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الفنانون النقاد : دراسة في النقد الفني العراقي اتجاهاته واساليبه == The Critic Artists - Astudy In Iraqi Artistic Criticismits Directions And Its Methods

Author name: احلام عبد الستار شنين
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: لكل حركة فنية مرجعا نقديا , يحدد اهدافها واتجاهاتها وسياقها , وفي العراق كان للفنانين النقاد رؤى وفلسفة نقدية ساهمت في بلورة بعض اتجاهاتهم وتمدد تاثيرها الى الانتاج الفني المجاور من خلال التاثير والتاثر.. وهو ماتصبو هذه الدراسة الى تلمس موقع الفنانين ا | Every artist movement has criticism reference that defines its aims and its context. In Iraq, the critics artists have a vision and critic philosophy that contributed into crystallizing some of their directions and into having effects on artist production via effect and affected. This study aims at handling position of critics artist and their directions. Hence, the research problem comes as to study the critics artist's theoretical and practical Sides.This study stands behind questions listed below : . - Did critics artists have conceptions relying on criticism text books? What are the results standing behind that? The artistic criticism was previously dealing with a set of textbooks, either be those that concerned with artistic work surroundings or be those that concerned with the artistic depth. Those who specialized into criticism, together with their directions remain determined by methods of readings. Most prominent problem in artistic reading lies in the ability of the critic to untie artistic work codes and to re - build them. This problem forms the core of criticism script production. If the critic's handling methods be away from art atmosphere, then the criticism would be just more like other language and literary arts than be as textural and analytic method. Hence, we suppose Formulation of the problem following questions : 1 - Is it possible for the critics artist to perform critical excavations in artistic works most nearest to the art than to get side by side with it?2 - Could the artists critics have formed a movement inside the Plastic movement and that contributes into disclosing its context? Therefore, important study curriculum cash for critics and artists stand on their contributions to the Iraqi art movement...The research's goals are : The research provides twice trying to reach them and two1 - To get to critic centers and to its directions for the artists critics.2 - To uncover the comparison between practical and theoretical productionBut it borders The research confines on critic production and its classifications for the artists critics since 1940 - 2012. The first chapter includes critic production and its classification in addition to most important terms (artistic criticism, direction and method). The second chapter deals with the theoretical side that comes with two parts (1st part concerns with conceptions and kinds of criticism, concept of critic and critical scrip separation into (the artist, script and receiver) and 2nd part concerned with criticism in Iraq, the critics artists and their opinions and readings. The third chapter includes procedures and purpose of the current study. The researcher depends on the analytic descriptive method as to describe samples and to analyze them according to methods resulted from procedural conceptions mentioned in the theoretical filed Enhanced tools and procedures which : 1 - Table of research sample from the critical essays (26 essays)) 2 - Table of works of the critics artists( plastic artistic works - paintings). The fourth chapter deals with results of research according to the research goal and deals with the critical centers and its directions for the critics artists. According to what was mentioned above , the researcher reached to the following : 1 - The critic artist (Balasim Muhammad) employed the modern critical textbooks in his essays (No.1, 2) , where the visage method had been formed ratio amounted %44.44 , while the structural criticism ratio %14.81 , the neutral criticism ratio is %7.40 , the estimation judgments ratio is %3.70 , The total ratio of his essays (No.1, 2) is %33.33. Results concerning the second goal of research lie into uncovering the comparison between the practical and theoretical production : 1 - By analyzing the critic artist Balasim Muhammad's critical essays and its comparison with his artistic works, the researcher concluded that the critic artist (Balasim) makes his depictions out of familiar logics in Iraqi paintings and adheres textural exactness in his critical journey. In his critical writings we see him sticking to textual exactness, but in his artistic production there are recitations and imaginations. Most prominent conclusions are : 1 - The artistic criticism in Iraq depends on self - impressions unlike artistic work. 2 - The artistic criticism in Iraq relies on search into the art itself and not in artistic work details. 3 - The historical and social criticism occupies a space in critical writings.4t - Plastic criticism in Iraq does not depend on scientific method and there are not contemporary methods in reading artistic works , but with simple proportions. 5 - The criticism often depends on personal motifs and general rules. 6 - The journalistic and literary language was dominant as to read artistic works and this resulted into forming a dictionary strange to artistic criticism conception.

السمات الاعلانية في الرسم العراقي المعاصر

Author name: عادل كريم عبد العالي
Supervisor name: سلام جبار جياد السوداني
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:

تحليل بنيات الرسم الواقعي الفانتازي == Analysis Structures of The Realistic Fantasy Painting

Author name: رعد فـليح حـسن
Supervisor name: نجم عبد حيدر الجنديل
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: تعد ظاهرة الرسم من ظواهر الوجود التي تتخطى القياس والتثبت منذ الكهف ومرورا بتتابعات تاريخية اسسها الرسم بانواعه وتقنياته المختلفة، نجد ان الواقعية او الرسم الواقعي يعد من اوسع هذه النتاجات واعمقها تاريخيا بل يمكننا القول ان الواقعية ابتدئت مع الرسم، | Is the phenomenon of drawing from the phenomena of existence wich go beyond measurement and validation when you want and calling it since the cave and through historical sequences founded by painting types and its different techniques , we find that the realism or realistic painting is one of the broadest of these productions and the farthest in the history of painting , but we can say that realism began with the painting is continuing and will continue ,put this historic wide area provided different methods of realistic production in the art of painting , including realistic fantasy painting , which is the basis and logic of this Thesis , in short can be defined as the foundations of the technical and ideational structure , and its style depends imagination and requires total time from the past to the present to the future and achieve that accurate Performing interaction between sudden exciting form and the compound structures established this which we call realistic fantasy painting.And a researcher at his prospecting that adopted academic study during years of his work of his preliminary studies through the Masters preparatory year found a problem that needs a solution and exploration stationed in referring realistic fantasy painting with its different structures that need to analytical prospectical accuratical study , which achieved a desire to be of this study on the master's level and was him what he wanted with the help of his professors Distinguished majoring in painting , especially when he found that this area of research is almost to be missing as it did not address her any study only study ( magical realism ) which is close to the fantasy realism put it is not that the difference between them is broad and many.Against this researcher fought the first chapter represented the methodic framework of the research which shortened partical conceptuals of the system box for scientific research , while the second chapter was based following studies : First : the structure and the structures and functioning mechanism.Second : realism and fantasy realism of its history , its institutions and its releases.Third : between realist painting and realism surrealism and magical realism and fantasy realism. Fourth : changeable in the fantasy realism manners in contemporary painting.This after entering in the subject study and , we came to a set of indicators for the theoretical framework were adopted equivalents analysis of selected samples in the third chapter Representative procedures followed in the collection of the research community and the selection of the sample within the rationale justifying selected , and the search tool and its role in the detection and analysis within certain mechanisms , and then choose the curriculum analysis samples ( descriptive analytical ).The fourth chapter has been committed to the article spammers methodology competent displays the derived results that can sum up the most important of the following : 1 The absurd is the most important theme of my speech broadcast in drawing realistic fantasy2 The absurd in drawing realistic fantasy doomed somehow ( varying according to the text itself ) credible same3 Diagnosis and meaning in the vocabulary of the construction drawing fantasy effective governor can not dislodge4 Drawing fantasy inclined to create excitement and surprise ( the result is a dramatic draw ) the effectiveness of the secret of success and transmit the dramatic5 Timelessness and nowhere tools show effective in drawing fantasy6 the human body Interestingly for the wishes of the sexual content ( man، woman ) is an important element of the elements of fantasy structures require relationships with neighborings and regimented with laws and regulations governed by the subject which belongs to it's the same text

التباين الاسلوبي في الكرافيك العربي المعاصر

Author name: حنان رضا حمودي كاظم الجبوري
Supervisor name: مجيد حميد حسون
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:

البعد الجمالي والتداولي لفن الرسم في الثقافة العراقية == The Aesthetic And Pragmatic Extent of Painting In Iraqi Culture

Author name: فلح حسن حسين الشكرجي
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: يتناول البحث الموسوم (البعد الجمالي والتداولي لفن الرسم في الثقافة العراقية) العلاقة بين الفن وثقافة المجتمع على المستوى التاريخي في العراق وتثير قضية البحث بعضا من الاسئلة والمشكلات المتعلقة بالمرجع الذي يؤسس وجود هذا الفن من حيث الاساليب والاستعارات وال | This research (The Aesthetic and Pragmatic Extent of Painting in the Iraqi Culture) deals with the relationship between art and culture on the historical level in Iraq, the research problem raises a questions with art references through; styles, Mutations, Reception, Pragmatic which connected with Iraqi memory although it is so diversity, the research importance concentrated on discovering the reasons of recently art situation and why art is not a priority, the research limits fall between 1930 - 2013.The research contains five chapters; the first (method frame) which contain; problem, importance, aim, limits and definitions, while the second chapter (Theoretical Frame) includes three branches; (the Historical attendance of painting in Iraqi Culture) in which the research talk about the Islamic extent and how it deals with art, after Al - Wasety period and the Barbarian destruction in Iraq, the instinct period and the early attempts to paint in the early years of 20th century in Iraq, the pioneers period and their attempts to find out their cultural identity, republican rule period and the effects of political domestic, wars, economic sanctions on the whole life in Iraq, after 2003 period and the formal neglecting and the conflict with the religious view.The other is (The General Space of Iraqi Culture) in which the research talk about the Ottoman Inheritance and the power of illusion, then the rule of; environment in both levels; (place and population), society, religion, policy, economic as the art references , then the research talk about the article culture in Iraq and the way society deals with culture. The third branch is (Art and audience) which contain the reception system in Iraqi culture and why Iraqi people prefer iconic and realistic art works, the stylish suggestions of Iraqi art and how they goes far away from Iraqi awareness.The third chapter also contain three branches; (the aesthetic and trading features of the Iraqi painting) which include; environmental factor (place power), heritage factor (history power), expressionist factor (psychological power), experimentation factor (connecting power). While the second talks about the Iraqi art periodization which falls into four periods according to main mutations; Establishment, Renewal, Announcement, Rupture in each of them the research analyzed the art styles and how people deals with art. Then the researcher put some indicators of the theoretical frame, the fourth chapter analyzed the controlling centers such as; Ideological Center, Political Center, Religion Center, Economic Center, Social Center, Aesthetic Center. The fifth chapter is the conclusions.

الادائية في الحقل البصري : دراسة في اساليب التشكيل المعاصر == The Performatsim In The Visual Field Study In The Contemporary Plastic Style

Author name: فريد خالد علوان
Supervisor name: سلام جبار جياد السوداني
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: ينسج تاريخ الفن، عبر تراكم النتاجات الفردية للفنانين، المتقاربة ظاهرا في بعض الاحيان، والمتباعدة بجلاء في احايين كثيرة اخرى. لذلك يدخر هذا الاختصاص ارثا من تعاقب الانساق، بتفاوت في الامتداد الزمني، او بدرجة المغايرة والمخالفة عما يتقدم، وبما يؤشر الى ترج | Weaves the history of art, through the accumulation of individual productions for artists, converged visible in some cases, and clearly divergent in many others. So, spare this jurisdiction a legacy of succession patterns, varying in chronological Stretch, or gamma degree and violation of what progresses, and as indicated a likelihood of continuation that future Curriculum. Therefore shall be smaller over the previous repetition and ruminate even though count Icon prominent. All it knows of the existence of a mental goal mediator uses material malleable tool in through manifestation proposals for the recipient. Then marking individual differences attribute the emergence of uneven observer's eye level. To provide that Curriculum material found through this Search, depending on the presence of variations blocks of productions of art, based on the numerical minds preoccupied by the field modulation, in stages unit method or model by compressors university, or from the port of freedom contemporary, that the security of the expansion of a major separation Individuals for some.So the search to read the successive series of procedures for the process of the artwork, and Begins from the initial selection of material induced by the artist, who then passed over an area of mental manipulation, and to access Manifesting who Proposed her. In Stages of successive performance, possess a level of inequality and the role of its own space within the so - by operations (performance) for each artist. And endeavor to make this convention under the determinants of academic presentation, aimed at a new reading of what has been addressed repeatedly in endoscopy cash toward its past art history and contemporary, and at the collective level or at the level of read outputs individuals. This has been done through the division of research material placed deliberation to the introduction and five chapters. Begins entitled (Performing in the visual field : a study in contemporary plastic techniques) to be specified General what will follow the course of the research : Included researcher at the forefront of his input - year - old about the nature of the subject and its dimensions institution for field configuration, to be supported to put the problematic performance - related, as the term is located in the center of specialization artwork, and has the clarity simplistic at best estimates, and it remains the place of attraction in meaning. It crystallized target Search (know the modalities performance in art, and in any foundations Shows and clear to the recipient. Aided check it is to monitor and detect the nature and performance shifts in the contemporary global plastic). With the provision of importance of research and the need for it, and its borders and definition of terminology title.In the first chapter of this study, confronted researcher of the concepts and Intervention term performance cash, in order to take (and on the capacity of the study) this detailed terminological which establishes topped by art history Variations traded them constantly and those absent, through the reading of an exhibition about the artist, and the broker physical, and receiver. Via inter subheadings expansion of the Department of the theoretical discussion of the term.After that the definition of performance, depending on the outcome of the mobility and theoretical discussion of propositions cash around, and building parameters that reveal truth in art, the researcher re - View intensive art history binder, since the fee caves and even digital art in the contemporary, and that review is based on the goal of new reading and alignment to detect advanced performance in the first quarter. Then briefing general Performing shifts, and identify Foundations that reveal the diversities and differences, even when there is the approach to Members eras, as well as openness and differentiation stages between artists, presented by modernity, and confirmed it clearly contemporary.This was followed by presentation of contemporary performance requirements, in the third chapter of this study. Fact that performative expansion (individual) is not without compressors or inducers updated enabled the contemporary artist of the last violation, or the construction of new accumulation of it. Muslim woman numerical increase for expatriates around the field configuration, depending on the manual skills which possess special, or by having ideas of Westernization, which enables contemporary artist to harness the growing technical mediator to make it represent sensory Shop, without the need to test his hand. This chapter was devoted to the discussion of those contemporary and supplies as far as their relationship and its impact on the course of the performance.The result of the three classes, the fact that the researcher leaders have those indicators as deliberation theory of the subject. To formulate evacuated analysis reveal the nature of the system performance in contemporary art, which later revealed transformations which it was built movements and technical directions for the post - World War II, and even today.This innovative system, the path led diverse performing analysis of experiments, in Chapter IV of this study. The researcher deliberately to choose (19) experience performances distributed according to prominent art movements in the contemporary era. After specifying the community search and justification for the intentional selection of the sample, as well as determine it and instrument approach followed in the analysis.Chapter V will display the results reached by the researcher through the analysis of the selected performing experiments and conclusions that expressed it. Among the most prominent of these results : 1. Performance unfolds on two levels : the first is the degree of manipulation of the micro - structural units, with the survival of the overall structural structure stable. The second is in the overall picture and change the structural pattern in its entirety. So the Performing Clear treatment at the level of implicit additions or deletions, or the overall change in the general installation works of art, not only in some of its compounds.2. Not without performance Celebration of the results achieved through the events for unconscious or unintended, the analysis is futile attempt as long as the artist did not intend it to broadcast message without message unwittingly produced. So fall pre - emptive mental images, as in Abstract Expressionism. And some of them are calculated encountered Destroys the output for the Performing experience, as in the products of artists (ops Art), which rely attached to the pre - planning of sensory processing.3. Do not come the Gains of the art of the past in the form of sensory performances installed joints, but also have a moral and intellectual trader return address formats developed, as the subject of time and the human form.4. Time as a concept contained in the experiences of performing contemporary through relation with sensual movement or assumed which by itself a hub sought by a number of artists and finds a clear echo in their technical actions.5. Some experiments intended performance from behind validation time to the maximum extent possible, as in the experiences of urban art monument ground. And some are meant to influence the rapid real - time attendance, and also fast disappearing, as in the experiments art, Graffiti Art and digital art.6. Time performance impact on the numerical experiments, Expressionism abstract and including offers of detection for curriculum performative, need time minimized, measurements with performances such as those in the visual arts and super - realism, which consume a longer period of time. So the difference in that is the cause of the large number of experiments artist, versus I said in another artist.

الابستيمولوجيا المعاصرة وبنائية فنون تشكيل ما بعد الحداثة

Author name: جنان محمد احمد
Supervisor name: نجم عبد حيدر الجنديل
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: جاءت هذه الاطروحة الموسومة بـ( الابستيمولوجيا المعاصرة وبنائية تشكيل مابعد الحداثة ) لتبين ان الابستيمولوجيا المعاصرة، تعد اداة صالحة وشاملة لكشف مؤسسات ومنطلقات واليـة الحركـة التجريبية في الفـن المعاصـر، وتحديدا فنون تشكيل مابعد الحداثـة، وعلى وفق ما

اشكالية تحول المفهوم في التشكيل العالمي المعاصر : دراسة في ضوء المنهج التاويلي == Problematic Transformation of Concept In The Contemporary World Formation

Author name: صاحب جاسم حسن بندر البياتي
Supervisor name: محمد جلوب جبر الكناني
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: تناول البحث الحالي : اشكالية تحول المفهوم في التشكيل العالمي المعاصر( دراسة في ضوء المنهج التاويلي)، احتوى البحث على اربعة فصول، عني الفصل الاول بالاطار المنهجي للبحث متمثلا بمشكلة البحث التي تجلت بتحول المفهوم غير المحدد سلفا في اي شكل من اشكال الو | The current study addressed : problematic Transformation of concept in the contemporary world formation (The study according to the hermeneutical approach)), The study contains four chapters, The first chapter is dealing with the systematic framework of the research represented by research problem which reflected by transformation of the concept which is un determined in any form of artistic or aesthetic awareness, represented by the borders of multiple spaces, including cultural and social spaces.The research included two objectives : 1. To identify the concept in the cognitive, philosophical, aesthetic and artistic fields.2. To discover the transformation of concept in the contemporary global formation to investment of hermeneutical approach. The borders of the this study has focused on the studying of transform of the concept in the contemporary world formation, for the period from 1949 - 2013 In America and Europe. The second chapter, represented the theoretical framework, it contained four sections, The first section is dealing with : The concept and the multiplicity of meaning / The philosophical root, and the theory of the concept and meaning in the cognitive field, and the conceptual root of the concept and the meaning in the critical field. The second section is dealing with : Introduction to the modernity concept, and establishing of reference to the modernity concept, and the modernity concept in the modern philosophical trends. While the third : (Introduction to the hermeneutical approach) consisted of : philosophical approaches to interpretive. The hermeneutical approach : controlling formats. Hermeneutical approach : The mechanism and engaging or (production of meaning). And the interpretive art : (Heidegger) and (Gadamer) as a model. First : Phenomenology of being Aesthetics. Secondly : From Aesthetics to Alhermenaoutiqa : 1. Antlogia picture.2. Antlogia play. While the fourth section : is dealing with (problematic concept in post - modern art) in : The concept of communication, The shift of concepts (experiences and insights). And the historical movement to the contrary concepts for understanding of contemporary art, or (from fixed to changeable), and the conceptual communication in the Pop Art. And the reading in producing and controlling systems in formulation of contrary concepts in contemporary world formatiom : 1. Alsimeologia visual.2. The happening art3. The minimal art4. The image through the media culture The third chapter was devoted to reveal the problematic transformation of concept in the contemporary world formation by research procedures represented by the research population and analysis of their sample which was (18) models. While the fourth chapter contains the findings and the results of the study , conclusions , recommendations and proposals. Based on the results of the study, the researcher reached to the basic results, including : 1. The problematic of concept intuitively is achieved when no longer objective time and place, which did mysticism approaches, narrativism and symbolism, which in turn, intersect with the political , cultural, and ideology contexts.2. The problematic of concept is manifested through light and movement in space is being translated means cases of psychology and phenomenology (phenomenology) and emotional forces, which as a whole represent a visual language intangible, qualify through winning performance from the interaction of the receiver with the offer. The researcher found a set of conclusions and recommendations and proposals and then the list of sources and references, appendices and the abstract of search in English.

اشكالية التواصل العلامي في الخطاب البصري المعاصر : دراسة في تحولات الانساق == Signal Communication Issue In Contemporary Visual Discourse Study In Patterns Turns

Author name: اخلاص ياس خضير
Supervisor name: محمد جلوب جبر الكناني
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: The human has the capability of thoughts production and the expression of these thoughts. This attribute make us to be unique between all living creatures to finding communication ways to discover feelings and senses, which is often to guide us to production of thoughts that satisfy the expression that depended on mind level.Our living on earth has forced us to be engaged in communication fostering willingly or forcibly so in reverse to what old theories raise that the pattern broad caster receiver doesn’t man much even thought it has had an importance as receiver broad caster receiver pattern but still not enough explain the communication phenomena.Our character grows and develops based on our traditions and life experiments and based on our culture and environment also. So what we do basically is obtained from previous experiments which we keep turning it to take the new receivers.We have been adopting with moment status based on previous one so.Communication depends on implied patternsWhat is more important is that we behave modestly and react continuously with each other when man is simulatorAs he is a mirror and echo of him mirror of what he sees and saw echo of what he hears and heard.The searcher divided the search to four chapters * first chapters involves the search problem content the flowing questions : 1 - Are the contemporary communication concepts representing a base in pushing the modern art toward the receiving circle?2 - Are the contemporary bearings represents systemic conflicts with nature of aesthetic conceptual communicating?3 - Are the contemporary communication theories representing an approach for building visual system?4 - Are the wares references representing the based in the building of modern textual body?5 - Are the modern textual bodies representing an active more in the rebuilding of the visual systems by removing the references?The targets of the search are : 1 - Revealing the symptomatic communication in the modern art.2 - Revealing the working approaches of the communication pattern in the modern art.The searcher identified the limits of the search spatially in the modern art, and epochal between the years (19_200) then the followed approach in the artists work followed by the determination of the terms that need to be cleared.In the second chapter (theoretical frame) it divided to five studies, the first is involved in the concept of communication in the Gnostic filed and the second represents the lingual communication in the filed of the new criticize studiesThe third study which took the title (symbol and the communication activity) considering that since the first existence the symbol has been found when it is directly contacting the nature and react with it for the enplane of the phenomena and its employment by the enter interpretation of its meanings to obtain the gregarious conditions as human character which cannot be obtained, unless in the presence of idiomatic system in the symbolsThe forth study was specifically for the deliberate and the communication activity addressing in that the deliberate in the lingual field and the visual field and the pattern which is the incubators which the deliberate works when the texts don’t face us separately from it patterns except in the absence or disconnection away from experiment around us or inside as or text or the contact facility is foreign and that is what happens to culture importers when the drop a culture reality peculiar from the actual reality with out a consideration to the local patterns.The fifth study was for the detection of communication in art in which a search in the visual field and the allegory and communicational activity was done.Chapter third (search procedure) represents the procedures used in the collection of the research community with the adoption of applied studies to analyze the simples in accordance with what we have reached from the theoretical from work indicators in building search too.Finally, the four chapter content, conclusions & suggestions and recommendations.

اثر المعرفة العلمية في رسوم عصر النهضة الايطالية == The Effect of Scientific Knowledge In The Paintings of Italian Renaissance

Author name: حيدر جواد كاظم محياوي السويدي
Supervisor name: كاظم نوير كاظم الزبيدي
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:
Abstract: ضم البحث في طياته اوراقا تناولت ( اثر المعرفة العلمية في رسوم عصر النهضة الايطالية ) فدرس المعرفة العلمية في الفكر الفلسفي والجمالي واثره في رسوم عصر النهضة الايطالية، ويتكون البحث من اربعة فصول هي : الفصل الاول وقد اهتم بالاطار المنهجي، ومنه مشكلة الب | This research concerns (the effect of scientific knowledge in the paintings of Italian Renaissance ) thus it studies the scientific knowledge in the aesthetic and philosophical intellect and its effect on paintings of Italian Renaissance, research contains four chapters as follows : First chapter concerns with methodic frame from which the problem of research stems to determine the answers for the following questions : - Have the paintings of Italian Renaissance a relationship with science and scientific knowledge? And how the scientific knowledge reflected on paintings of Italian Renaissance. Plus, first chapter includes importance of research and its need. The goal of the research was( knowing the effect of scientific knowledge in the paintings of Italian Renaissance). But limits of research briefed to knowing the effect of scientific knowledge on oil paintings, fresco, tempera produced in paintings of Italian Renaissance in (1300 - 1600) which includes all its art periods. Chapter one ended with determining terms.Second chapter which includes theoretical frame consists of five sections : First section contains knowing from ideality to experimenting philosophy, second section deals with studying beauty between ideal and sensual. Third section deals with sciences of Italian Renaissance. Forth section deals with mutuality between science and art between painters and scientist of Renaissance. Finally fifth section concerns art of Italian Renaissance.Theoretical frame and antecedents studies ended with group of indicators that support the researcher in research procedures. Third chapter includes procedures of research which includes community of research and its sample, tool and mathematical and statistical means, then analyzing the sample statistically ,community of research (which was not included entirely due to its large size).Researcher has benefitted from resources done to sample (196) an art work, was limited with time and place parameters for research. Researcher ended with using a content analyzing tool, coefficient of tool constant and its truth, then using statistical methods, such (Cooper equation) for truth of tool and (Scoot equation) for accounting tool constant and mathematical mean to account percentage for each item from analysis application.Forth chapter contains display of results of research, conclusions, plus recommendations, suggestions, researchers has concluded the following : 1 - The researcher has achieved the results according to what theoretical frame comes with indicators appeared within analysis operation after treating research results statistically and draw out its percentage and account each items in application ,then accounts mathematic mean for these degrees. 2 - Results of research has showed that paintings of Italian Renaissance has a feature of affecting the sciences of that era tremendously and with a convergent rates for his sample as a proof to scientific and technical development which resulted in showing it in a aesthetic and art shape matching the nature.Also he concluded the following : 1 - Painting of Italian Renaissance has showed the ability of their artists of using the modern technology and sciences and use it in an uniform art frame.2 - Painting of Italian Renaissance has featured with employing new experimental shapes with more surprising and freedom in art composing. Ending the research with details of references , appendixes and an English abstract.

الرسم العراقي في المهجر : دراسة في المرجعيات == Drawing Iraqi Diaspora Study In The Environmental Authorities

Author name: علي خضير شمخي
Supervisor name: محمد جلوب جبر الكناني
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: تنوعت الاساليب والاتجاهات في الفن العراقي المعاصر لاسيما في الحقبة التي نشط فيها الفنانون العراقيون الرواد - الجيل الثاني، الذين هاجروا الى معظم البلدان الاوربية التي تفعلت فيها الثورة على الاتجاهات المحاكاتية باسلوب المطابقة مع المفردات المستمكنة عبر ال | Varied styles and trends in contemporary Iraqi art, especially in the era in which Iraqi pioneers artist activiated - the second generation, who immigrated to most European countries where the revolution started on The trends of resemldance Imitation manner conforming with the managed items through the window of the optical einronment. For the purposes of linked with the attemps of the advancement of the movement under the pretext of Fine contemporary intellectual and cultural cross - fertilization between East and West.Different reasons obligcet the Iraqi artists to immigrant - a generation after the pioneers “ as attempts to political ideologies in contemporary Iraq is keen to use the art and the artist to serve political purposes , which led to the search for climates outside of Iraq, allows the Iraqi immigrant artist freedom in artistic creativity, especially in visual field.Numerous environmental references affecting the outputs of aesthetic Iraqi contemporary creative drawing ;since it included the formal applicant of the real environment, and simulating him in a manner of conforming times, and growing in the act of perception formal down to abstraction, it also included the intuitive applicant to simulating ideas and passions and emotions... which are often active in the environment.The study Included ( four chapters), the first chapter ( methodological framework ), which represents the ( research problem ), which raised a number of questions as follow : 1. Is it correct to call the man who is acclimatized,and Interactive possitivly with the the new environmental climate (colony) recipe expatriate man ?2. Do you achieved in the environment variable , outputs in creative drawing ?3. Does the diversity in the environment affected on the plastic style?4. Is the variable in the environment Impact on of the identity of the Iraqi contemporary painting ?5. Does The Iraqi painter (immigrant)acclimate with the environment (immigrant), and come to terms with it in away which kept him out of local artistic identity and belonging to the original environment ? Is the outcomes Impact on the technical achievements ?6. Does the Iraqi painter (immigrant) carry the characteristics and attributes of the original and the identity of his environment with him to the colony? Is it left its impact on the creative process ?7. Do the body transfer from the original environment (Iraq) to the environment colony (Europe - America)activiared the idea of cultural exchange , and intellectual , and technical ; creativity in the field of plastic ?The first chapter includes olso the importance of research and obiectivec of research seeking to : 1. Detect representations reference in environmental colony on Iraqi artists.2. Detection mechanisms shift stylistic variation in the process of environmental reference.This chapter includes also the limits of the research according to the aspectds and speci fication of Iraqi artists in the immlgranet (Europe - America)and time limits between(2012 - 1971).In addition the definirion of the terms.The second chapter (theoretical framework), which included five sections follows : 1. Introduction to the Theory of Reference2. References institution for visual field3. The third topic : the environmental variable in the drawing of Iraq.4. Contemporary Iraqi drawing rooting and rooting experience.5. Artists of the colony - a study in styles and references. Has included all of those sections on a number of approaches.Chapter three includes the procedurs of the research which includes the analysis (22) model for the research sample , completed (11), a painter Iraqi immigrants , the purpose of the questionnaire growing shift characteristics and attributes painter contemporary Iraqi between his artistic experience in Iraq (before the diaspora) and experience (after the Diaspora) researcher has found the need to discuss one model represents the experience of the painter (in Iraq), and the model represents one experience with a painter (in the Diaspora).Colony of Chapter four includes : results, conclusions and proposals, suggestion and reco in wordations, and the list of references and the abstract in English

جماليات الرسوم المستوحاة من قصص الكتاب المقدس == Aesthetics Paintings Suggested From The Stories of The Holy Book

Author name: لميع نجيب موسى ال سقط
Supervisor name: عاصم عبد الامير الاعسم
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: The stories of the holy book and the way education image, shape, color, and does not seek the artist in his work to take out the features of the aesthetic, but also uses the aesthetics and plays a chord genius to arouse the passions of spiritual and stir the emotions underlying which, inventors faith in the heart of the viewer through religious text, which forwards it to the image Completed and optical, and thus something that causes feelings in the soul of the movement of faith in the heart of her scenes, and this is what it is keen artist or storyteller color that comes out of his portrait in the midst of weather technician transcends it to a state of spiritual insight.I have included this study, four chapters, the first chapter , a statement of the research problem and its importance and the need for it, and the aim of the research and its borders, and to identify the most important terms contained therein, has dealt with the aim of research known as the aesthetics of painting inspired by the stories of the holy book.The Chapter II included theoretical framework and previous studies, which included theoretical framework three sections the first section : the concept of beauty and image when Fathers of the Church, which he reviewed the researcher views of parents who strike depth of spirituality and had their philosophical vision and written for beauty and image. And ensure the second topic : the concept of the picture in the art Aldeames, and the war of images or icons. And ensure that the third section three axes, which included the first axis story from the Middle Ages to the Baroque, and the second axis assets shear in the holy book , and the third axis features aesthetic art Christian, has contained the third chapter on research procedures, the research community, the research sample, searchtool, the research methodology , and the analysis of the sample amounting to ( ) model. The fourth chapter evolved to include search results, conclusions, and recommendations, and proposals, and the most important findings of the researcher as follows : . Christ spoke parables which each story uttered to give comparisons based on simplicity, and a lot of analogies and images and to clarify very specific, so that helps the plot narrative or summary of the end of the parable in the understanding of spiritual truths, and use bywords from the ocean, some of nature directly and others social habits, for the delivery of spiritual reality, every such application gives spiritually for something familiar, as in the model ( , , , , ).. hire artist Christian symbols that carry a theme featured in the religious thought of the Christian, which contributed effectively to enrich the religious discourse connotations ideological such symbolic pregnancy, as in the model ( ), and the symbolism of the fish as in the model ( ), and symbolic aura circular as in the model ( and ), and the aura surrounding the body and head, as in the model ( ), and the aura in the form of the cross, as in the model ( ). The symbolism of the ball - and - stick model, as in ( ). And symbolic dirham and as in the model ( ).. showed the achievements visual inspired by the stories of the holy book that the viewing eye more uncertain and inflicted impact on belief, and that of comic possibility to rationalize events much more than reading and hearing that transmits events to it in the form of votes interpreted by the brain, turning it into an image changing and ephemeral, unlike the eye which turns images directly to the contents of certainty and clear and accurate, and that's what it seemed clear in most models.The researcher arrived conclusions, including : . relied artists throughout the centuries to giving Topics the holy book stories Testaments old and new, especially proverbs in most of their artwork, while the general topics less addressed, because the stories of the holy book - text literature that carry speech and significance, they represent system ideological aims publication of the Christian religion and the search for absolute truth and character of Jesus Christ , also served as a source of inspiration for artists who in turn follow up by the text of the plastic on the body of the painting.. painter Christian deal over the centuries through his artistic vision to the stories of the holy book in two directions : first eastern abstract art, because it rejects the diagnosis and fights the physical embodiment seeking to represent the Eastern Christian spirituality, icon , as in Syria, Iraq, Egypt and Byzantium. The second Western art depicts and embodies the objects and nature, as it seeks to represent the physical realism, such as statues and paintings of various technologies.. make the parents of the icon part of the ritual church (liturgy), it represents the expression of formal physical perspective on the one hand, on the other hand sense on the fact un known , has now become embodied in the picture, and see the picture makes the believer that looking at all the abilities saved to be understood and recognized, all of which are things want him back for a recall of colors during the announcement of Jesus Christ in the heavenly ilk. It is a non - listed historical events superficially, were written or church, but is basically a symbolic code which performs across the emphasis on aesthetic finality carries connotations of forms has become a distinctive character in the Christian religion.The search is over Arab

سمات الحداثة في فن الكرافيك الاوربي == The Features of Modernity In European Art Graphic

Author name: بشير احمد جعفر
Supervisor name: كامل عبد الحسين خضير النداوي
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:
Abstract: The art is considered one of episodes that produce fresh perspective , Opening a new fields to wards.renew in all life scopes so The modernity does not be the result of a certain moment , but it refers to the many historical stages that are contributed and formed it.The modernity is a new intellectual movement in art in general and in European graphic art in particular. It mainly depends on trying to replace the intellectual reference that govern the human behaviour in life.And according to this fact , the modernity is an active partnership in the intellectual transformation grand witnessed by the humanity.The modernity does not call only for the evaluation of thought and renewal the literature but also to develop the art and out of old to the new style , language and thought without losing its cultural roots, and also its original features which are stemming from human civilization. As ( Audinos ) mentioned that every modern does not mention about a new view of life , man and science through art aesthetic and not be valuable.It is worth mention that Europe has been witnessed modernity in its large meaning which rapidly spread and impact on arts all over the world, among an important things that European modernism confirmed on especially in art : is great tendency toward abstraction or alienation depending on the currents brought by modernity , which made the shape rejects any static image through diversity in technology and style , so this figure appeared clearly in the art , particularly in the graphic artThese changes have led to revision the nature of the vision to art in general and graphic in particular. On art level , these changes represent by new European movements , the researcher has found the importance of knowing the modernism features in European graphic art. The research has focused on ( The features of modernity in European graphic art ). The research has contained four chapters , the first chapter is to show the researches problem which summarized in (What are the features of modernity in European graphic are) and its importance its needs and its aim which sets in (Definition of modernity attributes in the European graphic Art) during (1895 - 1978)and spatial in (Europe) , As objectivity identified by graphic works according to its techniques , and determine the terms contained therein. Chapter two has contained three studies ; the first one concentrated on the concept of modernity in art , the second one contained the grew up of the graphic art and its development through ages while the last one is about paths and directions of European modern graphic. Chapter three has devoted for the research procedures which contained identify the research community and choose the sample which is nearly (18) aprinted work , then the search tool and to analysis the sample.The Chapter four has contained the results , conclusions , proposals andrecommendations. Among the most important results finding by the researcherare : 1. Modernity led the movement changes in the nature of visibility to art ingeneral and graphic art in particular.2. modernity has combined between passion and scientific analysis in shape , colour and movement , and this method has formed the basis for many movements (Graphic art) in Europe.3. Modernity for the impressionists considers as a renewed movement which contributed in great change which accompanied the artist , of this school by their using the technology of ( wood engraving in colour , Lithograph in colour) as in examples (1 , 2 ,4).4. The modernity feature has confirmed for the impressionists by using symbols taken from lived environment which implemented in a style with simple lines as in example (1).5. For the expressionist artists , the modernity has confirmed that they have two levels within two ways : the first , is to determine the shapes by his strict limits of linear up to the point summary which makes the real foundation of forms away from realize , while the second is to look for about the details of the shape within geographical (modeling) strict for colour by using mechanism experimentation chromatography as in examples (3 , 18).6. Modernity for the expressionist artists , shown in colour by using the main colours ( black , red , green , yellow , and violet) with some changes in , with modern technologies (drypoint with aquatint in colour , woodcut in colour) as in examples (3, 18).7. Modernity for the brutality school , affirmed on unusual colour and vision as in examples (11).8. The brutal artist collected a total of technologies in their modern works , and within it ,modernist form has been activated and in modern view unlike the previous forms. And among these important technologies are (sugar lift Aquatint) as in example (11).9. Modernity to the Cubism school is characterized by analysis and forming shape. by returning shapes to the mind concept and meditation for cubists as in examples (9 , 14).10. Modernity to the cubists characterized by using of new technology ( linocut printed in five colours , etching) by these techniques , the features experimentation showed to the cubists as in examples (9 , 14).11. Modernity to the futurists arts is considered as renewed movement which contributed in great change which accompanied the artist of this school by introducing the concept of dynamic cosmic and used it in graphic art fieldas in example (5 ,10).12. Technologies for the futurists arts formed a modern touches through the expression and formal method of treatment manipulates light and shadow within the printed work. It was obvious in techniques of ( Etching ), (Linocut in colour) as in example (5,10).13. Modernity has appeared at abstractionists artists within the geometric abstraction which is the most reductionist level structure of formal and modern colour as in example (8 , 12).14. Abstractionists artists has taken a new formulation of the printed form by using modern technologies different from the previous techniques groups ,which enhanced the shape with modernism , and among the most important of these techniques are ( lithograph in colour , woodcut , Lithograph ) as in examples (6, 8,12).15. Modernity found at aldadanyeen and the surrealists , which comes from the illogic (neglect logic) and we can see through that they set out the visibility in their thoughts and emancipation outside the limits of laws to create forms (abstract forms which have mysterious nature) which consists of the absurd within abstraction as in examples (13 ,17).16. The Modernity has embodiment for alddadanyeen and the surrealists by defining the concepts of dream and realism in a new frame from the reality within dream which means expression of activities over realism in disordered forms or incoherence , one of the most important technologies that have emerged features of modernity they have are : (etching , lithograph , etching with Aquatint ,Aquatint with etching in colour ) as in examples (13, 15 , 16,17).The conclusions reached by the researcher Among the most prominent. : 1. Human dimension appeared in most of the fields of European art especially in graphic art.2. The new printed work considers as text which shows aesthetic relationships through the ordering of structural elements of the graphic art.3. The European artist graphic enabled to find spaces to show the expressive dimension in their works.4. The European artists graphic interested in experimentation which led to show a new technologies in his works.5. The printed work appeared diverse in forms features through diversity in arts fields for the European graphics.The search is over by recommendations and proposals with a list of references and sources and with abstract with English language.

التحولات الدراماتيكية في فن التشكيل من الرومانسية الى ما بعد الحداثة == Dramatic Transformations In Plastic Art From Romanticism To Postmodernity

Author name: اياد ذياب حميد السامرائي
Supervisor name: نجم عبد حيدر الجنديل
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: يقوم موضوع هذه الدراسة على البحث عن التحولات الدراماتيكية في فن التشكيل من الرومانسية الى ما بعد الحداثة، وينجز ذلك بالكشف عن مختلف المرتكزات الاساسية الموصوفة بالاثارة والذهول والابهار والمفاجاة التي ادت اليها، والتي استوطنت اماكن عدة، فتارة نجدها في | The subject of this study on the search for dramatic changes in the art of the formation from romanticism to post - modernism, and performed by disclosing various basic pillars described with excitement, amazement, disbelief, dazzling and surprise that led to it, that settled in several places, Sometimes we find in nature, and at other times, in art, and sometimes in social life and circumstances, as the transition starts from innovation, which is based in turn of the overall environment, and its various components. After a few of change and transformation in art and long periods of time, there has been a period of research - the last two centuries - accelerated momentum of dramatic transformations, diverse coverage of the currently located concept, idea, form, and content fields and use the techniques and mechanisms to show innovative ways, guided by philosophical conceptual and psychological and biological foundations, and selfless and exclusivity, and overlaping between the arts, and East, Africa arts, and the impact of science and wars, etc.... Inquirer plastic works of art are described with dramatic transformations in the "romanticism" , "modernity" and "postmodern" all.This was a ground of knowledge for the start of the research problem as an urgent priority to respond to the misconception in the counting of dramatic art limited to the romantic and earlier, as well as the shut understanding of in that dramatic, are only done by the excitement, dazzling, disbelief and surprise in based meanings or story confirm the diagnosis of individual and collective. And the lack of bold scientific research, to assertion of the continuing dramatic in the formation art from the romantic to the post - modernism arts, despite the differences in the showing tools or the adoption of a dramatic form that are running either removal of partial or full of meaning, or confirm that unstable and the instability of the meaning adoption of the recipient interpreted.The research was completed according to the procedures of its stated objectives, namely : 1 - A shift in the fine dramatic structures and concepts of the Romantic period in the configuration variable to the dramatic arts post - modernism. 2 - detect the movement and dazzling excitement, disbelief and surprise, in form and color and configuration and interpretation in the art of composition of post - modernism, in other words, it was revealed the dramatic formation and have. As well as on the detection of evolution and growth and the variables has intellectual hermeneutical.3 - Statement of the bases in the dramatic arts and post - modernity?. And the movement of the dramatic changes and growth in the shape, color and composition in?.Within the following borders : Temporal limitation - from romantic in the formation (1820 to 2010).spatial limitation - open with an emphasis on European art. As mentioned in the first chapter, as well as to determine the terms, including the title search required by imposing meanings overlap and Transfer of funds between arts ideas and techniques, undertaken in article research and institute an inquiry. Chapter II contains the bases and intellectual and philosophical and substantive shifts in the art of dramatic composition, for a period of time the search Atltha three major periods of art is "Romance" and "modernity" and "post - modernism." The first topic dealt with (the shift in knowledge and art, the art of composition). And ensure the second section (and the dramatic movement in the knowledge and know - how). The third section will assure institutions (and the mechanism of betting that dramatic).Chapter III and included measures to his society and appointed by the search and approach, and the justifications for the selection of which formed the research sample consisting of fine art products to the general romantic postmodernism, drawing them in particular, according to the time limit (1820 - 2010). And select the Finder, including sixteen representative sample of society, as my intention.The researcher adopted a descriptive analytical method in order to align research storehouse placed in the title is marked by "dramatic changes in the art of romance to the formation of post - modernism," as the basis of a tool for analyzing samples from among the indicators that resulted from the theoretical framework.The researcher in the fourth quarter to phrase the results highlighted the most important institutions of the changes dramatic in the art of composition of the romance to what post - modernism and identified citizen functioning multi - described interventions and institutional Altalqat philosophical, conceptual, intellectual, technical, social, political and Alvallosikolojip and Elzimkanip it. Finally, the researcher found some of the proposals and conclusions reached by the search.

استعارة الاشكال التاريخية في الرسم العراقي المعاصر : دراسة تحليلية == Borrowing Historical Forms of Contemporary Iraqi Painting (Analytic Study)

Author name: مؤيد محسن محمد
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: هذا البحث.. ينحو الى اقامة بعض الحفريات في الاستعارات الشكلية لمخرجات الفن العراقي القديم التي قام الفنانون العراقيون على استدعائها في اعمالهم الفنية المعاصرة.. وكان هذا الاتجاه قد تمدد في السنوات الاخيرة لدوافع واسباب مختلفة وكانت مخرجاته تؤسس الى طريق | This research.. Tends to establish some formal excavations in the metaphors that the artists are being called on Iraqis in their art.. This trend has been extended in recent years to the motives and reasons were different outputs to establish a way of communication under the title, which says bilateral heritage and contemporary. This call to the metaphor has created a method to look at the historical roots, as well as in metaphors and types, in addition to the motivation that worked on the foundation.It was based search on the first chapter and the research problem and its importance and its objectives and limitations and then determine the terminology and out of the procedural definition.Chapter II : ( conceptual framework ) and is based on the three sections The first topic : the historical root of privacy Mesopotamia all days through the era of Civilization agricultural villages to the new era of Babylonian civilization. Section II : Concepts in metaphor and identity in art. It was based on : 1. Types of metaphors and concepts. 2. Identit.The concept and meaning and form. Section III : Metapor's root contemporary Iraqi art of painting. Has been developed indicators for the Study of the end of each chapter and amounted to seven and twenty nine of them, an indication of the historical root of privacy Mesopotamia and thirteen of the concepts of metaphor and identity in art and four metapor's root Iraqi art of painting.The researcher output indicators of the joints of Investigation said.Chapter III : ( applications ) and verified the procedures of the research community through the samples the amount of sixty works were selected of which 16 to 16 artists Intentional one work per artist may provide a section on the most important conclusions : Conclusions of the research : 1. Most of the painters Iraqi contained descriptive metaphors and rhetorical expression based on the similarities and the similarity between symbols and transformations. Samples (1 - 4 - 5 - 6 - 7 - 9 - 14 - 15 ) 2. Most of the painters Iraqi contained stylistic metaphors shifted to adopt the contemporary contrast between fonts and colors. Or mimic the old style with contemporary's Materials. Or shifted from diagnosed and to be to different. Or mimic the old style on the rise and fall through the severity of the contemporary's materials. Samples (1 - 5 - 6 - 8 - 9 - 11 - 14 ).3. Some of the works of painters Iraqis built on inherited's metaphors you either restore Gaii blogger form or spiritual meaning, inspired by the blogger. And in particular that writing symbols and seals of all kinds is one of the codes. Samples ( 8 - 9 ).4. Most of the work of Iraqi artists has developed forms of abstract and formal micro and unit construction to units and formal units and construction vehicles are included in a system with units and other formalities. Samples (1 - 2 - 4 - 5 - 6 - 8 - 9 - 10 - 11 - 12 - 14 - 15 ).5. Some of the work is built on the interpretive metaphors based on the premise match the samples ( 2 - 12 - 14 ) 6. Iraqi painters are metaphors in contemporary works as follows : A. often feminine forms of mankind and the note or its Parts. Samples ( 1 - 3 - 7 - 8 - 10 - 15 ). B. and animal and vegetable. Samples ( 1 - 8 - 10 - 12 - 15 ). C. geometric shapes often superior to the triangle. Samples ( 4 - 5 - 6 - 9 - 11 - 13 - 14 ). D. and on human and animal forms and geometric designs. Sample ( 8 ). E. and composite figures. Sample ( 2 ). 7. Metaphors were often pointing to the identity and Privacy : A. Is often consistent with the identity of the fifth indicator, which states that it is not subject Of the laws of the samples ( 6 - 9 - 11 - 12 ). B. Sometimes agree with the first indicator of identity, which provides for correlation with radical history Representatives as determined by the content of disclosure about the method And raw material and technology. Samples ( 4 - 8 - 11 ). C. Sometimes consistent with the third indicator of the identity of their types, which provides for individual And collective. Samples (1 - 2 - 10 ). D. Sometimes consistent with the fourth indicator of identity, which provides for individual change And mass displacement due to belief. Samples ( 3 - 7 - 13 ). E. Sometimes inconsistent with the second indicator of identity, which provides for the construction Idealism and style. Samples ( 5 - 14 ). F. Rarely consistent indicator of the identity of the sixth, which establishes it as root repetitive The sample ( 15 ).

تطور النظم التعبيرية في اعمال الفنان محمد علي شاكر == The Development of At The Expressionism Systems In The Works of Artist Mohammed Ali Shaker'S

Author name: ماجد جاسم مولى
Supervisor name: عياض عبد الرحمن امين محمود الدوري
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: The study represents tagged evolution systems Expressionism (Expressive systems development in the works of artist Mohammed Ali Shaker) scientific effort to detect systems expressive and evolution in the work of the artist, as well as how they epitomized the systems expressive in his works, which follows that the researcher collect scientific materials to serve the research topic four chapters, and include : - Chapter One : included a research problem and its importance and its objectives and its borders and determine the most important terms contained therein.Chapter II : The included five sections included the theoretical framework of the current study : - The first topic dealt with the concept of evolution in the optical surface, where the researcher highlighted to clarify the terms of evolution, and change some of the differences between them and whether the artist role in bringing about one of them, or not?As well as the relationship intellectual development and scientific and human impact on the development of the arts, especially in the field of art, and the dialectical relationship between all those influences in the formation moot technical and developments, as well as the conditions and terms of reference through which the artist and their relationship to the development of his production technical,As well as review some of the views of philosophers and critics in the development of art in general and its relationship to the evolution of society, as well as the views of philosophers in the scientific laws that govern the evolution.The second section has included the concept of the system in the surface visual, giving this concept (the system) some important and special process Fine, classified him to systems (point, line, color, shape, and texture) presenting the views of philosophers and critics art, and thinkers in the field of art , and artists as the installation of such systems must be process uniformity, it must take place right, Vlnakth presence and importance of its presence in the regulatory framework entirely, and the point in itself is not the basis, the foundation is the form in which organized through the points, and the line filled card and forces.In the third section, entitled the general features of the graphical where he began researcher defines the graphical Kttiar technician broad and roots and its extensions historical, as well as expressive as a school where launched and grew up and time that I knew him, as well as those who are pioneers, and exposure to the three most important artists of the artists expressive and their careers technical and negathm and their effects on , and also touched on topic to brutality and artists, genres and the difference between them and the brutality, also displays search tactics that characterized the expressive and brutality in general, and tactics for the individual artist expressions, in particular, and the branches of expressionism, which included two groups ((bridge "Qantara", and rider blue)) everything related to their founders and their tactics and affected, and their effects on the art, at the close of The researcher reviewed the topic and details of abstract expressionism in terms of the emergence and spread of most important Venaninha and performing their tactics, and most important work.The fourth section guarantees the expressive features in contemporary Iraqi drawing, where the researcher reviewed some important Iraqi artists who produced work or graphical expressive work carrying attribute, in terms of style and technical reference and local and global impacts on them, and topics Gesduha in their business.While Section V contains biography and art of the artist Mohammed Ali Shaker, where he was born, and growing up, and his studies, and his artistic career, he reviewed the researcher views of some critics and artists who wrote it, as well as interviews taped, and some information from some students, , Where the artist influenced by the nature of Western art while studying at the time, while he was influenced by other Bosatzth at the Institute of Fine Arts and their impact in his art.Has been singled out by the third quarter, research methodology and procedures, and reviewed the researcher here the research community and his samples, and then adopted the style, and the tool by which it has been collecting and analyzing information, and a detailed analysis of the selected sample models.The fourth chapter included the results of research and the conclusions that have been reached through researcher analysis, recommendations also included researcher and his proposals.

اثر العلولمة على تمظهر الشكل الانساني في رسوم المشرق العربي المعاصر : دراسة تحليلية

Author name: نذير مسلم لفتة
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:

الاضرار التي تصيب اللوحة الزيتية العراقية وطرائق صيانتها == The Damages of Iraqi Oil Painting and the Methods of its Conservation

Author name: فاضل عباس نعيم الدعمي
Supervisor name: ضاري مظهر صالح العامري
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

معطيات التقنية لبناء المنجز الابداعي في فن التشكيل المعاصر == Technological Impacts in the Global Contemporary Plastic Arts

Author name: عمار صباح عبد الله
Supervisor name: جنان محمد احمد
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Basrah
First pages:

جدل الوعي واللاوعي في الرسم الاوربي الحديث == Interweaving of Consciousness and Unconsciousness in Modern European Painting

Author name: الوان خليف محمود الجبوري
Supervisor name: عاصم عبد الامير الاعسم
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

تحولات المضمون في الرسم الاوربي الحديث == Content Transformations in the Modern European Painting

Author name: يسرى صفاء فاهم مرجان
Supervisor name: محمد علي علوان عباس القره غولي
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

النزعة الشعبية وتمثلاتها في رسوم نجيب يونس == Public Tendency in The Paintings of The Artist Najeeb Younis

Author name: ياسين علي ظاهر الحديدي
Supervisor name: حامد ابراهيم امهيدي الراشدي
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

مشاهد الحرب في الرسم الاوربي الحديث == The war scenes in the Modern European Painting

Author name: وميض سمير هادي
Supervisor name: صفاء حاتم السعدون
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

الارادي واللاارادي في الاداء الفني للرسم السريالي الاوربي الحديث == Voluntary and in voluntary in the artistic performance of the modern European surrealistic painting

Author name: وصال حمزة علي الجنابي
Supervisor name: علي مهدي ماجد
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:

الملامح الاجتماعية في الرسم الاوربي الحديث == Social Features in the Modern European Painting

Author name: ورقاء كاظم حميد الشمري
Supervisor name: فاخر محمد حسن الربيعي
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Babylon
First pages:
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