چکیده:
نسخه قرآنی شماره 1200 محفوظ در موزه آستان قم منسوب به قرن دوم هجری است. این نسخه علاوه بر مسائل نسخه‌شناسی مانند تاریخ کتابت، سه سطری بودن و نگارش بر کاغذ، به جهت طراحی خاص و منحصر به فرد حروف و صفحه‌آرایی آن دارای اهمیت است. هدف: تلاش می‌گردد در این مقاله علاوه بر معرفی این نسخه، شیوه خاص نگارش حروف در این نسخه از منظر بازنمایی کلمات در خوشنویسی اسلامی و رابطه آن با ایجاد معنا برای مخاطب مورد بررسی قرار می‌گیرد. روش: این مقاله به روش توصیفی- تحلیلی صورت گرفته است و برای انجام آن از منابع کتابخانه‌ای و آرشیوی استفاده شده است. یافته‌ها: نوشتار همان تصویرمتن و تجسم مادی امر مجرد و غیرمادی است. در این نسخه بعضی از کلمات و حروف به‌گونه متمایزی نسبت به سایر کلمات و حروف طراحی شده‌اند این کلمات از نظر معنایی در متن دارای اهمیت هستند. در واقع ارتباط بین ویژگی‌های صوری و معنایی نشانه نوشتاری برقرار است که در نشانه‌شناسی با عنوان تصویرگونگی درونی شناخته شده است. در این نسخه تصویرگونگی درونی در بازنمایی کلماتی به کار رفته که معنای ویژه‌‌ای در آیه مورد نظر دارند و نقش تاکیدی ایفا می‌کنند. نتیجه: نتایج تحقیق نشان می‌دهد که نوشتار همچون نشانه در خوشنویسی اسلامی در دو سطح صورت و معنا عمل می‌کند و به تصویرگونگی درونی در متن از منظر بصری و معنایی می‌انجامد. این تصویرگونگی بر درک معنای متن تاثیر‌گذار است.
<strong>Objective:</strong> Qur'anic manuscript No. 1200 is <em>kept</em> at the Museum of Qom, dated to the second century AH. Both <em>dating</em> and writing on paper in this manuscript has caused some discussions between scholars. Furthermore, structural and visual features of script include three lines per page and a special design of each letter is added to its importance. In this paper, we deal with the special way of drawing of the letters in this manuscript and try to examine the representation of words in Islamic calligraphy and its relationship with creation of meaning. <br /><strong>Methodology:</strong> The article was done with descriptive-analytic method. <br /><strong>Findings:</strong> The writing is a kind of image-text; namely, that is visual representation of speech and visualization of immortality. Writing in Islamic calligraphy is considered as a composite art that is combined image and word in a group of meaningful relationships. In this manuscript, some letters in some words are designed distinctly than other words and letters. These words are semantically meaningful in the text. In fact, there is a connection between the formal and semantic features of the written sign, which is known in semiotics as internal iconicity. In manuscript No.1200 internal iconicity is used in the representation of words that have a special meaning in the verse and play a prominent role. This way of representing of letters has effect on the perception of the sacred text by the audience. The visual representation of the written signs in this Qur'anic manuscript represents the convergence of visual and verbal elements to create meaning of the text. In fact, the script here does not only show language signs, but also exhibits the artistic and graphic features of the script that is used for divine Word. Designing and arrangement of the letters together and changing the size and expending them are effective in creating visual features and transmitting text messages. Here the calligraphy by approaching the script to the image affects on the conceptual dimension of the message, and this kind of script with its abstract forms is in accordance with the culture and beliefs of its audience. Visual features of the text motivate the emotional response as well as effect on the interpretation of written words. The words are not the only texts that have been interpreted, but also understood as visual, real, and touchable objects. <br /><strong>Conclusion:</strong> The results of the research show that writing as a sign in Islamic calligraphy works in two levels of form and meaning and leads to internal iconicity in the text from the visual and semantic point of view. This iconicity is effective in understanding the meaning of the text. The main difference between artistic and linguistic representation lay in the human variable. While correspondence between the parts of the representation of the sign in the language of is subconscious but in art is conscious. In his words, words can play a role that mutually affects religious observation. The manner in which the words appear in the reader's mind will change the worship response and the reader’s interpretation.
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