Author name:
تحرير علي حسين الجيزاني
Supervisor name:
مكي عمران راجي الخفاجي
Abstract:
The present research is concerned with investigating the embodiment of the Postmodernism Arts, their styles and their artistry trends in the experiences of the modern Iraqi plastic Arts. No doubt that the postmodernism philosophy with all its details, associations, contradictions, which is also called postmodernism phase, has attracted the Iraqi artists inside and outside Iraq. This interest has emerged from the artists wish to convoy the new styles, techniques modes in the world, ideologically or practically in Art.The present dissertation lies in four chapters. The first includes the problem of the research, its importance and value. The problem of the research is limited to the identification of the becoming of the postmodernism arts in the modern Iraqi Plastic view, and that is after the openness of Iraq on the world and the contact of the Iraqi artists with the artists in the world. The following questions embody the problem of the research : has the postmodernism ideology any effect on the modern Iraqi artist? has the postmodernism techniques any effect in to change the aesthetic view of the modern Iraqi plastic proposals? does the dissidence in the Iraqi classic styles of Art, being affected by the aesthetic system of postmodernism, open the way for the procession and involvement of the receiver of the visual show.The importance of the study is embodied in shedding light on the artistic styles of the postmodernism plastic Arts in the Iraqi artists' works. The study also aims at detecting the embodiments of the postmodernism arts, their styles and techniques in the performed modern Iraqi plastic arts.The study is limited to the objective analytical study for the ideology and techniques of the postmodernism plastic art in Iraq; on the other hand, the local limits include the artistic results of the Iraqi artists' works inside and outside Iraq, which is in addition to the analysis of their pictured works which are performed from 1993 to 2013.Chapter Two includes the theoretical background fro the study which includes three sections. Section one includes two axes : the first tackled the notion, as well as the principles, of modernism as it is the phase that proceeded postmodernism, so that it possible to be aware of the notion and principle of the postmodernism phase, which was base on demolishing the modernism basis. Hence, this section propounds the notion and principles of the modernism phase and its visual applications. On the other hand, the second section is concerned with the notions and principles on which the postmodernism phase is established, for it tackled the prologues of the formulation of the postmodernism phase as well as the historical roots for the appearance of the postmodernism notion. That is in addition to the characteristics and ideological starting off which the postmodernism phase was based on and the extent to which the postmodernism phase affected on the Arab world and the effect of the latter on it.Chapter Two deals with the postmodernism data in the visual field, for it includes two sections. The first tackled the artistic characteristics of the postmodernism plastic art such the opening of the visual show, the association of the technical styles and the incoherence and fragmentation in the artistic works of the postmodernism phase. That is in addition to the oddness, obscurity, sarcasm, shocking, and amazement which it attains in the receiver. The study also tackles the role of the pictures and media in the postmodernism artistic products. The second section deals with the important trends of the post modernism arts, starting with the abstractive expressionism with the end of the craft. Section three exposes the postmodernism features and modes of the Iraqi plastic art career, propounding the commencement of the Iraqi plastic movement, starting with the pioneer generation to the present time. This includes the products of the Iraqi artistic works which embody the postmodernism styles. These sections show someaesthetic, philosophical, ideological and artistic indications, being included within the theoretical background.Chapter Three includes the procedures of collecting data about the Iraqi artistic society to be included in study for the period from 1993 to 2013 AD, and about their artistic work inside and outside Iraq. The samples of the study include twenty five artistic works chosen on purpose to fulfill the aims of the study. The researcher works on the descriptive and analytical mode to analyze the samples with reference to the artistic, aesthetic, philosophical and ideological indications, to be coincided with the theoretical background for the formulation of the study.Chapter Four includes the conclusions, recommendations and suggestions depending on the practical side of the analytical study. Here is a brief about the results of the study.1 - The dissidence of Iraqi artistic works from the classic art system which proposes the existence of a limited center inside the framework; thence, the works divert to another form based on the absence of the centrality as those in the western postmodernism art.2 - The demolishing in the structural and constructive order of relations inside the performed artistic structure through breaking the classic perspective as the artist depends on the open show space.3 - The figure appeared as multi - category (non - naturalization) due to the Iraqi artist working on the non - naturalization principle, being one of the most important secretion of the western postmodernism; that is through the interference between the structural systems of the techniques in sculpturing, drawing, architecture, designing and photographing.4 - Activating the personality of the artist and with a bigger liberality to formulate and choose his figures, without being monitored by the former governmental regime.5 - The initiation of new styles for the Iraqi plastic art after 2003, diverting from the prevailing ideological career to present a free ideology carrying the embodiments of the western postmodernism.6 - The social and political changes were implicated in the Iraqi plastic art and with new presentation depending on the assembling, constructing and the ready made thing with the characteristics of the western postmodernism.7 - "Shock and surprise" was a characteristic in the western postmodernism arts reflected on the performance of the Iraqi plastic art; that is when the Iraqi artist used strange and mysterious materials in the structure of his performance according to the modes and techniques of the postmodernism.8 - "Media and advertisement" appeared clearly and widely in the theme of some Iraqi artists' plastic works, especially those which conveyed the information actions.On the basis of the above mentioned findings, the following is concluded : 1 - The social, political and economical changes in the Iraqi structure as well as the living circumstances such as war, destruction and setbacks have a big effect on the Iraqi artists' spirit.2 - After 2003, the Iraqi artist tried all the universal artistic techniques and styles, whence he had been isolated and banned by the Iraqi former regime. This gave him a chance to know the modern modes of art.3 - The Iraq modern art is based on connectivity and cultivation with the others in the world, as well as communicating others and exchange opinions. The Iraqi artist was freer to exemplify and present his aesthetic themes.4 - For the Iraqi artist to be able to travelling abroad after the fall of the former regime, holding shows and being introduced to different cultures and arts a wide effect to make the works seem with universal traits.5 - Experimenting according to postmodernism art styles encourages the Iraqi artist after he was despair of the traditional modes which he worked with before, since these new techniques are modern and more interesting.6 - The internet, celphones and media has a big role to see all the artistic styles that the universal artist can present, that is in addition to the ease of communicating any other artist or a show.7 - The prevailing of TV programs in the Iraqi society, as it becomes easy for them to watch the world, as well as the awareness of the Iraqi artist to what happens in the world, helped him to dedicate these on the artistic performances of his works.8 - As globalization, politically, culturally, economically and militarily, launched the Arab world, including Iraq, this affected greatly on directing the Iraqi artistic performances to embody the existential anxiety and expatriation of the Iraqi
