الخط العربي في الموصل في العصر العباسي (300-656هـ/913-1258م): دراسة تاريخية

الباحث

عبدالرزاق جعفر حمدي الحمداني

المشرف

عبدالقادر أحمد يونس

الجامعة

جامعة الموصل

الكلية / القسم

كلية الآداب / التاريخ

الشهادة

ماجستير

السنة

2022

لغة الرسالة

عربي

الكلمات المفتاحية

الخط العربي ; الموصل ; العصر العباسي ; الخطاطون

a Arabic Calligraphy In Mosul In The Abbasid Era (300-656 AH) /(913-1258 AD) Historical Study The reason for choosing the topic of writing about the history of Arabic calligraphy and the calligraphers in Mosul is due to the merit of Mosul and its share in the development and spread of Arabic calligraphy in the Abbasid era, and it is one of the important civilizational topics that highlight the bright civilized role of this city, where great calligraphers have excelled in this field, and their works were at the forefront of written works at the time. During the Abbasid era, calligraphers, illuminators, cultists and photographers emerged and reached the top in performance, and they were of distinguished artistic interest, thanks to the advanced level they reached in performance, good control and formation, and quality in calligraphy, which qualified them to be among his prominent figures, including: Ibn Touq Al- Mawsili (D: 394 AH). / 1102 AD), and this is Amin al-Din Yaqoot al-Malki al- Nuri (D: 618 AH/1222 AD), who surpassed his peers and advanced them in calligraphy in the manner of Ibn al-Bawab, and had it not been for the appearance of Yaqut al-Musta’sim in Baghdad later, He would have been the third pole in the path of Arabic calligraphy in Iraq after its first two poles, Ibn Muqla and Ibn al-Bawab, and he is the one who continued through the tree of calligraphers. And this Yahya bin Mahmoud al-Wasiti was alive in the year (649 AH / 1252 AD), the leader of the Baghdadi school of Islamic painting, and he is known for his photography Al-Hariri, which filled the horizons of its chronological progress as a school of Islamic photography with its splendor, quality, accuracy, and captivating beauty, and its treatment of multiple social issues. Previously, none of the researchers on Arabic calligraphy in Mosul in the Abbasid era wrote exclusively. It was the first for researchers in the history of Arabic calligraphy and its men to write about Arabic calligraphy in Mosul in the Abbasid era, and to refer to b what this generous city presented, examples of advanced calligraphers who filled the calligraphy arena, at that time, with their distinguished works, and they crossed the borders of their city to other horizons, and historical monuments and evidence of manuscripts and coins And metal artifacts, monuments, shrines, mosques, and Arab and Islamic architectural scenes of that period are not devoid of their written and written traces, all of which are It refers to the position of Mosul and the high status it has reached in the Arabic calligraphy, its development and spread, and this is the purpose of this message, its features, and its desired goal. The research included an introduction that showed the importance of writing on the subject of Arabic calligraphy in Mosul in the Abbasid era, and the reasons for choosing to write on the subject of Arabic calligraphy in Mosul, its spread and development, the Mosul calligraphers and what they presented, and the way to address the subject, and an introduction that included the location of Mosul, its importance, nomenclature, and a summary of its civilizational role that it went through since It was opened in the year (16 AH / 637 AD) and the research included three chapters ̧The first chapter contained three sections, the first topic had two axes, the first about calligraphy in concepts and terminology, the second about the opinions that were said about the origin and emergence of Arabic writing, while the second topic included three axes: the first included form and movements, while the second contained dots and dictionaries, and the third included writing materials The third topic discussed the development of Arabic calligraphy in the Abbasid era, and the share of The Second Chapter was also three topics represented: the first topic, which included talking about the types of Arabic calligraphy until the end of the Abbasid era, while the second topic included talking about the progress, products and creations of Mosul calligraphers in the Abbasid era ( 300 AH / 913 AD - 500 AH / 1107 AD), While the third topic contained the biographies and creations of Mosul calligraphers in the Abbasid era (500 AH/1107 AD - 656 AH / 1258AD), The Third chapter contains the appearance of the Arabic letter and its various manifestations in three sections as well. The Qur’an, books, miniatures, and the second the coins and metal vessels and the third about palaces buildings, and the second topic talked about the aesthetics of Arabic calligraphy through four axes, The first talked about the architecture of Arabic calligraphy and the second contained original Arabic art calligraphy, while the third discussed the impact of Arabic calligraphy on plastic art and the fourth axis talked about the impact of Arabic calligraphy on European arts, and finally the third topic included the role of Arabic calligraphy in Islamic buildings in Mosul, and its axes included: Mihrabs Mosques, memorial tablets, tombstones, their chests, entrances, columns, decorative friezes, and inscription tapes. The thesis concluded with many findings from the research.

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