Consistency and beauty in Floral Kufic script

Abstract

Abstract   

The Kufic script received most of this attention due to its ability in the field of decorative decoration, which led to the emergence of multiple types of it with decorative formations that were sequential in the linear distribution. However, the continuous improvement of the lush Kufic script and the attention paid to its spatial and directional positions of the words and the diversity of their distribution It led to the creation of balanced and harmonious decorative formations, as these formations are considered an advanced stage because they require constructional and creative skills. It is based on controlling the principles of grammar as an initial and basic condition, including the images of the flowery Kufic script, which, like the rest of the scripts, was linked to geometry, and from this connection a proportional relationship was created between the letters and their parts by adopting certain standards for the letters for the purpose of expressing an aesthetic and functional relationship between them. When the researcher was informed of the reality of most of these linear formations, he felt the existence of a harmonious relationship, which generated a number of questions for him that can be summarized as follows: 1- Is there a fixed or variable linear rule for harmony in the flowery Kufic script?

2- What are the aesthetic dimensions of harmony in this line?

The importance of the research was to prepare a cognitive overview of the aesthetic dimensions of harmony in Kufic calligraphy and its contribution to enriching the practical aspects enjoyed by those working in this field, and benefiting the relevant concerned parties, such as the Department of Arabic Calligraphy and the Department of Archeology in the College of Arts, Endowments and Religious Affairs. The research aimed to identify the aesthetic dimensions of harmony in the flowery Kufic script. The researcher also defined the terms for what was stated in the title of the study. The second chapter included the theoretical framework to present the axes around which the research revolves. The researcher touched on a number of topics in this chapter, including proportionality in Arabic calligraphy, the design rules adopted in linear formations and distribution systems, and the linear rule of the flowery Kufic calligraphy, as well as the aesthetic characteristics of symmetry.

The researcher also strengthened the theoretical framework with various linear formations. The researcher obtained four previous studies related to the research, which were discussed according to the scientific method. While the theoretical framework indicators included: -

1- The linear formations in the flowered Kufi varied, occupying several areas, including symmetrical and asymmetrical ones with spatial balance. 2- The formal bodies of these formations variedSome of them were characterized by reading exchange (in form and area) of different hexagonal, triangular, rectangular, and linear geometric shapes that are related in terms of proportionality to the form in their realization.