البحث — المستودع الرقمي العراقي

نتائج البحث: 25 من أصل 89

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.