تمثلات التحوير في تكوينات خط الثلث

Abstract EN

The Arabic calligraphy is governed by a set of mathematical structure rules that achieves discipline With flexibility and elasticity in adaptation and aesthetic, functional and expressive response according to the requirements and thought of calligrapher who is supposed to master and be able to contextual rules of the origins of Arabic calligraphy Especially the Al thulth calligraphy because of its ability at the level of crafts and technical composition of its varieties and the existence of a design space for actions and innovations that develop have a modifying act within one or more pillars of linear work, For purposes aimed at the phenotypic contradiction of the prevailing stereotypical context and to obtain new formal outputs characterized by new creativity without prejudice to the linear rules and distortion, This means that the calligrapher works within the scope of which requires the collection of dualism (authenticity and contemporary) in similar way because of its aesthetic output preserves the cultural heritage of Islamic art, And looks forward to the prospects of the future and matched with the expressions the changes of the spirit of the era and development in thought and its applications ,so modulation is a design tool to help achieve this, and according to these visions researcher poses the problem of research by asking the following (What are the representations of modulation in althulth calligraphy composition?) ,The aim of the research is to uncover the representations of modulation in the third line configurations, The research is determined by the compositions of the althuth calligraphy included in its structure modification in (Iraq, Saudi Arabia, Syria, UAE, Turkey) for the period (1430 AH-2010) until (1440 AH-2019), The second chapter (the theoretical framework) included, the concept of modification between meaning and structure, And the elements of calligraphy composition of text selection, calligraphy type and character characteristics and spatial organization and series and sequence and stacking and the overall body and design necessity, while the third chapter included reliable research procedures on the adoption of descriptive analytical method and a community of (51) calligraphy composition was selected (6) models of which were intended as a sample analyzed, and reached the results of the most important : 1-Modulation in calligraphy composition is based on a variety of design methods in its phenotypic outputs followed by calligrapher embodying the editorial tools that interfere in its operational action implicitly include crafts, spatial organization, reading sequence, stacking and the general body to achieve aesthetic, functional and expressive objectives.

2- Modulation was based on the exchange of functionality between the two deletions and addition combining reduction and formal condensation together by replacing parts of characters with similar qualities and replacing parts forming sections of other characters in one compact structure instead of overlapping organization with separate sections, and the use of space design method by deleting parts of it In order to achieve a legible form output resulting from the combination of words and offset stacking between them, The research recommended to achieve aesthetic, functional and expressive adaptation in the calligraphy composition based on modulation is not only the need to maintain the reading side of the text and follow his words smoothly and clearly, despite the use of treatments characterized by skipping the contexts which used before.

The research suggested a study on (overlapping design methods in calligraphy formations).