IPAK YO’LI
XATTOTLIK SANA'TI
MCKYCCTBO KAnJlhrPAOWM BflO/lb
LUEBKOBOrO OYTM
CALLIGRAPHY ART ALONG
THE SILK ROADS
II CAS
International Institute
for Central Asian Studies (IICAS)
I PAK YO ' LI XATTOTLIK SAN'ATI
HCKVCCTBO KAAAMPPAOMM BAOAb
LJUEAKOBOrO nVTM
CALLIGRAPHY ART ALONG
THE SILK ROADS
UO‘K 003.077(09):94(4/5)
KBK 85.15
M 54
Ipakyoli xattotlik san’ati [Main] kitob-albom / L. Mirzayeva.A. Ikramov. - Toshkent, ART VERNISSAGE nashriyoti, 2024.- 152 b.
Mualliflar:
Lutfiya Mirzayeva,Alisher Ikramov
Tarjimonlar:
Alisher Ikramov, Mehrinigor Axmedova
Muqova dizayneri:
Sardor Ikramov
Ijodiyguruh
Abdug'afur Razzoqov, Salimjon Badalbayev, Behzod Xojimetov, RahimboyJumaniyozov, Komiljon Raximov, Yoqubjon Buxarbayev, 0‘razali Tashmatov,Ja’farXolmo‘minov, Shukur Djalilov, Alisher Alimatov, Omina Boynazarova, Shoira Oripova, Ziyoda Gafforova, Aziza Sabirova, Matluba Bazarova, Nabi BoTonov
“Ipakyoli xattotliksan’ati” nomli kitob “Umrboqiy Meros”0‘zbekiston madaniyati va san’ati targ’ibot markazi tomonidan Markaziy Osiyo tadqiqotlari xalqaro instituti grant! asosida uch tilda (ozbek, rus va ingliz) tayyorlandi. Ushbu nashrning maqsadi oquvchilarga Ipak yoli mamlakatlaridagi xattotlik san’atining xilma-xil uslublari va maktablari, jumladan YUNESKOning “Nomoddiy madaniy merosni muhofaza qilish tog‘risida”gi konvensiyasining turli royxatlariga kiritilgan nomzodlar haqida qisqacha ma’lumot berishdan iborat.
Mualliflar ushbu nashrda mavjud bolgan MOTXI gbyalarini ifoda etmaydigan faktlar va fikrlarni tanlash va taqdim etish uchun mas’uldir. Kitobda keltirilgan belgilar va materiallar MOTXI ning biror bir mamlakat, mintaqa, shahar yoki ta’sir hududining mintaqaviy maqomi, chegaralari haqidagi fikrini anglatmaydi.
© Markaziy Osiyo tadqiqotlari xalqaro instituti, 2024
Mckycctbo Kaaanrpac|)UM BAoab UleaKoßoro nyTM [TeKCT] KHMra-aaböoM /JT Mkipaaeßa, A. MKpaMOB. -TaiüKeHT, MSßaTeabCTBa ART VERNISSAGE, 2024. - 152 c.
ABTOpbi:
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nepeBOAMMKM:
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ABTOpbi HecyT OTBeTCTBeHHOCTb 3a Bblöop M npeflCTaB/ieHMe 0aKTOB M MHeHMM, COAepXamMXCfl B 3TOM M3AaHMM m He BbipaxatoujMx mach MMHAM. O6o3HaHeHHH m MaTepua^bi, npeaocTaB^eHHbie b KHwre, He saKatonaiOTB ceöe MHeHMfl MHL|AM oTHOCMTeabHO BeraabHoro ciaiyca KaKOM anßo CTpaHbi,Teppmopnh, ropoaa Man 30hw ßamiHmi, rpaHMp.
© MewayHapoflHbiü mhctmtytU,eHTpaabHoa3uaTCKMx nccaeAOBaHUM,2024
Calligraphy art along the Silk Road [Text] album book / L Mirzayeva, A. Ikramov- Tashkent, ART VERNISSAGE publishing house 2024.- 152 p.
Authors:
Lutfiya Mirzaeva, Alisher Ikramov
Translators:
Alisher Ikramov, Mehrinigor Akhmedova
Cover Design:
Sardor Ikramov
Creative team
Abdugafur Razzakov, Salimjon Badalbaev, Bekhzod Khadzhimetov, RakhimboyJumaniyazov, Komiljon Rakhimov, Yakubjon Bukharbaev, Urazali Tashmatov, Jafar Kholmuminov, Shukur Jalilov, Alisher ALimatov, Omina Boynazarova, Shoira Oripova,Ziyoda Gaffarova,Aziza Sabirova, Matluba Bazarova, Nabi Buranov.
“Umrbogiy Meros” Center for Advocacy of Culture and Arts of Uzbekistan based on a grant from the International Institute of Central Asian Studies, prepared the book“Calligraphy art along the Silk Road” in three languages (Uzbek, Russian and English). The purpose of the publication is to provide readers with brief information about the diverse styles and schools of art of calligraphy in the Silk Road countries, including elements inscribed to the various lists under the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage.
The authors are responsible for the selection and presentation of facts and opinions contained in present edition and not expressing the ideas of IICAS. Designations and materials provided in the book do not embody IICAS’s views on legal status of any country, territory, city or zone of influence, borders.
© International Institute for Central Asian Studies ,2024
MUNDARIJA/ COAEPJKAHME / CONTENT
anOHCKOE MCKYCCTBO KAJUIMPPAQMM16
KOPEMCKOE MCKYCCTBO KA/UIMTPAOMM26
KMTAMCKOE MCKYCCTBO KA^JIMEPAOMM35
MOHTO^bCKOE MCKYCCTBO K ATJ1M rPAQM M47
LUKOnbl MCKYCCTBA KAJUIMPPAOMM B Y3BEKMCTAHE57
CALLIGRAPHY SCHOOLS IN UZBEKISTAN60
MHUMMCKOE MCKYCCTBO KAJ1/1MTPAOMM73
MCKYCCTBO KAJ/IMFPAOMM nAKMCTAHA84
HAUMOHAJlbHA^ nPOTPAMMAnO COXPAHEHMK) TPAnMUMOHHOrO MCKYCCTBA KA/1MFPA0MM B MPAHE94
NATIONAL PROGRAM TO SAFEGUARD THE TRADITIONAL ART OF CALLIGRAPHY IN IRAN97
MCKYCCTBO KAn^MPPAOMM APMEHMM M ETO KY^bTYPHOE BblPAXEHME103
ARMENIAN LETTER ART AND ITS CULTURAL EXPRESSIONS105
KY^bTYPATPEX CMCTEM HMCbMEHHOCTM FPY3MHCKOFO AEOABHTAIll
LIVING CULTURE OF THREE WRITING SYSTEMS OF THE GEORGIAN ALPHABET113
TPAflMUMOHHAFI KAJ1J1MTPACPMH XYCHMXAT B TYPUMM122
TRADITIONAL CALLIGRAPHY HUSN-I XAT IN TURKIYE124
APABCKOE MCKYCCTBO KA/lJIMFPAOMM132
^6_____________________________
KIRISH
XattotLik - bu chiroyLi va bezakLİ yozuv san’ati.Bu dunyoning ko’pLab madaniyatlarida qo’LLaniLadigan kop asrlik san’at turi. XattotLik xatlar, varaqlar va plakatLar kabi chiroyLi va bezakLİ yozuvLarni yaratish uchun ishLatiLadi va diniy matnLar, rasmiy hujjatLar hamda adabiy asarLarni yozish uchun ham ishLatiLishi mum kin. XattotLik insoniyat tarixi davomida mühim aLoqa vositasi, ifoda shakLi va go’zallik manbai bo‘Lib keLgan. U mühim voqeaLarni yozib olish, fikrLarni etkazish va his-tuyg‘ularni ifodalash uchun ishLatiLgan. XattotLik ham yuqori maLaka taLab etadigan san’at turi bo‘lib, uni o’zLashtirish uchun ko‘p yillik amaliyot taLab etiLadi.
Ipak yo'Lidagi xattotLik boy tarixga ega bo‘Lib,ushbuqadimiysavdoyo‘Li o‘tgan hudud-Larning madaniyati va dini biLan chambar-chas bog‘Liqdir. Buyuk Ipak yo’Lİ ikkiga bolingan Sharq va Garb mamLakatLarini bog’Lab, uLarni insoniyat tarixining rivojini o’zgartirgan yagona dunyoga aylantirgan tarixiy karvon yo'Lidir.
Ipak yo’Lİ Sharq va Garb o’rtasidagi aLoqa va almashinuvning mühim kanali bo’Lib, Xitoydan 0‘rta yer dengizigacha cho’ziLgan. Bu yolda turLİ siviLizatsiyaLar, jumladan, qadimgi Xitoy, Hindiston, Fors, 0‘rta Osiyo va arab mamLakatLari guLLab-yashnagan. Bu madaniyatLarning har birida xattotLik o’ziga xos xususiyat va usLubga ega edi.
Ipak yo’Lİ bo’yLab xattotLik juda xilma-xil bo’Lib, u o’tgan hududLarning boy va
qadimiy madaniyatini aks ettiradi. U nafaqat ma’Lumotni uzatish va saqlash vositasi, baLki ushbu jamiyatLarning estetik va diniy qadriyatLarini ifodaLovchi vosita sifatida ham xizmat qiLdi. Ipak yo’Lİ xattotLigi hunar-mandLarning mahoratini namoyish etadi va ushbu mashhur savdo yo’lining madaniy merosining boyLigi va rang-barangLigini aks ettiradi.
Xitoy xattotLigi dunyodagi eng qadimgi va eng muhim xattotLik shakLLaridan biridir. Bu murakkabva mas’uliyatli san’at turi bo’Lib, uni o’zlashtirish ko’p yiLLik amaLiyotni talab etadi. Xitoy xattotLigi ko’pincha hissiyotlar, gbyalar va faLsafiy tushunchalarni ifodaLash uchun İshLatiLadi. Xitoyda xattotLik dastLab diniy matnLar va rasmiy hujjatlarni yozish uchun İshLatiLgan. Biroq,vaqt o’tishi biLan u ko’proq san’at turiga ayLandi, chiroyLi va bezakLİ yozuv asarLarini yaratishda foydaLaniLdi.
Yaponiyada xattotLik Xitoy xattotLigidan ta’sirlangan, ammo o’ziga xos usLubga ega. Yapon xattotLigi ko’pincha mo’yqalamlardan foydalanish va soddaLik nafisLikka urg’u berish biLan ajralib turadi.
Koreys xattotLigi oddiy va nafis chiziqLar biLan farqLanadigan o’ziga xos xattotLik usLubidir. U xitoy va yapon xattotLigidan ta’sirLangan, ammo o’ziga xos usLubga ega. Koreys xattotLigi ko’pincha diniy matnLar,she’r va san’atkorona yozish uchun ishlatiLadi. Koreys xattotligining ¡Lk namunaLari miLodiy VII asrga tog‘ri keladi. Eng mashhur koreys
xattoti Kim Chong Xuy (1786-1856). U koreys yozuvidan innovatsion foydaLanishi bilan taniLgan va Koreya tarixidagi eng buyuk xattotlardan biri hisoblanadi.
Arab xattotligi xattotlikning yana bir mühim shaklidir. U Islom bilan chambarchas bog‘Liq va IsLomning muqaddas kitobi Our’onni yozish uchun ishlatiladi. Arab xattotLigi oqimLi va nafis chiziqlari bilan ajralib turadi.
Fors xattotligi - bu chiroyli va ta’sirLİ xattotlik shakli bo'Lib, oqimli chiziqlar va murakkab naqshlar bilan ajralib turadi. U islom bilan chambarchas bog‘Liq bo'Lib, IsLomning muqaddas kitobi Our’on, shuningdek, boshqa diniy matnlar va adabiy asarlarni yozish uchun ishlatiladi. Fors xattotligining İLk namunalari milodiy VIII asrga to‘g‘ri keladi. Eng mashhur fors xattoti Mir ALİ Tabriziydir (1352-1436).
U islom olamining eng buyukxattotlaridan biri sanaladi. Fors xattotligi boshqa ko'pLab madaniyatlarda, jumladan, turk, hind va arab xattotligining rivojLanishiga ta’sir ko'rsatdi. Bu go'zalva ifodaLİ san’atturi bugungi kunda ham amalda qo‘LLaniladi.
Hind xattotligi xilma-xiL va jonLİ an’ana bo'Lib, uslublarning keng doirasini qamrab oLadi. Bu murakkab dizaynlar palma barglari va qog‘oz kabi turli xil yozuv materiallaridan foydalanish bilan tavsif-
Lanadi. Hind xattotLigi turli maqsadlarda, jumladan, diniy matnlar, she’riyat va san’at uchun ishlatiladi. Hind xattotLigi qadimgi Hind vodiysi siviLizatsiyasiga borib taqa-Ladigan uzoq va boy tarixga ega. Unga turli madaniyatlar, jumladan, fors, arab va yevropa madaniyatlari ta’sir ko'rsatgan. Bugungi kunda hind xattotligi bilan juda ko'p odamlar shug'uLLanadi: professional xattotlardan tortib oddiy ishqibozlargacha.
Butun dunyoning ko'plab madaniyatLarida xattotlikhaLİ ham qo‘LLaniLadi.So‘nggiyillarda raqamLİ xattotlikka qiziqish ortib bormoqda. Bu xattotlikni yaratish uchun kompyuterlar va dasturlardan foydalaniladi. Raqamli xattotlik xattotlarga chiroyli va noyob yozuv qismlarini yaratishga imkon beradi.
“Ipak yo'Lİ xattotligi” kitobi ushbu savdo yo'Li bo'ylab mamlakatlar va hududlarda rivojlangan xattotlik an’analarini badiiy taL-qin qiLish orqali Ipak yo'Li madaniyatlarining boyligi va rang-barangligini ochib berishga xizmat qiladi. Kitobda turli madaniyatlarga mansub xattotlik texnikasi va xususiyatlari yaqqoL namoyish etilgan, shuningdek, umumLashtirilgan va yagona kompozitsion uslubga birlashtirilgan. Bu xattotlar, rassom-Lar, dizaynerlar, san’atshunoslar hamda Ipak yo'Lining madaniy va tarixiy ahamiyati bilan qiziquvchilar uchun qimmatli manbadir.
BBEflEHME
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INTRODUCTION
Calligraphy is the art of writing in a beautiful and decorative way. It is a centuries-old art form that has been practiced in many cultures around the world. Calligraphy is used to create beautiful and decorative works of writing, such as letters, scrolls, and posters and can also be used to write religious texts, official documents, and works of literature. Calligraphy has been an important means of communication, a form of expression, and a source of beauty throughout human history. It has been used to record important events, to communicate ideas, and to express emotions. Calligraphy is also a highly skilled art form that requires years of practice to master.
Calligraphy along the Silk Road has a rich history and close connections to the culture and religion of the regions through which this ancient trade route ran.The Great Silk Road is a historical caravan route that connected the divided countries of East and West and turned them into a single world that changed the course of human history.
The Silk Road was an important channel of communication and exchange between East and West, stretching from China to the
Mediterranean Sea. Various civilizations flourished along this route, including ancient China, India, Persia, Central Asia, and the Arab countries. In each ofthese cultures,calligraphy had its own characteristics and style.
Calligraphy along the Silk Road is highly varied and reflectsthe rich and ancient cultures of the regions through which it passed. It served notonlyasa means of transmitting and storing information, but also as an exponent of the aesthetic and religious values ofthese societies. Silk Road calligraphy showcases the skills of the artisans and reflects the richness and diversity of the cultural heritage of this famous trade route.
Chinese calligraphy is one of the oldest and most important forms of calligraphy in the world. It is a complex and demanding art form that requires years of practice to master. Chinese calligraphy is often used to express emotions, ideas, and philosophical concepts. In China, calligraphy was originally used for writing religious texts and official documents. However, over time, it became more of an art form, and it was used to create beautiful and decorative works of writing.
In Japan, calligraphy was influenced by Chinese calligraphy, but it developed its own unique style. Japanese calligraphy is often characterized by its use of brush pens and its emphasis on simplicity and elegance.
Korean calligraphy is a distinct style of calligraphy that is characterized by its simple and elegant Lines. It is influenced by both Chinese and Japanese calligraphy, but it has developed its own unique style. Korean calligraphy is often used for writing religious texts, poetry, and art.The earliest examples of Korean calligraphy date back to the 7th century CE. The most famous Korean calligrapher is Kim Jeonghui (1786-1856). He is known for his innovative use of the Korean script, and he is considered to be one of the greatest calligraphers in Korean history.
Arabic calligraphy is another important form of calligraphy It is closely associated with Islam, and it is used to write the Quran, the holy book of Islam. Arabic calligraphy is characterized by its flowing and elegant Lines.
Persian calligraphy is a beautiful and expressive form of calligraphy that is characterized by its flowing Lines and intricate ornamentation. It is closely associated with Islam, and it is used to write the Quran, the holy book of Islam, as well as other religious texts and works of Literature.The earliest examples of Persian calligraphy date back to the 8th century CE. The most famous Persian calligrapher is Mir ALi Tabrizi (1352-1436). He is considered to be one of the greatest calligraphers in the Islamic world. Persian
calligraphy has influenced the development of calligraphy in many other cultures, including Turkish, Indian, and Arabic calligraphy. It is a beautiful and expressive art form that continues to be practiced today.
Indian calligraphy is a diverse and vibrant tradition that encompasses a wide range of styles. It is characterized by its use of intricate ornamentation and its use of different writing materials, such as palm Leaves and paper. Indian calligraphy is used for a variety of purposes, including religious texts, poetry, and art. Indian calligraphy has a Long and rich history, dating backto the ancient Indus Valley civilization. It has been influenced by a variety of cultures, including Persian, Arabic, and European.Today, Indian calligraphy is practiced by a wide range of people, from professional calligraphers to everyday enthusiasts.
Calligraphy is still practiced today in many cultures around the world. It is a popular art form, and it is often used to create beautiful and decorative works of writing. In recent years, there has been a growing interest in digitalcalligraphyThis isthe use of computers and software to create calligraphy Digital calligraphy allows calligraphers to create works of writing that are both beautiful and unique.
Book “Calligraphy along the Silk Road” helps reveal the richness and diversity of the Silk Road cultures through an artistic interpretation of the calligraphy traditions that were developed in the countries and regions along this trade route. The book
visually demonstrates the techniques and features of calligraphy from different cultures, and also generalizes and combines them into a single compositional style. It is a valuable asset for calligraphers, artists, designers, art historians, and anyone interested in the cultural and historical significance of the Silk Road.
©UNESCO
§ 1. YAPONIYAXATTOTLIK SAN’ATI
Yaponiyada noyob xattotlik san’ati rivoj-Langan. Siyodo yoki Syo - yozuv usLublarining go’zaLLigini ifodaLovchi ijodiy yapon san’ati hisoblanadi. Yozuv uslublari dastlab hayotda foydalanish uchun yaratiLgan, ammo estetik ifodalash usuLi madaniyatning rivojLanishi biLan yaratiLgan. Bunday estetik beLgiLar Sho deb ataladi. Siyodo - bu yozuv usLubning estetik ifodasini standartlashtiriLgan mash-g’ulotlar orqaLi o'rganish, hayotni haqiqiy foydaLanish biLan obodonLashtirish, o‘yin-kulgi sifatida ma’naviy boyitish va individuaL go’zaLLikni ifodalash. Shuningdek, o’quv jarayonida usLubni o’rganish va his-tuyg’ularni singdirish. Shuning uchun Siyodo insonni takomiLLashtirish usuLLaridan biridir: mo’yqalam va sumi (siyoh) asosan Siyododa ularning xususiyatlaridan foydalangan holda qogbzga beLgilar yozish uchun ishLatiLadi. Yozuv usuLi (Gippo), mo’yqalamni qanday ushLab turish va qanday yozish (Ten-kakuni), Kanji belgisini tashkiL etuvchi nuqta va chiziqLar, harflarni qanday joyLashtirish (Kekkoho) va qanday qiLib tartibga soLish (Syoxo, Syodo) - har biri uchun yozish uslubi, xattotlik usLubi va boshqaLarda turLicha qo’L-LaniLadigan har xiL texnikaLar ishLab chiqilgan.
Yaponiyada Syoxo davridan boshLab lining keng ko’LamLi ko’rgazmalari bo’Lib o’tdi, bu Syoxoga zamonaviy san’at sifatida asos soldi, shuning uchun ijodiy usul san’at asari sifatida Syoxo texnikasiga qo’shildi. Bu uslublarga odatda turli muassasalarda Syoxo (xattot)
bilan mashg’ulot o’tkazish, klassikalarni o’rganish va o’z mahoratini oshirish uchun Syoxo ko’rgazmalarida qatnashish orqaLi erishiladi.
Sharqiy xattotlikning boshqa shakllari bilan solishtirganda, yapon xattotligi dzen-buddizm ta’sirida bo’Lgan. Har bir aniq qog’oz varag’i uchun xattot mo’yqalam bilan ishlash uchun faqat bitta imkoniyatga ega. Yapon xattotligining estetikasiga ko’ra, mo’yqalam zarbalarini tuzatib bo’Lmaydi, hatto xattotda o’z-o’zidan shubha paydo bo’Ladi. Xattot diqqatini jamlagan bo’Lishi va o’z ijrosida ohista bo’Lishi kerak. Mo’yqalam ma’lum bir vaqtda xattot haqida bayonot yozadi. Dzen buddizmi tufayli yapon xattotligi ko’pincha ma’rifat doirasi bilan ajralib turadigan o’ziga xos yapon estetikasini o’zlashtirdi. Dzen buddizmi ta’sirida kalligrafiya (Dzen xattotligi) buddist rohiblarva ko’pchilik shodo amaliyotchilari tomonidan qo’LLaniladi. Dzen kalligrafiyasini mohirona mashq qilish uchun siz katta kuch sarflagandan ko’ra, fikringizni tozalashingiz va harflarning sizdan oqib chiqishiga imkon berishingiz kerak. Yapon faylasufi Nishida Kitaro bu ruhiy holatni mushin (aqlsiz bo’Lish holati) deb atagan. U Dzen-buddizm tamoyillariga asoslangan bo’Lib, jismoniy emas, baLki ruhiyat bilan bog’liqlikni ta’kidlaydi.
Yaponiyada xattotlik boshlang’ich sinfdan boshLab majburiy ravishda maktablarda o’qitiladigan fandir. O’rta maktabda musiqa
yoki rasm chizish biLan bir qatorda xattotLik san’ati tanlov fanlaridan biridir. Bu, ayniqsa, ijro xattotligi paydo bolishi bilan maktab kLubida mashhur mashgulotga ayLandi. Ba’zi universitetlarda xattotLik oqituvchiLarini tayyorLash dasturlariga alohida e’tibor qaratilgan maxsus xattotLik kursLari mavjud.
DastLabki yapon xattotligi Xitoy xattot-Ligidan kelib chiqqan va uning kopgina tamoyiLLari va usullari juda oxshash va bir xiL asosiy yozuv usLubLarini tan oLadi.
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• Bosma yozuvi (R# tensyo) - xitoy va yapon xattotLigining qadimiy usLubi. U Xitoyning urushayotgan Sin davLatida paydo bolgan Chjou suLolasining Xitoy yozuv tizimi-dan organik ravishda rivojlangan. Chop etiLgan yozuvning Sin versiyasi standart bolib, Sin suLolasi davrida butun Xitoy uchun rasmiy Skript sifatida qabuLqiLingan va Xan suLoLasida dekorativ oyma va bosma (mosLashtiriLgan pirzola yoki bosma) uchun keng qollaniLgan. Uning xitoycha nomi K# (zhuanshü) ning so‘zma-so‘ztarjimasi dekorativ oyma yozuvdir, chunki bu nom Xan suLoLasida paydo bolgan vaqtga kelib, uning roli standartlashtirilgan yozuvdan ko'ra marosim yozuvlariga mosLashtiriLgan edi.
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• Devonxona yozuvi (## reysyo) -Xitoy va yapon xattotLigining arxaik usLubi bolib, Xitoyning urushayotgan davlatlari davridan Sin sulolasigacha rivojlangan, Xan suLoLasida va Vey-Jin davrida harn qollaniLgan. Zamonaviy oquvchilar uchun oson oqilishi tufayli u hanuzgacha sarlavhalar, tabeLLar va reklama kabi turLi funksionaL ¡LovaLarda
badüy ko'rinishi uchun ishlatiladi. Uning oqilishi zamonaviy oddiy shriftga xos bolgan chiziqli tuzilishga ega. U odatda tuzilishi va soddaligi jihatidan zamonaviy yozuvga oxshaydi; Biroq, baland va qutili zamonaviy shriftlardan farqli olaroq, u qutisimon yoki keng bolishga intiladi va kopincha alohida katta zarbalarning aniq, tolqinga oxshagan chaqnashlarga ega, ayniqsa dominant o‘ng qol yoki pastga tushuvchi diagonal zarba. Ayrim tuziLmaLar harn arxaikdir.
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• Muntazam yozuv (le# kaisho) eng yangi xitoy va yapon xattot yozuvi (milodiy 2OO-yiLda Xitoyning Kao Vey suLolasi davrida paydo bolgan va taxminan VII asrda stilistikjihatdan yetuklashgan) va shuning uchun zamonaviy yozma manbaLarva nashrlarda (Min.va undan keyin) eng keng tarqalgan sans-serif uslublari, faqat bosma nashrlarda qollaniladi.
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• Yarim kursiv (İt# gyosyo) - xitoy va yapon xattotLigining kursiv usLubi. U kursiv kabi ixchamlashtirilmaganligi sababli oddiy shriftni oqiyoladiganlar bu yarim kursivni oqiy oladi. Ingliz tilida ishlaydigan skript deb harn ataladi, u klerikal skriptdan oLingan va milodiy I asrda ishlab chiqilganidan keyin uzoq vaqt davomida keng tarqalgan qol yozuvi usLubi bolgan.
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• Kursiv yozuv (^# sosho). Kopincha osimlik yozuvi sifatida notog'ri tarjima qilingan xitoy va yapon xattotLik uslubidir. Kursiv yozish boshqa usLublarga qaraganda tezroq, Lekin uni bilmaganlar uchun oqish qiyin. U birinchi navbatda, stenografiya yoki xattotLik usLu bi ning birturi sifatida qollaniladi.
Yapon tiLining standart yoki bosma shakLLarini o‘qiy oladigan odamLar aLifboni umuman o‘qiy olmasLigi mumkin.
Yapon xattotLigida kompozitsiya yaratish uchun quyidagi asbob-uskunaLar qo‘llaniLadi:
^ Siyoh tayoqcha (fi sumi). Yuqori mustahkamlikda kuydiriLgan yog‘ yoki qarag‘aydan tayorlangan tayoqcha. 0‘simLik yog‘i va boshqa yog’Lardan yig’İLgan kuydi-rib tayyorLangan siyoh “chiroq qorasidan yasaLgan qora siyoh tayoqchasi”, qarag‘aydan esa “kuygan qarag‘aydan qiLingan qora siyoh tayoqchasi (seiboku - ko‘k rangLİ siyoh tayoqchasi)” deb ataLadi. Bundan tashqari, bokyuju ham suyuq sumi sifatida keng qo‘llan ilad i.
/Tut ipak qog‘ozi (vasi). Vasi - birinchi bolib Yaponiyada ishlab chiqarilgan qogbz uslubi.Vasi odatda gampi daraxti, mitsumata buta (Edgeworthia chrysantha) yoki tutning qobig'idagi tolalar yordamida tayyorLanadi, Lekin bambuk, kanop, guruch va bug‘doydan ham tayyorlanishi mumkin. “Vasi” so‘zi “va” - “yapon”, “si” - “qogbz” sozlaridan kelib chiqqan va bu atama an’anaviy tarzda qo‘Lda yasaLgan gogbzni ifodaLash uchun ishlatiLadi.
“Vasi, an’anaviy yapon qogbzi hunarmandchi-Ligi” 2014-yiLda YUNESKOning Insoniyatning nomoddiy madaniy merosi Reprezentativ ro‘yxatiga kiritiLgan.
^ Tosh siyohdan (51 suzuri). Rasmda paLitra biLan bir xiL tarzda İshlatiLadi. Suzuri bu maqsadga siyoh tayoqchasini oldinga va orqaga ishqaLagada yoki Bokuju (qora suyuq siyoh) saqlashda xizmat qiladi. Odatda tosh materiaL İshlatiLadi, Lekin ba’ziLari sopoL va boshqa ashyolardan tayyorLanadi.
S Oogbzning oglrligi (£# bunchin). AmaLdagi qogbzning hajmi va og‘irligi ayniqsa cheklanmagan. Bu oddiy vosita, Lekin koplab dizayn va shakl ozgarishlariga ega.
^ Mo‘yqalam (# fude). Odatda ot, qo‘y, it va boshqa shu kabi hayvonlardan olingan junlar yogbch yoki bambuk tayoqning yuqori qismiga biriktirilgan.
v Muhr (jOiJ tenkoku). Muhr oymakorligi san’ati “tenkoku” K^Ö deb ataLadi. Talabadan o‘z muhrini o’ymakorlik usulida yasash so‘raladi. Plomba yoki pLombalarning holati estetik nuqtai nazarga bog‘Liq. Sutra xattotligida muhr bosish taqiqlanadi.
§ ijhohckoe mckycctbo KAnnMrPAOMM
Cöao unu Ce - sto TBopHecKoe nnoHCKoe MCKyccTBO, KOTopoe Bbipa>KaeT Kpacory ermin nncbMa. Ctmjim nncbMa M3HaHaabH0 C03flaBa-/ıncb/yın peanbHoro ncno^b3OBaHna, ho c pa3-BMTneM KynbTypbi noHBiıncfl mctoa acrernMe-
ckoto Bbipa>KeHMa. TaKne acrernMecKne ermin nncbMa Ha3biBaK)T LUo. Ceao npn3BaHO Hay-ınTbcn 3T0My acreTMMecKOMy Bbipa>KeHmo ctm-nen nncbMa b xoae CTaHflap™3MpoBaHHoro o6yHeHHii,yKpacnTb>KH3Hb peaabHbiM i/icno/ib-
30BaHneM, AyxoBHO oSoraimb kbk Bpewnnpe-npoBOXAenne n Bbipa3mb MHAHBHAyaabHyo KpacoTy. A TaKxe ipennpoBaib xapaKTep n BAOXHOBJimb nyBCTBa b xoac oSyneHna. Ta-kmm o6pa3OM, CeAO aB/mera oahmm hb MeTO-AOb eoBepiueHCTBOBaHnn He/iOBeKa. Kneib n cyMM (nepHnna) b ochobhom ncnoabsyoica b ceAO A-na HanncaHHS nepornM(|)OB Ha 6yware c ncnoab3OBaHneM nx xapaKTepncmK. Tex-HMKa Kannnrpacfjnn pa3/inMaera cnocoSoM nncbMa (innno - cnocoS Aepxannn kmctm), cnocoSoM M3o6paxeHnn tohsk n ujipnxoB, COCTaB/iahOLAUX MepOMM(|3 K3HA3M (TeH-KaKy), pacnonoxenneM 6yKB (Kckkoxo), opraHnsa-pnen TeKcia (Cexo, CeAO). Pa3pa6oiaHbi pa3-nMHHbie MeTOAbl, KOTOpbie MOXHO nO-pa3HO-My ncnonb3OBaib b cimie nncbMa n b cin/ie Kannnrpac|jnn.
B Slnonnn KpynHOMacujTaSHbie BbiciaBKn CeAO npoBOAMnncb HannHaa c nepnoAa Cesa, Koiopbin yTBepAHn craiyc CeAO kbk cospe-MeHHoro ncKyccTBa, cneAOBaienbHO, k TexHn-Ke CeAO Ao6aB/iaeTCii TBopHecKnn mctoa kbk xyAOxeciBeHHoe npon3BeAeHne. 3m MeiOAbi oSbiMHO npnoSpeiaiOTCfl nyrew oSyneHna y Cexa (Kajuimpac|)a) b pasnnnHbix yneSHbix 3a-BeAeHnax, nayneHna KaaccnKn n npeAcraBJie-Hun npoAyKpnn Ha BbiciaBKax CeAO A-na noBbi-LUeHMfl CO6CTBeHHblX HaBblKOB.
Flo cpaBHeHMO c Apyron BoeiOHHon Kannn-rpacjjnen, nnoHCKan xa/i/impa^na HaxoAmiacb noA BnnuHneM A33H-6yAAH3Ma. /Via KaxAoro KOHKpeiHoro nncia SyMarn y Kaaanrpacjaa ecib TOnbKO OAMH LLiaHC CO3AaTb KnCTbK). ComaCHO acreiMKe anoHCKon Kajuimpacbnn, m33km He-
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B flnoHnn Kajuinipacfinn aBJiaeica LUKonb-hhm npeAMeiOM b cncreMe o6u3aiejibHoro oSpaaoBaHna c HanaabHon LUKonbi. B ciapiunx Knaccax KannnrpacfiMa AB/meica oahmm n3 npeAMeiOB ncKyccTBa, HapnAy c My3biKon nnn pncoBaHneM. 3to TaKxe nonynapHoe 3anmne b LUKOnbHbix KnySax, ocoSeHHO c noaBneHneM xyAOxecTBeHHon KannnrpacfinM. B HeKOiopbix yHnBepcmeiax ecib cnepnanbHbie Kypcbi no nayneHnto Ka/i.nnrpa({)nn, b KOTOpbix ocoSoe
BHMMaHMe yAe^Aeran nporpaMMaM noAroTOB-km yMMTejieM KajuiHrpacpHM.
PaHHaa anoHCKaa Ka^nMrpacjjn^ bo3hmk-na M3 KMT3MCKOM KannMrpacpMM, m MHorMe ee npMHu,Mnbi m MeTOAbi OHeHb noxoxM m npM3Ha-K)T OAHM M Te >Ke OCHOBHbie CTMJ1M nMCbM3.
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• neHSTHoe nMCbMO (K# Tence) - ApeB-HMM CTH/lb KMT3MCKOM M flnOHCKOM Ka/l/lMrpa-0mm. Oh oprsHMMecKM pa3BMaca M3 nMCbMeH-HOCTM KMT3MCKOM AMH3CTMM H^Oy, BO3HMKLLieM B KMT3MCKOM BOKJKJUjeM rOCyAapCTBe U,MHb. BapnaHT nMCbMa nena™ Umhb CTan CTaHAap-tom m 6bin npMHAT b KaqecrBe 0opMaabHoro nMCbMa a^ Bcero Kmtba bo Bpewena auhs-CTMM U,MHb M AO CMX nop LUMpOKO MCnOJlb3O-Banca a^w AeKopaTMBHOM rpaBMpoBKM m ne-qaTeM (MMeHHbix otömbhbix m^m nenaTOK) BO BpeMena AMHacrMM XaHb. UocnoBHbiM nepe-boa ero KMTaMCKoro Ha3BaHMA K# (MxyaHtijy) npeACTaB/iaeT coöom AeKopaTMBHyo rpasiopy, nocKO/ibKy k TOMy BpeMeHM, KorAa 3to mma 6bi30 npMAyMaHO b ahh3Ctmm XaHb, ero poab CBe^acb k pepeMOHMa^bHbiM HaAnnaM, a He k CTaHAapTM3MpOB3HHOMy nMCbMy.
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• KaHpenapcKoe hmcbmo (## pefice) -3TO apxaMMHblM CTM^b KMT3MCKOM M flFIOHCKOM KannMrpa0MM, KoropbiM pa3Bnncn b nepMOA KMT3MCKMX BOK3KJLAMX papCTB AO AHH3CTMM U,MHb, AOMMHMpOBan B AHH3CTMM XaHb M OCT3-Ba^ca B MCnOab3OB3HMM B nepMOAbl B3M-U,-3MHb. B^aroAapa cboom bbicokom yAOöOHMTae-MOCTM A^ä COBpeMeHHbIX MMTaTe^eM, OH AO cmx nop Mcnonbayeraa a^h xyAO>KecTBeHHoro OCpOpM/ieHMfl B pa3^MMHblX (|)yHKUMOHa/lbHblX npMnOXeHM^X, T3KMX K3K 3arOaOBKM, BblBeCKM
m pemiaMHbie oöwBneHMn. TaKan pasSopHM-BOCTb oöycnoBnena onenb npsMOJiMHeMHOM crpyKTypoM, xapaKTepHOM a^ coBpeMeHHoro perynapHoro nMCbMa. Pio CTpyKType m npawo-J1MH6MH0CTM OHO B A6J10M nOXOXe H3 COBpe-MeHHoe nMCbMo; OAHaico, b ot^mmmc ot coBpe-MeHHOro nMCbMa ot BbicoKoro ao KBaApaTHoro, OH MMeeTTeHAeHU,MH3 6blTb OT KBaApaTHoro AO ujMpoKoro m Macro mmcct BbipaxeHHoe bo/iho-o6pa3Hoe pacniMpeHMe OTAenbHbix ocHOBHbix LUTpMxoB, ocoöeHHO AOMMHMpyoiAero Anaro-HanbHoro iBTpMxa BnpaBO m^m bhmb. HeKOTO-pbie nOCTpOMKM T3KXe apxaMHHbl.
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• OSbiHHoe nMCbMo (^W KaMce) - hobcm-maa cjaopMa kmt3mckom m ahohckom Kajvmrpa-0MM (nOflBMBUJaflCfl npkl AMH3CTMM U,ao Bbm b KMTae B 200 r. H. 3. M CTMnMCTMMeCKM C(|)OPMM-poBaBLuaaca npMMepno b VII BeKe), no3TOMy HaMöo/iee pacnpocrpaHeHHaa b coBpeweHHbix npoM3BeAeHMax m ny6^MKau,Max (nocne Awna-ctmm Mmh), ctm^m c 3aceMKaMM, McnonbsyeMbie MCKJuoMMTe/ibHO b nenaTM.
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• noJiyicypcMBHoe nncbMO (fr# rece) -pyKOHMCHblM CTMCIb KMT3MCK0M M flnOHCKOM Ka/i/iMrpa(|}MM. nocKonbKy oh He tbk coKpaipeH, K3K KypCMB, 60/lbLUMHCTB0 JUOAOM, yMeOLU,MX HMT3Tb OÖbIHHbIM HipMC^T, MOTyT MMT3Tb nO^y-KypcMB. Ha aHMMMCKOM S3biKe ero TaKxe Ha-3blB3K)T SerypMM nMCbMOM, OHO npOMCXOAMT ot KanpenapcKoro nMCbMa m Aonroe BpeMa noc^e CBoero pa3BMTMfl b I BeKe HaweM apbi 6bmo oöbiMHbiM CTMJ16M nonepKa.
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• KypcMBHoe nMCbMo 0?# coce) - CTMnb KMT3MCK0M M AnOHCKOÜ Kari.nMrpa$MM. KypCMB nMiueTCfl ObiCTpee, mom ApyrMe ctm/im, ho era
TpyAHO HMTaTbTCM, KTO C HMM He 3HaKOM. Oh 0yHKu,MOHMpyeT b nepByio onepeAb KaK CBoe-ro poAa CTeHorpacpM» m^m KannMrpa(|jM4ecKMM CTMnb.
B adohckom Kaaanrpac|)MM ajia co3A3HMn komrio3i'iLi,i'ii'i McnoabsyoTcn cneAyoiAMe mh-CTpyMeHTbi:
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• MepHMnbHan nanoHKa (fi cyMM). 3to 4epHMna, 3aTBepAeßiiJMe caxeti xMpa, Macna, cocHbi m AP- m oönaAaoLAMe noBbiLueHHbiMM KOHcepBi'ipyfOLHi'iMi'i CBOMCTBaMM. MepHMna, n3-roTOBneHHbie m3 caxM, coöpaHHOü m3 pacTM-TenbHoro m Apyroro Macna, Ha3biBaiOTCfl «nep-HmibHbiM KapaHAatu M3 naMnoBOM caxM», a M3 cocHbi - «4epHbiM 4epHMnbHbiM KapaHAauj M3 0Ö0XX6HH0M COCHbl (C3MÖ0Ky - CMH6B3TblM nepHnabHbiM KapaHAatu)». KpoMe toto, öoKyA-xy (4epHbie xmakmc 4epHMna) TaKxe lumpoko ncnonb3yeTca b Ka4ecrBe xmakux cyMM.
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• LUenK0BM4Han öyMara (iD$ft Baen). Baen - 3to öyMara, BnepBbie M3TOT0BJieHHan b 51 no-HMM. B3CM OÖbNHO M3rOTaBnMB3K)T M3 BOnOKOH Kopbi aepeßa raMnM, KycTapHMKa MMpyMa-Ta (Edgeworthia chrysantha) m^m öyMaxHOM LUeJlKOBMUbl, HO T3KX6 MX M0XH0 M3T0TaBnM-B3Tb M3 ÖBMÖyKS, KOHOnnM, pMC3 M nUJeHMLJbl. CnOBO «B3CM» npOMCXOAHT OT enOB «B3» -«anOHCKMM» M «CM» - «ÖyMara», M 3TOTTepMMH Mcnonb3yeTca Ana onMcaHMa öyMarM, M3roTOB-neHHOM BpyMHyio TpaAMAMOHHbiM cnocoöoM.
«BacM, MacTepcTBO M3roTOBneHMa tp3amlimoh-hom nnoHCKOM ÖyMarM py4H0M paöOTbi» öbino BHeceHO b Pen pese ht3tmbh bim comcok HeMa-TepManbHoro KynbrypHoro HacneAM« nenoBe-necTBa IOHECKO b 2014 roAy-
^ MepHMnbHbIM K3M6Hb (iS cyA3ypM). Mc-nonb3OB3HMe TaKoe xe, kbk m nanMTpbi b xm-BonMCM. CyA3ypM cnyxMT kbk A-nn pacTMpaHMn MepHMnbHoro KapaHAawa, TaK m Ans öoKyAxy (nepHbie xmakmg nepHMna). OöbNHO Mcnonb-3yK)T KaMeHHbIM M3TepM3n, HO HeKOTOpbie M3-roTaB/iMBaoT b bmas $ariHCOBOM, rıaKOBOM no-cyAbi M AP-
^ npecc-nanbe (XU övhhmh). Bec mc-nonb3yeMOM ÖyMarM, pa3Mep m Bec oeoöo He orpaHMMMBaoTcri. 3to npocTOM MHCTpyMeHT, ho MMetOLAMM MHOXeCTBO BapMapMM AH33MHa M (|30pM.
^ KMCTb (# $VA3). OÖbNHO COÖMpam BO-nOCbl XMBOTHbIX, T3KMX K3K nOLUaAM, OBpbl, eHOTOBMAHbie coöaKM m ApyrMx, m npMKpenna-k)t mx k BepxyiBKe AepeBSHHOM m^m öaMöyKO-bom nanKM.
^ FlenaTb (K^Ü T3HK0Ky). UcKyccTBO rpa-BMpoBKM nenaTM Ha3biBaeTcn «TeHKOKy» SEM CryAeHTy npeA/iaraera BbirpaBMpoBaTb coö-CTBeHHyio ne^aTb. no/ioxeHMe ne^aTM onpe-AenneTcn acreTMMecKMMM cooöpaxeHMAMM. He paspeujaeTCfl CTaBMTb nenaTb Ha KannMrpa(|)M-necKOM HanMcaHMM cyrpbi.
§ 1. JAPANESE CALLIGRAPHY
Shodo or Sho is a creative Japanese art that expresses the beauty of characters by writing. Characters were initially created for actual use, but the method to express aesthetically was created with the advancement in culture. Such aesthetic characters are called Sho. Shodo is to Learn this aesthetic expression of characters under standardized training, beautify Life with actual use, enrich spiritually as a pastime, and express individual beauty. And to train character and inspire sentiment during the course of Learning. Therefore, Shodo is one method of human improvement A brush and Sumi (ink) are mainly used to write characters on paper making use of their characteristics in Shodo. The technique is Hippo (way of writing) (how to hold a brush, how to write ten-kaku (the dots and strokes that make up a kanji character)), Kekkoho (how to arrange Letter shapes), and Shoho (Shodo) (howto entirely organize),and various methods are devised for each to be differently used in writing style, calligraphy style, and others. In Japan, large-scale Shodo exhibitions were held since the Showa period which established Shodos status as modern art, consequently a creative method as art work is added to Shodo technique. These techniques are generally acquired by Learning from Shoka (calligrapher) through various educational institutions, studying focusing on the classics, and entering products in Shodo exhibitions to heighten one’s own skills.
Compared with other oriental calligraphy, Japanese calligraphy was influenced by Zen buddhism. For any particular piece of paper, the calligrapher has but one chance to create with the brush. According to the aesthetic of Japanese calligraphy, the brush strokes cannot be corrected, and even a lack of confidence shows up in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement about the calligrapher at a moment in time. Through Zen buddhism, Japanese calligraphy absorbed a distinct Japanese aesthetic often characterized by the circle of enlightenment. Zen buddhism influenced calligraphy (Zen calligraphy) is practiced by Buddhist monks and most Shodo practitioners. To practice Zen calligraphy with mastery, one must clear one’s mind and let the letters flow out of themselves, not to make a tremendous effort. This state of mind was called the mushin (no mind state) by the Japanese philosopher Nishida Kitaro. It is based on the principles of Zen buddhism, which stresses a connection to the spiritual rather than the physical. In Japanese tea ceremony (which is also connected to Zen buddhism), one is to Look at a work of Japanese calligraphy to clear one’s mind. This is considered an essential step in the preparation for a tea ceremony.
In Japan, calligraphy is a school subject in the mandatory education system from elementary school. In high school, calligraphy
is one of the choices among art subjects, along with music or painting. It is also a popular high school club activity, particularly with the advent of performance calligraphy. Some universities have special courses of calligraphic study that emphasize teachertraining programs in calligraphy.
Early Japanese calligraphy was originated from Chinese calligraphy and many of its principles and techniques are very similar and recognizes the same basic writing styles.
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• Seal Script (K# tensho) is an ancient style of Chinese and Japanese calligraphy. It evolved organically out of the Chinese Zhou dynasty script, arising in the Chinese Warring State of Oin. The Oin variant of seal script became the standard and was adopted as the formal script for all of China in the Oin dynasty, and was still widely used for decorative engraving and seals (name chops, or signets) in the Han dynasty. The Literal translation of its Chinese name K# (zhuanshu) is decorative engraving script, because by the time this name was coined in the Han dynasty, its role had been reduced to ceremonial inscriptions rather than as a standardized script.
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• Clerical Script (## reisho) is an archaic style of Chinese and Japanese calligraphy which evolved in the Chinese Warring States period to the Oin dynasty, was dominant in the Han dynasty, and remained in use through the Wei-Jin periods. Due to its high legibility to modern readers, it is still used for artistic flavor in a variety of functional
applications such as headlines, signboards, and advertisements. This Legibility stems from the highly rectilinear structure, a feature shared with modern regular script. In structure and recti Linearity, it is generally similar to the modern script; however, in contrast with the tall to square modern script, it tends to be square to wide, and often has a pronounced, wavelike flaring of isolated major strokes, especially a dominant rightward or downward diagonal stroke. Some structures are also archaic.
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• Regular Script (fê# kaisho) is the newest of the Chinese and Japanese calligraphy (appearing by the Cao Wei dynasty of China 200 CE and maturing stylistically around the 7th century), hence most common in modern writings and publications (afterthe Ming and sans-serif styles, used exclusively in print).
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• Semi-Cursive Script (It# gyosho) is a cursive style of Chinese and Japanese calligraphy. Because it is not as abbreviated as cursive, most people who can read regular script can read semi-cursive. Also referred to in English as running script, it is derived from clerical script,and was for a Long time after its development in the 1st centuries AD the usual style of handwriting.
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• Cursive Script (## sosho) is a style of Chinese and Japanese calligraphy. Cursive script is faster to write than other styles, but difficult to read for those unfamiliar with it. It functions primarily as a kind of shorthand script or calligraphic style.
In Japanese calligraphy, following tools are used to make a composition:
^ Inkstick (S sumi). Ink Solidified soot of grease,oil,pine,and othersand with increased preserving properties are available on the market. Ink made with soot collected from vegetable oil and other oil is called ‘black ink stick made from Lampsoot’ and from pine is ‘black ink stick made from burnt pine (seiboku - bluish ink stick).’ Moreover, Bokuju is also widely used as Liquid sumi.
Mulberry paper (ftlM washi). Washi is a style of paper that was first made in Japan. Washi is commonly made using fibers from the bark of the gampi tree, the mitsumata shrub (Edgeworthia chrysantha), or the paper mulberry, but also can be made using bamboo, hemp, rice, and wheat.The word “washi” comes from wa “Japanese” and shi “paper”, and the term is used to describe paper made by hand in the traditional manner. “Washi, craftsmanship of traditional Japanese hand-made paper” was inscribed to the UNESCO Representative list
of intangible cultural heritage of humanity in 2014.
Inkstone (51 suzuri). Usage is the same as that of a palette in painting. Suzuri serves the purpose when rubbing the ink stick back and forth or keeping Bokuju (black Liquid ink). Stone material is usually used, but some are made in the form of earthenware, Lacquer ware, and others.
Paper weight (£# bunchin). Weight of paper used size and weight are not especially Limited. This is a simple tool, but has many variation of design and shapes.
Brush (M fude). Commonly collected hair of animals such as horse, sheep, raccoon dog, and others, attached to the top of wooden or bamboo stick.
Seal (301 tenkoku). The art of engraving a seal is called “tenkoku” iEM The student is encouraged to engrave his own seal. The position of the seal or the seals is based on aesthetic views. One is not allowed to put a seal on a sutra’s calligraphy.
Clerical Regular Semi-Cursive
Seal
Cursive
Siyoh tayoqchasi
MepHM^bHan nanoHKa
Inkstick
Tut qogbzi
LUe^KOBMHHan öyMara Mulberry paper
Qogbzning og'irligi ripecc-nanbe Paper weight
Tosh siyohdon HepHMBbHbIM KaMeHb Inkstone
MoygaLam
Kneib Brush
Muhr nenaTb Seal
^, 24
§ 2. KOREYA XATTOTLIK SANATI
Xitoy xattotligi Koreya jamiyatida Uch qirollik davrida (miloddan awalgi 57-668 yillar) qollanila boshlandi. Koreys uslubidagi xattotlik Xitoy madaniyatiga ishtiyoqli qa-dimgi koreyslar tomonidan ishlab chiqilgan. Xitoycha belgilar va xattotlik uslublaridan toyda la ngan Lar va ular asosida o'zlarining uslublarini (koreyscha variantini) yaratganlar. Faqat bir nechta yozuvli tosh yodgorliklarda kalligrafikyozuvlar mavjud bo‘lib,ular bugungi kungacha saqlanib qolgan va shu davrga tog‘ri keladi.
Birlashgan Silla sulolasi davrida Koreyada xattotlik rivojlanishda davom etdi. Koreyada ba’zi mashhur xattotlik rassomlari paydo boTdi, ismlari Kim Saing va Choi Chi Von edi. Ularning ikkalasi ham xitoylik xattotlar Ouyang Xun va Yu Xinandan ilhom olishgan va ularning uslublari Tang sulolasi madaniyatidan ilhomlanishgan. Bu davrga old bir qancha asarlar bizgacha yetib kelgan.
Birlashgan Silla sulolasi davrida qabul qilin-gan kalligrafik kvadrat uslubidan Goryeo davrida ham foydalanish davom etdi. Biroq, Goryeo tugashidan biroz oldin, taxminan 1350-yillar-da, Chjao Mengfu ismli xitoylik xattot xitoycha harflar xattotligining yangi, yanada yumaloq va erkin uslubini yaratdi. Koreys xattotlari ham Chjao uslubini qabul qilishgan.
Bugungi kunga qadar bu uslub koreys xattotlik asarlariga katta ta’sir ko'rsatmoqda. Biroq, XVI asrda rassomlar orasida yanada qopol uslub koproq mashhur boTa boshladi.
Joseon davrining eng ko'zga ko‘ringan xattoti (ya’ni 1392-1910 yillar oralig‘ida) Kim Chung Xi edi. U chusa deb nomlangan mashhur xattotlik uslubining yaratuvchisi boldi. Bu ham Xitoy xattotlik uslublaridan, xususan, Xitoy Yishu yozuvidan olingan.
Biroq, Kim Chung Xi unga juda ko‘p shaxsiy teginishlarni qoshdi. Bunga uning ishidagi kompozitsiya va assimetriya, shuningdek, har bir belgi va harfning kuchli zarbalari kiradi. Bugungi kunga kelib, bu xangul (koreys tilidagi yozuv) xattotligining eng mashhur uslublaridan biri hisoblanadi.
Xitoy belgilar Hanja rasmiyyozuvi sifatida va xattotlik uchun ishlatilgan. Bu davrda yozuvning bu shakli keng tarqalgan edi, chunki Hangeul II yoki III asrlarda hali mavjud emas edi. U 1910-yilda yapon istilosiga qadar ishlatilgan.
Shundan keyingina koreys xangel alifbosi rasmiy yozuv tizimi va kalligrafik asarlarni tasvirlashning asosiy usuliga aylandi. Bu Shimoliy Koreya va Janubiy Koreya ikkiga bolinganida sodir boldi. Biroq, Hanja xattotligidan foydalanish bugungi kunda ham mashhur.
Yaponiya istilosi davrida koreys xattotligi ham yapon xattotligidan ta’sirlana boshlagan. Boshqa tomondan, zamonaviy koreys xattotligi koreys madaniyatini Hanja emas, balki Hangul orqali aks ettiruvchi tasviriy san’atdir.
Koplab xattotlik ixlosmandlari Hangul xattotligini sodda va kamtarona gozalligi
uchun yaxshi ko'radilar. U doimo rivojlanib boradi, yangi shriftlar va badiiy yozuv uslubLarini yaratishga koproq urinishLar mavjud.
Koreys xattotLigida ishlatiLadigan asosiy asboblar qogbz, cholka, siyoh tayoqchasi va siyoh toshidir. Koreys tiLida ular munbansawu (munbansawu) deb ataladi, bu “to‘rt dost” degan ma’noni anglatadi.Harbirbuyum koreys antiqa uy tadqiqotlaridagi odatiy topilma edi.
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• XattotLikda ishlatiladigan qogbz an’ana-viy Hanji qogbzi bolishi kerak, shuningdek, Koreya tut qogbzi sifatida ham tanilgan. Buning sababi shundaki, u siyohni mukammal singdiradi va ranglarni yorqin aks ettiradi.
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• MoyqaLam tekis bolishi kerak. Uning uchi olkir va hayvonlarning junlaridan yasalgan bolishi, va har bir turning uzunligi bir xil bolishi kerak.
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• Siyoh tayoqchasiga kelsak, u kuygan daraxtlarning kuyganyog'i va yelim aralash-
tirib tayyorlanadi. Yaxshi maskara ham mustahkam va sifatli bolishi kerak.
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• Nihoyat, siyoh tosh qattiq toshdan yasalgan bolishi va suvni oziga singdirmasligi kerak.
Ushbu to'rtta vosita har kim boshlashi kerak bolgan asoslardir. Asar yaratish uchun odatda bir nechta boshqa vositalar ham kerak boladi, masalan, siyoh toshini maydalash uchun ishlatiladigan suv uchun idish bolgan Yeongjok; chotkalar saqlanadigan idish bolgan poyabzal qisqichlari; Mundzin - uzun va tekis qogbz oglrligi, Pilse - cholkalarni yuvish uchun ishlatiladigan idish.
Koreyada Milliy xattotLik maktabi, SeuL xattotLik maktabi, an’anaviy san’at maktabi, Xanam xattotLik maktabi yoki Chonghak-dongda joylashgan Namsan Xanok qishlogl kabi xattotLik darslari va tanlovlarini taklif qiluvchi koplab joylar mavjud.
§ 2.KOPEMCKOE MCKYCCTBO KAJlJlMrPAGMM
KMiancKan KannHrparfiMa Hanaya Mcno/ib-30BaTbCA B KopeMCKOM o6uj,ecTBe B nepMOfl Tpex papam (nepnofl c 57 r. ao h.3. no 668 r. H.3.). KannnrparfiMa b KopeMCKOM crmıe 6bina paapaöOTaHa apcbmhmm KopeiigaMM,yB/ieneH-HbiMM KMTaMCKOM Ky/ibTypoü. Ohm ncnonb3O-Bann kmt3mckm6 Mepor/iMtfibi m ctmjim Kannn-rparfiMM m coşmazın Ha mx ochobo cbom co6-CTBeHHblM CTMTb (KOpeMCKyO BepCMK)). JİMUJb HeMHorMe KaMeHHbie naMATHMKM c HaAnncnMn MMeoT Ka/uınrparpnHecKMe HaAnMCM, KOTopbie
coxpaHnancb Ao cmx nop m othocatca k 3T0My nepMoay BpeweHM.
Bo BpeMena OöteAMHeHHOM amh3ctmm Cn/ı/ıa KaAnMrpa(|)Ma npoAomarıa npopBeTaTb b Kopee. B Kopee noaBM/iMCb HeKOTopbie M3-BecTHbie xyflo>KHHKM-Ka/ı/ınrpa(|)bi, mx 3Bann Kum Cbmh m Mxbc Mm Boh. O6a ohm nepna^n BA0XH0B6HMe y KMT3MCKMX K8JUlMrp8C|)0B OynH CfOHb M LOm CMH8H, a T8K)Ke MX CTM/ieM, BA0X-HOBJieHHblX KynbTypOM AHHaCTMM T3H.C0Xp3HM-nocb HecKOJibKO npoM3BeAeHMM 3Toro nepMOßa.
KannMrpacfiMMecKMM KBaApaTHbiM CTMnb, npMHaTbiM bo BpeMeHa O6beAHHeHHOM ahh3c-tmm CMnna, npoAonxan Mcnonb3OB3Tbca n b nepMOA Kopë. Oah3ko HesaAonro ao KOHpa Kopë, okojio 1350 roAa, kmt3mckmm Kaaanrpac|j no MMeHM Mxao M3H0y npuflyMan hobbim, 60-nee OKpyrnbiM m cboöoahbim CTMnb khtbííckom Karı/ı kırpan mm MepomMcfiOB. KopeMCKMe KannM-rpatÿbi TaioKe nepenanM CTMnb Mxao.
Flo ceÑ AeHb 3TOT CTM/ib OKasbiBaeT 6onb-luoe BJiMflHMe Ha KopeMCKMe KannMrpacpMHe-cKMe npoM3BeASHMa. Oah3ko bXVI boko 6onee BynbrapHbiM CTMnb cran npMOöpeTaTb 6onb-luyio nonynapHOCTb m cpeAM xyAOXHMKOB.
CaMbIM BblßafOLHMMCa XyAOXHMKOM-K3nnM-rpac[)OM nepMOAa Mocoh (to ecTb MexAy 1392 m 1910 roAaMM) 6bin Kmm Moh Xm. Oh 6bi/i CO3-ZiaTeneM nonynapHoro cthjia KannMrpacpMM, Ha3biBaeMoro ayca. 3to Toxe 3anMCTBOBaHO m3 KMT3MCKMX KaJUlMrpaCpMMeCKMX CTMneM, B H3CT-HOCTM KMTaÑCKOrO HMCbMa HMUjy.
Oah3ko Kmm Moh Xm Ao6aBM.fi k 3TOMy MHOrO CBOMX nMMHbIX LUTpMXOB. 3tO BKfl 1043/10 K0Mn03MHM10 M aCMMM6TpM10 B erO P3Ö0T3X, 3 TaioKe CMnbHbie lutpmxm KaxAoro CMMBona m öyKBbi. no com aeHb 3to oamh m3 caMbix nony-napHbix CTM/ieM KaanMrpacfjMM XaHrbinb (nMCb-M3 KOpeMCKOrO a3blK3).
KMTaMCKMe MepomM0bi XaHAxa Mcnonbso-Banacb b KanecTBe o^MpMa/ibHoro nMCbMa m Ana KannMrpa4)MM. 3t3 cfiopMa nMCbMa 6bina pacnpocrpaHena b 3tot nepMOA, nocKO/ibKy bo II mam III Bexe XaHrbina eine He 6bi.no. Oh mc-nonb3OBanca BnnoTbAO anoHCKOM OKKynapMM b 1910 rOAy.
ílMWb nocne 3Toro kopcmckmm ajı0aBMT Xanrbinb cran ocj/MpMaabHOM cmctcmom nMCbMa M OCHOBHbIM CnOCOÖOM Mn/llOCTpapMM Kan-nMrpacfiMMecKMx npoM3BeAeHMM. 3to npoM3O-wno, KorAa CeBepnaa Kopea m lOxHaa Kopea pacKono/iMCb. Oah3ko Mcnonb3OBaHMe KannM-rpac|)MM XaHAxa no-npexHeMy nonynapno ce-roAHa.
Bo BpeMa anoHCKOM OKKynapMM KopeMCKan KannMrpacpMfl TaKxe Havana McnbiTbiBaTb BnM-^HMe anoHCKOM KannMrpacfiMM. C ApyroM cto-poHbi, coBpeMeHHan KopeMCKaa KannMrpac|3Mfl - 3T0 M3o6pa3MTenbHoe MCKyccrBO, OTpaxaio-mee KopeMCKyio KynbTypy nepes XaHrbinb, a He XaHAxa.
Mhotmm nıoÖMTenflM KannMrpacfiMM Hpa-BMTca KannMrpacfiMa XaHrbinb 3a ee npocryio m CAepxaHHyio KpacoTy. Oh ooctoahho pa3BM-BaeTca, npeAnpMHMMaeTca Bee öonbiıje nonbi-TOK CO3A3Tb HOBbie LUpM(|)Tbl M CTMnM XyAOXe-CTBeHHoro nMCbMa.
OcHOBHbie MHcrpyMeHTbi, KOTopbie Mcnonb-3yK)Tca b KopeÑCKOM KannMrpacfiMM: öyMara, KMCTb, MepHMnbHaa nanoMKya m HepHMnbHbiM KaMeHb. Ha kopcmckom nsbiKe mx H33biBaiOT HUAI— (MyHÖaHcaßy), 4T0 nepeBOAMTcn kbk «HeTbipe Apyra». KaxAbiM npeAMeT npeACTaB-nan co6om TMnMHHyio HaxoAKy b MCcneAOBaHM-8X KOpeMCKMX AOMOB crapMHbi.
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• ByMara, Mcnonb3yeMaa b KannMrpac|)MM, AonxHa 6biTb tp3amlimohhom 6yMaroM XaH-AXM, TaKxe M3B6CTHOM K3K KopeMCKaa öyMara TyroBoro AepeBa. 3to csasaHO c tom, hto oh npeBoexoAHO BnMTbiBaeT aepHMna m apKO ot-paxaeT pseTa.
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• KMCTbxe AOAXHa ÖblTb npAMOM. Ero koh-HMK ßOWeH ÖblTb OCTpbIM M CA6A3H M3 uep-CTM XMBOTHbIX, npM46M K3XA3A npilAbflOJIXHa ÖblTb OAHH3KOBOM AAMHbl.
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• Mto KacaeTCA nepHMAbHOM naAOHKM, to ee M3TOTaBAMBaiOT nyreM CMewMBaHMa caxM cropeBiuMx AepeBbeB m mien. Xopomaa Tyub TaiOKe AOJlXHa ÖblTb TBepAOM M KaHeCTBeHHOM.
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• HaKOHeu,, MepHMAbHbiM K3MeHb AOAxeH ÖblTb M3rOTOBA6H M3TBepAOTO K3MHA M He BAM-TblBBTb BOAy
3tm neTbipe MHCTpyMeHTa abaaiotca ocho-BOM, KOTOpbie AOA>KHbl ÖblTb y KOTO-TO, HTOÖbl HanaTb paöoTy./Via cosashma weAeßpa oöhh-ho TpeöyeTCA HecKOAbKO Apyrnx MHCTpyMeH-
TOB, T3KMX K3K ËhAXOK, KOTOpbIM npeACTaß-/isieT coöom KOHTeMHep aaa BOAbi, McnoAb3y-cmom aaa M3MeAbHeHMA nepHMAbHoro kbmha; LAMnpbi aaa oöyBM, npeACTaßAAioiAMe coöom KOHTeMHep, B KOTOPOM yAep>KMßaiOTCA kmctm; MyHA3MH - aamhhoc m nAOCKoe npecc-nanbe, a TaiOKe FlMAce - mmcks, McnoAb3yeM3A aaa MblTbA KMCTM,
B Kopee mhoto Meer, rAe npoßOAATCA ypo-KM M KOHKypCbl Ka/l/lMTpatjlMM, T3KMX K3K Hs-U,MOHaAbH3A Lİ1KOA3 Ka/lJlMTpatjlMM, CeyAbCK3A WK0A3 K3AAMrpac|)MM, UJK0A3 TpaAMpMOHHblX MCKyCCTB, LUkOAS K3AAMrp30MM X3H3M MAM AÖ-peBHA H8MC3H X3H0K, KOTOpaA pacnoAOxena B MoHrxaK-AOHre.
Chinese Calligraphy began to be used in Korean society during the period of the Three Kingdoms (between 57 BC to 668 AD). Calligraphy in the Korean style was developed by ancient Koreans, who were fascinated by Chinese culture. They drew from Chinese characters and calligraphy styles and made their own style (Korean version) based on them. Few inscribed stone monuments remain to have calligraphic inscriptions that still exist today from this time period.
During the Unified Silla dynasty’s time, calligraphy continued to flourish in Korea. Some notable calligraphy artists emerged in Korea, named Kim Saing and Choe Chiwon. Both of them took a lot of inspiration
from Chinese calligraphers Ouyang Xun and Yu Shinan, and their Tang dynasty culture-inspired styles. Some works from this time period have been preserved.
The calligraphic squarish style embraced during the Unified Silla Dynasty continued to be used during the period of Koryo. However, just before the end of Koryo, around 1350, a Chinese calligrapher by the name of Zhao Mengfu came up with a new, more rounded, fluent style of Chinese character calligraphy. The Korean calligraphers then took on the Zhao style as well.
To this day, this style greatly influences Korean calligraphic works. However, in the 16th century, a more vulgar style began
gaining more popularity among artists as well.
The most prominent calligraphic artist of the Joseon period - so between 1392 and 1910 - was Kim Chong Hui. He was the creator of a popular style of calligraphy, called ch’usa. This, too, is derived from Chinese calligraphic styles, the Chinese lishu script to be specific.
However, Kim Chong Hui added a Lot of his own personal touches to it. This included the composition and asymmetry in his works, as well as the forceful strokes of each character and letter. To this day, this is one of the most popular styles used in Hangul calligraphy.
Hanja (Chinese characters) was used as the official script and for calligraphy. This form of writing was prevalent during this period since, in the 2nd or 3rd century,there was no Hangeul yet. This was used all the way until the Japanese occupation in 1910.
Only after that did the native Hangul alphabet become the official writing system and the main way of illustrating calligraphic works. This happened when North Korea and South Korea split. However, using Hanja calligraphy is still popular today.
During the Japanese occupation, Korean calligraphy also began drawing influences from Japanese calligraphy. Modern Korean calligraphy, on the other hand, is a visual art reflecting the Korean culture through Hangeul instead of Hanja.
Many calligraphy enthusiasts enjoy Hangeul Calligraphy for its simple and restrained beauty. It is constantly being deve-
loped, with increasingly more attempts to create new fonts and artistic writing styles.
Four basictools used in Korean calligraphy: paper, brush, ink stick, and ink stone. In Korean Language, they are referred to as “ êfAL^ (munbangsawoo), which translates as “four friends”. Each item was a typical find in the studies of Korean homes in older times.
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• The paper used in calligraphy is required to be traditional hanji paper, aka Korean mulberry paper. This is because it absorbs ink excellently while reflecting the colors vibrantly.
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• The brush, on the other hand, must be straight. Its tip should be sharp and made out of animal hairs, with each strand the same Length as another.
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• As for the ink stick, it is made by mixing the soot from burned trees and glue. A good ink stick should also be firm and fine in its composition.
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• Ink stone should also be made from a firm stone and has to be the kind that does not absorb water.
These four tools are the basics someone must have to get started. Several other tools are usually required for a masterpiece to be created such as Yyeonjeok which is a container for the water used to grind the ink stone; boot tong, which is a container that holds brushes; Munjin which are Long and flat paperweights, and the Pilse which is a bowl used to wash the brush.
Korea has plenty of areas where calligraphy classes are offered and calligraphy
competitions are also held yearly, such as National Calligraphy School, Seoul Calligraphy School, School of Traditional Arts, Hanam
Calligraphy School or Namsan Hanok Village, which is Located in Chonghak-dong.
©Antique Alive
©Antique Alive
©Kwon Myoung-won
©The Korea Herald
©Sejong Korean Language School
§ 3.XIT0Y XATTOTLIK SAN’ATI
“Xitoy xattotligi” 2009-yilda YUNESKO-ning Insoniyat nomoddiy madaniy merosi Reprezentativro'yxatiga kiritilgan.
Xitoy xattotligi badiiy amaliyot bo‘lib, u asosiy vosita va material sifatida xitoycha belgilarni mo'yqalam, siyoh va qog'oz yordamida yozish orqali ma’lumot uzatish vazifasini bajarar ekan, insonning tabiat, jamiyatva hayothaqidagitafakkuriniyetkazadi va shu tariqa o'ziga xos xarakter ruhini aks ettiradi. Xitoy xalqining temperamenti, qiziqishlari va falsafasi maxsus grafik belgilar va yozuv ritmlari orqali ifodalanadi. Ushbu belgilarning paydo bo'lishi va evolyutsiyasi bilan bir qatorda, xitoy xattotligi 3000 yildan koproq vaqt davomida rivojlanib, Xitoy madaniyatining ramziga aylandi.
Hozirgachatopilganeng qadimgi xitoycha belgilar Shan sulolasi davriga xos (miloddan avvalgi XIV-XI asrlar) suyaklar, toshbaqa qobig'i va bronzalardagi yozuvlardir. Aynan Xan sulolasi, shuningdek, Vey va Tsin sulolalari (taxminan milodiy II asr oxiri -IV asr) davrida ma’lumotlarni yozib olish vositasi sifatida xitoy belgilarini yozish asta-sekin san’atga aylandi. Yozuv shakllarining rivojlanishiga ko‘ra beshta uslub, ya’ni bosma, rasmiy yozuv, kursiv, yugurish va muntazam yozish uslublari, shuningdek, shaxsiy yozuv, kursiv yozuv kabi bir qator ommaviy axborot vositalari shakllari paydo boTdi.Chizilgan varaq, vertikal osi Iga n varaq, markaziy varaq, antitetik kupletlar va xitoy
xattotligining yelpig‘ichsimon qoplamalari ishlab chiqilgan.
Matbaa texnologiyasi ixtiro qilinishidan oldin xattotlikma’lumotlarniyozib olish,yozma aloqa va axborot almashinuvni osonlashtirish vazifalarini bajargan. Xattotlikni namoyish qilish uchun joy uylar, saroylar, do'konlar va ibodatxonalardan qoyalar va tosh devorlarga qadar cho'zilgan. Xattotlik ko'pincha milliy bayram marosimlari va qurbonlik marosimlari kabi mühim voqealarda, shuningdek, oddiy odamlarning kundalik faoliyati, bayramlar, dafn marosimlari vadiniytadbirlarda namoyon boladi va ularda turli rolo'ynaydi.
Oadimda xattotlikni o'rganish ziyolilar va amaldorlar uchun zarur bo‘lib, ular mahoratlarini keyingi avlodga yetkazish va rivojlantirishning asosiy ishtirokchilari bo‘lgan. Xattotlik bilan bog‘liq bir qator faoliyatlar paydo bo'lgan madaniy muhit bilan birgalikda xitoylar uchun mühim ma’naviy hayot maydonini tashkil etdi.
O‘z taraqqiyotida xattotlik nazariya va malakalarning to‘liq to'plamini ishlab chiqdi. San’at shaxsiy o'rganish va hujjatlashtirilgan yozuvlar orqali doimiy ravishda targ'ib qilinib, rivojlantirib borildi va o'zgaruvchan vaqt va o'zgaruvchan asboblar va materiallarga mos keladigan o'ziga xos xususiyatlarga ega bo'ldi. Xitoy tarixi Van Xizji (milodiy 303-361), Yan Zhenqing (milodiy 709-785) va Su Shi (1037-1101) kabi ko'plab nufuzli xattotlarni yaratgan.
Bugungi kunga keLib qaLam va kompyu-terning ommalashishi mo’yqalamning asosiy yozuv asbobi sifatidagi roLini tugatdi va shunga mos ravishda xitoy xattotLigini maxsus san’atga aylantirdi hamda asta-sekin san’atning tarqalishi mas’uLiyatini an’anaviy ziyoLiLar va amaldorLardan professional xattotlarga o‘tkazdi.
Hozirgi vaqtda Xitoy xattotLigining tarqa-Lishi va rivojlanishi asosan xattotLar uyush-malari, san’at kollejlari va maktablari, barcha darajadagi i Lmiy-tadqiqot muassasaLariga bog’Liq. Xitoy xattotlari assotsiatsiyasi, 8000 dan ortiq a’zolari bo’Lgan nodavlat professional tashkilot va Xitoy Milliy san’at akademiyasi Xitoy xattotlik instituti, milliy darajadagi xat-totlik tadqiqot va yaratish markazi, xitoy xattotLigini saqlash ea tarqatishga bag’ishlangan asosiy tashkilotlardir. Shen Peng, Ouyang-Zhongshi, Chjan Xay va Vang Yong - bular san’at targ’ibotchilarining ayrim vakiLLari.
An’anaviy usta-shogird oqitish usuli biLan bir qatorda, maktab ta’Limi ham Xitoy xattotLigini yoyishning muhim usuLiga aylandi. 0‘zining yorqin tarixini davom ettirgan holda, Xitoy xattotligi boshqa san’at turLaridan ham zarur darajada o’zlashtirdi. Xattotlik faoliyati kopincha turli darajalarda o’tkazildi.Xitoy xattotligi eng mashhurva eng ko‘p qollaniladigan san’at turi, shuningdek, Xitoyning an’anaviy madaniyati va estetik ta’Limini tushunishning asosiy kanali bo’Lib qolmoqda.
Xitoy xattotligi eng aniq xitoycha xusu-siyatlarga ega bo’Lgan va xitoylar orasida
juda mashhur bo’Lgan san’at turLaridan biridir. Hozirgi davrda xattotlik amaliyotining ishtirokchiLari hali ham kop. Butun mamlakat bo’ylab xattotlik uyushmalari va jamiyatlari mavjud va ko’plab kollejlarda xattotLik asosiy fan sifatida o’rgatiladi. Yuqorida qayd etilgan İLmiy izlanishlardan tashqari, maktabda xattotlikni o’rganayotgan ko’plab bolalar malaka oshirish uchun ixtisosLashtiriLgan xattotlik to’garaklariga yuboriladi. Kattalar esa bo’sh vaqtLarida xattotLikni o’rganish va mashq qilishga intiladi. Xitoy xattotligini o’rganish va mashq qilish hissiyotlarni ifoda etish, xarakterni rivojlantirish va jismoniy salomatlikni yaxshilashga yordam beradi hamda an’anaviy Xitoy madaniyati haqida bilim olishning eng yaxshi usullaridan biridir.
Oadim zamonlarda Xitoy xattotlik san’ati Xitoy madaniyati, jumladan Koreya, Yaponiya va Janubi-Sharqiy Osiyo mamlakatlariga kuchli ta’sir ko’rsatgan, ba’zi mintaqalarda keng tarqalgan edi. Hozirgi kunda xalqaro xattotlik almashinuvlari tobora ko’payib bormoqda. Oayerda xitoy bor bolsa, xitoy xattotligi bor.Xitoydagi ko’plab xorijiy dostlar Xitoy xattotligini o’rganish orqali bu davlatni bilish va tushunishga muvaffaq bolishdi. Zamonaviy san’at, arxitektura va dizayn ham ushbu qadimiy san’atdan qimmatli ozuqa olishi mumkin. Ishonch bilan aytish mumkinki, Xitoy xattotligi Xitoyni o’rganish va tushunish uchun muhim manbadir.
Insoniyat jamiyati rivojlanib borar ekan, xitoy xattotligi ham zamonaviy davrdagi boshga an’anaviy san’at turlari gatori uning
yanada rivojLanishiga qanday erishish mumkinLigi masaLasi oldida turibdi. Shu bois, Xitoy xattotLigining insoniyatning nomoddiy madaniy merosi Reprezentativ royxatiga kiritilishi, uni meros qilib olish va asrab-avaylash Xitoy madaniyatining eng yorqin namoyondasi bo‘Lgan va dunyoning madaniy xiLma-xiLLigini namoyish qiluvchi ushbu san’at turining dunyo miqyosida tarqalishiga yordam beradi va shuningdek, Xitoy xalqi-ning ishonchi va gururini oshirishga, bu xalq-ning ajoyib an’anaviy madaniyati haqidagi biLimlari va mahoratlarini rivojLanishiga yordam beradi. Bundan tashqari, bu xaLqaro hamjamiyatning turLi siviLizatsiyaLari o‘rta-sidagi muLoqotni rivojlantirish va insoniyat jamiyatining barqaror rivojLanishiga xizmat qiLadi.
Xitoy xattotLigining beshta usLubi mavjud. ULarning har biri oziga xos murakkab va noyob sanaLadi.
Chjuanshu (K#, misol.^^). Ushbu usLub miLoddan avvaLgi VIII-IX asrLarda paydo bolgan va Tsin podshoLigida rasmiy yozuv usLubi bolgan. Uning ikkita asosiy variant! mavjud:“katta bosib chiqarish”va“kichik bosib chiqarish”. ULarning asosiy farqi ierogliflarni bajarishning tekisLigi va qattiqLigidan iborat. Bu uslub xitoy xattotLigining qadimgi uslublaridan biridir. Uning oziga xos jihati -barcha chiziqlarning nafisLigi va tognligidir.
Lishu (IS#, ^^), rasmiy xat - ierog-Liflarning kvadrat konfiguratsiyasi biLan ajralib turadigan xitoy yozuvi usLubi. Ba’zan bu usLubni ishbiLarmonLik xati deb atashadi.
Ushbu kaLLigrafiya usLubi chjuanshuni qayta ishLash orqaLi yaratiLgan bo‘lib,tezyozish usuLi ehtiyojida yaratiLgan. TuziLmaning qat’iyLigi va chiziqlarning perpendikulyarligi ushbu uslubga xosdir.
Kayshu (®^). Eng oddiy va ommabop uslub.Uoddiyaholi orasidaeng kengtarqalgan. Uning oziga xos xususiyati shundaki, ieroglif qancha elementlardan ¡borat bolsa, yozuvchining qoli shuncha marta yozishdan ajralib turadi. Bu uslubda Ouyan Syun (551-641) birinchi ustoz hisoblanadi.
Sinshu (İt#, misol. İt 45), Umumiy yozuv - xitoy xattotLigining tarixiy usLubi. Bu uslub yumaloq ham.burchakli ham emas.Bu qonuniy xat va kursiv yozuv o'rtasidagi narsa. Sinshu usLubi “yurish yozuvi” deb ataladi, chunk! u yurgan odamning tasviri biLan bogliq. Sinshu xattotlik usLubi keng tarqaldi, chunk! u juda quLay va bunda ierogliflarni yozishda sezilarli tezlikka erishish mumkin.
Tsaoshu (##, misoL. M45) - xitoycha belgilarni yozish uchun ishlatiLadigan kursiv usLublarning umumiy nomi. Uslubning nomini “beparvo yozish” deb tarjima qilish mumkin. Kursiv yozuvning barcha turlari soddalashtirilgan va yozuvda uzluksiz, siLLiq va tejamkor. Xitoy tarixining turLi davrLariga oid xattotlik ustalarining koplab asarlari ana shu uslubda yozilgan.
Xitoy xattotligi asboblari. Xattot ishxo-nasining haqiqiy boyliklari “to'rtta javohir” ptMEJS): moyqalam, ^, siyoh H, qogbz M va siyoh idishi ®> deb ataladigan narsalar-dir: Oadim zamonlardan beri hunarmandlar
orasida ushbu asboblarning mavjudLigi ularning kasbiy mahoratini tan olishdan dalolat beradi va egaLariga boyLikva’da qiLgan.
Moyqalamlar odatda, hayvonlarning jun-Laridan (quyonlar, bo'riLar, qoylar, kiyiklar, tulkilar) tayyorlanadi. Har xiL turdagi junLarning kombinatsiyasi kopincha qattiqroq yoki yumshoqroq tuklar yaratish uchun ishLatiLishi mumkin.Cho'tkaLaming olchamLari va shakLLari butunLay boshqacha bolishi mumkin.
Oogbz. Bugungi kungacha xattotLar ko‘p ishLatadigan «syuan» (#M ) , qogbzi Anxoy provinsiyasida Tan (SR) suLolasi
davrida yaratiLgan va hanuzgacha xattotLik uchun eng mos qogbz hisobLanadi. U turLi osimLik toLaLaridan iborat bo'Lib, namni o'ziga yaxshi oLadi va bo'yoqni saqLaydi, eng mühimi, eskirmaydi va eziLishLarga chidamLi. Yaxshi saqlansa, u yiLLab xizmat qiLishi mumkin.
Siyoh. Siyoh an’anaviy ravishda kuyik yoki komirdan tayyorLanadi. Boyoq hosiL bolishi uchun u suv biLan araLashtiriladi. Yaxshi sifatLi siyoh pigmentLari yozish paytida ochmaydi yoki yig'iLmaydi. TurLi miqdordagi suv siyoh biLan aralashtiriLganda,uturLi xiLdagi rangLarni berishi mumkin.
§ 3.KMTAMCK0E MCKYCCTBO KA^^MrPACPMM
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öonee 3000 neT n CTana cnMBonoM KnTancKon KynbTypbi.
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MHcrpyMeHTbi kmt3mckom KaBBMrpa^MM. HaCTOALAMMM C0KP0BMIA3MM MSCTepCKOM K3B-BMrpa0a abbakjtca tbk Ha3biBaeMbie «neTbipe AparoneHHOCTM» (##0#): KMCTb #, nepHM-Ba fl, öyMara # m nepHMBbHMpa #. HaBMHMe 3TMX MHcrpyMeHTOB cpeAM MacTepoB c ApeB-HMX BpeMeH BBBBeTCA 3H3KOM npM3H3HMA MX npocfıeccMOHaBbHbie HaBbiKM m oßemaHMA 60-raTCTBa mx BnaAeBbpaM. Kmctm oöbHHO AeBa-1OT M3 mepCTM XMBOTHbIX (KpOBMKOB, BOBKOB, OBep, OBeneM, bmcmp). Kom6mh3pmm pasHbix TMnOB mepCTM Macro Monno MCnOBb3OB3Tb ABA CO3A3HMA ÖOBee >KeCTKOrO MBM MATKOTO Mexa. Pa3Mepbi m popMbi KMcreM MoryT öbiTb coBepujeHHO pa3HbiMM. ByMara CoaHb (##), AO CMx nop UMpoKO McnoBb3yeM3A KaBBMrpa-(fiaMM, ÖblBa CO3A3H3 B npOBMHpMM AHbXOM BO BpeMena amh3Ctmm Tan (OR) n AO cmx nop CMMTaeTCA HaMÖOBee noAxoAAipeM aba kbbbm-rpa(|jMM. ÛHa AOBroBeMHa m BbiAepxMBaeT spe-MeHHbie noBpexAeHMA. MepHMna tp3ampmoh-HO M3rOTaBBMBafOTCA M3 C3XM MBM APSBeCHOTO
ycna. Era CMewMBatOT c boaom ajm no/iyneHMS KpacKM. nnrweHTbi MepHiin xopoiuero KanecrBa He BbiropaxjT m He cnnnaora bo BpeMn nucb-
Ma. KorAa c HepHiinaMM CMeujHBaera pasHoe Koji MHeer bo boabi, ohm Moryr ßaßaTb paaHbie LiBeTa.
“Chinese calligraphy” was inscribed to the UNESCO Representative List of the intangible cultural heritage of humanity in 2009.
Chinese calligraphy is an artistic practice that, while fulfilling the practical function of information exchange through writing Chinese characters with brushes, ink, and paper as the main tools and materials, conveys human contemplation of nature, society and Life and thus reflects the unique character, spirit, temperament, interest, and philosophy of the Chinese people through special graphic symbols and writing rhythms. Along with the appearance and evolution of Chinese characters, Chinese calligraphy has developed for more than 3,000 years and become a symbol of Chinese culture.
Chinese calligraphy has developed along with the appearance and evolution of Chinese characters. The earliest Chinese characters discovered to date are the inscriptions on bones, tortoise shells, and bronze from the Shang Dynasty (XIV-XI century B.C.). It was during late Han Dynasty and the Wei and Jin Dynasties (approximately from late 2nd to 4th century A.D.) that the writing of Chinese characters as a means of recording information gradually evolved into an art with an aesthetic function. In correspondence with
the evolution of the script forms, five styles, namely, the seal-script, official-script, cursivescript, running-script,and regular-script styles, and a number of carrier forms, including personal Letter, hand scroll, vertically-hung scroll, central scroll, antithetical couplets, and fan covering, of Chinese calligraphy have been developed.
Before the printing technology was invented, calligraphy had performed the functions of recording information and conducting written communication and exchange. The space for calligraphic display has extended from homes, palaces, shops, and temples to the cliff and rocky wall. Calligraphy often appears in important events such as national celebration ceremonies and sacrificial rites as well as the daily activities of common people such as celebrations, burials, and religious activities, and performs different roles therein.
In ancient times, calligraphy was a necessary skill for intellectuals and officials, who were the main participants of the inheritance and development of calligraphy. A series of activities around calligraphy,together with the resulting cultural atmosphere, have constituted the important spiritual life space of the Chinese.
In its development, calligraphy has developed a complete set of theories and skills. The art has enjoyed orderly propagation and continuous development through personal instruction and documented records, and presented distinct features in correspondence the change of time and alteration of tools and materials. Chinese history has produced a Large number of prestigious calligraphers, such as Wang Xizhi (303-561 A.D.),Yan Zhenging (709-785 A.D.), and Su Shi (1037-1101 A.D.).
In modern Life, the popularization of pens and computer has put an end to the role of brush as the primary writing tool, and has accordingly transformed Chinese calligraphy from a working skill into a special art, and gradually transferred the responsibility for the propagation of the art from the traditional intellectuals and officials to professional calligraphers.Contemporarily,the propagation and development of Chinese calligraphy mainly depends on the calligrapher associations, arts colleges and schools, and research institutions at all Levels. China Calligraphers Association, a nongovernmental professional organization with over 8,000 members, and Chinese Calligraphy Institute of Chinese National Academy of Arts, a national-Level calligraphy research and creation center, are the major organizations for the propagation and safeguarding of Chinese calligraphy; Shen Peng, Ouyang Zhongshi, Zhang Hai, and Wang Yong are some representatives of the propagators of the art. Aside from the traditional method of master-disciple
instruction, school education has also become an important mode of Chinese calligraphy propagation. While carrying forward its glorious history, Chinese calligraphy has also absorbed nutrients from other forms of arts. Freguent calligraphy activities have been held at different Levels. Chinese calligraphy is still the most popular and the most widely participated art form, and is also a main channelforthe appreciation of the traditional culture of China and for esthetic education.
Chinese calligraphy is one of the art forms that have the most distinct Chinese features and strongly appeal to Chinese people. In the contemporary era, there are still many participants of calligraphy practice. There are associations and societies of calligraphers around the country, and many colleges are teaching calligraphy as a major discipline. Besides the above-mentioned academic research, many children, while learning calligraphy at school, are sent to specialized calligraphy classes for a further study, and Large numbers of adults are keen on the study and practice of calligraphy in their spare time. Learning and practice of Chinese calligraphy helps to express emotion, cultivate character and boost physical health, and is one of the best ways of receiving the education of the traditional Chinese culture.
A Long time ago, the art of Chinese calligraphy was already disseminated to some regions heavily influenced by Chinese culture, including Korea, Japan, and Southeast Asian countries. In the present age, international
exchanges on calligraphy have become ever more frequent. Wherever there are Chinese, there is Chinese calligraphy. Many foreign friends in China have succeeded in knowing and understanding China through Learning Chinese calligraphy. Modern art, architecture, and designing may also absorb valuable nutrition from this ancient art. It is safe to claim that Chinese calligraphy is an important channel to study and understand China.
As the human society advances, Chinese calligraphy, the same way as other traditional art forms in the contemporary era, is confronted with the question of howto achieve its further development. Therefore, the selection of Chinese calligraphy for the Representative List of the Intangible Cultural Heritage of Humanity/for its inheritance and safeguarding will help to spread to the whole world this art form, which is the most representative of Chinese culture and demonstrates the cultural diversity of the world, and will also help to boost Chinese people’s confidence and pride and increase their knowledge and understanding of the excellent traditional culture of this nation. Furthermore, this will help to promote the dialogue between the different civilizations of the international community and the sustainable development of the human society. There are five styles of Chinese calligraphy. Each style is complex and unique in its own way.
Zhuanshu (1#, example O)-This style appeared in the 8th-9th centuries BC and was the official writing style of the Oin Dynasty. It
has two main options: “Large font” and “small font”.Their main difference isthe evenness and firmness of the hieroglyphs. This style is one of the ancient styles of Chinese calligraphy. Its distinctive feature is the elegance and correctness of all Lines.
Lishu (##.O), the formal script, is a Chinese writing style characterized by a square configuration of characters.This style is sometimes called business writing. This style of calligraphy was created through Zhuanshu processing, which created the need for a fast writing method. This style is characterized by rigidity of construction and perpendicularity of Lines.
Kaishu (^45). The simplest and most popular style. Most common among ordinary people. Its peculiarity is that the more elements a hieroglyph consists of, the more times the writer’s hand is separated from the Letter. Ouyang Xun (551 - 641) is the first master of this style.
Xingshu (n#> example fT^). General writing is a historical style of Chinese calligraphy. This style is neither round nor angular. It is a cross between legal writing and handwritten writing. The Shinshu style is called “walking writing” because it is associated with the image of a walking person. The Shinshu style of calligraphy has become widespread because it is very convenient and allows you to achieve significant speed in writing hieroglyphs.
Zaoshu (M#, example #^) is the general name for the cursive styles used to write
Chinese characters. The name of the style can be translated as careless writing. All types of cursive writing are characterized by simplicity and continuity of writing, smoothness and economy. Many works of calligraphers from different periods of Chinese history were written in this style.
Chinese calligraphy tools. The real treasures of a calligrapher’s workshop are the so-called “four jewels” (BBEIe): brush H, ink H, paper ^ and inkwell f.The presence of these tools among craftsmen since ancient times is a sign of recognition of their professional skills and a promise of wealth to their owners. Brushes are usually made
from animal hair (rabbits, wolves, sheep, deer, foxes). Combinations of different wool types can often be used to create harder or softer fur. The sizes and shapes of brushes can be completely different. Xuan paper (Big), still widely used by calligraphers, was created in Anhui Province during the Tang Dynasty (g R) and is still considered the most suitable for calligraphy. It is durable and can withstand temporary damage. Ink is traditionally made from carbon black or charcoal. It is mixed with water to create paint. Good quality ink pigments do not fade or stick together while writing. When different amounts of water are mixed with ink, it can produce different colors.
© Yan Xiaofei, 2008 © Yan Xiaofei, 2008
© Chai Tianlin, 2008
© Yan Xiaofei, 2005
© Yan Xiaofei, 2005
© Chai Tianlin, 2005
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2013-yilda “Mogul xattotligi” YUNESKO-ning Zudlik biLan muhofazaga muhtoj nomod-diy madaniy meros ro’yxatiga kiritilgan.
Mogul xattotligi 1000 yillik yozuv tizimi bo‘Lib,so‘z hosilqilish uchun uzluksizchiziqlarni vertikal ravishda boglaydi. Mogul yozuvidagi harflar ko’chmanchilar tomonidan yaratilgan va avloddan-avlodga o‘tib kelgan. Oaysi uslubda yozilgan bo’lishidan qat’iy nazar, fonetik jihat-dan oqiladigan 90 ta harf shakllarini bilsangiz, uni oqish oson. Oadimgi ko’chmanchi mog utlar ozlarining ulkan hududlarini kezib yurganlar va bilimlarni bir-birlariga yetkazish uchun oddly og’zaki tavsiflardan foyda Langan Lar.
Binobarin, mogul yozuvidagi harflarni nafaqat yozma, balki og’zaki shaklda ham o’rganish va tushuntirish ko’zda tutilgan. Misol uchun, mo’g’ul xattotligida harflarni yaratish uchun oltita asosiy zarbadan foydalaniladi. Ular titim (bosh), shud (tish), shilbe (poya), gedes (oshqozon), num (kamon) va suul (dum) deb ataladi. Cho’pon ona og’liga yaylovda “ba” harfi “qorin va piyoz”, “a” harfi esa “tish” sifatida tasvirlanganligini o’rgatishi mumkin edi. Harflarni og’zaki tasvirlashning bunday turi cho’ponlar va ularning bolalari uyda oqish uchun yetarli yorug’Lik ololmaydigan uzoq, qorong’i qish kechalarida juda foydali bo’Lgan. Ular rivoyatlar, bilim va madaniyatni yetkazishda og’zaki tarixga,og’zaki ta’Limotga, yodlash qobiliyatiga tayangan.
Zamonaviy Mo’g’ulistonda erkin fikrlovchi rassom va yozuvchilar an’anaviy mo’g’ul
xattotLigini turli yo’llar biLan, shu jumladan ushbu maqola boshida tasvirlangan yuksak badiiy ifodalarni rivojlantirmoqda.Mogulxat-totligining qolgan uchta asosiy qo’LLanilishi an’analarva ijtimoiy ehtiyojlar bilan bog’Liq.
Birinchidan, an’anaviy, aniq, chiroyli yozuv-ga bo’Lgan ehtiyoj asrlar davomida saqLanib qolgan. Skriptning har bir elementini diqqat bilan tavsiflash ushbu xatni juda jozibali va muhim voqealarni to’g’ri yozib olish uchun foydali qiladi. Bunday yozuv xonlar va saroy a’yonlari tomonidan imzolangan maktublar, kitoblar, risolalar va hatto siyosiy bayonotlar, masalan, 1911-yilda Bog’dxon hukumati tomonidan mustaqillike’Lon qilinganida ham qo’LLanilgani qadimgi hujjatlardan ma’Lum bo’Lgan. Ushbu harf bugungi kunda rasmiy xatlar, taklifnomalar, diplomatik yozishmalar va sevgi maktublari uchun İshlatiLadi. Eng yaxshi va eng aniq mo’g’ul xattotlari o’rta maktab diplomlari, nasabnomalar kitoblari, jamiyat mukofotlari hujjatlari, viloyat va hukumat hujjatlari va kitoblarni yozish uchun taklif qilinadi. Aniq va puxta yoza oladiganlar ko’pincha to’liq vaqtli xattotlik yozish ishlariga ega bo’Lmasalar ham, ular ozlarining katta oilalari, jamiyat ichida hurmatga sazovor bo’Lib, ko’pincha to’ylar, oilaviy marosimlar va rasmiy marosimlarga taklif qilinadilar.
Ikkinchidan, sinxron yozish uchun an’anaviy mo’g’ul xattotligi qo’LLaniladi. Yozuv mashinkalari, kompyuterlar va audioyozuvlar
paydo bo‘Lgunga qadar mogul xattotLigini “qisqa” uslubda yozib, yig'iLishLar, sud majlisLari va nutqlarni hujjatLashtirib tura-digan malakali xattotlar bolgan. Sinxron yozishni biLadiganlar har doim yaxshi maoshli toliq kunLik ishLarga ega bolishlari sababli, ota-onalar o‘z farzandlarini 6-8 yoshdan boshLab yozuvchi murabbiyLarga yuborishgan. Faqat texnoLogiya rivojlanishi biLan u yoq bolib ketdi. Shu sababLi, hozirgi tarjimonLar faqat “Xumuun Bichig” gazetasi (eski mogul grafikasida nashr etiLgan yagona gazeta), Yozuv va madaniyat markazi va Moguliston Prezidenti devoni kabi bir nechta muassasaLarda ishlaydiganLardir.
Uchinchidan, mogul xattotligi gerblar, tangaLar va shtamplar uchun “buklangan” shaklda qollaniladi. DumaLoq va kvadrat yozuvlarni yozishni biLadiganlar mogul yozuvlarini juda yaxshi ozlashtirishadi.Tog'ri, Lekin “buklangan” shaklda yozish uchun har bir harfning oziga xos olchamlarini hisobga oLish kerak, shunda harf kichik boshliqlarda buklansa, butun so‘z aniq yumaloq yoki aniq kvadrat shaklda ko'rinadi. XIII-XIV asrlarda moguLLar imperiyasi davrida buklangan xattotlik tangaLar va davlat tamgaLari uchun qollanilgan bolsa, XV-XIX asrlarda bu shakllar diniy naqshlar, diniy brendlar va matoLar, bosh kiyimlar, kitob muqovalari va boshqalardagi bezaklar uchun ishlatilgan.
Zamonaviy Mogulistonda buklangan xat-totlik kompaniyalar, uyushmalar va ularning Logotiplari, shuningdek, davlat va nodavlat tashkilotlarining deklaratsiyasi va shtamp-
Lari uchun ishlatiladi. Odatda buklangan xattotlik qilish uchun doimiy ish yoq, chunki bu kundalik ish emas. Buklangan xattotlikni yaxshi bilganlar juda iste’dodli va bilimli erkak va ayollar hisoblanib, jamiyatda katta hurmatga ega. Ular kopincha o‘z ixtiyori bilan ishlaydilar yoki qilgan ishlari uchun juda kam maosh oladilar. OLİmlar aytgan-idek, “matnni buklay olish uchun siz bir sozni 10000 marta yozishingiz kerak”.
An’anaga ko‘ra, xattotlikni avloddan-avlodga o’rgatishning asosiy usuli uyda ogitish bolgan. An’anaviy ustozlar shogird-Lari orasidan eng zo’rlarini tanlab, ularni xattotlikka o'rgatgan. Biroq 1937-1940-yillardagi Stalin qatag‘onlari davrida minglab mohir ustoz va olimlar halok boldi. Omon golganlarga yosh avlodga ustozlik qilish taqiqlangan. Kop o'tmay, taxminan 1946-yilda, yangi kirili yozuvi yagona alifbo sifatida qabul qilindi, bu eski mogulalifbolari va Lotin harflarini o‘qitish taqiqlandi. Faqat 1970-yillardagina eski mogul yozuvi qayta tiklanib, universitetlarda cheklangan darslar o'tishga ruxsat berildi.
1990-yildagi demokratik ozgarishlardan so‘ng, moguLLar oziga xosligining tikLanishi bilan birga, an’anaviy xattotlikka qiziqish yanada ortdi. Ushbu uygbnish belgisi sifatida birinchi nokommunistik siyosiy tashkilot - Moguliston Demokratik lttifoqi ozining asosiy Logotipi sifatida buklangan xattotlikdan foydalangan.
Bugungi kunda mogul xattotlik san’atini ommalashtirishda adabiyotshunos olimlar va
xattotlar D.Batbayar, Sh.Choymaa, D.Battumur, D.Ganbaatar, B.ELbegzaya, G.AkimLarning xizmatlari katta. MingLab moguListonUklar Moguliston miLLiy televideniyesining ta’Lim
kanali orgali xattotlikni o’rgangan bo‘lsa-da, masofaviy ta’Lim orgali chiroyli go‘L yozuvi konikmalarini o'rgatishning deyarli imkoni yog.
§4.M0Hr0^bCK0E MCKYCCTBO KA^^HrPAOMM
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«U,eHTp nMCbMeHHOCTM m KynbTypbi» m Kanpe-nnpMfl npe3MAeHTa Mohto^mm.
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“Mongolian calligraphy” was inscribed to the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2013.
Mongolian calligraphy is a 1000 years-old writing system that vertically connects continuous strokes together to create a word. Letters of Mongolian script have been created and taught by nomads from generation to generation. Whatever style it is written with, it is easy to read it if one knows the 90 Letter
forms that all read phonetically. Ancient nomadic Mongolians roamed in their vast territory and used simple oral descriptions to convey knowledge to each other.
Therefore, the Letters of Mongolian scripts are meant to betaught and explained not only in written form but also orally. For example, there are six main strokes used in creating Letters for Mongolian calligraphy. They are named as titim, shud, shilbe, gedes, num and suul which translate into English as head,
teeth, stem, stomach, bow and tail respectfully. A herder mother could teach to her son on the pasture that Letter “ba” is depicted as “stomach and bow”, while letter “a” is depicted as “a tooth”. This kind of oral depiction of Letters was very useful during Long dark winter nights when herders and their children could not enjoy sufficient Light to do classes at home. They relied on oral stories, oral teachings and memorizing abilities to convey Legends, knowledge and culture.
In modern Mongolia, free thinking artists and writers are developing the traditional Mongolian calligraphy in many different ways including guite artistic expressions as described at the beginning of this piece. The other three main uses are dictated by tradition and social needs for Mongolian calligraphy.
Firstly, the need for traditional accurate beautiful writing Lasts for centuries. A meticulous depiction of each element of the script makes this writing very appealing and useful for accurate recording of important events.From ancient documents,it was evident that such writing was used for letters where Khaans and Lords put their signatures on, books, treatises and even political statements like the declaration of independence of Bogd Khaan’s government in 1911. In modern days, this writing is used for official Letters, invitations, diplomatic correspondence and Love Letters. The best and most accurate writers of Mongolian calligraphy is invited to write on the graduation diplomas, family tree
books, community award papers, provincial and government documents and books. Even though those, who can write accurate meticulous calligraphy, often don’t get full time jobs to write calligraphy, they are very well respected in their extended family, their community and are often invited to weddings, family festivities, official ceremonies and so on.
Secondly, traditional Mongolian calligraphy is used for synchronic writing. Before typewriters,computers and audio taping,there were trained calligraphers who documented meetings, court hearings, and speeches by writing the Mongolian calligraphy in a ‘shorthand’ style. Because, those who can do synchronic writing would always have a well-paid full-time job, parents sent their children to “writing mentor” teachers from age 6-8. Such fast-writer’s job existed for many generations and only with the development of technology, did such jobs disappear.Therefore, current synchronic-writers are only those who are employed at few offices Like newspaper “Khumuun Bichig” (the only newspaper issued in old Mongolian script), “Script and Culture Center”, and the Office of the President of Mongolia.
Thirdly, Mongolian calligraphy is used for emblems, coins and stamps in so called ‘folded’ forms. Those who can write round folded and square folded scripts are truly knowledgeable about Mongolian scripts. In order to write correct, but folded way, one must appreciate the unique dimensions of
each Letter so that the Letter can be foLded in smaLL spaces making a whoLe word Look Like an exact round or exact square shape. WhiLe during MongoLian empire of XIII-XIV century, foLded calligraphy was used for coins and government stamps, during the XV-XIX centuries, these forms were used for religious ornaments, religious stamps and decorations on cloth, hat and book covers etc.
In modern day Mongolia, foLded calligraphy is used for company Logos, unions and associations Logos and declarations and governmental and non-government bodies’ stamps. Usually, there is no full time job for doing foLded calligraphy, as it is not everyday work. Those who are good at foLded calligraphy are considered very talented and scholarly men or women and are well respected in the community. They often work voluntarily or receive very small fee for their work. In order to be able to ‘fold the script’, one should write a word for 10,000 times, the scholars say.
Traditionally, the main way of teaching calligraphy from one generation to another was home mentoring.The traditional mentors selected the best of his students and trained them to be calligraphy writers. However,
during Stalinist repressions in 1937-1940 thousands of mentors and traditional scholars were killed. Those who remained alive were banned from mentoring the younger generation. Soon after that, or around 1946, a new, Cyrillic script was adopted as the only eligible scripts therefore banning all the teachings of old MongoLian scripts and Latin Lettering. Only in the 1970s,was the old MongoLian script re-introduced to scholars, allowing a Limited number of classes in universities.
After the 1990 democratic changes, along with the revival of MongoLian identity, interest in traditional calligraphy reawakened.As a sign of such revival, the very first non-communist political organization, the Democratic Union of Mongolia, used foLded calligraphy as its main Logo.
Today, Literary scholars and calligraphers D.Batbayar, Sh.Choimaa, D.Battumur, D.Ganbaatar, B.Elbegzaya and G.Akim are playing significant roles in popularizing the MongoLian art of calligraphy. Even though there are thousands of Mongolians who learnt to read calligraphy via Education Channel of MongoLian national TV, it’s almost impossible to teach beautiful writings skills through Long-distance trainings.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.D.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.
© 2010 by Jalair Batbayar D.
UM
0‘zbekistonda xattotlik san’atidan me-morchiLik va xaLq amaliy san’atida keng foydalanilgan. Barcha me’moriy inshootLar - masjidLar, madrasalar va maqbaralarning tashqi va ichki devorlari, peshtoqlari turLi naqshlar biLan birgalikda xattotlik uslublarida yozilgan bitiklar - Our’oni karim oyatlari, hadislar, hikmatli sozlar va she’riy parchalar biLan bezatilgan.
Bugungi kunda birgina 0‘zbekiston Fanlar akademiyasi Abu Rayhon Beruniy nomidagi Sharqshunoslik instituti qo'lyozmalar fondida 100 minglab toshbosma va qolyozma asarlar saqlanib kelmoqda.
0‘rta Osiyo xattotlik san’ati taraqqiyoti tarixiga bir nazar solsak, Vll-X asrlarda Arab xalifaligining markaziy shaharlari -Makka, Ko‘fa va Basrada yaratilib, keyinchalik xalifalikning boshqa hududlariga tarqal-gan xat turlaridan foydalangan holda Movarounnahr xattotlik maktabi vujudga kelganini bilib olamiz. Ahmad ibn Umar Ash’as Abu Bakr Samarqandiy (XI asr), Ahmad Tabibshoh Movarounnahriy (vafoti 1215 yil), Ali Banokatiy (XIII asr), Jamshid Shoshiy (XIV asr) kabi xattotlar ushbu maktab vakiLLari sifatida dong taratganLar.
XIV-XV asrlarda ilm-fan, madaniyat va san’atning barcha sohalarida bolgani kabi xattotlik san’atida ham misli ko'rilmagan yuksalish kuzatildi. Shu davrdan boshlab 0‘rta Osiyoning turli mintaqalarida bir necha xattotlik maktablari paydo boldi.
XV asrda Temuriylar sulolasi hukmdor-Larining qollab-quvvatlashlari bilan vujudga kelgan Hirot xattotlik maktabi Sultonali Mashhadiy (1437-1520), Darvesh Muhammad Taqiy Hiraviy (XV asrning birinchi yarmi), Abduljamil Kotib (vafoti 1505/1506-yil) kabi vakiLLari biLan elga tanilgan.
XVI asrda ShayboniyLar sulolasi xonlari sa’y-harakatlari biLan asos solingan Buxoro xattotlik maktabi Mirali Hiraviy (vafoti 1557), Mir Ubayd Buxoriy (vaf. 1601), Mir Husayn Ko’Lankiy Buxoriy (XVI asr), Sayyid Abdulloh Buxoriy (vafoti 1647), Hoji Yodgor (vafoti 1663), Ahmad Donish (1826-1897) kabi vakiLLari bilan shuhrat qozondi.
0‘sha davrda Buxoroda ko’fiy, suls, gubor, nasx, nasta’Liq xatlari juda rivojLangan. Shu jarayonda nasx xati asosida “Nasxi Buxoriy”xati yaratiladi. U Mir Ubayd Buxoriy (vafoti 1601) tomonidan ixtiro qilingan. Bu xat nasx xatidan ko‘ra kattaroq (yirikroq) bo‘Lib, jozibadorligi va mo'jizakorligi biLan har qanday kishini ham o’ziga maftun etadi. Bu xat tez orada 0‘rta Osiyo, shuningdek, Afgbniston shimolida keng tarqaladi. Mazkur xatda Our’onni kitobat qilish boshlanadi. Qori Mir Fayz Buxoriy, Oori AbduLvohid Buxoriy, Oori Ahmad Buxoriy, Mirzo Hoshim Xo'jandiy, Muhammad Ersoriylar “Nasxi Buxoriy” xatida Our’on, “DaLoiL uL-xayrot”, “Farzi ayn” singari kitoblarni, xutbalarni kitobat qiLganlar. Mir Ubayd Buxoriy esa shu tariqa ushbu xat ixtirochisi, mohir xattot sifatida tarixda qoldi.
XVIII asr boshlarida Xiva va Ooqon xonliklari hududida Xorazm va Fargbna xattotlik maktablari, XIX asrda esa Samarqand va Tashkent xattotlik maktablari shakllandi. Xorazm xattotlik maktabi ozining Munis Xorazmiy (1778-1829), Komil Xorazmiy (1825-1899) kabi namoyandalari bilan tanilgan bolsa, Fargbna xattotlik maktabi Mirzo Sharif Dabir (XIX asr), Muqimiy (1850-1903), Samarqand xattotlik maktabi Ochildimurod Miriy Kattaqo'rgbniy (1830-1899), Abduljabbor Urgutiy Samarqandiy (1885-1910), Tashkent xattotlik maktabi esa Muhammad Yunus Kotib (XIX asr) va Muhammad Shohmurod Kotib (1850-1922) kabi vakillari bilan mashhur boldi.
Ushbu maktablar orasida Buxoro xattotlik maktabi alohida ajralib turadi. U XVI-XVII asrlarda taraqqiyotning yangi bosqichiga ko'tarildi. Mashhur xattotlar yetishib chiqdi. Buni bir jihatdan mazkur davrda Buxoroda madaniy hayot malum darajada rivojlanish pillapoyasiga kolarilgani bilan ham izohlash mumkin. Aynan shu davrda Hirot xattotlari va musawirlaridan bir qismi Buxoroga keladi. Pirovardida Buxoroning o‘ziga xos bolgan yangicha kitobat va husnixat san’ati rivoj topadi. XVI-XVII asrlarda yashab ijod etgan Buxoro xattotlari oziga xos uslub yaratdilar. Tarix sahifalarida Mir Ali Hiraviy Fathobodiy, Mirzo Ismatulloh Munshiy, Sodiq Munshiy Jondoriy, Mir Ma’sum Buxoriy, Avaz Badaliy Buxoriy, Hoji Yodgor, Domlo Bobobek, Abdulmajid Maxdum Buxoriy, Subhonquli, Muhammad Rizo Namadiy, Mirzo Mavlon
Buxoriy, Abdulloh Savdo, Abdulvahhobxo'ja, Abdulqodirxo‘ja, Mirzo Muhammadjon, Mirzo Is’hoq kabi zarrinqalam sohiblari - mohir xattotlarning nomlari tez-tez uchrashi buning yorqin dalilidir.
Sharqda xattotlarning xatlari ma’no ifodasidan tashqari, kishini hayajonga solib, unga estetik zavq bergan. O‘rta Osiyoda kitob bosish vujudga kelguniga qadar qolyozma kitob tayyorlash, ularning nusxalarini kopaytirish (matn kochirish) bilan xattotlar shugullangan (Kitobat san’ati). Xattotlar saroylarda guruh bolib ishlaganlar. Har bir xatga san’at mo'jizasi sifatida qaralgan. Shu sababli bu san’at rivojlanib, turli xattotlik maktablari yuzaga keldi.
XX asrda xattotlar yirik kutubxonalardagi qolyozma kitoblar nusxasini kopaytirish bilan shugullandilar. Jumladan, 0‘zbekiston milliy kutubxonasida bir guruh xattotlar faoliyat yuritgan. 1943-yilda 0‘zbekiston Fanlar Akademiyasi Sharqshunoslik instituti tashkil topgach, malakali xattotlardan Ibodulla Odilov, Abduqodir Murodov, Abdulla Nosirov, Usmon Karimov kabi xattotlar jamoasi shu yerga toplandi va ular ko'hna qolyozmalarni tikiash, kochirish,tavsif varaqalari tuzish bilan shugullana boshladilar.
XX asrning 80-yillariga kelib kitobat san’ati bir guruh kishiLar tomonidan qayta tiklandi. Bunda Habibulla Solih, Abdulla Mirsoatov, Toxtamurod Zufarov, Alisher Shomuhammedovlarning xizmatlari katta. Abdulaziz Mansurov, Habibulla Solih, Gafurjon Razzoqov, Islom Mamatov, Salimjon
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Xozirgi kunda 0‘zbekistonda xattotLik san’atining rivojini bir necha jabhalarda kuzatishimiz mumkin. Buning birinchi misolini kitobot san’ati va miniatyura asarlarini bezashda, amaLiy san’atning ganchkorlik, yogbch oymakorligi, naqqoshlik, gilamdo’zlik, kuLolchilik kabi san’at turlari bilan hamohanglikda bir-birini mazmunan boyitib borayotganini ko’rishimiz mumkin.
Ikkinchisi, san’at turi sifatida mustaqil kompozitsion yechimlar asosida an’anaviy va noan’anaviy yonalishlarda rassom va xattotlar ijodida. Uchinchisi respublikamizda qayta tamirlanayotgan me’moriy obidalar va yangi barpo etilayotgan masjidlarning ichki va tashqi qismlarida an’anaviy va noa’ananaviy bezak sifatida qo’LLanayotganini kuzatishimiz mumkin.
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(yMep b 1215 roAy),Ann BaHOKamü (XIII bck), flXOMUJMA LUolum (XIV BeK).
B XIV h XV BeKax b MCKyccrBe KaAAnrpa-(|)MM, K3K M BO Bcex OÔAaCTAX H3yKM, KyAbTypbl m ncKyccTBa, HaÔAioAaACA HeôbiBaAbiM noAteM. C 3Toro nepnoAa b pa3Hbix perMOHax U,eH-TpaAbHOM A3MM nOABMAOCb HCCKOAbKO LLIKOA KaAAnrpacfiMM.
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ByxapcKyio lUKOAy KaAAnrpa(|)MM, ochob3h-Hyo B XVI BeKe yCHAHAMH X3HOB AUHaCTMM LUaMÔaHM, ocHOBaAM MnpaAn XnpaBn (yMep b 1557 roAy), Mnp yôaÜA Byxapn (yMep b 1601 roAy), Mnp XyceÜH Koa3hkm Byxapn (XVI BeK), CanwA AôAyAAa Byxapn (yMep b 1647 r.). LUKOAa noAyMMAa H3BecrHOCTb 6a3-roAapA T3KMM npeACTaBMTeAAM, K3K XaA^n
Eflrop (yMep b 1663 r.), Axm3a Hohmlu (1826-1897).
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B Hanane XVIII BeKa Ha TeppnTopni4 Xl4BI4HCKOrO M KOKaHACKOrO XaHCTB C$OpMI4-poBanncb Xope3MCKaa m 0epraHCKaa ıiJKO.fibi Kannnrpa$i4i4, a b XIX BeKe - CaMapKaHA-CKafl m TaıiJKeHTCKafl uiKonbi Kanni4rpa$i4M. Xope3MCK3fl uiKona Kannnrpa$nn i43Becr-H3 T3KI4MI4 npeACT3BI4TenflMM, K3K MyHHC Xope3MM (1778-1829) m KaMH/ib Xope3MM (1825-1899). cbepraHCKaa uiKona «annurpa-$1414 npeACraBneHa MacrepaMM Kannnrpa$Mn Mnp30 LUapi4$ Haönp (XIX BeK) I4 MyKI4MI4İ4 (1850-1903). CaMapKaHACKyıo uiKony Kannu-rpa$i4i4 npeACT3B.fiajot OMUfiflMMypo/ı Mnpi4 KsTTaKopraHM (1830-1899) m A6AYAA>Ka66ap
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C 1997 roaa b AKaaeMMM xyAO>KecTB Y36eKMcraHa AeMCTByeT OTAeneHMe «Ka/um-rparfiMn». B rocyAapcTBe yfle/meTCA BHMMaHMe ccjiepe Ka/uı kırpan mm, M3o6pa3MTenbHoro m npMKnaAHoro MCKycdBa, HanpasneHHoe Ha co-xpaneHMe HapMOHanbHbix qeHHOcreM, TpaAM-PMM M MX COBepweHCTBOBaHMe. B CBA3M C 3TMM oahom M3 aKTya/ibHbix 33AaH nB^aeTcn noAro-TOBKa BbicoKOKBajiMipMpMpoBaHHbix cnepMa-J1MCTOB M nOBblweHMe MX npOCpeCCMOHBnbHOM nOATOTOBKM.
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In Uzbekistan, the art of calligraphy is widely used in architecture and folk art. ALL architectural structures - external and internal walls and facades of mosques, madrassas and mausoleums are decorated with inscriptions written in calligraphic styles - verses of the Holy Quran, hadiths, wise words and poetic fragments. Today, the manuscript collection of the Institute of Oriental Studies named after Abu Raikhan Beruni of the Academy of Sciences of Uzbekistan contains about 100 thousand Lithographsand manuscripts.
If we Look at the history of the development of the art of calligraphy in Central Asia, we Learn that the Mawarannahr school of calligraphy was created in the Vll-X centuries in the central cities of the Arab Caliphate -Mecca, Kufa and Basra, and then spread to
other regions of the caliphate. Representatives of this school were such calligraphers as Ahmad ibn Umar Ash’as Abu Bakr Samarkand! (XI century), Ahmad Tabibshah Movarunnakhri (died in 1215), Ali Banokatiy (XIII century), Jamshid Shoshi (XIV century).
In the XIV and XV centuries, the art of calligraphy,as in all areas ofscience, culture and art, experienced an unprecedented rise. Since this period, several schools of calligraphy have appeared in different regions of Central Asia.
The Herat school of calligraphy, created in the XV century with the support of the rulers of the Temurid dynasty, is known for its representatives such as Sultanali Mashhadi (1437-1520), Darwesh Muhammad Taqi Hiravi (first half of the XV century), Abduljamil Kotib (died 1505/1506).
The Bukhara school of calligraphy, founded in the XVI century through the efforts of the khans of the Shaybani dynasty, was founded by MiraLi Hiravi (died in 1557), Mir Ubayd Bukhari (died in 1601), Mir Hussein KoLanki Bukhari (XVI century), Sayyid Abdullah Bukhari (died in 1647). The school became famous thanks to such representatives as Hadji Yodgor (died 1663), Ahmad Donish (1826-1897).
At that time, Kufi, Suis, Gubor, Naskh, Nastak calligraphic writings were well developed in Bukhara. “Naskh Bukhari” calligraphy style was created during manuscripts copying process. It was invented by Mir Ubaid Bukhari (died 1601).This style is Larger than the Naskh style and captivates anyone with its charm and wonder. This style of calligraphy would soon spread widely throughout Central Asia, including northern Afghanistan. The reading of the Koran begins with this Letter. Oari Mir Faiz Bukhari, Oari Abdulwahid Bukhari, Oari Ahmad Bukhari, Mirza Hashim Khojandi, Muhammad Ersari read books and sermons such as the Koran, Dalail ul-Khairat, Farzi Ayn in the Letter Nashi Bukhari. Thus, Mir Ubaid Bukhari went down in history as the inventor of this Letter and a skilled calligrapher.
At the beginning of the XVIII century, the Khorezm and Fergana schools of calligraphy were formed on the territory of the Khiva and Kokand khanates, and in the XIX century - the Samarkand and Tashkent schools of calligraphy.
The Khorezm schoolof calligraphy is known for such representatives as Munis Khorezmi
(1778-1829) and Kamil Khorezmi (1825-1899). The Ferghana school of calligraphy is represented by calligraphy masters Mirzo Sharif Dabir (XIX century) and Mukimiy (1850-1903). The Samarkand school of calligraphy is represented by Ochildimurod Miri Kattakorgani (1830-1899) and Abduljabbar Urgutiy Samarkand! (1885-1910), and the Tashkent school of calligraphy is famous for such representatives as Muhammad Yunus Kotib (XIX century) and Muhammad Shahmurad Kotib (1850-1922).
Among these schools, the Bukhara school of calligraphy stands out. It reached a new stage of its development in the XVI-XVII centuries. This can be partly explained by the fact that during this period the cultural Life of Bukhara reached a certain level of development. It was during this period that some calligraphers and artists of Herat came to Bukhara. Ultimately, a new art of Literature and husnikhat, unique to Bukhara, began to develop. Bukhara calligraphers, who Lived and worked in the XVI-XVII centuries, created a unique style. A clear proof of this is the fact that on the pages of history the names of master calligraphers such as Mir ALi Hiravi Fathabadi, Mirza Ismatullah Munshi, Sadiq Munshi Jondari, Mir Masum Bukhari, Avaz Badali Bukhari, Haji Yodgor, Domlo Bobobek, Abdulmajid Makhdum Bukhari, Subkhonkuli, Muhammad Reza Namadi, Mirza Mavlon Bukhari, Abdullah Savdo, Abdulwahabhoja, Abdulkadirhoja, Mirzo Muhammadjan and Mirzo Ishakare often found.
In the East, the Letters of calligraphers, in addition to expressing meaning, brought aesthetic pleasureto people.Before the advent of printing in Central Asia, calligraphers were engaged in the production of handwritten books and the reproduction of their copies. Calligraphers worked in palaces, in groups. Each Letter was treated as a miracle of art. Thanks to this, this art developed, and various schools of calligraphy arose.
In the XX century, calligraphers were engaged in reproducing handwritten books in Large Libraries. For example, a group of calligraphers worked at the National Library of Uzbekistan. In 1943, after the creation of the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan, a group of calligraphers, such as Ibodulla Odilov, Abdukadir Murodov, Abdulla Nosirov, Usman Karimov, gathered here and began to restore, copy and create descriptive sheets of old manuscripts.
Bythe 1980s, the art of reading was revived by a group of master calligraphers. Habibulla Salih, Abdulla Mirsoatov, Tokhtamurod Zufarov, Alisher Shomukhammedov made a great contribution to this.Abdulaziz Mansurov, Gafurjon Razzokov, Islam Mamatov, Salimjon Badalboev, Gafurjon Khakberdiev.
Currently, there are several calligraphy schools in Uzbekistan. For example, in 2018, the famous master Abdugafur Razzakov created the Al-Manar calligraphy center in a building built in harmony with the famous Poi Kalon center complex in Bukhara.
Calligraphers Abdujalil Ergashev and Aziza Sabirova from Samarkand teach women and men interested in this art, regardless of age, at the calligraphy school of the Registan complex in Samarkand.
Such master calligraphers as Islam Muhammad,Yakubjon Bukharbaev, Mukhiddin Nomanov, Rakhimboy Jumaniyozov, Jafar Kholmominov, Shavkat Ismatov, Bahadir Barotov, Omina Boynazarova, Namozhon Tursunaliev, Davron Safarov, Bakhshulla Sharipov,SanobarBerdyeva,UmidjonMukimov, Islam Mamatov and Jaloliddin Sharipov in wear his contribution to the development of the art of calligraphy in Uzbekistan.
It is known that a calligrapher first needed high-quality paper to copy text at a calligraphy school. There are two types of paper: the first is “silk paper” (very strong, very beautiful, with good grooves, clean and smooth paper made without adding cotton fibers), the second is “semi-cotton paper” (thick and good quality paper made from a mixture cotton, silk and hemp fiber). Also, a special paper called “haftrang” was used to copy various manuscripts, and “abri bahar” paper was used to paste the inside of the cover. The calligrapher’s weapon is black ink.The inkwas called round inkortube inkdepending on the form in which it was made.
At school, letters were originally written with a thicker ballpoint pen. Having Learned a Little to write letters, some students wrote with a reed pen instead of a ballpoint pen. The reed pen was about the same Length as
a regular ballpoint pen, but thicker. One end is cut off with a sharp pencil sharpener. The other end was cut slightly obliguely.
Since 1997, the “Calligraphy” department has been operating at the Academy of Arts of Uzbekistan. The state pays attention to the field of calligraphy, fine and applied arts, aimed at preserving national values, traditions and their improvement. In this regard, one of the urgent tasks is to train highly qualified specialists and improve their professional training.
Today we can observe the development of the art of calligraphy in Uzbekistan in several directions. The first direction is the art of decorating books and miniature works, including wood carving, painting, carpet weaving and pottery. The second direction is independent compositional solutions in the work of artists and calligraphers. The third direction is observed in the restoration of decorations in the internal and external parts of memorial monuments and newly built mosques.
© Tokhtamurod Zuparov
© Gafurjon Razzokov
©Academy of Arts of Uzbekistan
©HabibuLLa Salih
©HabibuLLa Salih
Aziza Sobirova. ©Bakhtioyr Mustanov
Aziza Sobirova. ©Bakhtioyr Mustanov
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iguage and calligraphy center in Bukhara. Lesson proce © Nabi Boranov |
©Behzod Khadjimetov
©Behzod Khadjimetov
©Behzod Khadjimetov
Islam Muhammad. © Daryo/Dilruh Isomiddinova
Abdujalil Ergashev. © Bakhtioyr Mustanov
Hind xattotLigi boy tarixga ega bolgan va mamLakat madaniyati va an’analarida chugur ildiz otgan gozal san’at turidir. Bu ko’rinishi jihatdan ajoyib san’at asarLarini yaratish uchun murakkab va bezakLi dizaynlardan foydalanadigan yozuv shakLidir. Hind xattotligida Devanagari, Bengal,Tamil,Telugu, Kannada, Gujarati, Malayalam, Gurmuxi va Oriya kabi turli xil yozuvlardan foydalaniladi.
Hindistonda yozuv tarixi birinchi imperator Ashoka (miloddan avvalgi III asr) davriga borib tagaladi, u o‘sha davrda o‘z fuqarolarining butun turmush tarzini qamrab oluvchi huquqiy qoidalarni e’Lon qilgan. Ushbu huquqiy qoidalar toshga yozilgan. Tez orada ikkita yangi yozuv tizimi paydo boTdi: Xarosti va Brahmi. Ushbu yozuvlar turli tillarni yozish uchun ishlatilgan va qadimgi Hindiston adabiy va madaniy an’analarining ajralmas qismi bolgan. Vaqt o’tishi biLan hind xattotLigi har biri oziga xos xususiyat va go'zallikka ega bolgan koplab yozuv usLublariga ayLandi.
Xarosti Hindiston shimoli-garbida milod-danavvalgi III asrdan milodiylVasrgacha,O‘rta Osiyoda esa VIII asrgacha ishlatilgan. Aynan Brahmi zamonaviy Devanagari yozuvining asoschisi bold! (“Xudolar shahridan yozuv”). Diniy matnlar juda kamdan-kam hollarda Devangari yordamida yozilgan va dastlab rangli chizmalar bilan birga kelgan. Hindlar arqon biLan boglangan mis jihozlar, daraxt postlogl va palma barglariga yozishgan.
Devanagari hind, sanskrit va marathi kabi tillarda ishlatiladigan mashhur yozuv turlardan biridir. Devanagari xattotligining murakkab harf shakllari, chiroyli eğri chiziqlari va oqimli zarbalari yaxshi malum. Devanagari - undosh va unlilarni o‘z ichiga olgan 47 ta asosiy belgidan iborat fonetik yozuv. U chapdan ongga yoziladi va yuqori qismida “shirorexa”deb nomlangan oziga xos gorizontal chiziq mavjud bolib,shriftga oziga xos ko’rinish beradi.Devanagariozininguygun va vizual jozibali estetikani yaratadigan otkir va yumaloq shakllarning kombinatsiyasi bilan mashhur.
Devanagarida bir nechta mashhur xattotlik uslublari mavjud bolib, ularning har biri oziga xos xususiyatlarga ega. Ba’zi mashhur uslublar orasida ozining qalin va burchakli zarbalari bilan mashhur bolgan Landa va nozik, nozik chiziqlarni ta’kidlaydigan Kansara kiradi. Mudrika va Rekha kabi boshqa uslublar eğri va to‘g‘ri chiziqlarni birlashtirib, vizual tarzda ajoyib kalligrafikasarlarni yaratadi.
Bengal yozuvi asosan Hindiston shargiy mintaqasida va Bangladeshda gapiriladigan bengal tilini yozish uchun ishlatiladi. Bu ozining oqlangan eğri va İLmoqlari bilan mashhur suyuq va oqimli shrift. Bengal xat-totligi ozining badiiy gozalligi va murakkab detallari uchun juda qadrlanadi. Bengal yozuvi abugida yozuvidir, ya’ni u alohida undoshlar yoki unlilar emas, balki undoshlar va unlilar birikmasini ifodalaydi. U 49 ta asosiy belgidan
¡borat bo'lib, chapdan ongga yoziladi. Bengal xattotligi egri va oqimli chiziqlar biLan ajralib turadi, bu unga ritm va oqim hissi beradi. Bengal yozuvida xattotlikning bir nechta uslublari mavjud bo'lib, ularning har biri o'ziga xos xususiyatlarga ega. Mashhur uslublardan biri - Schaunard, u o'zining qalin mo'yqalami zarbalari bilan mashhur. Kanika deb nomlangan yana bir uslub yanada nozik bolib, nafis xattotlik asarlarini yaratish uchun murakkab chiziqlardan foydalanadi. Prachi va Kalpana kabi boshqa uslublar vizual jihatdan noyob san’at asarlarini yaratish uchun silliq egri va olkir burchaklarni birlashtiradi.
Tamil yozuvi asosan Hindistoning janu-biy Tamil Nadu shtatida va Shri-Lankada so'zlashadigan tamil tilini ifodalash uchun ishlatiladi. Tamil xattotligi o'zining soddaligi va nafisligi biLan mashhur bolib, aniqlik va tushunarlilikka urg‘u beradi. Tamil yozuvi 12 ta unli, 18 ta undosh va unli va undosh diakritik birikmalardan ¡borat. U chapdan ongga yoziladi va nisbatan sodda va aniq yozish uslubiga amal qiladi. Tamil xattotligi har bir harfning o'ziga xos shakli ravshanlik va tushunarlilikni ta’kidlaydi. Tamil xattotligining turli uslublari mavjud bo'lib, ular ssenariyning go'zalligi va ko'p qirrali-ligini namoyish etadi. Mashhur uslublardan biri bu Kurinji bo'lib, u silliq chiziqlar va yumaloq shakllar bilan ajralib turadi. Mullai deb nomlanuvchi yana bir uslub murakkab detallarga va nozik teginishga qaratilgan. Tamil xattotligining har bir uslubi o'ziga xos
estetika va jozibaga ega bo'lib, xattotlarga mahoratini namoyon etish imkonini beradi.
Yana bir mashhuryozuv“fors”bolib,u islom madaniyati ta’sirida bo'lib, urdu va fors tillari uchun keng qollaniladi. U silliq chiziqlar, nozik burchaklar va fors xattotligining uygun nafisligi bilan ajralib turadi. XV-XVI asr boshlarida musulmonlar kelishi bilan go'zal xattotlik san’ati paydo boldi. Bu vaqtda maktablar va hunarmandlar ishiga qo'yiladi-gan asosiy talablar, ishlatiladigan materiallar, bo'yoq va siyohlar rivojlana boshladi. Hindis-tonning turli qismlari o'z uslublarini ishlab chiqdi. Masalan, Tug'ra uslubi Bengaliyada, Tauqi, Nasx va Rika uslublari Sharqiy Hindiston va Gujaratda, Nastaliq uslubi janubda keng tarqalgan.
Hind ustalari uchun xattotlikni qaysi yuzaga yozish katta farq qilmaydi. Ular tosh, qog'oz, tangalar, mato va hokazolarga yozganlar. Hind xattotligi bilan shug'ullanish uchun xattotga turli asbob va materiallar kerak bo'ladi. Eng muhim vosita tutqich (kalam) bo'lib, u odatda uchi uchli bambuk yoki qamish tutqichidir. Kalamga bosimni mohirona bosh-qarib, xattotlar chiziqlar qalinligini o'zgar-tirishi va dinamik kompozitsiyalar yaratishi mumkin. Boshqa asboblarga mashif (siyoh idishi), misbah (chiroq) va raqam (hukmdor) kiradi, ularning har biri ishda aniqlik va mukammallikka hissa qo'shadi. Hind xattot-ligida ishlatiladigan siyoh odatda qora kuygan yog'yoki o'simlik bo'yoqlari kabi tabiiy materiallardan tayyorlanadi. Qog'oz yoki mato kalligrafik asarlar yaratish uchun material
sifatida ishLatiladi. Ba’zi xattotlar o‘z ishLariga qo’shimcha tafsilotlarva bezakqoshish uchun maxsus mo’yqalam va siyohLardan ham foydalanadiLar.
Hindistonning eng ko’zga ko’ringan an’anaviy xattotLaridan biri Raja Dinkar KeLkardir. U devanagari yozuvini yaxshi bilgan, hind va marathi tiLLarida yozar, mohir va nafis yozuvi biLan mashhur edi. U, shuningdek, hind san’ati va artefaktlari koLLeksioneri bo’Lgan va uning to’plami hozirda Hindistonning Puna shahridagi KeLkar muzeyida saqlanadi.
Yana bir mashhur an’anaviy xattot XIII asr shoiri, musiqachisi va xattoti Amir Xusrovdir. U fors tiLida qoTLaniladigan xattotlik usLubi bo’Lmish nasta’Liq yozuvining ustasi bo’Lib, ijodi o’zining joshqinligi va go’zaLLigi biLan mashhur. U Arabiston yarim orolida paydo bo’Lgan xattotLik usLubi bo’Lgan “kufiy” yozuvining rivojlanishiga ham hissa qo’shgan.
Zamonaviy xattotLikka qaytsak, Hindis-tondagi eng ko’zga ko’ringan xattotLardan biri Rajeev Sethi ekanLigini ta’kidLaymiz. U xattotLikka innovatsion va eksperimental yon-dashuvi biLan taniLgan va undan keng ko’lamli ommaviy axborot vositalarida, jumladan, to’q i-machiLik, kuLoLchiLik va me’moriy inshootLarda foydalangan. U bir qator ommaviy san’at Loyi-halarida ham ishLagan va uning xattotLikLarini Hindistonning ko’plab jamoat joylarida ko’rish mumkin.
Yana bir buyuk zamonaviy xattot Rakesh Tikait bo’Lib, u ko’pchiLik tomonidan Hindis-tondagi eng yaxshi xattotLardan biri hisobla-nadi. U o’zining mohir va nafis xattotLigi biLan
taniLgan va kitob muqovalari, afishaLar va qa-doqLash qutiLari kabi ko’plab LoyihaLar ustida ishLagan. U xattotliksohasiga qo’shgan hissasi uchun ham e’tirofga sazovor bo’Lgan, asarLari xaLqaro ko’rgazmalarda namoyish qiLingan va nashr etilgan.
Hindistonda bir nechta xattotlik maktabLari mavjud bo’Lib, ular ushbu san’at turi bo’yicha o’qitish va mahoratni oshirishni taklif qiladi. Ulardan ba’zilari quyidagilarni o’z ichiga oladi:
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1. Hindistondagi xattotlik maktabi barcha darajadagi tajribaLi insonlar uchun turli xiL xat-totlik kurslari va mahoratdarslarini taklif etadi.
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2. Milliy xattotlik instituti amaliy semi narlar orqali xattotlik bo’yicha mashg’ulotlarni ham taklif qiladigan tashkilot.
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3. Hindistondagi xattotlik san’ati maktabi zamonaviy xattotLikka ixtisoslashgan va yangi usul va usLublarni o’rgatuvchi o’quv muassasasi.
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4. Kalpana Shohning Hindistoni markazi xattotlik mashg’ulotlarini va shaxsiy darsLarini taklif qiladi.
Hind madaniyatida xattotlik katta ramziylik va ma’naviy ahamiyatga ega. Nafis xattotlik Vedalar, Our’on va Gita kabi qadimiy bitiklar va bitiklarni bezatib,yozma so’zni ilohiy san’at darajasiga ko’taradi.Bu oyatlardagi muqaddas xattotlik misraLari diniy hujjatlarga, me’moriy loyihalarga, hattoki, namozxonlar, zargarLik buyumlari kabi kundalik buyumlarga go’zallik qo’shish uchun ishLatiladi. Xattotlik Oodir Tangri biLan muloqot qilish va fidoyilikni ifodalash vositasi sifatida qaraladi.
RaqamLi texnologiya va zamonaviy bosib chiqarish texnikasining rivojlanishiga
qaramay, Hindistonda xattotlik hali ham yashamoqda va gullab yashnamoqda. Rassomlar, olimLar, xattotlik ixlosmandlari ushbu nafis san’at turini asrab-avaylash va ommalashtirish uchun bor kuch-gayratini sarflamoqda. Xattotlik san’atini davom ettirish maqsadida turli tashkilot va ta’lim
muassasalarida mahorat darslari, seminarlar, ko'rgazmalar o'tkazilmoqda. Bundan tashqari, zamonaviy xattotlar yangi tushunchalar bilan tajriba o’tkazmoqdalar va klassik uslublarni zamonaviy ta’sirlar bilan uygunlashtirib, san’at turini zamonaviy davrda dolzarb va jozibadorligini saqlab qolishmoqda.
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XapocTM McnonbsoBanca Ha ceBepo-3anaAe Hhamm c III BeKa ao Hauıen 3pbi ao IV boks H3LÜ6M 3pbl, a T3K>Ke B U,eHTpa/lbHOM A3MM AO VIII BeKa. Hmchho BpaxMM cran ocHOBono-noxHMKOM coBpeMeHHoro nncbMa AeBaHara-pM («LUpn0T M3 ropoAa Gotob»). PenMrMO3Hbie TeKCTbi oneHb peAKO nMcanncb c ncnonb3OBa-hm6m AesaHrapM n nepBOHanaribHO conpoBO-XCAanMCb ABeTHblMM pMCyHK3MM. HHAMMpbl nM-cann Ha MeAHbix nnacTMHax, Kope AepeBbeB m nanbMOBbix riMCTbax, CBmaHHbix mokay coöom BepeBKaMM.
«fleBanarapM», lupm^t, MenonbsyeMbiM b T3KMX R3blK3X, K3K XMHAM, C3HCKpMT M M3p3T-xm, ABnneTcn oahmm m3 nonynapHbix tmhob. CnoxHbie cpopMbi 6yKB, KpacMBbie Msrnöbi m nnaBHbie wtpmxm K3^nMrpa0MM deBanarapM xopoiuo M3BecTHbi. flesaHarapM - $0HeTMHe-CKOe nnCbMO,COCTOHLAee M3 47 OCHOBHblXCMM-BonoB, BKniOHan cornacHbie m rnacHbie. Oh nn-weTcri cneBa HanpaBO m MMeeT xapaKTepnyio ropM3OHTanbHyıo ^hhmio BBepxy, HasbiBaeMyw «LUMpopexa», KOTopaa npMAaeT Lupncfrry xa-
paKTepHbiM b ma. Æe Ba h a ra p m n3BecreH cbomm coHeTanneM ocTpbix h OKpyrnbix cfiopM, koto-pbie coşmam rapMOHMMHyo m BH3yanbHO npM-B^eKaTe^bHyo acrernKy. B fleBaHarapM ecTb HecKOJibKO nonynapHbix CTmieñ Ka/i/iMrpa^MM, KaXflbIM M3 KOTOpblX MMeeT CBOM yHMKanb-Hbie OCOÔeHHOCTM. HeKOTOpbie M3 M3BeCTHblX CTMaeM BKaoHaoT JlaH/ıa, KOTopaa H3BecrHa CBOMMM CMeabIMM M yr/10B3Tb!MM LUTpMXaMM, m KaHcapa, KOTopaa noßHepKMBaeT tohkmc, ße/iMKaTHbie jimhmm. Apyme ctm/im, TaKMe kok MyapMKa m PeKxa, coneTaoT M3orHyTbie m npa-Mbie ^MHMM flna CO3A3HMa BM3yaabHO apkhx Kanjınrpac|)MMecKMx npon3BeAeHHM.
BeHraabCKMM ujpM(|)T ncno/ib3yera ß/ia HanMcaHMa öeHranbCKoro a3biKa, Ha Kotopom B OCHOBHOM COBOpaT B BOCTOHHOM perMOHe Mhamm m BaHmafleıiJ.3TO naaBHbiM m nnaBHbiM UJpM(|)T, M3BeCTHblM CBOMMM M3aiUHblMM M3TM-63mm m nexnaMM. BeHranbCKaa KannMrpa(|jMa BblCOKO peHMTCa 33 CBOK) xy^oxecTBeH Hyo KpacoTy m cnowHyto fleTanMsapMfo. BeHrsab-CKMM LUpMCpT npeACTaB/iaeT COÔOM CpeHapMM aöyrM^a, hto oshsmsst, hto oh npeceraB/ıaeT COÔOM KOMÖMHapMM COCfiaCHblX m macHbix, a He OTfleabHbie cor/ıacHbie m^m macHbie. Oh COCTOMT M3 49 OCHOBHbIX CMMBOnOB M nMLUeT-ca cneBa HanpaBO. BeHranbCKan Ka/uım epatan xapaKTepM3yeTca M3orHyrbiMM m HMcnaflao-LU,MMM nMHMSMM, KOTOpbie npMßaiOT eri OLU,y-LUeHMe pMTMa m nnaBHOCTM. B öeHranbCKOM nMCbMe cyuj,ecTByeT HecKo^bKO crM/ıeü Kan-/İMrpaCjjMM, KaWßbIM M3 KOTOpblX MMeeT CBOM OTflMHMTeJlbHbie OCOÔeHHOCTM. OflHMM M3 nO-nynnpHbix CTMJieü asnaerca LUonap, M3BecT-
HblM CBOMMM CM6/lblMM M TOJİCTbİMM M33K3MM. HpyroM CTM/ib, Ha3biBaeMbiM KaHMKa, öonee AenMKaTHbiM m McnoabsyeT tohkmc, 33Mbic-^OBaTbie bmhmm flan co3ßaHMn 3/ieraHTHbix Ka^^MrpacjjMHecKMx npoM3BeßeHMM. flpyrMe CTMBM.TaKMe K3K FlpaHM M Ka^naHa, C0H6T3I0T b ceöe nnaBHbie mstmöh m ocTpbie yr/ibi, CO3-flaBan BMsyaabHO yHMKanbHbie npoM3BeßeHMa MCKyCCTBa.
TaMMnbCKoe nMCbMO Mcno^b3yeTcn flan Ha-nMcaHMflTaMM/ibCKoroA3biKa,Ha Kotopom npe-MMymecTBeHHO roBoprrr b ioxhom wTaTeTaMM/i Hafly b Mhamm m Ha lllpM-flaHKe. TaMMBbCKan Ka^BMrpa(t>Mn M3BecrHa cbocm npocTOTOM m 3/ieraHTHOCTb>o, c ynopoM Ha acHoerb m pa3-ÖOpHMBOCTb. TaMMJlbCKOe nMCbMO COCTOMT M3 12 macHbix, 18 comacHbix m KOMÖMHau,MM ßMa-KpMTMHeCKMX CMMBOJ1OB TJiaCHblX M COmaCHbIX. Oh nMLueTca cneßa HanpaBO m npMßep>KMBaeT-ca OTHOCMTeabHO npocToro m noHaTHoro CTMna riMCbMa. TaMM/ibCKaa KannMrpa(|)Ma noflaepKM-BaeTacHOCTb m paaöopaMBOCTb: Kax^aa öyKBa MMeeT CBOK) (jjopMy m (popMy. B TaMMnbCKOM KannMrpacpMM cyiuecrByioT pasaMHHbie ctmbm, ßeMOHCTpMpyioiuMe KpacoTy m yHMBepca/ib-HOCTb nMCbMa. OßHMM M3 nonynapHbix ctm/icm aßjiaeTca KypMHß3M, KOTopbiM xapaKTepM3y-eTCa n/13BHblMM BMHMaMM M OKpyrriblMM (j)Op-M3MM. UpyroM CTMBb, M3BecTHbiM K3K MynnaM, cfiOKycMpyeTca Ha choxhom ßeTanM3apMM m ße/lMKaTHblX LUTpMXaX. KaXßbIM CTM/lb TaMM/lb-CKOM Kaji/iMrpa(j)MM oönaßaeT CBoeíí yHMKanb-HOM 3CT6TMKOM M OHapOBaHMeM, hto no3BonaeT KajuiMrpa(|)aM BbipasMTb CBoe TBopnecTBo m MaCTepCTBO.
HpyroM M3BecTHbiM ujpM(|)T-«nepcMACKMM», C03A3HHblM nOA B/lMaHMCM HC/iaMCKOM Ky/lb-Typbi m oóbiMHO Mcno/ib3yeMbiM Ana ypAy m nepcMACKoro A3biKa. Ero OT/iMaaiOT n/iaBHbie zimhmm, tohkm6 yr/ibi m rapMOHMHHaa 3/ieraHT-HOCTb nepcMACKOM Ka/i/iMrpa(|)MM. McKyccTBO KpacMBOtí «a/i/inrpa^MM noaBM/iocb b Hanane XV m XVI BeKOB c npMxoAOM Mycy/ibMaH. B 3to BpeMa nOaBM/lMCb OCHOBHbie Tpe6OB3HMa K paóoTe lukoji m MacTepoB, Mcno/ib3yeMbix Ma-TepMa/iOB, KpacoK m HepHM/i. B pa3Hbix aacrax HhAMM C/10>KM/lMCb CBOM CO6CTB6HHbie CTM-nn. HanpMMep, CTM/ibTyrpa pacnpocTpaHeH b BeHra/iMM, ctmjim TayKM, Hacx m pMKa Ha boc-TOKe Mhamm m ry/pKapaTe, a ctm/ib h3CT3/imk Ha ore.
/Via MHAMMCKMX MaCTepOB He 6bl/10 oco-6OM paBHMflbl, Ha K3KOM OOBepXHOCTM nMC3Tb Ka33nrpac|jMfo. ÜMca/iM Ha KaMHe, Gyware, MOHeTaX, TK3HM M T. A. Jifia 33HaTMM MHAMM-CKOM K333Hrp8(|)MeM K3/l/lMrpa(|)y TpeSyiOTCa pa3/inMHbie MHdpyMeHTbi m MaTepMa/ibi. Ca-MbiM Ba>KHbiM MHcrpyMeHTOM as/iaeTca pya-Ka (K3/iaM), KOTopaa ofibiMHO npeAcraB/iaeT coSom pya«y M3 6aM6yKa m/im TpocTHMKa c 3aOCTpeHHblM HaKOHeaHMKOM. VMe/10 M3HM-nyjmpya A3B/ieHMeM Ha Ka/iaM, «a/i/inrpac[)bi Moryr Ao6MTbca M3MeHeHMa TO/iiflMHbi /im-HMM M CO3A3BaTb AHH3MM4Hbie KOMnO3MLI,MM. Upyrne MHCTpyMeHTbi BK/ionaoT «MacaxM0» (aepHM/ibHupa), «Mnc6ax» (ziaMna) m «paKaM» (/1MH6MK3), K3>KAblM M3 KOTOpblX cnocoócTByeT AOCTMXeHMO TOHHOCTM M COBepilJeHCTBa B pa-SoTe. MepHMna, Mcno/ib3yeMbie b mhammckom Ka/l/lMrpa(|jMM, OfiblHHO M3rOTaB/lMBaK)TCa M3
HaTypa/ibHbix MaTepna/iOB, tbkmx «a« caxa i'i/ii'i pacTMTe/ibHbie «pacHTe/in Bywara m/im TK3Hb MCnO/lb3yK)TCa B K3HeCTBe M3Tepna/ia A/ia co3A3Hna Ka/i/inrpa(|)MHecKMx npon3Be-AeHUÍÍ. HeKOTOpbie K3/l/lkirpa(t)bl T3KXe mc-no/ib3yiOT cnepua/ibHbie kmctm m aepHM/ia, MToSbi AoSaBMTb Aono/iHMTe/ibHbie AeTa/iM m yKpaweHna b cbom paSoTbi.
Oahum n3 caMbix BbiAaioiAHxca TpaAnpH-OHHbix Ka/i/wpacj/OB Mhamm aB/iaeTca PaAxa UnHKap Ke/iKap. Oh B/iaAe/i nncbMOM asbb-Harapu, ncno/ib3yeMbiM A/ia nMCbMeHHOCTM Ha a3bi«ax xmhah m MapaTXM, m 6bi/i M3BecTeH CBOMM MCKyCHblM M 3/ier3HTHblM nOHepKOM. Oh T3K>Ke 6bl/l KO.fl/ieKLlMOHepOM MHflMMCKO-ro MCKyccTBa m apTecfiaKTOB, m ero KO/i/ieKu,Ma cennac HaxoAMTca b Mysee Ke/iKapa b nyne, HHAMa.
Elil,e OflHMM M3B6CTHblM TpaflMLAMOHHblM Ka/i/iMrpa4)0M aB/iaeTca Ammp Xocpos, no3T, My3biK3HT m Ka/i/iMrpac|) XIII Be«a. Oh 6bi/i MacTepoM nMCbMa HacTa/iMK, CTM/ia Ka/i/iMrpa-cfiMM, Mcno/ib3yeMoro b nepcMACKOM a3bi«e, m ero paSoTbi M3BedHbi cbocm n/iaBHOCTbio m KpacoTOM. Oh TaioKe 6bi/i nMOHepoM b paspa-6oTKe «KycpMHecKoro» nMCbMa - crM/ia Kan-ziMrpac|)MM, 3apoAMBiueroca Ha Ap3bmmckom no/iyocTpoBe.
Bo3Bpaujaacb k coBpeMeHHOM Ka/i/iMrpa-CpMM, 0TM6TMM, MTO OflHMM M3 C3MblX BblflaiO-iflMxca K3/i/inrpa0OB Mhamm aB/iaeTca Pafl>KMB CeTXM. Oh M3BecreH cbomm HOBaTopcKMM m 3KcnepMMeHTa/ibHbiM noAxoAOM k Ka/i/iMrpa-cJjmm m Mcno/ib3OBa/i ero b ujmpokom cneKTpe MaTepM3/10B, BKAlOHaa TeKCTM/lb, KepaMMKy M
apxHTeKTypnbie MHCTa.fi.nflLiMM.OH TaioKe pa6o-Tan Haß pa/iom npoeKTOB oöinecrßeHHoro mc-KyccTBa, m ero Kannnrpacfjno mo>kho h3mtm bo MHorMx o6w,ecTBeHHbix MecTax Mhamm.
Eine OflMH BenMKMM coBpeMeHHbiM KannM-rpacfi - PaKeuj Tmk3mt, KOToporo MHorne chm-TaoT oßHMM M3 nyHUJMX KannMrpa4)0B Mhamm. Oh M3BecreH cbocm MCKycHOM m aneraHTHOM KanJiMrpac|3MeM m paöOT3.n Haft lumpokmm cneK-TpoM npoeKTOB, BKwaafl oönoxKM khmc nna-KaTbi m ynaKOBKy. Oh Taioxe nonyHMn npM3Ha-HMe 3a cbom BKnaß b oönacTb KannMrpacfiMM, a ero paöOTbi lumpoko BbiCTaBnariMCb m nyönMKO-BanMCb.
B Mhamm ecrb HecKonbKO lukoji KannMrpa-(|3mm, KOTopbie npeßnarafOTOöyHeHMe m pa3BM-TMe HaBblKOB B 3T0M BMße MCKyCCTBa. HeKOTO-pbie M3 hmx Bomarn b ce6fl:
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1. KannMrpa4)MA b Hhamm. LUkojis npeana-raeT pa3HOo6pa3Hbie Kypcbi m ceMMHapbi no KannMrpacfiMM ajia Bcex ypoBHeM onbiTa.
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2. HapMOHanbHbiM MHCTMTyT KannMrpa0MM: opraHM3apMfl, KOTopaA Taioxe npeanaraeT 06-yqeHMe KannMrpa(|)MM nocpeßCTBOM KypcoB m ceMMHapoB.
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3. McKyccTBO KanjiMrpac|3MM b Mhamm: ujko-na, cnepManMSMpyıoıuaACA Ha cOBpeweHHOM Karın Mrpac|} mm m oSyHaoLuaa mobbim ctmaam m T6XHMK3M.
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4. Mhama Karinana LUaxa: M3BecTHbiM Kan-nMrpa0, npeAnaraK)Lu,MM Kypcbi oSyneHMA Kan-nMrpac|)MM m nacTHbie ypoKM.
KannMrpacfiMA MMeeT öonbiiJOM cmmbo-AM3M m ,£iyxoBHoe 3HaHeHMe b mhammckom KynbType. M3biCKaHH3A KannMrpacfiMA yKpa-LuaeTflpeBHMe hmc3hma m CBAUj,eHHbie nnca-HMA,TaKMe K3K Beflbl, KopaH M FMT3, B03B0AA nMCbMeHHoe chobo b 6oxecTBeHHyo c[)opMy MCKyccTBa. CBAiueHHbie Ka/ı/iMrpa^ecKMe CTMXM M3 3TMX nMC3HMM MCH0nb3yK)TCA flJİA npM/ıaHMA KpacoTbi penMrM03HbiM AOKy-MeHTaM, apxMTeKTypHbiM npoeKTaM m aaxe npeAMeıaM noBceflHeBHoro o6mxoa3, tbkmm K3K MOnMTBeHHbie KOBpMKM M yKpailJeHMA. KannMrpa4)MA paccMaTpMBaeTCA kbk cpefl-CTBO OÖUjeHMA CO BceBblLUHMM M Bbipa>KeHMA npe,qaHHOCTM.
KanjiMrpa(|)MA sce eme >kmb3 m npou,BeTaeT B MHflMM, HeCMOTpA H3 p33BMTMe U,M(|)pOBblX TexHonorMM m C0BpeweHHbix mctoagb nenaTM. XyAOXHMKM, yneHbie m noK/ıOHHMKM KannMrpa-0mm npMnaraıOT Bce ycMnMA, HTOÖbi coxpaHMTb M nOnynApM3MpOB3Tb 3T0T M3blCKaHHblM BMA MCKyccTBa. MTOöbi coxpaHMTb npoAo/ı>KeHMe KannMrpac|)MM, pa3AMMHbie opraHM3au,MM m o6-pa30BaTenbHbie y^pe^eKMA hpoboaat Ma-crep-Knaccbi, ceMMHapbi m BbicraBKM. Kpowe toto, coBpeMeHHbie KannMrpac|)bi 3KcnepMMeH-TMpyiOT C HOBbIMM KOHpenPMAMM M COHCTaiOT KnaccMnecKMe tcxhmkm c coBpeMeHHbiMM bam-AHMAMM, COXpaHAA 3KTya/1 bHOCTb M npMBneK3-TenbHOCTb 3T0T0 BMfla MCKyCCTBa B COBpeMeH-Hyıo anoxy.
Indian calligraphy is a beautiful art form that has a rich history and is deeply rooted in the culture and tradition of the country. It is a form of writing that uses intricate and ornate designs to create visually stunning pieces of artwork. There are different scripts used in Indian calligraphy,such as Devanagari, Bengali, Tamil, Telugu, Kannada, Gujarati, Malayalam, Gurmukhi, and Oriya.
The history of writing in India dates back to the time of the first emperor Ashoka (3rd century BC), who promulgated Legal norms covering the entire lifestyle of his subjects at that time. These legal rules are written in stone. Two new writing systems soon appeared: Kharosthi and Brahmi. These scripts were used to write various Languages and were an integral part of the Literary and cultural traditions of ancient India. Over time, Indian calligraphy evolved and developed into numerous script styles, each with its own unique characteristics and beauty.
Kharosthi was used in northwestern India from the III century BC to the IV century AD, and in Central Asia to the VIII century. It was Brahmi that became the founder of the modern Devanagari script (“Font from the City of Gods”). Religious texts were very rarely written using Devangari and were originally accompanied by colored drawings. Indians wrote on copper plates, tree bark and palm Leaves tied together with ropes.
“Devanagari,”the script used for Languages such as Hindi, Sanskrit, and Marathi, is one popular type. The elaborate Letterforms, beautiful curves, and flowing strokes of Devanagari calligraphy are well-known. Devanagari is a phonetic script that consists of 47 primary characters, including consonants and vowels. It is written from Left to right and has a distinctive horizontal Line at the top, called the “shirorekha,” which gives the script its characteristic appearance. Devanagari is known for its combination of sharp and rounded shapes, which create a harmonious and visually appealing aesthetic, are several popular calligraphy styles in Devanagari, each with its own unique characteristics. Some of the well-known styles include Landa, which is known for its bold and angular strokes, and Kansara, which emphasizes thin, delicate Lines. Other styles such as Mudrika and Rekha combine curved and straight Lines to create visually striking calligraphic pieces.
The Bengali script is used to write the Bengali Language, which is primarily spoken in the eastern region of India and Bangladesh. It is a fluid and flowing script that is known for its graceful curves and Loops. Bengali calligraphy is highly regarded for its artistic beauty and intricate detailing. The Bengali script is an abugida script, meaning that it represents consonant-vowel combinations ratherthan individual consonants or vowels. It has 49 primary characters and follows a left-
to-right writing direction. Bengali calligraphy is characterized by its curved and swooping Lines, which give it a sense of rhythm and flow. There are several styles of calligraphy in the Bengali script, each with its own distinctive features. One of the popular styles is Shonar, which is known for its bold and thick strokes. Another style, called Kanika, is more delicate and uses thin, intricate Lines to create elegant calligraphic pieces. Other styles such as Prachi and Kalpana combine fluid curves and sharp angles to create visually unique works of art.
The Tamil script is used to write the Tamil Language, which is predominantly spoken in the southern state of Tamil Nadu in India and in Sri Lanka.Tamil calligraphy is known for its simplicity and elegance, with a focus on clarity and legibility. The Tamil script consists of 12 vowels, 18 consonants, and a combination of vowel-consonant diacritic characters. It is written from Left to right and follows a relatively simple and straightforward writing style.Tamil calligraphy emphasizes clarity and legibility, with each Letter having a distinct form and shape. In Tamil calligraphy, there are various styles that showcase the beauty and versatility of the script. One of the popular styles is Kurinji, which is characterized by its flowing Lines and rounded forms. Another style, known as Mullai, focuses on intricate detailing and delicate strokes. Each style of Tamil calligraphy has its own unique aesthetic and charm, allowing calligraphers to express their creativity and skill.
Another well-known script is “Persian,” which was influenced by Islamic culture and is usually used for Urdu and Persian. The fluid Lines, delicate angles, and harmonious elegance of Persian calligraphy distinguish it.
The art of beautiful calligraphy appeared at the beginning of the XV and XVI centuries with the arrival of Muslims. At this time,the main requirements for the work of schools and craftsmen,the materials used, paintsand inks appeared. Different parts of India have developed their own styles. For example, the tugra style is common in Bengal, the tauki, naskh and riqa styles in the east of India and Gujarat, and the nastaliq style in the south.
For Indian masters, there was no particular difference in which surface to write calligraphy on.They wrote on stone, paper, coins, cloth, etc. To practice Indian calligraphy, a calligrapher requires various tools and materials. The most important tool is the pen (kalam), which is typically a bamboo or reed pen with a pointed nib. By skillfully manipulating the pressure on the kalam, calligraphers can achieve variations in Line thickness and create dynamic compositions. Other tools include the “masahif” (inkwell), “misbah” (Lamp), and “raqam” (ruler), all of which contribute to achieving precision and perfection in their work. The ink used in Indian calligraphy is usually made from natural materials, such as soot or vegetable dyes. Paper or cloth is used as the medium for creating calligraphic pieces. Some calligraphers also use specialized
brushes and inks to add further details and embeLLishments to their work.
One of the most prominent traditional calligraphers in India is Raja Dinkar Kelkar. He was a master of the Devanagari script, the script used for the written Hindi and Marathi Languages, and was known for his skillful and elegant handwriting. He was also a collector of Indian art and artifacts, and his collection is now housed in the Kelkar Museum in Pune, India.
Another notable traditional calligrapher is Amir Khusrow, a 13th-century poet, musician and calligrapher. He was a master of the Nastaliq script, a style of calligraphy used in the Persian Language, and his work is known for its fluidity and beauty. He was also a pioneer in the development of the “Kufic” script, a style of calligraphy that originated in the Arabian Peninsula.
Moving to the modern calligraphy, one of the most prominent calligraphers in India is Rajeev Sethi. He is known for his innovative and experimental approach to calligraphy and has used it in a wide range of mediums, including textiles, ceramics and architectural installations. He has also worked on a number of public art projects, and his calligraphy can be found in many public spaces in India.
Another great modern calligrapher is Rakesh Tikait,who is widely considered as one of the finest calligraphers in India.He is known for his skillful and elegant calligraphy and has worked on a wide range of projects, including book covers, posters, and packaging. He has
also been recognized for his contributions to the field of calligraphy, and his work has been widely exhibited and published.
There are several calligraphy schools in India that offer training and skill development in this art form. Some of them include:
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1. Calligraphy India: The school offers a variety of calligraphy courses and workshops for all experience Levels.
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2. National Institute of Calligraphy: An organization that also offers training in calligraphy through courses and seminars.
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3. Calligraphy Arts India: A school specializing in modern calligraphy and teaching new styles and techniques.
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4. Kalpana Shah’s India: Kalpana Shah’s India: A renowned calligrapher who offers calligraphytraining coursesand private Lessons.
Calligraphy has great symbolism and spiritual significance in Indian culture. Exquisite calligraphy adorns ancient scriptures and holy writings such as the Vedas, Quran, and Gita, elevating the written word to a divine form of art. Sacred calligraphic verses from these scriptures are utilized to enhance the beauty of religious documents, architectural designs, and even daily goods such as prayer mats and jewelry. Calligraphy is regarded as a means of communicating with the almighty and expressing devotion
Calligraphy is still alive and well in India, despite developments in digital technology and modern printing techniques. Artists, scholars, and calligraphy fans are all working hard to conserve and promote this exquisite
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§ 7. POKISTON XATTOTLIK SAN ATI
Hozir Pokistonni tashkiL etuvchi geografik hudud musuLmon xattotLigi buyerga keLishidan oLdin bir qancha yozuv usLublari va tizimLari biLan tajriba o’tkazgan. Biroq, xattotLik san’ati iLgari mavjud bo’Lgan davLat tizimLaridan hech qanday yordam oLmadi. IsLom xattotLik san’ati mahaLLiy yozuv tizimini buzishga urinmagan. Buning o’rniga, u mahaLLiy ahoLi biLan yonma-yon rivojlandi va mashhurLigi va xilma-xiLLigi bo‘yicha hammasidan ilgariLab ketdi. Ko‘p o‘tmay xattotLik san’ati viloyat va viLoyat fonetikasi ehtiyojlariga mosLashtiriLib, mahaLLiy did va tendensiyaLarga mos tarzda bezatilgan. Yaqin vaqtgacha musuLmon xattotLigi ham musuLmonlar, ham musuLmon bo'LmaganLar orasida juda mashhur edi.
IsLom yozuvi, hech bo’Lmaganda, burchakLi kufiy yozuvi Pokistonga IsLomning dastLabki asrLarida isLom dunyosi biLan paraLLeL rivojLanish sifatida kiritiLgan. BoburiyLar davrida (1526-1857) har bir masjid,ziyoratgoh va maktab kitob ishLab chiqarish markaziga ayLandi. Bu omillarning barchasi jamiyatning barcha qatlamLaridagi xattotLarning saxovatLi homiyLigiga oLib keLdi va uLarning ijtimoiy nufuzini oshirdi. NastaLiq uslubi Pokistonga birinchi marta BoburiyLar davrida kiritiLgan. MusuLmonlar kitob yozish uchun qogbzdan foydaLanishni yo’Lga qoygan va uni ommalashtirgan.Bu kitob nashretishda inqiLob qiLdi. Yuqori sifatLi qogbzdan foydaLanish nafaqat kitobLarning yanada sifatLi bo‘Lishini ta’minLadi, baLki rassomLar, ¡LLyustratorLar,
dekoratorLar va boshqaLarni kitob bezaklari shakLida xattotLik san’atini namoyish etishga undadi. Pokistondagi musuLmon arxitekturasi ham BoburiyLar davrida o’zining yuksak cho’qqisiga chiqdi. Bu davr yodgorLikLarining aksariyatida barcha umumiy usLubdagi tosh yozuvLar - suLs, nasx, kufiy, toLik, nasta’Liq va boshqaLar mavjud. Bu yozuvlarning aksariyati marmar pLitalarga o’yiLgan bo‘Lib, so’zlar qora tosh biLan to’Ldirilgan. Bundan tashqari, sirLangan koshinLar, freskaLar, shLyapaLar, bo’rtma tosh va yogbchlarda xattotLik namu-naLari ko‘p uchraydi.
BoburiyLar davrida bu yerda ma’Lum xattotLik markazLari paydo bo’Lgan. Ro’yxatda birinchi o’rinni Lahor egaLLaydi. Imperator, knyazLar va zodagonLar uni o’z qarorgohiga ayLantirdiLar. Bu shahar oLimLar, rassomLar va xattotLarni o’ziga jaLb qiLgan. BoburiyLar davri xattotLarining aksariyati yetti usLubning ustalari bo’Lgan bolsa, XX asr boshLarida ko’pchiLik xattotLar bir usLubning, ya’ni nastaLiqning ustaLari bo’Lgan.
An’anaviy xattotLik mustaqiLLikdan keyin ham amalda saqlanib qoLdi (1947-yiLdan boshLab). Toj ad-Din Zarrin Rakam, Hofiz Muhammad Yusuf Sadidiy, Parvin Rakam, so’fiy Xurshid A’Lam Xurshid Rakam va Anvar Husayn Nafis Rakam Lahordagi o’z davrining yetakchi an’anaviy xattotlaridandir. An’anaviy tarzda o’qitilgan barcha xattotLar katta fidoyilik ko’rsatib xattotLik biLan shug’uLLanganLar. Ba’zi usta xattotLar mahaLLiy Urdu tiLidagi
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bilan bogliq bolishidan tashqari, u butun dunyoda zamonaviy san’at amaLiyotiga chugur ta’sir ko'rsatgan oziga xos xususiyatga ega. Matn san’ati kaLLİgrafiya amaLiyotining bir tarmog‘idir. Til jamiyatning oziga xosligini saqlaydi va uning matn bilan aloqasi Pokiston
rassomlariga o‘z hikoyalarini ifodalash uchun turli xil vositalarni taqdim etadi. TİLni oziga xoslik sifatida taqdim etish istagi zamonaviy dizaynda o‘z aksini topdi va e’tirofga sazovor boldi. Pokistonda xattotlik jonli badiiy an’ana sifatida paydo boTdi.
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§ /.CALLIGRAPHY ART IN PAKISTAN
The geographical territory which now forms Pakistan had already experimented several styles and systems of writing before the Muslim calligraphy reached here. However, the calligraphy art did not take any nourishment from earlier existing state systems. The art of Islamic calligraphy made no attempt to destroy the indigenous system
ofwriting. Instead, it developed side bysidethe indigenous ones and excelled all of them both in popularity and diversity. It soon adopted itself to the needs of provincial and regional phonetics and beautified itself according to local tastes and trends. Till very recently, the Muslim calligraphy was very popular both with the Muslims and non-Muslims.
Islamic Script, at Least the angular Kufic, was introduced in Pakistan in the early centuries of Islam as a parallel development with the rest of the Islamic world. During Mughal Period (1526-1857) every mosque, sanctuary and school became a centre of book production. ALL these factors led to the munificent patronage of calligraphers by all classes of society and enhanced their social prestige. Nastaliq script was introduced in the territory of Pakistan for the first time during the Mughal period. Muslims introduced use of paper for writing books and popularized it. It revolutionized the book activities. Use of finer quality of paper not only ensured better quality of books but also encouraged the painters, illustrators, decorators, ect., to show their worth in the form of book decorations. Muslim architecture in Pakistan reached its zenith during the Mughal period as well. Most of the monuments of this period contained stone inscriptions in all prevalent style -suls, naskh, kufic, taliq, nastaliq, etc. Most of these inscriptions were cut in marble slabs and words were filled in with black stone. Examples of calligraphy in glazed tiles, fresco, stucco and stone in relief and on wood also abound.
During the Mughal period, their developed certain centres of calligraphy. Lahore topped the List. Emperor, princes and nobles made it their residence. Scholars, artists and calligraphers were attracted towards this city. Most the Mughal period calligraphers were masters of seven styles, but in the early XX
century, most of the calligraphers were skilled in one style i.e. nastaliq.
Traditional Calligraphy remained in practice after Independence (since 1947).Taj al-Din Zarrin Raqam, Hafiz Muhammad Yusuf Sadidi, Parvin Raqam, Sufi Khurshid Alam Khurshid Raqam, and Anwar Husain Nafis Raqam are among the leading traditional calligraphers of their time in Lahore and had their descendants as well. ALL the traditionally trained calligraphers practiced calligraphy with great devotion. The master calligrapher was responsible for writing the headlines of the Urdu Newspaper. Composing and balancing of text were done by these calligraphers with great sense of design. Although that practice trained the youngest generation of calligraphers but was extremely time taking despite being a healthy activity. The advancement of technology affected this field and the introduction of digital printing replaced master calligraphers for writing Newspapers. Although some of the traditional calligraphers remained focused and continued their calligraphic practice religiously whereas some had to switch to other fields for better Living.
Art education played essential role in keeping the tradition of calligraphy alive.The practice of calligraphy remained a subject for Learning the basic principles of writing as an offshoot of traditional arts. Artists and designers after learning these principles used text for creative exposure with freedom of expression. The second half of twentieth
century unlocked multiple dimensions for artists to think beyond the nut shell for finding their own identity and inclinations globally.
Artists used the art of calligraphy for the attainment of aesthetic standards, for them the spiritual features of beauty Lays in the Letters and words. In calligraphy the captivating features includes form, use of space and sense of design that holds its significance.Following artists used calligraphy as a favorable device for documenting their artistic concerns in response to the socio-political, religious, and consumerist influence: Shakir Ali, Hanif Ramay, Sadequain, Anwar Jalal Shemza, Askari Mian Irani, Aslam Kamal, Ahmed Pervez, Ismail Gulgee, Zahoor ul Akhlaq, Rashid Ahmed Arshad,Jamil Naqsh, Ahmed Khan,Arif Khan, Bin Oalandar, Shiblee Muneer,Amin Gulgee.
Most of the artists and designers have Learned the basics of calligraphy which provided them freedom to use it for personal means. Diversity of style and technique made them masters of their own individualistic styles. In the contemporary age, besides Islamic calligraphy a number of artists are utilizing text with creative concerns as a tool for visual communication. Rasheed Araeen, Mohammad Ali Talpur, Muzzumil Ruheel,
Ghulam Muhammad, Shah Abdullah Alamee, Sumaira Oayyum, Zahid Mayo, Muneeb Ali, Samara Shahid and some others are exploring creative vistas in finding their own textual statements.
With ups and downs in the socio-political backdrop, the art of calligraphy is one such expression which has not been questioned till to date. In Pakistan, practice of calligraphy as a form of art and design is conceived as an integral part of the religious faith that ensures divine blessings. As an art form, besides artists, designers have also contributed in finding innovative vistas for the creative execution of calligraphy. Both have used calligraphy as a tool of creative expression coupled with religious symbolism. Besides being associated with Islamic aesthetics it holds an identity of its own that Left enormous impact on contemporary art practice globally. Text-based art is an offshoot of calligraphic practice. Language holds the identity of a society and its relationship with text provides artists of Pakistan multiples means to express their narratives. This urge for representing Language as identity has started reflecting in contemporary design which receives acknowledgement. Calligraphy has evolved as a Living art tradition in Pakistan.
©Shakir Ali
©Hanif Ramay
©Sadequain
©Anwar Jalal Shemza
©Aslam Kamal
©Rashid Ahmed Arshad
© Bin Qalandar
©Mohammad Ali Talpur
©Naqsh School of Arts ©Youth For Pakistan
©Lahore Arts Council
§ 8. ERONDA XATTOTLIK AN’ANAVIY SANATINI SAOLASH MILLIYDASTURI
“Eronda an’anaviy xattotLik san’atini saq-Lash boyicha miLLiy dasturi” 2021-yiLda YUNESKOning tabiatni muhofaza qiLish bo'yicha eng yaxshi amaliyotLar reestriga kiritiLgan.
Eron tarixida xattotLik an’anasi azaLdan yozuv biLan bogliq bo‘Lib, yozuvchi xaLq savodsiz bo'Lgan davrda ham xattotLik va yozuv birga ko‘rib chiqiLar, uLar birgaLikda o'qitilgani uchun yomon yozuv degan narsa bolmagan. Ammo bosib chiqarish va main terishning paydo bo'Lishi, ayniqsa kompyuter dasturLari va raqamLi texnikaning paydo bo'Lishi va har jihatdan oson tushuniLishi kerak bo'Lgan iLmiy materiaLLarning o'sishi biLan bu san’at asta-sekin pasayib ketdi. Bu esa yangi avLod o'rtasida xattotLikning o'rganiLishi darajasiga va Eron san’ati turlaridan bo'Lgan xattotLik san’atiga tanqidiy ta’sir ko'rsatishga oLib keLdi. Yozuv va xattotLik ikki aLohida narsaga ayLandi va bu ajraLishning birinchi aLomati bitiruvchiLar orasida qo'L yozuvining yomonLigi, keying! aLomati esa eski yozuvLar biLan aLoqaning yo'qLigi edi.
Bunday sharoitda Eron xattotLik an’anasini saqlab qolish fan, adabiyot va san’at biLan shug'uLLanuvchi barchani, shuningdek, 8O-yiLLarning o'rtaLarida mamlakat ahoLisini jiddiy tashvishga soldi. Natijada, 1985-yilda nodavlat tashkilotlar va davlat sektori hamkorligi orqali miLLiydasturlarqabulqilindi. Ushbu dastur qirq yildan ortiq vaqt davomida
qimmatli hissa qo'shgan “Eron xattotlari uyushmasi”, ushbu san’atni modernizatsiya qilishga bag'ishlangan Novin xattotlari uyushmasi hamda davlat tashkilotlarining vazifalarini belgilab berdi.
Garchi xattotLik an’anaviy me’morchilikda, xat yozishda va hatto uylarning tashqi jabhasi va ichki me’morchiligida tom koshinlari, g'isht va suvoqchilik kabi san’at turlari orqali aLohida o'rin tutgan bo‘Lsa-da, bugungi kunda u zamonaviy Eron me’morchiligida muhim o'rin egalladi. Ko'pgina zamonaviy me’moriy yodgorliklarning ko'rinishi xattotLik san’ati biLan bezatilgan.
Kiyim va zargarlik buyumlari dizaynida xattotLikham kengqo'LLanilgan.Ba’zirassomlar o'z asarLarida xattotlikdan foydaLanganlar.
Ushbu miLLiydasturning istiqboLÍ 2025-yiLga beLgilangan va qirq yilni qamrab oigan. Ushbu dastur oddiy va rasmiy darslar uchun ommaviy xattotLik talimini kengaytirish maqsadi biLan boshlandi; xattotLik bo'yicha kitoblar, risolalar va maxsus nashrlar chop etish; zamonaviy turmush sharoitiga mos ravishda xattotLik an’analaridan to'g'ri foydalanish maqsadini hisobga oigan holda badiiy ko'rgazmalar o'tkazish va o'quv dasturlarini ishlab chiqish kabilarni qamrab oldi.
Manfaatdortomonlar (ham jamoat,ham nodavlat notijorat tashkilotlari) ayniqsa, dastur doirasida o'rta talim, bakalavriat va oliy o'quv yurtidan keyingi talimning turli bosqichlari-
da o‘quvchilarning yoshi va bilim darajasiga moslashtirilgan Loyihalarni amalga oshira-yotganini alohida ta’kidLamoqda. Shuningdek, dasturda ustoz-shogird amaLiyotini jonlanti-rish va zamonaviy bilvosita o‘qitish usullarini qo‘LLash orqali tomoshabinlar ma’naviyatini yuksaltirishga alohida e’tibor qaratish bilan birga, xattotlik an’analaridan ham foydalanish kozda tutilgan.
Shuni ta’kidlash Lozimki, ushbu dastur boyicha ishlarning bir qismi Eron xattotlari uyushmasi tomonidan 1980-yillardan oldin boshlangan va uning xalq madaniyati va an’analarida juda mashhurligini hisobga olgan holda, davlat sektori uni qayta belgilab, milliy dasturga aylantirgan, davlat va xususiy sektör tajribasiga asoslangan holda uni keng miqyosda muvofiqlashtirgan.
Xattotlik san’ati va hunarmandchiligi juda uzoq tarixga ega bolgan Eronning nomod-diy madaniy meroslaridan biri bolib, ushbu dasturni amalga oshirish nomoddiy madaniy merosni asrab-avaylashga qaratilgan edi.Xat-totlik jamiyatning turli qatlamlari orasida mühim ahamiyatga ega bolganligi sababli, yozu-vlar har xil narsalar uchun ishlatilgan, har bir ijtimoiy daraja yoki sinf uchun alohida ma’no va hurmatga ega edi. Shu bilan birga, boshqa mamlakatlarda, xususan, arab va islom mam-lakatlarida bu an’ana mavjudligini hisobga olib, ushbu nomoddiy merosga e’tibor ichki va tash-qi madaniy hurmatni hamda mamlakatlar, xus-usan,Arabva islom davlatlari Eron bilan o’zaro hurmat va madaniy hamkorlik imkoniyatlarini kafolatlaydi.
Ushbu san’atni mustahkamlash va omma-lashtirish an’anaviy madaniy qadriyatlarni avloddan-avlodga yetkazishda mühim rol oynaydi va ularni sezilarli darajada yaxshi-Lashi mumkin. Xuddi shu san’at xuddi shun-ga o‘xshash yozuvlarga ega bolgan boshqa mamlakatlarda keng tarqalganligini hisobga olsak, Eron va ushbu mamlakatlarda madaniy xilma-xiLLİkva inson ijodiga hurmatni kuchay-tirishi mumkin.Shuningdek, u kalligrafîkyozuv namunalarini aniqlash va yozib olish imkonini beradi.
Bularning barchasi izlanishni taqozo etadi va bu jarayonning davom etishi xattotlik va boshqa an’anaviy va hatto zamonaviy turdosh san’at yonalishlari boyicha tadqiqotlarning kengayishi va kuchayishiga xizmat qiladi. Shu bilan uning asoslarini mustahkamlash, saq-lash va qo‘LLab-quwatlashni rag’batlantirish hamda aniq belgilanishi mumkin bolgan keng qamrovli, amaliy va erishish mumkin bolgan dasturlarni taqdim etadi. Bularning barchasi xattotlikning ommalashishiga olib keladi, bu esa uni himoya qilish va uning tanazzulga uchrashi va unutilishining oldini olishning eng yaxshi usuli hisoblanadi. Bu darajaga erishish ijodiy va talabalar hamjamiyatiga, hatto xorijiy tadqiqotchilarga ham uni takomillashtirish va kochirish, shuningdek, rasmiyva norasmiy talim infratuzilmasini mustahkamlash ustida ishlash imkonini beradi.
Ta’kidlash joizki, bugungi kunda qalam va siyoh kabi an’anaviy xattotlik usullaridan foydalanishga qiziqmagan insonlar sharikli qalam yordamida zamonaviy xattotlik
sohasida katta yutuqLarga erishib, uni ijtimoiy va kasbiy qadriyat sifatida taqdim etishdi. U maktablar va universitetlarga kirib bordi. ILgari xattotlik talabaLar uchun ortiqcha deb hisoblanardi.
Bugungi kunda Eronda xattotlik alohida o‘rin tutadi. Madaniyatning boshqa unsurlari kabi bu san’at ham zamon talablariga mos ravishda yangilandi. Masalan, Farzam PiLaram, Rizo Mafiy, Muhammad Ehsay, NasroLLa Afjey va Husayn Zende Rudi kabi zamonaviy eronlik xattot va rassomlar ham xattotlikni zamonaviy san’at, xususan, rangtasvir biLan uyg‘unlashtirib,“KaLLigramma”deb nomlangan gozaL san’at asarlarini yarata oldilar. Ushbu yangi san’at san’atsevar omma biLan yanada koproq aloqada bo’Ldi. Bugungi kaLLigramma nafaqat Eron san’at bozorida, balki xalqaro
san’at auksionLarida ham shuhrat qozondi. Ta’kidlash joizki, bugungi kunda Our’oni karim, hadis va rivoyat kitoblari kabi muqaddas matnlarni yozish, bayroqlar yozish, bayram va motam e’lonlarini yozish ham butunlay an’anaviy xattotLikka asoslangan.
Garchi xattotLik an’anaviy me’morchiLikda, xat yozishda va hatto uylarning tashqi jabhasi va ichki me’morchiLigida tom koshinlari, g‘isht va suvoqchiLik kabi san’at turlari orqali alohida o‘rin tutgan bo‘Lsa-da, bugungi kunda u zamonaviy Eron me’morchiLigida mühim ahamiyatga ega. Ko’pgina zamonaviy me’moriy yodgorLiklarning ko’rinishi xattotlik san’ati bilan bezatilgan. Kiyim va zargarlik buyumlari dizaynida xattotlik ham keng qo‘llanilgan. Ba’zi rassomlar o‘z asarlarida xattotlikdan foydalanganlar.
§ 8. HALJMOHAJlbHAfl nPOPPAMMA HO COXPAHEHMK) TPAflMLJMOHHOrO MCKYCCTBA KAJWPACDMM B MPAHE
«HauMOHajibHaa nporpaMMa no coxpane-Hmo TpaflugHOHHoro MCKyccTBa Kannnrpac|3MM b M pane» öbina BHecena b Peecrp nepeflOBOki npaKTUKu oxpaHbi K3HECKO b 2021 rofly.
B ncTopnn kipaHCKoro nncbMa TpaanuMfl Ka/uınrpac|}Mm sceraa öbina esmana c nkicbMOM, m flaxe Korflanıoflki,nkicaBiukie,6binki Manorpa-MOTHbi, Kan/ınrpacbkia ki nncbMO no-npexneMy paccMaTpkiBanncb BMecre, m He cyujecrBOBano TaKoro HB/ıeHkifl, kbk nnoxoid nonepK, noTOMy hto kix yHki/iki BMecre. Ho c nonsneHMeM Tkino-rparfjcKOki nenaTH ki Haöopa KHkir, ki ocoöeHHO c noflBJieHkieM KOMnbiOTepHbix nporpaMM m
UM(|)pOBblX LUpklpTOB, 3 T3KX6 C pOCTOM Hay4-Horo MaTepkiana, KOTopbiki flonxen 6bin öbiTb nerıco dohat bo Bcex OTHOLueHkisx, oto MCKyc-ctbo nocTeneHHO npmu.no b ynaflOK m aKpeHT Ha hmctom yfloöOHkrraeMOCTki 33MeHki.no co-önıofleHkie OAHOBpeMeHHO HkiTaöe/ibHocrn ki 3creTkiKki unu hmctom scTeTkiKki. 3to npkiBe.no k CHHxenmo npn3HaHnn Kannkirpacfikiki cpeflki HOBoro noKoneHkin ki k KpHTunecKOMy bo3-fleücTBmo Ha MCKyccTBO Kannkirpacpkiki, ko-Topoe BXOflkIT B Mkicno TpaflkILlklOHHbIX kipaH-ckmxc|jopm MCKyccTBa. FlkicbMO m Kannkirpatpkia cranki flByMA OTflenbHbiMki BeujaMki, m nepBbiM
cmmhtomom 3Toro pa3AeneHna cran nnoxoM noHepK y BbinycKHMKOB, a nocneAyoiAMM cmm-nTOMOM CTanO OTCyTCTBMe CBa3M CO CTapblMM nncbMeHaMM.
B 3tmx ycnoBnax coxpaHeHne npaHCKOü Kaa^MrpapMMecKOki Tpaflupun cra.no cepaes-hom 3a6oToii A-na Bcex, kto 3aHMMaeTca Hay-kom, nMTepaTypoid m ncKyccrBOM, a raıoKe ana HapoAa CTpaHbi b cepeAMHe 80-x toagb. B pe3ynbT3Te b 1985 roay HapMOHanbHbie npo-rpaMMbi 6binn KOAnc|JMLiMpoBaHbi b peaynbraTe coTpyAHMMecTBa Me>KAy HenpaBUTenbCTBeH-HblMM 0praHH3aU,MaMM M npaBMTenbCTBeHHblM ceKTopoM. B 3tom nporpaMMe öbinn onpeAe-neHbi oöasaHHoc™ «Accopnap^ npaHCKnx KannMrpapOB», BHeciLieM peHHbiM BKnaA öonee HeTbipex AecaTMneTMM, AccoLiMapMM Kannurpa-pOB HOBMH, KOTOpaa 3aHMMaeTCa MOflepHM-33LlMeM 3TOrO MCKyCCTB3, 8 T3K>Ke npBBMTenb-CTB6HHblX OpraHM33LW.
nepcneKTMBa stom HapııoHanbHOM npo-rpaMMbi 6bina paccHkrraHa Ha 2025 roA m paccHHTana Ha copoK jıeı 3ra nporpaMMa HaHanacb c penbio pacwnpmb oöıuecrBeH-Hoe oöyHeHHe KannMrpapMM ana o6bNHbix m c|)opManbHbix KnaccoB; M3AaB3Tb kkhtm, 6po-Luopbi m cneLikianbHbie M3A3Hna no «annurpa-(j)MH; npOBOAMTb XyAOXeCTBeHHbie BblCTaBKM m paspaöaTbiBaTb aKaAeMMMecKMe yaeöHbie nporpaMMbi c yneTOM penM HaAneaoıuero mc-nonb3OBaHna Kannnrpa(|)MMecKOM rpaflHpuM B C00TB6TCTBMM C COBpeMeHHblMM yCnOBMa-MM XM3HM. 3aMHTepeCOBaHHbie CTOpOHbl (K3K oöujecTBeHHbie, tbk m HenpaBMTenbcrBeHHbie OpraHM3apMM) nOAHepKMBaiOT.HTO.OCOÖeHHO B
paMKax nporpaMMbi, ohm peann3yi0T npoeKTbi Ana pa3nMHHbixypoBHn cpeAHero,6aKanaBpn-aTa m nocneflMnnoMHoro o6pa3OBaHna, koto-pbie aAan™poBaHbi k B03pacTy m ypoBHio 06-pa3OBaHna o6yHaıoiAMxca. nporpaMMa TaıoKe HaMepena ncnonb3OBaTb KannMrpapMHecKyio Tpafli'iLi.mo, yne/ıafl npn 3tom ocoöoe BHUMa-Hiıe BOspo^ceHMio npaKTMKM Macrepa-yne-HMKa m ynyHLueHMto ayxobhom cropoHbi ay-AMTopMM nporpaMMbi 3a ener ncnonb3OB8HHfl C0BpeMeHHbix Henp^Mbix motoaob oöyHeHMA.
CneayeT OTMeTkiTb, mto nacrb paöoTbi no 3tom nporpaMMe 6bi/ıa HanaTa Accopuapneii npaHCKkix Kannnrpa(|)OB eme ao 1980-x ro-AOB, m, yHMTbiBan ee orpoMHyio nonynapHOCTb b KynbType m TpaAnpniix Hapofla, rocyAap-CTBeHHbiid ceKTop npespam/ı ee b HapMOHanb-Hyıo nporpaMMy nyTeM nepeonpeAeneHMn m KoopAMHapMM 3to b 6o/ibujnx MacwTa6ax Ha ocHOBe onbiTa rocyAapcTBeHHoro m HacrHoro CeKTOpOB.
KannMrpapMHecKoe MCKyccTBO m MacTep-ctbo «BnaıoTCfl oahmm M3 HeMaTepnanbHbix KyjibrypHbix HacneAMM Mpana, MMeK3iAMx oneHb flo/ıryıo MCTopmo, m peann3apnfl stom nporpaMMbi âbına HanpasneHa Ha coxpaHeHne 3Toro HeMaTepManbHoro KynbTypHoro Hacne-AMa. M3-33 BaxH0CTM KannMrpapMM cpeAM pa3-Hbix cnoeB o6uj,ecTBa, rAe Ana caMbix pa3Hbix Aen ncnonb3OBanncb paankiMHbie nkicbMeHHO-ctm, ona MMena ocoöoe 3HaHeHne m yBaxeHne Ana Ka>KAoro copnanbHoro ypoBHa unu Knac-ca. B to xe BpeMa, yHMTbiBaa cymecTBOBaHMe 3T0M TpaAHAMM B APV™X CTpaH3X, OCOÖeHHO apaöcKMx m ncnaMCKnx crpaHax, BHMMaHMe k
3T0My HeMaTepManbHOMy HacneAMK) rapaHTM-pyeT BHyrpeHHee m BHeuHee KynbTypHoe ysa-xeHMe m BO3MOXHOCTb B3aMMHoro ysaxeHM3 M Ky/lbTypHOrO B33MMOAeMCTBMfl C UpaHOM co CTopoHbi CTpaH,ocoGchho apaGcKMx m McnaM-ckmx rocyAapcTB.
YKpenneHMe m nonynnpM3apM« 3Toro mc-KyccTBa MrpaeT BaxHyio ponb b nepeAane TpaAMpMOHHbIX Ky/lbTypHbIX peHHOCTOM M3 noKoaeHMa b noKonenne m moxot 3H3HMTenb-ho yjiyHWMTb nx. To xe mckycctbo, yMMTbiBaa ero pacnpocTpaneHHOCTb b Apyrnx crpanax c noxoxeM nncbMeHHOCTbio, moxot yKpenMTb yBaxeHMe k KynbTypHOMy pa3HOo6pa3MK) m MenoBeHecKOMy TBopnecrBy b Mpane m 3tmx CTpanax.3to TaKxe AenaeT B03M0XHbiM mach-TM^MKapMIO M perMCTpapMK) O6p33pOB K3/U1M-rpacpMHecKoro nncbMa.
Bee 3to TpeGyeT MecneAOBaHMM, m npoAon-xeHMe 3Toro npopecca cnocoGcrByeT paciuM-peHMK) m yKpenneHMK) MecneAOBaHMM b oGna-ctm KaJuiMrpa(|)MM m Apyrnx TpaAMpMOHHbix m Aaxe coBpeMeHHbix CMexHbix mckycctb; tom caMbiM yKpennnn era ocHOBbi, cnocoGcrByn coxpaHeHMio m noAAepxKe, a TaKxe oGecne-MMBaa KOMnneKCHbie, npMKnaAHbie m aoctm-xMMbie nporpaMMbi, KOTopbie moxho tomho onpeAenMTb. Bee sto boast k nonynnpM3apMM KanjiMrpacpMM, mto ABnaeTcn nyMUMM cnoco-6om 3auı,MTMTb m npeAOTBpaTMTb ee ynaAOK m 3a6BeHne.flocTnxeHne TaKoro ypobhr no-3BonrieT TBopnecKOMy m CTyaeHiecKOMy co-oGmecTBy m Aaxe 3apy6exHbiM MccneAOBaTe-brm paGoTaTb Ha/; era coBepmeHCTBOBaHMeM m nepeAaneM, a TaKxe yKpenneHMeM MHCppa-
CTpyKTypbi (|)opManbHoro m HetjiopMajibHoro o6pa3OBaHMR
CneayeT OTMeTMTb, mto eeroflHn wam, ko-TOpbie He SbIJIM 3aMHTepeCOB3Hbl B MCHOnb3O-b3hmm TpaAMpnonnbix motoaob KannMrpacjjMM, T3KMX K3K nepO M TyilJb, AOÖMnMCb GOJlbUJMX ycnexoB b oGnacTM coBpeMeHHOM Kannnrpa-0MM C nOMOUJbK) UJapMKOBblX pyMOK, npeflCTS-BMB 3TO K3K COLAMa/lbHyK) M npOtpeCCMOHaJlb-Hyo peHHOCTb. Oho npoHMieno b uKOJibi m yHM-BepcMTeTbi, a KajinMrpac|3MR CHMTanaeb nniocoM Ana cryAeHTOB.
Kaaanrpac|)MR ceroAHfl sannaa ocoöoe Meera b cospeMeHHOM Mpane. KaK m Apyrne aneweHTbi KynbTypbi, sto mckycctbo 6bi.no 06-HOBneHO e yneTOM TpeGoBaHnn HbiHeiiJHero BpeweHM. HanpMMep, coBpeMeHHbie npaHCKMe Kannnrpac|)bi m xyaoxhmkm, TaKne kbk MacTe-pa <X>ap3aM PlnnapaM, Pe3a Ma^n, MoxaMMaA 3xcaM, Hacponna A^Axeen m Xoccomh 3eHAe PyAM,TaKxe CMornM coeAMHMTb Kannnrpac|3MK) c coBpeMeHHbiM MCKyccTBOM, ocoGchho xmbo-nMCbK), m co3A3Tb npeKpacHbie npoM3BeAeHMR MCKyccTBa, KOTopbie H33biBaiOTcn KannnrpaM-Ma. 3to HOBoe mckycctbo Hauno Gonbinyıo CB83b c JitoGaiAeM MCKyccTBO m xyAOxecTBeH-hom nyGnMKOM. CeroAHRUJHnn KannnrpaMMa npMoGpena M3BecrH0CTb He TonbKO Ha MpaH-CKOM apT-pbIHKe, HO M H3 MeXAYHapOAHblX apT-ayKpMOHax. CneAyeT OTMeTMTb, mto ce-roAHR HanMcaHMe CBntueHHbix tckctob, tbkmx K3K KopaH, KHMr X3AMC0B M DOBeCTBOBaHMM, HanMcaHMe 3HaweH, HanncaHMe npa3AHMHHbix m TpaypHbix oGbRBneHMM TaKxe nonnocTbio oc-HOBaHO Ha TpaAMpMOHHOM KanjiMrpacpMM.
Xota Kann nrpa eft mh saHMMana oco6oe Me-CTO BTpaAHLtMOHHOM apXHT6KType, HaflHMC® M fla>Ke BHeumeM c^aca/je n BHyrpeHHeü apxn-TeKType ocoôhhkob ônaroflapn t3kmm bma3m MCKyccTBa, K3K Hepennus, KuprmHasi k^bakb h LUTyxaTypKa, ceroAHn ona Bankia bhahoc MecTO b coBpeMeHHoii upaHCKOM apxmeKTy-
pe. BneiuHMM bma mhothx coBpeMeHHbix na-MdTHUKOB apxmeKTypbi yKpaweH ncKyccrBOM Kannnrpa0MM. Kannnrpacpnn Taioxe njnpoKo ncnonb3OBanacb b AM3aiiHe OflOKflbi u yKpa-lueHnii. HeKOTOpbie xy,qo>KHhKn ncnonb3OBann Kannnrpa0MK) b cbomx paboiax.
“National program to safeguard the traditional art of calligraphy in Iran” was inscribed to the UNESCO Register of Good Safeguarding Practices in 2021.
The tradition of calligraphy has always been associated with the act of writing in the history of Iranian penmanship, and even when the people doing the writing had little literacy, calligraphy and writing were still considered together, and there was no such phenomenon as bad handwriting because these were taught together. But with the advent of lead printing and book typesetting, and especially the emergence of computer programs and digital fonts, as well as the growth of scientific material that needed to be easily understood in all respects, this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics or pure aesthetics. This resulted in a decline in the appreciation of calligraphy amongst the new generation and the art of calligraphy which is amongst the traditional Iranian art forms to become critically affected. Writing
and calligraphy became two separate matters and the first symptom of this separation was the bad handwriting amongst the graduates with the subsequent symptom being the Lack of connection with old scripts.
Because of these conditions, the safeguarding of the Iranian calligraphic tradition became a serious concern for all those involved in science, literature, and art as well as the people of the country in the mid-80s. National programs where codified by the cooperation between the NGOs and Government sectors in 1985 as a result. The responsibilities of the “Iranian Calligraphers Association” with more than four decades of valuable contributions, Novin Calligraphers Association which works in modernizing this art, as well as the Government organizations.
The outlook for this national program was set to 2025 with a forty-year timespan. This program began with the aim to expand the public training in calligraphy for casual and formal classes; to publish books, pamphlets and special calligraphy publications; to hold
art exhibitions, and develop academic curricula while considering the aim of making appropriate use of the calligraphic tradition in Line with modern Living conditions Stakeholders (both public and NGOs) emphasise that, especially within the framework of the program, they implement projects for different Levels of secondary, undergraduate and post graduate, which are tailored to the age and educational background of the trainees. The program also intends to utilise the calligraphic tradition, while emphasising the revival of the practice of the master-apprentice, and the betterment of the spiritual side of the program’s audience, by using the modern indirect teaching methods.
It should be mentioned that some of the work on this program was started by the Iranian Calligraphers Association before the 1980s, and given its immense popularity in the culture and tradition of the people, the public sector made it into a national program by redefining and coordinating it on a Large scale based on the experiences of the public and private sectors.
The calligraphic art and skill is one of the intangible cultural heritage of Iran, with a very Long history and the implementation of this program was in orderto preserve this intangible cultural heritage. Due to the importance of calligraphy among different strata of society, where various scripts were used for a variety of affairs, it has been of particular importance and respect for each social Level or class. At the same time, given the existence of this tradition in other countries, especially Arab and Islamic
countries, paying attention to this intangible heritage guarantees domestic and foreign cultural respect and the possibility of mutual respect and cultural interactions by countries, especially Arab and Islamic countries with Iran.
The reinforcement and promotion of this art plays a significant role in the transfer of traditional cultural values from generation to generation and can greatly enhance it. The same art,given its prevalence in other countries with similar scripts, can strengthen respect for cultural diversity and human creativity in Iran and those countries. It also makes possible the identification and registration of these scripts within the documentation framework to enable referencing and guidance.
ALL this requires research, and the continuation of this process contributes to expanding and strengthening research in the field of calligraphy and other traditional and even modern related arts;thereby,consolidating its foundations, facilitating conservation and support, and providing comprehensive, applied, and achievable programs that can be precisely defined. ALL of this leads to the promotion of calligraphy, which is the best way to protect and prevent its decline and abandonment. Achieving such a Level enables the arts and student community, and even foreign researchers, to work on enhancing and transferring it and strengthening its formaland informal education infrastructure.
It should be noted that today people who were not keen on using traditional methods of calligraphy such as pen and ink have made
great progress in the field of modern calligraphy with ballpoint pens introducing this as a social and occupational value. This made its way to schools and universities, and calligraphy was considered a plus point for students.
Calligraphy has gained a special place in contemporary Iran today. Like other cultural elements, this art has been updated to suit the requirements of the current times. For example, contemporary Iranian calligraphers and artists, such as masters Farzam Pilaram, Reza Mafi, Mohammad Ehsaee, Nasrollah Afje’i, and Hossein Zende Rudi, were also able to reconcile calligraphy with contemporary art,especially painting, and to create beautiful works of art which is called Calligram. This new art has made a great connection with the art-Loving and artistic audience. Today’s calligram has gained prominence not
only in the Iranian art market, but also in international art auctions. It should be noted that today, the writing of sacred texts such as the Our’an, books of Hadith and Narrations, banner writing, celebration and mourning announcement writing are also based entirely on traditional calligraphy.
While calligraphy enjoyed a special place in traditional architecture and inscriptions and even exterior facade and interior architecture of mansions through arts such as tiling, brickwork and plastering, it has found a prominent place in contemporary Iranian architecture today. The exterior design of many contemporary architectural monuments is adorned with the art of calligraphy. Calligraphy has also been widely used in the design of clothing and jewelry. Some visual artists, have used calligraphy in their work.
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
© Ministry of Cultural Heritage, Tourism and Handicrafts, Islamic Republic of Iran, 2020
2019-yiLda “Arman yozuvi sana’ati va uning madaniy ifodalari” YUNESKOning Insoniyat nomoddiy madaniy merosi Reprezentativ ro'yxatiga kiritildi.
Arman alifbosi milodiy 405-yilda Mesrop Mashtots tomonidan “bitta tovush uchun bir harf” tamoyili asosida yaratilgan. 36 ta harfga Yana uchta harf qo'shildi va ularning barchasi Arman tilining yozma tilida hozirgacha qo'llaniladi.
Arman yozuvi rivojlanishning uchta asosiy bosqichini bosib o‘tdi. Eng qadimiy turi yerkatagir bo'Lib, uning to'g'ri (harflarning poyalari tog'ri chiziqlar biLan bog'Langan) va yumaloq (harflarning poyalari yumaloq yoki jingalak zarbalar bilan bog'Langan) turlari mavjud. Ikkinchi tur XI asrda paydo bo'lgan va keyinchalik keng tarqalgan bolorgir deb ataladi. Uchinchi tur notrgir bo'Lib, ba’zan boshqa harflar bilan aralashib ko'rinadigan ko'proq qiyshaygan chiziqlar va egri chiziqlar.
Arman harflari ixtiro qilinganidan beri na-faqat yozma meros yaratishda, balki raqam-lar, kriptografik tasvirlar, topishmoqlar va boshqalar sifatida ham xizmat qilgan. Ular odatda shakli bo'yicha tasniflanadi: tugunlar, odamlar, qushlar, hayvonlar, afsonaviy yoki xayoliy mavjudotlar. Bunday harflar bugungi kunda hunarmandchilikda ham qo'llaniladi: gilamdo'zlik, yog'och o'ymakorligi, haykalta-roshlik, kashtachilik, zargarlik buyumlari va boshqalar.
Aytish mumkinki, Arman yozuvi o'zining madaniy ko'rinishlarida jamiyatning deyarli barcha qatlamlariga va ayniqsa xalq ijodi-yotiga kirib borgan va Arman madaniyatining muhim ifodalaridan biriga aylangan.
Arman yozuvi san’ati butun Armaniston hududida hartomonlama qo'llaniladi.Bu arman xalqining til va madaniy o'ziga xosligining ajralmas qismidir. Ommaviy axborot vositalari va amaliyotchilar qatoriga turli xil rassomlar, gilamdo'zlar, kashtachilar, haykaltaroshlar, o'ymakorlar, zargarlar, xattotlar, paleograflar, kodikologlar, tilshunoslar, noshirlar va boshqalar kiradi.
Arman yozuvining tarq’ibotchilari - Ma-tendaran, Mesrop Mashtots nomidagi Oadimiy qo'lyozmalar instituti, bir qator ilmiy, madaniy va ta’lim muassasalari mutaxassislari va olim-lari bo'Lib, ularning asosiy maqsadi yoshlarga turli bilimlarni yetkazishni ta’minlashdir.Ayol-lar miniatyura, kashtachilik, gilamdo'zlik va boshqa bir qator san’atlarda keng namoyon bo'lmoqda. Atsik mahallasidagi “Armenui Xa-chatryan” kashtachilik to'garagida yosh xo-tin-qizlar arman harflarini, kashta tikishni, tikuvchilikning nozik jihatlarini o'rganmoqda. Erkaklar asosan tosh va yog'och o'ymakorligi, haykaltaroshlik, zargarlik buyumlari yasash va boshqalar bilan shug'ullanadi. Arshaluys jamoasida Ruben Nalbandyan yoshlarga arman harflarini, o'ymakorlik mahoratini o'rgatadi.
M 10l
“Kin”,“Kenats Tun”,“Teryan” madaniyat mar-kazi kabi nodavLat va madaniy tashkiLotLar ommaviy axborot vositalari uchun platforma bo'Lib, ularni birlashtirib, nomoddiy madaniy merosni muhofaza qilish muhitini yaratadi. Armanistonning turli jamoalarida arman yozu-vi san’atining tarq’ibotchilari - me’mor Fred Afrikyan, kashtachi Maral Sheomelan, Amaliya Karapetyan, zargar Armen Vardapetyan, gi Lam-do‘z Suzanna Avetisyan, kulol Shahe Arutyunyan, xattot Ruben Malayan va boshqalar.
Arman apostol cherkovi tadqiqot orqali Arman yozuvi san’atini saqlab qolish va yetka-zishda mühim rol o‘ynaydi. Bundan tashqari, Arman yozuvi san’atiga oxshash amaliyotlar butun dunyodagi barcha arman jamoalarida mavjud.
Arman alifbosi va arman yozuvi o'zining 1600 yildan koproq vaqt davomida oziga xosligining ramzi bo‘Lib xizmat qiLganva arman tili va ma’naviy madaniyatini saqlashning asosiy vositalaridan biri bo'Lib kelgan. Arman yozuvi o'zining barcha ko'rinishlarida milliy savodxonlikning asosiy vositalaridan biri
bo'Lib kelgan va shunday bo'Lib qoladi,tarjima orqali jahon qadriyatLari bilan tanishish, san’atning turLİ sohalarida o'zini namoyon qilish, shuningdek, butundunyo bo'ylab tarqalib ketgan armanlarni birLashtiriradi. InjiL tarjimasi boshqa tarix, adabiyot va falsafa asarlarini tarjima qilish bilan birqatorda arman adabiyotining gullab-yashnashi va kengroq madaniy uygbnish jarayonini keltirib chiqardi. Davlatchilik mavjud bo'Lmagan davrda arman cherkovi va O'rta asr yozuv markazlari Arman yozuvi san’atiga katta ahamiyat berib, arman yozma san’atining mavjudligini saqlab qolgan. 1991-yilda davlatchilik tiklangach, Arman yozuvini saqlab qolish uchun maxsus siyosat ishlab chiqildi. Rasmiy va norasmiy ta’Lim muassasalarida, seminariyalarda va boshqa o‘quv markazlarida arman yozuvini o'rgatish juda katta tarbiyaviy ahamiyatga ega va ba’zi hollarda oilaviy an’analarni saqlash vositasidir. Arman yozuvi har tomonlama ta’Lim, xalq amaliy san’ati va İLm-fan,xattotLikva nashriyot va boshqa sohalarni barqaror rivojlantirish tayanchlaridan biridir.
§ 9. MCKYCCTBO KA/inMrPA0MM APMEHMM M ECO KYJlbTYPHOE BblPAJKEHME
B 2019 rony «ApMflHCKoe nncbMO m ero KynbTypHbie Bbipaxennp» 6bmn BHeceHbi b PenpeaeHTaTUBHbiM cnncoK HeMaTepna/ib-Horo KyabTypHoro HaGne/w Me^OBenecTBa IOHECKO.
ApMHHCKMÎi an0aBMT 6biJi CO3A3H b 405 rony Hameki apbi MecponoM MamTOpeM no npnnpnny
«oflHa öyKBa 3a oamh 3ByK». K 36 öyKBaM aoöa-BM/lMCb ene Tpkl, M BC6 OHM flO CklX OOP HCHO/lb-3yıora b nncbMeHHOcrn apMAHCKoro A3biKa.
ApMdHCKoe nncbMO npomno Tpn ochob-Hbix arana pa3Bn™a. CaMbiü ApeBHMki run -EpKaTarMp, nMeıoıunti npaMOü ki 3aKpyrneH-Hbiki no/iTkinbi. B nepBOM noflTkine ocHOBbi
6yKB COeflMHeHbl np^MblMM nHHM^MM, 3 BO BTOPOM - 3aKpymeHHblMH unu M3BMnHCTblMM unpnxaMM. BTopoM run Ha3biBaerca Bonoprnp, BO3HMKLUMM B OflHHHa/maTOM B6K6 M nOnyHMB-lumm BnocneACTBMM mnpOKoe pacnpocrpaHe-HMe. TpeTHÍÍ Tun - HoTpmp, c 6onee HaKnoH-HblMM LUTpMX3MM M KpMBbIMM, KOTOpbie MHOTfla KaxyrcA nepenneTeHHbiMM c flpyrMMM 6yKB3MH.
C MOMeHTa M3o6pereHMa apMAHCKne öyKBbi cnyxnnn He TonbKO b CBoeíí ochobhom tfiyHK-Pmm co3A3hma nMCbMeHHoro HacneAMA, ho t3k-xe cnyxnnn MWcnaMM, KpHnrorpacpuMecKHMii M3O6p3XeHMAMM, 3araflK3MM M T. A-ApMAHCKOe nncbMeHHoe MCKyccTBO omnnaeTCA Taioxe lum-poKMM cneKTpoM opnaMeHTanbHoro riMCbMa. Mx oôbNHO K^accucfiMpMpyiOT no $opMe: yanbi, ntOAH, HTMpbl, XMBOTHbie, MMCfjMHeCKMe MAM BO-oôpaxaeMbie cymecTBa. Taicne öyKBbi ceroAHA ncnonb3yiOTCA m b pewecnax: KOBpoTKaHecrBe, pe3b6e no flepeBy, CKynbOType, BbiLUMBKe, œe-/inpHOM Aene m t. a.
MOXHO KOHCT3TMpOBaTb, MTO apMAHCKOe nncbMO b cbomx KyjibTypHbix npoABneHMAx npoHMKno non™ bo Bee enow oömecTBa m oco-6eHHO b HapoflHoe MCKyccTBO m cra.no oahmm M3 B3XHblX BbipaxeHMM apMAHCKOM KynbTypbl.
McKyccTBO apMAHCKoro nncbMa BcecropoH-He m BcecTopoHHe npaKTMKyercA Ha sceü rep-pMTopnM ApMeHMM. 3to HeorbeMneMSA nacTb A3blK0B0M M KynbTypHOM CaMOÖblTHOCTM ap-M3HCKoro Hapofla. K HOCknenAM m npaKTwoM othocatca paannMHbie xyaoxhmkm, kobpot-KaHM, BbiujMBanbiflMflbi, CKynbnTopbi, pe3HHKn, tOBennpbi, Kannnrpac|3bi, na^eorpacpMCTbi, ko-AMKOnOTM, nMHTBMCTbl, M3A3TenM M T. A-
HockiTenaMM apM^HCKoro nwcbMa abjia-OTca cnepMannCTbi m yneHbie MareHAapa-Ha, MHCTMTyra apgbhmx pyKonncen mmchm Mecpona M a luto pa, paAa HayHHbix,KynbTypHbix m 06pa30BaTenbHbixyMpexAeHMM,rnaBHaa penb KOTopbix - oöecneHMTb nepeAany mojioabim J1IOA3M pa3HOO6pa3HblX 3H3HMM. XeHlflMHbl LUMpoKo npeAcraBneHbi b MCKyccrBe mmhm3tío-pbl, BblLUMBKe, KOBpOTKaHeCTBe M T. A-flCBOHKM M >KeHLLJ,MHbl-nOAPOCTKM B KpyXKC BblLUMBaHMS ApMenyM Xanarp^H b oShnhc Aphk ynarcn Bbi-LUMBaTbapMaHCKMe öyKBbi mtohkocthm pyKOAe-nuri. MyxHMHbi b ochobhom saHMMaiOTca pe3b-6om no K3MHK) m AepeBy, CKynbnrypoM, MsroTOB-neHMeM lOBennpHbix M3AennM m t.a. B o6iu,MHe Apıua/ıync PyöeH HanöaHAnH oöynaer MonoAe-XM HaBbiKaM BbipeaaHMS apM^HCKkix 6yKB.
HenpaBMTenbCTBeHHbie m KynbTypHbie opraHM3au,MM, TaKMe K3K «Kmh», «Kenap TyH» m «KynbTypHbiM peHTp Tepan», ab/iwtca nnaTCpopMaMM a-hîi HocMTeneM.oöbeAMHaa mx m C03AaBan cpeßyßna saıpMTbi HeMarepnanbHoro KynbTypHoro HacneAna.HocMTenaMM MCKyccTBa apMaHCKoro nMCbMa b paannMHbix oÖLpMHax ApMeHMM ÍIBJ1S1I0TCSI apXMTeKTOp CPpeA Ac|)puKflH, BbiLUMBanbLpMpa Mapan LUeowenaH, AManMfl KapaneTflH, oseniip Apilen BapAaneTAH, KOBpoBLpnpa CmaHHa AßeTMcaH, KepaMMCT LUaxe ApyrtOHSiH, Ka/uikırpan PyöeH Madasın m APyrne.
ApMflHCKan AnocTonbCKan UepKOBb nrpaer 3HaHMTenbHyio ponb b coxpaneHMM m nepe-Aane MCKyccTBa apMAHCKoro nncbMa nocpeA-CTBOM MCcneAOBaHMM. Bonee toto, npaKTMKM, noflOÖHbie MCKyccTBy apMAHCKoro nMCbMa,
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Ha npoTweHMM Sonee 1600 neT CBoero cymecTBOBaHMS apMHHCKMM ancpaBMT m ap-M^HCKoe hmcbmo BcerAa cny>KMJiM chmbo^mm apMSHCKOM MASHTMHHOCTM M Sbl/IM OAHMMM M3 OCHOBHbIX MHCTpyMeHTOB COXpaHeHM^ apMflH-ckoto 33biKa m avxobhom Ky/ibTypbi. Apmah-CKaa nMCbMeHHOCTb bo Bcex cbomx nponB^e-HMJ1X Sbina M OCTaeTCfl OAHMM M3 OCHOBHbIX CpeACTB HapOAHOM rpaMOTHOCTM, O3HaKOMJie-HMH C MMpOBbIMM peHHOCTflMM nOCpeACTBOM nepeBOAa, caMOBbipaxeHMH b paanMHHbix 06-nacrnx MCKyccTBa, a TaKxe koh con hasp mm ap-mah, pa36pocaHHbix no BceMy MMpy. PlepeBOA Bm6amm, Hap^Ay c nepeBOAOM ApyrMx npoM3-BeAeHMM no mctopmm, nMTepaType m cpMnoco-0mm,Bbi3Ban pacpBeT apMAHCKOM nMTepaTypbi m Gonee ujmpokmm KynbTypHbiM peneccaHC. Bo
BpeMena OTcyrcrBMA rocyAapcTBeHHOCTM Ap-mahck3a pepKOBb m cpeAHeseKOBbie peHTpbi OMCbMeHHOCTM COXpaHM/lM CyUjeCTBOBaHMe apMSHCKoro nMCbMeHHoro MCKyccTBa, npMAa-Ban Gojibwoe 3HaHeHMe MCKyccTBy bpmahckom nMCbMeHHOCTM. llocne BOCCTaHOB^eHMA rocy-AapcTBeHHOCTM b 1991 ropy 6bina paspaGo-T3Ha cnepManbHan nonMTMKa no coxpaHeHMio apMAHCKoro nMCbMa. npenoAaBaHMe apMAH-ckoto nMCbMa b yHpewHM^x KaK 0opMa/ib-Horo, Tax m He0opMa/ibHoro o6pa3OBaHMA, ceMMHapMAx m ApyrMx yneOHbix peHTpax MMe-eT orpoMHoe BoenMTaTenbHoe BHaneHMe, a b pw cnynaeB AB/iaeTcs Taioxe cpeACTBOM co-xpaneHMA ceMeMHbix TpaAMpMM. Apmahckoc nMCbMO abaactca oahmm m3 ctojihob ycTOMHM-Boro pbbbmtma BcecTopoHHero o6p33OB3hma, HapoAHoro MCKyccTBa m HayKM, Kann Mrpa 0mm m M3A3TenbCKoro Aena m ApyrMx c0ep.
§ 9.ARMENIAN LETTER ART AND ITS CULTURAL EXPRESSIONS
“Armenian letter art and its cultural expressions” were inscribed to the UNESCO Representative List of the intangible cultural heritage of humanity in 2019.
Armenian alphabet was created in 405 A.D. by Mesrop Mashtots following the “one-Letter-for-one-sound” principle. Three others were added to 56 Letters and all of them are still used in the writing system of Armenian language.
The Armenian Letters passed three main stages of development. The oldest type is
yerkatagir, which has straight and rounded sub-types. In the first sub-type the stems of the Letters are connected with straight Lines, while in the second - with rounded or curvy strokes. The second type is called bolorgir, which emerged from the eleventh century and became widespread subsequently. The third type is notrgir,with more sloping strokesand curves, which sometimes appear interwoven with other Letters.
Since invention, the Armenian letters served not only in their primary capacity
for creation of written heritage, but also served as numbers, cryptographs, riddles, etc. Armenian letter art also distinguishes for its wide range of ornamental scripts. These are usually classified by their shapes: knots, human, birds, animals, mythical or imaginary creatures. Such Letters today are also used in handicrafts: carpet-weaving, wood-carving, sculpture, embroidery, jewellry-making, etc.
It can be stated that the Armenian Letter art, in its cultural expressions, has penetrated into almost all Layers of the societyand particularly folk art, and has become one of the important expressions of Armenian culture.
Armenian letter art is inclusively and comprehensively practiced within the entire territory of Armenia. It is an integral part of lingualand cultural identity of Armenian people. The bearers and practitioners include different artists, carpet weavers, embroiderers, sculptors, carvers,jeweLlers,calligraphists,palaeographists, codicologists, Linguists, publishers, etc.
The experts and scholars at Matendaran, the Mesrop Mashtots Institute of Ancient Manuscripts, number of scientific, cultural and educational institutions are among the bearers of the Armenian Letter art, whose main objective is to secure the transmission of diverse knowledge to young people. Women are broadly represented in miniature art, embroidery, carpet-weaving, etc.. Adolescent girls and women in Armenuhi Khachatryan’s embroidery group in Hatsik community learn how to embroider Armenian Letters and the subtleties of needlework. Men are mainly
involved in stone and wood carving, sculpture, jewellry-making, etc. In Arshaluys community Ruben Nalbandyan teaches carving skills of Armenian Letters to youngsters.
Non-governmentaL and cultural organisations, Like “Kean”, “Kenats Tun” and “Teryan Cultural Centre”, are platforms for bearers, uniting them and creating an environment for intangible cultural heritage safeguarding.Other individuals, including architect Fred Afrikyan, embroiderer Maral Sheohmelean, Amalya Karapetyan, jeweller Armen Vardapetyan, carpet weaver Suzanna Avetisyan, ceramist Shahe Harutunyan, calligrapher Ruben Malayan, and others in different communities of Armenia are bearers of the Armenian letter art.
The Armenian Apostolic Church has a significant role in the preservation and transmission of the Armenian Letter art through studies. Furthermore, practices similar to the art of Armenian Letters exist within all Armenian communities around the world.
Throughout over 1600 years of its existence, theArmenian alphabetandtheArmenian Letter art have always served as symbols of Armenian identity and have been among the main instruments of preservation of the Armenian Language and spiritual culture. The Armenian letters in all their manifestations have been and still remain one of the main means for public Literacy, for getting acquainted with world values through translation, for self-expression in various domains of art, as well as for consolidating Armenians spread all over the globe. The translation of the Bible, along
with the translation of other works of history, Literature and philosophy, caused a flowering of Armenian Literature and a broader cultural renaissance. In the times of the absence of statehood, the Armenian Church and medieval centres for writing have safeguarded the existence of Armenian letter art, as they have attached great importance to the art of the Armenian scripts. As statehood was regained in 1991, special policies have been developed
to safeguard the preservation of the element. Teaching of Armenian letter art at institutions of both formal and non-formal education, at seminaries and other educational centres has enormous educational significance and in some cases is also a means of preservation of family traditions. The Armenian letter art is one of the pillars for the sustainable development of comprehensive education, folk arts and science, calligraphy and publishing and other fields.
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© Ashot Mkrtchyan/Ministry of Culture RA, 2018
© Ashot Mkrtchyan/Ministry of Culture RA, 2018
© Ashot Mkrtchyan/Ministry of Culture RA, 2018
© Ashot Mkrtchyan/Ministry of Culture RA, 2018
© Ashot Mkrtchyan/Ministry of Culture RA, 2018
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§ lO.GURJISTON ALIFBOSINING UCHTA YOZUV TIZIMINING MADANIYATI
“Gurjiston alifbosining uchta yozuv tizimi-ning madaniyati" 2016-yilda YUNESKOning Insoniyat nomoddiy madaniy merosi Repre-zentativroyxatiga kiritilgan.
Gurjiston alifbosining uchta yozuvining madaniyati asrlar davomida Gurjiston yozuvining tizimli evolyutsiyasi va turli madaniy va ijtimoiy funktsiyalarni bajaradigan uchta alifbo tizimining (Mrgvlovani, Nusxuri va Mxedruli) birga yashashi natijasida rivojlandi.
Gurjiston alifbosi quyidagilarni o‘z ichiga oladi:
-
• Uchta alifbo tizimi. Mrgvlovani (bilinear, monumental alifbo, 37 grafema, 429-444 yil-lar) - birinchi Gurjiston yozuvi. Uning rivoj-lanishi natijasida Nusxuri paydo boTdi (to‘rt qatorli, burchakli alifbo, 38 grafema, 835 yil-dan). Mxedruli (to‘rt qatorli dumaloq alifbo, 33 grafema, 982-986 yillar) Nusxuridan kelib chiqqan.
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• Ularning funksional xilma-xilligi va birgalikda yashashning jonli madaniyati. Mrgvlovani va Nusxuri an’anaviy ravish-da cherkov tomonidan diniy maqsadlarda foydalanilgan. Mkhedruli dunyoviy funksi-yalarni bajargan va Gurjistonda O‘rta asr-lardan beri eng keng tarqalgan alifboga ay-land i. Ularning funksional farqi doimiy birga yashashini ta’minladi.
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• Gurjiston adabiy madaniyati. Alifbo XV asrning uzluksiz adabiy an’analarining, shu jumladan, qadimgi gruzin va hozirgi gruzin 110
tillarining tashuvchisi hisoblanadi. Grammatik va leksik farqlarga qaramay, qadimgi gruzin tili zamondoshlar uchun tushunarli.
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• Ta’lim usullari. Mxedruli 1876-yildan beri «Deda Ena» (ona tili) darsligidan foyda-lanib oqitiladi. Uning usullari ushbu alifbo-ning grafik xususiyatlariga mukammal mos-lashtirilgan.
Gurjistonda yagona madaniy makonning shakllanishida uchta yozuv tizimining birga yashashi mühim rol oynadi. Bu san’at, fan va dinning turli sohalarída asosiy xususiyat bolib, Gurjiston jamiyatining madaniy oziga xosligini belgilaydi.
Gurjiston apostol avtokefal pravoslav cherkovi ajralib turadi, u an’anaviy ravishda uchta yozuvtizimini amalda qollaydi, masa lan:
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• Mrgvlovani va Nusxuri tillarida eski gruzin matnlarini oqigan va cherkov uchun bu bi-limning asosiy tashuvchisi zaburchilar bolgan.
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• Xor a’zolari Mrgvlovani va Nusxurini rasmiy yoki norasmiy vaziyatlarda o'rganadi, chunki eng qadimgi Gurjiston madhiyalari ushbu tizimlarga muvofiq yozilgan.
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• Asosan Mrgvlovani va Nusxuridan qo‘l-yozmalarda, shuningdek, zamonaviy matbaa texnologiyasida foydalanadigan ruhoniylardir. Boshqa tomondan, ular Mkhedrulidan dunyoviy jamiyat bilan muloqot qilish uchun foyda-lanadilar.
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• Xattotlar va ulamolar. Ushbu kasblar rasmiy (diniy ta’lim muassasalari), shuningdek
norasmiy (monastir jamoalari, xattotlar) oqitiladi.
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• YozuvLar biLan bezatilgan cherkov bu-yumlarini yaratadigan an’anaviy hunarmand-lar (zargarLar, emal rassomLari, kashtachi-Lar, ikonachiLar, haykaltaroshlar). YozuvLar an’anaviy ravishda cherkovlarning tashqari va ichki qismlarida ham uchraydi.
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• OLimLar (tiLshunosLar, tarixchilar, san’at-shunosLar, arxeologlar, KartveL tiLLari tadqi-qotchilari) ozlarining kasbiy va ta’Lim faoLiyati doirasida yozuv va til elementni keying! av-lodlarga o’tkazuvchilar.
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• MxedruLi boshlang’ich maktabda va MrgvLovani va Nusxuri - qadimgi Gurjiston adabiyoti kursi doirasida - o‘rta maktabda dars beradigan oqituvchilar.
Gurjiston alifbosi madaniy oziga xosLikni yaratish va aniqlashning asosiy omiLLaridan biridir.Bu miLLatning madaniy birLigini va tarixiy davomiyLik tuygusini ta’minlaydigan ijtimoiy munosabatlar vositasidir.TiLva alifbo Gurjiston jamiyatining mustahkamlanishining poydevori
va Gurjiston davlatchiLigining asosidir. Gurjiston alifbosi pravoslav madaniyatini rivojlan-tirish va uzluksiz amaliyot qilish uchun zaruriy shart va vositadir.
Gurjiston alifbosi Gurjiston tilining rivoj-Lanishi uchun asosdir, chunk! u on besh asrlik Gurjiston adabiy tilining lugat va grammati-kasini saqlab qoldi. Bu adabiyotni yaratish, yetkazish va rivojlantirishning asosiy shartla-ridan biridir. Gurjiston alifbosi til birliklarining saqlanishi va rivojlanishiga hissa qoshadigan KartveL tiLLari (Mingrelian, Laz, Svan) va dia-Lektlarni yozish uchun ham qollaniladi.
Gurjiston alifbosi ta’Lim,san’at va fan,xattotlik hamda matbaa texnologiyalari rivojlanishi-ni rag’batlantiradi va shu biLan jamiyatning barqaror madaniy rivojlanishi uchun umumiy makon yaratadi. Gurjiston alifbosi savodxonlik va shuningdek, ta’Lim va fanning barcha shakl-Lariga kirishni ta’minlaydi. Alifbo xilma-xilligi Gurjistonda zamonaviy san’atni ilhomlantiradi, xattotlik, nashriyot, grafik dizayn, tipografiya va umuman kitobat madaniyatini rivojlantiradi.
§ lO.KyJlbTYPATPEX CMCTEM HMCbMEHHOCTM rPY3MHCKOrO AJ10ABMTA
“Ky/ibTypa rpexckicreM nucbMa rpy3kiHCKoro anc|jaBMTa” b 2016 rofly 6bma BHecena b Penpe-3eHTaTMBHbiti cnncoK HeMaTepwanbHoro Kynb-TypHoro HacneflMA He/iOBeHecrBa LOHECKO.
Ky/ibrypa Tpex nMCbMeHHOCTeri rpy3kiHCKO-ro anrjjaBMTa CKJiaAbiBa/iacb Ha npoTAxeHkiki BeKOB b pesynbraTe CMcreMHoii 3bojik)umm rpy3HHCK0M nklCbMCHHOCTkl H COCymeCTBOBa-
HklA Tpex antpaBHTHblX CHCT6M (MprBAOBaHM, Hycxypn m Mxeflpy/iri), BbinoriHAioiuMx pa3Hbie KynbTypHbie h copnanbHbie cfiyHKLikiki.
fpy3MHCKnii anc|jaBMT BKW-iaeT b cc6a:
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• Tpki a/ict>aBkiTHbie ckicreMbi. MprBnoBa-Hkl (ÖklUMHekİHblkÎ, MOHyMeHTa/lbHblM a/lifiaBklT, 3 7 rpacfieM, c 42 9-444 rr.) - nepsaA rpy3kiH-ck3a nkicbMeHHOCTb. B pesynbraTe ero paa-
BMTMfl B03HMK HyCXypM (MeTbipeX^MHeMHblM, yr/iOBaTbiü anQaBHT, 38 rpac|)eM, c 835 r.). MxeApynki (MeTbipex^MHeMHbiM OKpymbiü sn-cfiaBMT, 33 rpacpeMbi, c 982-986 rr.) npon3owen ot Hycxypki.
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• Hx cfjyHKpMOHanbHoe pa3Hooöpa3kie h >KMBaA KynbTypa cocyujecTBOBSHkiii. MprBnoBa-hm ki Hycxypki tpsampmohho kicnonb3OB3nkicb pepKOBbio b penkirkiO3Hbix penax. MxeApynki Bbinonnnn CBeTCKkie c|)yHKpkiki n cran Hakiöonee ujkipoKO ncnonb3yeMbiM ancpaßkiTOM rpy3kin co BpeweH cpeflHeßeKOBbii. Hx t|)yHKpkioHanbHoe paafleneHkie o6ecneHki.no mx AajibHehee co-cyujecTBOBaHkie.
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• PpyskiHCKan nkiTepaTypHan KynbTypa. An-0aBkiT flBnneTcn HockiTeneM HenpepbiBHoti nki-TepaTypHOki TpaAkipkin XV BeKa, BKnionaioiAeki ApeBHerpy3kiHCKkiki m coßpeMeHHbiki rpy3kiH-CKkie wbiKM. HecMOTpn na rpaMMaTkinecKkie m neKCkinecKkie paankiHkin, ApeßHerpy3HHCKnii ü3blK nOHRTeH COBpeMeHHMKaM.
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• MeTOAbi o6yneHkin. MxeApynki npenoAa-eTC« no yne6HkiKy «ßeAa 3na» (Poahom «3biK) c 1876 rojia. Ero MeTOAbi npeKpacHO aAanTki-pOBaHbl K rpa(|)MMeCKklM OCOÖeHHOCTaM 3T0T0 ancfjaBkiTa.
CocyujecTBOBaHkie Tpex cmctcm nkicbMei-i-HOCTki cbirpano >Kki3HeHH0 BaxHyjo ponb b cpopMkipoBaHkiki eAMHoro KynbTypHoro npo-CTpaHCTBa rpy3kiki.3T0 KmoneBan ocoöeHHoerb b paankiHHbix oönacrnx MCKyccTBa, HayKki n pe-nkirkiki, onpeAenwujaa KynbTypnyK) cawoöbiT-HOCTb rpy3kiHCKoro o6ujecTBa.
BbiAenneTcn Epy3HHCKaA anocronbCKafl aß-TOKecjjanbHan npaßocnaBHan pepKOBb, KOTopan
TpaAkipkioHHO npkiMeHüeT Ha npaKTMKe BceTpki CkicreMbi nkiCbMa.TaKkie k3k:
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• ricanoMujkiKki, KOTopbie HMTam crapbie rpy3kiHCKkie TCKCTbi b MprBnoBaHki w Hycxypki ki npeACTaBnniOT co6om ochobhom HOCkiTenb 3Tk1X 3HaHklki Ann npkixoAa.
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• Xop, ynacTHkiKu KOToporo ki3ynaiOT MprBnoBaHki ki Hycxypki b rfiopManbHbix kinki He4)opManbHbix curyapkinx, nocKonbKy Apeß-HekiiiJkie rpy3kiHCKkie rkiMHbi HankicaHbi no 3TkiM ckicreMaM.
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• HyxoßeHCTBO, Koropoe b ochobhom mc-nonb3yeT MprBnoBaHki ki Hycxypki b pyKO-nn«ix, a TaioKe b coßpeMeHHOki nonkirpac|)ki-necKOki TexHonorkiki. C Apyroki CTopoHbi, ohm kicnonb3yiOT MxeApynki Ann oöujeHkin co cbct-CKklM OÖUjeCTBOM.
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• Kannkirpacpbi ki nkicpbi. 3tmm npo(j)eccn-üm oöynaiOT (popManbHO (penkirkiO3Hbie yne6-Hbie 3aBeAeHkin), a Taioxe HerfiopManbHO (mo-HaujecKkie oöipkiHbi, Kannkirpa(|3bi).
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• TpaAkipkiOHHbie Macrepa (lOBennpbi, Ma-crepa 3Mann, BbiujkiBanbipkipbi, kiKOHonncpbi, CKynbnTopbi), cosAaioipkie pepKOBHbie npeA-MeTbi,yKpameHHbie HaAnkicnMki. HaAnkicki Tpa-AkipkiOHHO BCTpenaiOTCA TaioKe Ha $acaAax m kiHTepbepax peppen.
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• YneHbie (nHHTBHCTbl, HCTOpklKkl, klCKyC-CTBOBeAbi, apxeonorn, kiccneAOBaTenki KapT-BenbCKkix nsbiKOB), nepeAaioiAkie 3neMeHT cneAyKJipkiM noKoneHkiHM b paMKax CBoeü npochecckiOHanbHOki n 0Öpa30BaTenbH0ki Aea-TenbHOCTki.
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• YnkiTenn, npenoAaioiAkie MxeApynki b Ha-nanbHOki LUKone ki MprBnoBBHki ki Hycxypki - b
paMKax Kypca ApeBHerpysnHCKOíí nmepaTypbi - b cpeAHeü LUKone.
rpySMHCKMM an0aBMT flBJiaeTCä OAHMM H3 ocHOBHbix (paKTopoB cosashma m onpeAe/ienufl rpysMHCKOM KynbTypHOM nfleHTWHOc™. 3to cpeACTBO copnanbHbix OTHOiueHMri, oöecneHM-Batoujee Kynbrypnoe 6amhctbo napkin n opy-UJ,eHHe MCTOpMMeCKOM npeeMCTBeHHOCTH. ^3NK m aji0aBMT aBaaoTca Kpaeyro/ibHbiMM k3mhjimh KOHConnAapnn rpy3MHCKoro o6m,ecTBa n ocho-BOÜ rpy3MHCKOM FOCyAapCTBeHHOCTM.
rpysMHCKMM an^aBUT ^BnaeTcn npeAnocbin-KOM M CpeACTBOM p33BHTHSl M HenpepbIBHOM npaKTMKM rpysnHCKOki npaßocnaBHon Kyjibiypbi.
rpy3MHCKMíí an^aßm ABnaeTcn ochobom pa3BMTHJl rpy3MHCKOrO fl3blK3, FlOCKOJlbKy OH coxpanneT cnoBapHbin 3anac n rpaMMaiMKy nnTHaAparnBeKOBoro rpyskiHCKoro /wepaTyp-Horo fl3biKa. 3to oaho M3 KnioHeBbix ycnoBMii
CO3A3HH51, nepeAaMM n pa3Bmns nkiTepaTypbi. rpy3HHCKMM ancpaBkiTTaioKe ncnonb3yeTCFi A-^ sannen KapTBenbCKnx asbikob (MerpenbCKoro, nascKoro, CBaHCKoro) n AHaneKTOB, enoeoö-CTBya coxpaneHno n pasBmmo amx nsbiKO-Bbix eAMHnp.
TpysnHCKnñ a/i^aBUT cmMynnpyeT pa3Bn-Tne o6pa3OBaHna, ncKyccTBa n HayKn, TexHo-nornñ Kan^nrpacfinn n noanrpa0nn, C03AaBaa tom caMbiM obipee npoerpaHCTBO A-na ycToñ-HnBoro KynbTypHoro pa3BHTna obipecTBa. ipy-3nHCKnn a/i0aBHT oöecnennBaeT Aocryn k rpa-MOTHoern n, cneAOBaTenbHO, ko bcom 0opMaM o6pa3OBaHnn n HayKn. An0aBnTHoe pa3HOO-6pa3ne baoxhobjiaot coBpeMeHHoe ncKyccTBO, CTnwynnpyeT Kannnrpa^nHecKoe ncKyccTBO, n3A3TenbCKoe Ae/io, rpa^nHecKnn AH3anH, TnnorpacpnKy n b penOM KHHWHyo Ky/ibTypy b Tpysnn.
§ 10. LIVING CULTURE OF THREE WRITING SYSTEMS OF THE GEORGIAN ALPHABET
“Living culture of three writing systems of the Georgian alphabet” was inscribed to the UNESCO Representative list of the intangible cultural heritage of humanity in 2016.
The living culture of the three writing systems of the Georgian alphabet was established over centuries as a result of the systemic evolution of the Georgian written language and co-existence of three alphabetic systems (Mrgvlovani, Nuskhuri and Mkhedruli) with different cultural and social functions.
The Georgian alphabet embraces:
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• The three alphabetic systems. Mrgvlovani (bi-linear, monumental alphabet, 3 7 graphemes, since 429-444) is the first Georgian script. As a result of its development Nuskhuri (four-linear, angular alphabet, 38 graphemes, since 835) has been derived. Mkhedruli (four-linear, rounded alphabet, 33 graphemes, since 982-986) has been developed from Nuskhuri.
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• Their functional diversity and Living culture of co-existence. Mrgvlovani and Nuskhuri have traditionally been used with
religious purposes by the Church. MkhedruLi served the secular functions and has become the most widely used alphabet of Georgia since the middle ages. Their functional separation provided their continued coexistence.
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• Georgian literary culture.The alphabet is a medium of a 15-century unbrocken Literary tradition that includes the Old and Modern Georgian languages. Despite their grammatical and Lexical differences, the Old Georgian can be understood by contemporaries.
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• Teaching methods. MkhedruLi has been taught by the textbook “Deda Ena” (Mother Tongue) since 1876. Its methods are perfectly adjusted to the graphical characteristics of this alphabet.
The co-existence of three writing systems has played a vital role in the formation of the united cultural space in Georgia. It is the key feature in various fields of art, science and religion and determines the cultural identity of the Georgian society.
The Georgian Apostolic Autocephalous Orthodox Church is distinguished, which traditionally puts all three writing systems in practice, such as:
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• Psalm-readers, who read the old Georgian texts in Mrgvlovani and Nuskhuri and represent the main medium of that knowledge for the parish.
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• The choir, the members of which study Mrgvlovani and Nuskhuri in formal or informal situations, as the oldest Georgian hymns are written with those systems.
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• The clergy, that is mostly using Mrgvlovani and Nuskhuri in manuscripts as well as in modern printing technology. On the other hand, they use MkhedruLi for communication with secular society.
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• Calligraphers and scribes. These professions are taught formally (religious educational institutions), as well as informally (monastic communities, calligraphers).
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• Traditional craftsmen (goldsmiths, masters of enamel, embroiderers, iconpainters, sculptors) who create church items, decorated with the inscriptions. Inscriptions are traditionally found on church facades and interiors as well.
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• The scientists (Linguists, historians, art historians, archaeologists, scholars studying Kartvelian Languages), who transmit the element to the next generations within the framework of their professional and educational activities.
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• Teachers, who teach MkhedruLi in primary school and Mrgvlovani and Nuskhuri - in scopes of the Ancient Georgian Literature course - in secondary school.
The Gerogian alphabet is one of the main factors creating and determining the Georgian cultural identity. It is a means of social relations, thus providing the cultural unity of the nation and a sense of historical continuity. Language and alphabet are the keystones for the consolidation of the Georgian society and the foundation of the Georgian statehood.
The Georgian alphabet is a precondition and means for development and continuous
practice of the Georgian Orthodox Christian culture.
The Georgian alphabet is the basis for development of the Georgian Language, as it preserves the vocabulary and grammar of the fifteen-centuries old Georgian Literary Language. It is one of the key conditions for creation, transmission and development of Literature. The Georgian alphabet is also used for recording the Kartvelian Languages (MegreLian,Laz,Svan) and dialects,contributing to the preservation and development of these Linguistic units.
The Georgian alphabet stimulates the development of education, art and science, calligraphy and printing technologies, thus creating common space for the sustainable cultural development of the society. The Georgian alphabet provides access to Literacy and, thus - to all forms of education and science. The alphabetical diversity inspires the modern arts, stimulates the calligraphic art, publishing, graphic design, typography and, in general,the bookculture in Georgia.
MprBJlOBaHH Hycxypn MxeApynn
Mrgvlovani Nuskhuri Mkhedruli
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
© National Agency for Cultural Heritage Preservation of Georgia, 2015
§ ll.TURKIYADAGI HUSNIXAT ANANAVIY XATTOTLIGI
“Husnixat:Turkiya isLom san’atida an’anaviy xattotlik” 2021-yiLda YUNESKOning Insoniyat nomoddiy madaniy merosi Reprezentativ royxatiga kiritildi.
Husnixat - estetik qadriyatlarni hisobga ol-gan holda qamish qalam va siyoh yordamida 0‘Lchovli va mutanosib ravishda arabcha islomiy harflar biLan yozish san’ati. Tabiiy moddalar bi-lan sirLangan maxsus qogbz, qamish qaLam, qalam pichoqlari, qamish qalam (makta), siyohdon (hokka) va qalam qutisi (divit) kesish uchun maxsus plastinka amaliyotda an’anaviy tarzda eng ko‘p qo’llaniladi. Husnixat maxsus qogbz, charm yoki boshqa yozuv materiallariga yozi-ladi, shuningdek, tosh, marmar, shisha, yogbch va hokazolarning yuzalariga ma’Lum texnikalar yordamida qo’llanilishi mumkin.
Qamish qalam va uning yo’nalishlarini xattot tomonidan qogbzda ushlab turishi harflarning mukammal va murakkabligini ta’minlaydi. Asrlar davomida shakllangan turli xil yozuv uslublari mavjud. Sulus, jaliy, nasx, muhaqqoq, rayhoniy, tauqiy, ruqo, kufiy, tolik, nastaliq, siyoqat, divoniy, rika, gubariy uslublari kengtarqalgan.Husnixat yozish bilan bog’Liq bo’lgan asbob-uskunalar va an’anaviy hunarmandchilikdan foydalanilgan bu yozuv uslublari ustoz-shogird munosabatlari orqali avloddan-avlodga o‘tib kelgan.
Husnixatdan Ourbn, hadislar (Muhammad paygambarning so’zlari), turkiy qisqa va she’riy baytlar yozilgan. Shuning uchun xattotlar hus-nixat yozishda so’fiylik marosimlaridan foyda-
langanlar. Saljuqiylar va Usmonlilar davrida muqaddas va lugat asarlari bilan bir qatorda sulton farmonlari,farmonlar,diniy va jamoat bi-nolarini bezashda, davlat yozishmalarida ham husnixat ishlatilgan. Bugungi kunda Turkiyadagi muqaddas va yozma asarlarda,shuningdek,diniy binolarda husnixat hanuzgacha amal qiladi.
Xattotlar va ularning shogirdlari, qamish qalam, qogbz va bo’yoq hunarmandlari husnixat targ'ibotchilari va amaliyotchilaridir. Husnixatni targ’ib etishda xattotlar alohida o‘rin tutadi. Ular ustoz-shogird munosabatlari orqali o‘z bilim, ko’nikma va husnixat odob-axloqlarini keying! avlodlarga yetkazmoqda. Xattotlar husnixatda qo'llaniladigan maxsus asboblar, materiallar va jihozlarni ham o’zlari yasashlari mumkin. Binobarin, ular nafaqat o‘z bilim, malaka va axloqini, balki husnixat yozish bilan bog’liq bo’lgan an’anaviy hunar-mandchilikni ham o’rgatadi.
An’anaviy xattotlik san’atini yetkazishda o’z vaqtida katta hissa qo’shgan husnixat ustalari ko’p bo’lgan: Yoqut el-Musta’simiy, Shayx Hamdulloh, Ahmad Oorahisori, Hofiz Usmon, Ismoil Zuxdu, Mustafo Rakim, Samiy. Afandi, Mahmud Jaloleddin, Yesarizade Mustafo Izzet Afandi, Mehmed Shevki Afandi, Mehmed Nazif Afandi, Mehmed Esad Yesari, Hasan Rizo Afandi, Hulusi Yazgan, Komil Akdik, Nuri Korman, Majid Ayral, Mustafo Halim Ozyazici Nekmeddin, Okay, Hamid Aytach. Bugungi kunda M. Ug’ur Derman, Hasan Chalabiy va Fuat Bashar husnixatni keying! avlodlarga
yetkazish va saqlashga fidoyiliklari uchun “Insoniyatning jonli xazinasi” sifatida e’tirof etiLgan.
Husnixat bilan bog‘Liq bilim va konikmalar ma’Lum bir tartib va intizom bo'yicha usta-shogird munosabatlari orqali ogzakivaamaliy ravishda uzatiladi. Xattotlar an’anaga ko‘ra o‘z bilim va konikmalarini tinglovchilariga bepul (hech qanday tolovsiz) berishni o‘zlarining ma’naviy burchi va mas’uliyati deb biladilar. Husnihat an’anaviy ravishda bir ustadan shogirdga mashqlar deb ataladigan norasmiy amaliy o'rganish orqali o‘tadi.
Mashq usulining asosiy tamoyili nafaqat husnixat texnikasini, balki uning falsafasi va axloqini ham o'rgatishdan i borat. Ta La balar us-toz-hattot yozgan namunali yozuvni kuzatib, o'rganishadi va taqlid qilishadi. Keyinroq xat-tot o‘z shogirdlarining ish xatini harfma-harf ko‘rib chiqadi, uni to‘g‘rilaydi va talaba kerakli darajadagi yozish malakasiga erishgunga qa-dar qayta yozadi. Boshlanglch darajadagi ta-Labaning asosiy husnixat konikmalarini egal-Lashi uchun kamida to‘rt-besh yil kerak boladi.
Ushbu o‘quv jarayonini muvaffaqiyatli tamomlagan talaba ijazadnoma (kafolat) olish huquqiga ega, shuning uchun o‘z ishiga imzo qo‘yish va ma’ruza o‘qish huquqiga ega boladi. Biroq yangi xattot o‘z bilim va konikmalarini oshirish, ustozi bilan mustahkam aloqada bolish yolida tinmay mehnat qilmasa, yaxshi xattot bolish uchun “Ijozatnoma” olishning o‘zi yetarli emas. Binobarin, husnixat yozish usta va shogirdlardan katta mahorat va sabr-toqat talab giladi.
Bugungi kunda bir qancha universitetlar, akademiyalar, ilmiy markazlar, nodavlat tashkilotlar, davlat va xususiy ustaxonalar rasmiy va norasmiy talim orqali husnixatni keng yoyish ustida ishlamoqda.
Husnixat paydo bolishining eng mühim sababi Our’onni chiroyli xat bilan yozish gbya-sidir. Islomda husnixat nafaqat fikr va gbya-Larni ifodalash vositasi bolibgina qolmay, balki oziga xos tasvir vazifasini ham bajara-di. Husnixat tufayli ALLoh taoloning xabarlari, paygambarning hadislari va avliyolarning insoniyatga aytgan sozlari ko‘proq namoyon boladi, deb ishoniladi.
ILgari qolyozmalarning targlbotchisi bol-gan husnixat jamoat va diniy me’morlikda tez-tez ishlatila boshlandi. Husnixat qolyozma varaqlar va devoriy Lavhalardan tashqari ushbu inshootlarning yodgorlik portallari, devor-Lari, mehroblari, minbarlari va gumbazlarining yozuv yoki xronogramma konnishidagi beza-giga aylandi. Husnixat jamoat joylarida be-zak sifatida ishlatiladi va turk shaharlarining madaniy oziga xosligini aks ettiradi. Jamoat joylari va binolarning bunday husnixat bezak-lari odamlarni olmishi bilan boglaydi, ijtimoiy xotira va madaniy ozlikni mustahkamlaydi.
0‘tmishdan hozirgi kungacha bolgan ijtimoiy hayot va madaniy o'ziga xoslikning ajralmas qismi bolgan ogzaki sozlarxattotlik ustalar qolida yozma asarga aylanib, ijtimoiy xotira va madaniy ozlikning davom etishiga xizmat qildi. Estetik ifoda kuchidan tashqari, u o‘z ichiga olgan ma’no orqali ma’naviy qoniqishni ta’minlaydi.
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“Hüsn-i Hat: traditional calligraphy in Islamic art in Türkiye” was inscribed to the UNESCO Representative List of the intangible cultural heritage of humanity in 2021.
The hüsn-i hat is the art of writing with Islamic LettersofArabicorigin byusing reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The hüsn-i hat is written on special paper, Leather or other writing materials and it may also be applied on the surfaces of stone, marble,glass, wood, etc. by using specific techniques.
Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of Letters. There are different styles of writing which have been
evolved over centuries: thuluth, jali, naskh, muhaqqaq, raykhâni, tawqi, riqa’, kufic, ta’liq, nasta’Liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the hüsn-i hat have been transmitted through master-apprentice relation from generation to generation.
The Quran, hadiths (statements of the Prophet Muhammad), Turkish Laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat.Apart from the sacred and Literal works, hüsn-i hat also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the hüsn-i hat is still practised in sacred and Literal works and religious buildings in Türkiye.
Hattats,trainees and craftspeople/suppliers of the aharlı kağıt, mühre, mürekkep, makta, kamış kalem are the bearers and practitioners
of the hüsn-i hat. Hattats have specific roles in the transmission of the hüsn-i hat. They transmit their knowledge, skills and ethics of the hüsn-i hat through master-apprentice relation to the next generations. Hattats also can make their own special tools, mate rials and equipment used in the hüsn-i hat. Therefore they transmit not only their knowledge, skills and ethics but also traditional craftsmanship related to the hüsn-i hat.
There have been many hüsn-i hat masters who made great contributions in transmission of the hüsn-i hat in their eras such as: Yâküt el-Müsta‘sımî,Şeyh Hamdullah,Ahmed Karahisârî, Hafiz Osman, ismâil Zühdü, Mustafa Râkım, Sami Efendi, Mahmud Celâleddin, Yesarizâde Mustafa izzet Efendi, Mehmed Şevki Efendi, Mehmed Nazîf Efendi, Mehmed Es’ad Yesârî, Hasan Rıza Efendi, Hulusi Yazgan, Kamil Akdik, Nuri Korman, Macid Ayral, Mustafa Halim Özyazıcı, Necmeddin Okyay, Hamid Aytaç. Today, M. Uğur Derman, Hasan Çelebi and Fuat Başar proclaimed as Living Human Treasures for their dedication of transmitting and safeguarding of the hüsn-i hat.
The knowledge and skills related to the hüsn-i hataretransmittedorallyand practically within master-apprentice relation in a certain order and discipline. Hattats traditionally regard it as their moral duty and responsibility to transmit their know-how and skills to their trainee for free (without any fees). The hüsn-i hat is traditionally transmitted from one master to his/her trainee through non-formal practical training called mashq (meşk).
The fundamental principle of the mashq method does not only involve the instruction of the hüsn-i hat technique but also teaching of its philosophy and ethics. Sample scripts written by master hattat are observed, studied, and imitated by the trainees. Hattat, Later reviews the works of his/her trainees Letter by Letter, corrects them and the trainee rewrites the same script until the desired Level of excellence in writing is achieved. Acquiring the basic skills of the hüsn-i hat for the beginner level trainee takes at Least four to five years. The trainee who successfully completes this training process is qualified to receive ijazadnama (icazetname-warrant), therefore entitled to sign his/her works (ketebe) and become a master himself/herself who gives Lectures. However, receiving the ijazadnama is not enough to become a good hattat unless the new hattat continues to work hard in order to improve his/her knowledge and skills also maintain strong relations with his/her master. Therefore, hüsn-i hat requires great skill and patience of the masters and apprentices.
Today, some universities, academies, research centres, NGOs, public and private workshops are working to transmit the hüsn-i hat through formal and non-formal education.
The mostimportant reason fortheemergence of the hüsn-i hat is the idea of writing the Quran, in beautiful script. In Islam, hüsn-i hat not only serves as an instrument for expressing thoughts and ideas but also functions as a kind of depiction. It is believed that the messages of the Allah, hadiths of the Prophet and statements of
saints (evLiya) to humanity become more visible by the hüsn-¡ hat.
Hüsn-¡ hat, which was a medium of manuscripts before, started to be frequently used in the public and religious architectures. Apart from the manuscript folios and wall plates, the hüsn-¡ hat became a decoration aspect in monumental portals, walls, mihrabs, minbars, and domes of these structures as inscriptions or chronograms. The hüsn-¡ hat is used as an ornament in public areas, also reflects the cultural identity of the cities in Turkiye. These
husn-i hat ornaments of public spaces and buildings bound people to their past, strengthen social memory and cultural identity.
Oral expressions which are an integral part of social Life and cultural identity from past to present have turned into written works by the hands of master hattats and contributed to the continuity of social memory and cultural identity. In addition to the power of aesthetic expression, it provides spiritual satisfaction with the meaning it contains.
© MoCT, 2020
© MoCT, 2020
© MoCT, 2020
© MoCT, 2020
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“Arab xattotligi: bilim, mahoratva amaliyot” 2021-yiLda YUNESKOning Insoniyat nomoddiy madaniy merosi Reprezentativ ro‘yxatiga kiritildi.
Arab xattotligi - arab yozuvida yozish san’ati. Harf arab aLifbosining yigirma sakkiz harfiga asosLangan. Har bir harf maxsus shaklga yoki turli boglanish shakLLariga ega bolib, bu harf qo‘shnilarini ongdan chapga (boshlanglch, o‘rta va yakuniy shakl) qo‘shish imkonini beradi. Nugtalar umumiy shaklga ega bolgan harflarni ifodalash uchun ishlatiladi.
Arab xattotligi kursiv bolib,turli geometrik shakllar va kompozitsiyalarni qollab-quv-vatlashga imkon beradi. Harflar estetik jihat-dan bir-biriga boglangan bolib, bu ularning har birini malum badiiy goidalarga muvofiq uygunlik va gozallikni ifodalovchi tasvir sifatida ko‘rib chiqishga imkon beradi.
Arab xattotligi Islomning birinchi asrla-ridan arab yozuvining rivojlanishi bilan birga taraqqiy etdi. Bu ikkilik sezgir edi va xattotlik asosan islomiy san’atga aylandi.
Our’onning musulmonlar vahiyidagi alohida maqomi arab xattotligining rivojla-nishida mühim rol oynadi. Shundan so‘ng, Sharqiy nasroniylik kabi boshqa dinlar ozlarining muqaddas matnlarida buni amalga oshirdilar. Asta-sekin u diniy mavzular bilan cheklanib golmadi va dunyoviy san’atning, jumladan, an’anaviy, zamonaviy va mavhum asarlarning bir gismiga aylandi.
Arab yozuvining ravonligi hatto bitta so‘z ichida xattotlik iboralarini yaratish uchun cheksiz imkoniyatlarni taqdim etadi,chunki harflar turli xil motivlarni yaratish uchun ko‘p jihatdan cho'zilishi va o‘zgartirilishi mumkin. Arab xattotligining turli uslublari mavjud. Ulardan eng keng tarqalganlari: kufi, ruqo, nasx, sulyus, divoniy va magribiy. Bunday uslublar vaqt olishi bilan rivojlandi, ularning har biri turli xil ifodalar va kompozitsiyalarga ega. Oolyozmalarning sahifalari yoruglik bilan bezatilgan; kartridjlar, chiziqlar yoki hoshiyalarda joylashtirilgan.
Ular Our’on va diniy matnlar uchun mavhum va geometrik shakllar ishlatiladi. Aksincha.osimliklarva boshqa naqshlarshe’riy va adabiy hikoyalarning chetini bezatadi.
Arab xattotligi (yangi uslub) badiiy ifoda sifatida keyingi davrlarda paydo boldi. U o‘z san’atiga ko‘proq arab xattotligiga o‘xshash, shuningdek, psevdoarab xattotligining elementlarini kiritadi. Bu elementning dinamikasi va yangi ijtimoiy va madaniy vaziyatlarga moslashish gobiliyatining kuchli dalilidir.
Arab xattotligi tabiiy materiallar bilan bevosita bogliq. Yozishni boshlashdan oldin xattotlik san’atkorlari va mutaxassislari tabiiy xomashyodan qalam, siyoh va qogbz tayyorlaydilaryoki mahalliy hunarmandlardan (qamish yoki bambuk poyasi, qora kuyik, arab sagichi, shafran, asal, kraxmal, tuxum ogi va
alum) sotib oladiLar. Ushbu materiallardan foydaLanib, ular tabiiy mahsulotlarni, shuningdek, mahaLLiy hamjamiyatlardan kelgan mahalliy hunarmandlarning mehnati va iste’dodini faol ravishda targ’ib qilib, barqaror rivojlanishga yordam beradi.
Arab xattotining an’anaviy asbobi qalam bo’lib, odatda quritilgan qamish yoki bambuk poyalaridan tayyorlanadi, ba’zan esa tumshug’i po’lat patlaridan yasaladi, turli o’lcham-dagi bo’laklarga bo’Unadi va kesiladi. Yangi asboblarga egilish belgilari va mo’yqalamlar kiradi. Murakkablari ko’pincha rangli va tanlangan bo’lib, ularning intensivligi juda katta farq qilishi mumkin, bu harf shakllarida dinamizm va harakatni yaratadi. U arab saqichlari bilan aralashtirilgan qora uglerod, rang berish uchun za’faron va yaltirash uchun asal kabi tabiiy ashyolardan tayyorlanadi. Hozirgi vaqtda sanoat bo’yoqlari ham qo’llaniladi.
Arab xattotligi ahar yoki muqahar deb ataladigan an’anaviy qogbzdan (kraxmal, tuxum oqi va alum bilan ishlangan) tashqari, silliq oq qogbz, idishlar, matolar, yogbch, toshlar, marmar, Loy,va metallarda qo’llaniladi. Arab xattotligi muqaddas kitoblar, ibodat joylari, saroylar, qabr toshlari va zargarlik buyumlari, kiyim-kechak yoki mebel kabi boshqa ko’plab narsalar kabi turli xil ommaviy axborot vositalarida mavjud.
Arab xattotligining targ’ibotchilari (arab xattotlari, professional xattotlar, rassomlar, dizaynerlar, universitet o’qituvchilari, maktab o’qituvchilari, murabbiylar va hunarmandlar)
asosan erkaklardir. Ayollar ko’proq san’at va o’qituvchilik bilan shug’ullanishadi.
Arab xattotligi ustalari“ijoza”ga ega bo’lgan notiqlar va amaliyotchilardir (uning egasiga xattotlik mashg’ulotlarini o’tkazish huquqini beruvchi sertifikat uni allaqachon egallagan kishi tomonidan beriladi). Ijoza talaba yoki sta-jyor bilimlarni Ijoza bergan shaxsning og’zaki ko’rsatmalari orqali olganligini anglatadi. Usta arab xattoti to’liq qo’Lyozma yaratishi yoki ras-som va illyustrator bilan hamkorlikda ishlashi mumkin. Bunda u matnlarni kalom yordamida ko’chiradi, qolgan ikkitasi uni cho’tka, boblar sarlavhalari, boshlarini, shuningdek varaqlar chetini boyitish uchun suvva tilla bilan suyul-tirilgan pigmentlar bilan bezatadi.
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• Professional xattotlar shogirdlik chog’ida oigan bilim, ko’nikma va qoidalar asosida arab xattotligi bilan shug’ullanadi. Odatda xattotlik qoidalariga o’zgartirish kiritmay amal qilishadi. Biroq, ularning ba’zilari ayrim yangiliklarni olib kiradi.
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• Badiiy xattotlar va dizaynerlar ijodiy san’at va dizaynda alifbo estetikasidan foyda-lanadilar.
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• Universitet professorlari, o’qituvchilari va arab xattotligi o’qituvchilari arab xattotligini rasmiy va norasmiy ta’Lim orqali o’rgatadilar.
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• Hunarmandlar - ¡dish, mato,yogbch,tosh, marmar,loyva metallar kabi turlixil materiallar bilan ishlaydigan haykaltaroshlar, rassomlar, zargarlar, kashtachilar va o’ymakorlar.
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• Ba’zi xattotlar (erkaklarva ayollar) yozish uchun o’zlari qalam, qogbz va siyoh ishlab chiqaradilar. Boshqalar esa savdogarlardan
sotib oLingan sanoat asbobLari va material-Laridan foydalanadiLar.
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• NodavLat notijorat tashkilotlar uyush-malar va madaniyat markazLari amaliyotchi-Lar bilan hamkorLikda arab xattotligi boyicha seminarlarva o‘quv mashgulotlar tashkiL qila-di. UyushmaLar xattotlar uchun o‘z faoliyatini targ'ib qilish, kasbi va huquqLarini himoya qiL-ish maqsadida huquqiy sharoityaratish uchun markaz bolib xizmat qiLadi.
Arab xattotligi yuqori darajada tartibga solingan san’atdir. Uning rivojLanishi uning tarixi va rivojLanish jarayonini mukammaL bilishni taLab qiladi. Oat’iy usullar norasmiyva rasmiy vositaLar orqaLİ o'rgatiladi.
Ba’zi mamla katlarda, xususan, Saudiya Ara-bistoni, Jazoir, Misr, lroq, Ouvayt, Mavritaniya, Marokash, Sudan,Tunis, Birlashgan Arab Amir-Liklari va Yamanda “Ijaza” deb nomlanuvchi xattotlar malakasini oshirish va akkreditatsiya qilish tizimi mavjud.
Arab xattotligi bilan bog‘Liq konikma va bilimlar ustozdan shogirdga og'zaki, kuzatish va o'rgatish orqali o‘tadi. Talaba alohida harflarni o‘rganishdan boshlanadigan bir qator bosqichlardan o‘tadi, ularning har birida shakllarning o'ziga xosligi, mutanosiblik toplami va usta xattot tomonidan yaratilgan naqshlarasosida chiziq kengligining o'zgarishi mavjud. Keyin u harf birikmalariga va oxir-oqibat butun so'zlarga o‘tadi.Har bir bosqichda tuzatish va yo‘L-yo‘riq usta tomonidan amalga oshiriladi. Mashg'uLot yakunida arab xattotligi ustasi mashg'uLotning barcha bosqichlarini tamomlaganlarga “ljoza”ni sovga qiladi.
Sertifikat uning egasiga amaliyot o‘tkazish va tajribani boshqa manfaatdor shaxslarga o'rgatish huquqini beradi. U ustaning nomini va mahoratni uzatish zanjirini ko'rsatishi kerak. Livanda bu “ijazah” tizimi mavjud emas; o'quv mashgulotlar Istanbul, Oohira yoki Jiddada bo'Lib o'tadi. Misrda Savyana deb ataladigan boshqa usul hukmronlikqiladi. Bu professional xattotning malakasini bir necha bosqichda o‘z shogirdiga o'tkazishdan ¡borat. Birinchisi bosh (yoki boshlanish) ma’nosini bildiruvchi “Bedaya” deb ataladi, so'ngra yordamchi “shogird”, keyin “xattot” darajasiga yetguncha “yordamchi xattot” bo'ladi. Jazoir, Mavritaniya, Marokash va Sudanda arab xattotligi an’anaviy Our’on maktablarida “Zaviya” yoki “Madrasa” nomli masjidlarda o'qitilmoqda. Livanda ba’zi mashhur arab xattotlari otalari tomonidan tarbiyalangan.
Arab xattotligi bilan bog'liq bilim va ko'nikmalar barcha darajadagi maktablar va universitetlarning o'quvdasturlari orqali rasmiy tarzda o'rgatiladi. (xattotlik, san’at va dizayn darslari). Seminarlar mahalliy, milliy va xalqa-ro nodavlat notijorat tashkilotlari, uyushmalar, muzeylarva san’at markazLari tomonidan arab xattotlik mahoratini rivojlantirish maqsadida tashkiL etilmoqda.
YaratiLganidan beri arab xattotligi har doim arab-musulmon o'ziga xosligining ramzi bolib xizmatqilgan.U arabtilini saqlash,diniy madaniyat va qadriyatlarni yetkazishning badiiy kanallaridan biri bolgan. Shunday qilib, diniy, milliy va arab o'zligiga mansublik tuyg'usi doimo mustahkamlangan.
Arab tiLining muqaddas tabiati Our’oni Karim va boshqa diniy matnLar biLan aloqa-dorLigi tufayLi arab xattotLigini ma’naviyat va e’tiqod timsoliga aylantiradi. Shuningdek, u diniy marosimlar biLan qamrab olingan.
Arab xattotlari yozishdan oLdin tahorat qiLib,namozoqiydilar.Ko‘pgina diniy bayram va marosimLarda quvonch yoki qayg‘u ifodalash uchun bannerlaryoki devorlarga muqaddasva dunyoviy matnLar yoziladi. Masalan. odamlar hajdan qaytgan ziyoratchiLarni “Muborak” yoki “Mabrur” (har bir musuLmon umrida kamida bir marta Saudiya Arabistoni Makka shahrida bajarishi kerak bolgan haj ziyorati) bayroqlari biLan kutib oladi. Axurani (shahid Imom Husayn) xotirLash chog'ida lroq, Livan va Bahrayndagi motamning ramziy ma’nosi sifatida shia musulmonlari tomonidan qora bayroglarga kaLLİgrafik matnLar yoziladi.
Shuning uchun arab xattotlik sa’nati masjidLar, ziyoratgohlar, maqbaralar kabi joylarni bezatadi. Shuningdek, u barcha yomonliklardan himoya qilish uchun uyLarni, idoralarni va boshqa joylarni bezatadi.
Arab xattotligining tarbiyaviy o‘rni nafaqat rasmiy va norasmiy uzatishga, baLki maqol va she’rlarning kaLLİgrafik matnlariga ham tayanadi, axloqiy qadriyatlarni tarqatadi va yosh avlodga tegishLiLiktuyg'usini yaratadi.
Arab xattotligi xattotlar va ularning oilalari uchun iqtisodiy manbadir. Ammo shuni ta’kidlash kerakki, xattotlik va hunar-mandchilik nafaqat daromad manbai, ular, shuningdek, ijtimoiy yoki diniy tadbirlar va festivallarda sovga sifatida topshiriladi. Shu tariqa ular barqaror rivojlanishga yordam beradi va shu biLan birga ijtimoiy aloqalar va hamjihatlikni mustahkamlaydi.
§ 12.APA5CKOE MCKYCCTBO KAJlJlMrPAiPMM
“ApaöcKan Ka^wrpa(|)M«: 3HaHna, HaBbiKM m npaKTMKM” öbinn BHeceHbi b PenpeseHTa-THEHbiM cnncoK HeM3TepnanbHoro Ky/ibTyp-Horo Hacneana MenoBeHecTBa LOHECKO b 2021 roay.
ApaöCKaa Karın kırpabil - sto ncKyccTBO nMCbMa apaöcKOM Basbio. B ochobo nncbMa ne>KaT flBaflpaTb BOceMb 6yKB apaöCKoro an-0aBkiTa. Kabası öyKBa MMeeT M3onnpoB3HHyıo t|)opMy n/nnn pasnMMHbie (popMbi coeAMHeHna, KOTopbie n03B0nai0T öyKBe npncoeAHHaTbca k cbomm coceaaM cnpasa HaneBO (HananbHaa, cpeAHaa m KOHeHHaa (popMa). Tohkm ncnorib-
syoTca ana o6o3HaHeHna 6yKB, MMeıoıuMx 06-nyıo (popMy.
ApaöCKaa KannnrpatfiMa asnaeTca CKopo-nncHOM, hto no3BonaeT no/mep^nBaTb pa3-nnaHbie reoMeTpnnecKne (|)opMbi m K0Mn03M-qnn. ByKBbi acTeTMMecKM B33MMOCBa3aHbi, hto no3BonaeT paccMaTpnsaTb Kaxayıo M3 hmx k3k oöpa3, nepeaaıOLUHİÎ rapMOHmo m Kpaco-Ty no onpefleneHHbiM xyflo>KecTBeHHbiM npa-BM/iaM.
ApaöCKaa KannMrpatJiMa pa3BWBanacb BMe-cre c pa3BMTneM apaöcKOii nncbMeHHOc™ c nepBbix BeKOB ncnaMa. 3t3 flBOMCTBeHHOCTb
6bina MyBCTBMTenbHOM, m Kann Mi-pacana crana no npeMMyujecTBy McnaMCKMM MCKyccTBOM.
Oco6biM CTaTyc Kopana b Mycy/ibMaHCKOM OTKpoBeHMM Cbirpan BaxHyo ponb b pa3BM-tmm apaScKOM Kannnrpa0MM, Flocne 3Toro Apyrne peiiHrnn, TaKMe KaK BOCTOHHoe xpM-ctmshctbo, npaKTMKOBanM ero B CBOMX CBa-meHHbix TeKCTax. riocTeneHHO oho yxe He orpaHMHMBsnocb pennrno3HOM TeMaTHKOü m CTsno nacTbfo CBeTCKoro MCKyccTBa, BKniOHaa TpaAUPMOHHbie, COBpeMeHHbie M aÓCTpaKTHbie npoM3BeAeHMa.
nnsBHOCTb apaficKoro nncbMB OTKpbiBaeT HeorpsHMHeHHbie bo3moxhoctm Ana CO3A3-HMa KannMrpacfiMHecKMx BbipaxeHMÑ Aaxe b npeAenax OAHoro cnoBa, nocKonbKy 6yKBbi MOXHO paCTarMB3Tb M TpaHC(|)OpMMpOBaTb MH0X6CTB0M CHOCOSOB A^ CO3A3HMa p33nMM-HblX MOTMBOB. CyLLl,eCTByK)T pa3JlMHHbie CTM/1M apaScKOM K3Juinrp8(|)MM. HanSonee pacnpo-CTpSHeHHblMM M3 HMX aB^aiOTCa: Ky0M, pyK3, nacx, cynioc, ahb3hm m Marpn6n. TaKMe ctmjim p33BMBanHCb C TeHeHMeM BpeMeHM, K3>KAblM M3 KOTOpblX HM6J1 MH0X6CTB0 BbipaxeHMM M komoosmamm. OpanMAbi pyKonHceü yxpaiuaeT muiKJMMHaLiMfl; ysopbi pacnonoxeHbi b bmac KapTpMAxeñ, nonoc mbm SopflíopoB. Ohm a6-crpaKTHbi m reoMeTpnMecKM A-na Kopana m pennruosHbix TexcroB. HanpoTUB, pacTenmi m Apyrne motmbbi yKpawaiOT nona no3TH4ecKnx m JwepaTypHbix paccK33OB.
ApaScKaa KajuiMrpac|xt)MTM (hobbim Kannn-rpa^MHecKMM amib) BO3HMKna b nocneAHee Bpewa KaK xyAOxecTBennoe Bbipaxenne. Oh npMBHOCMT b xyAO>KecTBeHHbie npon3BeAe-
HM« 6onee CTmiH3OBaHHyio apaóCKyo Ka/uin-rpacpmo, a Taioxe aneMeHTbi nceBAoapaócKOM Kannnrpa(|)HM. 3to y6eAMTenbHoe CBMAeTenb-CTBO AHH3MMKM 3neMeHT3 M ero CnOCOÓHOCTM aAanTnpoB3Tbca k HOBbiM copkianbHbiM m Kynb-TypHblM CMTyapMflM.
ApaScKaa Kannnrpac|)Ma HanpaMyo CBa-33Ha c npnpoAHbiMM M3TepnajiaMM. ripeare neM HaaaTb nucaib, MacTepa m npo$eccMOHa-nbi KajiJinrpatj)HM roTOBaT KanaM, HepHMna m SyMary M3 HaTypanbHoro cbipba Man noxyna-K)t mx y MecTHbix MacTepoB (cTe6nn tpocthm-Ka unid SaMÓyKa, nepayo caxy, apaBMÑCKyio KaweAb, LuacppaH, moa, KpaxMan, aMMHbie SenKM m KBacLibi). Mcnonb3ya 3tm pasnuHHbie MaTepuanbi, ohm 3ktmbho npoABnraiOT HaTy-pa/ibHbie npoAyKTbi, a Taioxe paóOTy, Hoy-xay m TanaHT MecTHbix peMecneHHMKOB M3 Mecr-Hbix coo6w,ecTB, cnocoficTBya ycTOMHMBOMy P33BMTMIO.
TpaAnpMOHHbiM MHCTpyMeHTOM apaficKO-ro KannMrpacfia asnaeTca KanaM, nmuyiAníí MHCTpyMeHT, KOTOpblM 06blHH0 M3rOTaBnMB3-eTca M3 BbicytueHHbix CTeSneM TpocTHMKa h/im 6aM6yKa, a UHorAa MO>KeT 6biTb M3roTOBneH M3 K/ihOBa m CTanbHbix nepbes, paapeaaHHbix m pa3AeneHHbix Ha nac™ pa3Hbix pa3MepoB. HOBbie MHCTpyMeHTbl BK/lOHaiOT KOCbie cko-LueHHbie Mapxepbi m Kocbie kmctm. MepHmia H3CTO 6blB3IOT LI,BeTHblMM M Bbl6 M pa lOTCa T3K, MTO MX MHTeHCMBHOCTb M0X6T CMJlbHO BapbM-poBaTbca, co3AaBaa ahh3mm3m m ABMxeHMe (popM 6yKB. Oh CAenaH M3 HaTypanbHbix mh-rpeAueHTOB, tbkmx k3k nepnaa caxa, cwe-waHHaa c apaBMMCKOM KaMeAbK), wacppaH
A^a pseTa m MeA A-na Gnecxa. B HacTonmee BpeMa TaKxe Mcnonb3yeTcn npoMbiLuneHHafi KpacKa.
ApaócKyo Kannurpaitimo moxho npMMe-HüTb k wnpoKOMy cneKTpy AeKopaTMBHbix MaiepuanoB, dommmo TpaAMpnoHHOM GyMarn, HaabiBaeMOM axap unid Myxaxap (o6pa6oT3H-HOM KpaXMa/lOM.AMHHblM Ge^KOM M KB3CP3MM), HanpMMep, k mbakom Ge^oñ GyMare, cocyAaM, TKaHíiM, Aepesy, k3mh^m, MpaMopy, mune, m MeTannbi. ApaOcxan Ka^nnrpaiJiMP npncyrcTBy-eT na pas^MMHbix TMnax HOCMTeneM, HanpMMep, CBHipeHHbix KHMrax, Mecrax OTnpaBneHMa KynbTa, ABoppax, H3Arpo6Max m mhotmx Apy-rMX npeflMeTax.TaKMx kbk yKpaujeHMfl,OAe>KAa m^m MeGe^b.
HocMTenaMM apaGcKOM KannMrpacfiMM (Macepa apaGcKOM KannMrpacpMM, npo(|)ec-CMOHa^bHbie KannMrpacfibi, xyAOXHMKM, am-aaMHepbi, npenoflaBaTe/iM yHMBepcMTeTOB, wKOJibHbie yMMTejia, Tpenepbi m peMecneHHM-km) ab/iwtcsi npeMMyujecTBeHHO MymuHbi. XeHLAMHbl Go^bLLie O3a6OHeHbl MCKyCCTBOM M npenoAaBaHMeM.
MacTepaMM apaGcKOM Ka^nHrparjann hb/ih-KTTCfl H0CMT6J1M M npaKTMKM, MMCIOipMe «MAXO-3y» (cepTMcfiMKaT, paspemaioiAMM ero B^aAenb-py nepeAaBaTb HaBbiKM KannMrpacfiMM, BbiAaH-Hbití kom-to, kto yxe mm B^aAeeT). «MA>Ka3a» noApaayMeBaeT, hto CTyAeHT m^m CTaxep npn-OGpen 3H3HHA nOCpeACTBOM yCTHblX MHCTpyK-Pmm M3 nepBbix pyK OT^Mpa, BbiAastuero «Ma->Ka3a». MaCTep apaGcKoro Ka/ianrpa(|)a mowt no/iHOCTbio C03A3Tb pyKonMCb m^m paGoTy b COTpyAHMMeCTBe C XyAO>KHMKOM M M/UlK)CTpa-
TOpOM. B 3tom cnyHae oh KonwpyeT Temí c noMOiAbio KanaMa, a aboc Apyrnx yKpamaiOT ero KMCTbK), nMTMeHTaMM, pa3B6AeHHblMM B boas m 3O/iOTe, HToGbi oóoraTMTb 3aronoBKM, Hanana maB, a Taioxe no/ia crpaHMp.
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• npocfieccMOHanbHbie Ka^^nrpac|jbi npaK-TMKyiOT apaGcxyx) Kajuinrpac|íMK) b cootb6t-CTBMM CO 3HaHMflMM, H3BblKaMM M np3BMJ13MM, no^yqeHHbiMM b xoas yMenmeciBa. OGbHHO ohm c/ieAyK)T npasn/iaM KajuiMrpa(|)MM 6e3 ho-BOBBeASHMM. 0AH3K0 HCKOTOpbie M3 HMX npidB-HOCHT HCKOTOpbie HOBMHKM.
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• XyAOxecTBeHHbie KsnnMrpscpbi m am-33MHepbl MCOO/lb3yiOT 3CT6TM3M a^CjjaBMTOB B TBOpHeCKOM MCKyCCTBe M AH3aMHe.
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• ripo^eccopa yHMBepcMTeTOB, npenoAa-BaTe/iM m npenoAasaTe/iM apaGcKOM Kannu-rpacpMM nepeAaKJT apaGcKyro Ka^^MrpacJamo b psMKax 0opM3nbHoro m HecjjopMsnbHoro 06-pa3OB8HMfl.
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• PeMecneHHMKM - 3to CKynbnTopbi, xy-AOXHMKM, lOBeJIMpbl, BblLUMBa^bLAMpbl M Tp3Be-pbl, paGOTaiOLAI/ie C p33^HHHblMM M3TepM3J13-MM.T3KMMM K3K COCyAbl,TK3HM, AepCBO, K3MHM, MpBMOp, r/lMH3 M MeTa/lJlbl.
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• HeKOTopbie K8nnMrpa(|)bi (MyxHMHbi m >K6HlAMHbl) npOM3BOA^T COGCTBeHHblM K3/13M, GyMary m nepHM^a A-na nncbMa. flpyme mc-no/ib3yiOT npoMbiuneHHbie MHcrpyMeHTbi m MBTepManbi, KynneHHbie yToproBpeB.
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• HF1O, accopMapMM m Ky/ibTypHbie KnyGbi COTpyAHMHaiOT C np3KTMK3MM B OpraHM38L|MM CeMMHapOB M TpeHMHTOB nO apaGcKOM K3JU1M-rpa(|jMM. CMHAMK3Tbl CJiyXOT A/™ Ka^^MrpaCflOB peHTpOM npOABMXeHMa CBOeM AeflTeJlbHOCTM
M C03A3HMA npaBOBOTO KOHTeKCTa flAA 3aiHMTbl CBoeM npot|)eccnM m npaB.
ApaÖCKaA KanAMTpa^MA ABAA6TCA CTpo-ro pery/ıupyeMbiM MCKyccTBOM. Ero ocBoeHMe TpeöyeT flocKOHaAbHoro 3H3hma ero mctopmm m npopecca ero pa3BMTMA. OöyneHMe CTporMM MeTOflOM ocyıu,ecTBAAeTCA He0opManbHbiMM m 0OpManbHblMM CHOCOÖaMM.
B HeKOTopbix rocyflapcTBax, s mmchho b CayflOBCKOii ApaBMM, Anxnpe, Ern nie, MpaKe, KyBeÜTe, MaBpMTaHMM, Mopokko, CypaHe, TyHMce, OSbeflnHeHMbix ApaöcKMx 3MnpaTax m Mewene, cynecTByeT CMcreMa nepepaHM onbi-Ta m aKKpepHTapuki KaAAMrpa(|x>B, M3BecrHaA K3K «Mpxaaa». HaBbiKki m 3H3hma, CBA33HHbie c apaöCKOM Kanjinrpa(|)Meii, nepepaiOTCA ot Madepa k yneHMKy ycTHO, nocpepciBOM Ha-ÖAIOfleHMA kl OÖyHCHMA.YhOHMK npoxoflkiT pAp 3TanOB, KOTOpbie HaHMHaiOTCA C M3yH6HMA OT-ßeAbHblX ÖyKB, KaXßaA M3 KOTOpbIX MMeeT oco-6oe apTMKyAApMio tjjopM, Haöop nponoppnii m BapMapMM LUkipkiHbi LUTpMxa Ha ochobo 06-paspoß, cospaHHbix MacrepoM-Kaji/iHrpapOM. 3aTeM oh nepexoflkiT k coneTaHMAM öyKB m, b kohchhom kiTore, k peAbiM caob3m. Ha KaxpoM 3Tane ocyıpecTBAAeTCA KoppexpMA m pyxo-bopctbo MacTepoM. no okohh3hmm oöyne-hma MacTep apaöCKOM KaAAMrparfiMM BpynaeT «Mpxasy» tcm, kto npoweA Bee 3Tanbi oöyne-Hun. CepTkicfikiKaT paeT ero oöAapaTeAio npaßo npaKTkiKOBaTb m nepepaßaTb onbiT ppyrMM 3a-MHTepecoBaHHbiM ampbm. B HeM 0ÖA3aTeAbH0 POaxho öbiTb yKasaHO mma MacTepa ki penon-Ka nepepann MacrepcTBa. B /İMBaHe stom cm-CTeMbi «kipxa3bi» He cyipecrByeT; oöyneHMe
npOBopkiTCA b CraMÖyAe, Kakipe mum fl>KM/uıe. B ErMnTepoMkiHMpyeTppyroM motop, noAyHMB-lumm HasBaHMe «CaBbAHa». Oh 3aKAK)HaeTCA b nepepane KOMneTeHTHOCTM npocjıeccMOHaAb-Horo KaAAMrpa(|)a CBoeMy yneHMKy b HecKOAb-ko 3TanoB. ElepBbiM Ha3biBaeTCA «BeaaMA», hto O3HaHaeTHaHa.no (mum Hanano), 3aTeM noMOip-HMK CT3H0BklTCA «yHeHMKOM», 33T6M «nOMOip-hmkom KannMrpacfıa», noKa He AOCTMTHeTypoB-ha «Kajı/iMrpapa». B AnxMpe, MaBpkrraHMM, MapoKKO m CypaHe apaöCKaA Kan/iMrpa(|)MA nepeaaeTCA b TpaflMpMOHHbix KopaHMHecKMx ıuKonax npn MeHeTAx, H33biBaeMbix «3aBkiA» mum «Mezıpaca». B JİMBane HeKOTopbie M3Becr-Hbie apaöcKMe KanjiMrpa4)bi oöynanMCb y cbo-mx otpob.
3H3HMA m HaBbIKM, CBA33HHbie C apaÖCKOM KannMrpa(|iMeM, nepepaıOTCA 0opManbHbiM o6pa3OM nepe3 yneÖHbie nporpaMMbi iukou ki yHMBepcMTeTOB BcexypoBHeM (Ha ypoKax Kan-nMrpa4)MM, MCKyccTBa m pM3aiÎHa). CeMMHapbi OpraHM3yiOTCA MeCTHbİMkI, HapMOHanbHblMM M MexflyHapoflHbiMM HenpaBMTe/ibCTBeHHbiMM OpraHM3apMAMM, aCCOpMapklAMkl, MyseAMM M XyflOXeCTB6HHblMM peHTpaMkl flAA pa3BklTk1A HaBbiKOB apaöcKOM KanAMrpac|jMM.
ApaöCKaA KaAAMrpa4)MA c MOMeHTa CBoero noABneHMA Bceraa cnyxMna cmmboaom apa-6o-MycynbMaHCKOM ma6htmhhoctm. Oh 6bin OflHMM M3 XyflOXeCTB6HHblX KaHaAOB C0XpaH6-hma apaöCKoro A3biKa m nepe/ıaHM penMTM03-hom Ky/ibTypbi m peHHOCTeki.TeM caMbiM sceraa yKpennAAOCb nyBCTBO npMHaflnexHOCTki k pe-AMrM03H0M, HapMOHaAbHOM M apaÖCKOM MfleH-TMHHOCTM.
CBAipeHHaA npnpoAa apaScKoro A3biKa, oSyc^OB^eHHaa ero CBA3bio co CBaneHHbiM KopaHOM m ApyrMMM pennrMO3HbiMMTeKCTaMM, AenaeT apabcKyio Kannkirpacpmo Bon^oipeHM-eM AyxoBHOCTM m Bepbi. Oh TaKxe OKpy>KeH pennrno3HbiMM pnTyanaMM. ApaGcKkie Ka/inn-rpac|)bi coBepmaiOT OMOBeHMe m/mbm mojimt-By nepeA tom, kbk HanaTb nucarb. Bo mhotmx pennrno3Hbix npa3AHMKax m pnTyanax Ha SaHHepax win CTenax nrnuyra CBAipeHnbie M CB6TCKM6 TeKCTbl, MTOSbl Bbip33MTb paAOCTb mbm nenanb. HanpriMep. moan npMBeTCTByioT BO3BpaiUaK)LUHXCfl M3 X3AX3 na^OMHMKOB c 3HaMeH3MM xaAxa «MySapaK» min «MaSpyp» (nanoMHMHecTBO, KOTopoe KaxAbiM Mycy^b-M3HMH A0BX6H COBepmMTb XOTA 6bl p33 B xm3hm b MeKKe, CayAOBCKaa ApaBMA). Bo Bpe-ma nOMMHOBeHMA Axypbi (MyneHMKa Mm3M3 XycewHa) MycyjibManaMM-mMMTaMM Ha nep-Hbix 3H3MeHax nMwyrcA K3BBMrpa0MHecKMe TeKCTbi K3K CMMBoniiMecKoe BHaHeHne Tpaypa b MpaKe, ZlMBane m BaxpeMHe. FloaTOMy 3tot
aneweHT yKpamaeT CBAneHHbie MecTa, TaKMe K3K wene™, pepKBM, CBATbiHM, M3B3onen m rpoSHnpbi. Oh T3Kxe yKpamaeT aowa, or|)MCbi m apyrne noMem,eHHA ana 3am,MTbi ot bcakoto 333.
BocnMTaTenbHaA cpynKpnn 33eMeHTa onn-paeTCA He TO/ibKo Ha ^opMa/ibHyio n Herfiop-Ma^bHyio nepeAany, ho m Ha KannnrpacfiMHe-CKne TeKCTbi nocnoBMp m ctmxob, pacnpocTpa-HWinne HpaBCTBeHHbie lichhoc™ m co3Aao-lUMe HyBCTBO npMH3A3eXH0CTM K MOBOAOMy noKO/ieHmo.
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§ 12. ARABIC CALLIGRAPHY
“Arabic calligraphy: knowledge, skills and practices” was inscribed was inscribed to the UNESCO Representative List of the intangible cultural heritage of humanity in 2021.
Arabic calligraphy is the art of writing Arabic script. The writing is based on the twenty-eight Letters of the Arabic alphabet. Every Letter has an isolated form and/or different joining forms which allow the Letter to join to its neighbors from right to Left
(initial, medial and final form). Dots are used to characterize Letters that share a basic form.
Arabic calligraphy is cursive making it viable to support different geometric shapes and compositions. Letters are interrelated aesthetically, allowing each one to be treated as an image conveying harmony and beauty according to specific artistic rules.
Arabic calligraphy has developed alongside the development of Arabic writing from
the first centuries of Islam. This duality was sensitive, and calligraphy appeared as the Islamic art par excellence.
The particular status of the Qur’an in Muslim revelation was essential in the development of Arabic calligraphy. Thereafter, other religions, such as Oriental Christianity, practiced it for their holy texts. Gradually, it was no Longer Limited to religious subjects and became part of secular art, including traditional, modern, and abstract works.
The fluidity ofArabicscript offers indefinite possibilities for designing calligraphic expressions even within a single word, since Letters can be stretched and transformed in numerous ways to create different motifs.
There are various styles of Arabic calligraphy. The most common of which are: Kufi, Ruqaa, Naskh, Thuluth, Diwani, and Maghribi. Such styles have been developed over time, each with a variety of expressions and compositions.
An illumination decorates the pages of the manuscripts; the patterns are arranged in cartridges, bands, or borders.They are abstract and geometric for the Quran and religious texts. In contrast, plants and other motifs decorate the margins of poetic and Literary stories.
Arabic CaLLigraffiti (a new calligraphic style) emerged in recent times as an artistic expression. It introduces a more stylized Arabic calligraphy as well as, elements of pseudo-Arabic calligraphy into artistic works. This is strong evidence on the dynamics of the
element and its adaptability to new social and cultural situations.
Arabic calligraphy is directly Linked to natural materials. Before starting to write, masters and professionals of calligraphy prepare their qalam, ink and paper with natural raw materials or buy them from Local craftsmen (reed or bamboo stems, black soot, Arabic gum, saffron, honey, starch, egg whites and alum). Through the use of these different materials, they actively promote natural products and the work, know-how, and talent of Local artisans from Local communities, contributing to sustainable development.
The traditional instrument of the Arabic calligrapher isthe qalam,a writing instrument normally made of dried reed or bamboo stems, or can sometimes be made from beak and steel feathers, cut and split in different sizes New instruments include oblique beveled markers and oblique brushes. The ink is often in color and chosen so that its intensity can vary greatly, creating dynamism and movement in the Letter forms. It is made with natural ingredients such as black soot mixed with Arabic gum, saffron for color, honey for glossiness. Nowadays, industrial paint is employed as well.
Arabic calligraphy can be applied to a wide range of decorative mediums,otherthan traditional papers called Ahar or Muqahar (treated with starch, egg whites and alum), such as smooth white papers, vessels, fabrics, wood, stones, marbles, clay, and metals.
Arabic calligraphy is present on different types of carriers, for example sacred books, places of worship, palaces, tombstones, and many other objects such as jewelry, clothing, or furniture.
Arabic calligraphy bearers (masters of Arabic calligraphy, professional calligraphers, artists, designers, university professors, school teachers, trainers and artisans) are mostly men. Women are more concerned about arts and teaching.
Masters of Arabic calligraphy are bearers and practitioners who hold an “Ijaza” (a certification that authorizes its holder to transmit the skills of calligraphy, issued by someone already possessing one). The “Ijaza” implies that the student or trainee acquired knowledgethrough first-hand oral instructions from the issuer of the “Ijaza”. A master of Arabic calligrapher can entirely produce a manuscript or work in collaboration with a painter and an illuminator. In this case, he copies texts using a qalam, while the two others decorate it with a brush, pigments diluted in water and gold to enrich the titles, the beginnings of chapters as well as the margins of the pages.
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• Professionalcalligraphers practice Arabic calligraphy according to the knowledge, skills and rules gained through apprenticeship.They usually follow the rules of calligraphy without innovation. Some of them, however, introduce some novelties.
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• Artistic calligraphers and designers use the aestheticism of alphabets in the formative arts and designs.
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• University professors, teachers and trainers of Arabic calligraphy transmit Arabic calligraphy in formal and non-formal education.
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• Artisans are sculptors, painters, jewelers, embroiders, and engravers working on several materials like vessels, fabrics, wood, stones, marble, clay, and metals.
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• Some calligraphers (men and women) produce their own writing qalam, paper, and ink. Others use industrial instruments and material bought from traders.
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• NGOs, associations, and cultural clubs collaborate with the practitioners to organize Arabic calligraphy workshops and training sessions. Syndicates serve as hubs for calligraphers to promote their activities and establish Legal context to protect their profession and rights.
Arabic calligraphy is a highly regulated art. Its mastery requires a thorough knowledge of its history and its development process. Learning the rigorous techniques is done through non-formal and formal ways.
In some states, namely Saudi Arabia, Algeria, Egypt, Iraq, Kuwait, Mauritania, Morocco, Sudan, Tunisia, United Arab Emirates, and Yemen, there is a system for transmitting the experience and accrediting the calligraphers known as “Ijazah”. The skills and knowledge related to Arabic calligraphy are transmitted from master to apprentice verbally and through observation and training. The apprentice goes through a series of stages that begin by Learning single
Letters each with particular articulation of forms, set of proportions and variations of stroke width, based on samples produced by the master calligrapher. Then he moves on to a combination of Letters and eventually to whole words. At each stage, correction and guidance is made by the master. At the end of the apprenticeship, the “Ijazah” is granted by the master of Arabic calligraphy to those who have passed all the Learning stages. The certificate qualifies its holder to practice and transfer expertise to other interested persons. It must include the name of the master and the chain of transmission of mastership. In Lebanon, this system of “Ijazah” does not exist; apprenticeship is done in Istanbul, Cairo or Jeddah. Another method, called “Sabyanah”, dominates in Egypt. It consists in transmitting the competence of the professional calligrapherto his apprentice in several stages. The first one is called “Bedaya” which means starting (or beginning),then the help becomes “apprentice” then “assistant calligrapher” until he reaches the level of “calligrapher”. In Algeria, Mauritania, Morocco and Sudan, the Arabic calligraphy is transmitted in traditional Quranic schools attached to mosques called “Zawiya” or“Madrasa”. In Lebanon, some well-known Arabic calligraphers were trained by their fathers.
Knowledge and skills related to Arabic calligraphy are transmitted in a formal way through schools and universities curricula at all Levels.The element is taught in calligraphy, art, and design classes. Workshops are
organized by local, national, and international NGOs, associations, museums, and art centers to develop skills in Arabic calligraphy.
Since its appearance, Arabic calligraphy has always served as a symbol of the Arab Muslim identity. It has been among the artistic channels for preserving the Arabic language and transmitting religious culture and values. Thereby, it has always strengthened the sense of belonging to religious, national, and the Arab identity.
The sacred nature of the Arabic Language, due to its relation to the Holy Quran and other religious texts, makes Arabic calligraphy an embodiment of spirituality and faith. It is also surrounded by religious rituals. Arabic calligraphers do ablution and/or prayers before to start writing.
In many religious celebrations and rituals, sacred and secular texts are written on banners or walls to express joy or sorrow. E.g. people welcome pilgrims returning from hajj with hajj “moubarak” or “mabroor” banners (pilgrimage that every Muslim must make at Least once in his Life in Mecca, Saudi Arabia). During commemoration of Achoura (the martyr of Imam Hussein) by Shia Muslims, calligraphic texts are written on black banners as a symbolic meaning of mourning in Iraq, Lebanon, and Bahrain. Therefore, the element adorns sacred spaces, such as mosques, churches, shrines, mausoleums, and tombs. It also decorates homes, offices and other spaces for protection against all evils.
The educational function of the Arabic calligraphy does not rely only on formal and non-formal transmission, but also on calligraphic texts of proverbs and poetry diffusing moral values and creating a sense of belonging to young generations.
Arabic calligraphy is an economic resource for calligraphers and their families. However, it
should be emphasized that calligraphic works and handicrafts are notonlyasource of income. They are also exchanged as gifts at social or religious events and celebrations. Thus, they contribute to sustainable development and at the same time strengthen social ties and cohesion.
Kufi
Maghribi
Ruqaa
ThuLuth
Naskh
Diwani
© Hosain Daghriri, Saudi Arabia, 2020
© Hosain Daghriri, Saudi Arabia, 2020
© Centre National de Recherche Préhistorique, Anthropologique et Historique (CNRPAH), Algeria, 2020
© Nahla Emam, Egypt, 2020
MJ«
© SLeiman Joseph Bou Sleiman, Liban, 2019
143
© Fatima AL Danhani, United Arab Emirates, 2020
© Talented Youth Academy, Yemen, 2019
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