العلم العراقي
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استخدام تقنية النانو في انتاج زجاج الخزف == The use of Nanotechnology in the production of Ceramic Glaze

اسم المؤلف: محمد صلاح مهدي الرماحي
اسم المشرف: محمد حمزة المعموري | سامر احمد الكرادي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون التشكيلية
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

تركيب الصورة الذهنية وانعكاسها في الخزف العراقي المعاصر : دراسة تحليلية == Installation of the mental image and its reflection in contemporary Iraqi Pottery

اسم المؤلف: محمد قصي عبد الكريم محمد العبد الله
اسم المشرف: صباح احمد حسين الشايع
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة البصرة - كلية الفنون الجميلة
اللغة: العربية
مكان الجامعة: البصرة
الصفحات الاولى:

الية التحليل والتركيب في الخزف النحتي العراقي المعاصر == THE MECHANISM OF ANALYSIS AND CONSTRICTIVE IN THE CERAMICS SCULPTURE CONTEMPORARY IRAQI

اسم المؤلف: سارة جاسم خزعل
اسم المشرف: صباح احمد الشايع
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة البصرة - كلية الفنون الجميلة
اللغة: العربية
مكان الجامعة: البصرة
الصفحات الاولى:

امكانية تنفيذ اجسام فخارية مزججة من اطيان البصرة == The possibility of the implementation of the objects of pottery glaze from Basra's Clays

اسم المؤلف: خالد توفيق عبد الحميد
اسم المشرف: علي حسين الاسدي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة البصرة - كلية الفنون الجميلة
اللغة: العربية
مكان الجامعة: البصرة
الصفحات الاولى:

الارواحية في المنجزات الفخارية والخزفية القديمة وانعكاساتها في الخزف المعاصر : نماذج مختارة من الفخار والخزف في امريكا الجنوبية == Animism In Ancient Pottery & Ceramics Artworks And Its Reflections On Contemporary Ceramics Selected Samples From Pottery And Ceramics of South Amerca

اسم المؤلف: علية محسن عبود الصياد
اسم المشرف: زينب كاظم صالح البياتي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The Ceramic artworks that represent Animism have plouyed a very important and effective role in develoioing artistic know ledge, and human thinking in the canti nant of south America.The cganges of styles of those artworks that adopt types of intellectual displaceements in time and blace, have contributed in making transfarorma tions in varions plastic infrastructure, These changes have included creativity ar one of the important bases of produetion in the field of Animism thinking.These canstructions have moved towards Ceramics Within it's materiaL mechanism , its formative style , and it's techniques in the light of animism which gives it a distinetive characteristic. Moreover ' it occupies a large space in thinking and it has a close relation with social thinking , in particular , in all it's historic , environmental , and mythological characteristics depending on it's Animism concepts and concentrating on the classification of these formations into male and female Animism and animal and uegetable Animism. The symbolism of these classifications within it's formative systems has given ceramics a distinctive feature.The study deals with Animism in Ancient pottery and ceramics artworks in south America. It presents it's formative characteristic and it's refkctions on contemporary ceramic artworks in the continent.The study has four chapters.Chapter One deals with the problem of the study and it's significance. The aim tries to find out the characteristics of these Animism artworks and it's refiections on contemporary ceramics of south America.The most important terms hawe been defined procedurally.Chapter Two has Three sections : The first one deals with the intellectual and philosophical concept of Animism.the second one presents the effect of natural and social environment on Animiam thinking , while the third section deals with ancient and contmporaruy ceramic scene in south America.Chapter three deals with the procedures of the study through choosing the population , the samples , the tools of classifications and analysis.th, samples hawe been analysed by the researcher.Chapter four has dealt with results, conclusions and recommendations.Bibliography, Indices and photos hawe been in cluded within the study.The currnt study has drawn the following conclusions : 1. The traditional topics that the ceramist has inspired from , are regarded as the way that prove the effect of Animism values on shapes and the best medium to assure the formative metaphors and re wnstruct it's values through their ancient Animism motives relying on the process of communication between anciengt symbols and creativity that the ceramist collecf through his interaction between ancient and contemporary. Some of these symbols have kept it's Animism values, while the others have given them up.2. The artistic discourse of the contemporary pottery and ceramics artworks contains group of formative systems, like realistic form system. depending on sensory thinking and conscious conception , and abstract form system which follows the logic, besides explanative, expressionist , surrealist and comic forms.

النظم السريالية في الخزف البريطاني المعاصر == Surrealism System In British Contemporary Pottery

اسم المؤلف: احمد عودة نايف
اسم المشرف: نبراس احمد جاسم الربيعي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Surrealism appeared as literary and artistic movement from very beginning of the year 1924 which disclosed of the first statement by Andria Briton who was regarded as the inheritor of the movement. It used some of its techniques , besides its affected with roots that established for this movement.Therefore the characteristics of this movement were regarded that it did not practice mental control due to the absence of actual sense.Also conceive aesthetic and moral aspects in far away embodying from as familiar one and different from reality , besides its affect with Fraud modern school and what Fraud discuss about dream, dreams and psychological analysis which allow the Surrealism to for expression about information of their artistic experiences according to visions and directions reflect by its concept and characteristics that tend to gather between the reality and below reality.Confirming upon reflex hallucinations and delirium which was regarded by the Surrealism like wake up process resulted from imagination of the artist who has special presence and works ,. Therefore the Surrealism when it call for destruction of criteria and classic traditions , it aimed at creativity and more developed frameworks. By criticizing the reality and leaves awareness and reflex feeling ,it is related to that movement Founded by the inevitable shake in artistic trends.The renewal of logical system rather than others of philosophy and contemporary artistic trends ; therefore we found that Surrealism nowadays increased its importance and earnestness as in other contemporary arts and trends to understand our new world. Surrealism as term has passed the stage where it was rejected by the earnest critics who regards itfunny ,now it is one of the most great modern artistic and intellectualmovement in which its thoughts affected distinctly at many artists in modernization period and then.Accordingly the researcher specialized the first chapter to explain the problem of the research and what is the stylistic systems in contemporary British pottery ,then define the importance of the research and necessity of such researches in order to know new styles in Surrealism art which has clear vision embodied in contemporary British pottery ,then the limitation of the research which was represented in : - Objective limit in Surrealism , criticism theories and new philosophy , starting point and references of contemporary British pottery. - Time limit in contemporary British pottery ; from 1970 - 2014. - The spatial limit : the machinery of operation in execution of pottery production in the country of the study - British besides specifying the terminology in the research titleThe researcher displaying theoretical intellectual and philosophy frame in the first category identifying the Surrealism formation and its changes in fine art post modernism the roots impact in the general structure in the Surrealism formation and what generated of works incarnated in Mesopotamia and presenting the text in symbolic structure, besides the pharos arts and what they presented of creek arts of analyzing processes and structure in the human and animal body also the art productions(Jerome Bush) which Surrealism sustained a lot of their characteristics which impact clearly and effective in modern Surrealism art and the second category in Surrealism and its transformations in modernism formations and after it which influenced by Existentialism and the physiologicalCanalyzing school especially Freudian thought and intellectual analyzing presented by Friedrich Nietzsche depended by Surrealism as fine art and its theories theoretically entirely and the third category disclose the starting and references and the Surrealism systems in British pottery which effected directly in develop and advance of British pottery leads to broad uses Surrealism - oriented confirmed by the modern period artists in their incarnation of the pottery product which the researcher depended in his research based on indications from which theoretical frame as a tool of analyzing the sample.As for the third chapter represented by the research procedures as follow : - The research community and its sample, then the research approach in which the research sample within the research community for the British potters according to time limit ( 1970 - 2014) and the sample was chosen deliberately consisted of eighteen pottery works and disclose justifications and method of analyzing the sample and the researcher depended the descriptive analytical approach for its consistence with trends, and visions of the immediate research depended on indications of theoretical frame mentioned in P.( 115 - 117)In the forth the researcher achieved the research results reached via them to disclose the Surrealism systems disclosed by pottery works represented by sample analyses and reached conclusions and suggestions then list of Arabic and Foreign sources and references lists and abstract in English language.

تاثيرات مدارس التصوير الاسلامي على الخزف الفاطمي == Effects of The Islamic Photography Schools Fatimid Ceramics

اسم المؤلف: باسم جعفر جاسم الاسدي
اسم المشرف: عباس جاسم حمود الربيعي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون التشكيلية
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: عني هذا البحث بدراسة (تاثيرات مدارس التصوير الاسلامي على الخزف الفاطمي) وتضمن اربعة فصول, احتوى الفصل الاول منها للاطار المنهجي للبحث، وتم من خلاله تحديد مشكلة البحث بالتساؤل الاتي : ما تاثيرات مدارس التصوير الاسلامي على فن الخزف الفاطمي, الذي تحدده هدف ال | Me this research study (Effects of the Islamic imaging Fatimid ceramic art schools) included four chapters, the first chapter of the framework of systematic research contained has been through identifying the research problem by asking the following : What is the Islamic imaging Fatimid ceramic art schools effects, which sets the objective of The study in the light of this question, the disclosure of these impacts for the schools of Islamic imaging Fatimid ceramic art, as well as the importance of research and the need for it and then identify some of the terms that have to do the title search.The second chapter (theoretical framework) and previous studies have contained three sections, the first section of which meant the study of the intellectual, aesthetic and expressive and semantic effects of imaging Islamic schools that preceded the Fatimid period, which corresponded with them temporally. While the second section contains the features and technical characteristics of Islamic art in.The most important imaging the schools, either third section has included the study of Islamic ceramic art in general and focus on ceramic art in the Fatimid era, then seal the theoretical framework defining a set of influences that contributed to the design analysis form has the second chapter also contains the previous studies that have to do study Researcher.The third chapter (research procedures) which defined the research methodology, which adopted a researcher in the sample models so I chose the descriptive method, content analysis, and Chapter III contains the study population who identify with the analysis (136) model to choose the researcher through them and consulted experts with specialization and near (20) model according to the way intentionality (selective) problem percentage of 15% and in the light of a rationale and after sample models and complement its analysis appeared in the fourth quarter set of results shown by the analysis of the models in the forefront of these results : 1. The products of the Fatimid ceramics demonstrated the impact data of Islamic art in terms of reference considered intellectually, aesthetically pleasing and expressive actor.2. influenced Baghdad school methods and in particular the Abbasid period clearly on schools that came after temporally and which ones Fatimid period.3. Iranian imaging techniques contributed schools (Persian) on the plant porcelain Fatimid adoption with Adamic and animal shapes and forms of the vehicle.Then select the researcher set of conclusions that are related to his studies, which include : 1. Fatimid potter showed a pattern of air definition Bmnetje which included the signing on behalf of the first product in the history of Islamic art.Then followed by some of the recommendations that require the researcher identified.It is then proposed a set of studies comes in the forefront : 1. The effects of imaging Islamic schools in Ottoman ceramics (Turkish).2. Effects of the Islamic photography on contemporary European porcelain schools.The researcher seal the study singled out lists of the Arab and Islamic sources.

دلالات المفردات التراثية والطبيعية في الخزف العراقي المعاصر == Semantics Vocabulary And Natural Heritage In Modern Iraqi Ceramic

اسم المؤلف: مثنى رياض علي القريشي
اسم المشرف: صفا لطفي عبد الامير
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون التشكيلية
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعد التراث من القيم الحضارية، وهو مؤشر لحجم اصالة الامة ويعد عنصرا فاعلا في اصل وتاريخ اي امة من الامم، وان السعي لربط الموروث الحضاري القديم لامتنا بالتقنيات الجديدة المعاصرة، فانه ينتج عنها فن معاصر ذو قيمة جمالية ومعرفية متميزة وتشكل جسرا رابطا | Heritage is one of the values of civilization, which is an indicator of the size of the authenticity of the nation and is an effective element in the asset and the history of any nation, and seek to link the ancient cultural heritage of our nation's contemporary new technologies, it produces about contemporary art is aesthetic and cognitive value distinct and form a bridge link between the past and in the future. Within this framework, looking message on how to achieve this by including the vocabulary of this heritage on the ceramic business, which can be a mirror for this port heritage to contemporary ceramic surface. For this purpose, it has adopted a search on this analytical study of this vocabulary where research is divided into four chapters : the first included on identifying the research problem, which crystallized in the following question : Are there implications for vocabulary heritage and natural in contemporary Iraqi porcelain, then the importance of research, which may contribute to the documentation Cultural Heritage of Iraqi artists and works to complete the march of other research that preceded it, especially in the field of ceramics and folklore Iraqi heritage. The objectives of the research were identified as : detecting signs of vocabulary and natural heritage in contemporary Iraqi porcelain through research sample analysis. The second chapter of previous studies has included theoretical framework, which included three sections Head : The first section contains the concept of significance in art where he addressed the concept of semantic and determine its characteristics, while the second section has included the first two axes was Vocabulary heritage in contemporary Iraqi porcelain, while the second axis has was a natural vocabulary in contemporary Iraqi porcelain. The third section dealt with the emergence of pottery and contemporary Iraqi history since its inception and up to prosperity. To end the most important theoretical framework indicators. The third chapter is devoted to research procedures included the research community consisting of (80) decorative model, where they were relying on descriptive analytical method for the analysis of the sample, which included (18) pursuant Khozvin Iraqi artists. The fourth chapter contains the findings and conclusions reached by the researcherResults : 1. Heritage was founded in contemporary Iraqi porcelain signs new relationships unfamiliar between tradition on the one hand and between the intellectual and social dimensions of human life on the other hand, Mrtkie level accomplished ceramic and adding to it a technical dimension aesthetically pleasing, regardless of the temporal and spatial forms of relationships, and the escalation in return, which is an internal and Ojaddana through deepening expressive and symbolic values presented within formality done.2. came vocabulary heritage Iraqi contemporary ceramics carries within semantics design through the adoption of the mark or symbol that carry expressive feature takes a modernist character, which gave the potter Taoulih structure and wide inside carrying signs and pictures of NES.3. resulted in sample analysis for the presence of cultural and civilizational speech broadcast on contemporary ceramic work, and is determined by which side of the established semantic structure in porcelain inspired by the experience of the bases of religious heritage, cultural heritage, folk heritage is deeply technical content in the history of Iraq.As the researcher's conclusions, inter alia : 1. Iraqis artists sought to expand the semantic openness in ceramic art and achieving diversity in Astelhamanm vocabulary of semantics heritage in contemporary Iraqi porcelain through the diversity of shapes and structures and techniques of contemporary art.2. The nation heritage industry and the product of the people of civilization, which is a product of culture, values and affiliations of those of the nation and the people and can be a detection tool the past and embrace the present.3. The Iraqi contemporary ceramist focused consciousness to read and live with inherited according to the results obtained from international experiences Fine read Mesopotamian cultural heritage and trace the evolutionary stages of the art techniques. The study concluded with a series of recommendations and proposals related to the development process in other areas of study and update of interest, followed by a list of sources and references, appendices and summary in English.

بـــنية الاشــكال المنــفذة على الخـزف الاسلامي (الصيني والعثماني) : دراسة مقارنة == Shapes Structure Executing On Porcelain The Islamic Chinese And Ottoman : A Comparative Study

اسم المؤلف: كريم شاكر كريم عباس الحمزاوي
اسم المشرف: صفا لطفي عبد الامير
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون التشكيلية
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تمتلك الاعمال الفنية الخزفية الاسلامية تنوعا كبيرا في بنيتها الشكلية , وهو ما قد يرجع لاتساع رقعة العالم الاسلامي وتعدد الاقاليم والمجتمعات وما تملكه من مورث حضاري فكري او ثقافي , امتزج وتجانس مع فكر العقيدة الاسلامية ليصبح فنا جديدا يسمى بالفن الاس | Islamic decorative artwork has a great diversity in its formalism, which may be due to the expansion of the Islamic world and the multiplicity of regions and communities and owned by Gene civilized intellectual or cultural, mixed and homogeneity with the thought of the Islamic faith to become a new art called Islamic art, and here the case of diversity and differences arise in artistic patterns and styles between those regions and communities, but that has not spared in the formulation of the unity of Islamic thought, and most important of these are Chinese - style Islamic and Ottoman.Muslim artist sought and attained creative in dealing with the vocabulary of nature and technically processed through modification and innovation, to be able to highlight the structure of the new show formal aesthetic and functional role to her, and to suit the spirit of the Islamic faith. Hence this research to study (the shapes executed on Chinese porcelain and Islamic Ottoman architecture), which included four chapters : The first chapter discusses a presentation of the research problem, which summarized by asking the following : (What is the structure of the forms executed on the Chinese Islamic ceramics and Ottoman? What are the Elite Astgalhma in both technocracy?), As this chapter included a presentation of the importance of research and the need for him while outlining the purpose of search (b detect executing shapes on Islamic ceramic structure), and confined limits Fin temporal the period (from the Horn of M / E to the period M / E) The spatial were (China - Turkey).The second chapter of the section has three sections, namely : First topic : the Chinese and the Islamic Ottoman porcelain (historical impact) brought together several themes : Islamic art - what it is - its properties.Islamic pottery in the Umayyad and Abbasid era.Chinese porcelain included : Introduction historical - Islam and China - the Muslim Chinese porcelain.Porcelain Ottoman included : Introduction historical - Islamic Ottoman ceramics.While came second topic : constructivism art form in Islamic art. He incorporated several themes : The concept of structure - characteristics - traits.Concept form - perception - the structural elements of the form.The third topic : the Islamic Decoration (Chinese and Ottoman) brought together a number of themes : The concept of decoration - relations and methods of structural form - Types of Islamic motifs.Islamic ceramic types.Style Islamic Chinese decorative.Style Islamic Ottoman decorative Then followed by a theoretical framework indicators. The previous studies did not find the limits of science researcher previous studies converge with the current study. So this study to be a virgin. The third chapter procedures Find where annexation to the research community and of number is (98) of different types and measurements Khozvia act (dishes - dishes - tractor - vases), has identified a researcher sample purposely and number (16) sample, (8) made of porcelain and ( 8) of the Ottoman ceramics. This chapter also included a search tool, and the methodology of research and researcher adopted the method of structural analysis in line with the nature of the research and its requirements.The fourth chapter set of results, most notably : 1. Chinese porcelain and Islamic Ottoman numerous transfers in terms of form and content, it varied forms (between vegetation shape, engineering, and animal and written) and his travel at different points in time.2. Both the Chinese potters and Ottoman forms Implementing treated on the surface of the ceramic form realistic approach through simple modification in order to Zaarha in decorative art adorns its products.3 - owning Chinese motifs formats characterized by authenticity and whether the quote from the ancient Chinese heritage or the environment surrounding the artist, as these colors or shapes appeared in the Ottoman motifs as forms borrowed or imitated is what I mean by Ottoman artist.4. Adoption of the Chinese and Ottoman artist on two girls two colors to highlight different shapes and Show aesthetic and functional role of color, namely : A. tonal structure composed of blue and white colors of between figure and ground.B. Structure color adopted the diversity chromatography shapes on a white ground.The conclusions was among them : 1 - potter recognized not only eat a certain form but varied forms executed in the ceramic surface.2 - possibility and the ability of the Muslim artist on the perception of space available and consistently exploited in the distribution of decorative vocabulary and included within the divisions adopted on subdivision surfaces.3 - Islamic art of having the spirit of coexistence and harmony with other arts and the possibility of including the quote and organized according to the vision of Islamic and drafting.This is followed by a set of recommendations and proposals that the researcher finds that it may be complementary to the current study.This was followed by a list of sources and Arab and foreign references, and then followed by appendices and abstract and English title.

التطبيقات الجمالية والتداولية للخزف المعاصر في العمارة العراقية == The Aesthetic And Communicative Applications of Contemporary Ceramics In Iraqi Architecture

اسم المؤلف: علية يونس ثجيل
اسم المشرف: بلاسم محمد جسام
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The research sets to study the relation between Ceramics and Architecture.It concentrates on functioning Ceramic murals in Iraqi Contemporary Architecture, and the link between these murals and the internal and external spaces of the buildhings that make use of them.Ceramics has special artistic chara - cteristics that make it a significant entity and present it as an independent artistic genre. Because of the close symmetry of Ceramics with Architecture , many artworks have been produced that transfer Ceramics from beneficial and functional fields to the horizons of creativity and beauty and enable Ceramics to make aesthetic formative relation and produce transformations in the disciplines of shape and genres through the use of metaphor and symmetry Language among arts.This is resulted from the artists endurance to create aesthetic transformations in shape ,so categorizing has appeared between Plastic Art and Architecture since the thirties of the last century with the appearance of (Bauhaus) which seeks to integrate arts with each other and with other genres. The study deals with the functioning of Ceramic murals on inner and outer Architectural entities. The study has three chapters ,which involve covering the aim of it.The first chapter deals with the problem of the study and aims at finding out ,whether Ceramics has an effective presence in Iraqi Contemporary life ,and the extent of its applications on this level, and if there is a culter of reception and communication of this art.The chapter also includes the significance of the study, and the aim of it which tries to find out the communicative and aesthetic applications of Ceramics in Iraqi Contemporary Architecture Sections.It also states the Locative and periodical limits of the study. It presents the experimental definitions of important terms. The second chapter includes three sections ,the first one deals with the references of Iraqi Contemporary Ceramics.the effects of Mesoptamia civilization , Islamic Arts and world Art on Ceramic productions.The second section deals with "Ceramics " from Modernism till Contemporariness, and the periods that pass over the total plastic Arts and the changes that Modernism and PostModernism have made in form and content and the installation of shapes and the effect of that on world Ceramics generally , and Arabic & Iraqi Ceramics , specifically. While the third section deals with "Ceramics" in Iraqi Contemporary Architecture , initially from pioneering in Ceramics and the most well - known Ceramics with their stayles and artworks and the functioning of Ceramics in Iraqi contemporary Architecture sections, then the Ceramic murals with their applications on buildings walls and Public squares Regarding Architectural interior, the section deals with the works that made by one artist ,and various cooperative works of many artists.The Ceramic murals have varied in technique ,raw material ,genre , and them & concept. They all unified in the Ceramics inspiration from folklore , Mesopotamia civilization , Islamic Art and the effects of European Art on group of Ceramic murals. The third chapter includes the results and conclusions : I - Achieving architectural environment that has the ability to inspire from Mesopotamian heritage and functions it in murals aesthetically with the addition of modernism forms in Iraq Architecture. 2 - suggestion of functioning of Arabic letter which is considered as a type of refreshing memory towards lettering formation in Islamic arts which has its effect on Iraqi artistic taste on the level of communication.3 - Mesopotamion heritage with its shapes, abstract and symbols has its presence in ceramics shapes which parallel with the materials that Iraqi Architecture has used. As a result it has a kind of symmetry on the level if row materials and reproduction of them.

الاسطورة ومقارباتها في الفخار العراقي واليوناني القديمين : دراسة مقارنة == Myth and Its Models in old Iraqi and Greek Pottery (Contrastive Study)

اسم المؤلف: نسرين سمير غدير
اسم المشرف: محمود عجمي جاسم الكلابي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: ماجستير
الجامعة: جامعة البصرة - كلية الفنون الجميلة
اللغة: العربية
مكان الجامعة: البصرة
الصفحات الاولى:

التواصل في الخزف الصيني المعاصر == Communicating in contemporary Chinese porcelain

اسم المؤلف: عماد حمود عبد الحسين تويج
اسم المشرف: عبد الحميد فاضل البياتي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الخزف
الدرجة: دكتوراه
الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون التشكيلية
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى: