College of Archaeology/ University of Mosul
  • Register
  • Login
  • العربیة

Athar Alrafedain

Notice

As part of Open Journals’ initiatives, we create website for scholarly open access journals. If you are responsible for this journal and would like to know more about how to use the editorial system, please visit our website at https://ejournalplus.com or
send us an email to info@ejournalplus.com

We will contact you soon

  1. Home
  2. Volume 5, Issue 1
  3. Author

Current Issue

By Issue

By Subject

Keyword Index

Author Index

Indexing Databases XML

About Journal

Aims and Scope

Editorial Board

Publication Ethics

Indexing and Abstracting

News

Alaiejam and From in Arabic Calligraphy

    Wassan abd almutlib hassan

Athar Alrafedain, 2020, Volume 5, Issue 1, Pages 289-307
10.33899/athar.1970.164607

  • Show Article
  • Download
  • Cite
  • Statistics
  • Share

Abstract

  The Arabic calligraphy is considered  a  decorative aesthetic , in addition ti its role  in transmition of information , ideas and opinious . Where it occupies an important  position in the Islamic arts as he was cared by Muslim artist. Arabic calligraphy was the fist attention of the scholars , princes and caliphs Muslim artist developed and inuovated in calligraphy until it brought advanced stages and different models .
   As for the subject of our research is the from and the reluctance in the  Arabic calligraphy, the Source of our stady of this Subject descended from the origind theoretical origin, Which is the Islamic writings, from, history and evolution . Many texts have been included a ssumptions and jurisprudence and inherited opinions, of most of them are true, some of these opinions the mind is not acceptable, the transport is subject to error, illusion, in crease or decrease. The second source is the materid or tangible source, in cluding what wrote on the stone papyrus and various writing materials including inscriptions. The study have three categories, the first category is alaiojam, it means signs that are placedabove the similar characters in the drawing or below to distinguish them from each others, the second section is the from of restricing the letters to remove ambiguity to the reader in the expression . the third section, is the colors of the in used to distinguish the movement from points.
   These study depends on many references from there the important of oure test to this subject , and this subject have abenefit, in many life aspeets because these subject give us a clear picture about the developments of Arabic calligraphy in the society on different ages .
Keywords:
  • PDF (5249 K)
  • XML
(1970). Alaiejam and From in Arabic Calligraphy. Athar Alrafedain, 5(1), 289-307. doi: 10.33899/athar.1970.164607
Wassan abd almutlib hassan. "Alaiejam and From in Arabic Calligraphy". Athar Alrafedain, 5, 1, 1970, 289-307. doi: 10.33899/athar.1970.164607
(1970). 'Alaiejam and From in Arabic Calligraphy', Athar Alrafedain, 5(1), pp. 289-307. doi: 10.33899/athar.1970.164607
Alaiejam and From in Arabic Calligraphy. Athar Alrafedain, 1970; 5(1): 289-307. doi: 10.33899/athar.1970.164607
  • RIS
  • EndNote
  • BibTeX
  • APA
  • MLA
  • Harvard
  • Vancouver
  • Article View: 49
  • PDF Download: 35
  • LinkedIn
  • Twitter
  • Facebook
  • Google
  • Telegram
  • Home
  • Glossary
  • News
  • Aims and Scope
  • Privacy Policy
  • Sitemap
This journal is licensed under a Creative Commons Attribution 4.0 International (CC-BY 4.0)

Powered by eJournalPlus