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الابعاد الجمالية للابيض والاسود في التصوير المعاصر == Dimensional Aesthetic For White And Black In Contemporary Photography

اسم المؤلف: هشام عبـد الســلام مصطفـى العباسي
اسم المشرف: محمد عودة سبتي | عادل عبد المنعم عبد المحسن
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: توسم عنوان البحث الحالي بــ( الابعاد الجمالية للابيض والاسود في التصوير المعاصر ), الذي عني بدراسة الية استخدام الابيض والاسود وقيمتهما الفنية وسماتهما الذاتية ومحاولة الامساك بمرجعياتهما الفكرية والفنية المعاصرة في الاعمال الفنية(الرسم والكرافك) من خلال | The title of the current research is : (The aesthetic dimensions of black and white in contemporary photography), which deals with the study of the mechanism of using black and white and their artistic value and their subjective characteristics and trying to capture their contemporary intellectual and artistic references in the works of art (drawing and graffiti) through four chapters. Which ended with the following question : What are the aesthetic dimensions of black and white in contemporary art?And its importance and need to contribute to highlighting the contemporary art, especially the work carried out in black and white and aesthetic dimensions and technical value and the guidance of their references, and the search for the importance of the employment of black and white in the painting in a distinctive manner, despite the features of these two values of aesthetic and formative, Was to identify the aesthetic dimensions of black and white in contemporary art, while the limits of research related to the subject to study the work of contemporary artists available (black and white) of the artist himself through the subject matter and material and technical touch Serves the media in the output of the painting with their artistic touches implicitly covered. With regional borders including Europe, the United States of America, Asia, and Africa. With temporal limits for the period from the post - World War II period 1945 to 2015, and terms were defined to serve the purpose of the research.The second chapter covered the theoretical framework. The theoretical framework contained three topics. The first topic deals with the study of black and white in the ancient arts, their philosophical origins, and their physiological and psychological interpretations. The second section deals with the study of black and white in the construction of the artistic form. The third topic is the study of black and white artists of contemporary art.The third chapter was devoted to the research procedures (93) pictures, which included the research community, which selected (17) models chosen intentionally, while the researcher took a descriptive approach to the content in the sample analysis.The fourth chapter included the findings and conclusions reached by the researcher.Among the findings of the researcher : 1. The mechanism of works performed in black and white is reflected in the actuality of the act of social, political, cultural, economic and religious reality. The work of art becomes a tool that puts in its first goals everything that achieves an aesthetic dimension to everything without exception, glorifying the individual spirit and elevating the ego on the one hand. To be an implicit invitation to the emotions of isolation, introversion, anxiety and self - imagination and move it with surprise to the recipient with free play, so that these products take formal forms characterized by the adherence to the use of colors with the variety of techniques without constraints that tried to show the aesthetic dimensions.2.The technical aspect has a role in showing the aesthetics of black and white and highlighting some details that distinguish them from others through the texture and the nature of the shapes as in the sample (17.16.14,11,10,9,8,7,3,1,1). The researcher reached a number of conclusions, the most important of which are : 1. The work of artists in Black and White has gained the trait of independence and self - expression in the style of technical innovation, experimentation and bringing new things despite the adherence to color in the output of their works. The style is divided according to the artist's subjective energy and his inner sense between the direct, the immediate, the automatic, the dynamic, (Traditional), fast, simple, complex.The study concluded by presenting a set of recommendations and practical proposals related to the study of the aesthetic dimensions of black and white in contemporary art in order to complement the usefulness, followed by a list of Arab and foreign sources and references and supplements in English.

التفضيل الجمالي وعلاقته بانماط التفضيل المعرفي لدى طلبة كلية الفنون الجميلة جامعة بابل == Aesthetic Preference And Its Relationship To The Patterns Of Preference Cognitivethe Students Of The Faculty Of Fine Arts University Of Babylon

اسم المؤلف: ناريمان اكرم محمود العكام
اسم المشرف: عباس نوري خضير الفتلاوي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: ترى معظم الادبيات ان الجمال هو مثير يولد لدى المتلقي جملة تغيرات جسمية ونفسية ويثير انتباهه وملاحظته ويجعله يندفع الى التفضيل الجمالي، فالتفضيل الجمالي هو عملية سلوكية عامة يقوم بها المرء تجعله يحب او يقبل او ينجذب نحو فئة معينة من اعمال الفن من دون غيره | Most of the literature you see that beauty is sexy generates the recipient among other physical and psychological changes and provokes attention and be seen and makes it rushes to the aesthetic preferences, Valtvdal aesthetic is a general behavioral process carried out by one makes love or accept or gravitate toward a particular class of works of art without the other; were numerous views on the interpretation of aesthetic preferences Some of them sees an innate trait in humans and were seen as the phenomenon of educated and growing and some of them see it affected an objective or subjective factors and these theses remain in need of rigorous scientific testing to verify the sincerity in practice, the receiver factors is the human being who is exposed to acts of aesthetic and responds to a Check is a figure of the total behavioral and cognitive attributes.As well as featuring the current era we live in change and complexity, speed and massive development of the information and the era of knowledge explosion, and so we find in general growing interest in cognitive processes and here the importance of the cognitive aspects come in dealing with information, process and manipulate accounting for this favorite means by educated people in the reception and processing of information and represent patterns knowledge of cognitive strategies to learn an individual's learning style has targeted the current research to identify : - 1. Detection aesthetic preference among students of the Faculty of Fine Arts, University of Babylon.2. Identifying the differences in the level of aesthetic preference among the students of the Faculty of Fine Arts, University of Babylon, according to the race.3. Recognize the preference of cognitive patterns of Fine Arts Students - University of Babylon.4.Identify statistically significant differences in cognitive preference patterns among students of the Faculty of Fine Arts, University of Babylon.5. The relationship between the aesthetic preference and preference patterns of knowledge among students of the Faculty of Fine ArtsThe study included four chapters as follows : - The first chapter included the problem of the study and the importance of and need for, and objectives of the study and its borders as well as determine the terms contained therein.The second chapter included as part of the previous theoretical studies, as it dealt with a researcher at the first section aesthetically philosophy, while the second section has dealt with the researcher aesthetic preference, and the third section patterns of cognitive preference. But previous studies have been presented by the researcher parallel zones of separation and to agree with the current study.While the third quarter included a research procedures, as reviewed by the researcher study population, which included two school years the first and fourth students in sections of art education and fine arts at the School of Fine Arts / Babylon University for the academic year (2015 - 2016) m, totaling 325 students as a researcher ratio was adopted (50%) to extract the sample as it became a research sample (164) students and after excluding Alastmaar invalid were excluded (14) form due to the absence of some students for one scales and his presence in the other measure became a research sample original (150) students, where the number of students in the Department of Art Education, the first school year (61) students, fourth year of study (23) students, while arts assortment section bringing the number of first year students (46) students fourth school year, bringing the number (20 ) students, was selected as the pilot sample of the remaining number of students from the original community and outside the research sample native who expressed their desire to participate in the tests, as the researcher ratio adopted (10%) of the total number of community research is research sample Originally, totaling (32) students representing the proportion (10%) of the research community as it was selected 18 students from the Department of technical Education, as included the first school year (13) students, fourth year of study (5) students, while in the Arts Fine, bringing 14 students since included the first school year (10) students and fourth (4) students Talibh.kma The researcher presented Adata research and comprising the b : A measure of aesthetic preferences and scale patterns of preference knowledge, it has adopted a researcher scale (Aekam, 2013) the component (16), total and after what was presented to experts and their agreement to delete group (i), and to measure patterns of preference cognitive drafted researcher measure which consisted of (15) items every paragraph contains four positions represent the four styles (Heath patterns) distributed in the form of (a , b, c, d) as the character (a) refer to the pattern of remembering and Crafts (b) refers to a style critic and Crafts (c) refers to a pattern of principles and Crafts (d) refers to the application pattern, and thus each paragraph contains four patterns and after having heard the theories and literature and standards and previous studies pertaining to this variable, and offered a number of experts in the field of art education, psychology, and by 15 experts and after using the ratio Almaah, and after extracting the psychometric properties of the scale of the (validity and reliability) measure is ready for the final application. After this dish Almkiesan final Besgtehma the research sample and data collection and discharged in Axel statistical program (Excel) and to address the statistical data used researcher statistical bag (SPSS) program to achieve the objectives of the research, as it used statistical methods (t - test for two independent samples and coefficient Pearson and Kiodr link - richardson and analysis of multi - variance t - test for one sample.While the third quarter included a research procedures, as reviewed by the researcher study population, which included two school years the first and fourth students in sections of art education and fine arts at the School of Fine Arts / Babylon University for the academic year (2015 - 2016) m, totaling 325 students as a researcher ratio was adopted (50%) to extract the sample as it became a research sample (164) students and after excluding Alastmaar invalid were excluded (14) form due to the absence of some students for one scales and his presence in the other measure became a research sample original (150) students, where the number of students in the Department of Art Education, the first school year (61) students, fourth year of study (23) students, while arts assortment section bringing the number of first year students (46) students fourth school year, bringing the number (20 ) students, was selected as the pilot sample of the remaining number of students from the original community and outside the research sample native who expressed their desire to participate in the tests, as the researcher ratio adopted (10%) of the total number of community research is research sample Originally, totaling (32) students representing the proportion (10%) of the research community as it was selected 18 students from the Department of technical Education, as included the first school year (13) students, fourth year of study (5) students, while in the Arts Fine, bringing 14 students since included the first school year (10) students and fourth (4) students Talibh.kma The researcher presented Adata research and comprising the b : A measure of aesthetic preferences and scale patterns of preference knowledge, it has adopted a researcher scale (Aekam, 2013) the component (16), total and after what was presented to experts and their agreement Khzvt group (i), and to measure patterns of preference cognitive drafted researcher measure which consisted of (15) items every paragraph contains four positions represent the four styles (Heath patterns) distributed in the form of (a , b, c, d) as the character (a) refer to the pattern of remembering and Crafts (b) refers to a style critic and Crafts (c) refers to a pattern of principles and Crafts (d) refers to the application pattern, and thus each paragraph contains four patterns and after having heard the theories and literature and standards and previous studies pertaining to this variable, and offered a number of experts in the field of art education, psychology, and by 15 experts and after using the ratio Almaah, and after extracting the psychometric properties of the scale of the (validity and reliability) measure is ready for the final application. After this dish Almkiesan final Besgtehma the research sample and data collection and discharged in Axel statistical program (Excel) and to address the statistical data used researcher statistical bag (SPSS) program to achieve the objectives of the research, as it used statistical methods (t - test for two independent samples and coefficient Pearson and Kiodr link - richardson and analysis of multi - variance t - test for one sample.The fourth chapter included a presentation and discussed the results of the study as well as conclusions and recommendations and proposals and the conclusions of its study : 1. The presence of a low level of aesthetic preference of the students of the Faculty of Fine Arts, as she was the calculated value of $ (1,366) smaller than the tabular value of $ (1.96) at the level of significance (0.05).2. There are no differences in the level of aesthetic preference, amounting to the calculated value (0371), the smallest of the tabular value of the (1.96) at the level of significance (0.05).3. The presence of a high level of patterns of preference knowledge to the students of the Faculty of Fine Arts, as she was the calculated value (6138) and (4202) and (2785) and (2045) Patterns (remember, the principles, the critic, the application) greater than the tabular value of the (1, 96) at the level of significance (0.05).4. A) And no statistically significant differences in the pattern of memory depending on the variable (sex) were in favor of females as the value of (P) calculated (6541) which is greater than the value of tabular the (1.96) at the level of significance (0.05) and the degree of freedom (1) and (149), while the other styles, there are no statistically significant differences.B) And no statistically significant differences for the typical remembering and application depending on the variable grade and was in favor of the fourth stage as the value of (P) calculated (27.842) and (9165) on the sequence which is greater than the tabular value of the (3.89) at the level of significance (0.05 ) and the degree of freedom (1) and (149), while the typical critic and principles, there are no differences.C)There are no statistically significant differences for all styles, as the value of (P) calculated (0602) and (1933) and (0631) and (0476) on the sequence which is smaller than the tabular value of the (3.89) at the level of statistical significance (0.05 ) and the degree of freedom (1) and (149.There were significant differences in the pattern of remembrance for the interaction (sex × grade × specialization) as the value of (P) calculated (5959) was the biggest of the spreadsheet the (2.42) at statistically significant (0.05) and the degree of freedom (4 ) and (149), while the rest of the patterns were not statistically significant.5. The existence of a positive and a weak relationship between aesthetic preference and style to remember (0022), and the existence of an inverse relationship and weak between aesthetic preferences and style of the critic ( - 0.109), while the relationship between the aesthetic preferences and style principles are inverse relationship is very weak ( - 0.018), while the relationship aesthetic preference and style of the application (0125) is a positive and a weak relationship.The researcher made a series of recommendations and proposals, including : - 1. to provide educational institutions starting from kindergarten and up Undergraduate all modes of education on aesthetic preference and interpretation of its implications in all areas.2. Make use of the patterns of preference cognitive measure in determining the student to the style that suits him down as the need to enhance the cognitive patterns of preference among students through the curriculum.The proposals : - 1. relationship preference aesthetic tendencies technical students at the Faculty of Fine Arts.2. Information processing and its relationship to cultural norms cognitive preference among students of the Faculty of Fine Arts

الابعاد النفسية للتعبير الفني في الفن الكرافيتي == Psychological Dimensions Of Artistic Expression In Graffiti Art

اسم المؤلف: حوراء علي عبد محمد
اسم المشرف: علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعد الفن الكرافيتي من اخر الحركات الفنية التي نمت في اعقاب الحرب العالمية الثانية لزوال الرقابة الصارمة على الجدار او الاماكن العامة، وتعبيرا مباشرا لمشاعر الفنان بلا قوانين فهو من فن ما بعد الحداثة محملا بابعاد نفسية يصبها على الجدار او الفضاء العام | The Graffiti art is considered as the last artistic movement which appeared at after the second world war The lack of strict control appearance on the wall or puplic places, and a direct expression for the artist feeling without laws art postmodern which loaded by many Psychological dimensions touched by on the wall, or public space to form the contact with the other world forum for debate on any subject, whether economic or political, religious or even sexual. Eating current search the psychological dimensions of artistic expression in graffiti art,the research community is made up of (200) work of art,and select for the period(1975 - 2016) ,and research sample (20) work of art, statistical methods were used scott and cooer and arithmetic mean.among the results that have been reached : 1. psychological dimension has appeared Representatively by the worried among the painters throughout features ( involved and partial shapes ) ( feel the artist loneliness ) and (The presence of the features of imaginary ) and ( the Varity in colors , sizes , details and proportions and ( The intensity of the movement and emotion ) and (fragmentation of forms ) in quantitative statistical analysis , in which three items has gained the high in the arithmetic average for the items (39%) the items indicative of a anxiety , the anxiety has represented among artists (Michelle, Branuc nock ???,bankce, and Keith).2. psychological dimension has appeared representatively by introversion among graffiti art's artists statistically through ( the pessimistic sence and present the world tragically) , (the depth and ambiguity of the ideas presented in the artwork ) , ( using dark colours ) , (neglect the work space or non interest in it ), (the lack of details drawing elements and its sense of stillness ), in which three items has gained the high in the arithmetic average for the items ?????? so that these items indicate the introversion, the introversion has shown with artists ( Mart, Michelle, Banksy, Nock ).3. psychological dimension has appeared representatively by extraversion for the painters statistically throughout ( Idiomatic expression of subjective feelings of the artist ), ( sense of optimism from the atmosphere artwork ) , ( having a sense of Carnival )and ( using colours that represent happiness and pleasure ), in three points in this work area have gained the high in the arithmetic average for the items ?????? these points indicate the extraversion the extraversion has appeared with painters ( Alis , Quik and Miss Van )..Some of the conclusions reached by the researcher : ?. Generally the Postmodernism art characterized by pluralism and overlapping races , varity of art styles , keep away from the constants in the area of individual and temporary methods that the Postmodernism art characterized with and before it , and the psychological dimensions in Graffiti art agreed with the nature of this openness and The overlap of races.?. The big diagnosis in the Graffiti paintings with repetition of the artist's name characteristically in artwork ,If anything, it shows the artist's quest to prove himself , and confirmation of him especially that the Graffiti art painters are oppressed by agencies specialized lifting these paintings and reject its content which pushed to Incitement and a provocation and consider it also titled ugliness.?. The Graffiti art paintings have taken huge area from psychological dimension that filled throughout display conscious and unconscious that characterized in involvement of the recipient, it is like remarkably and exciting letters contain purposes and other media order imposed ,as well as functional ones in several areasthat is how the researcher has concluded her research by recommended and suggestions and then the sources and appendixes

الخطاب الفكري والجمالي في العروض المقدمة لنصوص علي عبد النبي الزيدي المسرحية == The Intellectual And Aesthetic Discource Of The Dramatic Shows Presented In The Texts Of Ali Abdulnnabi Al - Zaidi

اسم المؤلف: بشار صباح جابر الاعرجي
اسم المشرف: محمد فضيل شناوة
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون المسرحية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: شغل الخطاب الفكري والجمالي للعرض المسرحي منذ بواكيره الاولى, حيزا مهما وركنا اساسيا في مضمونه وبنائيته , ولاسيما ان العروض المسرحية الحديثة عمدت الى التركيز والتاثيث لفلسفة الخطاب الفكري والجمالي بوسائل اجرائية متنوعة ومختلفة في محاولة لتصوير الواقع | The intellectual and aesthetic discourse of the dramatic show has occupied, since its early times, an important and essential space, as long as its content and structure are concerned; especially, contemporary dramatic shows have proceeded to the concentration and the furnishing of the philosophy of the intellectual and aesthetic discourse using various and different means in an attempt to portray reality and its ideologies. Consequently, every historical phase and every era has its own intellectual and aesthetic discourse that makes it distinct.The dramatic shows, presented for the texts of (Ali Abdulnnabi Al - Zaidi), carry ideological and aesthetic propagations along with a philosophy of discourse that deals with the subject matter bravely and deeply. In addition, they break the taboos, and deviate from the norm clarifying a philosophical and ideological discourse that goes beyond the mental and psychological limits. The study is divided into four chapters. The first chapter deals with the methodical framework including the problem of the study which concentrates on the following question : (What are the ideological and aesthetic propagations that are carried by the dramatic shows that deals with the texts of Ali Abdulnnabi Al - Zaidi?), whereas the significance of the study manifests itself in studying the dramatic shows that deals with the texts of Ali Abdulnnabi Al - Zaidi and the intellectual and aesthetic discourse that is used in such shows to express the reality in such a way that seems to be unfamiliar in treating this reality by using, often, forbidden ideas. As for the aim of the study, it is (to know the intellectual and aesthetic propagations carried by the dramatic shows that deals with the texts of Ali Abdulnnabi Al - Zaidi). Then, the study is limited, in terms of place, to include the dramatic shows of the texts of Ali Abdulnnabi Al - Zaidi in Iraq. In terms of time, the study is limited to the years 2003 - 2016. As for the subject matter, it is limited to study intellectual and aesthetic discourse of such shows. Finally, the chapter ends with the determination and definition of the terms. The second chapter deals with the theoretical background along with the literature review to include three aspects : the first aspect is concerned with studying (the concept of discourse in the philosophical intellect) which is subdivided into two further aspects : the first is the concept of discourse in the international philosophical intellect and the second is the concept of discourse in the Arabic and the Islamic philosophical intellect. The second aspect is concerned with studying the intellectual and aesthetic references for the author (Ali Abdulnnabi Al - Zaidi). The third aspect is concerned with studying the intellectual and aesthetic discourse of the director in the international dramatic show. Then, the chapter is ended with the indicators of the theoretical framework as well as the literature review.The third chapter deals with the procedures of the study including the sample of the study which involves (30) dramatic shows, and the data of the study which is (3) representing a sample for the dramatic shows presented for the Al - Zaidi's texts. This chapter also includes the model of the study and data analysis.The fourth chapter deals with the results that are arrived at by the researcher, and the most important of which are : 1. The three dramatic shows depend on the dichotomies of (good vs. evil), (love vs. hatred), (life vs. death), (war vs. peace), and (doubt vs. certainty). Such shows attempt to find an agreement between these dichotomies and figure out what they are.2. The three shows deal with those who live on the margins of the society along with their problems trying to find solutions for them.3. The three dramatic shows are characterized by their intellectual and aesthetic discourse that swings between reality and absurdity. The drama of Rain of Summer depends on the personification of dolls and human cloning regarding them to be human beings. In the drama of O Allah, the mothers, threatening God, refused to pray and fast. And Macbeth, in The Countdown of Macbeth, has a miserable end as he is buried in rubbish. 4. There is an important presence for the woman in the three dramatic shows where she plays an important role in decision making and changing the plot.5. The three dramatic shows make use of quoting from the Glorious Qur’an and making such quotations the main theme of the intellectual and aesthetic discourse, as in the drama of O Allah. The chapter also includes the conclusions, the recommendations, the suggestions, and a list of the references in addition to the appendices. Then, it presents the abstract in the English language.

النزعة الروحانية في الرسم الاوربي الحديث == The Tendency Of Spirituality In Modern Euroean Painting

اسم المؤلف: مها عبد العزيز ساجت القره غولي
اسم المشرف: عارف وحيد ابراهيم الخفاجي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تكون البحث الحالي " النزعة الروحانية في الرسم الاوربي الحديث " من اربعة فصول , تناول الاول منها مشكلة البحث والتي حددت بالاجابة عن التساؤل الاتيي : هل هناك نزعه روحانية تمثلت في مدارس فنية متعددة في الرسم الحديث ؟ وماهي مجرياتها وهل هي ناتجة عن صراعات | The current research consists of the tendency of the spirituality in modern European painting.The research including Four chapters.First chapter ,have research problem which is limited by the answer to the following question : First question : Has the spirituality a tendency in modern European painting ? Second question : is there a spirituality tendency in modern European painting ? The first chapter have also included research important and need for it , and also contains the aim of research “Identify the spirituality a tendency in modern European painting “. While the research limitation contains the period between 1870 - 1960. The second chapter includes two research , first research : includes the spirituality in philosophical thought ,while the second research includes spiritual references in art ; moreover ,the same chapter contains ,theatrical frame and its indicators ,and previous studies. The third chapter includes research procedures ,such as research society , research sample and research tool : in addition , research methodology , and analyses sample amounting “16” patterns. The fourth chapter includes results research ,and its discussion ,conclusions , recommendations and suggestions. Among results ,the researcher reached following results : 1 - Spiritual illusion and Sensory perception play important role in modern European painting , Then activate the picture s and the incusion in to the depths of and feeling inspiration of the artist and the search for spiritual reservoirs contact with God.2 - Each of the concepts of time and space associated spiritual tendency , according to the Holy Quran from Dialogues angelic where is no time and no place versa in this relative live.3 - The artist seek for a high tendency in modern European painting and this trend four in the samples analyzed and in respect of the spiritual dimensions which have fixed indication for the liberation of vision depends intuition and free fantasy that reflect the outside word in the European art inspires artists of modernity in the construction of their artwork and using them to produce artistic different drifts expresses the freedom of the spirit of the modern.4 - The pure form discussing modern abstract with modern European painting for regular structure of relation between the elements to produce geometric shapes based on engineering indicative dimension ,but high spiritual idealism in the construction abstract in modern abstract support pictorial idealism situation linked to the reality of spiritual sensory ,while in modern European painting linked to the spiritual aims borrowed from the luxury qualities of absolute monotheistic. The researcher has found a group of the following conclusions : 1 - European artist derived spiritual trend from the ancient Greek civilizations,taking in to consideration the religions, which was carrying the secrets of cosmic through spiritual and mystical contact with that employed by the artist in his paintings component creative form.2 - Spiritual tendency represented the thread of luminous or beam and the rope of connection between the artist and the creator ,the has found pure single spirit of self and pure purity and that string represents the spirit descend a pure artist and close to the body so that the devil receives and disperses it with analyzes the light in to the colors of the solar spectrum which represents indispensable article sensory ,so when the artist liquidates his self and diminishes his attachment with materialism , the light will be increased and liquidates , and then become whit lights as his origin oneself , so Mohammed the prophet “ peace be upon him “ said : “who knows himself knows his lord “. According to what results reached by the researcher and conclusion and perfecting of the interest and knowledge ,the researcher considered the following recommendation : The students of higher studies including students of art and religion and who owns the relationship should benefit from this studying.As a complement to the requirements of research and scientific, ”dimensional spirityality and indication in the works of European artists

الابعاد الجمالية للاشــــــكال الفنية في الفنون الشعبية العراقية ومرجعياتها في اللاشعور الجمعي == Dimensional Aesthetic Art Forms In The Iraqi Folk Arts And Their References In The Collective Unconscious

اسم المؤلف: علي عزيز ناصر
اسم المشرف: دلال حمزة محمد | علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناول البحث(الابعاد الجمالية للاشكال الفنية في الفنون الشعبية العراقية ومرجعياتها في اللاشعور الجمعي) باربعة فصول ضمن الفصل الاول الاطار العام للبحث وتم فيه عرض مشكلة البحث والتي حددت التساؤلين الاتيين : - هل تمتلك النتاجات الفنية الشعبية من البسط والحلي اش | The research (aesthetic dimensions of art forms in the Iraqi folk arts and their references in the collective unconscious) in four seasons within the first chapter general framework of the research in which the research problem has been identified and Altasaalin the following two : - Are Owns the popular artistic productions of rugs and ornaments forms have aesthetic dimensions representing a phenomenon in terms of the nature of the technical systems of shapes, lines and spaces and technologies. - Do you have the artistic productions as a formality texts of their references in the collective unconscious on the art forms represented in the productions Livni rugs and ornaments of the dimensions of a formal written and color and dimensions Amadaminah (code - listed - values - ideas perceptions). The importance of research in the detection of the aesthetic dimensions of art forms in the Iraqi folk art in which may enrich those in charge of technical education and researchers in the field of folklore studies and anthropological fact that folk art one of the main tributaries of the Iraqi identity. The research aims to identify the aesthetic dimensions of art forms in the Iraqi folk arts and their references in the collective unconscious. Confined to the limits of research forms the technical Folk Art (ornaments popular numerator) for the era of (1900 m - 2015 m), Iraq's adoption of the descriptive approach and the way the descriptive analysis for the purpose of fact - dimensional aesthetic forms of art and their references in the collective unconscious of the Iraqi folk art works for the extension and ornaments. As well as identifying terminology research.The second chapter presented the theoretical framework and previous studies and discussed in terms included three sections, taking the first section of which dimensional conceptual and aesthetic reference for the Arts popular composition represented by the forms and symbols in the cultural heritage of Mesopotamian and Islamic, while taking second section study of folk arts among aesthetic shape and significance, and display the third topic the concept of collective unconscious mechanisms Achtgalath in technical fields through exposure to Helms by the world, "Jonk" about the collective unconscious and mechanisms Jonk. The third chapter contained on the applications of the aesthetic dimensions of art forms in the Iraqi folk art and of rugs and ornaments through a sample of (18) form derived from the framework of a society (180) model and using indicators of research and mechanisms Jonk in the research sample analysis. As it is proven in the fourth quarter results, conclusions, recommendations and proposals, and reached by the search of the most important conclusions, including : 1. manifested many of the characteristics of the forms of roots and historical assets - alravedanah and Muslim - through the emergence of decorations geometric modified, and another with an ideological link Old such as the cross and the star octagonal and triangle Almottagabl the head, which are connected to the cultures and references unconscious association in contexts deliberative.2. larger circle has formed part of geometric abstract involved in the formation of ornaments because of its historical significance and origins of ancient and Islamic folk artist he took it upon himself to be replicated in most of his works of art realized in rhythm all the ornaments samples. Conclusions1. The aesthetic formats in the popular arts represented technician rugs and ornaments derived many Ansagha and their references symbolic and formal design of the structure of the ancient Mesopotamian art and Islamic ones.2. indicate processors Constructivism to the concept of collective unconscious and resulted in the meanings and connotations conceptual, to the existence of civilization continues to derive its terms of reference of the artistic and literary productions of Islamic civilization and the ancient civilization of Iraq.3. The most popular designs rugs based to mathematical logic, based on the structures Alchidah stringent than existing lines and obtuse and acute, to be its forms, including engineering and predominantly (appointed, and the Triangle, and the box and combine them).4. Try to folk artist through gold material moving between abstraction and reality, and the imposition of vegetarian content in a part of the artwork and the content of symbolic and social Kalhilal for example, in another part, which represents the references in the Iraqi and Islamic thought.

جماليات المنحوتات الخزفية في العصر السلجوقي

اسم المؤلف: ميساء سليم عبد الواحد الخفاجي
اسم المشرف: محمود عجمي جاسم الكلابي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعنى هذا البحث بدراسة جماليات المنحوتات الخزفية في العصر الاسلامي السلجوقي، والذي يقع في اربعة فصول : تضمن الفصل الاول عرضا لمشكلة البحث والمحددة بالتساؤلين الاتيين : هل شكل العصر الاسلامي السلجوقي ظاهرة في الطرح لما انجز من المنحوتات الخزفية، بحكم م