: صادق جعفر جابر طرخان الشكاكي
Supervisor name: نصيف جاسم محمد عباس
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: تعتمد فكرة الاعمال الخطية الرقمية ومعالجاتها وظيفيا وجماليا بجميع مراحل انجازها, على مبادئ فنية تعالج وفقها، وهي مجموعة من ادوات تتصل بطبيعة البرنامج، والتي تؤثر بشكل او باخر على الناتج النهائي للمنتج، وما سيكون عليه، او ما سيحمله من تعزيز واثراء بصري | The idea of Calligraphic digital works based and processed functionally and aesthetically pleasing at all stages of completion, based on the technical principles addressed accordingly, a set of tools related to the nature of the program, which affect more or less the final output of the product, and what it would be like, or what will carry enhance the visual aesthetic and enrich, We have taken the concept of digital processing a wide area of research, in particular, is related to a two - pronged actors, arabic calligraphy, which is reflected formations creative spaces that have spread widely Graphic texture and design that is consistent in oprations with Calligraphy works, which represents, in essence, an integrated design structure processing mechanism, and from this sense ,calligrapher found a new space for the dissemination of creative experiences are the result of my contact between Calligraphy and modern a digital technology in all its technical additions. - The current research takes the mission of research and investigation of what relates to processors of Calligraphic works Through organizing it according into four chapters. - The first chapter included the research problem, which touched by the researcher, and related to field of Calligraphic works processed in digital designs, proposing the following assumption as a problem for his research : Digital processors written work contributed to the development of linear : done and identified the importance of research in the ability to benefit in developing the practical skills of the workers in this field. - The research delimited by the following limits : - Substantive limit : Business processing calligraphic works by digital programs - spatial limit : contemporary calligraphic samples digitally treated, according to the following : Program : (PHOTOSHOP), (Art Rage 2.5). The most popular in this type of achievements in calligraphy (Iran, Iraq) being witness a great operations in this kind of modern art. - Temporal limit : calligraphic works processed digitally to a group of calligraphers of the year (2013 - 2014). Period witnesses diverse and versatile in providing digitally treated works according to new methods. The researcher defined the following terms : which are : (processors), (Design), (digital calligrapher), because they relate to operations of the current research, and the second chapter specialized to the theoretical framework, and previous studies ,at which his three chapters carried headlines including : - Digital art. beginnings and evolution. - Digital Art and Design. - The concept of digital processing. - Digital Design programs. - Digital art & calligraphy art. - Methods of processing calligraphic works - color. The third chapter is devoted to research procedures, by stating methodology of the research which depended on the descriptive method (content analysis) to samples that were available to him. Then, the researcher analyzed (15) samples according to themes identified formerly. The research community : the community research reached 150 samples for digital prominent calligraphers in Iran and Iraq. The researcher organized a table for it. (review page - 172. "(Appendix 4) Research samples : reached samples reached (15) sample has been chosen according to the selective method infliction of the total community. review "(Appendix 4). researcher established conditions identified through them intentional choice of samples, including : A. Selection of samples within the temporal limits of the search. B. The appropriateness of the samples to the general research purpose and it's representation to the whole community research. Research tool : appeared what researcher focused on it in the research's literature and indicators. Sources and methods of collecting information : pointed from which the researcher to the approved methods of gathering information. Then he stopped on : honesty of analysis tool by adopting the way superficial honesty was done through distribution hubs analysis form on a number of experts and specialists and display to them Stability of analysis : and through researcher hired a group of outside analyzers and work according to the principle of pluralism of analysis within a table featuring analyzers degrees and the average stability coefficient (review page 170 ).Then, the researcher broached to statistical methods which carried out by the researcher through consistency over time, between his analysis and the analysis of a group of experts and determined the fourth chapter to mention the results and discuss them, including : A. workers processed calligraphic works focused on activate the digital design principles, whether they were at the level of structural elements or foundations.. or relations system and outputs.. This included most of the analysis samples. B. The adoption of digital design principles comes from understanding and expertise by calligraphers evidence of prior awareness of the basics of the structural process that considered important in the treatment of calligraphic painting. Then the researcher concluded some conclusions, included : awareness and understanding resulting from the calligrapher experience, greatly contributed to the strengthening of the visions and goals envisaged in the calligraphic works processing. It is the awareness among traditional direction in the industry of digital painting the Digital technology represented a wide field in front of the calligrapher to the quality of extras added on calligraphic painting new properties were unavailable in traditional styles : Then the researcher recommended some relative recommendations, including : 1. modernization of developments in digital technology, and updates provided by The world's largest producer of programs companies related to the treatment of the calligraphic work.2. Searching stylistic methods enrich works by the calligrapher and what adds the quality and beauty to his work.He then proposed to study the following : - Digital programs and their reflections on the formation of the structure of the Arabic letter.Then the researcher sited a list of sources and related indexes.

المعالجات التصميمية للزخارف المنفذة بالمرايا في العتبات المقدسة == The Designed Treatments of Excuted Illuminatins By Mirrors In Holy Places

Author name: علي عبد الصاحب عبد الحسن
Supervisor name: جواد عبد الكاظم فرحان الزيدي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: اشتمل البحث الحالي على اربعة فصول، تمثل الاول منها بالاطار المنهجي (مشكلة البحث واهميته واهدافه وحدوده وتعريف بعض المصطلحات)، وقد سعت المشكلة الى ايجاد اجابة على التساؤل الاتي : ما المعالجات التصميمية للزخارف المنفذة بالمرايا في العتبات المقدسة؟ويهدف البح | The research includes four chapters, the first one represents methodological frame and the research problem, importance and of some terms. The problem aims to find some answers for following question : What are designed treatment of excuted illumination in mirrors in the Holy places?Moreover, the research deals with excuted illumination in mirrors on ceilings and corridors of Aalwai holy shrine, Husseina holy shrine, Abbasi holy shrine, Kadhimaia holy shrine and Al - Aaskria holy shrine,in Iraq as in their current images (1435AH - 2014AD). The second chapter relates with theoretical frame. It has researches including the rise and development of the art of the mirrors on the walls of Islamic Architecture, beside the king of excuted illumination in mirrors and decorative composition and the ways of nominal arrangement through (fuctional, a sethie, expressive and technical treatment), through which one can get a number of indications for the theoretical frame and previous studies similar to this current research.The third chapter discusses the procedures of researcher follows in his work descriptive approach in order to get results achieving his aim and specifying the purpose of research. The researcher selected samples deliberately, where the number of samples reached to (10samples) from the total of (60samples). The researcher also designs the tool of research (from) and submit to the expert so as to insure the objectives, Also the researcher analysis a sample of the research on basis of suggestive tool.The fourth chapter includes the outcomes and conclusion of the Research, the most important result are as follows : 1 - It appears that geometric illuminations are more excuted in mirrors because they are more suitable for covering walls and ceilings and the possibility of its embodiment.2 - The excuted illumination in mirrors achieved a set of functions which are suited with the architecture arabesque and Islamic arts because they used material has distinctive specifications and features.Also the researcher gets some conclusions and as follows : 1 - The use of Arabic illumination in the excutive works in mirrors are easy to be excuted, and the process of embodiment on them, because of it stretched lines for other than illumination.2 - Use of mixed composition in the excuted illumination works in mirrors, because the illumination composition composed of several set of illumination, types for the purpose of the embodied variety of richness.3 - The reflecting image has been disappeared or scattered on the pieces which the illumination formed, to hide the reflected real image to suit with holiness of the place, and not to confuse the receiver and vistors of the place.(Attached with suggestion and recommendations and link them with the shapes, indexes and the source of the research)

فلسفة التنوع الشكلي في تصاميم الزخارف الهندسية العمارية == The Foral Variaty of The Designs of The Geometry Decoration

Author name: عمار هاشم مطلك الشمري
Supervisor name: خليل ابراهيم حسن الواسطي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: تضمن الفصل الاول مشكلة البحث التي تمثلت بالتساؤل الاتي : ( ما التنوع الشكلي في تصاميم الزخارف الهندسية ؟ ) واهمية البحث والحاجة اليه والفائدة التي تقدمها هذه الدراسة للباحثين والدارسين في مجال الزخرفة لاسيما الزخارف الهندسية , فضلا عن حدود البحث وعرض الم

تقنيات تذهيــب الزخارف النباتية في المدرسة التركية

Author name: مصطفى عبد القادر مشحن الفرحان
Supervisor name: عبد المنعم خيري حسين العاني
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: انفردت الزخارف النباتية بخصائص جمالية امتازت عن سواها من المفردات الاخرى (الهندسية والحيوانية) , لانها حظيت باهتمام كبير من قبل الفنان المسلم اذ تم توظيفها في المجالات الفنية المختلف لا سيما في مجال الخامات الورقية (اللوحة الخطية) وتعد الزخارف النباتية ال

القيم الجمالية للتنوعات التصميمية في تكوينات خط الثلث الجلي == The Aesthetic Values of The Design Varieties In The Formations of Al - Jali Al - Thulth

Author name: حسين علي جرمط
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: يعنى هذا البحث بدراسة القيم الجمالية للتنوعات التصميمية في تكوينات خط الثلث الجلي، بوصفه واحدا من اصعب الخطوط العربية واجملها، وما يتميز به من مواصفات فنية شكلت حافزا قويا للخطاطين في السعي باتجاه اجادة واتقان قواعد حروفه وبناء تكويناته باساليب وا | The research is intended to study the aesthetic values of the design varieties in the Formations of Al - Jali Al - thulth script Being one of the most difficult and beautiful Arabic scripts and characterized by some artistic specifications , it strongly motivated the calligraphers to be good at the rules of its letters and the build up of its formations in various artistic trends and styles. That helps enrich and develop the design and aesthetic values of these structures , since they are graphic chievements representing a turning point resulting from the semantic , aesthetic and objective vision in producing the texts according to a particular form - amatter which has clear influence on the expressionistic, aesthetic and technieal development to produce free structures with design constitutions untied to geometric figures. The emergence of these free structures is only a natural product of the Arabic script development and its way of handling the designs in the light of the principles and rules of the Arabic script. The researcher, through the samples which he had access to, has managed to present the problem in the first chapter via the following question : 1 - What are the aesthetic values of the design varieties in theFormations of Al - Jali Al - thulth script ? The significance of this research lies in the fact that the formations of Al - jali Al - thulth script are a wide field of innovation, renewal and change at the level of the formal build up of formation. The study is of sig nificance to the researchers in the field ofArabic script. The study aims at revealing the design varieties in the formations of Al - Jali Al - thulth script, and identifying the aesthetic values of these varieties represented in the free structure appearing in Iraq, Syria, Egypt and Turkey from the period (1970 - 1390) to (2010 - 1431) Chapter Two includes three sections. The First section deals with the genesis and development of Al - thulth script and the transformations it witnesses throughout developmental course until the concept of graphic portrait appears. Section Two touches upon the development of the structure system in the Al - Jali Al - thulth script. Section Three goes into the aesthetics of the Arabic script, followed by the previous studies and the indicators of the theoretical framework. Chapter Three comprises the procedures of the reseaech. The approach adopted is analytic descript. Tive. The population is restricted to the graphic portraits that have free structures written in Al - Jali Al - thulth script. The portraits are one hundred (100) in number, 20 samples of which the researcher has chosen on purpose which accountfor 20% of the total population. These portraits have been analyized to the analysis form which includes four points, the authenticity of which is supervised by a group of specialists in this field. Chapter four contains the analysis of the samples and presentation of the results : 1 - Employing the flexibility of the letters of Al - Jali Al - thulth script in building up free formations. 2 - Diversity in the artistic direction of the free structures whether it is in the organized letters or in the built formation. 3 - The possibility of changing the positions and directions of the letters as well as measurements, facititates the invention of special free formation. 4 - Some free structures are characterized by simplicity in terms of the build up or the formal build up of the formation.5 - The multiple forms of a letter helps the calligraphist prefer one form to another of the same letter and choose the suitable form to build up the design skeleton of the free structures. 6 - The phenomenon of the free structures in the Arabic script is a tendency to liberate from the domination of thegeometric figures. 7 - The engagement between the letters and words forms different design relationships, and helps in effective form and space. 8 - The free graphic formations show that the calligraphist adopts the rule of lengthening of the letters. 9 - The adoption of the rule of letter modification and the specific change of its build up (formal,standard) shows that there are various forms exceeding the rule form of the letters.10 - The artistic direction of the graphic structures is characterized by innovation and diversification whether in terms of the formal organization of formation or in letter organization or merging to complete another letter. 11 - The letter are at the calligrapher`s proposal to satisfy his artistic sensation in the lengthening and sending with the view of showing its beauty. The researcher has come to the following conclusions : 1 - The graphic structures are an important phenomenon generated by the developmental mocement of the Arabic script. of the reasons of this phenomenon is that the calligraphers try hard to give it beauty, cohesion and strength. 2 - Al - Jali Al - thulth is the most capable script of producing the graphic formations in different forms and designs,particularly the formations characterized by the free structures due to its construction properties and itsmultiple and diverse forms of letters. 3 - The weak artistic distribution of the formation design particularly abiding by the reading serial which results from design necessities to produce the formation, negatively reflects upon the realization of the communicative goal and smooth reception. The researcher has made the following recommendations : 1 - Teaching ( the aesthetic values of the design varieties in the structures of Al - Jali Al - thulth script ) as curriculum in the college of fine arts and the educational institutions. 2 - The results of the research should be made use of and be adopted as a basis when preferring one calligrapher to another in the artistic activities such as contests, shows and festivals.

التنوع التصميمي في لوحات المشق الخطية == Diversity In Design Mashaq Handwriting Paintings

Author name: اشرف كامل عبد الامير
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: استهدف البحث الى دراسة التنوع التصميمي في لوحات المشق الخطية، من خلال الدراسات الاستطلاعية التي قام بها الباحث، وجد وعلى حد علمه ان تلك الدراسة لم يتطرق اليها الباحثون من قبل، لهذا وجد الباحث مبررا منطقيا في دراسة لوحات المشق والتعرف على تنوعها تصميمي | Targeted to study the diversity of design in the Mashaq handwriting paintings , and through surveys carried out by the researcher, found and , to his knowledge that the study did not address the researchers before This researcher found in a study rationale plates rima and identify the diversity of design parameter. The study included four chapters, the first chapter includedthe research problem, in the following question : What diversity in design Mashaq handwriting paintings In order to reach solutions to this problem and to achieve the desired results, so research aims to identify the elements of artistic construction plates rima, andidentified by the researcher Balentajat completed in all of Iraq, Turkey, Egypt, and Saudi Arabia.The second chapter includes several axes, including a brief history of plates rima, and building them with technical, design and foundations, while the third chapterincluded the research community boards rima linear and which numbered (97)Chosen from the research (10) samples were deliberate, may follow the researcherdescriptive approach, using this instrument, which were represented form for analysis which is based on dialogue with several oversaw the validity of a group of professors who specialize in this area either Chapter IV represents to reach important results, as it appeared diversity in design plates AlamishqalkhtiahibflAdoption of plates rima processor design variety is based on the methods based on the lack of contention clips, text, or fragmentation of the word into two parts due t othe similarity of characters, or by symmetry and symmetry words of text, contributed treatment sections written word per category of color united in promoting the efficiency of literacy that draw paths lead appointed receiver to track the movement of the characters despite the variation trends, especially within the formations character motor, and the researcher recommended included plates Alamishq the curriculum for the students of the Faculty of Fine Arts, and educational institutions corresponding to them, because of their importance in the diversity of outcomes sin being kept pace with the movement of technical development, sealing the fourth quarter proposal fit to be a subsequentstudy includes oundations Alamchaq pairing between handwriting and paintings of letters nature.

التنوع الشكلي للخطوط المبكرة في المصحف الشريف == The Formal Variation of The Early Calligraphies In The Holly Quran

Author name: كفاح جمعة حافظ
Supervisor name: عبد الرضا بهية داود
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: The problem of the research represented in a basic question : (What is the formal variation of the early calligraphies in the holly Quran?) The research aims to answer this question mentioned in the problem The research deals with the calligraphing models which arrived to us from the period of prophecy to the end of second century of Hijra , which represented with the holly pages of Quran.The theoretic frame dealt with the following subjects : notating the Quran in era of prophet Mohammed (peace to be upon him),and the material which were the Qurans written on at the beginning of Islam ,the research dealt also with the spreading of calligraphy in the first two centuries of Islam. The second research deals with the variation of Quranic calligraphies at the beginning of Islam.The third research deals with emotions and admiration, then the fourth one deals with spacing between suras and decorations. The last research dealt with what the researcher concluded about the variation of the early letters in the holly Quran through using tables showed that variation.The indicators of theoretical frame and the previous studiesThe researcher followed in his procedures the descriptive approach to come to results that achieve his aims and solve his problem.The sample was chosen deliberately where the number of samples was (10) samples out of (40) models. The tools (form) was designed and submitted to the experts to assure its validity and achieving the aims.The researcher came to several results which are : 1 - Some Quranic calligraphy characterize with simplicity in drawining the letter or the formal building of the page ,on the contrary of other kinds came in high accurate drawining.2 - Variation of the one letter form in the same calligraphy and its appearance in various forms, whether it was connected or disconnected, it helped the calligrapher in finding the differentiation among the forms of the letter and choosing the suitable form in building the designing frame for the Quranic page.3 - The calligrapher , who concerned with drawining the letters , characterized with perfect generally, this seem clear through the models which we got.4 - The pages which were written with the Quranic calligraphy were full of lines wher e their number reached (32) lines, where in other kinds they did not overcome (3) lines ,where their average was (11) lines through analyzing the models. The average of number of the words in the single line was (5) words according to analyzing the samples.5 - The Arabic calligraphy achieved great change in the formal pages for letters and the systems of their building, as a result of taking care of Moslim calligraphers at that time in improving and decorating the Arabic letter and taking care of the aesthetic side of the letters images and their connections to achieve the functional and aesthetic aims in the holly Quranic.6 - The multi - levels systems did not appear at the beginning ,while the simple lining system was adopted in the lines of holly Quranic page ,with appearing of a simple way to form a single letter over the other as in the sample number (6) in the word (aladthab).7 - The decoration became representing the added unity, when it entered on the Quranic calligraphy ,but the calligraphy remained with its Sovereign and dominated role in the holly Quranic.The researcher recommended to make use of his results and vocabulary in supporting and activating the study Curriculum concerned with early calligraphies generally, in the concerned departments within the artful collages and institutes.The researcher proposed studying the variation of the early calligraphies for the next periods as third and fourth centuries and the advanced periods and make a comparison study about their formal variation.

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

Author name: سؤدد مشعان حواس
Supervisor name: عبد المنعم خيري حسين العاني
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Baghdad
First pages:
Abstract: 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

الابعاد الفكرية والوظيفية للتصاميم الزخرفية في مخطوطات دار الروضة العلوية المقدسة == Intellectual and Functional Dimension of Decorative Designs in the manuscripts of the Ali Holly Shrine

Author name: سارة فلاح حسن علوان القره غولي
Supervisor name: عباس جاسم حمود الربيعي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

جماليات تنوع التكوينات الزخرفية الداخلية في العتبات المقدسة : العراق وسوريا انموذجا == The Aesthetics Composition varieties of the Internal Ornamentation of the Holy Shrines (Iraq and Syria as a pattern)

Author name: زينب رضا حمودي كاظم الجبوري
Supervisor name: عباس جاسم حمود الربيعي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

جمالية التكرار في التكوينات الزخرفية الاسلامية == Aesthetic Repetition Of The Islamic Decoratvie Formations

Author name: ايناس نجاح محمد
Supervisor name: حيدر عبد الامير رشيد الخزعلي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

الزخرفة العضوية المنفذة على البلاط المزجج بين جامع السليمانية والعتبة الحسينية المقدسة : دراسة مقارنة

Author name: ايمان شاكر كاظم
Supervisor name: صفا لطفي عبد الامير
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

جمالية التنوع التقني في الزخارف الاسلامية : مرقد السيدة خولة بنت الحسين (عليها السلام) في لبنان انموذجا == Aesthetic Technical Diversity In Islamic Decoration Sayyeda Khawla Bint Al Hussein (p) In Lebanon model

Author name: انسام عباس عبيد البكري
Supervisor name: عباس جاسم حمود الربيعي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

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

Author name: اسراء ابراهيم فليح الربيعي
Supervisor name: صفا لطفي عبد الامير
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:

الابعاد الوظيفية والجمالية للزخارف الاسلامية في مرقد الامام الرضا (عليه السلام) == Functional and aesthetic dimensions of the decorations in the Islamic shrine of Imam Reza (AS)

Author name: سحر عبد العظيم نجم الشمري
Supervisor name: عارف وحيد ابراهيم الخفاجي
General topic: Fine Arts
Specific topic: Calligraphy and Decoration
Degree: Master
University: University of Babylon - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language: Arabic
University location: Babylon
First pages:
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