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Journal articles on the topic 'Arabic calligraphy'
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1
Ali Atia Hmood. "Formal Organization in the Calligraphy Panel of the Calligrapher Hashim Muhammad Al-Baghdadi." Integrated Journal for Research in Arts and Humanities 2, no. 3 (May 25, 2022): 38–47. http://dx.doi.org/10.55544/ijrah.2.3.31.
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This research study is concerned with (formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi) and the research problem was represented by a basic question: What is the formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi?
The research aims to study the forms used in the comprehensive painting of the calligrapher Hashem Al-Baghdadi in terms of the formal organization of the calligraphic elements and the artistic contribution by arriving at defining the characteristics of the system and the technically approved form in the comprehensive painting, and thus may benefit calligraphers and those interested in studying Arabic calligraphy and calligraphy painting.
The theoretical framework included a review of the following topics: the stages of development of the emergence of the Arabic calligraphy and the calligraphy board, the lines used in the implementation of the calligraphy painting of the calligrapher Hashem Al-Baghdadi, the formal organization in the calligraphy board, and the design systems adopted in the calligraphy board.
In his research procedures, the researcher followed the descriptive (analytical) approach through the adult research community represented in the form of the university linear board, from which an intentional sample was chosen, represented by a diagram of the structural structure, and the analysis form was designed and presented to experts to ensure its validity to achieve the goals. The formal organization and the research reached the following results:
1- The general design of the whole linear panel was subject to the division of its space through the two axes (horizontal and vertical) that bisect the total space, allowing organizational options in dividing it, sometimes with binary symmetry and at other times with quadrilateral symmetry.
2- Employing a basic anchor that serves as a starting point for placing the other partial divisions within the geometric element (the circle) occupying the center of the design. in spreading.
3- Employing arcs with varying areas in measurement, in which the designer sought to enhance their changing role as incubators for the relatively larger geometric shapes (circles) with their neighboring smaller circles, keeping the horizontal and vertical axes achieving greater organizational diversity without relying on the element of the circle.
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Mohammed Alashari, Duaa. "The Aesthetics Of Contemporary Arabic Calligraphy in Duaa Alashari Painting: The Story of Love." Idealogy Journal 7, no. 1 (April 1, 2022): 89–93. http://dx.doi.org/10.24191/idealogy.v7i1.320.
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Arabic calligraphy is known as Islamic calligraphy. Alashari artworks introduce Arabic calligraphy as an art form to contemporary viewers and show them how to identify, understand and appreciate its varied styles and modes. This paper aims to present the aesthetics of contemporary Arabic calligraphy and the spirituality in the Alashari painting. The method used in this study is the descriptive-analytical method. The study concluded that this painting expresses movement, rhythm and dynamism as seen through the calligraphic marks and dripping.
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Alashari, Duaa Mohammed, Abd Rahman Hamzah, and Nurazmallail Marni. "Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art." UMRAN - International Journal of Islamic and Civilizational Studies 6, no. 3 (October 21, 2019): 33–45. http://dx.doi.org/10.11113/umran2019.6n3.342.
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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.
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Ali abbas, Hussein. "The decorative structure in the calligraphic painting." Al-Academy, no. 107 (March 15, 2023): 129–46. http://dx.doi.org/10.35560/jcofarts107/129-146.
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The decoration structure in calligraphy painting is one of the variables that characterized the structure of the calligraphic composition due to the artistic, aesthetic and expressive properties of the letters of the Arabic calligraphy, which are represented by flexibility, compliance and the ability to form. Therefore, the researcher defined his problem by asking the following question: What is the decorative structure in the calligraphic painting? The study aimed to reveal the structure of the ornamentation in the calligraphy painting, while the researcher dealt with in the second chapter three sections, the first (the ornamental concept and meaning) and the second topic (the structural characteristics of the Arabic letter in the calligraphic calligraphy painting) and the third topic (the aesthetic foundations in the calligraphic calligraphy painting) and then Indicators of the theoretical framework and previous studies, while the third chapter dealt with the research procedures, where the researcher adopted the descriptive analytical approach of the research community and sampled it by 10%. (The ability of the Arabic letter and its response to formation contributed by employing it to produce calligraphic lettering paintings with lunar structures) and then recommendations to benefit from the results and findings of the research to support researchers, scholars and specialized colleges, and the researcher suggested a study (the formal significance of the trapping effect in the lettering calligraphy painting).
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Duaa Mohammed Alashari. "The Role of Arabic Calligraphy in Displaying the Aesthetics of Linear Configurations in the Kiswah of Kaaba." Journal of Islamic Thought and Civilization 12, no. 2 (December 13, 2022): 242–54. http://dx.doi.org/10.32350/jitc.122.17.
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The Kiswah of the Kaaba, in the Saudi era, is adorned with Arabic calligraphy, executed in the complex Thuluth calligraphy. These calligraphic formations are compatible with the aesthetic and spiritual function of the Kiswah of Kaaba. In addition, the contribution of these formations and Arabic calligraphy creates formative elements of a distinctive aesthetic nature that glorifies the kiswah with a special kind of spiritual beauty associated with the writing of Qur’ānic verses. Arabic calligraphy, especially the Thuluth script, is one of the essential Arabic fonts that express the aesthetic values of Arabic calligraphy in the covering of the Kaaba. Therefore, this study aims to reveal the role of Arabic calligraphy and the characteristics of the Thuluth line, which have enhanced in highlighting the aesthetics of the linear formations of the Kiswah. The study also aims to discuss the aesthetic features and patterns that characterize the linear formations. The method used in this study is the content analysis method, bearing in mind that the primary tool used is inference based on observation. The study concluded that the Thuluth font possesses several aesthetic and technical characteristics compared to the rest of the other Arabic fonts. Moreover, these technical characteristics gave this line an evident prominence in decorating and beautifying the covering of the Kaaba with the appearance of the single letter in several bodies through the morphological diversity of the character drawing.
Keywords: Arabic calligraphy, aesthetics, Kiswah of Kaaba, linear configurations, Thuluth script.
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Sobhan, Arshia, Philippe Pasquier, and Adam Tindale. "Unveiling New Artistic Dimensions in Calligraphic Arabic Script with Generative Adversarial Networks." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (July 19, 2024): 1–12. http://dx.doi.org/10.1145/3664210.
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We present an artistic exploration into calligraphic Arabic script, focusing on the nastaliq style predominant in Iran, by harnessing the affordances of Generative Adversarial Networks (GANs). Recognizing the unique challenges posed by Arabic script's cursive nature and its inadequate representation by conventional tools, our work seeks to bridge the gap between traditional calligraphy and novel technological capabilities. Two custom datasets are introduced, Nas4-60k and Nas4-60k-aug, designed to train our generative networks in producing calligraphic Arabic. Utilizing the StyleGAN2-ada architecture, our approach successfully generates stylistically coherent and high-quality calligraphic samples. These samples exhibit meaningful feature extraction and generalization of calligraphic features, extending beyond the training sets. Furthermore, our system reveals a continuous spectrum of calligraphic features through latent space interpolations, leading to the creation of dynamic, innovative artworks that blend traditional and contemporary elements of Arabic calligraphy. Drawing inspiration from the compositional form of siyah-mashq, our work culminates in multiple publicly presented artworks that exhibit a new mode of creative expression and highlight the potential of GANs in unveiling new artistic dimensions in calligraphic Arabic script.
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Azizah, Salma, and Hikmah Maulani. "Pengaruh Perkembangan Seni Kaligrafi Arab Terhadap Budaya di Indonesia." Shaf: Jurnal Sejarah, Pemikiran dan Tasawuf 1, no. 2 (March 26, 2024): 22–37. http://dx.doi.org/10.59548/js.v1i2.102.
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This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.
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Mohsen, Ali A., Wissam K. Abdul Amir, and Amin A. Yassin Al-Nouri. "Artistic Signature's Aesthetic Consistency and Differentiation in Arabic Calligraphy." Journal of Islamic Thought and Civilization 13, no. 2 (December 6, 2023): 70–85. http://dx.doi.org/10.32350/jitc.132.05.
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The artistic signature of calligraphers has been regarded as a significant aspect of Arabic calligraphy since its inception. As the art form evolved and acquired an aesthetic dimension, the artistic signature became an integral part of this dimension. The calligrapher failed to include his name on the frames, a practice that has become customary among calligraphers nowadays. This tradition allowed to trace the evolution of Arabic calligraphy and identify certain gaps in the calligraphy composition. Additionally, the inclusion of calligrapher's name contributes to the achievement of visual balance within the calligraphy composition, signifying consistency or formal separation. The current study concentrated to investigate the aesthetics of artistic signature in Arabic calligraphy, comprising of four parts. These parts include the research problem, its significance, objectives, area, and the definition of key terminologies. The current study analyzed a total of 25 samples, out of which 5 were selected for further analysis. The researchers appointed a descriptive approach to examine the sample models thereafter, the implementation of artistic signatures varied across the models, with the utilization of calligraphy,(Al-Ijaza, Kufi, Ta'liq, Diwāni, and Raq’a). Alterations in the structure and measurement of certain signature letters facilitated the creation of shorthand, which reduced the spaces within the signature structure and achieved formal closure. Additionally, the placement of signatures was distributed among different locations.
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Ahmad Zarnuji, Hanif Amrulloh, and Isnaini Nur Azizah. "Utilization of Rice Husk Waste for Paper Raw Materials as An Arabic Calligraphy Media." Engagement : Jurnal Pengabdian Kepada Masyarakat 3, no. 1 (May 30, 2019): 43–54. http://dx.doi.org/10.29062/engagement.v3i1.49.
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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.
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Andrew, Alex M. "Arabic calligraphy: phishing." Kybernetes 37, no. 6 (June 17, 2008): 729–31. http://dx.doi.org/10.1108/03684920810876927.
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SABER, Kifah Jumaah Hafth. "THE CONTROVERSY OF ROOTING AND CONTRASTING ONE-LETTER FORMATIONS." RIMAK International Journal of Humanities and Social Sciences 04, no. 01 (January 1, 2022): 201–16. http://dx.doi.org/10.47832/2717-8293.15.15.
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The concept of rooting and renewal in Arabic calligraphy is linked to the calligrapher’s need to show new aesthetic methods, through formations and calligraphic structures based on a single letter. The perceptual vision of the calligrapher, so this research was concerned with studying the rooting and renewal of the rule of the single letter in the formations of Arabic calligraphy in particular, which included four chapters, the first chapter included the research problem, its importance, objectives, limits and definition of its terms. As for the second chapter, it deals with tracing the concept of rooting and renewal and its connection with the artist and the possession of the idea and the ability to technical aesthetic expression, through the one-letter linear formations made by calligraphers, relying on the spatial organization and choosing the appropriate letter for the composition. The analysis concluded with a number of results that were devoted to the fourth chapter, which showed rooting, renewal, acceptance of decorative and different aesthetic formations in structural structures, and investing some characteristics of letters to arrange and divide the linear structure into creative forms and structures.
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Isnaini, Rohmatun Lukluk, and Nurul Huda. "KALIGRAFI SEBAGAI MEDIA PEMBELAJARAN BAHASA ARAB." al Mahāra: Jurnal Pendidikan Bahasa Arab 2, no. 2 (December 19, 2016): 110–20. http://dx.doi.org/10.14421/almahara.2016.022-06.
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The art of writing or calligraphy or better known in Arabic as khat has given a touch of art in learning Arabic. This article describes teaching Arabic with calligraphy. This media is proven to be a stimulant and a tool that teachers use to encourage students' interest to learn Arabic. In the learning process as well as in the form of the work, it has made the Arabic and calligraphy into a unity. The model with a touch of calligraphy art is aimed at learners who are just getting to know Arabic to have a sense of joy and affection to learn Arabic. The impact of pleasure can change the mindset of learners that Arabic is easy and fun.
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Kaoudja, Zineb, Mohammed Lamine Kherfi, and Belal Khaldi. "A New Computational Method for Arabic Calligraphy Style Representation and Classification." Applied Sciences 11, no. 11 (May 25, 2021): 4852. http://dx.doi.org/10.3390/app11114852.
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Despite the importance of recognizing Arabic calligraphy styles and their potential usefulness for many applications, a very limited number of Arabic calligraphy style recognition works have been established. Thus, we propose a new computational tool for Arabic calligraphy style recognition (ACSR). The present work aims to identify Arabic calligraphy style (ACS) from images where text images are captured by different tools from different resources. To this end, we were inspired by the indices used by human experts to distinguish different calligraphy styles. These indices were transformed into a descriptor that defines, for each calligraphy style, a set of specific features. Three scenarios have been considered in the experimental part to prove the effectiveness of the proposed tool. The results confirmed the outperformance of both individual and combine features coded by our descriptor. The proposed work demonstrated outstanding performance, even with few training samples, compared to other related works for Arabic calligraphy recognition.
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Petretta, Julia. "Arabic sign design." Information Design Journal 21, no. 1 (December 31, 2014): 18–33. http://dx.doi.org/10.1075/idj.21.1.04pet.
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In the Middle East, the Arabic script is omnipresent and has an ample impact on the built environment. The calligraphic Arabic script is extremely flexible, making its text representation economic. However, in physical signs, calligraphy is replaced by Arabic typography, whose type choices may not capture the full flexibility of the Arabic script. Additionally, the graphic logic of dual language sign systems is not as straightforward when applied in Arabic, since the Arabic reads in two directions: right to left for the script and left to right for the numerals. Multi-script signage involving Arabic requires a heightened sensitivity regarding the information sequence.
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Hartono, Hamidah, and Haidarul Gholib Al Ghozi. "Analysis Of Calligraphy Skills of College Students Department Of Arabic Language Education Faculty Of Tarbiyah and Teacher Science North Sumatra State Islamic University." Jurnal Recoms 1, no. 1 (July 9, 2024): 21–29. http://dx.doi.org/10.59548/rc.v1i1.140.
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Learning calligraphy is an implementation of ability and potential and proficiency in writing Arabic. However, calligraphy writing does not only write about the art of beauty in Arabic, but there are other views, namely cognitive, affective and psychomotor. This study aims to describe the abilities and skills of students in writing calligraphy as well as the correct rules in writing Arabic khat. This research is a qualitative descriptive study. The subjects of this study were students of the North Sumatra State Islamic University (UINSU) Arabic language education-1 (stamp 2022), while the object of this research was in the form of material objects and objects from the results of their studies. The research focused on problems related to the level of difficulty and ease of writing Arabic khat (calligraphy). This data was obtained by means of structured interviews, namely literature studies and research documentation. Then the results of this study are: calligraphy writing in a psychomotor way, which means students' skills in writing calligraphy and calligraphy writing in a cognitive way is related to student intelligence and calligraphy writing ideas are based on affective, namely emotional, character and morals.
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Amrulloh, Ahmad Yasir, and Nino Indrianto. "Pengembangan kaligrafi digital berbasis aplikasi android untuk pembelajaran khat araby." JINoP (Jurnal Inovasi Pembelajaran) 8, no. 1 (May 31, 2022): 42–54. http://dx.doi.org/10.22219/jinop.v8i1.19889.
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Media is an important component in learning Arabic calligraphy and must be presented innovatively. It was found that there were digital Arabic calligraphy stickers that were difficult to read and had errors in lettering and arrangement. This situation will lead to errors of meaning and intent. This study aims to design digital Arabic calligraphy stickers and analyze them based on material experts. This study employed the ADDIE model development method which is modified into four stages, namely: analysis, design, development and implementation. The Likert scale technique was used as an analysis to collect data from 25 PBA students as respondents. The results show that digital calligraphy stickers designed through the Android application of Ana Muhtarif al-Khat, PixelLab and Wemoji. The validation results from two material experts were “very good”. This means that the development of this product is feasible and meeting the needs of PBA students in learning Arabic calligraphy, namely being creative and innovative in utilizing media in the form of Android-based applications in making works. These results imply the need to develop various animated calligraphy stickers or GIFs to maximize learning Arabic calligraphy
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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 3 (October 4, 2020): 1–11. http://dx.doi.org/10.11113/umran2020.7n3.408.
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Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.
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Fuadi, Ahmad Aziz, and Junaedi. "The Analysis of Improving the Arabic Writing Competency through Calligraphy Learning at Junior Hight School Darul Huda East Java." Journal of Arabic Language Studies and Teaching 2, no. 2 (November 27, 2022): 175–90. http://dx.doi.org/10.15642/jalsat.2022.2.2.175-190.
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In this article, the authors discuss the complex analysis of Arabic Writing Competence through Calligraphy Learning at Darul Huda Junior high school Ponorogo. The problem at students' Junior high school level is how to write Arabic properly and correctly; Arabic writing skill is presented to students with writing skills. One way to increase students' writing is by learning calligraphy. The purpose of the study was to determine the calligraphy learning process and the problems of learning calligraphy to improve students' writing. The research method uses a qualitative descriptive approach. The data sources consist of students' writing in calligraphy and calligraphy teachers. The study results show that: 1. The selection of learning methods is very urgent to achieve learning objectives, 2. The selection of calligraphy material texts must be simple and easy to understand so students can easily copy them.
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Yunisa, Rika Ananda. "The Concept of Calligraphy Learning at the Pesantren for the Fine Arts and Calligraphy of the Qur'an (PSKQ) Modern Kudus." Jurnal Recoms 1, no. 1 (July 9, 2024): 11–20. http://dx.doi.org/10.59548/rc.v1i1.138.
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Calligraphy is one of the Islamic arts that has received great attention from Muslims. Calligraphy as an Islamic art is the most important aspect of Islamic science, the Arabic Qur'an is an obligation to study Arabic grammar. One of the skills in Arabic grammar, namely Maharah Kitabah, calligraphy is to improve Arabic grammar according to the rules, both in terms of length, short in the number of latters to be stylish and beautiful. Modern Kudus Islamic Arts and Calligraphy Islamic Boarding School (PSKQ) provides a platform for studying the art of calligraphy in a systematic, effective and efficient manner. The intent and purpose of this research is to find out the learning system that exists in the modern PSKQ holy boarding school. From the results of the literature review, it was found that the art of calligraphy plays an important role in writing skills that can be expressed through writing and improve the grammar of the appropriate rules as beauty in writing. Methods of teaching the rules include tracing, imitating and modifying them using the Syauqi and Izzat styles. Keywords: Calligraphy, Modern PSKQ
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مها محمد ناصر and بدور عبدالله منصور. "A proposed program for the development of creativity in the Arabic calligraphy course among visual arts students." Basrah Arts Journal, no. 27 (November 30, 2023): 5–33. http://dx.doi.org/10.59767/2023.11/27.1.
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The research deals with a proposed program to develop the creative ability associated with Arabic calligraphy among students of the fifth level of the Department of Visual Arts at the College of Design and Arts according to the creative activities and strategies used, and this study seeks to prepare a teaching program to develop the creativity of visual arts students to produce artworks related to Arabic calligraphy and Islamic art in a way General, and aims to raise the level of skill and technical performance of students at the fifth level in the Arabic calligraphy course based on the strategies and creative activities used for teaching, and allowing visual arts students to create artworks related to Arabic calligraphy and their Islamic heritage and to enhance the identity and pride in the Arab-Islamic heritage among visual arts students, and finally, after studying the investigations and objectives, The researcher reached some results, the most important of which is Arabic calligraphy, which is part of the Arab heritage and Islamic art, and is characterized by its ability to continue and communicate, which helped the students to create contemporary works of art derived from the Arab heritage and Islamic art. Islamic, and also Arabic calligraphy enjoys a huge amount of creative aesthetic values and rhythmic systems, and the multiplicity of their relationships, forms and types, which led to the presence of calligraphy in contemporary art and facilitated the production of creative works among visual arts students.
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Kawther Hussein, Ahmed. "Fast learning neural network based on texture for Arabic calligraphy identification." Indonesian Journal of Electrical Engineering and Computer Science 21, no. 3 (March 10, 2021): 1794. http://dx.doi.org/10.11591/ijeecs.v21.i3.pp1794-1799.
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<span id="docs-internal-guid-5c723154-7fff-a7b2-3582-b7c2920a9921"><span>Arabic calligraphy is considered a sort of Arabic writing art where letters in Arabic can be written in various curvy or segments styles. The efforts of automating the identification of Arabic calligraphy by using artificial intelligence were less comparing with other languages. Hence, this article proposes using four types of features and a single hidden layer neural network for training on Arabic calligraphy and predicting the type of calligraphy that is used. For neural networks, we compared the case of non-connected input and output layers in extreme learning machine ELM and the case of connected input-output layers in FLN. The prediction accuracy of fast learning machine FLN was superior comparing ELM that showed a variation in the obtained accuracy. </span></span>
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Awang, Noorehan, Fatin Najihah Ghazali, and Siti Sarah Zainuddin. "Redesign Arabic Calligraphy Outline by using Bezier, Wang-Ball and Said-Ball Curves." Mathematical Sciences and Informatics Journal 3, no. 1 (May 31, 2022): 100–110. http://dx.doi.org/10.24191/mij.v3i1.18303.
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In the history of the revitalization of traditional art in the modern world, Arabic calligraphy was one of the art phenomena. This research suggests using Bezier curves, Wang Ball curves, and Said-Ball curves to improve Arabic calligraphy. Our goal in calligraphy is to achieve a smooth beautifying contour of a character. The calligraphy outline, which was largely Arabic, was frequently applied in Bezier curve degrees two and three. As a result, the degree elevation for each curve was increased until it reached degree four, allowing for greater Bezier curve study. This paper presents the comparisons between those three curves by using the Arabic calligraphy "Aamin" as the subject. Curve fitting, curve manipulation, mixing, and merging of curves were all examples of how Bezier curves were employed in Computer Aided Design. Ball curves, also known as a generalized ball basis, are a type of curve that has arbitrary even and odd degrees. There were two types of generalized ball curves: Wang-ball curves and Said-ball curves, each with their own special position parameter. The best curves of the Bezier, Wang-Ball, and Said-Ball curves were combined to create "Aamin" calligraphy. All of the results were programmed into the MATLAB software and graphed. For the redesign “Aamin” calligraphy Bezier curve computes the best time compared to Wang-Ball and Said-Ball curve. The computation time in MATLAB software for the degree 2, degree 3 and degree 4 are 1.48 seconds, 1.52 seconds and 2.50 seconds respectively. The higher the degree elevation, the longer the computation time to generate "Aamin" calligraphy, according to these findings. This research provides the fundamental design and empirical findings in the process of improving the production of computerized Arabic calligraphy.
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Nujaima, Ismi. "Implikasi Ketiadaan Mata Pelajaran Kaligrafi Arab Terhadap Kemampuan Menulis Bahasa Arab Siswa di Sekolah Mengenah Atas (SMA) Negeri 2 Percut Sei Tuan Deli Serdang Sumatera Utara." Jurnal Sathar 2, no. 1 (May 31, 2024): 36–46. http://dx.doi.org/10.59548/js.v2i1.144.
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Calligraphy is an art that can convey information to people who see it, both in terms of information from the past and information from Allah SWT because calligraphy is also found in the verses of the Koran. Calligraphy is also Arabic writing which has special rules for making letters, connecting letters, and also composing words and sentences and this is also a work of hand art that has its own beauty value. The method that the author used in this research was literature study and interviews with several informants or respondents who were several people from class XI at SMA Negeri 2 Percut Sei Tuan. Literature study was carried out by taking references from several books, journals, theses and several other references. The importance of calligraphy in the context of Arabic language education, both as a means of developing Islamic art, strengthening cultural identity, and beautiful writing skills. Based on the results of the author's research, it shows that Arabic calligraphy does not exist at SMA Negeri 2 Percut Sei Tuan, therefore some students' Arabic writing is still not good. However, for some students, their writing is already good because they are self-taught. That is why calligraphy lessons are both important and not according to some students
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Arum Tri Budi Arti, Rahma Aswani, Wira Fitria, Mirsa Triandani Siregar, and Sahkholid Nasution. "Fungsi Pembelajaran Kaligrafi Dalam Meningkatkan Maharah Al Kitabah." Perspektif : Jurnal Pendidikan dan Ilmu Bahasa 1, no. 4 (December 4, 2023): 297–307. http://dx.doi.org/10.59059/perspektif.v1i4.757.
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Calligraphy is a beautiful and correct way of writing Arabic in accordance with the rules of writing. The science of calligraphy is not only concerned with the beauty of writing, but also concerned with the correctness of writing in accordance with the rules of writing. while Maharah Kitabah or writing skill is the ability to express, express and describe ideas, thoughts, and ideas in written form. Between learning calligraphy is very closely related to writing skills or maharah kitabah, so that from this linkage learning calligraphy has a great influence on maharah kitabah or writing skills. Therefore, the purpose of this study is to find out what influences arise from learning calligraphy on Maharah Kitabah. This research is qualitative by using literature study using descriptive analysis method. The results of the study show that the influence of learning calligraphy on maharah kitabah or writing skills, including improving Arabic writing according to the rules of writing, and learning calligraphy can beautify Arabic writing, so that writing has aesthetic and spiritual values, and also trains someone to describe his ideas and thoughts in a structured written form.
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Tri Budi Arti, Arum, Khuzaimah Alfi Syahrina, and Rahmatunnisak Rahmatunnisak. "Pengaruh Pembelajaran Ilmu Kaligrafi Terhadap Keterampilan Menulis (Maharah Kitabah)." Jurnal Sathar 2, no. 1 (May 30, 2024): 25–35. http://dx.doi.org/10.59548/js.v2i1.142.
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Calligraphy is a beautiful and correct way of writing Arabic in accordance with the rules of writing. The science of calligraphy is not only concerned with the beauty of writing, but also concerned with the correctness of writing in accordance with the rules of writing. while Maharah Kitabah or writing skill is the ability to express, express and describe ideas, thoughts, and ideas in written form. Between learning calligraphy is very closely related to writing skills or maharah kitabah, so that from this linkage learning calligraphy has a great influence on maharah kitabah or writing skills. Therefore, the purpose of this study is to find out what influences arise from learning calligraphy on Maharah Kitabah. This research is qualitative by using literature study using descriptive analysis method. The results of the study show that the influence of learning calligraphy on maharah kitabah or writing skills, including improving Arabic writing according to the rules of writing, and learning calligraphy can beautify Arabic writing, so that writing has aesthetic and spiritual values, and also trains someone to describe his ideas and thoughts in a structured written form.
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Savan, Vasim, and Marina E. Vilchinskaya-Butenko. "REMAKE OF ARABIC CALLIGRAPHY: CALLIGRAFFITI IN THE CITY SPACE." Articult, no. 3 (2021): 74–80. http://dx.doi.org/10.28995/2227-6165-2021-3-74-80.
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The informatization of everyday practices in the form of digital media and social networks has significantly influenced the artistic life of the countries of the Middle East and North Africa. Traditional art and, in particular, Arabic calligraphy faced the problem of memorialization. The logical evolution of Arabic calligraphy was the direction that appeared in the depths of hurufiya – an aesthetic movement of the mid-twentieth century, which had a development in the Middle East and North Africa – and was called calligraffiti. The points of intersection of Arabic calligraphy and Western graffiti are explained from the point of view of the confrontation between traditionalism and postmodern ideas, using the example of theoretical research and the work of Hassan Massoudi, eL Seed, Karim Jabbari and other street artists. It is noted that today, thanks to the postmodern worldview, which has been clearly embodied in the artistic work of Middle Eastern and North African artists, a cultural remake and hybridization is being recorded in relation to Arabic calligraphy.
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Farkhan Mujahidin, M. "PEMIKIRAN KALIGRAFI ARAB DI INDONESIA." Jurnal CMES 9, no. 2 (October 13, 2017): 179. http://dx.doi.org/10.20961/cmes.9.2.15160.
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<p>Arabic calligraphy as an art form distinctively Islamic in its development continues to progress, both in terms of form, writing, style, visualization, and media usage trends. Research on Arabic calligraphy is intended to determine the development of Arabic calligraphy in Indonesia by presenting a glimpse of history in the Middle East until in Indonesia. Data were obtained from a review of literature and direct observation, as well as the sources of literature and internet, studies done using qualitative methods based on quantitative data obtained. Results showed that the development of Arabic calligraphy in Indonesia towards metamorphosis, transformation and paradigm forms in accordance with the spirit of the age. Changes in cultural traditions characterized by the development of civilization increasingly open and reveal that calligraphy in Indonesia continues to grow following the movement of culture in other aspects of the broader, he was instrumental not only in the frame of the architecture of religious buildings, but he has been included in the development of eco-architecture today central to the social needs of society.</p><p> </p>
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Saad Jihad ATTIYA, Saad Jihad ATTIYA. "Calligraphy, Its historical roots and its philosophical and aesthetic impact: الخط العربي، جذورهُ التاريخية وأثرهُ الفلسفي والجمالي." المجلة العربية للعلوم و نشر الأبحاث 8, no. 1 (March 26, 2022): 74–61. http://dx.doi.org/10.26389/ajsrp.d190921.
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This study revolves around the subject of Arabic calligraphy with its deep cultural roots, the stages of its development, progress, advancement and interaction in the field of art and its aesthetic philosophy, and its embodiment as a form of fine art by incorporating it into the artistic painting as an element or an artistic dimension, thus generating harmony, or the fusion of symbols and their interaction. And writing does not necessarily mean Arabic calligraphy because the difference between them is great and cannot be confused, as the word calligraphy is a term associated with the Arabic calligraphy that was invented and developed by Muslims and contains different styles and types of craft drawings governed by rules set by calligraphers, and they developed with the passage of time until it settled on its current known form In order to know the Arabic calligraphy, we will find that the word calligraphy means (line with the pen), i.e. books or drawing, and also calligraphy has been associated with writing in other civilizations, they are non- Arab, so this definition has a kind of comprehensiveness What draws attention in this study is the richness of the Arabic letter and its formation as an artistic element through its interaction with the art of decoration and engineering design, and this is since the early ages of awareness when the Sumerians were symbolically drawing cuneiform letters in the syllabic writing stage. Its beginnings were with illustrations, it developed until it returned to written letters, then moved to formation, and it became (art is inspired by the letter). From the beginning, we must get to know this human discovery that prompted man to write down and write through the discovery of this symbol or sign and letter. It seems that the development of Arabic calligraphy and the creativity that accompanied all its stages until it reached the beautiful art it reached, and acquired the splendor of the geometric form formed by a group of letters by forming a painting; we may not find this in other forms of fonts. The Arabic calligraphy in which the Noble Qur’an was written transmitted all the symbols of aesthetics and majesty, and moved to the neighboring and distant world through the Islamic conquests. Wherever it came, it was an acceptable symbol and a civilized dimension. The beauty of this calligraphy would not have been achieved without this effort made by those figures through their desire to elevate this beautiful art. Its aesthetic depth lies in its possessing the spirit of renewal and development.
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Youssef Youssef, Ayat, Fathy Gouda Saad, and Reham Mohsen. "Uses of Applied Arabic Calligraphy." International Journal of Multidisciplinary Studies in Art and Technology 4, no. 1 (June 1, 2021): 49–69. http://dx.doi.org/10.21608/ijmsat.2021.186779.
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Song, Aijing. "A Study on the Differences and Exchange Status of Chinese and Arabic Calligraphy under Different Cultural Backgrounds." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 113–18. http://dx.doi.org/10.54097/ehss.v5i.2890.
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Since the introduction of Arabic calligraphy into China, the cultural exchanges between China and Arab countries have gradually become closer. Studying the differences between the two and the characteristics of integration and communication can have a certain impact on the innovation of calligraphy and the development of Sino-Arab relations. This paper takes the differences and communication characteristics of Chinese and Arabic calligraphy as the research object and uses the method of comparative analysis and literature reading to explore the different cultural backgrounds and calligraphy characteristics of the two. First of all, the different development backgrounds of Chinese and Arab calligraphy are the starting point, to understanding the mystery, and indirectly analying their closeness from the differences in several dimensions. Through the research results, it’s find that the differences between Chinese and Arabic calligraphy are mainly reflected in the way of writing characters, writing tools, style differences, and service objects. From this, it can be seen that although they were born in different backgrounds, social functions, and expressive meanings are different, but art has no borders. The two can infiltrate and influence each other in modern times by the development of the times, creating new artistic crystallizations.
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Huda, Nurul. "KHASHAISH KHATH AL TSULUTS WA MUMAYYIZATUHU WA ASRARUHU." ALSINATUNA 1, no. 2 (March 7, 2017): 162. http://dx.doi.org/10.28918/alsinatuna.v1i2.794.
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Arabic calligraphy has been recognized by Indonesian society, especially in learning Arabic texts, such as Qur’an and Hadith. Nowadays, it is not even used in a manuscript only, but also used as home and mosque decoration. There are many kinds of calligraphy letterform; one of them is called “S\ulus\” (khat S\ulus\). S\ulus\ is the most used letterform both in calligraphy books and decoration. It may caused by the flexibility of its letterform and its elasticity of the structure that makes it looks charismatic. In this research, there is a new model of calligraphy which does not only depend on the history, but also relates to the secret or the meaning contained in the forming of S\ulus\. In addition, there is also a description of a more comprehensive calligraphy style which makes the idiosyncrasies of S\ulus\ are revealed in the forming of a calligraphy style.
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Huda, Nurul. "Implementasi Jenis Khat Naskhi dalam Pembelajaran Bahasa Arab." al Mahāra: Jurnal Pendidikan Bahasa Arab 3, no. 2 (December 23, 2017): 291–316. http://dx.doi.org/10.14421/almahara.2017.032-06.
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This paper aims to obtain a description of various types of Arabic calligraphy, to find out the extent to which Naskhi type calligraphy is used in basic Arabic learning and to know the factors that support the optimization of the use of Naskhi khat in basic Arabic learning. This type of research is field research with a qualitative approach. Data analysis uses descriptive analytic. Based on the analysis, it can be concluded that Arabic with calligraphy is an integrated one even in a learning model, both are interrelated and supportive. The relationship can be seen through several aspects; aspects of history, practical aspects, aspects of form, aspects of character and aspects of psychology. The factors that support the use of Khat Naskhi are the factors of teachers and students in line with learning methods and media. While the analysis of the role of the use of Khat Naskhi in basic Arabic language learning is: 1. Khat Naskhi helps the process of learning Arabic. 2. Khat Naskhi helps writing skills in basic Arabic. 3. Khat Naskhi helps reading skills in basic Arabic, and 4. Khat Naskhi also plays a role in student learning.
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Radhwan Adnan Ali Bin Ali, Radhwan Adnan Ali Bin Ali. "The availability of Arabic calligraphy skills for sixth graders of basic education from the point of view of their teachers: مدى توافر مهارات الخط العربي لدى تلاميذ الصف السادس من مرحلة التعليم الأساسي من وجهة نظر معلميهم." مجلة المناهج وطرق التدريس 1, no. 1 (January 30, 2022): 70–94. http://dx.doi.org/10.26389/ajsrp.g101221.
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The study aimed to find out the availability of Arabic calligraphy skills for sixth graders of basic education from the point of view of their teachers. To achieve the goal of the study, the descriptive approach used the survey analysis, and a questionnaire was prepared to collect data consisting of (20) items, which were divided into three areas: the domain of general skills that included (8) items, and the domain of accompanying skills during teaching Arabic calligraphy that included (5) items, The field of written performance included (7) paragraphs, and the research sample consisted of (40) teachers of the Arabic language who practice the teaching process in the capital Sana’a, they were chosen by random method. Through the results of the questionnaire, it was found that the skills of Arabic calligraphy are available to the sixth grade students of the basic education stage, except for some skills in which there are weaknesses. Arabic to teachers with written skills.
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Salim Khasawneh, Najwa Ahmed. "The effect of letter (c) modelling on developing the skills of handwriting performance among learners of Arabic speaking other languages." Cypriot Journal of Educational Sciences 16, no. 5 (October 31, 2021): 2223–35. http://dx.doi.org/10.18844/cjes.v16i5.6304.
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This study aimed at identifying the effectiveness of letter (c) modelling in developing the writing skills performance of Arabic learners speaking other languages and the number of views required for the line visual to develop their writing skills performance. The study sample consisted of 15 learners who were studying the Arabic language for the first time and were chosen by the convenience sampling method. The female students did not take a pre-test as they did not know Arabic before. The students were trained on the attached Arabic calligraphy visual, which included all the Arabic language alphabets. The training period lasted for 8 weeks, with two lessons per week, and each session lasted for 40 minutes. The students then underwent a post-test that was checked for validity and reliability. The analysis results showed a clear ability to draw the Arabic letter due to the visualisation of the calligraphy presented by the researcher, which relied on modelling the letter (c) in all Arabic letters. In light of the findings, the study recommended applying the teaching method based on the calligraphy visualisation devised in teaching non-Arabic speakers.
Keywords: Handwritten performance, development, letter (c) modelling, learners of Arabic speaking other languages.
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Setiawan, Agus, Dian Risky Amalia, Muhammad Zaini, Leli Fertiliana Dea, Ahmad Mukhlisin, and Nurul Aisyah. "PELATIHAN PENULISAN ARAB PEGON DAN KALIGRAFI PADA SISWA SEKOLAH MENENGAH ATAS (SMA/MA/SMK) SE-KOTA METRO." PAMBUDI 4, no. 01 (August 5, 2020): 1–8. http://dx.doi.org/10.33503/pambudi.v4i01.821.
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Preserving the culture of the archipelago's Islamic treasures is something that must be done One of the Islamic treasures that needs to be preserved is Penegusan Arabic Calligraphy. To this, community service activities wre carried out to provide training on all Metro City. The method used in mentoring to the community is Appeciative inquiry. The steps were iscovery, dream, design, define and destiny. This service used the Assed-Based Community Development (ABCD) approach. ABCD was ne of the discussions used in community service prioritizing existing assets and potential in the community compared to High School students. The community service activity was carried out in 3 sessions, namely introducing and returning Arabic pegon, training to get calligraphy by the speaker and fixing it with independent calligraphy. The results of this dedication show that tudents who were ble to write Arabic pegon that simultaneously could make alligraphy based on Arabic pegon
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Saeed, Tariq Habib. "The Constant and the Variable in Arabic Calligraphy within Contemporary Arabic Lettering Composition." Journal Port Science Research 7, issue (June 1, 2024): 67–98. http://dx.doi.org/10.36371/port.2024.special.9.
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The present study examines the consistency and variability of Arabic script in the development of modern Arabic script, as well as the Arabic script's significant role in our daily lives as a visual language of communication between ancient and modern human communities. As a result, it became essential to describe its current applications in terms of both language and art, as well as its constants and variables. The Qur'an, letters, flags, certificates, and other writings were written in Arabic calligraphy by calligraphers who followed in the footsteps of the great calligraphers who established the principles and conventions for many calligraphic styles after the Islamic era. It is also used to cover the exterior of shrines and mosques. works of religion, mosques and Islamic building designs. Arab letter artists underwent a shift and evolution in their usage of the Arabic letter in their creative paintings following the shift to the current era. The letter's shape was distorted and it was drawn in various configurations and shapes since they drew it outside of its original context and guidelines
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Rahman, Hasbi, Triyono Widodo, and Swastika Dhesti Anggraini. "Kaligrafi Arab Selawat Asy-Syifa sebagai Objek Penciptaan Karya Seni Lukis Dekoratif." JoLLA: Journal of Language, Literature, and Arts 3, no. 6 (June 30, 2023): 912–30. http://dx.doi.org/10.17977/um064v3i62023p912-930.
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Seni Kaligrafi Arab merupakan sebuah media ekspresi sekaligus menjadi syiar kesenian Islam. Unsur yang membagun dalam seni kaligrafi yaitu bentuknya yang baik dan indah juga mengandung sebuah ungkapan pengalaman artistik dari seniman. Metode yang digunakan dalam penciptaan karya seni ini adalah teori Alma Hawkins yang dimulai dengan tahap eksplorasi, yakni penggalian informasi terhadap fenomena pada lingkungan kelurahan gading kasri, kecamatan Klojen, kota Malang tentang sikap warga terhadap pandemi COVID-19. Dari hasil informasi, ditetapkan sebuah ide gagasan untuk diekspresikan ke dalam karya seni kaligrafi. Hasil proses kreatif tersebut berupa enam karya lukis kaligrafi gaya dekoratif dan stilasi objek jenis khat tsuluts, riq’ah dan kufi. Penelitian ini bertujuan untuk mengetahui konsep penciptaan karya lukis kaligrafi yang terinspirasi dari lafaz selawat Asy-Syifa sebagai objek karya lukis bergaya dekoratif, proses produksi karya lukis kaligrafi dekoratif yang terinspirasi dari lafaz selawat Asy-Syifa, serta hasil karya berupa lafaz selawat Asy-Syifa dalam bentuk lukisan kaligrafi dekoratif dalam bentuk penyajian beserta analisisnya. Kata kunci: seni, kaligrafi, lukis dekoratif Asy-Syifa Arabic Calligraphy as An Object of The Creation of Decorative Painting Works Arabic calligraphy art is a medium of expression as well as a symbol of Islamic art. The elements that build in the art of calligraphy, namely its good and beautiful shape, also contain an expression of the artist's artistic experience. The method used in Creation uses Alma Hawkins' theory which begins with the Exploration Stage, namely gathering information on phenomena in the Gading Kasri sub-district environment, Klojen sub-district, Malang city regarding residents' attitudes towards the COVID-19 pandemic. From the results of the information, an idea is determined to be expressed in the work. The results of the creative process are six works of calligraphy painting in decorative styles and stylized objects of the type tsuluts, riq'ah and kufi. This study aims to determine the concept of creating a calligraphic painting inspired by the Asy-Syifa selawat recitation as an object of a decorative style painting, the production process of a decorative calligraphic painting inspired by the Asy-Syifa selawat chant, as well as the result of the work in the form of the Asy-Syifa selawat chant in form of decorative calligraphic painting in the form of presentation and analysis. Keywords: art, calligraphy, decorative painting
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Abdul Rasul Awad, Faleh Hassan Al-Asadi. "Arabic Lexicography and the Holy Quran." Psychology and Education Journal 58, no. 2 (February 1, 2021): 1796–801. http://dx.doi.org/10.17762/pae.v58i2.2337.
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The research tackles lexicographical phenomenon as it is considered to be one of the characteristics of Arabic calligraphy. Ancient and modern scholars differ about its origin between saying that its status was related to the status of Arabic letters or viewing it as a modern phenomenon. The research uncovers both views and discusses arguments and evidently reaches upon transferred, concrete and mental evidences, some firstly presented, that lexicographical dot is a subject that is part of Calligraphy and it is one of the defining characteristics of it.
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حسن, محمد. ""المونوجرام أنموذجا" (1952-1805) الشارات الكتابية في مصر في عصر أسرة محمد علي (Written Emblems in Egypt during the Era of the Muhammad Ali Family (1805-1952 CE) 'Monogram Model')." Abgadiyat 6, no. 1 (2011): 130–39. http://dx.doi.org/10.1163/22138609-90000010.
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Written emblems present an important stage in the history of Arabic calligraphy and Arabic writing in general, especially that they are one of the emblems of ruling. An important stage in the history of the written emblems appeared in Egypt during the era of the Muhammad Ali family, which succeeded, but did not spread; known as ‘the Monogram’. Studying the phenomenon of emblems in general, and the Monogram in particular, requires a vision that does not fragment Arabic calligraphy or Arabic writing by isolating them from their historical and cultural reality, or by studying them as scripts or writings on buildings. Therefore, we strived to establish methodological steps through which we can widely study written emblems. (Please note that this article is in Arabic).
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عبدالقادر نبيه مولود بكر. "Methods of designing Arabic calligraphy vacations." Journal of the College of Basic Education 24, no. 101 (December 11, 2022): 841–55. http://dx.doi.org/10.35950/cbej.v24i101.6909.
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ان للخط العربي أهمية كبيرة في الحضارة العربية الإسلامية فهو يعد وسيلة اتصال فعالة وبه سجل تاريخ الأمم والتراث ، ومن خلاله تعرّف العالم على الفكر العربي والحضارة الإسلامية ، وقد تجلت فضيلة الكتابة والخط ان جعلها الله عز وجل في أول أية نزلت (اقْرَأْ وَرَبُّكَ الْأَكْرَمُ الَّذِي عَلَّمَ بِالْقَلَمِ عَلَّمَ الْإِنْسَانَ مَا لَمْ يَعْلَمْ ) العلق3 . ويعد فن الخط العربي من النتاجات الضخمة والمميزة في تاريخ الفنون الاسلامية من خلال ما وصل اليه من مراتب عليا قل نظيره ، حتى اكتسب دلالة الاسلام واصبح يمثل رمزا له ، على وفق ما ارتبطت به وظيفته في خط النصوص القرآنية ، اذ شكلت هذه الميزة حافزا قويا في السعي لتطويره وان ظهور اللوحات الخطية هي احدى نتاج هذا السعي المتواصل ، ومرحلة متقدمة على صعيد التطور التقني والتعبيري ، وظهور الاجازات الخطية هي احدى النتاجات الطبيعية التي ولدها تطور الخطوط وازدياد سبل توظيفها وقد بدأ مفهوم الاجازة الخطية يتطور معتمدا على عنصر اساسي في انجازها ، وهو الاجادة في الكتابة بحسب الاصول والقواعد الخطية ، كما ان هذه الاجازات تمثل انتقالة نوعياً في مجال الخط العربي ، لكونها تعد محصلة فنية جامعة لقيم خطوط عدة على وفق قواعدها الدقيقة فضلا عن زخارفها التي لا تقل جودة واتقانا.
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عدي ناظم فرمان. "The aesthetic theory of Arabic calligraphy." Journal of the College of Basic Education 21, no. 91 (December 14, 2022): 725–56. http://dx.doi.org/10.35950/cbej.v21i91.7367.
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تناول البحث الحالي (النظرية الجمالية في الخط العربي - خط الثلث انموذجا -) في محاولة لدراسة الصفات الجمالية لحروف الخط العربي الذي استلهمها الفن الاسلامي بمرجعياته المفاهيمية البنائية و الاستفادة من خاصية الحروف الجمالية وفق تكوينات ذات علاقات تتمحور في بنائية العمل الخطي بهيئة أفكار ومضامين (النص) متعددة تم توظيفها، وإحالتها من خصوصيته الوظيفية (التدوينية) إلى الخصوصية الجمالية (التزينية) متوخاة من قواعد الحروف العربية واصولها، اذ ارتبط الخط العربي بالنصوص القرآنية والأحاديث النبوية الشريفة ومراحل تجويدها وظيفيا وجماليا
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Sholicha, Alfiatus, Ike Ratnawati, and Swastika Dhesti Anggriani. "Visualisasi Artistik Kaligrafi Arab sebagai Ide Penciptaan Aksesoris Interior Batik Tulis." JoLLA: Journal of Language, Literature, and Arts 3, no. 4 (April 30, 2023): 518–40. http://dx.doi.org/10.17977/um064v3i42023p518-540.
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Kaligrafi arab memiliki keunikan tersendiri dari segi bentuk maupun susunan hurufnya. Selain memiliki fungsi sebagai bahasa visual dalam Al-Qur’an dan Hadis, kaligrafi juga memiliki fungsi dekoratif sebagai hiasan pada dinding-dinding masjid, rumah, dan sekolah. Pada umumnya pengaplikasian kaligrafi masih sebatas dekorasi berupa hiasan-hiasan dinding. Kurangnya pengrajin yang mengaplikasikan kaligrafi dalam bentuk aksesoris interior lain, seperti kap lampu, tirai, hingga jam dinding. Aksesoris interior sendiri memiliki peran penting untuk menciptakan suasana indah dan nyaman dalam sebuah rumah. Dari permasalahan tersebut perlunya inovasi baru dengan mengaplikasikan kaligrafi arab pada sebuah aksesoris interior. Tujuan dari penciptaan karya ini untuk menghasilkan karya batik tulis terapan dengan inspirasi motif utama dari visualisasi artistik kaligrafi arab. Dalam perwujudan karya batik tulis terapan ini diperlukan metode penciptaan seni yaitu metode Gustami yang terdiri dari tiga tahap meliputi, eksplorasi ide, pengolahan sumber ide ke dalam konsep penciptaan karya, dan perwujudan konsep penciptaan dalam bentuk karya secara utuh. Hasil penelitian ini menciptakan 6 karya batik kaligrafi yang berjudul Bingkai Makna, Lingkar Kata, Cahaya Jiwa, Masa, Nawaitu, dan Tirai Iman. Karya tersebut diwujudkan dalam bentuk aksesoris interior yang memiliki nilai guna juga keindahan dalam sebuah ruang interior. Kata kunci: kaligrafi Arab; batik kaligrafi; batik tulis; aksesoris interior Artistic Visualization of Arabic Calligraphy as The Idea of Creating Batik Interior Accessories Arabic calligraphy has its own uniqueness in terms of the shape and arrangement of the letters. In addition to having a function as a visual language in the Qur'an and Hadith, calligraphy also has a decorative function as decoration on the walls of mosques, houses, and schools. In general, the application of calligraphy is still limited to decorations in the form of wall decorations. The lack of craftsmen who apply calligraphy in the form of other interior accessories, such as lampshades, curtains, to wall clocks. Interior accessories themselves have an important role to create a beautiful and comfortable atmosphere in a house. From this problem, there is a need for new innovations by applying Arabic calligraphy to an interior accessory. The purpose of creating this work is to produce applied batik works with the inspiration of the main motifs of artistic visualization of Arabic calligraphy. In the embodiment of applied batik writing, an art creation method is needed, namely the Gustami method which consists of three stages including, exploration of ideas, processing of sources of ideas into the concept of creating works, and the embodiment of the concept of creation in the form of works as a whole. The results of this study created 6 calligraphy batik works entitled Frame of Meaning, Circle of Words, Light of Soul, Time, Nawaitu, and Curtain of Faith. The work is manifested in the form of interior accessories that have use value as well as beauty in an interior space. Keywords: Arabic calligraphy; batik calligraphy; batik tulis; interior accessories
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Murtadho, Nurul, and Mohammad Dawood. "Mapping Arabic Calligraphy Education Research Structure: A Bibliometric Analysis between 2016 and 2021 Using Vosviewer." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 7, no. 7 (July 30, 2022): 252. http://dx.doi.org/10.17977/jptpp.v7i7.15511.
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The purpose of this study is to present a bibliometric analysis of Arabic calligraphy research from the Scopus database from 2016 to 2021. This study identified 43 English documents for further analysis based on the query used and the document screening stages. In this study, Vosviewer was used to visualize the data, and Harzing's Publish or Perish is used to harvest data, calculate metrics, and analyze citations. According to our findings, Arabic calligraphy research publications are increasing, with the peak occurring in 2019, including in terms of citations. The findings indicate that research in language and arts is closely related to the primary research domain, and that the arts have the prospect to displace the language groups that previously dominated. Apart from the current subject, research into the role of language and art (aesthetics) in Arabic calligraphy is still constricted and should be expanded.
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الخرباوي, Randa Monier. "Embroidery with Smart Threads of some Saudi Folk Proverbs to Adorn Formal Women's Clothing with the Art of one-line Calligraphy and Arabic Calligraphy." Journal of natural sciences, life and applied sciences 6, no. 4 (December 30, 2022): 155–72. http://dx.doi.org/10.26389/ajsrp.m290922.
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The importance of the research lies in the development of designs by merging some of the Saudi proverbs and writing them using one-line art and Arabic calligraphy and embroidering them automatically with smart (luminous) threads on official clothes and employing them to enrich the aesthetic values so that they represent the Saudi identity in official forums, and 10 designs were made Innovative, to add a new vision to women's formal clothing, as it includes Saudi proverbs and drawing with the art of one newly developed calligraphy and Arabic calligraphy using smart (luminous) threads the research followed the descriptive experimental method by combining modernity in design and originality in choosing popular proverbs. The study tools were a questionnaire to evaluate the designs proposed by a number of arbitrators from specialized faculty members at King Khalid University. The results of the research came true to its hypotheses as follows 1- The possibility of integrating drawing with one-line art and writing in Arabic calligraphy some Saudi proverbs. 2-The possibility of using smart (luminous) threads to embroider on formal women's clothing. 3-The possibility of achieving rhythm and proportion in the executed designs that suit official forums.
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Hussein, Mayyadah Fahmi. "The Role of Arabic Calligraphy in Forming Modern Interior Design." Modern Applied Science 11, no. 3 (December 12, 2016): 53. http://dx.doi.org/10.5539/mas.v11n3p53.
Full textAbstract:
The new resources in producing and configuring a new form of interior architecture in Arab world are the main focus that can adapt with human needs. Many internal and external facades in Arab region buildings always use the Arabic calligraphy as the main feature of decoration, reflecting the power of letters in minimize the impact on the massive scale. Taking into the consideration, the geometrical shapes and forms of Arabic calligraphy they all have the same power to make new designs of methodologies and concepts. The paper aims to look for the result and the interpretations of integrating the interior design contemporary trends within the Arabic cultural context, and find out new creative ideas to reconfigure the modern form in an innovative approach. This paper was cured out by experimental approach at University of Petra/Department of Interior Design, in the academic year 2013-2014. It is as a part of basic design course work (8) samples of the model which were chosen in this experiment that is related to these complexity and simplicity. The students have done these eight forms by transforming two dimensional forms to three dimensional within those three levels of design models and bridging the western trends in design approaches within the spiritual and potentials of the eastern Arabic calligraphy, which is the main focus of this paper.Finally, the result of teaching methods through seminars was discussed by elaborating the contribution of Arabic calligraphy in producing a new design methodology for contemporary interior design models.
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Saini Ag. Damit, Bambang Muhamad Rafadi Yusoff, Noorafini Kassim, and Nor Ain Manap. "JENIS-JENIS SENI KALIGRAFI ARAB SEBAGAI HIASAN DI MASJID-MASJID DAERAH DI SABAH." Jurnal Gendang Alam (GA) 11, no. 2 (December 15, 2021): 49–62. http://dx.doi.org/10.51200/ga.v11i2.3575.
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Seni kaligrafi Arab atau seni khat adalah khazanah tertua di dunia yang dimiliki oleh umat Islam. Sejarah telah membuktikan perkembangannya seiring dengan perkembangan tamadun Islam yang mempunyai kedudukan tinggi dan mulia berikutan hubung kaitnya dengan ayat al-Quran. Masyarakat Islam di Sabah masih kurang mengetahui jenis-jenis seni kaligrafi Arab yang menghiasi masjid-masjid di negeri ini. Justeru, kajian ini dijalankan bertujuan untuk mengenal pasti jenis-jenis kaligrafi Arab yang menghiasi masjid-masjid daerah di Sabah. Kajian lapangan dijalankan seperti mengunjungi masjid-masjid dan mengambil gambar seni kaligrafi Arab menggunakan kamera yang kemudiannya dianalisis secara kualitatif dan kuantitatif. Sebanyak 17 buah masjid daerah yang telah dikaji. Antara jenis-jenis kaligrafi atau khat utama yang dikenal pasti dalam masjid-masjid tersebut ialah Khat Thuluth (94.1 peratus), Khat Nasakh (5.8 peratus), Khat Dīwānī (5.8%) dan Khat Kūfī (5.8 peratus). Selain itu, terdapat juga khat tambahan seperti khat Ruq‘ah/Riq‘ah dan Khat Fārisī. Hasil kajian ini berjaya mencapai objektif yang dinyatakan dan pengetahuan jenis-jenis kaligrafi yang diperoleh dapat memberikan kefahaman yang lebih mendalam kepada masyarakat Islam di Sabah.
Arabic calligraphy or khat is the oldest treasure in the Muslim world. History has proven its development in line with the rise of noble Islamic civilization due to its relationship with the verses of the Quran. However, there is a lack of awareness in the Muslim community of Sabah regarding the types of Arabic calligraphy that adorn the mosques in the state. The purpose of this study was to identify the types of Arabic calligraphy in selected regional mosques in Sabah. Among the field studies that were carried out include observing Arabic calligraphy in the selected mosques and recording them in the form of photographs which were later analyzed qualitatively and quantitatively. A total of 17 regional mosques have been observed for the study. Among the main types of Arabic calligraphy or khat identified in these mosques were Khat Thuluth (94.1 per cent), Khat Nasakh (5.8 per cent), Khat Dīwānī (5.8 per cent) and Khat Kūfī (5.8 per cent). Furthermore, there are also additional calligraphy types such as Khat Ruq‘ah/Riq‘ah and Khat Fārisī. The outcome of this study succeeded in achieving the stated objective, hence, the knowledge regarding the types of calligraphy observed can provide a deeper understanding of khat to the Muslim community in Sabah.
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Alashari, Duaa, and Mohd Azhar Abd. Hamid. "A Systematic Review on Arabic Calligraphy within Islamic Architecture." Ulum Islamiyyah 33, no. 1 (April 25, 2021): 1–15. http://dx.doi.org/10.33102/uij.vol33no1.263.
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Islamic architecture is distinguished by the formulation in various forms and artistic models of the Arabic calligraphy style. Arabic inscriptions are found in several areas of Islamic architecture both in the external elements as well as in the building's internal elements. The art of calligraphy as describing the building has many impacts to improve the different roles that this art offers. This art often has a symbolic significance according to the structure. This study aims to explore existing research into the use of the art of calligraphy as an important component of Islamic architecture. Preferred Reporting Items for Systematic Review and Meta-Analyses (PRISMA) as lead to direct this systematic review and 14 related studies have recognized and selected from databases Web of Science, Scopus, and Dimensions. This paper helps to provide some sources of information that can be used by people who would like to understand and study Islamic calligraphy and Islamic art. Two research questions applied in this review to obtain themes within the data, and two significant themes arose, namely art in Islam and forms of art. The analysis of two main themes further presented a result of five sub-themes that emerged from forms of art and six sub-themes that developed from the types of khat themes.
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Abu-Rawis, Basma. "The Aesthetic and Decorative Calligraphic Values of the Kaaba Kiswah." International Journal of Educational Sciences and Arts 3, no. 7 (July 18, 2024): 116–33. http://dx.doi.org/10.59992/ijesa.2024.v3n7p5.
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This study seeks to explore the aesthetic and decorative values of the covering the Kaaba throughout history, focusing on design analysis. The study also aims to shed light on the genius of Arabic calligraphy embodied in the covering the Kaaba, using an analytical artistic approach and vision. The study is based on the descriptive analytical approach, The study concluded that the history of interest in designing the covering the Kaaba dates back to an ancient period before Islam, where the decorations and fabrics used developed until they reached the current form, reflecting the value of beauty and art of the covering the Kaaba through its designs, emphasizing the importance of Arab-Islamic decoration and the role of art in highlighting this. The great legacy. I also concluded that the aesthetics of Arabic calligraphy on the covering of the Kaaba express aesthetic, artistic and religious values, and carry an important message for Islam, where Arabic calligraphy is applied with the highest levels of authenticity and distinction according to artistic foundations.
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Kirom, Syahrul, and Alif Lukmanul Hakim. "Kaligrafi Islam Dalam Perspektif Filsafat Seni." Refleksi: Jurnal Filsafat dan Pemikiran Islam 20, no. 1 (September 6, 2020): 55. http://dx.doi.org/10.14421/ref.2020.2001-04.
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This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.
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Kirom, Syahrul, and Alif Lukmanul Hakim. "KALIGRAFI ISLAM DALAM PERSPEKTIF FILSAFAT SENI." Refleksi Jurnal Filsafat dan Pemikiran Islam 20, no. 1 (September 6, 2020): 55–67. http://dx.doi.org/10.14421/ref.v20i1.2397.
Full textAbstract:
This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.