Formal Organization in the Calligraphy Panel of the Calligrapher Hashim Muhammad Al-Baghdadi

Abstract

This research study is concerned with (formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi) and the research problem was represented by a basic question: What is the formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi?

The research aims to study the forms used in the comprehensive painting of the calligrapher Hashem Al-Baghdadi in terms of the formal organization of the calligraphic elements and the artistic contribution by arriving at defining the characteristics of the system and the technically approved form in the comprehensive painting, and thus may benefit calligraphers and those interested in studying Arabic calligraphy and calligraphy painting.

The theoretical framework included a review of the following topics: the stages of development of the emergence of the Arabic calligraphy and the calligraphy board, the lines used in the implementation of the calligraphy painting of the calligrapher Hashem Al-Baghdadi, the formal organization in the calligraphy board, and the design systems adopted in the calligraphy board.

In his research procedures, the researcher followed the descriptive (analytical) approach through the adult research community represented in the form of the university linear board, from which an intentional sample was chosen, represented by a diagram of the structural structure, and the analysis form was designed and presented to experts to ensure its validity to achieve the goals. The formal organization and the research reached the following results:

1- The general design of the whole linear panel was subject to the division of its space through the two axes (horizontal and vertical) that bisect the total space, allowing organizational options in dividing it, sometimes with binary symmetry and at other times with quadrilateral symmetry.

2- Employing a basic anchor that serves as a starting point for placing the other partial divisions within the geometric element (the circle) occupying the center of the design. in spreading.

3- Employing arcs with varying areas in measurement, in which the designer sought to enhance their changing role as incubators for the relatively larger geometric shapes (circles) with their neighboring smaller circles, keeping the horizontal and vertical axes achieving greater organizational diversity without relying on the element of the circle.