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تطبيقات التاريخانية في رسوم مابعد الحداثة == The Application of Historicism To Post - Modern Painting

Author name: ازهر داخل محسـن
Supervisor name: عاصم عبد الامير الاعسم
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: التاريخانية مفهوم معرفي اطر الثقافة النقدية الفلسفية والجمالية والايديولوجية والعلمية، على ضوء منظومة معرفية تاسست برؤية الماضي كمعطى ابداعي لتستثمره في الحاضر بفعل ازاحة الفواصل والابعاد الزمنية ( الماضي، الحاضر، المستقبل ) فاقرت ان الابداع نسق عابر ل | Historicism is an umbrella term that can be used to include several aspects of culture; namely, the critical, philosophical, aesthetic, ideological, and scientific ones. It refers to the schemata that considers the past as a creative source by applying the process of transition - and - dimension displacement in relation to what is so called past, present, and future. According to historicism, creativity is a track that penetrates both place and time and draws types of existence and situations beyond all that was found earlier. Hence, historicism is the other face of the philosophy of history as it is after discovering the laws of social change and progress drawing attention to the great transformational processes underlying human civilization. It interferes philosophically with history and its broad field of interest. As a scientific concept, historicism through revisiting earlier products and trying to free them from the limitation of registering and recording aspects of documentation. By doing so, historicism deals with each earlier product as a source of critical thinking that could pave the way for a new interpretation. In this case, historicism acts as the awareness underlying the future work of art. That is why, the research work, in question, has treated historicism as a critical term and a scientific process of identifying and analyzing a set of recent readings and their effects on the creative post - modern painting. In other words, this study, which falls into four chapters, is an attempt at applying historicism technically to post - modern performance. Chapter One presents the problem of the study in the form of the following two questions : - How is historicism generally realized across plastic arts? - What are the evaluative and mental criteria followed by the post - modern painters to provide the work of art with aesthetic, ideological, and dialectical effects.This chapter also refers to matters such as the significance, limits, and aims of the study. It ends with procedural definitions of some terms. Chapter Two is a theoretical framework of the study. It divides into three sections. The first section deals with the nature of the philosophy of history and historicism. This section has got the following four headings : ( I ) About history, and Philosophy of History( 2 ) The Concept of Historicism ( 3 ) The Concept of New Historicism( 4 ) Historicism and Modern CriticismThe second section is on historicism and interpretation in modern painting. This section has two introductory notes : historicism as an interpretive product and the representation of historicism in modern painting. The third section is on historicism and experimentation. It falls into two aesthetic and scientific subdivisions : First, historicism and the mechanism of experimentation in modern and post - modern painting and secondly, historicism as a reading in the post - modern painting. Based on the theoretical framework, a number of parameters were pointed out to be the bases on which the analysis of the sample are conducted in Chapter three. Chapter Three is on the procedures in relation to the population, sample, which consists of 20 subjects. It also tackles the descriptive approach, the tool of data collection, and the techniques or mechanism of analysis. Chapter Four is entitled ‘results and conclusions’. Among the conclusions the following are worth mentioning here : 1.Historeism is not a succession of similar eras, neither is it a set of successive similar closed periods. Actually, it is a combination of new complex creative attempts, visions, and strategies. All of these matters penetrate stages and samples and reconstruct them according to novel standards or bases. To history, Historicism means progress and development that match with what the society is witnessing and at all levels.2. Historicism is an attempt at repeating the work of art but in accordance with a contemporary vision and a progressive act to make it more technical and more aesthetic. The earlier work is made use of in two ways : first, a contemporary artist reconstructs the work of art carried out earlier by another artist; and secondly, or the same artist repeats his earlier attempt but with some modern mentality and better awareness.3. Progressive historicism tends to turn, in its post - modern works, to earlier or modern paintings within a newer starting point. There are technical differences between post - modern paintings and their modern counterparts regardless of the similarity of style.4. Analyzing and deconstructing the European modern and post - modern paintings in terms of historicism readings of borrowing have been conducted with reference to form, content, symbols, and reference as these are semantic aspects bearing in mind the relationship between reference and referee. 5. The openness of the visual text of the post - modern painting is considered to be a return to earlier masterpieces on the part of the post - modern artist who cannot help employing new technicalities, new forms, and new mechanisms that are different from those of the earlier work.

تضايف الرسم والعمارة في تشكيل المكان : دراسة تحليلية == Correlation of Painting And Architecture In Place Formation Analytical Study

Author name: مهند مسعود جميل
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: يعيش الرسم اليوم حالة من الوجود الجديد على مستوى العرض والاسلوب معا، فقد غادر بعض مستوياته التاريخية والثقافية ليس في الادوات فحسب وانما في وجوده المكاني.ان اية مراجعة لتاريخ الرسم سوف تدلنا على بعض اقتراحاته، منها المتحف وقاعات العرض، والاقتناء الخاص | Drawing lives on the case of a new presence on the level of presentation and style together, have left some of its historical and cultural in not only the tools, but in the presence of spatial.That any review of the history of painting will guide us to some of his proposals, including the museum and exhibition halls, stakeholders in the acquisition of this kind of art, namely systems that are interested labels : artist’s subjects, its recipients, and place of display.But today, some of the vibrations of structural injured joints that pattern, and the foundations of the new approaches stand the place in front of an active and influential when it became seeks, to intensify the kind of new relationships, as it became architecture and one of the most important humanitarian needs, and moved to the New World Center, identity and presence, and set up a series endless data of contemporary life.This research is interested in one of them is to stand on the ability of architecture to attract art to it as an aesthetically pleasing, meets what has been termed the needs for humans as well as lend a cultural identity on the places, so the correlation between architecture and painting one of the pillars of cultural venues and is a global phenomenon and humane public.Accordingly, The current research is trying to study these points And outputs, was based on a systematic four chapters : Chapter One : In the two sections dealing with the first following topics : structural transformation of art and architecture in the third millennium, references conceptual, theoretical needs of emerging - places, modernity and coordinated environmental needs, art and the needs of the architecture of the interior, architectural style, environmental data in art and architecture.The second section deals with the following topics : art and ether, attendance photography, painting and wall. Chapter II : in two sections : the first includes the following titles : receiving and handling, and display modes, art and production places, methods of presentation, display elements (scenography)The second topic : the alienation of aesthetic, architectural design Chapter III : In the first two sections : Art and Architecture in Iraq The second is the maintenance of the national cultural heritage Chapter IV : Results, conclusions and recommendations and proposals. Then sources and references.Results : 1. The art key role in satisfying the desires of Neanderthal and psychological needs , emotional and existential , which indicates the interaction of art and human whole.2. Architecture and art refers to ideological and religious expression, which select models and types of concordance between technocracy as the Renaissance and beyond.3. Was the walls of the graphic display methods, which bases on the type of art called the parietal art, present a work of enduring architectural form.4. Drawings shares on the facades of Architecture in the age of modernity in the emergence of models and patterns, and create new environments for Architecture and propose new styles of painting.5. Cities became in the era of modern systems place for media and advertising, making the drawing takes new aesthetic forms such as writing on the walls and illustrations and advertising.Conclusions : 1. There are fundamental forces prevailed against the presence of art and architecture in the spatial environment, artist, architect, and the new jobs, which make up a whole new aesthetic and proposes a system to correspond to the races at the expense of individuality in the type of art on the historical level.2. Contemporary techniques has become an alternative to the idea of the murals painted for building, making this art takes atrophied in the joints of contemporary spaces.3. The Architecture in Iraq did not contribute in giving proposal which met between art and space; we cannot establish a pattern of contemporary test, because of the absence of the rule aesthetic and architectural patterns.4. Almost the art of Iraq drawing loses it presence in architectural places, for cultural reasons, popular, and the propensity to alternative methods based on the decline in public taste.Recommendation : In light of this study and its findings, the researcher recommends the following : 1. Building a curriculum process between drawing and architecture and sharing needs, to build awareness of contemporary places. 2. Trying to make the drawing goes out to public places and in the space of interior design without anchoring in the exhibition halls. 3. Planning to cooperate with the institutions responsible for the city lay the foundations for the presence of Iraqi art in the joints of buildings for both the public and private sectors. 4. The introduction of new approaches to the drawing go by methods appropriate areas with major transformations architecture and the environment together. Suggestions : An update of the current research suggests a researcher conducting a number of scientific studies and research of the following : 1. Alienation between architecture and art in contemporary spaces. 2. Deconstruction in architecture and art, conceptual approach

تركيب الخامات المعمارية في تشكيلات الرسم المعاصر == Architectural Raw Construction In Modern Draw Formations

Author name: سها عبد الجبار رشيد خزعل
Supervisor name: سلام جبار جياد السوداني
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: Research adopted on readings of modern technical systems and that architecture materials contributed in large amount for art production whether in show means or the beauty action.Already art change and leave history when entered rules and materials were non known for huge extent to depart it's indicated influence for interest of location existence , as their influence with environmental architecture and technical materials until it become to pull out for board lines in their constructional combination therefore research meant in study of such large constructional attempts and to stand to on their elements and reassembling their indicated codes and it fell down for new raw as wood and stone and sand and cement and plaster tree roof glass and metal and fiberglass and it's adjacent raw were found presence in modern art so research laid many of questions about modes that enable art for investment their abilities then study the combination units and borrowing power that harmonic with new art formulas.These questions leads to locate research goal : ( discloser on modes of employment architectures raw in modern paint board ).And it's study of art architecture system and matching between them on material level of acknowledgment mutation and theory that work as reference for two cases and research was limited with art drawing and movements and arts tendencies for age extended from the year of ( 1942 - 2012 ) and research adopted theoretical frame as follow : First research : historical resume for material system and their mutations about architecture raw and their employment in plastic achievement starting from human cave until space setting and ( earth art ) adding to the architecture raw the value and basic pivot for optical surface as description of importance pivot of beauty values.Second research : got of location dimensional representation in modern draw.Third research : got (architecture raw investment in school of Albahouse ).Fourth research : got the kinds of adding architecture materials for optical surface and it was ended by some of previous signs and studies that benefited in analysis the research sample and upon chapter three was contained research procedure and research community and sample selection and research instrument and analysis and sample description that amount (19 ) of samples and fine all fourth chapter comes with many of results and conclusionsCand recommendations and suggestions. and the most of results they were as : 1 - Adding multi architecture materials to enable it for speech in modern language of art and continuity with it's new try between them by breaking boundaries of different arts fields and the use it indirect or intervene manner with of tissue board surface or wooden or metal or mixing by more than type and engaged between draw and relief in article work and we could restrict the emerging architecture materials were in modern draw as follow : sand ,cement, stone, wood ,metal ,glass ,ceramic waterproof ,glue and different materials.2 - Interfering of constructional systems for draw and architecture and sculpture and design in technical work for raw and architecture combination in optical field by using technologies gathering and combination and blending , adhesives (collage ) with colored spaces of engineering style design.3 - Contrast in thickness of accumulated surfaces that consists of technical work give sense of material deepness wherein show the upper part for paint surface draw as rotate over another surface by contracts of work so by waving the surface protrusions and size or levels over each other.4 - The use of welding bolts and knifes and biggest brushes and cutter and sponges pieces and electrical tools and mechanical and natural power.5 - Artist selection with appropriate of architecture materials to build the modern art when the execution for addition artistic dimension and beauty this represented as reference for the origin of civilization in spite of developments technology.Conclusions : 1 - Motivated of Architecture raw ability for imagination and fantasy of creative and progressive the residual supporting material that consider as inventive stage wherein artist was started from with some of elements and the idea growing up through the use of raw capabilities in artistic work2 - Versatile the use of material and technologies forming the artistic work that lead to diversity of touch signs of pictorial surface as expressional value or beauty or the gathering between them.3 - It's ability put the artistic work any were on the base without need of stand or hanging on the wall.Recommendation : 1 - put fixed curriculum study for students Art College consider as study of versatile raw in modern draw.2 - Employment of basic technologies for modern art in studying curriculum.Suggestions : 1 - Study of architecture material touch in modern draw.2 - Study the mode of furnished the modern draw by architecture raw.

التقابل بين الرسم والفوتوغراف في التداوليات المعاصرة == Paeallelism Between Painting And Photograph In Contemporary Communicatives

Author name: الهام صبحي عبد
Supervisor name: بلاسم محمد جسام
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: The emergence of photography and the invention of the camera have a fundamental effect on all the ¬branches of the artistic field such as painting, sculpture, media, advertising, newspapers and magazines. Since the inception of photography, it has diligently sought to approach the level of the art of painting. With the passage of time, and because of technical and technological development, the roles have changed. The art of painting persistently sought to approach the level of this small machine, and tried to mimic its accuracy in the embodiment of details. Photography was able to possess the art scene and to give an unprecedented prevalence for the art. For this conflict, which generated between painting and photography, the researcher decided to study the impacts and the effects between them. For this conflict, which generated between painting and photography, the researcher decided to study the affect and the impacts between them through this study, which is titled as ‘Concordance Between Painting and Photography in Contemporary Circulation’.This study consists of two chapters; the first includes the problem, aim, importance, terms’ definition and the boundaries of the research. The second chapter includes the theoretical framework and previous studies. The theoretical framework consists of two topics, the first is the art of drawing and photographic metaphor, which discusses the role of photo and its impact on the recipient, the simulation of painting to photography, the adaptation and usage of painters to the camera in their works and the connections between drawing and photography through modern artistic trends and postmodernism. The second topic is the historical root, iconography, technical transformation, photography, drawing with light, digital photography and graphics, which deals with the invention of the camera, the emergence of photography and the transformations that have occurred on the camera. In addition, this topic discusses the development of this machine, which was transformed from a large box to a very small item, which is become accessible to everyone. Moreover, this topic explains how this development has helped artists in the production of works that record fine details of objects, which cannot be seen with the naked eye, and how those works strongly competed drawing. Finally, this topic shows the impact of photography on the graphic art.In the end, the results, conclusions, recommendations and proposals were presented and the abstract and the title of the study in English were provided.

النظم البنائية في الرسم الحديث : دراسة في الانساق المعرفية == The Constructional Systems In The Modern Painting, A Study In The Knowledge Patterns

Author name: وسام حسن مزعل
Supervisor name: محمد جلوب جبر الكناني
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: In order to see the difference in the levels of thinking through out the history, it would be enough to take a look on the artworks, those being produced during a different eras of the history, that, it could easily gets us aware of the amount of shifts and changes of the thoughts. Therefore, the art emplaced as a representative for the entire intellectual and ideological outcome for each age or era. Hence, the artwork absorbed all the thoughts and beliefs of that age, and assimilated them, which is led to reproduce them in a way that can be defined in a new way as a part of the world of art, so that they began to look like icons to be pointed to, as shorthanded thought of different eras and periods of time, so if we considered the surrounding conditions, we can find that the study of the ties between the constructional system of the modern painting not only justified, moreover it turned to be a necessity for the sake of understanding the artwork comparing to itself, not to the perceiving entity for that "being" and that means, we are trying to reach for that objective reality, which lies in its foundations the conditions of the human being, with absolute presence of him, and beingeffective not only being affected, by searching for the stirrer of the knowledge, like adopting the axis of knowledge which is established a point of interaction, attraction, mutiny, rooting and modernization in the history of modern painting. On account of that, this research came "The constructional systems in the modern painting, a study in the knowledge patterns" includes an introduction and four chapters. The first chapter covers the issue of the research which is related to the foundational knowledge, the efficacious and stirrer for the art producing process, besides the commutative relationship between the evolution of the knowledge and the modern art trends, and there is an attempt to make the research resolve this issue, by displaying different thoughts ofknowledge and finding its shapes and practical applications in the constructional system of the modern painting.As to the goal of the research could be represented as : 1 - Exposing the knowledge patterns, those motivating the systems of constructing the modern painting.2 - Exposing the knowledge mechanisms that controlling the aesthetical and formal construction of the modern painting. As for the limits of the research, confined in an objective limits encompassed only the modernpainting and its spatial borders around Europe, while its time borders set between 1875 and 1943.However, the second chapter consists of four topics, the first topic dealing with the concept of the system and its mechanisms at the visual side, while the second topic is about constructional concept of the visual surface, by considering the phases of the constructional process of the painting, and describing its constructional contents then consider the foundations of the construction as whole. The third topic devoted for the knowledge patterns, by depending the concept of presenting the modernity and its most important quotes, and the mode of knowledge patterns "operating" in the arts arena. Yet, the forth topic covers the trends and styles of the modern painting minutely.The third chapter contains the research strategies, those being represented in the research community with the sample and the research mediums and procedures that being pursued in the study. Then, analyzing the samples according to the researcher's index in the theoretical field as final outcome.As well as, the fourth chapter contains the results of the research, suggestions and recommendations. On the strength of what the analytical study delivered, the research reached into a group of special results in determining the ruling knowledge patterns of the constructional system of the modern painting, the most important results to mention are : - The Impressionism : it is the record of the social knowledge pattern which is takes the form of the naturalism and scientific knowledge pattern goes into the colors theory, which can be materialized in a greatest way of presence and controlling in its aesthetic and formal construction. - The New Impressionism; which is the scientific knowledge pattern represents the controlling basis of its molding process by adopting the rules of the light and color. - The Expressionism : which is illustrates the social knowledge patterns through out the concept of the individualism, and it is the most effective and controlling in its system. - The cubism and futurism : It appears in the scientific knowledge pattern and through out the concept of the place and time values, and it is the most influencing and controlling by its presence, to its constructional system. - The Dadaism : It can be supposed that the philosophical knowledge pattern with nihilist approach practiced an ultimate influencing in its constructional system. - The Surrealism : It becomes clear that the social knowledge pattern through psychologic al studies turned to be so influential in its system. - The Abstract : Which is imbued with constructional molding, in a mount of convergence with a spiritual and philosophical knowledge pattern.And according to these results, it is possible to pointing to some of the important conclusions as : - The modern artwork is an outcome of the spiritual and physical knowledge. - The change that has been made to the painting, it is a reflection of the changes of the fact of the knowledge. - The power of art attracts all the existents around and transforms them to an aesthetic construction. - The modern painting approached to all the kinds of knowledge with a significant vision. - It is not possible to understand the essence of the artwork unless having the ability for being aware of the flaws that could lies behind it. - The switches in the constructional system of the modern painting are a result of an intended changing being achieved with experience awareness and the effects of the surroundings. - Behind each artistic and creative turning point, there is a change in the knowledge patterns, as a rule starts with the response of the creator (the artist) and the recipient (the spectator) would follow

المرجعيات الرافدينية في التشكيل الاوربي الحديث : دراسة تحليلية == The Mesopotamia References In The Formation of Modern European

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

العقلانية التطبيقية في التشكيل المعاصر : دراسة تحليلية == Applied Rationalism In Contemporary Plastic Arts Analytical Study

Author name: نبراس وفاء بدري
Supervisor name: نجم عبد حيدر الجنديل
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: تؤمن العقلانية التطبيقية بتحاور مناهج فلسفية عدة ؛ اذ تسعى الى المصالحة بالتركيب العاطفي بين الاضداد ؛ اي التاليف والتركيب بين التناقضات الميتافيزيقية ( ميتافيزياء العقل وميتافيزياء الواقع ) منطلقة من ثنائية لا من وحدة ؛ فهي فلسفة الرفض الذي يعني الاحتوا | Applied rationalism believes in the dialogue of several philosophical methodologies. It seeks to reconciliation through the sentimental composition between opposites ; which means the authorship and composition between metaphysical contradictions ( metaphysicality of the reason and metaphysicality of reality ) originating from duality and not oneness. It is the philosophy of rejection which means containments , i.e. it is dialectical and undialectical. Applied rationalism with its movement from thought to reality is an open philosophy which believes in selective methodology and objective criteria via a wide system of criteria. The study of art and aesthetic as all philosophical researches is subjected to a framework of mind which specifies the affiliation , thus we have dealt in this research with the study of applied rationalism in contemporary plastic arts since we believe in this rationalism which starts from instantaneous time , and then a philosophy for action and after that a comprehensive methodology with a philosophy of creative construction which does not stop. This means that it is described as a doctrine in giving births by adopting phenomenology and psycho analysis in each of the two contradicting fields ( science and art ) which seek authorship and composition between them.The study consists of four chapters. The first chapter takes interest in the methodological framework of the research. The problem of the research starts from the enquiry concerning ( what is the explanation of the dialectical relationship between scientific thought as specified incident and the imaginative , poetic , dreaming and meditative incidents which can formulate a plastic art ). Its hypothesis is represented by ( irrationality of postmodern art is an applied rationalism ). The research aims at ( established aesthetic and artistic critical vision depending on applied rationalism method and disclosing the mechanisms for the working of applied rationalism in contemporary plastic arts ). The limits of the research consist in studying the Bachelardian applied rationalism and art production in contemporary plastic arts which belongs to artistic movements succeeding world war II in the United States of America and Europe. As well as the methodological framework , the first chapter consists of a presentation and discussion of previous studies related to the research subject.Chapter two sets to undertake the theoretical framework of the study and consists of two sections. The first section is concerned with the study of rationalism and its transformation from abstraction of mind to abstraction in performance theorizing , and dealt with : rationality , experiential rationalism and applied rationalism. The second section deals with the transformative of Bachelardian applied rationalism ( Bachelard theory of aesthetic in creative imagination and artistic image ). It is interested in the study of the essence of Bachelard imagination and day dreaming as an imaginative instrument. It also deals with the study of phenomenology of poetic image ( artistic ) by Bachelard from point of its creativity and reception. The second chapter concluded to an aggregation of points which reveal a criticizing , aesthetic and artistic vision according to the methodology of applied rationalism. The third chapter is devoted to the procedures of the research and consists of its community , sample , instrument used , methodology and analysis of sample. As for chapter four , it consists of the research results , conclusions and recommendations. A number of basic results have been reached which achieved the aim of the research , such as : 1. Cotemporary plastic arts are characterized , as existence , by circularity , i.e. round existence ( Phenomenal ). Art departs objective reality and returns back to it. Thus , there is a kind of succession between subjectivity and objectivity. 2. There are epistemological obstacles and obstructions : common sense , generalization , verbality , essentiality and animism. These are the source of unity of artistic work in contemporary plastic arts.3. Contemporary plastic arts perform materialistic imagination and presents it over formal imagination. Materialistic imagination relegates essence and transports it to a case of trope or symbol not abstracted from sense or reality. 4. Poetic day dreaming which is considered an isolation phenomenon and passing psychological case is an instrument of imagination for extracting objectivity in contemporary plastic arts. 5. The contemporary plastic arts are formative not given , i.e. the are facts ( events ).Thus , the artistic image in contemporary plastic arts is posterior not prior and is a neonate of emotional authorship and composition between opposites ( metaphysical contradictions ). 6. Contemporary plastic arts are characterized by openness , i.e. the capability of review and exegesis. They declare the death of the image and realization of form , not as an essence which is unpenetrating but in its description as incomplete and unspecified , i.e. a domain of capabilities.7. Contemporary plastic arts rise as a result of identification of reception and creativity , a continuation between the artist and recipient through a separation , i.e. the artistic image ( origin ) in which the artistic work leans on regarding it as a medium that inspires raw senses ( subject ).The conclusions reached are : 1. The irrationality of postmodern art is applied rationalism , i.e. contemporary plastic arts are considered applied rational.2. Contemporary plastic arts are psychological - epistemological , they conduct a total behavior via construction and authorship between function and structure.

الريادة الجمالية في الرسم العراقي الحديث == Aesthetical Pioneer In Modern Iraqi Painting

Author name: عمر مجبل جبر المطلبي
Supervisor name: سلام جبار جياد السوداني
General topic: Fine Arts
Specific topic: Drawing
Degree: Doctorate
Language: Arabic
University location: Baghdad
First pages:
Abstract: تعد الريادة احدى اشكاليات ومظاهر التحديث في الابداع ومنه ماحصل في الفنون التشكيلية عبر التاريخ، وتكمن اشكالية الريادة اساسا في تصارع التاريخي والجمالي والمفصلي وتداخلها بحيث يشتركون بما لايمكن معه فكاك الخواص المتداخلة والظاهرة في تشكلات المنجز التشكيلي | Pioneer was distinguished as a dispute or conversation elements in describe and criticize modern art. Pioneer here doesn't mean some thing old or former historical events exclusively, but it is mean a process of forming pioneer phenomena as completing entity in a way to be able of breaking what is common and enters in new also imposing its change in art movement, it is distinguishing a separation, which creates a changeable, the last one is considered as a companied property for aesthetical pioneer styles. Also In art the process of works can not be worked separately, but the element of effect and affect is control at the work, and by the Pioneer creating, the image of stage will be and history of movement will be formed according to the aesthetical indications of institution which always depend on creative element. As creative has a degrees and levels also in aesthetical indications their degrees depend on creative degrees in forming phenomena and creating separation which take at it is shoulders imposing historical changeable.So researcher concentrated that the study will be at what aesthetical Pioneer mean and work which are the base in change in modern art. According which we mentioned above the study of this subject has four chapters.First one is a procedure frame beginning with problem of research explained the nature of term which contained number of interiors which showed the problem in determining frame and to reach at determining the jelly and form of term after then. And driving in roots of the subject starting from Pioneer movement generally (Internationally) arriving at aesthetical Pioneer in Iraq and this is a subject of this study (research) by observing two aims of research first one is determining the concept of Pioneer historically and then aesthetically and then showing the features and affective varieties in forming the Pioneer phenomena in modern Iraqi drawing, in addition to the term of aesthetical Pioneer terminology and measurement.In chapter two the study of theoretical frame three parts, distributing the parts of study in attempt of showing the form and content of Pioneer movement.First section is about the concept of Pioneer in its historical form and then determining their forms within old historical periods and changeable movement through times arriving to determining elements which begin to establish the concept of aesthetical Pioneer by changeable towards more self - work in art.Section two concentrated on Pioneer in art and creative term (aesthetical) and this is a base of creating aesthetical exploring creative creation in view changeable which control in aesthetical concepts through history and expanded in create styles which achieve the self - created within aesthetical exploration changes, that the styles have a direct forming in their latest stages from aesthetical Pioneer in history specially in modern.Then we found that is necessary to shed a light at the twentieth century as a directed representative of modern concept which the former studies stages struggle to arrive, so it's the point to enter to chapter three by pay attention at the aesthetical Pioneer in century time, changeable movements, the space of Pioneer expansion which formed in that time, and print a stamp of modernization at its aesthetical image.Chapter three included the measurements of research by determining research society and depended on selected samples intended way according what indicators separated in determine the concepts which dealt with subject of research in addition to the opinions of experts in this matter which are served this research. Chapter four contained the results and recommendations. 1/Chapter four includes the results and conclusions of research which are related with researches' targets, and the extent of the relations of the indications by theoretical frame and what is produced by the process of samples analysis with the showed figures of study, the most distinguished one is 1/ esthetic pioneering, although it is relation with history movement, but it doesn't accept to separate or deflect in style of Art Movement inside history2/ The transferring from general in former time to self in times after Al - Kawti was the real emerge in what known now esthetic pioneering, so the turning is the companied feature of pioneering nature.3/ Pioneering is shown by style of turning and deflecting and then the context changing in Art this declination in Art and in communications as a result of breaching which lead to change the method which is became tradition need to new pioneering.4/ one of the important condition of pioneering is to put an effect on next experiments which are emphasized and make it a base joint to be esthetic pioneering.5/ changing towards modernization was result of needs and inter pressures has a relation with time itself which is more verities in common world.6/ the modernization time is the time of increasing in generating individual styles and pioneering especially in twentieth century.7/ the form of esthetic pioneering is determined according to the nature of reference which is feed it some of them return to the historical hypothesis other for tradition, also the changes in western, history, modernization, tradition, local and western all of them emphasis the type of pioneering in Modern Iraqi Art.8/ one of the most important phenomena in pioneering in Iraqi draw was style creation as a result of merging between tradition and modernization as a result of searching on existence the modern Iraqi draw identity which is considered as an important element in Modern Iraqi draw. Some Conclusions are : 1/ It is not important that every painter be pioneer, but pioneer the person who make a creating discovery and he makes a deflecting in Art movement so to form its pioneering.2/esthetic pioneering begin from artist liberation from subject and changing the art view which is full of subjectivism.3/ style is one of the important element of pioneering it lives in style atmosphere which is created by pioneering and to be responsible of style creation and making historical extension of this pioneering.4/ searching on reality is the pioneer duty which is to be first discovering of esthetic reality by its art means and creative view.5/Pionner the person who is struggle for self –independent which was obeyed from many times to the history events by arriving for individuality and strangeness, these are the most important elements in pioneering in modern styles. 6/ Modern Iraqi Painting considers one of the pioneering experiment within the frame of Arabic east.In addition, researcher submits some of recommendations and suggestions which find them important for future criticism studies, such as : 1/ Look at the pioneering as a science, it is an establishment depend at it self and responsible on historical changes in History Art Movement.2/ esthetic pioneering is one of the aesthetic face so look at esthetic achievement by its first structure to achieving the principle of procedure specialty in phenomena study.3/research advice to study the pioneering effect which is responsible on arriving of pioneering effect, and its time that need to create its effect.Besides, some suggestion by researcher to expand in study and understanding the pioneering as a basic joint of aesthetic, with list of references contains the references of thesis besides the locations of interne which are used by the researcher. And at the end number of appendix with appendix of figures' photos and appendix of samples besides experiments information papers.

تمثلات الجسد في الرسم العراقي المعاصر : دراسة تحليلية == Representations of The Body In Contemporary Iraqi Drawing

Author name: محمد قاسم سلمان عوض السوداني
Supervisor name: محمد جلوب جبر الكناني
General topic: Fine Arts
Specific topic: Drawing
Degree: Master
Language: Arabic
University location: Baghdad
First pages:
Abstract: Takes this research idea representations body in art, and how they appear in the configuration and the method of performance in order to achieve an important element in the development of concepts of cognitive and cultural inside surface artwork, including that the body shape of his presence authority dominant in the history of art so it was for this audience self - motivated and cultural and part of the confirmed human side, and serves as a carrier of ideas and diagnosed her. Search determined on the title theme (representations of the body in contemporary Iraqi drawing), and a comparison of how the audience and what it will be, so Researcher seeks drilling in the artwork and self - disclosure dimensional, social and intellectual, which establishes this audience. Search starts with a problem down to determine which questions Eptga Find answers, including : What formal and aesthetic features to represent the body? And the way they were dealing with the body? The second chapter is the theoretical framework which divided into three sections, the first research body in philosophical thought and the eating researcher idea body as a method and tool for doing the world and self - image and brand in existence, and the second part is the presence of the body in the art world of modern and contemporary, then the third section is the presence of the body in contemporary Iraqi art and after exhibiting indicators, including : The body is being physicist who represent its ideas in the physical presence, the body is what is only bowl carrieth her, which Panevaalath and moves but tell us what is happening from the perceptions and attitudes stored in the subconscious, the body tool and a way to sense the world, because the body tag self - image,reported data emotional and instinctive and cultural overlap body absurdly by mixing forms animal Mmsuchh or opening its borders to the neighboring solids and things, and these indicators adopted researcher in the analysis of models in the third quarter, which the researcher analyzed the work of Iraqi artists and consisting of fifteen model formed space of time from 2003 to 2012 is the time period covered by the research and researcher adopted the descriptive and analytical. In the fourth quarter results were to reveal the participants and junctions in the presence of the body and which shows the body drafting distorted depending on restrictions awareness and social power, which is based on the literacy of the body and on the special markup for uses ritual to prevent or regulate the physical contact, represents the body text aesthetically and cognitively store mahmolat cultural, and bears traces of bodies that other body takes an area central to the work of art to its emphasis upon show as, and here we find approaching intellectually in reporting the body as self - image and the center of existence, and has a feeling the presence in the world and including Ageorna of things, and then was to provide conclusions and recommendations and proposals, and thus search has answered for questioning, and this may represent the body variable from one artist to another, and control of the environment and the social milieu and aspects of self and philosophical treatises of this audience

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.
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