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نبذة من رسالة لأبي حيان التوحيدي في علم الكتابة .. كتاب مصوّر الخط العربي .. ناجي زين الدين
نبذة من رسالة لأبي حيان التوحيدي في علم الكتابة
قال في : معاني الخط .
والكاتب يحتاج الى سبعة معان : الخط المجرد بالتحقيق ، والمحلى بالتحقيق ، والمجمل بالتحويق ، والمزين بالتخريق ، والمسن بالتشقيق ، والمجاد بالتدقيق ، والمميز بالتفريق ، فهذه أصوله وقواعده المتظمنة لفنونه وفروعه ، وكل قلم يظهـر لـه العمل على قدره والورد كفاء صدره ان شاء الله .
اما المجـرد بالتحقيق فابانة الحروف كلها منثـورها ومنظومها ، مفصلها وموصولها ، بمداتها وقصرانها ، وتفريجاتها و تعريجاتها ، حتى تراها كانها تبتسم عن ثغور مفلجة ، أو تضحك عن رياض مدبجة ، فهذا ما يعم الحروف كلها عما " . فأما ما يختص واحداً واحداً منها فسأقوله على اثر هذا .
واما المراد بالتحديق فإقامة الحاء والخاء والجيم وما أشبهها على تبييض اوساطها ، محفوظة عليها من تحتها وفوقها واطرافها كانت مخلوطة بغيرها او بارزة عنها حتى تكون كالاحداق المفتحة .
وأما المراد بالتحويق فادارة الواوات والفاآت والقافات وما اشبهها مصدرة وموسطة ومذنبة بما يكسبها حلاوة ويزيدها طلاوة .
وأما المراد بالتخريق فتفتيح وجوه الهاء والعين والغين وما أشبهها كيف ما وقعت افراداً وأزواجاً بما يدل الحس الضعيف على اتضاحها وانفتاحها •
وأما المراد بالتعريق فابراز النون والياء وما أشبهها ، مما يقع في اعجاز الكلمة مثل : من وعن وفي ومتى والى وعلى بما يكون كالمنسوج على منوال واحد .
وأما المراد بالتشقيق فتكنف الصاد والضاد والكاف والطا والظاء وما أشبه ذلك مما يحفظ عليها التناسب والتساوي ، فان الشكل بهما يصح ومعهما يحلو ، والخط في الجملة كما قيل : هندسة روحانية بآله جسمانية •
واما المراد بالتنسيق فتعميم الحروف كلها مفصولها وموصولها بالتصفية ، وحياطتها من التفاوت في التـأدية ، ونفض العناية عليها بالتسوية .
واما المراد بالتوفيق فحفظ الاستقامة في السطور من أوائلها وأواسطها وأواخرها وأسافلها وأعاليها بما يفيدها وفاقا لا خلافا .
واما المراد بالتدقيق فتحديد اذناب الحروف بارســـــــال اليد ، واعتمال سن القلم ، وادارته ، مرة بصدره ، ومرة بسنينه ، ومرة بالاتكاء ، ومرة بالارخاء ، بما يضيف اليهـا بهجـة نورآ ورونقا وشذوراً .
واما المراد بالتفريق فحفظ الحروف من مزاحمة بعضهـا لبعض ، وملابسة اول منها لآخر ليكون كل حرف منها مفـارقاً لصاحبه بالبدن مجامعة بالشكل الأحسن .
فهذه جملة كافية متى كان طبع الكاتب مواتيا ، وفعلـــه مواطئاً ، وقريحته عذبة ، وطينته وطئة .
وقال : سمعت ابن الزهري يقول : وكان لحق ابن مقلة بن الزنجي ( 1 ) وبني الثوابة ( ۲ ) •
من حقق الحروف المفصلة تحقيقاً ثم وصل بين الاثنين بالثالث ثم وصل الثلاثة بالرابع على هذا الى آخر متصل بالكلمة كقولهم : فسيكفيكم ، ويستنصرون ، والاستعلام ، والاستفهام ، والاستقامة ، والاستنامة ، وخجخج ، وجحجبا ، والاستنجاح ، والجحاجحة ، والصيادنة ، والصياقلة ، والصقالبة ، والفطارفة ، والطراخنة ، والبطارقة ، ووقف على المتماثلين مثل : حططت و خططت ، وقطعت ، ونصص ، وحصص ، وقصص ، واستنصح ، واستصحب ، وتكوكب ، واستجح ، واستصلح ، واستصبح ، واستشرح ، وما أشبه هذا فانه كثير ، رجوت له أن يبلغ من رسم الخط الذروة العالية . ( ** )
وقال : وملاك الامر تقويم اعجاز السطور وتسوية هوادي الحروف ، وحفظ التنسيق وقلة العجلة واظهار القدرة في عرض الاسترسال ، وارسال اليد في طي الاقتدار .
وقال عن قول سعيد بن حميد الكاتب : من أدب الكاتب ان ياخذ القلم في اصلح اجزائه وابعد ما يمكن من موضع المداد فيه : ويعطيه من ارض القرطاس خطه ؛ ولا يكتب بالطرف الناقص من سنه ؛ ويضعه على عيار قسطه ؛ ويصوره بأحسن مقاديره حتى لا يقع التمنى لما دونه ؛ ولا يخطر بالبال شاو ما فوقه ، ويعدله في شطره ؛ ويشبهه مما ياتي من شكله ؛ ويقرن الحرف بالعرف على قياس ما مضى من شرطه في تقريب مساحته ؛ وتبعيد مسافته ؛ يقطع الكلمة بحرف يفرده في غير سطره ويسوی اضلاع خطوط كتابه ، ولا يحليه بما ليس من زيه ؛ ولا يمنعه ما هو له بحقه ، فتختلف حليته وتفسد قسمته .
هذا مما قاله الشيخ ابو حيان في الخط وصفاته والقلم وحالاته وفي محاسن ديباجاته وفي ما قيل فيه قديما مما ليس له متسع في هذا المجال الضيق .
A summary of a treatise by Abu Hayyan al-Tawhidi on the science of writing... an illustrated book of Arabic calligraphy... Naji Zain al-Din
An excerpt from a treatise by Abu Hayyan al-Tawhidi on the science of writing
He said in: Meanings of Calligraphy.
The writer needs seven meanings: the abstract handwriting with verification, the beautiful handwriting with verification, the beautiful handwriting with editing, the adornment with perforation, the sharpened handwriting with incision, the skillful handwriting with precision, and the distinctive handwriting with distinction. These are its origins and rules that include its arts and branches, and every pen shows work to its ability and the roses are worthy of its chest, God willing.
As for the mere investigation, it is the clarification of all the letters, their scattered and arranged, their jointed and connected, with their lengths and shortness, and their derivations and inflections, until you see them as if they are smiling from closed gaps, or laughing from tampered gardens, for this is what extends to all the letters about what “. As for what is specific to one of them, I will say it as follows this .
As for what is meant by squinting, it is the setting of the ha, kha, jim, and the like, with whitening of their middles, preserved on them from below and above them, and their edges were mixed with other things or protruding from them, so that they are like bright squints.
As for what is meant by tahawiq, it means turning the wawats, faats, qafats, and the like into the infinitive, middle, and muthanna in what gives them sweetness and increases their elegance.
As for what is meant by punctuation, it is the lightening of the faces of Ha, Ain, Ghain and the like, however they occur, individually or in pairs, with the weak sense indicating their clarity and openness.
As for what is meant by identification, it is the highlighting of the nūn, the yā’, and the like, which occur in the inimitability of the word, such as: from, from, from, in, when, to, and upon, in a way that is like woven in a single pattern.
As for what is meant by cleavage, it includes the ḍād, ḍād, kaf, ṭā, dha, and the like, which preserves proportionality and equality. The form with them is correct and with them it is beautiful, and the calligraphy in the sentence is as it was said: spiritual geometry with a physical instrument.
As for what is meant by coordination, it is to generalize all the letters, separated and connected, by clearing them, protecting them from discrepancies in pronunciation, and removing care from them by straightening them.
As for what is meant by success, it means maintaining integrity in the lines, from the beginning, the middle, the end, the bottom, and the top, in a way that benefits them, in agreement and not in disagreement.
As for what is meant by precision, it is to define the tails of the letters by sending the hand, straightening the point of the pen, and turning it, sometimes with the chest, sometimes with the nib, sometimes by leaning, and sometimes by relaxing, in a way that adds to it a dazzle of light, splendor, and charm.
As for what is meant by separation, it is to protect the letters from crowding one another, and to combine the first of them with the last, so that each letter is separated from its companion in the body, intercourse in the best way.
This is a sufficient sentence as long as the writer’s temperament is favourable, his action is slow, his eloquence is sweet, and his character is slow.
He said: I heard Ibn al-Zuhri say: He followed Ibn Muqla bin al-Zanji (1) and Banu al-Thawabah (2) •
Whoever completes the detailed letters carefully, then connects the two with the third, then connects the three with the fourth, in this way, to another connected word, as they say: It will suffice for you. Al-Tarakhna, Al-Batraqa, and he stopped at the identical ones, such as: Hettatu, Khatatu, Qutta, Nasas, Hisas, Qasas, Istansha’, Istishahab, Takawkab, Istijah, Istislaha, Istisha’, Istisharah, and similar things, for there are many of them. I hoped that he would reach a high peak in drawing the calligraphy. . (**)
He said: The angel of command is straightening the slenderness of the lines, straightening the edges of the letters, preserving coordination, lacking haste, displaying the ability to display the hand, and sending the hand in full force.
He said, according to the words of Saeed bin Humaid al-Katib: It is the etiquette of the writer to take the pen in its straightest part and as far away as possible from the place of the ink in it, and to give him his handwriting from the ground of the paper. It is not written with the missing part of its tooth; And he puts it on the caliber of his premium; He depicts it in the best possible way so that one does not wish for something less than it. Shaw does not come to mind, and what is above it, and equals it in its half; It resembles it from what follows from its shape; The letter is traditionally combined with the measurement of the previous condition in approximating its area. And its distance is increased; He breaks the word with a letter, separates it from a different line, and straightens the edges of the lines of his writing, and does not decorate it with something that is not its own. He does not deprive him of what is rightfully his, so his suitability will be different and his division will be spoiled.
This is what Sheikh Abu Hayyan said about the calligraphy, its qualities, the pen, its conditions, the virtues of its introductions, and what was said about it in the past, which does not have room in this narrow field.
نبذة من رسالة لأبي حيان التوحيدي في علم الكتابة
قال في : معاني الخط .
والكاتب يحتاج الى سبعة معان : الخط المجرد بالتحقيق ، والمحلى بالتحقيق ، والمجمل بالتحويق ، والمزين بالتخريق ، والمسن بالتشقيق ، والمجاد بالتدقيق ، والمميز بالتفريق ، فهذه أصوله وقواعده المتظمنة لفنونه وفروعه ، وكل قلم يظهـر لـه العمل على قدره والورد كفاء صدره ان شاء الله .
اما المجـرد بالتحقيق فابانة الحروف كلها منثـورها ومنظومها ، مفصلها وموصولها ، بمداتها وقصرانها ، وتفريجاتها و تعريجاتها ، حتى تراها كانها تبتسم عن ثغور مفلجة ، أو تضحك عن رياض مدبجة ، فهذا ما يعم الحروف كلها عما " . فأما ما يختص واحداً واحداً منها فسأقوله على اثر هذا .
واما المراد بالتحديق فإقامة الحاء والخاء والجيم وما أشبهها على تبييض اوساطها ، محفوظة عليها من تحتها وفوقها واطرافها كانت مخلوطة بغيرها او بارزة عنها حتى تكون كالاحداق المفتحة .
وأما المراد بالتحويق فادارة الواوات والفاآت والقافات وما اشبهها مصدرة وموسطة ومذنبة بما يكسبها حلاوة ويزيدها طلاوة .
وأما المراد بالتخريق فتفتيح وجوه الهاء والعين والغين وما أشبهها كيف ما وقعت افراداً وأزواجاً بما يدل الحس الضعيف على اتضاحها وانفتاحها •
وأما المراد بالتعريق فابراز النون والياء وما أشبهها ، مما يقع في اعجاز الكلمة مثل : من وعن وفي ومتى والى وعلى بما يكون كالمنسوج على منوال واحد .
وأما المراد بالتشقيق فتكنف الصاد والضاد والكاف والطا والظاء وما أشبه ذلك مما يحفظ عليها التناسب والتساوي ، فان الشكل بهما يصح ومعهما يحلو ، والخط في الجملة كما قيل : هندسة روحانية بآله جسمانية •
واما المراد بالتنسيق فتعميم الحروف كلها مفصولها وموصولها بالتصفية ، وحياطتها من التفاوت في التـأدية ، ونفض العناية عليها بالتسوية .
واما المراد بالتوفيق فحفظ الاستقامة في السطور من أوائلها وأواسطها وأواخرها وأسافلها وأعاليها بما يفيدها وفاقا لا خلافا .
واما المراد بالتدقيق فتحديد اذناب الحروف بارســـــــال اليد ، واعتمال سن القلم ، وادارته ، مرة بصدره ، ومرة بسنينه ، ومرة بالاتكاء ، ومرة بالارخاء ، بما يضيف اليهـا بهجـة نورآ ورونقا وشذوراً .
واما المراد بالتفريق فحفظ الحروف من مزاحمة بعضهـا لبعض ، وملابسة اول منها لآخر ليكون كل حرف منها مفـارقاً لصاحبه بالبدن مجامعة بالشكل الأحسن .
فهذه جملة كافية متى كان طبع الكاتب مواتيا ، وفعلـــه مواطئاً ، وقريحته عذبة ، وطينته وطئة .
وقال : سمعت ابن الزهري يقول : وكان لحق ابن مقلة بن الزنجي ( 1 ) وبني الثوابة ( ۲ ) •
من حقق الحروف المفصلة تحقيقاً ثم وصل بين الاثنين بالثالث ثم وصل الثلاثة بالرابع على هذا الى آخر متصل بالكلمة كقولهم : فسيكفيكم ، ويستنصرون ، والاستعلام ، والاستفهام ، والاستقامة ، والاستنامة ، وخجخج ، وجحجبا ، والاستنجاح ، والجحاجحة ، والصيادنة ، والصياقلة ، والصقالبة ، والفطارفة ، والطراخنة ، والبطارقة ، ووقف على المتماثلين مثل : حططت و خططت ، وقطعت ، ونصص ، وحصص ، وقصص ، واستنصح ، واستصحب ، وتكوكب ، واستجح ، واستصلح ، واستصبح ، واستشرح ، وما أشبه هذا فانه كثير ، رجوت له أن يبلغ من رسم الخط الذروة العالية . ( ** )
وقال : وملاك الامر تقويم اعجاز السطور وتسوية هوادي الحروف ، وحفظ التنسيق وقلة العجلة واظهار القدرة في عرض الاسترسال ، وارسال اليد في طي الاقتدار .
وقال عن قول سعيد بن حميد الكاتب : من أدب الكاتب ان ياخذ القلم في اصلح اجزائه وابعد ما يمكن من موضع المداد فيه : ويعطيه من ارض القرطاس خطه ؛ ولا يكتب بالطرف الناقص من سنه ؛ ويضعه على عيار قسطه ؛ ويصوره بأحسن مقاديره حتى لا يقع التمنى لما دونه ؛ ولا يخطر بالبال شاو ما فوقه ، ويعدله في شطره ؛ ويشبهه مما ياتي من شكله ؛ ويقرن الحرف بالعرف على قياس ما مضى من شرطه في تقريب مساحته ؛ وتبعيد مسافته ؛ يقطع الكلمة بحرف يفرده في غير سطره ويسوی اضلاع خطوط كتابه ، ولا يحليه بما ليس من زيه ؛ ولا يمنعه ما هو له بحقه ، فتختلف حليته وتفسد قسمته .
هذا مما قاله الشيخ ابو حيان في الخط وصفاته والقلم وحالاته وفي محاسن ديباجاته وفي ما قيل فيه قديما مما ليس له متسع في هذا المجال الضيق .
A summary of a treatise by Abu Hayyan al-Tawhidi on the science of writing... an illustrated book of Arabic calligraphy... Naji Zain al-Din
An excerpt from a treatise by Abu Hayyan al-Tawhidi on the science of writing
He said in: Meanings of Calligraphy.
The writer needs seven meanings: the abstract handwriting with verification, the beautiful handwriting with verification, the beautiful handwriting with editing, the adornment with perforation, the sharpened handwriting with incision, the skillful handwriting with precision, and the distinctive handwriting with distinction. These are its origins and rules that include its arts and branches, and every pen shows work to its ability and the roses are worthy of its chest, God willing.
As for the mere investigation, it is the clarification of all the letters, their scattered and arranged, their jointed and connected, with their lengths and shortness, and their derivations and inflections, until you see them as if they are smiling from closed gaps, or laughing from tampered gardens, for this is what extends to all the letters about what “. As for what is specific to one of them, I will say it as follows this .
As for what is meant by squinting, it is the setting of the ha, kha, jim, and the like, with whitening of their middles, preserved on them from below and above them, and their edges were mixed with other things or protruding from them, so that they are like bright squints.
As for what is meant by tahawiq, it means turning the wawats, faats, qafats, and the like into the infinitive, middle, and muthanna in what gives them sweetness and increases their elegance.
As for what is meant by punctuation, it is the lightening of the faces of Ha, Ain, Ghain and the like, however they occur, individually or in pairs, with the weak sense indicating their clarity and openness.
As for what is meant by identification, it is the highlighting of the nūn, the yā’, and the like, which occur in the inimitability of the word, such as: from, from, from, in, when, to, and upon, in a way that is like woven in a single pattern.
As for what is meant by cleavage, it includes the ḍād, ḍād, kaf, ṭā, dha, and the like, which preserves proportionality and equality. The form with them is correct and with them it is beautiful, and the calligraphy in the sentence is as it was said: spiritual geometry with a physical instrument.
As for what is meant by coordination, it is to generalize all the letters, separated and connected, by clearing them, protecting them from discrepancies in pronunciation, and removing care from them by straightening them.
As for what is meant by success, it means maintaining integrity in the lines, from the beginning, the middle, the end, the bottom, and the top, in a way that benefits them, in agreement and not in disagreement.
As for what is meant by precision, it is to define the tails of the letters by sending the hand, straightening the point of the pen, and turning it, sometimes with the chest, sometimes with the nib, sometimes by leaning, and sometimes by relaxing, in a way that adds to it a dazzle of light, splendor, and charm.
As for what is meant by separation, it is to protect the letters from crowding one another, and to combine the first of them with the last, so that each letter is separated from its companion in the body, intercourse in the best way.
This is a sufficient sentence as long as the writer’s temperament is favourable, his action is slow, his eloquence is sweet, and his character is slow.
He said: I heard Ibn al-Zuhri say: He followed Ibn Muqla bin al-Zanji (1) and Banu al-Thawabah (2) •
Whoever completes the detailed letters carefully, then connects the two with the third, then connects the three with the fourth, in this way, to another connected word, as they say: It will suffice for you. Al-Tarakhna, Al-Batraqa, and he stopped at the identical ones, such as: Hettatu, Khatatu, Qutta, Nasas, Hisas, Qasas, Istansha’, Istishahab, Takawkab, Istijah, Istislaha, Istisha’, Istisharah, and similar things, for there are many of them. I hoped that he would reach a high peak in drawing the calligraphy. . (**)
He said: The angel of command is straightening the slenderness of the lines, straightening the edges of the letters, preserving coordination, lacking haste, displaying the ability to display the hand, and sending the hand in full force.
He said, according to the words of Saeed bin Humaid al-Katib: It is the etiquette of the writer to take the pen in its straightest part and as far away as possible from the place of the ink in it, and to give him his handwriting from the ground of the paper. It is not written with the missing part of its tooth; And he puts it on the caliber of his premium; He depicts it in the best possible way so that one does not wish for something less than it. Shaw does not come to mind, and what is above it, and equals it in its half; It resembles it from what follows from its shape; The letter is traditionally combined with the measurement of the previous condition in approximating its area. And its distance is increased; He breaks the word with a letter, separates it from a different line, and straightens the edges of the lines of his writing, and does not decorate it with something that is not its own. He does not deprive him of what is rightfully his, so his suitability will be different and his division will be spoiled.
This is what Sheikh Abu Hayyan said about the calligraphy, its qualities, the pen, its conditions, the virtues of its introductions, and what was said about it in the past, which does not have room in this narrow field.