كليدواژه :
مشكّل سازي , قلم گلزار , قلم غبار , مشكّل سازي انساني , مشكّل سازي جانوري , مشكّل سازي گياهي
چكيده فارسي :
اين مقاله با اين فرضيه شروع شد كه تحريم مذهبي و كلامي تصوير پيكره اي در صدر اسلام، خطاطان و خوشنويسان را به مشكّل سازي حروف رهنمود كرد و با انتقال مفاهيم و وجوه ارتباطي آن، ارزش هاي بصري والايي به خوشنويسي بخشيد. خطاطان و خوشنويسان در ابداع خطوط مشكّل و با توجه به مواريث مذهبي و فرهنگي به افق هاي وسيعي از هنرتجسمي دست يافتند و حروف را من حيث حروف و نيز فرم هاي آن راه مشكّل سازي كردند. آنها انواع مشكّل ها را پديد آوردند و در اين پديداري از انواع قلم ها چون كوفي و نسخ و ثلث و رقاع و تعليق گرفته تا نستعليق و شكسته نستعليق و غيره بهره گرفتند. مهمترين دستاورد آنها در مشكّل سازي بهره گيري از نمادهاي انساني و جانوري و گياهي از براي تفسير و توجيه بعضي از مفاهيم قرآني و فرهنگ اسلامي بود. خط معرفت تصويرالفاظ شد؛ الفاظي كه خود به تصويري جاندار و پرمفهوم بدل گشت و اين شاخه از هنر اسلامي را در حد فاصل نوشتار و تصوير قرار داد. در اين مقاله ارتباط نهادي خط و تصوير با بهره گيري از سه فرآيند وصف(چيستي) ارزيابي(چگونگي) و نقادي علمي در بوته بحث و فحص قرار گرفت.
چكيده لاتين :
Certain Prohibition in representational Arts, as painting,
under early Islamic period, has persuaded Artists to invent
various types of pen and fanciful methods in the art of
calligraphy. This has resulted in certain of calligraphy
forms and shapes of human, animals, different objects
and so on. The high visual of calligraphy, in addition
to its property conveying meaning and communicative
aspect has resulted in many beautiful forms and shapes,
along with inscription of expressions with themes that are
harmonized with pictures. In formation of these forms,
known as pictorial calligraphy (Khatt Mushakkal), the value
of the appearance of lines has been preferred over their
legibility and compliance with inscription rules; decorative
and ornamental Kufic script in Iran was associated
withAَli ibn Abitaleb. For example, Sultan Ali Mushhadi
the calligrapher, claims that Ali invented Kufic script.
The association of Ali with Kufic enhance the religious
implications of all forms of writing. Histories of calligraphy
mention the Setta (six) traditional scripts. These scripts
contains muhaggag, rayhan, nasakh, Riga, Thulth and
Tauqi. Taken together these scripts provided calligraphers
with a basic repertoire with which they could execute a
variety of tasks. In connecting calligraphy with religious
discipline, calligraphers were continuing a well-established
tradition in the Islamic world. These is a saying attributed
to both Euclid and Plato which seeks to define this
instrumen. The view that writing was spiritual geometry
gained particular strength from the precise geometric
formulas of shape and proportion which were the basis of
various scripts used in Persian tradition. Scripts used in
the religious sphere were based on a canon of proportion
which had evolved over several centuries. Therefore,
the present article deals with the ability of association of
calligraphy with images and its main focus is to collect
and analyze works and examples that are focus is to this
branch of calligraphy scripts. Going through the historical
development of the pictorial calligraphy and examining the
present inscriptions and methods of designing and drawing
the pictorial handwriting along with Symbology of these
works and analysis of visual characteristics of a number
of examples, the article reaches a kind of conclusion. In
these pictorial calligraphies priority of the aesthetic aspects
and ornamentation of lines over the technical aspects of
calligraphy and merge and formation of letters in each
other as well as rich imaginative decorations have made up
for pictorial vacuum that arises from prohibitions. The duty
and undertaking of conveying meaning and philosophy
too, as a requisite of the Islamic art of calligraphy in a
symbolic form and within the shapes chosen by artist,
is also perceivable within these pictorial calligraphies.
All pictorial calligraphies were composed in Persian and
penned in inky black scripts on white, ivory, and tan
sheets presumably made as a practice exercise in the
first instance, products of calligrapher’s endless activities.
To comprehend the pictorial calligraphy, it is necessary to
acknowledge, identify, and define the scope of changes
made to it after its compilation. This article makes more
sense to treat this task.
