Arabic Calligraphy Research Articles

The Provenance and Origins of Arabic Calligraphy as an Islamic Art

The Provenance and Origins of Arabic Calligraphy as an Islamic Art

تقنیات الانزیاح البصری فی أعمال الخطاط إبراهیم العرَّافی

الملخص يتبنى هذا البحث مهمة الکشف عن تقنيات الانزياح البصري في أعمال الخطاط إبراهيم بن علي العرافي، باعتباره أحد الفنانين السعوديين الذين مشقت أقلامهم، وأسبغت أناملهم لوحات کثيرة في الخط العربي؛ فأثروا بها الحرکة الإبداعية في المملکة العربية السعودية، وغدا نشاطهم الفني في هذا الحقل جزءا لا يتجزأ من النشاط الإبداعي العربي المعاصر. على أن مهمتنا التي نحتفي من خلالها بنشاط العرافي وتجربته الفنية لها وجاهتها المعرفية والنقدية، لاستکشاف ملامح الإبداع وأسرار الدهشة في الصورة الخطية، التي أنتجها بتقنيات عالية. کما أن مقاربة أعماله في ضوء الإشکالية والأسئلة المنهجية يقربنا من الفهم، ويضعنا أمام ظاهرة الانزياح التي لم تأخذ حظها من البحث في تحولات الصورة الخطية وهندستها الجمالية لا عند الخطاط العرافي ولا عند غيره، إلا ما جرت عليه التقاليد البحثية في النشاط الجمعي لدى الخطاطين العرب والمسلمين في أطر عامة من البحث عن جماليات الخط العربي، فضلا عن فقر الدراسات والبحوث المتخصصة في هذا الحقل الفني، خاصة إذا ما قورنت الدراسة بما أنجز في الفنون البصرية الأخرى. ومن ثم؛ فإن المرتجى من وراء التقنيات يجعلنا معنيين بالإجابة عن السؤال المنهجي الذي سيحدد مسار البحث، ويرسم أفق الاشتغال النقدي، على النحو الآتي: ( ما التقنيات التي اعتمدها الخطاط إبراهيم العرافي في أعماله الفنية؟ وما قيمتها الانزياحية في تثوير طاقتها الإبداعية؟ ) Abstract Techniques of visual deviation in the works of the calligrapher Ibrahim Al Arrafi This research attempts to achieve the task of exploring the techniques of visual deviation of Ibrahim Al Arrafi’s extended calligraphy. Al-Arrafi is considered as one of the Saudi artists who have created a lot of Arabic calligraphy paintings and enriched the Saudi creative movement. These calligraphers’ artistic activities in calligraphy have become an integral part of the contemporary creative movement in the Arab world. The concern this research is attempting to explore with regard to Al-Arrafi’s activity and creative experience is epistemologically, methodologically and critically justified. Al-Arrafi’s innovative world is inspirational and it attracts researchers’ and critics’ attention to discover creativity aspects and astonishment secrets in the visual calligraphy that he develops by employing highly sophisticated techniques. Moreover, researchers and critics are inspired to investigate this creativity methodologically which makes it easier to grasp this phenomenon insightfully. It has been found that this characteristic feature of calligraphy has not been appropriately researched to highlight transformations in calligraphic imaging and its aesthetic engineering with connection to Al-Arrafi and other calligraphers except for the traditional research on Arab and Muslim calligraphers within the general studies that aesthetically focus on Arabic calligraphy. In addition, there is shortage in studies and specialized research on Arabic calligraphy in comparison with what has been achieved in other visual and kinetic arts. Therefore, what is desired from this research that focuses on the deviation techniques is answering this methodological question that will determine the research direction and draw the critical engagement horizon: What are the techniques adopted by the calligrapher Ibrahim Al Arrafi in his artistic works? And what is the impact of their characteristic features on revolutionizing their creative potentiality?

The effect of abstraction of the script in the emergence of Quranic recitations according to Orientalists

أهداف البحث: يهدف البحث إلى مناقشة ما ذهب إليه عدد من المستشرقين من أن أصل القراءات القرآنية يرجع إلى تجرد الخط الذي كُتِبَتْ به المصاحف الأولى من نِقَاط الإعجام وعلامات الحركات. منهج الدراسة: اتبع هذا البحث المنهج الاستقرائي بالاطلاع على كلام المستشرقين في موضوع كتابة المصاحف ونشأة القراءات، واتبع المنهج التحليلي في دراسة الروايات والنقول العديدة التي تبحث في كتابة المصاحف القديمة، والمنهج النقدي المقارن في مناقشة ومحاورة أقوال المستشرقين في موضوع البحث. النتائج: من أبرز النتائج التي توصل إليها البحث أن تَنَوُّعَ القراءات لا يرجع إلى تجرد المصاحف القديمة من النِّقَاط والحركات، بل هو نتيجة لنزول القرآن على سبعة أحرف، وأن التلقي والمشافهة هي الوسيلة التي نَقَلَ بها المسلمون القرآن جيلاً عن جيل، فلا اجتهاد ولا اختراع في القراءة. أصالة البحث: تظهر القيمة العلمية للبحث في تقرير مبدأ الثقة التامة بالنص القرآني وسلامته من أي تغيير، وتوقف دور الحفظة على نقله كما هو دون أي تدخل في عباراته وحروفه.

DECORATIVE AND STYLISTIC ORIGINALITY OF UNTSUKUL ORNAMENTAL COMPOSITIONS NOTCHES OF G. GAZIMAGOMEDOV

This article discusses the famous works of the national artist of the Russian Federation G. G. Gazimagomedov, characterizing his ornamental art in a new perspective, through complex formations taken from the traditional material culture of the Avars. The author made an attempt to cover present an artistic of the works of the applied artist, to identify the artistic style and direction in the modern ornamental Untsukul art of notching and inlay. Systematization and analysis of the ornamental notch of G. Gazimagomedov allowed us to get acquainted with the variety of different compositions. The artist in his works uses Arabic calligraphy and ancient Avar sustainable “nakish-ishans” (ornaments). The return to the folk origins contributes significantly to the development of traditional Untsukul art.

Mathematical concepts in Arabic calligraphy: The proportions of the 'Alif.

The starting point of every study on the proportions of Arabic calligraphy is the letter ʾAlif. It is considered the reference for all other letters. Usually, it is measured in dots. This paper is an attempt to study the mathematical concepts upon which the historical theory of the ʾAlif proportions was based, though not mathematically stated. In order to achieve this, the terms and components of the theory were clearly defined, and analyzed in their textual and visual context, historically, and logically according to our present time. In spite of the frequent use of these terms throughout time, their meanings were not always clear and can accept different interpretations. Some terms, even, indicated different meanings and were loosely used to satisfy different functions, for example, the term “Nuqṭah” (dot). Relating the components of the theory was, also, opened for opinions and interpretations, for example, the number of dots for the ʾAlif was never agreed upon. This paper starts with historical research and analysis. Then, it presents the mathematical expressions of the ʾAlif proportions both numerically and visually. Later, it discusses how they do apply, how other modern interpretations can fit, and how historical misunderstandings can be understood. Finally, it presents the historical account of how to relate other letters to the ʾAlif recommending analyzing their mathematical aspects in future studies.

Visual Elements of "Semar Calligraphy" on Cirebon Glass Painting of Kusdono’s Work

This research is focused on the visual elements contained on Kusdono's Cirebon glass painting. The writer uses descriptive qualitative research methods to examine the visual elements, with the technique of collecting data from books and journals that relates to the research object. The purpose of this study is to examine and find the meaning of Cirebon glass paintings. The results of this research are Semar as the main figure in the clown who always do good, keep the truth and obey the tenet that closely related to Islam. Arabic calligraphy reinforces Semar's figure. On the Cirebon glass painting, there are many mega mendung ornaments and wadasan which are Cirebon batik motifs, as well as the colors used in the coastal colors due to the geographical location of Cirebon City near the beach.

Arabic Handwriting Between Graphical Structural System and Aesthetic Reality

The study aims at addressing -in esthetic approach- the Arabic calligraphy its aesthetic and linguistic dimensions. The first dimension is highlighted its distinctive aesthetic and cultural features within a set of propositions that achieve the concepts of pleasure and harmony. The second dimension appears the nature of the patterns that control its graphical structure, to achieve linguistic/ communical and aesthetic/ artistic functions. The nature of the artistic and historical approach to the phenomenon of Arabic writing, and the considerations that it produces, which feed into the traditional archaeological and aesthetic aspect, characterize this phenomenon with typical, normative and historical features, all of which are considerations upon which modern scientific studies the humanities and social sciences have arisen, through studies that dealt with language - with its various elements - as a subject Can be described, interpreted, and analyzed objectively, which usually translates into the absolute Through Saussure's famous phrase in and for itself Whatever the trend that addressed the phenomenon: structural, functional, systemic, behavioral, or cognitive. It is certain that it was able to highlight the topic clearly... and define the appropriate approach - or approaches - to reveal what the conceptual record is and to reach the desired goals. With the diversity of schools and the accumulation of knowledge - the phenomenon of Handwriting as one of the aspects of linguistic evidence has become a subject that we can approach with a systematic linguistic vision without removing from it the features of the aesthetic that performs its distinctive, cultural and cognitive functions. The research concluded that the Arabic calligraphy with its epistemological potential resulted from the deposits of aesthetic practices, which supplied it with aesthetic shipments that could not be decomposed. The research combines between linguistic and aesthetic concepts, thus allowing the connection of linguistic field to artistic and historical issues, which is what we refer to as cultural linguistics.

Early Manuscripts of Quran (Through Data of Hijazi Calligraphy and Archaeological Evidence)

This research tackled the manuscripts of the early Quran (through the data of Hijazi calligraphy and archaeological evidence), reviewing the spelling phenomena that characterized Quran writing in close relation to the reality of Arabic writing. It also attempted to enlist the characteristics of calligraphy in early Quran copies as influenced by Nabataean script or what might be called early Arabic calligraphy (Hijazi calligraphy), comparing it with early Arabic inscriptions. Moreover, the study identified the relationship between the spelling system used in writing early Quran copies and the one used in early Arabic inscriptions, and attempted to conceive ways of identifying and dating the early Quran manuscripts preserved in regional and international libraries.The study is mainly based on five copies of the Quran manuscripts preserved in international libraries and book houses; namely: The Quran manuscript preserved in Berlin National Library (Berlin Quran), the Quran preserved in Birmingham University Library (Birmingham Quran), Tubingen University Library Quran (Tubingen Quran), the Quran preserved in the National Library in Paris (Paris Quran), and the Quran preserved in the British Library in London (London Quran).This is in addition to a collection of stone inscriptions and early dated papyrus received.The identification of the origin of Arabic calligraphy is significant for researchers of ancient Arabic inscriptions and of the Quran, whether in terms of the manuscripts or the drawings and other related sciences. Such identifications also enables identifying the characteristics of this calligraphy, especially the early ones with which the first Quran was written to explain those sciences and others, and to resolve the debate on the origin of the calligraphy with which the Quran in the era of the Prophet peace be upon him was written and copied in the era of the Caliphs, may Allah be pleased with them all. There are many trends and theories in determining the origin of the Hijazi Arabic calligraphy with which the Quran was written. A researcher of early dated Arabic inscriptions can easily identify a well-established writing system that writers followed, no matter how well that system resulted in conformity between what is written and what is pronounced.The study concluded with a set of findings and recommendations, the most important of which are:- The study proved that the early Quran copies received (samples of study) were copied and written in soft Hijazi calligraphy.- The study and the models of Quran manuscripts used proved the authenticity of the Holy Quran, despite the claims of Orientalists and skeptics.- The study revealed that most of the tithing marks were later on added in the early Quran manuscripts after their copying.- The study proved that among the main criteria that assist in dating the Quran manuscripts, especially the early ones, are their technical standards, as well as the linguistic standards in comparison with the cultural heritage, and then the radioactive carbon (C14) examination. تناول هذا البحث مخطوطات المصاحف المبکرة (من خلال معطيات الخط الحجازي والشواهد الأثرية)، واستعرضت الظواهر الإملائية التي تميز بها رسم المصحف على نحو أکثر صلة بواقع الکتابة العربية، کما حاولت حصر سمات خطوط المصاحف المبکرة المتأثرة بالکتابة النبطية أو ما يمکن أن نطلق عليه الخط العربي المبکر (الخط الحجازي)، ومقارنتها بمثيلاتها بالنقوش العربية المبکرة، وأوضحت تلک العلاقة بين النظام الإملائي المستعمل في رسم المصاحف المبکرة، والنظام الإملائي المستخدم في النقوش العربية المبکرة، وحاولت الدراسة وضع تصور لطرق تعيين وتأريخ المخطوطات المصحفية المبکرة المحفوظة في المکتبات الاقليمية والدولية.

THE CONFIGURATIONS FORMATIONS OF THE ARABIC KOUFI CALLIGRAPHY AS A SOURCE OF INNOVATIVE DESIGNS IN THE FIELD OF JEWELLERY

The art of Arabic calligraphy has accompanied the Arab Islamic civilization from its beginning until now, as it reflects both philosophical and civilizational dimensions, and its writings represent an important element in artistic contributions, as Islamic art is distinguished from other arts by using writings as a basic decorative element because of its plasticity, flexibility and diversity. The handicrafts that were inspired by Arabic calligraphy emerged from the strong desire of the Arab artist to adhere to originality and return to its roots, and Arabic calligraphy has been addressed in modern art in a new way that differs from what it was before as what was used in the past in terms of tools, materials, concepts and ideas can now be dealt with in a contemporary way that is compatible with the requirements of the modern era and takes into account the continuous development in the artistic movement, and contemporary artists are still searching for what’s new, so what was an intellectual and expressive heritage can now be studied with a new vision and concepts that fit the nature of the current era. The research aims to find new design formulas for metal jewellery, and to invest the plastic characteristics and capabilities of the Arabic Kufic calligraphy in enriching the aesthetics of metallic ornaments, and to combine the aesthetics of the Kufic calligraphy with the aesthetics of jewelry design, as well as opening new horizons for creativity and innovation in the field of jewelry design.

Rational Cubic of Timmer and Bezier Curve with Application in Arabic Calligraphy Designs

Rational Cubic of Timmer and Bezier Curve with Application in Arabic Calligraphy Designs

Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art

The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains about some of various of Arabic fonts style, and some important Quranic colour that has significant in the Islamic culture. Arabic calligraphy, which is also known as Islamic calligraphy, has a long history of development starting from the first written form of the Quran, in the early 7th century. The Arabic calligraphy art presents how to understand and appreciate its varied styles and modes. Calligraphers start creating their art by using some passages from the Quran or Arabic poems as a starting point then they develop their compositions in a complex and intricate piece of art by the overlap of Arabic letter and words that integrate. Arabic calligraphy is about movement, rhythm and dynamism as seen through the calligraphic marks in most mosques or Islamic building or Islamic calligraphy painting. Islamic calligraphy presents the aspect of aesthetic principles and demonstrate the love for Arabic language and culture with the aesthetic methods of traditional Arabic art.

The Effectiveness of Using Interactive Video in Teaching Arabic Calligraphy / فعالية استخدام الفيديو التفاعلي في تعليم الخط العربي

The interactive video from the modern trends of education technology as the most important and latest tools of education. And can be used as a means to teach any material of the Arabic language at the university, including Arabic calligraphy. In the Department of Islamic Education Department at Radin Intan Islamic State University Lampung teaches Arabic calligraphy to students in the fourth grade in terms of the subject matter. The Arabic calligraphy teacher is sometimes taught using the chalkboard in his teaching, as well as using the technology like Fur Fuen and we do not use interactive video in his education. The aim of this research is to find out the effectiveness of using interactive video in teaching Arabic calligraphy to students of this university. This research used the experimental approach in the design of both groups and quantitative input. The data taken by the author in this study are the result of the tribal and post-test of the two groups. As a result of the equation (70,70), that is, on the "good" score, which the students obtained higher and higher than the standard result (70.00), which the writer decided to indicate that this video is effective. (57.56) and post-test (70.70). The result of the difference between them (13,14) indicates that the video method has an effective degree. In other words, the use of interactive video fundamentally affects the improvement of student writing

Utilization of Rice Husk Waste for Paper Raw Materials as An Arabic Calligraphy Media

Rice husk is an organic waste found in Indonesia as a raw material for paper products. The society has not yet realized that the material could also be a medium of Arabic calligraphy. This research-based community service action aims to introduce the benefits of rice husk as a raw material for making paper. To practice the production of paper from rice husk as the basis for making Arabic calligraphy art, so it is needed to make a business community of paper production from rice husk based on Arabic calligraphy. By using the Asset-Based Community Development method, the community mentoring process is carried out by helping the business community of rice husk paper based on Arabic calligraphy during the production to the marketing process. To control the quality of the art of Arabic calligraphy, the EL-KA Lampung calligraphy community was involved. The result shows that the Arabic calligraphy created by the assisted community has high artistic value with different textures from rice husk paper, then it was created a rice husk paper business community based on Arabic calligraphy.

The Arabic Calligraphy Effectiveness and Implications in Industrial Products Design

يشكل فن الخط العربي مكانة خاصة بوصفه احد اهم الفنون الشرقية التي عززتها القيمة الإسلامية وقد تنوعت الخطوط العربية في تصنيفها الى خطوط لينة كالخط الديواني والثلث والرقعة وغيرها، والخطوط الهندسية كالخطوط الكوفية وانوعها المختلفة، كما استطاع الفنان العصري اليوم من تطويع الخط العربي بمختلف انواعه في بناء اللوحة او التشكيلات الخطية، ولاسيما بعد تطور التقنيات الفنية الرقمية وبرامجيات الحاسوب، من هنا جاء دور المصمم الصناعي بوصفه الاكثر تماسا بالحياة العملية والفنية والإنتاجية، وهذا ما يستدعي الحرص الكبير في تطويع التشكيلات الخطية للحروف العربية في تصميم المنتج الصناعي المعاصر. من خلال ما تقدم فان البحث الحالي يسلط الضوء على تلك المحاولات والتجارب التي قام بها المصمم الصناعي في تعامله مع التشكيلات الخطية العربية، اذ يتكون البحث من الاطار المنهجي للبحث حيث حدد الباحث مشكلة البحث في طرح التساؤل الاتي: هل للتصميم الخطي العربي وظيفة تنعكس على المنتج الصناعي المعاصر؟ وقد تم تحديد هدف البحث في التعرف على فاعلية توظيف تشكيلات الخط العربي وانعكاساتها في تصميم المنتجات الصناعية، اما حدود البحث في المنتجات الصناعية التي تتضمن التشكيلات الخطية العربية والمنتجة ما بين الاعوام 2017- 2018. اما الاطار النظري، اذ قسم الفصل الى مبحثين، اشتمل المبحث الاول دراسة جماليات تشكيل الخط العربي في تصميم المنتج الصناعي، اما المبحث الثاني فقد اشتمل على دراسة اشكاليات الخط العربي في توظيف المنتج الصناعي. كما تم ادراج اهم مؤشرات الاطار النظري. اما اجراءات البحث وتحليل النماذج التي كان عددها (3) نماذج منتقاة قصديا، ومن ثم ادراج اهم النتائج ومنها: الحضور التراثي والتاريخي في استلهام المفردات التراثية ولاسيما التشكيلات الحروفية للخطوط العربية اللينة التي لا يمكن التحكم بها وتطويعها بسهولة لأنها محكومة بقواعد صارمة بوصفها تمثل خصوصية اسلامية وعربية كجزء من التراث العربي الاسلامي

A linguistic steganography framework using Arabic calligraphy

In linguistic steganography, languages’ features are employed to hide information. The Arabic language has a rich set of features which have not been utilized until now in this area. In particular, Arabic calligraphy contains multiple fonts and multiple shapes of Arabic alphabet letters. In this paper, a framework that uses Arabic calligraphy to hide information is proposed. The phases of the framework are preparation phase, embedding phase and extraction phase. The embedding phase uses string matching to generate stego text and accompanying letter shapes according to a secret message. The framework also includes corpus creation and a modification of the Aho-Corasick string-matching algorithm. The Arabic font Naskh was used as a case study. A set of Arabic poetry and proverbs were used as a dataset. The framework was evaluated on capacity and security. Because the visual difference between the cover and the stego-cover must be unnoticeable to the human in any stego-system, the security in this framework is satisfying due there is no cover used. The cover represents the secret message itself and it provides high capacity to hide data also. The evaluation showed the potential of using the multiple shapes of Arabic letters to satisfy steganography requirements.

The Use of Arabic Calligraphy Items in Decorative Designs for Islamic Fabrics and Costumes

استخدم الخط العربي في صدر الإسلام لأغراض تزيين جدران المساجد من الداخل والخارج. ومن هنا لا بد لهذا الفن التزيني ان يشارك بصورة فاعلة في إغناء تصاميم الأقمشة والأزياء الإسلامية لما يمتلكه من مطاوعة عالية وجمالية فائقة النظر ومعبرة عن أصالة الروح العربية فقد تناول البحث مبحثين, تضمن الاول الموضوعات التالية اولا : نبذة تاريخية عن فن التزيين في الفكر العربي الاسلامي , ثانيا": التكوينات الخطية للتصاميم التزيينية, وموضوع التذوق الجمالي الفكري لفن التزيين,اولا: جمال الفكر بين الوظيفة والتجريد , ثانيا" :التصاميم الزخرفية الكتابية وعلاقتها بجسم الانسان اما اجراءات البحث فقد تم عرض فيها مقترح تصميمي لأحدث الجلابيات المتضمنة مفردات منتقاه من جمالية الخطوط العربية والإسلامية ثم بعد ذلك تم أدراج أهم النتائج وهي: إن التنوع الزخرفي إخفاء حيوية وجمالية وبشكل مدروس لا سيما أن ترافق مع الوحدة الشكلية للزي فإنه ينتج تصميما مبتكرا. وأخيرا ثبت المصادر والمراجع

Development Stages of Graphic Design in the Arab World

The article identifies the graphic design periodization criteria and its development stages in the Arab countries. It is noted that the initial development stage of graphic design aligns with design history in general. The allocation of graphic art as an independent professional domain can be considered to be a specific characteristic of the protodesign period (8th–19th centuries). Certain specific elements of the Islamic decorative canon developed, particularly calligraphy, geometric patterns, and vegetal arabesques, and professional artists and calligraphers appeared during this stage. The second stage of graphic design development in the Arab countries is characterized by the period of colonial dependence and priority of the European cultural tradition (19th — first half of 20th century). This was connected with the establishment of applied graphic arts as an independent art form — book and advertisement design (pictorial signboards, political advertisements, posters, and event posters), bank note design, typographic letterheads, postal graphics, etc. This form of graphic design is connected with cultural borrowing and the lack of national traditions and professionals in the sphere of graphic design. The third stage goes back to the visual language of geometric patterns, arabesques and Arabic calligraphy as an all-Arab visual heritage. It marked the establishment of printing offices and printing schools, changes in aesthetics of the printing industry due to production computerization, the introduction of a graphic designer occupation, and similar major programs in Arabic universities.

Utilization of Self-Adhesive Digital Labels for Identity Promoting of Special Products Packaging

Digital printing is a convenient technique for the production of self-adhesive labels with a personal design. With no doubt, using a unique design for special products packaging in the Arabic area helps to support the product Arabic identity through digital personalized labels. Packaging of special products likes; handicrafts products, souvenirs, Khan El-Khalili Products... etc. lack to special designs that assert product Arabic identity. Using digital labels can give a memorable image to these special products through digital personal design. The importance of self-adhesive digital labels is due to the flexibility of material and layouts that, enables its usage in a different position on the packaging or directly on product. This paper aims to provide an overview of digital self-adhesive labels and it benefits in promoting the Egyptian special products packaging identity through the attached labels. Analyzing the most important attracting items in labels design. Giving a new approach of digital Arabic calligraphy utilization by suggested label design layouts.

The Collection of Ottoman Tobacco Pipes from Azov Museum-Reserve in Russia

مجموعة من مجامر الشبک العثمانية المحفوظة فى متحف آزوف للآثار بروسيا الشبک: في الترکية جبوق و جوبوق بالجيم المشربة وفيها: الأنبوبة، والعصا، والماسورة، والقصبة، وشبک الدخان عبارة عن أنبوبة في أحد طرفيھا مبسم، وفي الطرف الآخر مجمرة أو حجر يوضع بھا التبغ والفحم، أى أن شبک الدخان يتکون من ثلاثة أجزاء، ھي: الفم ويطلق عليھا الترکيبة أو المبسم، والقصبة ويطلق عليھا العود أو الأنبوبة، والحجر، الذي يعرف أيضا بالمجمرة، کما عرف الشبک أيضا باسم الغليون، والجمع: غلايين، وغلاويين. ويذخر متحف مدينة آزوف للآثار بروسيا الاتحادية بالعديد من مجامر الشبک المصنوعة من الفخار مابين قطع مکتملة وأخرى مهشمة تتعدى فى عددها الألف قطعة، جميعها مستخرجة من الحفريات التى أجريت فى قلعة آزاک العثمانية والمنطقة المحيطة بها (منطقة آزوف القديمة)، والتى لم يتطرق لها أحد من الباحثين بالدراسة العلمية السليمة سواء بتأريخها أو بدراستها دراسة وصفية وتحليلية متأنية. وأکثر من 80 % من مجامر الشبک المکتشفة فى هذه المنطقة يمکن نسبتها للمسلمين الأتراک، تلک التى تم تصنيعها على يد الصناع والحرفيين الأتراک على أراضى الإمبراطورية العثمانية المترامية الأطراف فى ذلک الوقت (الأناضول، القرم، الببلقان)، والتى کانت تستخدم على نطاق واسع فى الحياة اليومية الخاصة من قبل الحامية العسکرية للقلعة الترکية آزاک. وبصفة عامة فإن مجامر الشبک المکتشفة فى منطقة آزوف على يد علماء الآثار الروس والتى تم استخراجها تؤرخ فى الفترة من القرن 11هـ-17م حتى بداية القرن 13هـ-19م، أما المجموعة موضوع الدراسة والتى عثر عليها فى أربعة مواقع مختلفة (ثلاثة حفر ومقبرة) خلال الفترة من 1998 وحتى 2004م، ويمکن تأريخها وفقا للعملات المعدنية التى عثر عليها بجوارها بنهاية القرن 11هـ-17م، ونهاية القرن 12هـ-18م. وتعد هذه المجموعة من أهم النماذج التى تعبر عن روعة الفن الإسلامى فى هذه المناطق بما تحمله من کتابات عربية عبارة عن توقيعات لبعض الصناع أو عبارات ذات صلة بالشبک، وکذلک والنقوش والزخارف الإسلامية ورسوم الوريدات والزهور التى تنوعت بين زهرة التيوليب والنرجس والزنبق والأقحوان، کما اختلفت أحجامها وأبعادها فمنها الصغير الحجم بأبعاد (3.8 × 2.3 سم) ومنها الأکبر نسبيا بأبعاد (6.0 × 4.2 سم).Аbstract:The Azov museum-reserve (Azov city, the Russian Federation) hold more than 1000 examples (intact ones and fragments) of clay tobacco pipes. All of them are from the excavations carried out on the territory of the former Ottoman fortress Azak (Azov old district) and its surroundings. Until recently, this archeological material has been left unstudied and has not been put into scientific use. The great bulk of finds (over 80%) are Muslim (Turkish) tobacco pipes. These are pipes made by the ceramics craftsmen on the territory of the former Ottoman Empire (Asia Monor, the Crimea, Balkans). They were widely used by the military garrison of the Turkish fortress Azak in private daily life. All in all, Muslim tobacco pipes were discovered by the archeologists in Azov in the cultural layers of XVII – the beginning of XIX centuries. The pipes from four “closed” complexes (three pits and a burial) discovered in 1998-2004 are dated by the end of XVII – the beginning of XVIII centuries according to the coin material. The majority of the tobacco pipes are abundantly ornamented splendid examples of the Muslim ceramics art. Some of them have stamps of their makers and Ottoman inscriptions made in Arabic calligraphy. The variety of pipe “fashions” is highly considerable. A number of the pipes are flower-shaped: as a tulip, a lily, a narcissus, a chrysanthemum. The pipes’ dimensions vary from the smallest (3.8х2.3 cm) to fairly big (6.0х4.2 cm) ones.

جماليات الخط العربي وتشكيلاته في الواجهات المعمارية الزجاجية = The Aesthetics of the Arabic Calligraphy and Its Formations in the Glass Architectural Facades

في مسيرة الکلمة العربية منذ البعثة المحمدية إلى عصرنا، تبين أن للحرف العربي صورة تشکيلية، أضافت إلى إمکاناته بعدا ثالثا، بعد أن کان بعده الصوتي وحده صورة متميزة، وبعده المعنوي الذي يتکون باشتراک الحروف في أداء المضمون والمفاهيم کانت من دقة الدلالة وروعة الأداء، حتى جعلت علماء اللغة يتفرغون لدراسة تفرعات التعبير، بين ترادف وتقابل وتضاد، دراسة أبرزت ثراء مفردات اللغة العربية القرشية، التي جمع القرآن الکريم العرب جميعا عليها، واندثرت أو کادت لهجات القبائل الأخرى. هذا البعد الثالث، کان شکله الطيع المتوحد، الطيع في قبوله للتشکل وإمکانية التنوع في الصورة، والمتوحد على اختلاف أوضاعه بين انفراد وارتباط في أول الکلمة وآخرها ووسطها. تتجلى تقنيات الزخرفة الحروفية في العمارة الإسلامية، من خلال أساليب متنوعة، أتقنها المعمار المسلم، مرتقيا بها إلى مستويات متقدمة ومبدعة. ومن ضمن تلک التقنيات الشائعة في نماذج العمارة الإسلامية، إکساء الجدران الخارجية والداخلية للمنشأ بتربيعات خزفية، غالبا ما تکون ملونة وذات بريق معدني. وعادة ما يکتب الفنان المسلم «خطوطه» عليها بأنواع مختلفة من أساليب کتابة الخطوط ولاسيما أسلوب الکتابة في «الثلث». ويلجأ المعمار المسلم إلى هذه الوسيلة من الإکساء، من أجل الحصول على مزايا إيجابية لمبناه نابعة من تلک الاستخدامات مما يضفي إلى هذه العمارة تلک الخفة والرشاقة التي تميزها عن منتج العمارات الأخرى. والخط العربي کظاهرة فنية وجمالية غرست عميقا في الفکر العربي والإسلامي على المستوى الثقافي والإيديولجي وتختصر الکثير من التأويلات الحديثة، بسبب قدرتها على اسقاط عاملي الزمان والمکان لصالح الفکر الجمالي. إن دور الحرف بحد ذاته کان في نفس الوقت مفارقة للذاتية وکشفا للحقيقة، سرعان ما أصبح صرحا فنيا قائما بذاته ذلک الفن الذي لم ينفرد بنفسه کوسيلة تعبير ذهنية بل تخطاها عبر الفن المعماري ولقد ظلت اشکاله الفنية المتنوعة الغنية بطاقاتها التجريدية إلى الحد الذي عبرت باستمرار في المعطى الروحي للحضارة وذلک باستمرارظهورها کلوحات حائطية على جدران المسجد أوککساء من القاشاني للمنابر والقباب، أو کنص کتابي للقرآن ضمن تکوين زخرفي عام ومن هنا، فأن الاکتشاف المعاصر للخط کحرف ودلاله وقيمة جمالية هو بدورهاستمرار غيبي لعقلية فنان متجاوز لذاته وواقعه النسبي في سبيل أن يستقصى أصوله من جذوره وأن يطور ابداعه عبر ثماره.