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Aesthetic theory of Arabic calligraphy in the Islamic Art | ||
| Journal of Nabo | ||
| Article 1, Volume 0, Issue 11, 2016, Pages 143-173 | ||
| Authors | ||
| Khudair Abbas Delly; Uday Nazim Farman | ||
| Abstract | ||
| The research current (Aesthetic theory of Arabic calligraphy in Islamic Art) in an attempt to study the aesthetic qualities of character calligraphy which inspired Islamic Art Bmarjayate conceptual structural and take advantage of the aesthetic character property in accordance with the relevant relationships configurations centered on structural linear work Authority ideas and content (text multiple) were employed, and forwarded from the functional specificity (blogging) to the Privacy aesthetic (decorative) envisaged by the rules of the Arabic letters and assets, as it has been associated with calligraphy texts the Qur'an, the Hadith and the stages of optimization functionally and aesthetically, which led to the diversity of Arabic fonts and the multiplicity of forms, particularly third line, which is the proficiency master calligrapher guide, which is the most beautiful and perfect in recipes letters aesthetic, Vtnoat colorful directorial bodies of his lineman to another, and the lack of study to show the aesthetic side of the lettering third line and that was the real key to understanding the properties of technical and clarifying the dimensions of aesthetic Kmenzawmat formality highlights the more intellectual and expressive aspects of the Arabic letters carried across texts (subject) and taken out body proportions aesthetic linear configurations, has directed the researcher to study in four chapters: included the first chapter / clarify the problem of the research and its importance and the need for it, as well as the goals which were represented to disclose opinions aesthetic Arabic calligraphy in the Islamic Alvkrarab and identify the aesthetic relations in the third line configurations, and the definition of the most important terms that are directly related to the title search and orientations, Chapter II / has included a presentation of the theoretical framework and previous studies, came Mtkona of three Investigation, was the first references aesthetic Arabic letters while taking second topic aesthetic views in calligraphy The third section Me aesthetic relations in formations linear, Chapter III / has included (research procedures) included research community achievements written in the third line of Iraqis for calligraphers that was completed a year configurahons (1947) to year (2012) was t | ||
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