اسم المؤلف:
عادل نفل مهدي
اسم المشرف:
محمد جلوب جبر الكناني
المستخلص:
The study tagged (the Mesopotamia references in the formation of modern European)This study (displacement metaphor re - creation Development) in the formation of the European modern, so that the transformation of thought and a variety of techniques purified in Auahr the nineteenth century and early twentieth century, for a performance art in the formation of various multiconfessional to adopt the idea beyond the apparent shape and body to generate new properties dialogue essence, those same characteristics that distinguish them plastic formation Mesopotamia all levels of historical and cultural. The researcher classified the stages of transportation , plastic art historial classical and arrive at modernism in terms of access to (reference Mesopotamia) as follows formation : Stop (switching) characteristics and attributes forming the European through the stages (above) in terms of reference mesopotamia on (the nature of acculturation and cross - fertilization of civilization) and then extrapolate the properties mesopotania as a reference, or analysis of representative samples, while monitoring variables stylistic, or track and investigate variables stylistics in modern European in what is a pointer in the collectanea mespotamia of the properties and attributes, especially those that depend idea exceeded (appearance) to the undercover (substance), which paved the way for action in visual form and paved the way for abstraction of exchange... And mythology mesopotamia which paved the way for surreal and try the artist tributary Lenny to find the best form in addition to the idea of the artist Assyrian of leg five of the objects Guardian winged - that paved the way for the fufusim , in addition to the idea of philosophical Eastern's proposal to the infinite which has no beginning and no end, and embodied in the repetition decorative engineering and others, which the cradle of the art optical (op art) as well as the genius of the artist that created the Sumerian genius act in shorthand and geometric abstraction, in models of devotees of the Sumerians paved cubic, and Transformers artist mesopamia artist generally tributary to embody the emotions in terms of the internal appearance, which paved the way for exprisianism...Thus, for the purpose of access to the results of arguments convincing evidence on the researcher adopted the analytical approach with descriptive identification codes reflected the function of the icons, take a researcher in his analysis of works of art in the formation across three European connotations as the pillars are : 1 - indications of the iceberg of self - creative imagination and conditioning coach in the composition.2 - indications of stock knowledge and implications of cultural, environmental, and how to inflict subseguent in the previous configuration.3 - indications of formal employment and the concept of reference tributary of mesopotamia in the formation of modern European, according to research objectives.Focused on "Chapter II" framework of knowledge as follows : First, the reference - the concept and meaningTurning to the issue of borrowing and call, and Alastaihat different from the experience of the predecessor, essences and essential expressions of the place and time through the ages.Second, the historical reference : Take the conditioning in creative done for generations and peoples, in addition to the date formats, systems and techniques characterized, and the getting has become a source of artistic originality in the discovery and innovation.Third, the environmental reference : Address the mutual adaptation between the projections of subjective "emotional" and between the external environment, and also between different environmental compressors known as an active and influential elements of the activity of the creative artist, whether those compressors natural or spiritual, or thought of the collective agreement is based. Effect in determining the attributes of privacy and identity formation.Fourth, the philosophical reference In which he addressed to him thinking researcher in the Far East, which calls for simplicity and integration with the mystic (scratch) located intuition or not perceptible and the impact of him to think that the rights of the artist creating it. It also discussed the mechanism of thinking in the west of (Europe and America), which calls for the logical analysis of the provocation surrounding which helps to create a human (the world) in addition to addressing the mechanism of thinking in the Middle East, which combines the mechanics of thinking the Far East with the mechanics of thinking the West to create this center intellectual (the human world and the artist) together.Fifth : The logic reference in the structure of rational thinking European He dealt with the happening of knowledge of the mind that made the center of systems thinking based on experience and experimentation, and to make science dominant in place of reason in Europe.Sixth : the meaning of modernity Dealt with the word (modernity) between linguistic meaning and meaning conventional detection and the impact of shocks that hit the art generally affect the characteristics with recognition of the rapid changes of the activities of modernity in the formation and the separation between (character style ) of art) in the ancient civilizations and between (the openness) based on acculturation and cross - fertilization and the intermarriage of intellectual and artistic at the time of modernity.Seventh : the concept of the formation Address the concept of structural - General of the formation of the adoption of elements and the basis of the configuration from the (vacuum) and how to convert the concept into space, the introduction of the simplest forms it (point) and how it moved the point of a (line) and how to move the line with the changing trends and types to form a flat, and how to move flat to form a (mass ) or (stereo) and how to move the cluster on the surface and the optical range and harmony and to form multiple (composition )Eighth : the fourth dimension in the plastic Arts Address the mechanics of structure in the shape to achieve the illusion optical and to achieve the third dimension (prespective , and then simulate the fourth dimension (movement) and format conversion constant (stutic ) at the pictures of figure moving (dynamic) and did not address the fourth dimension as a trend technically called for (furtusime ), but considered in the out of art, auction model is a fourth dimension of the points, and the flat fourth an IV line, and mass represents the fourth dimension of the flat configuration and mass movement through time and space to Tkthel fourth dimension of the flat in addition to the classification of the fourth dimension to three cases : 1 - the fourth dimension structural : the movement is reflected in the vocabulary of visual construction of the text.2 - the fourth dimension of the narrative : This is reflected in the transition time and place within a single work of art, to give the impression Daramatic flow of conversation.3 - the fourth dimension inductive, and is reflected in the multiplicity of points of attraction within the structure of the configuration with the equality of influence in addition to the repetition.Chapter III measures included research, with analysis of samples.The fourth quarter included the results of research, findings and recommendations and proposals.The results of the research, the research found the most important results of1 - revealed some of the experiences of European artists in the update data embodied creatures plastic composite (virtual) for metaphy5icsart mesopotamia2 - showed some of the modern European business formation, syndication of the structures in its reference configuration leading tributaries, with attempts to adapt an innovative new approach resulted in the formation European.3 - revealed the artist's attempts at forcing European art between the summons and displacement of the reference Mesopotamia communication to the fourth dimension formula ((a time)) in the works of modern European composition.4 - European artist to deal revealed in the presentation of some of the meanings and conceptual by start forms that narrative in the presentation of the event with reference mesopotamia in models of seals and inscriptions.
