{"id":"hurufiyya","no":626,"name":"Hurufiyya","ja":"フルーフィーヤ","era":"mid-20th century–","family":"近現代美術運動","kind":"スタイル","essence":"20世紀半ば以降、アラビア文字の語、断片、単独の字形を、伝統書道の再現ではなく近代絵画、彫刻、グラフィックの構成要素へ変えた広域の美術傾向。文字を意味、身体的な筆致、文化的帰属、抽象形の間で往復させる。","cues":["単独のアラビア文字や読めない断片の反復","文字列が格子、渦、色面、人物像へ組み込まれる","手書きの筆圧と近代的な抽象構成の併存","可読性を保つ箇所と純粋な形へ崩す箇所の切替"],"intents":["反骨","高級","信頼"],"sourceTitle":"Barjeel Art Foundation — Hurufiyya: Art & Identity","sourceUrl":"https://www.barjeelartfoundation.org/exhibitions/hurufiyya/","pair":["kufic","saqqakhaneh"],"study":["mid-twentieth-century Arabic-letter modernisms","letter form, identity and abstraction","Madiha Omar, Shakir Hassan Al Said and Dia al-Azzawi"],"works":["言語、離散、帰属を、読める文と抽象形の緊張として扱う展示や編集","アラビア文字を借景ではなく、意味と造形の両方を担う中心構造として使う作品"],"recipe":{"type":"使用する文字、語、方言、書き手を確認し、読める箇所と形へ崩す箇所を明示して混同しない。","layout":"文字を一つの装飾帯へ閉じず、格子、色面、身体、余白を貫く主構造として反復または分解する。","material":"墨、油彩、紙、金属など媒体固有の抵抗を残し、既成フォントを無作為に回転して筆致の代わりにしない。"},"avoid":"アラビア文字風の記号を異国的な模様として置くと、意味も系譜も消える。伝統書道そのものとも区別し、作者、地域、言語、近代化の文脈を明記する。","colors":["#E6D7B8","#2A2B35","#A74432"],"motif":"calligraphy","collection":"Dictionary expansion 34","addedAt":"2026-08-23","source":{"title":"Barjeel Art Foundation — Hurufiyya: Art & Identity","url":"https://www.barjeelartfoundation.org/exhibitions/hurufiyya/"},"reference":{"status":"verified","pageUrl":"https://www.barjeelartfoundation.org/exhibitions/hurufiyya/","credit":"Barjeel Art Foundation — Hurufiyya: Art & Identity"},"en":{"essence":"From the mid-twentieth century, Hurufiyya transformed Arabic words, fragments and individual letters into elements of modern painting, sculpture and graphic composition rather than reproducing traditional calligraphy. Letters move among meaning, bodily mark, cultural identity and abstract form.","cues":["Repeated single Arabic letters or partly unreadable fragments","Writing embedded in grids, spirals, color fields or figures","Hand pressure coexisting with modern abstract composition","Deliberate switching between legibility and pure form"],"works":["Treating language, displacement and belonging as tension between readable text and abstraction","Using Arabic script as the structure that carries both meaning and form rather than as scenery"],"recipe":{"type":"Verify the letter, word, dialect and writer, and state where reading ends and formal transformation begins.","layout":"Do not contain writing in a decorative strip; repeat or break it across the main structure of grid, field, body and void.","material":"Preserve resistance specific to ink, oil, paper or metal and do not substitute randomly rotated fonts for a physical hand."},"avoid":"Arabic-looking signs used as exotic pattern erase both meaning and lineage. Distinguish the movement from traditional calligraphy and name maker, region, language and modern context.","study":["Mid-twentieth-century Arabic-letter modernisms","Letter form, identity and abstraction","Madiha Omar, Shakir Hassan Al Said and Dia al-Azzawi"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}