العلامات المائية ذات الرموز الدينية على الورق الأوروبي
في مقتنیات المكتبة المركزية بجامعة صلاح الدين بأربيل: دراسة تحليلية لدلالاتها(نماذج مختارة)
DOI:
https://doi.org/10.65074/b7zmhs63Keywords:
Watermarks, Manuscripts, Central Library, European paper, Salahaddin UniversityAbstract
This study explores the significance of watermarks as a vital tool for understanding the history of paper and manuscripts. It specifically highlights the meaning of religious symbols within these marks, which serve as evidence of the profound cultural and religious influence in Europe during the Middle Ages and Renaissance. These symbols were not merely decorative elements; they carried significant cultural and religious meanings, offering a window into the beliefs and values of the societies that produced them.
In Islamic and Eastern manuscript collections in particular, religious symbols are frequently used to affirm the religious identity of the content or the person who used or made the paper, making them important tools in the field of Document science and cataloging. According to the research, studying these symbols contributes to our understanding of the history of paper and its manufacturing techniques, as well as the connections between literature, culture, and religious trade.
The Central Library at Salahaddin University in Erbil holds special importance as a source for this study, as it contains a valuable collection of manuscripts that have been examined. These manuscripts cover a wide range of fields, from religious sciences and dictionaries to history, medicine, engineering, astronomy, and more. Through a careful analysis of the paper in these manuscripts, evidence can be uncovered to help determine their origins. The study of the watermarks found on them is one of the primary methods used in this context.
References
الكتاب المقدس، وتحديدًا سفر الرؤيا 12:1.
ابراهيم، امير محمد صادق. (٢٠١٠). الخطوط والعلامات مائية في المخطوطات العربية. مكتبة الملك عبدالعزيز العامة.
بارنز، هاري المر. (١٩٨٤). تاريخ الكتابة التاريخية (ترجمة: محمد عبدالرحمن برج). الهيئة المصرية العامة للكتاب.
بنبین، احمد، و طوبي، مصطفی. (٢٠٠٣). معجم مصطلحات المخطوط العربي (قاموس کودیکولوجي). مراکش.
جورج فیرجسون. (١٩٦٤). الرموز المسیحیة ودلالاتها (ترجمة: یعقوب جرجیس نجیب، الاشراف: زاهر ریاض).
حمودة، محمود عباس. (١٩٧٩). تاريخ الكتاب الإسلامي. دار الثقافة للطباعة والنشر.
روجرز، فرانسیس. (١٩٦٩). قصة الکتابة والطباعة لن الصخڕة المنقوشة الی صفحة مطبوعة (ترجمة وتحقیق: احمد حسین الصاوي). دار الطباعة الحدیثة.
عکاشة، ثروت. (٢٠١٠). موسوعة تاريخ الفن في عصر النهضة. الدار العربية للعلوم ناشرون.
كوبر، جي. سي. (٢٠١٤). الموسوعة المصورة للرموز التقلیدیة (ترجمة: مصطفی محمود). القاهرة.
لومير، جاک. (٢٠٠٦). مدخل الی علم المخطوط (ترجمة: مصطفی طوبي). مراکش.
لوفداي، هلین. (٢٠١٤). صناعة المخطوط العربي بحوث ودراسات. مجلة الوعي الاسلامي.
الحولیات والمجلات؛
عبدالله، احمد سعيد. (٢٠٠٣). تاريخ التدوين ومواد الكتابة. آفاق الثقافة والتراث، ١٠(٤٠). مركز جمعة الماجد للثقافة والتراث.
موسى حسين، هایدي احمد. (٢٠١٣). دراسة تحلیلیة لزخرفة العنب علی العمارة والفنون القبطیة والاسلامیة. حولیة الاتحاد العام للآثاریین العرب، دراسات في آثار الوطن العربي، ١٦(١).
المصادر الاجنبیة؛
Burke, P. (1972). Culture and Society in Renaissance Italy, 1420-1540. Harper & Row.
Didron, M. (1851). Christian Iconography, vol.1. London.
Ellwood, W. (1986). Saints, Signs, and Symbols. Morehouse-Barlow.
Ferguson, G. W. (1961). Signs and Symbols in Christian Art. Oxford University Press.
Frans, F., & Laurentius, T. (2019). The history of the paper in Europe, Chapter 1.
Gombrich, E. H. (2016). The Story of Art (16th ed.). Phaidon Press.
Immonen, V. (2013). Connecting Things through the Visual Arts: Medieval Crescent Moon Pendants as Horse Ornaments. Norwegian Archaeological, 46(2).
Jones, R., & Yahya, F. (2021). Malay manuscripts: a guide to paper and watermarks, The collected works of Russell Jones 1972–2015. Indonesia and the Malay World, 49(144).
Kemp, M. (2011). The Oxford History of Western Art. Oxford University Press.
Neil, H. (2017). Paper and Watermarks as Bibliographical Evidence. Lyon.
O’Hagan, T. (1926). The Genesis of Christian Art. New York.
Snyder, J. (2005). Northern Renaissance Painting Sculpture, The Graphic Arts from 1350 to 1575. Routledge, Ltd.
Stokstad, M., & Cothren, M. W. (2018). Art History (6th ed.). Pearson.
Williams, T. (2013). The silk Roads, thematic study, working paper. Institute of Archaeology.
Wixom, W. D. (Ed.). (1997). Mirror of the Medieval World. Hudson Hills Press.
المواقع الألکترونیة:
.https://memoryofpaper.eu/BernsteinPortal/appl_start
https://memoryofpaper.eu/BernsteinPortal/appl_start.disp#R._
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright and Licensing:
For all articles published in Journal of Studies in History and Archeology, copyright is retained by the authors. Articles are licensed under an open access Creative Commons CC BY 4.0 license, meaning that anyone may download and read the paper for free. In addition, the article may be reused and quoted provided that the original published version is cited. These conditions allow for maximum use and exposure of the work.
Reproducing Published Material from other Publishers: It is absolutely essential that authors obtain permission to reproduce any published material (figures, schemes, tables or any extract of a text) which does not fall into the public domain, or for which they do not hold the copyright. Permission should be requested by the authors from the copyrightholder (usually the Publisher, please refer to the imprint of the individual publications to identify the copyrightholder).
Permission is required for: Your own works published by other Publishers and for which you did not retain copyright.
Substantial extracts from anyones' works or a series of works.
Use of Tables, Graphs, Charts, Schemes and Artworks if they are unaltered or slightly modified.
Photographs for which you do not hold copyright.
Permission is not required for: Reconstruction of your own table with data already published elsewhere. Please notice that in this case you must cite the source of the data in the form of either "Data from..." or "Adapted from...".
Reasonably short quotes are considered fair use and therefore do not require permission.
Graphs, Charts, Schemes and Artworks that are completely redrawn by the authors and significantly changed beyond recognition do not require permission.
Obtaining Permission
In order to avoid unnecessary delays in the publication process, you should start obtaining permissions as early as possible. If in any doubt about the copyright, apply for permission. Al-Adab Journal cannot publish material from other publications without permission.
The copyright holder may give you instructions on the form of acknowledgement to be followed; otherwise follow the style: "Reproduced with permission from [author], [book/journal title]; published by [publisher], [year].' at the end of the caption of the Table, Figure or Scheme.
