 Faith and its belongings at Imam Al-Qurtubi

Abstract

The current research consists of four chapters, the first chapter of which is devoted to presenting the research problem, its importance, purpose and limitations as well as a definition of its terms, as the research was limited to knowing the effect of plant decoration in the Kufic script, while the second chapter included the theoretical framework of the research, which consisted of two topics, one of which is the plant decoration, The second relates to the Kufic script and the stages of its formation, development, and intonation. The third chapter includes the research methodology and mechanisms for analyzing the linear panels. The fourth chapter, during which the most important findings of the researcher were presented, are as follows:
First: With regard to the floral decoration that was added to the Kufic script, we note that the basis for the floral decoration is the following elements
1- Tree leaves, lobes, stems and branches.
2- Flowers and their different parts.
3- Branches, branches, and twines, which the Muslim artist took mainly in drawing many shapes and decorative paintings after he modified them and added shapes to them that he developed through his view of the original shape from all sides, so he formed boundless forms for it, a verse in creativity and mastery, even if it is far from representing nature Directly most of the time, including the following: -
1- Repeating the same vegetable shape in the same painting using symmetry or symmetry, to create a kind of balance and harmony in the painting.
2- The intertwining of the floral motifs with each other and their repetition in the form of a decorative band, or their repetition by symmetry, symmetry or reciprocity.

3- The size of the botanical shape used as a decorative element is almost close to its original size in nature and according to the size of the executed panel.
4- The decoration in general is characterized by its tendency to abstraction, and does not adhere to the forms of nature from which it was quoted.
5- The botanical decorative elements are often characterized by continuity (that is, they have no beginning or end) (open design).
6- By tracing the Islamic floral motifs in their different forms and in general terms, we find that they differ in the accuracy of their representation of nature, according to the ages and regions.
7 - The plant decoration entered the Kufic letter itself, and its decoration, especially the heads of vertical letters such as alpha, lam, fold, and zaha, so I took many forms, including paper, flower, and palm trees, and the vertical letters were linked with different decorative braids, to achieve an aesthetic shape in the linear painting, and also entered the decoration Botanical on the beginnings and ends of other letters, but in a simpler form.
8- The floral motifs play their role in decorating the spaces that are inherently free from the alphabet, that is, to balance the writing in the base of the linear painting
9- The development of the way to fill in the blanks in the Kufic handwriting, making the Kufic letter a complex decorative letter, sometimes difficult to distinguish.
10- Finally, the improvement of the Kufic script and its decoration is clear evidence of the influence of the plant decoration in the Kufic script and its popularity and its preservation, while retaining its aesthetic value and its originality for a long period of time and in various technical and applied fields.
     However, this distance from nature was not the result of a weakness in observation or a lack of ability. Rather, it is most likely intended for its own and perhaps it arises from the belief of the Muslim believer.
Second: With regard to the Kufic script.
1- The intonation of Arabic calligraphy is based on developing simple letters into decorative letters. These fonts and scripts were used in various technical and applied fields, and its types reached dozens.
  2- In addition to the fact that the Arabic calligraphy is an expressive tool, it represents a rich artistic field, as the letter alone is stripped, so artists used it as an abstract symbol or art form, from the meaning of words and its distribution on an approach that creates a kind of sensual and visual excitement within a creative and creative aesthetic framework.
3 - The kufic script was destined to become a decorative tool after it acquired the character of dryness in the kufa. The Holy Qur’an was the first motive for mastering writing and improving the calligraphy, because it was necessary to codify it in a manner commensurate with its sacred status. The second to learn and improve writing.
4- The indirect effect as a result of the theory of prohibition or hatred for the drawing attributed to the Islamic faith has had an impact on the intonation of the calligraphy, provided that the development of the kufic calligraphy and its advancement and exit from its homeland to neighboring countries since the end of the second century AH. The completeness and maturity of this decorative phenomenon of calligraphy in the third century AH.
5 - The hatred of the Muslim artist for the space in the calligraphy also called him to improve the calligraphy and its decoration, in addition to the decoration of the painting itself. This sometimes makes him overuse in repeating the decoration, in order to seek it.
1 - The possession of the Kufic script has morphological characteristics, which make it possible to twist, shape and absorb the decorative floral patterns.
2- The Kufic script has stylized attributes, since the single letter has a single shape and a continuous shape (in the beginning, in the middle, and in the end).
3- The possibility of overlapping letters on top of each other, which helps to use short spaces for many words and letters.
4- The ability of the letter to give a diversity in the rhythm (through the exchange of curves, extensions and symmetry) and a diversity in sensation (because the Kufic script evokes the sporty engineering beauty).
Blessed by writing the Quranic verses in Kufic script and his intonation, made him possess an important and parallel position to intonate the Qur’an himself, and made him close to him with a strong emotional and dogmatic affection.