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القيم الجمالية لصورة المسيح في الرسم الاوربي الحديث == Aesthetic Values To The Image of Christ In Modern European Painting
Author name:
زهراء احمد محمد العمار
Supervisor name:
جبار حنون مهاوي
General topic:
Fine Arts
Specific topic:
Drawing
Degree:
Master
University:
University of Baghdad - College Of Fine Arts - Fine Arts Department
Language:
Arabic
University location:
Baghdad
First pages:
18T1190 - p.pdf
Abstract:
خرجت القيم الجمالية لصورة السيد المسيح (ع) في الرسم الاوربي الحديث من نسقها اللاهوتي المتداول والمالوف، لتتشكل برؤية مغايرة وشكلية جديدة، قوامها الذات الحداثية الخلاقة , وفق ذلك سعت الباحثة للتعرف على القيم الجمالية لصورة السيد المسيح (ع) في الرسم الا | Aesthetic values of the image of Christ in European modern painting do not follow the ordinary theologian style. So, they are formed with a different and new vision and form. Their bases are the creative self, accordingly the researcher worked to identify the aesthetic values of the image of Christ in the European modern painting. This study included four chapters. The first chapter dealt with the research problem, its importance, the need for it, the aim of the research and its limitations as well as identifying the most important terms which mentioned in it. Research problem had been identified by answering the following question : What are the aesthetic values of the image of Christ in modern European painting? Also the aim of the research studied the aesthetic values of the image of Christ in modern European painting in terms of form and content. The limits of the search were limited to study the aesthetic values of the image of Christ in European modern painting and analyzing pictures’ photographed models , which represent the movements (impressionism, nabis , symbolism, expressionism, fauvism , cubism, abstraction, surrealism), which appeared in the continent of Europe, in the era of (1876) to (1951) depending on the descriptive analytical method within the cognitive and aesthetic vision via both the conceptual and procedural aspects of this vision. Chapter two dealt with the theoretical framework and previous studies. The theoretical framework included three sections; the first section included the aesthetic values of the image according to its importance, characteristics, principles and stages. The second section addressed the aesthetic representations of holy portrait in the arts of the ancient world in its historical and intellectual context. The third section was the review of shifts in aesthetic values of the image of Christ. It contained three axes. The first axis was : aesthetic values of the image of Christ in early Christian art and middle ages eras (Byzantine, Romanesque, and Gothic). The second axis was : aesthetic values of the image of Christ in Renaissance art (Baroque, AL Rococo, neo - classical, romantic). The third axis was : aesthetic values of the image of Christ in modern European painting. The third chapter included the measurements and research community, research sample, search tool, research methodology, statistical and mathematical methods, and analysis of research sample of (17) model. The fourth chapter evolved search results, conclusions, recommendations, and proposals. The most important findings of the researcher were as follows : 1. The formal aesthetic values of the picture of Christ in modern European painting were represented by activating colors. Bright and live colors were used to highlight the bright and the representation of that image, thus colors enter in the process of transformation of the new visual way of modern painting.2. The formal aesthetic value of the image of Christ in painting European modern was represented through the exclusion of everything which refers to the realism form of that image and turning it into a mere signs depends on the variety and repeating of lines because the image of Christ is only the process of migrating from the world of the earth to the heaven world where the absolute is, and so there is no necessity or need for reality and the transformation of Christ imaginatively into abstract refers to the abstract world.3. Picture of Christ was drawn in the center (central establishment) in most of the research samples. This way of drawing usually takes the central hierarchical form, where all events are narrated about the center or the summit represented here in the form of Christ.4. The aesthetic value of the picture of Jesus had political dimension of a semantic message. This message expresses the suffering of the people by linking the image of Christ to political events, such as wars and political trends which cause the suffering of the human accordingly the artist transfers these political events into suffering of Christ, through forming the Christ picture imaginatively.5. The image of Christ was represented in the symbolic method as a spiritual step in its modern era in a coded language to reveal the facts submerged beneath the surface of real life and the familiar and normal. The researcher also found several conclusions, including : 1. The aesthetic value of the image of Christ was not a single fixed value, but it was a mutant value. This is what made us concluded that the image of Christ had passed through many formal transformations thanks to the changing intellectual pressures and the technological and cognitive development of the modern thought and modernity arts.2. The self - visions of the modernist artist changed the aesthetic value of the image of Christ thanks to the human’s artist self and the opening of his scopes and the freedom of opinion from the traditional and classical thought. So the image of the Christ came near from the self - vision character and far away from the agreement character
