アラビア語書道の各スタイルの美の諸要素についての研究(前半部)

概要

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As a calligrapher of Arabic, I have been trying to discover the elements of beauty which would lie in each of the major styles of Arabic calligraphy; Naskhi style, Ruqua style, Diwani style, Jali Diwani style, Thulth style, Naas-Taariq style and so on. Because every time I was engaged in producing Arabic calligraphic works I felt it necessary to clarify the elements of beauty which remain vague and mysterious without being studied theoretically, so that I could recognize them and manage to put them under control in writing certain style of Arabic calligraphy. As an initial step to grasp the elements of beauty I made a three- demensional analysis of the shapes of alphabets for each style of Arabic calligraphy. The result of the analysis was published in the 6th AJAMES 1991. The analysis showed that the shape of each alphabet is a silhouette of a narrow tape whose shape was made according to the shape of the equivalent alphabet. At the same time the analysis made clear that shapes of some alphabets of highly artistic style like Thulth style are composed by combination of two parts of different silhouettes made by throwing lights from two directions. It is needless to say that shapes of the alphabets are only small parts of the elements which constitute beauty of the styles of the Arabic calligraphy. For the alphabets are connected one another to form a word, then words are connected into a phrase or a sentence. Through these processes of connections, the shapes are totally changed to become a new linear mass-object which comes to bear a new beauty. The calligrapher has to write words after words pursuing the elements of beauty consciously It is interesting to note that I could find through my experiences in the field of Arabic calligraphy, several important elements which would constitute beauty of the Arabic calligraphy. These are, for example, (1) shapes of the alphabets, (2) composition of the spaces where the calligraphic lines are written. (the harmony between the spaces which are full of lines and those spaces where lines are rare.) (3) The whole regular movements of the lines (visible trend of the lines/ invisible trend of the lines), and (4) role of the symbols for pronuntiation and decoration. According to the styles of Arabic calligraphy, a minute study was made this time to find out which of the above-mentioned elements would be included and emphasized in each of the styles. The results of the study are shown in a table in this thesis. It should be specially noted that I could discover through the study that each style has an invisible trend lines which would be hiden behind the visible movements of lines of words to cotrol them. Grasping these trend lines which differ according to the styles would help us in connecting lines smoothly in writing calligaphic works. At the same time in the light of the elements of beauty varoius comparisons were made among the styles in order to know the charecteristics of each of them. I would believe that this tentative study was fairly fruitful for me because I could be aware of various differences among the styles of Arabic calligraphy clearly.
日本中東学会の論文
1993-03-31

著者

本田孝一
東京外国語大学アラビア語学科

アラビア語書道の各スタイルの美の諸要素についての研究(前半部)

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