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اثر تحول البنية البلورية لاوكسيد الحديد في زجاج عالي الحرارة == The Effect Of Crystal Structure Transformation Of Iron Oxide In A High - Temperature Glaze

اسم المؤلف: علي صلاح فلاح السلطاني
اسم المشرف: تراث امين عباس
الموضوع العام: الفنون الجميلة
السنة: 2016
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعنى هذا البحث بدراسة اثر تحول البنية البلورية لاوكسيد الحديد في زجاج عالي الحرارة , والذي يقع في اربعة فصول , حيث تضمن الفصل الاول عرضا لمشكلة البحث والمحددة بالتساؤل الاتي : ما هي تحولات الاطوار البلورية لاوكسيد الحديد في زجاج عالي الحرارة , والتقنيات ا | This research means to study (The effect of crystal structure transformation of iron oxide in a high - temperature glaze) , it consists of four chapters, the first chapter presentation of the problem and the specific questioning follows, what are the changes the crystalline phases of iron oxide in a high - temperature glaze , and techniques resulting from them? While the research objectives legally set as follows : Define the shift in the crystalline phases of iron oxide in a high - temperature glaze.Define the techniques resulting from these transformations of iron oxide in a high - temperature glaze.The second chapter mean theoretical frame and previous studies, is divided on several axes, where mean first axis study crystalline structure, while the second axis mean studying the crystalline structure of the ceramics, and the third axis mean studying iron oxide red (Fe2O3) properties and crystal structure, and the last axis mean has studied stoneware (stoneware).The third chapter dealt procedures for the search, which was conducted the work of five firing and cooling programs and these programs are, oxidized firing program (OG) reduction firing program (RG) slow cooling oxidized program (SG) the Program of firing crystalline (CG) and the program of firing multilayer glaze oxidized (LG), and in the light of these programs and the results of exploratory experiments were selected a number of mixes glaze according to each burn and cooling program, has been added red iron oxide (Fe2O3) to these mixtures different proportions.The formula unit is to calculate (Formula Unites) using an electronic formula calculation program (Glaze Master) which illustrates the totals for the three oxides values (RO2 - R2O3 - RO, R2O) set the temperature from which the inference coordinates system (Matrix).The researcher also conducted several laboratory tests the chemical Analysis , physical examinations of samples of pottery and clay (Linear Shrinkage, Apparent Porosity) and checking mineral analysis (X.R.D) for mixtures of glaze as well as examine chromatography analysis according to the system (LAB) through the use of a chromatography analysis (Precise Color Reader).The fourth chapter mean displays the results and discuss them the most important conclusions are : 1. Transformations taking place in the crystalline phases of red iron oxide (Fe2O3), resulting from the heat and cooling agents.2. Different atmosphere fire given changes in the crystalline structure of the oxide red iron (Fe2O3) by firing oxidized and reduction programs.3. It gave atmosphere reduction fired best shift of the crystalline structure of the iron oxide red, as the transformation from hexagonal crystal system with a crystallized form of a Rhombohedral system to the crystal cube.4. Proved that the oxidized firning program and slow cooling oxidized and fire the crystal's ability to keep the crystal structure of the iron oxide red in the crystal system is hexagonal shaped crystal Rhombohedra.5. Get the display technical amorphous (Crystalline Glazes) of red iron oxide, using feldspar Potash or soda, without resorting to the use of (Frit).

التفضيل الجمالي وعلاقته بانماط التفضيل المعرفي لدى طلبة كلية الفنون الجميلة جامعة بابل == Aesthetic Preference And Its Relationship To The Patterns Of Preference Cognitivethe Students Of The Faculty Of Fine Arts University Of Babylon

اسم المؤلف: ناريمان اكرم محمود العكام
اسم المشرف: عباس نوري خضير الفتلاوي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: ترى معظم الادبيات ان الجمال هو مثير يولد لدى المتلقي جملة تغيرات جسمية ونفسية ويثير انتباهه وملاحظته ويجعله يندفع الى التفضيل الجمالي، فالتفضيل الجمالي هو عملية سلوكية عامة يقوم بها المرء تجعله يحب او يقبل او ينجذب نحو فئة معينة من اعمال الفن من دون غيره | Most of the literature you see that beauty is sexy generates the recipient among other physical and psychological changes and provokes attention and be seen and makes it rushes to the aesthetic preferences, Valtvdal aesthetic is a general behavioral process carried out by one makes love or accept or gravitate toward a particular class of works of art without the other; were numerous views on the interpretation of aesthetic preferences Some of them sees an innate trait in humans and were seen as the phenomenon of educated and growing and some of them see it affected an objective or subjective factors and these theses remain in need of rigorous scientific testing to verify the sincerity in practice, the receiver factors is the human being who is exposed to acts of aesthetic and responds to a Check is a figure of the total behavioral and cognitive attributes.As well as featuring the current era we live in change and complexity, speed and massive development of the information and the era of knowledge explosion, and so we find in general growing interest in cognitive processes and here the importance of the cognitive aspects come in dealing with information, process and manipulate accounting for this favorite means by educated people in the reception and processing of information and represent patterns knowledge of cognitive strategies to learn an individual's learning style has targeted the current research to identify : - 1. Detection aesthetic preference among students of the Faculty of Fine Arts, University of Babylon.2. Identifying the differences in the level of aesthetic preference among the students of the Faculty of Fine Arts, University of Babylon, according to the race.3. Recognize the preference of cognitive patterns of Fine Arts Students - University of Babylon.4.Identify statistically significant differences in cognitive preference patterns among students of the Faculty of Fine Arts, University of Babylon.5. The relationship between the aesthetic preference and preference patterns of knowledge among students of the Faculty of Fine ArtsThe study included four chapters as follows : - The first chapter included the problem of the study and the importance of and need for, and objectives of the study and its borders as well as determine the terms contained therein.The second chapter included as part of the previous theoretical studies, as it dealt with a researcher at the first section aesthetically philosophy, while the second section has dealt with the researcher aesthetic preference, and the third section patterns of cognitive preference. But previous studies have been presented by the researcher parallel zones of separation and to agree with the current study.While the third quarter included a research procedures, as reviewed by the researcher study population, which included two school years the first and fourth students in sections of art education and fine arts at the School of Fine Arts / Babylon University for the academic year (2015 - 2016) m, totaling 325 students as a researcher ratio was adopted (50%) to extract the sample as it became a research sample (164) students and after excluding Alastmaar invalid were excluded (14) form due to the absence of some students for one scales and his presence in the other measure became a research sample original (150) students, where the number of students in the Department of Art Education, the first school year (61) students, fourth year of study (23) students, while arts assortment section bringing the number of first year students (46) students fourth school year, bringing the number (20 ) students, was selected as the pilot sample of the remaining number of students from the original community and outside the research sample native who expressed their desire to participate in the tests, as the researcher ratio adopted (10%) of the total number of community research is research sample Originally, totaling (32) students representing the proportion (10%) of the research community as it was selected 18 students from the Department of technical Education, as included the first school year (13) students, fourth year of study (5) students, while in the Arts Fine, bringing 14 students since included the first school year (10) students and fourth (4) students Talibh.kma The researcher presented Adata research and comprising the b : A measure of aesthetic preferences and scale patterns of preference knowledge, it has adopted a researcher scale (Aekam, 2013) the component (16), total and after what was presented to experts and their agreement to delete group (i), and to measure patterns of preference cognitive drafted researcher measure which consisted of (15) items every paragraph contains four positions represent the four styles (Heath patterns) distributed in the form of (a , b, c, d) as the character (a) refer to the pattern of remembering and Crafts (b) refers to a style critic and Crafts (c) refers to a pattern of principles and Crafts (d) refers to the application pattern, and thus each paragraph contains four patterns and after having heard the theories and literature and standards and previous studies pertaining to this variable, and offered a number of experts in the field of art education, psychology, and by 15 experts and after using the ratio Almaah, and after extracting the psychometric properties of the scale of the (validity and reliability) measure is ready for the final application. After this dish Almkiesan final Besgtehma the research sample and data collection and discharged in Axel statistical program (Excel) and to address the statistical data used researcher statistical bag (SPSS) program to achieve the objectives of the research, as it used statistical methods (t - test for two independent samples and coefficient Pearson and Kiodr link - richardson and analysis of multi - variance t - test for one sample.While the third quarter included a research procedures, as reviewed by the researcher study population, which included two school years the first and fourth students in sections of art education and fine arts at the School of Fine Arts / Babylon University for the academic year (2015 - 2016) m, totaling 325 students as a researcher ratio was adopted (50%) to extract the sample as it became a research sample (164) students and after excluding Alastmaar invalid were excluded (14) form due to the absence of some students for one scales and his presence in the other measure became a research sample original (150) students, where the number of students in the Department of Art Education, the first school year (61) students, fourth year of study (23) students, while arts assortment section bringing the number of first year students (46) students fourth school year, bringing the number (20 ) students, was selected as the pilot sample of the remaining number of students from the original community and outside the research sample native who expressed their desire to participate in the tests, as the researcher ratio adopted (10%) of the total number of community research is research sample Originally, totaling (32) students representing the proportion (10%) of the research community as it was selected 18 students from the Department of technical Education, as included the first school year (13) students, fourth year of study (5) students, while in the Arts Fine, bringing 14 students since included the first school year (10) students and fourth (4) students Talibh.kma The researcher presented Adata research and comprising the b : A measure of aesthetic preferences and scale patterns of preference knowledge, it has adopted a researcher scale (Aekam, 2013) the component (16), total and after what was presented to experts and their agreement Khzvt group (i), and to measure patterns of preference cognitive drafted researcher measure which consisted of (15) items every paragraph contains four positions represent the four styles (Heath patterns) distributed in the form of (a , b, c, d) as the character (a) refer to the pattern of remembering and Crafts (b) refers to a style critic and Crafts (c) refers to a pattern of principles and Crafts (d) refers to the application pattern, and thus each paragraph contains four patterns and after having heard the theories and literature and standards and previous studies pertaining to this variable, and offered a number of experts in the field of art education, psychology, and by 15 experts and after using the ratio Almaah, and after extracting the psychometric properties of the scale of the (validity and reliability) measure is ready for the final application. After this dish Almkiesan final Besgtehma the research sample and data collection and discharged in Axel statistical program (Excel) and to address the statistical data used researcher statistical bag (SPSS) program to achieve the objectives of the research, as it used statistical methods (t - test for two independent samples and coefficient Pearson and Kiodr link - richardson and analysis of multi - variance t - test for one sample.The fourth chapter included a presentation and discussed the results of the study as well as conclusions and recommendations and proposals and the conclusions of its study : 1. The presence of a low level of aesthetic preference of the students of the Faculty of Fine Arts, as she was the calculated value of $ (1,366) smaller than the tabular value of $ (1.96) at the level of significance (0.05).2. There are no differences in the level of aesthetic preference, amounting to the calculated value (0371), the smallest of the tabular value of the (1.96) at the level of significance (0.05).3. The presence of a high level of patterns of preference knowledge to the students of the Faculty of Fine Arts, as she was the calculated value (6138) and (4202) and (2785) and (2045) Patterns (remember, the principles, the critic, the application) greater than the tabular value of the (1, 96) at the level of significance (0.05).4. A) And no statistically significant differences in the pattern of memory depending on the variable (sex) were in favor of females as the value of (P) calculated (6541) which is greater than the value of tabular the (1.96) at the level of significance (0.05) and the degree of freedom (1) and (149), while the other styles, there are no statistically significant differences.B) And no statistically significant differences for the typical remembering and application depending on the variable grade and was in favor of the fourth stage as the value of (P) calculated (27.842) and (9165) on the sequence which is greater than the tabular value of the (3.89) at the level of significance (0.05 ) and the degree of freedom (1) and (149), while the typical critic and principles, there are no differences.C)There are no statistically significant differences for all styles, as the value of (P) calculated (0602) and (1933) and (0631) and (0476) on the sequence which is smaller than the tabular value of the (3.89) at the level of statistical significance (0.05 ) and the degree of freedom (1) and (149.There were significant differences in the pattern of remembrance for the interaction (sex × grade × specialization) as the value of (P) calculated (5959) was the biggest of the spreadsheet the (2.42) at statistically significant (0.05) and the degree of freedom (4 ) and (149), while the rest of the patterns were not statistically significant.5. The existence of a positive and a weak relationship between aesthetic preference and style to remember (0022), and the existence of an inverse relationship and weak between aesthetic preferences and style of the critic ( - 0.109), while the relationship between the aesthetic preferences and style principles are inverse relationship is very weak ( - 0.018), while the relationship aesthetic preference and style of the application (0125) is a positive and a weak relationship.The researcher made a series of recommendations and proposals, including : - 1. to provide educational institutions starting from kindergarten and up Undergraduate all modes of education on aesthetic preference and interpretation of its implications in all areas.2. Make use of the patterns of preference cognitive measure in determining the student to the style that suits him down as the need to enhance the cognitive patterns of preference among students through the curriculum.The proposals : - 1. relationship preference aesthetic tendencies technical students at the Faculty of Fine Arts.2. Information processing and its relationship to cultural norms cognitive preference among students of the Faculty of Fine Arts

الابعاد النفسية للتعبير الفني في الفن الكرافيتي == Psychological Dimensions Of Artistic Expression In Graffiti Art

اسم المؤلف: حوراء علي عبد محمد
اسم المشرف: علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعد الفن الكرافيتي من اخر الحركات الفنية التي نمت في اعقاب الحرب العالمية الثانية لزوال الرقابة الصارمة على الجدار او الاماكن العامة، وتعبيرا مباشرا لمشاعر الفنان بلا قوانين فهو من فن ما بعد الحداثة محملا بابعاد نفسية يصبها على الجدار او الفضاء العام | The Graffiti art is considered as the last artistic movement which appeared at after the second world war The lack of strict control appearance on the wall or puplic places, and a direct expression for the artist feeling without laws art postmodern which loaded by many Psychological dimensions touched by on the wall, or public space to form the contact with the other world forum for debate on any subject, whether economic or political, religious or even sexual. Eating current search the psychological dimensions of artistic expression in graffiti art,the research community is made up of (200) work of art,and select for the period(1975 - 2016) ,and research sample (20) work of art, statistical methods were used scott and cooer and arithmetic mean.among the results that have been reached : 1. psychological dimension has appeared Representatively by the worried among the painters throughout features ( involved and partial shapes ) ( feel the artist loneliness ) and (The presence of the features of imaginary ) and ( the Varity in colors , sizes , details and proportions and ( The intensity of the movement and emotion ) and (fragmentation of forms ) in quantitative statistical analysis , in which three items has gained the high in the arithmetic average for the items (39%) the items indicative of a anxiety , the anxiety has represented among artists (Michelle, Branuc nock ???,bankce, and Keith).2. psychological dimension has appeared representatively by introversion among graffiti art's artists statistically through ( the pessimistic sence and present the world tragically) , (the depth and ambiguity of the ideas presented in the artwork ) , ( using dark colours ) , (neglect the work space or non interest in it ), (the lack of details drawing elements and its sense of stillness ), in which three items has gained the high in the arithmetic average for the items ?????? so that these items indicate the introversion, the introversion has shown with artists ( Mart, Michelle, Banksy, Nock ).3. psychological dimension has appeared representatively by extraversion for the painters statistically throughout ( Idiomatic expression of subjective feelings of the artist ), ( sense of optimism from the atmosphere artwork ) , ( having a sense of Carnival )and ( using colours that represent happiness and pleasure ), in three points in this work area have gained the high in the arithmetic average for the items ?????? these points indicate the extraversion the extraversion has appeared with painters ( Alis , Quik and Miss Van )..Some of the conclusions reached by the researcher : ?. Generally the Postmodernism art characterized by pluralism and overlapping races , varity of art styles , keep away from the constants in the area of individual and temporary methods that the Postmodernism art characterized with and before it , and the psychological dimensions in Graffiti art agreed with the nature of this openness and The overlap of races.?. The big diagnosis in the Graffiti paintings with repetition of the artist's name characteristically in artwork ,If anything, it shows the artist's quest to prove himself , and confirmation of him especially that the Graffiti art painters are oppressed by agencies specialized lifting these paintings and reject its content which pushed to Incitement and a provocation and consider it also titled ugliness.?. The Graffiti art paintings have taken huge area from psychological dimension that filled throughout display conscious and unconscious that characterized in involvement of the recipient, it is like remarkably and exciting letters contain purposes and other media order imposed ,as well as functional ones in several areasthat is how the researcher has concluded her research by recommended and suggestions and then the sources and appendixes

النزعة الروحانية في الرسم الاوربي الحديث == The Tendency Of Spirituality In Modern Euroean Painting

اسم المؤلف: مها عبد العزيز ساجت القره غولي
اسم المشرف: عارف وحيد ابراهيم الخفاجي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تكون البحث الحالي " النزعة الروحانية في الرسم الاوربي الحديث " من اربعة فصول , تناول الاول منها مشكلة البحث والتي حددت بالاجابة عن التساؤل الاتيي : هل هناك نزعه روحانية تمثلت في مدارس فنية متعددة في الرسم الحديث ؟ وماهي مجرياتها وهل هي ناتجة عن صراعات | The current research consists of the tendency of the spirituality in modern European painting.The research including Four chapters.First chapter ,have research problem which is limited by the answer to the following question : First question : Has the spirituality a tendency in modern European painting ? Second question : is there a spirituality tendency in modern European painting ? The first chapter have also included research important and need for it , and also contains the aim of research “Identify the spirituality a tendency in modern European painting “. While the research limitation contains the period between 1870 - 1960. The second chapter includes two research , first research : includes the spirituality in philosophical thought ,while the second research includes spiritual references in art ; moreover ,the same chapter contains ,theatrical frame and its indicators ,and previous studies. The third chapter includes research procedures ,such as research society , research sample and research tool : in addition , research methodology , and analyses sample amounting “16” patterns. The fourth chapter includes results research ,and its discussion ,conclusions , recommendations and suggestions. Among results ,the researcher reached following results : 1 - Spiritual illusion and Sensory perception play important role in modern European painting , Then activate the picture s and the incusion in to the depths of and feeling inspiration of the artist and the search for spiritual reservoirs contact with God.2 - Each of the concepts of time and space associated spiritual tendency , according to the Holy Quran from Dialogues angelic where is no time and no place versa in this relative live.3 - The artist seek for a high tendency in modern European painting and this trend four in the samples analyzed and in respect of the spiritual dimensions which have fixed indication for the liberation of vision depends intuition and free fantasy that reflect the outside word in the European art inspires artists of modernity in the construction of their artwork and using them to produce artistic different drifts expresses the freedom of the spirit of the modern.4 - The pure form discussing modern abstract with modern European painting for regular structure of relation between the elements to produce geometric shapes based on engineering indicative dimension ,but high spiritual idealism in the construction abstract in modern abstract support pictorial idealism situation linked to the reality of spiritual sensory ,while in modern European painting linked to the spiritual aims borrowed from the luxury qualities of absolute monotheistic. The researcher has found a group of the following conclusions : 1 - European artist derived spiritual trend from the ancient Greek civilizations,taking in to consideration the religions, which was carrying the secrets of cosmic through spiritual and mystical contact with that employed by the artist in his paintings component creative form.2 - Spiritual tendency represented the thread of luminous or beam and the rope of connection between the artist and the creator ,the has found pure single spirit of self and pure purity and that string represents the spirit descend a pure artist and close to the body so that the devil receives and disperses it with analyzes the light in to the colors of the solar spectrum which represents indispensable article sensory ,so when the artist liquidates his self and diminishes his attachment with materialism , the light will be increased and liquidates , and then become whit lights as his origin oneself , so Mohammed the prophet “ peace be upon him “ said : “who knows himself knows his lord “. According to what results reached by the researcher and conclusion and perfecting of the interest and knowledge ,the researcher considered the following recommendation : The students of higher studies including students of art and religion and who owns the relationship should benefit from this studying.As a complement to the requirements of research and scientific, ”dimensional spirityality and indication in the works of European artists

الابعاد الجمالية للاشــــــكال الفنية في الفنون الشعبية العراقية ومرجعياتها في اللاشعور الجمعي == Dimensional Aesthetic Art Forms In The Iraqi Folk Arts And Their References In The Collective Unconscious

اسم المؤلف: علي عزيز ناصر
اسم المشرف: دلال حمزة محمد | علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناول البحث(الابعاد الجمالية للاشكال الفنية في الفنون الشعبية العراقية ومرجعياتها في اللاشعور الجمعي) باربعة فصول ضمن الفصل الاول الاطار العام للبحث وتم فيه عرض مشكلة البحث والتي حددت التساؤلين الاتيين : - هل تمتلك النتاجات الفنية الشعبية من البسط والحلي اش | The research (aesthetic dimensions of art forms in the Iraqi folk arts and their references in the collective unconscious) in four seasons within the first chapter general framework of the research in which the research problem has been identified and Altasaalin the following two : - Are Owns the popular artistic productions of rugs and ornaments forms have aesthetic dimensions representing a phenomenon in terms of the nature of the technical systems of shapes, lines and spaces and technologies. - Do you have the artistic productions as a formality texts of their references in the collective unconscious on the art forms represented in the productions Livni rugs and ornaments of the dimensions of a formal written and color and dimensions Amadaminah (code - listed - values - ideas perceptions). The importance of research in the detection of the aesthetic dimensions of art forms in the Iraqi folk art in which may enrich those in charge of technical education and researchers in the field of folklore studies and anthropological fact that folk art one of the main tributaries of the Iraqi identity. The research aims to identify the aesthetic dimensions of art forms in the Iraqi folk arts and their references in the collective unconscious. Confined to the limits of research forms the technical Folk Art (ornaments popular numerator) for the era of (1900 m - 2015 m), Iraq's adoption of the descriptive approach and the way the descriptive analysis for the purpose of fact - dimensional aesthetic forms of art and their references in the collective unconscious of the Iraqi folk art works for the extension and ornaments. As well as identifying terminology research.The second chapter presented the theoretical framework and previous studies and discussed in terms included three sections, taking the first section of which dimensional conceptual and aesthetic reference for the Arts popular composition represented by the forms and symbols in the cultural heritage of Mesopotamian and Islamic, while taking second section study of folk arts among aesthetic shape and significance, and display the third topic the concept of collective unconscious mechanisms Achtgalath in technical fields through exposure to Helms by the world, "Jonk" about the collective unconscious and mechanisms Jonk. The third chapter contained on the applications of the aesthetic dimensions of art forms in the Iraqi folk art and of rugs and ornaments through a sample of (18) form derived from the framework of a society (180) model and using indicators of research and mechanisms Jonk in the research sample analysis. As it is proven in the fourth quarter results, conclusions, recommendations and proposals, and reached by the search of the most important conclusions, including : 1. manifested many of the characteristics of the forms of roots and historical assets - alravedanah and Muslim - through the emergence of decorations geometric modified, and another with an ideological link Old such as the cross and the star octagonal and triangle Almottagabl the head, which are connected to the cultures and references unconscious association in contexts deliberative.2. larger circle has formed part of geometric abstract involved in the formation of ornaments because of its historical significance and origins of ancient and Islamic folk artist he took it upon himself to be replicated in most of his works of art realized in rhythm all the ornaments samples. Conclusions1. The aesthetic formats in the popular arts represented technician rugs and ornaments derived many Ansagha and their references symbolic and formal design of the structure of the ancient Mesopotamian art and Islamic ones.2. indicate processors Constructivism to the concept of collective unconscious and resulted in the meanings and connotations conceptual, to the existence of civilization continues to derive its terms of reference of the artistic and literary productions of Islamic civilization and the ancient civilization of Iraq.3. The most popular designs rugs based to mathematical logic, based on the structures Alchidah stringent than existing lines and obtuse and acute, to be its forms, including engineering and predominantly (appointed, and the Triangle, and the box and combine them).4. Try to folk artist through gold material moving between abstraction and reality, and the imposition of vegetarian content in a part of the artwork and the content of symbolic and social Kalhilal for example, in another part, which represents the references in the Iraqi and Islamic thought.

الطرائق المعاصرة في صيانة الاعمال التشكيلية == Contemporary Methods For Maintenance Of Plastic Art Works

اسم المؤلف: سيف حسام علي الشلاه
اسم المشرف: محمد علي علوان عباس القره غولي
الموضوع العام: الفنون الجميلة
السنة: 2016
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناولت مشكلة البحث الموسوم : (الطرائق المعاصرة في صيانة الاعمال التشكيلية) دراسة في الطرائق المعاصرة المستخدمة في صيانة الاعمال التشكيلية. وقد جاء البحث في اربعة فصول : اهتم الفصل الاول بالاطار المنهجي للبحث متمثلا بمشكلة البحث واهميته والحاجة اليه , وهدف | The research which entitled "contemporary methods in maintenance of plastic art works is divided in to four chapters, where the first chapter concerns the systematical frame work of research, that is by : research problem, research importance, research need, research aim, research limits and research terms. so the research deals with the study of the mentioned contemporary methods. research problem also concerns presenting the scientific and technical turn which leads to the development of maintenance procedures that conducted in treating the damages which affected the artistic works. these procedure are according to a modern scientific visions and methods, which differ in a great extent from the traditional methods that were adopted previously in artistic works maintenance. basing on this, the techniques of artistic work remedy were in a direct properties with great evolutions in the plastic art movement along it's long history. so the testers and those who interested in maintenance affairs have to be aware about the successful and active technique for repairing artistic work damages, by more technical and scientific additions which enhanced the artificial contemporary maintenance methods.by this aspect, the research problem originated through the answers of the following question : • what are the maintenance procedures. that adopted by the contemporary methods in the maintenance of plastic art works?• how can a maintenance worker to achive a sort of coordination between the damages nature and the scientific apparatus used for remedy. research importance and its need are integrated , where research concerns the ability of keeping the aesthetic and artistic heritage of art works through repair in its damages, and to renew its display in a better form as well. also to keep abreast of scientific development in maintenance of plastic art works which subjected to the so phisticated technology and science philosophy as well.the research represents an attempt to open the horizons of practical knowledge for researchers in maintenance of plastic art works, and to encourage them to search the nature of this science and to realize its mechanization. the research provides a scientific effort for our plastic art libraries, in order to make it easy for readers and those who concern this topic to get a knowledge about maintenance science in it's both theoretical and practical sides. advanced studies students, also may make use of this research, through their eruditeness on this research especially, research procedures, research results and conclusions, research aim is to make a knowledge about the contemporary methods in maintenance of plastic art works. research limits was specified by the study of the contemporary methods used in maintenance of plastic arts works which executed by different materials on different surfaces. this study includes the scientific procedures, apparatus, technical means, chemical materials and physical stuffs. for time, a group of plastic art works were chosen within the period (1923 - 2005) for place, they were chosen from Iraqi and Egyptian art. chapter two which entitled "The theoretical from work consists of three brochures, the first entitled maintenance concept between science and art" which includes many topics such as : maintenance and repair in concept and the difference between them, aging concept, damage concept, maintenance kinds, maintenance science and revelation techniques in art works. second brochure deals with traditional means and technical mechanization of plastic art works, in which the art work components were explained. third brochure studies the "contemporary methods in maintenance of plastic art works", in which the methods and its mechanization were explained.chapter three assigned for choosing the research group which consisted of (62) sample with different kinds of damages, (38) of them were from Iraq and (24) from egypt, (5) specimens were choosen with different surfaces, (3) from Iraq and (2) from egypt. research procedures were done by maintaining and repairing (5) specimens according to highly phisticated scientific laboratory methods. each art work subjected to a different repairing plan.chapter four consisted of : research results, conclusions, recommendations and suggestions. the researcher concluded a sum of results in the context of the answer of research aim such as : - the experimental knowledge of contemporary maintenance methods widen the importance and value of the work to be repaired treatments that achieve a functional aspect in reforming the artistic work, then presenting it in anew effective manner.that is clear in the specimens of the research sample. - the scientific knowledge of contemporary maintenance methods which used in specimens of research sample effected by the activity of physical and chemical factors, and by their interaction as well. that was clear through conducting many laboratory tests for materials and item used in repairing and maintenance processes.Research treated the specimen (No.4) according to scientific analysis done by vertical photo microscope (V.P.M), which contributed in repairing treatments of damages through marking the detects, cracks, detachment and revealing the original clours. Researcher applied the process which known "Fourier transform in treated spectroscopy" (FTIR), for repairing the specimen (No.4) through making use of it to find out the work consistent and the way by which the colours were applied.Researcher had concluded the following conclusions : • repairing treatment according to contemporary maintenance methods contributed in displaying a new results, which differ from the results of traditional previous methods. That is because of the use of the new developed techniques of the modern maintenance apparatus, as well as using a specialized new devices which operate quickly and precisely.• The use of contemporary scientific apparatus shows a variety categories of testing and scientific analysis for all detects and damage that infect the painting, beside showing the ability of damage treatment by the adopted maintenance and repairing mechanization. Then it is clear that the joining of analysis process with maintenance treatment emphasizes the necessity of searching of temporary scientific and technical alternatives, coming to enhance the structure of the artistic work and repairing it as well, beside keeping it away from danger and circumstances which may infect it.Researcher submitted a sum of recommendations, suggestions and a list of resources.

الملامح الدرامية وتمثلاتها في منحوتات بلاد النهرين == The Dramatic Features Which Are Represented In The Sculptures Of Two Rivers Land

اسم المؤلف: محمد علوان كاظم العتبي
اسم المشرف: عبد الحميد فاضل البياتي
الموضوع العام: الفنون الجميلة
السنة: 2016
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: This study intends for plastic creations which belongs to the civilization for two Rivers Land , and entitled "The dramatic features which are represented in the sculptures of Two Rivers Land ". It is a perusal to the protruding sculptures and the cylindrical stamps in attempt to know the dramatic structure they contained , through which the artist of the Two Rivers established plastic images change by their meanings the oratorical to imitate the human action and its religious , political and social connections by describing them as intellectual concepts, their methodology is the brain of the Two Rivers since the semi - writing age until the decline of modern Babylon, The study included a discussion of the dramatic construction elements and the mechanism of their working in the sculptures with regard to their formal and conceptual symmetries. The study included four chapters, the first chapter contained the methodical frame of the study , starting with the problem ended with the following inquiry : How were the dramatic features represented in the sculptures of Two Rivers Land ? The study is important because it highlights the dimensions of drama a concept by describing them as an aesthetic structure controls in a gestation of Two Rivers Land sculptor, which forms a new perusal to the sculptural texts which belong to that age with its historical sequences. The study also paves the way for larger understanding of Two Rivers culture in its artistic and historical aspects. The purpose of the study summarizes in coming to know the dramatic features represented in the sculptures of Two Rivers Land. The chapter also included the limits of the study represented ( by subject ) in the sculptural , protruding product and the cylindrical stamps , and ( by place ) the Two Rivers Land , and ( by time ) from the semi - writing age till the end of the modern Babylon age. Moreover , the researcher defined the terms of the title of the study used in the theoretical frame and the procedures , when on the other hand , the second chapter included the theoretical frame and the previous studies of the research, for it included three basic studies , the first took an interest in the drama concept and its rise, in which the researcher reviewed a preface about the rise of drama and the elements of the dramatic structure ( the plot, personality , language, the idea and the visualizations ) , in addition to the historical roots of the rise of drama in the plastic arts and their changes through the ages. The second research was entitled " The dramatic features in the thought of the Two Rivers Land " which branches into two axes , the first " The dramatic features in the religious thought ( the beliefs, rites and legends ), the second axis included the dramatic features in the authoritative thought , through which the researcher reviewed the dramatic ceremonies concern the ownership and its religious connections. The title of the third research was " The dramatic features in arts of Two Rivers Land " , which tackled the dramatic works in the plastic arts ( building , sculpture , cylindrical stamps , crockery and the mural ). The third chapter was based on the procedural frame contained the whole study , included the sculptures of the Two Rivers Land ( the protruding and cylindrical stamps ) which come to ( 120 ) samples , regarded as an establishing base to choose the study specimen which comes to ( 20 ) samples , and were choose intentionally according to reasons allowed by the researcher to comply with the study purpose, among them , depending on the texts in which the dramatic features concentrated within their formal and conceptual systems which drive at the realization of the dramatic structure which was contained in the sculptures of the Two Rivers Land. The researcher also depended on the cognitive indicators which were revealed by the theoretical frame as an instrument for research , but the research methodology is the ( descriptive, analytic ) as the followed methodology in the artistic and aesthetic studies followed by analyzing samples of the study specimen. The fourth chapter was a review of the most important results which were reached by the researcher after analyzing the sculptural samples represented the study specimen , the most important among them was : The dramatic features become clear in the sculptural texts through treating the dramatic structure elements by the artist. The researcher reviewed the approaches of those elements and the mechanism of their working in the samples mentioned in the analysis and the dramatic action rise in the specimen samples through the concept of ( the struggle ) which materializes in the sculptural views according to the action structure and its subject, where it reflects the human behavior structure and the wills contradiction in the content of the dramatic performance and in the light of those results , the researcher reaches several deductions , the most important among them are : the Two Rivers Land artist had a large capacity in observing and comprehension the reality and in imitation it , in addition to his awareness to his awareness to the intellectual changes through the history of that civilization , therefore , the sculptural works came to embody the cultural scene and its development in every age , followed by recommendations which the researcher thinks can serve and develop the artistic production movement in Iraq, then the researcher offer some suggestions to continue what he has started according to what he has raised of topics in the tour of his study. Finally , the researcher put the sources and the references which contributed in the theoretical establishment of the study and what followed it , in analyzing of the study specimen , then he put the appendixes which contained the illustrative tables regarding to the subject of the study , until the study is concluded by an abstract in English language.

بنية الخطاب في الاشكال الواقعية للخزف المعاصر == The Structure Of The Speech In Real Forms Of Contemporary Ceramics

اسم المؤلف: حوراء كاظم عبد الحسين شبر
اسم المشرف: تراث امين عباس
الموضوع العام: الفنون الجميلة
السنة: 2016
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: انطوى الخطاب الواقعي على معاني دلالية تعد مؤشرات العقل وطبيعة النظر الى العالم والحياة, الامر الذي جعل من الشكل الواقعي خطابا متحركا يتسم بطابع الهيمنة والتعدد والتنوع, تبعا للتحولات الفكرية والتقدم العلمي والتكنولوجي فضلا عن دور الفنان /الخزاف في خلق | This involved the realistic discourse on the tag metals are mind indicators and the nature of looking at the world and life, which made of shape realistic speech moving in character hegemony and pluralism and diversity, according to the transformations of intellectual and scientific and technological progress as well as the role of the artist / potter in creating speech Khozvia reflect the reality of their community and their culture and Aydlewjyatem through an important tool, but a ceramic art form Vakzb realistic structure of knowledge and replace it from rolling to the reality and the reality of a new esthetic and it Address the current research study (the structure of the speech in real forms of contemporary ceramics), which is located in the four chapters devoted the first chapter to a statement of the research problem and identified by answering the question follows : What is the structure of the speech in real forms of contemporary ceramics?And it demonstrated the importance of research to highlight the dominant in the Western world of letters to find out what is happening in the Western world and the culture of their community, as is the art realistic cornerstone in our contemporary life and as an opportunity to recognize the cognitive facts also included the figure unrealistic technical letters with inferences of thought which have an impact Brphi curriculum in cognitive and academic institutes and colleges and the Centre for Fine Arts.While ensuring objective of the study know discourse structure in realistic forms of contemporary ceramics and at the level of the cultural pattern contained therein that form either the limits of the research included the objective limits studying business ceramic realism of the forms and the limits of temporal from the (2000 m - 2015 m) and the limits of spatial in the United States and some European countries They also reviewed the terms are (infrastructure, letter, shape, realism).While the second chapter of the theoretical framework and the most important indicators that resulted, and previous studies, as it included a theoretical framework three sections explain which influenced the speech unrealistic shifts intellectual, mental and the accompanying change of ideological ideas, social conventions taking place in the center of human things that make each style stage a certain amount of rhetoric unrealistic, and therefore have Me first section addressing approaches conceptual discourse the second section was devoted eating discourse realistic across different time period explained through which shifts discourse realistic structure in the ancient art of the Middle Ages and then in the Renaissance and then shift Alazaara discourse realistic in contemporary art while eating the third section speech figure in contemporary ceramics.The third chapter dealt with procedures for search and included the research community and appointed by the research methodology, which the researcher approach adopted Alosfi - method of analysis based on the indicators resulting from the theoretical framework as a tool for the analysis of the sample, (15 guestrooms) in accordance Khozvia from an adult search community number is (159) in accordance with Khozvia.The fourth chapter discusses the results reached at her research, including : 1. The speech took formations cognitive structure in the form of a realistic and contemporary modes of communication in order to make it within the circle of virtual reality, for reality puts an endless production of images.2. cleared discourse structure in Figure realistic ceramic, Kpnip synchronous moving up to read the event through the picture, and create an image of the event, and in both cases is the characterization of the reality of the current era, and this is what made the unrealistic figure holds a narrative structure.3. Generate realistic figure in the contemporary ceramic art a moving speech in the field of sensual pleasure, came realistic figure, such as building a knowledge of the structure of the speech from the visual experience.As well as the conclusions of the research, including : 1. The structure of discourse in contemporary ceramic forms of realism, is the restoration of the Queen of the perception of the taste aesthetic ceramic formations process visually, after the departure of those models Zmcantiha first and functions.2. The structure of the contemporary discourse in the form of a realistic ceramic axes can be included daily events of contemporary life and the requirements of modern man, and the culture of consumption and commodification of social and that social structures and economic structures, political structures, and the culture of technology and electronics.3. The forms constitute a realistic reading and revive the values of margins and documents that make up the culture of the current era, and realistic figure in contemporary ceramics, converts vocabulary borrowed the structure of the group of letters.And continue with the conclusions and recommendations were followed by suggestions The list of sources and references.

جماليات المنحوتات الخزفية في العصر السلجوقي

اسم المؤلف: ميساء سليم عبد الواحد الخفاجي
اسم المشرف: محمود عجمي جاسم الكلابي
الموضوع العام: الفنون الجميلة
السنة: 2017
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعنى هذا البحث بدراسة جماليات المنحوتات الخزفية في العصر الاسلامي السلجوقي، والذي يقع في اربعة فصول : تضمن الفصل الاول عرضا لمشكلة البحث والمحددة بالتساؤلين الاتيين : هل شكل العصر الاسلامي السلجوقي ظاهرة في الطرح لما انجز من المنحوتات الخزفية، بحكم م

تاثير الحرق الاختزالي في زجاج الرماد الملون == The Effect Of Burning Meiosis In Stained Glass Ash

اسم المؤلف: زهراء رسول كاظم الاوسي
اسم المشرف: حافظ كاظم المشايخي
الموضوع العام: الفنون الجميلة
السنة: 2016
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناولت هذه الدراسة تاثير الحرق الاختزالي في زجاج الرماد الملون, اذ تم اختيار طينة الكاؤولين (الدويخله البيضاء) لتحملها درجة حرارة عالية, اذ تم صياغة خلطة الطين المتكونة من الكاؤولين (Kaoline) والطين الناري (Fire Clay) والسليكا الزجاجية (Flint) الفيلدسب | This study include the effect of reductive firing in colored ash in which I chose koaline clay in (Dwakhla) because it with stands the high temperature, it constitutes from kaoline., clay fire flint, filsbar. Alsodume I chose two types of ash (saef ash, and alqash ash) the added constituets (filsbar Alsodum (Na2OAl2O3.6Sio2) Borax (Na2o2B2o3) Calcium Carbonate (CaCo3).In order to decrease the tempreture of ash, I chose six colored oxides three paints which in cluede : (managanese oxide (MnO) , Copper oxide (CuO) , Redlron oxide (Fe2O3) , Chromium oxide (Cl2O3), but the red, yellow, blue paints are present in Babylon governorate.For the part of the ortical aspeet, (second part) had three researches : The first Glaze which had special effects which include the historical aspect which include the ash glaze salt glaze, bone ash.The second part include the major glaze components and the colored effects of colored oxides in the research and the third part include clays, firing place, reductive objects in the research.The third part of research procedures include research methodology used, were prepared from clay and burned at temperature (1200 - 1250 - 1300 ) and was prepared glaze and subdue all components of the mixture of glaze the unit formula act which materials.Temperature (1150 , 1200 , 1250 ) and featured the best one temperature (1200) was prepared glaze and subdue all components of the mixture of glaze to the unit formula Act which added materials as base Secker and reached number mixture (4) mixtures were grinding glaze process by the centrality of the mill and plate glass output on the objects of pottery and the use of gaseous furnace in the burning process and temper atures (1150, 1200, 1250) best one temperature (1250) and by an electronic device was measured and burning has reached the number of samples that the tzgegeha (90) samples and by experts in the technical field were selected (40) samples to be conducted tests on them where they were examined chromatography analysis using a device (precise color reader) and check - equipped projector using a device (digital microscope) and examine the texture by experts with competence after the appointment of a scale of three standards by the researcher is composed of (coarse, medium and fine and medium fine). And then was a calculation to measure the surface tension and density of the glaze ceramic.After that I do mathematical calculation in order to measure the surface tention, density of ceramic ash, the results to research glaze samples in which. I use 2 types & glaze : saef ash and kasab ash glaze, the study concluded that kasab ash glaze is better than saef ash glaze in oxide live process, but the reductive results concluded different results and appeased better results in nephthalin redacted and wood dust redacted in colored homogeneity in all samples which had good fusion and good aphesis properties.In the surface in either the color homogeneity in results of redacted samples (Nephthalin) wood dust ash, gas, carbonate, silica and the results were compatible with research hypothesis

توظيف الاشكال الفنية الشعبية للتمائم والاحجبة في الفن التشكيلي العراقي المعاصر == Employment of Public Artistic Forms For Amulets And Puzzles In The Iraqi Contemporary Plastic Art

اسم المؤلف: نادية عباس عبد الله نجم الخفاجي
اسم المشرف: علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: The current research (EMPLOYMENT of PUBLIC ARTISTIC FORMS FOR AMULETS AND PUZZLES IN THE IRAQI CONTEMPORARY PLASTIC ART) aimed to knowing the methods of how to employ the popular artistic shapes of amulets and puzzles in the contemporary Iraqi plastic art , the research includes four chapters, first chapter dealt with showing the problem of the research represented by the question : Do amulets and puzzles pose a cognitive, cultural and religious space in the consensus memory for communities and Iraqi community specifically is one of them andto what extent do the popular artistic shapes represent an aesthetic phenomena has its presence and effect as it needed to be employed in the contemporary plastic arts?In addition to that included also importance and need of the research, the goal of the research was represented by knowing the methods of employing popular artistic shapes for amulets and puzzles in the Iraqi contemporary plastic art. The limits of the research were about studying the works of Iraqi plastic art such as painting , sculpture andceramic in the period ( 1952 - 2010) , then the researcher defined the most important term came into this research.Second chapter concerned about theoretical frame and previous studies, theoretical frame included two sections, the first one is about : investigating historical, cognitive and aesthetic dimensions of amulets and puzzles , while the second section was about : Quotes of employing the folk heritage in the Iraqi contemporary plastic art, then ended the theoretical frame with a punch of indications by showing previous studies and discuss them.Third chapter pertains with procedures of the research included the following : Population of the research included (82) plastic art works (painting, sculpture and ceramics) within the limits of the research, it is been choosing (18) patterns and analyzing them in the shed of imitation of tool pivots.Research's tool : Through the theoretical frame and its indications, the researcher created a content analyzing form to analyze the artistic works through sample of the current research, in the shed of stipulations of pivots of research tool, this form was showed to some experts, the she modified the form after entitling the external truth according to Coper equation, then she created the consistency of the tool using Scott equation.Fourth chapter : included the results, conclusions, recommendations and suggestions, the researcher had come up with some results, most important ones are : - 1 - The public artistic aspects for amulets and puzzle featured with general characteristics of the public heritage like spontaneity, flattening, abstraction, reduction simplicity and differentiation that makes them more closer to modernity and contemporary arts, push the contemporary plastic art Iraqi artist to employ them in his artistic deeds with the features and characteristics and facilitate the employment tools like what we see in the most of the samples of the research's population.2 - The public artistic aspects for amulets and puzzle take constructional employing tools of a formative direction via volunteering in the contemporary Iraqi plastic works in the arts of painting, sculpture, ceramic through its adjacent , abstraction , logic of achieving artistic and organic in the artistic deed and its matching with treatment and techniques that featured with contemporary in the deed like what appears clear in most of techniques of employing these aspects in samples of the research population.3 - The employment's techniques of the artistic public aspects of amulets and puzzle matched with the artistic contemporary Iraqi deed as it described vital expression about the Iraqi environment within color and line units and animal geometric aspects as describing these aspect as products produced from the Iraqi environment itself with its all modifications and variety.. and showed up in most of the samples of research.4 - The employment's techniques of the artistic public aspects of amulets and puzzle are characterized with its designative compositions , unity and adherence of its artistic construction from the shape side, its abstract conductivity and elaboration ability that is able to express.Then the researcher submitted some conclusions as the following : 1 - The public artistic forms of amulets and puzzle are considered as designative constructions able to modify m formation, analyzing, construction, creation, reduction and interaction with other modern conceptive frames and employ them in the contemporary plastic deed.2 - The arts of cultural and public ancient Iraqi heritage (included arts of amulets and puzzle) , their shapes, units and symbols have featured with rude non - reality depictive and then its enrichment that require from the viewer to have the skills of interpretation and explanation.3 - The plastic contemporary attempts that inspire symbols, aspects of cultural and public heritage included amulets and puzzle may lead to let the public identity to international project.4 - What inspires the artistic public for amulets and puzzle that they are considered as results collect between what is subjective and objective, the first one appears clearly through tweaks, treatments and attempts of the artist to show the objective of additive public references for amulets and puzzle.The research was finalized with a list for sources, references, appendixes and an English abstract.

الاساطير الاغريقية وتمثلاتها في الرسم الاوربي == Greek Mythology And Their Representations In European Painting

اسم المؤلف: عبد الرحيم مجيد اسماعيل السامرائي
اسم المشرف: عباس نوري خضير الفتلاوي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: The art as a creative lasting power since legend raising as a literary text , the plastic art was working as a creative alternate for literary texts. With many years , this art has lasted to present human memory , they found the conflict within spiritual , psychological and worldly life with form and styles that are updated frequently. From this permanent desire to inspire the legend especially the Greek legends in European art especially drawing during renaissance to be described as an extension for that Greek cultural root which represents the structure of western artist. The current research interested in studying of Greek legends and their representations with European drawing from the period ( 1400 - 1800 A.D.).The research has included four chapters. The first chapter dealt with the research problem , its importance and aims , moreover ; limitations of specifying the important expressions in it. The second chapter has included the theoretical frame with three topics. The first is the concept of legend , the second included the situation of legend and art in Greek community. The third topic discussed the subject of legend and art in European society. The researcher concluded this chapter by showing previous studies and discuss them bedsides the indications of theoretical frame.Chapter three has discussed the whole research which is ( 71 ) artistic works related to renaissance Barook and Rococo. The sample of the research is ( 15 ) artistic works that have been chosen with intended method taking in consideration that these artistic works have given the researcher a chance to cover the Greek legends representations in European drawing , besides a consultation of a group of experts who have an experience in plastic arts and fine arts education. The chapter has also included the research device ( a form of analyzing a content ) and the stages of its structure besides its authentication and confirmation which was used in analyzing the research sample.Chapter four has included the most important results that the researcher has reached.1 - Greek civilization has basically established on ideological and metaphysical which stands on the idea of existence of holy divine community that behaves the human beings life. So the Greek artist has found formal representations groups for these imaginary gods which gather between their power and the thinking of Greek society where they raised in , reflected by effective artistic remains and the narrationswith imagination through appearing the nature power in shape of gods or extraordinary creatures which are common in use in Greek popular heritage. For this reason , a group of legendry shapes have appeared , divided in its shape structure into telling the realistic shape especially in human legend shapes that represent the god as ( Venus god ) ( Zeus god ) ( Hades god ) ( Apollo god ) ( Athena god ).2 - The revival artist has depended in his artistic drawings of choosing symbol words for Greek legends especially widely spread legends stories such as ( Zeus ) , ( Ifrodeit ) ( Harkel ) ( Bakhoos ) ( kidnapping Zeus god for princess Europe ) ( Apollo rides a sun vehicle )and ( Lida and pelican bird ) assuring their interests in their ancient heritage due to ideological and sociological vision carried their artistic existence an active aesthetic power with pictorial surface in the effects of anxiety and emotions.The conclusions were : ? The Greek legends through their indications , structural elements and indicative displacement in Europe drawing across its stages ( renaissance , Barook and Rococo ) have represented an obvious representation in shape and content and that what the researcher has reached to when analyzing the sample of the research.The researcher finished with a number of recommendations some of them are : 1 - The necessity of taking care from artistic and educational associations such as colleges of fine arts to deepen the artistic and cultural awareness for Greek inheritance and what it has of legends and epics because it represents a human inheritance in general by including studying materials that concern with history of ancient art and philosophy of art and aesthetics with large interest for Greek legends and epics for being an effective and affected cultural ratio with oriental civilizations specifically the civilization of Mesopotamia and Neel land.2 - Directing the students of fourth stages in plastic arts and fine education of necessity of including their artistic projects for legendary topics whether Greek or Babylonian or Egyptian since they represent an global cultural legacy that touches all humanity without exception.

جماليات التعبـير في التصوير الاسلامي == Aesthetics of Expression In Islamic Imaging

اسم المؤلف: محمد عبيد ناصر العـناوي
اسم المشرف: جعفر عليوي الخفاجي | فاخر محمد الربيعي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يعنى هذا البحث بدراسة (جماليات التعبير في التصوير الاسلامي )، وهو يقع في اربعة فصول، خصص الفصل الاول لبيان مشكلة البحث، واهميته والحاجة اليه، وهدف البحث وحدوده، وتحديد اهم المصطلحات الواردة فيه.فتناولت مشكلة البحث موضوع (جماليات التعبير في التصوير | This dissertation studies (the aesthetics of expression in the Islamic imaging), which consists of in four chapters, the first chapter is devoted to a statement of the research problem, and the importance and its value, and the aims of the research and its limits, and to identify the most important basic terms in the study. The research subject (the aesthetics of expression in the Islamic imaging), describes arts as an important a means of expression and the needs and concerns of human religion, as a result of spiritual and psychological human to need beauty, he began groping for meaning and forms in outer reality, self - sense and then take reflected in beautifully artistic product, Islamic civilization was not far from such innovations in the field of the arts, a variety of artistic schools which differed in their methods and varied in its conclusions that were influenced by religion that espouses, these schools contributed significantly and directly in the nature of the themes and ideas, beliefs and accidents expressed in various areas of the arts, and here emerged the role of Muslim artist expressing the philosophy of the age in which the belonged to more than creative concepts prevailing, which surrounded the artists within the boundaries of the Islamic nation or its neighboring civilizations, but he had dialogue and taken from the past or contemporary achievements and several pictures. Throughout the Islamic thought and religious belief, which had a wide resonance in the community movement, and his habits and his perseverance , and culture, so it has to reflect the patterns and common forms of matter and during the event, expression, idea and content. Hence the problem of the current research has arisen through answering the following question.How did a Muslim artist express his constructive and aesthetic production?And raised the importance of the research by highlighting the focus on the Islamic imaging expression and clarify the concept in a constructive process. That the first chapter, contains the aim of the research which is : Detecting and identifying the aesthetics of expression in the Islamic imagingThe limits of the research are identified by studying the aesthetics of expression in the Islamic imaging for the period (635 e - 1090h) (1237 m - 1680 m) and within schools (Iraqi, Iranian, Turkish, Indian), as well as a review of the basic terms such as : (beauty, aesthetic, expression, photography)The theoretical framework consists of three section : The first section, is devoted to the concept of beauty in philosophical Islamic thought, starting from Greek philosophy as paving the Islamic philosophy down to the thought of the aesthetic of (AL - Kindy) , (Farabi) , (AL - Tawhidy) , (Ibn Sina) , (AL - Ghazali) and (Ibn Arabi(.The second section contain the expression between form and content, and in it (the concept of expression, expression in primitive art, concept of form, the concept of substance, bilateral form and content, in the form of expression relationship, a relationship of expression with content, the relationship of expression with( the substance. The Third contains axes : The first axis included the aesthetics of expression in the Islamic art through the entrance of Islamic art, and references of Islamic Art, and the characteristics of Islamic art represented monotheism, unity, movement, and abstraction, as well as the attributes of expression in the products of Islamic art through the Islamic decoration, and calligraphy, and architecture, and porcelain. The second axis included the expression applications in the products of the Islamic imaging through the emergence of the Islamic imaging, the impact of prohibition in the Muslim imaging, as well as the aesthetics of expression in the Islamic photography schools (the Iraqi school , Iran , Turkish and Indian Schools). Then the researcher displayed the previous studies. The third chapter contains the procedures the study : including the study and selection of a sample of appointed adult (22) stylized Islamic imaging divided into six miniatures graphical Iraqi school and the Iranian school, and of five miniatures of Turkish schools and Hindi, then the of tool Analysis of the sample. The fourth chapter included results, conclusions, recommendations, and suggestions/ Among the most important findings of the researcher : 1. The expression feature of the Iraqi Islamic her miniatures have a renewable energy, because it combines the tangible and intangible images of , the natural shape and religious symbol.2. aesthetic expression in the Iraqi school emerged through the form in flatness and distracting leisure and work on the principle of the solenoid and linear perspective in art forms relationship with each other and in the spatial relationship with the space.3. It appears that solenoid perspective evident in the Islamic Persian imaging through visual movement in focusing when look at the people in the middle of miniatures and then move to neighboring hubs in a mechanism to create artistic works refers to the aesthetic side of artistic expression.4. the aesthetic expression appeared in Turkish school in an expressive narrative way through realistic transport which is not far from the realistic reproduction of forms inspired by nature5. repetitive conte xts in Indian School characterized by esthetic harmony by simulating the shape imparted to the aesthetic expression of Indian photography. The researcher concluded the following : 1. Muslim artist based in the Muslim imaging schools to evoke the determinants of structural elements and organizational foundations, which represents the need to do the aesthetic expression and an attempt to understand the link - state equalized between reality and ways of expression.2. Islamic environment features reflected a clear impact on the structure of Islamic art in general and photography in particular, the structure was considered as an indicator of citizen reveals the nature of the link between the environment and aesthetics works expression in Islamic miniatures.In addition a number of recommendations, suggestions, Arab and foreign references and appendices, the abstracts in English have been displayed.

بنية التصميم في رسوم ضياء العزاوي == The Structure of Design In Dia Al Azzawi Paintings

اسم المؤلف: ازهار كاظم كريم الشريفي
اسم المشرف: عباس جاسم حمود الربيعي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: كان الفنان ضياء العزاوي من الفنانين الذين لهم الاثر البارز لتاسيس فـن عراقي ذي خصوصية وطنية وقومية تستند الى تراث فني عريق ولغة معاصرة قادرة على التواصل مع منجزات الفـن الاوربي والعالمي الحديث. غير ان الفنان العزاوي خاض تجربته الفنية في سياق اجتماعي وثقا | Dia Azzawi, an artist of artists who have a prominent effect of the founding of the art with the privacy of Iraqi national and national heritage of art based on ancient and contemporary language that can communicate with the achievements of European art and the modern world. However, the artist - Azzawi fought experience of art in the context of various social and cultural, the contemporary - Azzawi, the conditions of war experienced by the Arab world and the struggle of the Palestinian cause against the occupation and suffering experienced by Arab intellectuals and the Iraqis during this period. Finally, the migration to the west in the direction opposite to the flight Jawad Salim, who studied in Europe and returned home, where al - Azzawi be in Iraq, then technically he journeyed to Europe. This dye experience technical features artist who is looking for innovation across the horizon of his dialogue with Western art and a new life, not the horizon of incorporation alone. Hence, al - Azzawi was launched in an attempt to confirm its presence in the present art world and his desire to maintain its root in the soil that extends the Arab world and the preservation of his artistic map of his country, Iraq. At the heart of current research in the study (in the fee structure design Dia al - Azzawi) is divided into four chapters, Chapter I contains an account of the research problem has summarized the problem of current research questions has the following : 1. How could the artist Dia al - Azzawi of the control structure design in his work that combines abstract formalist approach, despite his eagerness to sacrifice the intellectual content of the painting? 2. How does the artist Dia Azzawi visual compositions with the work that is rich with symbols of heritage, diversity on the one hand, which seeks to keep up with modernity in the drawing on the other? 3. Can the artist Dia al - Azzawi of the development of the structure design in works of art on the diversity of sources of inspiration and employment Aharovi heritage, literary and poetic to be commensurate with all of these trends? 4. Can the artist to make works of art with a list of complementary relationships between form and meaning and their conformity or disagreement with the purposes of property across my design a system based on technical grounds between the meanings of the structure design and ideas that are the basis for its engine of the year? Search has been divided into four chapters, which included the first, the definition of the problem of research and its importance and need for, and purpose of the research summarized by define structure design fees Dia al - Azzawi. Also included the first chapter defines the limits research, and determine the terms contained therein. The second chapter, a theoretical framework for research, has been divided into four topics, addressing the first part, the nature of the structure. And studied the second design processes, while the third topic dealt with the design features in the drawing contemporary Iraqi, The fourth topic was addressed in the design construction Ramps fees Dia al - Azzawi. Chapter also included a presentation of the previous studies and discussed. And ensure the process for the third quarter, the research community, and a sample search, search tool, and analysis of the sample, as well as statistical tools and sports, also included an analysis of the twenty - act of the artist Dia al - Azzawi. The fourth quarter included the results of research, and a number of findings of the researcher, including : 1. Technical design at the Dia Azzawi, subject to the disposal of the artist forms which deprived and treated to a limited extent of the reduction and simplification maintains close ties to their assets from the real world and tries to merge with each other and detract from the completion of the core parts, which establishes its basic structure. 2. Forms when an artist Dia Azzawi, a solid and coherent does not always tend to turn and disappearing in space imaging is always surrounded by the limits established institution strongly about the land and the land itself is a strong and consistent surface gives the impression of the possibility of diving in the folds or Oguarha away, and the forms themselves are always crowded in large spatial space is punctuated only in limited spots do not weaken the cohesion. 3. The structure determination of Dia Azzawi, based on a ground area containing all of his thoughts and symbols, these interiors are the focus of his genuine interest above can establish different types of configurations always remain consistent with it is based on the floor of aesthetic and technical court. Also included the separation of research findings, and some recommendations and proposals, and disclosure of sources of Arab and foreign research, and a summary in English.

جماليات النزعة المدينية وتمثلاتها في فنون ما بعد الحداثة

اسم المؤلف: اديان يونس ياسين الربيعي
اسم المشرف: عارف وحيد ابراهيم الخفاجي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناول البحث الحالي الموسوم (جماليات النزعة المدينية وتمثلاتها في فنون ما بعد الحداثة) تقصي تيارات فنون ما بعد الحداثة ومظاهر الفعاليات الاجتماعية والثقافية التي ظهرت داخل مدينية المجتمع الغربي، الذي شهد الانجازات العلمية والادائية بعد الحرب العالمية الثا

التوظيف الميثولوجي في الخزف العراقي المعاصر == The Employment Mythology of Ceramic In Contemporary Iraq

اسم المؤلف: عبير مجيد عبد النبي صالح
اسم المشرف: فاروق نواف سرحان العيساوي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تعد الميثولوجيا مؤسسة الذاكرة تتشكل منها شخصية كل امة اومجتمع وتمثل بنيتها المركبة، وتتميز باستمرارية فعلها وتاثيرها على النتاجات الحضارية وتشكل بالنتيجة ملامح الحضارة المعاصرة، التي تفتخر بها امة او شعب، والنتاجات الحضارية الميثولوجية تختلف من امة ال | Mythology consider as memorize association were energize every nation personality or society that represented in their a compound construction , it's distinguish with their active action and continuity and influence on civilized production and consider in their resultant the specification of modern civilization , that nation and people will be proud of it and the mythological civilized products in people more that other people , upon their ruling of civilized history governor , that specialize of peoples enjoyed with. Iraqi people possess extended civilization in deep of history about eight thousands years represented with groups of countries and empires that held on their land. and what offered to humanity huge quantity of Variables mythological production that we could discloser on their Varity s by the mean of the wide historical production civilized mythology.From natural the forming Iraqi's artist inspired and ceramist specifically s for such huge of mythological production for creativity level that showed clearly in the staid scientific research level for construction so the precise employment of Iraqi mythology in Iraqi contemporary ceramic.So the chapter that researcher working with start : First chapter : Represented the research method frame the emerged from research problem s and the importance identification and the need of it s then the goals , their boundaries , it 's problem , finally limit of terminationsSecond chapter : researcher got of theoretical conceptual frame and previous studies that represented in first subject : Unction and the employment in different mythology and their theories and divisions and legends functions. second subject : Legend as expression for universal mythological construction.Third subject : Iraqi mythology and their environmental transmission means.Fourth subject : Products of Middle mythology for Islamic and Arabic interval. Fifth subject : Nearest mythology ((the first fifth decades from century))After the finished of second chapter , researcher work to accomplished his research lab that represented in theoretical conceptual research and limited the research means that he use in his research procedures.Upon the Second chapter represented in research procedures as fallow : Research society and their sample s then the research curriculum and research method and their justifications and tools s to test the sample s and finished with third chapter in applications that represented the selective samples analysis that in meant.And after the analysis of samples the researcher accomplishment the fourth chapter that represented the results and conclusions and recommendations and suggestions.And then list of Arabic and foreign references and summary in Arabic and English language

فاعلية الاتجاه في الفخار العراقي القديم == The Effectiveness of The Direction In The Old Iraqi Pottery

اسم المؤلف: فاضل مطشر عبد الحسين الحجامي
اسم المشرف: كامل عبد الحسين خضير النداوي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: استطاع الفنان العراقي القديم ان يترجم علاقته بالطبيعة والارض الى فن جميل ينبع من التربة وينغرس فيها ويعيد تشكيلها بما يحقق حاجاته ويلائم رغباته ويسهل امور حياته وحياة مجتمعه الانساني , وقد جاء اختراع فن الفخار بمثابة ثورة صناعية كبيرة حصدت الاجناس والاجيا | Old Iraqi artist translates his relationship with nature and the Earth to the beautiful stems art of soil and lined them and re - formed in order to achieve their needs and fits their desires and easy things of his life and the lives of his humanitarian, community was the invention of the art of pottery came as a great industrial revolution won races and human successive generations fruit across Ages and still had Iraqi pottery credited with feeding and uphold the role of the aesthetic aspect in the art of pottery, but not limited to the value of use and functionality, so the aesthetic ideas and shapes decorative began crawling on the surface of the pottery and the intervention in the depths of built design are translated into distinctive art is based on the understanding and accommodating foundations and elements of composition and direction of them, who leads the movement and the technical elements included in the fundamentals of the shape the potter and methods of construction and design element.The current research devided to four chapters include first chapter on the problem of research summarized in answering the following question : What is the effectiveness of the trend component of the products of the art of the old Iraqi pottery?The importance of research and the need for him, followed by the goal of research in : (you know the effectiveness of the trend in the art of the old Iraqi pottery). Find and limits of spatial and temporal and objectivity, and determine the terms.The second chapter consists of (theoretical framework and previous studies) and includes three sections, the first part, the concept of trend in myth, art and religion, then the second topic of intellectual and structural dimensions in the art of the old Iraqi pottery, and ends with a third chapter : the concept of direction in art. Then indicators resulting from the theoretical framework and previous studies.The third chapter of research procedures, including the research community containing (130) in accordance, the research methodology and analysis of the research sample the (15) a model of artistic products of the art of the old Iraqi pottery.The fourth chapter has included the results of the research : 1. artist creates a kind of bio - kinetic pattern revolving around pottery non - stop since the dawn of history, it employs the visual and psychological impact and direction associated with movement and rhythm, it worked to create the kind of dynamic kinetic related to the eternal infinite, and that generated from the exploitation of the plastic component as a value and direction of mind impressive.2. highlights the dominance of engineering mentality affected the world of the agricultural community linked to the land and its accounts and formats plowing and modified and configured for agriculture and methods of organization of trees and plants on the ground, as well as engineering outlook associated with irrigation and irrigation from streams and streams and methods of drainage from the fields to the Ends, land systems, and all these processes and systems strongly associated with the concept of the direction that leads all engineering or agricultural work on the ground, and it is reflected clearly the products of ancient art.Then conclusions, including : 1. formats functional pottery designs follow the current quasi - stationary rarely depart from it only by the few who are able to innovate artists, these specifications serve as basic guidelines of mind control artist, comes with ornamental aspects subsequent stage adds aesthetic dimensions sees the artist the need to add them to send cheerful and psychological comfort done out of the limits of the initial image of the raw material and frameworks utilitarian shape.2. The shape of the pottery and trends involved in the formation of the virtual structure works as catalysts aesthetic to activate the artist's imagination to choose the methods of decoration and ornamental, that figure specifications potter of size and space and trends of building parts suggest the artist the manner best suited to the distribution of decorative shapes on parts disparate.Then recommendations and proposals.And ends and supplements and abstract in English.

صورة الاخر في الرسم الغربي والعربي المعاصر == Other Image In The Painting Western And Contemporary Arab

اسم المؤلف: مازن هادي لطيف
اسم المشرف: حيدر عبد الامير رشيد الخزعلي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: يتضمن الاشكال المعرفي لصورة الاخر تشعبات معقدة, تضفي على الاستعمال الثقافي سلطة مهيمنة على طرفي الصراع ( شرق / غرب) لتكون الصورة ذاتا منقلبة على نفسها لتعيد انتاج اخرية الانا من موقع الخطاب والتاويل تحت طائل الجغرافية وترحيلها الى العلامة الثقافية التي تق | Forms of knowledge to the image of the other includes the ramifications are complex, to confer on the cultural use dominant on both sides of the conflict Authority (east / west) to be the image Mata overturned on itself to re - otherness Alana production of discourse site and interpretation under the geographical pointless and carried over into the cultural brand that offers us (Islam / Kafr ) With combines shifts moot models each culture reflect the mechanics of strength against the other and remove him in the contemporary world, so that could be another image available for use in the arts all, particularly in the drawing, which found attending actor in the consolidation of the stereotype of the Arab East in light of the historical and intellectual Tbdyatea and theses philosophers and thinkers west of the project, which allowed the other concept that reflected a phenomenon subject to examination and study in Art, where the research contained four chapters, the first chapter cared methodological framework for research represented research problem which is determined by asking the following : What are the other image in the western painting and contemporary Arab?With the aim of the research : Identify the other image in the western painting and contemporary Arab. The limits of the research, it has been limited to the study of the other image in the western painting and contemporary Arab for the period from 2003 to 2014.The second chapter has included the theoretical framework and previous studies, which included the theoretical framework of three Investigation, accept the first part, intellectual approaches to the concept of the other, was stopped at the views of the most important philosophers and thinkers of the three monotheistic religions and discussing the views of contemporary colonial projects.The second topic also addressed other Tmasat as other mechanisms that painted a picture (such as Orientalism and Occidentalism and colonialism, terrorism and the flesh trade and globalization of knowledge and religious belief) and ended the second quarter with the reflection of indicators of research and discussion.The third chapter has included actions concerning research and community - appointed and research methodology, and then the sample was analyzed (23) model.In the fourth quarter included the search results and conclusions as well as recommendations and suggestions, and the main results that have been reached : 1. provided us with the American artist Anita Kunz in the sample (2) the other image in light of Semiotics clothes that worked to show the identity of both the Christian and Islamic religion with a statement of image and contemporary dialectical movement of history and development of the conceptual relationship with each other every day and cultural details in line with the vision of women the impact of cultural reality each identity of the identities of the women, according to the Orientalist perspective as one of the structures, the conceptual foundation of the image of Arab women Almoshh Arab Balkhmar and statement image of Western women trendy image to serve as a platform to know each other and consolidate the stereotypical image of our God and Hinak, including give us a visual perceived cultural and civilized. 2. makes the mind western Aladhati image of human monstrosity in contemporary his being in the sample (2), where the highlights Chia rights as the last subject to the processes of self - destruction in the light of the dominance of Western military power and demonstrate technical strength, science and transform the human to machine consumer deadly working to right the Arab - Muslim the other Specifically, what is the project to sustain the reality of Western power and will. 3. intake artist Samuel Bak in the sample (3) international, social and cultural isolation experienced by the Jewish community as the only group that suffer from ocean disharmonious like symbolically expressed the fact that its existence as an entity is not desirable, since all the Arab neighboring countries it considers an enemy contributes to the destruction of the social and political structures in the Arab region, including marks self Tense image amid the frenzy of the Arab community against the other rapist of Palestine, leading to the other Cancel force, and contributes to the self - knowledge as opposed to know each other as in the diagram (16) based this on the structures of formal level Heavy blocks and lines and families of color gray.4. gave us the Spanish artist Lopez in the sample (4) the other image of the marginalized and is suffering from a loss of cultural identity under the manifestations of the image of globalization, which created a new system of contemporary life is dominated by the mechanism of overlap Alhoiati among vulnerable people suffering from the reality of economic bad, others urged to move to the West and integration identities and environments is consistent, so that became a distraction and Nomadic one of the most important elements of the crowded Western societies stranger and newcomer, especially North Africa and the countries near Europe Mediterranean coast, where he produced globalization global perspective economies are fragile and unstable robbed each other's identity and turned to the strange object and lost.One of the main conclusions were : 1. other image in the West are still stereotyped working on the embodiment of the Arab Islamic fatigues traditional and ancient culture, while highlighting the Western image according to the concept of power and tyranny, who scored through the contemporary history of the crisis and existential sharp working to highlight the status of aggression against the other on the practical application level in the light of the current challenges and rising conflict and changes taking place in the Arab region to implement Western agendas to ensure the dominance of the West in the Arab communities that suffer from the ongoing wars and bloody coups account and the deterioration of the economic and cultural reality, which is what we've seen in the recurring image of strength and colonialism variations. 2. other image is formed in accordance with the following directions : Self defeated A front of the other.B other strong unbeatable.C cultural self - identity that work on rooting image pride existence of a special identity does not erase the other, despite the dominance of technical, scientific and cultural rights in the contemporary world.D cultural Alahjna that formed the modern concept of otherness through Tbdiat attending globalized.His death and war in their capacity as two sides of the same coin, the other image is different forward intellectually, socially and culturally to the extent of genocide, exile and displacement and unload the place of his identity.And violation of human picture of the last of what is unwanted object.G continuing discourse of Orientalism and the consolidation of the stereotype of Arabs in the minds of Western man.But at the technical level the other has faced a crowd shape homogeneity essential for humans based on dialogue and tender, as he used the Arab artist mechanics western artwork for the formation of the same intellectual mechanisms and instrumental, technical and helped bridge the gap between the ego and the other across Tmasat knowledge and integration civilized human in the modern world, use Artist Arab Bank painting to express mastery toward the other and draw a self - portrait and knowledge of others in line with the nature of the relationship Almkhialah each, also used self - oriented techniques and haploid codified in his artwork.

التحقيب والمجايلة في رسم الفنانات العراقيات : دراسة في الاساليب والاتجاهات == Periodization And Generativity In The Paintings of Iraqi Female Artists : A Study In Styles & Trends

اسم المؤلف: انس كاظم ياسر ال شبر
اسم المشرف: محمد جلوب جبر الكناني
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The present study has traced back the Female Art according to its existence as a cultural construction that occupies a wide range of Iraqi plastic map through the art performance (painting).This has been achieved by generativity with Modern Iraqi Art. The Female Art has acquired features and characteristics and references allow it to have its own stylistic characteristics that are parallel with International styles and trends, in addition to the fertility of the environment and the stressful references that lead to establishing and growth of this art internally & externally.The study deals also with intellectual dispute about Woman, her rights, challenges, problems and her ability of giving and creativity as she constructs a very important part of life and Society. It also discusses different points of view of intellectual trends and their attitudes towards woman's issues and dealing with basic impressions of those trends such as Liberalism, Radicalism and Islamism, etc.The study shows also the female movements' role in society after adopting different values and concepts to treat woman issues and her suitable place in life. Because of interaction between Oriental and Western World, the female movements have developed to cope with the age changes after the total transformations in Capitalistic and political Systems that reach to the comprehensive change in all fields of life, which leads to concepts and thoughts liberation regarding woman. As a result there is an effective existence concerning equity with man.Because of all these changes, woman begins to enter fields of arts, especially, painting - This leads to presence of distinguished female artists who be in touch with modernism and post modernism thinking and techniques in regard to style and artistic performance of each one. So, this study focuses on studying the different phases for each female artist and the settlement of intellectual concepts.The study has four chapters. The first chapter deals with the study problem which dries to find out the effect of generativity ofmale art on female art besides the lack of ideological study of female art during different intellectual and technical periods that makes painting without significant features.The study aims at : 1. Finding out stressful references of Iraqi female painters.2. Finding out the styles and Trends of Iraqi female artists' painting.The limits of the study is between (1951 - 2014) through depending the artworks of Iraqi female painters, with the definition of terms.The second chapter has six sections. The first one deals with the explanation of concepts of periodization and generativity intellectually. while the second one deals with the meaning, significance and concept of female Culture.The third has concerned with auto parallelisms in female Culture and the emergence of it with the geographic classification and historical background of its features. The fourth section comprises an introduction to the Iraqi Contemporary female Iraqi art.The fifth section includes the References that establish the female art in Iraqi.The sixth one deals with styles and Trends of Iraqi Female Art.The third chapter has the procedures of the study concerning the population and analysis of samples and the adoption of analysis of samples and analytic descriptive method. The matrix of analysis has been adopted as the study tool.The fourth chapter deals with the conclusions and results of the study besides the recommendations. The researcher has concluded the following results.1. The variety of technique and performance as it is shown in samples (7 - 12 - 15 - 17).2. The differences of stressful references that effect on Iraqi female artists' products - This has been shown in all the study samples.3. The variety of artistic experiences for each female artist as it is shown in samples (12 - 13 - 15 - 16 - 17 - 18 - 19).4. The use of different methods to treat the formative construction of the art work that has been achieved on the visual surface as it shown in samples (1 - 3 - 5 - 7 - 12 - 14 - 16 - 17 - 18).5. Dealing with subjects concerning environment, society, fancy, dream and reality. All these subjects have been reflected on female artists' experiences as it is shown in samples (2 - 3 - 4 - 5 - 6 - 7 - 8 - 10 - 11 - 13 - 14 - 15).6. The artistic style helps in forming significant aesthetic composition for each female painter.The following conclusions have been drawn : 1. The environment and society have effective role in constructing themes for paintings.2. Each artist has different style and trend (such as surrealist, realistic, expressionistic, abstract expressionistic, etc.).3. Iraqi female painters have consolidated various subject inside art construction.4. Some painters have depended on post - modernism art in functioning their subjects.5. Refreshing useless things to take important role in the artworks of some painters.6. The experience of Iraqi artist has been enriched through the interaction with world in regard to new stylistic changes with the dealing with multi meanings and signs of visual text.

الرسوم الصحفية في العراق : دراسة تحليلية == The Journal Drawings In Iraq An Analytical Study

اسم المؤلف: محمود موسى وادي
اسم المشرف: سلام جبار جياد السوداني
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتناول بحثي هذا الموسوم بـ (الرسوم الصحفية في العراق - دراسة تحليلية) جوانب عديدة لها صلة جوهرية بالموضوع الذي بدا منسيا من قبل الباحثين والدارسين فمن المعروف ان الصحافة تواجه تحديا كبيرا امامها الا وهو حركة الصورة وانتشار الميديا البصرية وتطور تقنياته | This study is entitled (The Journal drawings in Iraq - An analytical Study). It deals with many aspects that are related essentially with the topic which have been forgotten by the scholars. It is known that journalism faces a great challenge, that is, the movement of photographs, the spread of visual media and the development of its techniques. The journal cartoonsare regarded as one of the means that competed the typical journal image. The art of journal sketching acquires features and characteristics from the rest of the arts for the receipt and the public via a display means and an easy way for spreading.Since the journal drawings and the documentations, especially the colored sketched and magazine cover, formed a challenge to the motion of pictures in black and white which were prevalent in television before it evolves to colors. In addition the other challenge posited by cartoons of the journal photographs which were known by their traditional static framework.The research tackled in Chapter One the problem of this study, its spatial and temporal limits, and the objective of the study, and knowing the definition of the terms of the study linguistically and lexically. The second chapter studies the lexical framework in which the researcher studies in First Inquiry to the journal cartoons; the foundation and the historical origin. The second inquiry includes the techniques of the journal cartoons and the most important like ink in its types, pencils, water colors, Pastille, and also the most important techniques of the journal cartoons like AutoCAD, marking and graphic.In the third inquiry the researcher studies the aesthetic references of the Iraqi journalistic cartoonsindicating the effects of the Arab magazine, and the international and the traditions.The four inquiry includes the structural relations between the written text and the journal cartoons referring to a number of theories and opinions concerning the problem of the relation between the written text and the visualcartoons.The researcher comes up to number of indicators that have resulted in these inquiries dealt in Chapter Two. These indicators have formed to the researcher an important tool in the analysis of the samples which were chosen in the Third chapter. They are 12 samples chosen according to the justification to which the researcher has referred in. After the analysis of samples, the researcher comes up with the findings which are mentioned in Chapter Four. The most important one are : 1 - The journal cartoons were characterized by violence in the motion of the characters and the figures which is a reflection of the prevailed phenomena in Iraq with the use of the torn human body.2 - The use of the theme of the cut head and its repetition. The result was of many references like the cut head, the bronze head of kings of Mesopotamia which formed an aesthetic addition. Also, the image of the sacred head carried on spears for tis relation to the sacredness of Imam Hussein martyrdom.3 - The journal cartoons were influenced by the ideologies of the authorizes and the ideologies of the journal as in the (Tareeq Al - sha’ab) of the leftistpolices. 4 - The avoidance of the difficult techniques like graphic or the inscription technique on the Britishscraper board. 5 - The journal cartoons were not an attraction in Iraq for the Iraqi female cartoonists except for some of the few names like (Afifa Laebi, Hana Mal - Allah, Antlaq Mohammed Ali). This is a negative phenomenon that required analysis and reflection. 6 - The attraction to the expressionist school in most of the journal cartoons for the purpose of maneuvering the monitor and censorship. The researcher comes up with the most important findings which he displayed in the study.

مظاهر الاغتراب في رسوم فان كوخ == Appearances of Alienation In Art Work’s of Van Gogh

اسم المؤلف: اسراء قحطان جاسم
اسم المشرف: كاظم نوير كاظم الزبيدي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
المستخلص: تناول هذا البحث : (مظاهر الاغتراب في رسوم فان كوخ)، فاحتوى البحث اربعة فصول، عني الفصل الاول بالاطار المنهجي للبحث ممثلا بمشكلة البحث التي تحددت بالسؤال الاتي : (ما مظاهر الاغتراب في رسوم فان كوخ ؟)،وكذلك احتوى الفصل هدف البحث الذي كان (كشف مظاهر الاغتراب ف | This study deals with the Appearances of Alienation in Art work’s of Van GoghThe study falls in four chapters. Chapter one deals with the theoretical frame which is represented by the problem of the study that is limited to the answer of the question; what are the appearances of alienation in Van Gogh’s paintings. The chapter also contains the aim of the study which is to reveal the appearances of alienation in Van Gogh’s paintings.The study is limited to investigate the appearances of alienation in Van Gogh’s paintings between (1881 - 1890). This period represents his works from his artistic beginning until his death. The researcher uses the analytical approach according to an ideological and aesthetic vision in both of its aspects the theoretical and the practical.Chapter Two deals with the theoretical framework which consists of four topics : the first topic deals with the conception of alienation, while the second topic sheds light on the concept of alienation in the movements of modern painting. The third one gives an idea about Gogh’s life. The fourth topic studies the ideological and aesthetic features in the paintings of Van Gogh. The chapter is concluded with the mentioning of indications of the theoretical framework in order to make use of them in the building of the research tool and the analysis of its sample.Chapter Three deals with the procedures of the study, it explores the society of the research which consists of 200 works of art of Cogh’s. They are distributed chronologically. These works of art are executed with different materials; 55 drawings, 26 works with water color, 119 paintings with oil, and the sample of the study which is the society of the study at the same time for the quantitative analysis. From the study society which consists of 20 works, a sample was chosen randomly to be analyzed critically in order to compensate the gaps that appear through the use of the quantitative analysis for the aesthetic and artistic phenomenon in the visual texts. This is done according to the research tool which is built in consistence with the theoretical framework. The researcher notices the meeting between the appearances of alienation and the mechanisms of the painting production. The tool consists of the cores of alienation which are : isolation, non - normative, nonsense, disobedience, impotence, despoliation, rejection, escape, and withdrawal. These are put in the horizontal core in the analysis form. The main items which include the elements of formation, and the secondary items which include the relations of formation, and the subsidiary items are put. The tool then is showed to a number of specialists and experts in artistic education and visual arts and psychology, in order to make use of their opinion in its validity. Accordingly, the form is amended by the omission and addition of some items. After the tool acquires validity, it becomes ready for use. The researcher makes sure of the tool validity through the agreement comparison of outside analyzers by making them analyze the same content separately. She depends also on the agreement through time which means that the researcher acquires the same results as she analyzes the same content after a period of time using the same tools.After the application of the statistic tools which consist of Cooper Equation to measure the validity of the tool, which appears to be 88%, and Scott Equation to measure the consistency of the tool which appears to be 87.25. She uses the mathematic average to measure the frequency of the research society. She uses Kai square to analyze the sample quantitatively. After that she analyzes the sample critically.Chapter Four includes the results and the conclusions of the study. It also includes the recommendations that the researcher sees important for future studies. Among the main results that the researcher arrives at are the followings : 1 - Isolation appears to be an appearance of alienation in the works of Van Gogh. This reflects his dissociation from the others and society in the aspects of interaction, communication, cooperation, and emotional and social incorporation. Isolation appears very clear through the elements of the critical analysis : line, color, touch, and the relations of formation. Van Gogh expresses his isolation in his paintings. Isolation appears clear in the society of the study and the statistical analysis of the research sample. The cut form is 64.06%, horizontal line is 39.16%, hot transparent color 27.73%, soft touch 19.36%, non - asymmetric balance 41.01%, color dominance 22.31%, distortion of figure through elongate 21.82%, and technical expression 20.45%.2 - Non - normative appears in the works of Van Gogh through his trial to get rid of society as he tries to focus on his being and the rejection of social relations. Non - normative is represented semantically through the constructional critical analysis of the figure and its elements; line, color, touch, formation relations. He reflects them in his paintings and the incarnation of figures and things using indicatives that reject society, life, and social connections. According to statistical analysis, non - normative appears : hot transparent color 95.3%, varied line 47.18%, normal cut figure 24.75%, tough touch 20.04%. Through the formation relations; normal representative movement 40.04%, rhythm and repetition 23.7%. Through artistic treatments : distortion of figure through stretch 26.25%.3 - Disobedience appears in the works of Van Gogh in his separation from the moralist, civilization, historical, social norms in the form a destructive trend that goes out of his person and takes the form of an aggressive behavior against society and its civilization indications. Through the critical constructive analysis, disobedience appears semantically in the form and its elements : color, touch, formation relations. Gogh expresses his disobedience through his paintings. The statistical analysis of the sample of research society reveals the following : thick hot color 56.33%, varied touch 26.8%, and geometrical cut figure 22.15%. The formation relations through the unbalanced balancing 25.25%, the rhythm and the repetition 21.81%. Artistic treatment, the distortion of color 20.59%, the expression through technicality 20.66%.4 - Rejection appears in the works of Gogh as another appearance of alienation. He expresses this through the rejection of some types of behavior and culture that are dominated in the society he lives in. Aspects of rejection appear semantically and through the critical constructive analysis of the form and its elements : color, line, formation relations. Gogh expresses his rejection through the drawing of forms and contents that goes far from society. According to statistical analysis : thick hot color 63.78%, vertical line 43.56%, and varied geometrical shape 20.37%. According to the formation relations : color consistence 31.85%, rhythm and contradicted repletion 23.64%, the relation of the part to the all 20.45%, color dominance 23.64%.The most important conclusions are : 1 - Van Gogh does not use the appearances of alienation willingly but as a result of a psychological mood that affected him in an indirect way. This is reflected in the unconsciousness of the artist affecting his production. Different moods and circumstances help in the appearance of such representations. The most important of these circumstances are his culture and way of living.2 - The psychological aspect has a strong connection with the work of art as a value that achieves a kind of spiritual connection between man and his subject. The psychological dimension of Van Gogh appears to be a centre of the human subject to introduce its suggestions about the work of art.3 - The elements of formation and its relations have semantic indications for alienation. Van Gogh expresses an emotional feature, not as decoration, but according to a subject system and as a deep philosophical and spiritual concept. The search also includes : Proven sources, supplements, abstract in English.

مظاهر العنف في الفن التشكيلي المعاصر == Aspects of Violence In The Contemporary Plastic Art

اسم المؤلف: نشوان علي مهدي
اسم المشرف: علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The current research (Aspects of violence in the contemporary plastic art) described as events and behaviors dominate the whole joints of life in the western society, notably the afflictions of politics, wars , dangers of mass destruction weapon, dominance of the capitalism economy and market monopoly, the matter that reflects on the cultural and social life and stigmatized it with violence, so the plastic art was a major and vital joint reified the whole burdens and haunches of the contemporary western world including the violence, through stylish and technical treatments that resulted in a unique modification ever been familiar in the previous experiments.Therefore the problem of the research came with the query of reasons behind violence and its aspects through artistic treatments and how much did the violence aspects deal with the system of psychological, social and morale relations.We found through first chapter the target of the research that aimed to knowing the aspects of violence in the contemporary plastic art within the boundaries of contemporary art in Europe and USA in the period (1972 - 2012). Also terms were defined in this chapter.While the second chapter included the theoretical frame and previous studies , the theoretical frame included three sections, first one dealt with the violence and its approaches in the contemporary intellect , while in the second section showing the psychological and social appearances of violence. The third section showed the appearances of violence in the art. The frame was ended with indications , then showing two of previous studies related with the current study and discuss it.The third chapter dealt with the procedures of research represented by the society of the research whose population was (19)sample and the nature of constructing the tool in its primary and finally form and how to use the appropriate statistical means to show up the truth and stability of that tool and then analyzing the research's population.The fourth chapter included results of the research, conclusions, recommendations and suggestions.Results of the research : 1 - The human being is the most expressional space for appearance of violence and abuse of human in the contemporary art, one of the works who express violence by using real bodies. Or through the evidential expression by drawing or sculpture and by variant formal treatments.2 - Appearances of violence were unique in the contemporary plastic art, by depending technical treatments and materials included human and animal bloods , bodies of human and animals and real materials and stuff implemented in combination method, that opened new spaces for expression for violence that exceed capability of the classic portrait.3 - The pictures of violence and its appearances in the contemporary art were described with tendency to the formal treatments has instinct, primary and brutal opposite to the civilized cultural false life, and the afflictions of all that by tendency toward the defacing and breach the system and harmony.The conclusions : 1 - Beside the belief that violence is old and exist in every era , but appearances of the violence in the contemporary art is different in its applications and references with an extraordinary style that it was considered as a breach for the previous contexts and traditions with all kinds on the level of concepts , styles and techniques.2 - Directions of the contemporary arts reflected in its dealing with the subject of violence the social and economic side, by expression of conflicting the wars and the psychological and social effects so the acts were as a reaction against the evil in the world , invalidity of the wisdom of the civilization and express that with sadism motives.Finally the research ended with references, appendixes and an English

العمليات الادراكية وتطبيقاتها في الرسم الحديث == Cognition Processes And Its Applications In The Painting Modern

اسم المؤلف: سهاد عبد المنعم عبد المحسن شعابث
اسم المشرف: علي مهدي ماجد | عارف وحيد ابراهيم
الموضوع العام: الفنون الجميلة
السنة: 2008
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The current research deals with (the cognition processes and its applications in the modern art) in which limits the qualities of art picture in shape and content. The research contains to four chapters; the first chapter deals with research's problem, importance, need, aim, limits and the most important of terms.Research's two aims are : 1. Acknowledge, aesthetical and art concepts of cognition. 2. Mechanisms of cognition processes in the art modern.The second chapter deals with theoretical framework and previous studies; the theoretical framework consists of four researches : the first research discusses the cognition processes in acknowledge by showing the philosophers' opinions starting at Platon's opinions and ending with contemporary philosophers. The second research deals with the cognition processes in aesthetical in the aesthetical philosophical thinking since its first starting at Greek philosophy until contemporary and modern philosophies thesis.While the third research deals with cognition in the field of psychology and art ingenuity theories, the fourth research devotes the mechanisms of applying the cognition processes in the European modern art and its directions. The theoretical framework gets on several of basic indexes to structure the research's tool.As well as the previous studies contain to two studies; they have discussed because of near it from the current study.The third chapter deals with the research's procedures and samples at (15) forms from the works of modern painting artists, as well as the chapter include the research's tool and analysis sample.The fourth chapter discusses the research's results, conclusions, recommendations and proposals. The results have showed into two groups according to each aim; the following most important results of first aim : 12. The modernity and its art directions have imposed cognition processes have variety levels according to the thinking, art and style framework for each direction; these directions have eager desire to pass the sensitive cognition and this desire becomes grow at the abstractionism painting greatly.13. The cognition processes in the modern art connected with the art's identity and his ability to adaptation the cognition with his thinking, art, stylistic and technical ambitions. This connection supported the freedom in the searching and experimentation.While the most important results of second aim are : 1. Impressionism has immediately performance has taken the cognition process starting at sense as a main source of vision and interference the interior senses such as remembering and imagination to come out of saved pictures with mind interference contributes to organize the picture in its lowly limits; then these powers emerges as direct sense form able to gathering all powers immediately to gloss the shapes and remove it from the its visible reality lightly.2. The barbarism follows the cognition process prevalence on it the imagination and sentimental; whereas it starting at sense but it is not absolute sense cognition. The works could complete with painting without observation the scene from the nature; the picture has visible shapes. The wildish and effective by (Gogan) has achieved a cognition phrase on the sense, so that it restored to the mind to organize the picture and give it designing features and give the shapes symbolic significance. In order to limit from the mind's whole power, the imagination comes with sentimental pressure to absence the objective relationships and confirmation the cognition's subjectivity; that's give the picture abstract aesthetic and formalism enjoyment exciting the sentimental, with intuition outcome all acknowledge powers have united in direct cognition for picture in shape and content.

جماليات الفوتوغراف في الرسم الانطباعي

اسم المؤلف: علي اسماعيل سبتي الكرعاوي
اسم المشرف: عاصم عبد الامير الاعسم
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

جماليات القبح في نتاجات فن ما بعد الحداثة == Ugliness Aestheticisms In The Products of Art Beyond Modernism

اسم المؤلف: سندس محمد عبد الامير
اسم المشرف: علي شناوة وادي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The current research entitled ( ugliness aestheticisms in the products of art beyond modernism ) , It has searched the ugliness in philosophical thought and finding out the existing dialectic between beauty and ugliness and its role in direction work mechanisms in the motions of modern art and beyond the modern ( drawing and sculpturing ). The research has included four chapters. The first one was interested in methodical frame of the research represented by research problem which wasobvious through an ambiguity that arouse many questions such as : - How have the aesthetic understanding theses of ugliness been formed in the products of art beyond modernism ? Do such aestheticisms represent an attractive phenomenon in art beyond modernism ? What are the representations on the level of contents , meanings , forms , styles and techniques ? And what is the amount of connection of such works in phenomena and intellectual , social , political and economical concepts and new explicit prospects within a society beyond industry and its share beyond modernism as a modern urgent necessities ? And the amount of what have ugliness aestheticisms formed from displacement areas in aesthetic received processes.The first chapter through acknowledging the ugliness aestheticisms in the products of art beyond modernism. While the research limitations are restricted on the study of ugliness concept in the art beyond modernism ( drawing and sculpture ) represented by products of ( nonobjective expressionism , popular art , flocks , the art of body and graphite art ) which appeared in USA and Europe in the era ( 1945 - 2010 ).Chapter two has included the theoretical frame which contained three topics , the first one dealt with two pivots , the first pivot included the ugliness philosophically , through browsing the philosophers' opinions beginning of ( Heraclites') and ending to the opinions of modern philosophers. The second pivot concluded to show beauty and ugliness dialectician within analytical philosophical , knowledgeable , aesthetic and psychological vision. The second topic occurs in two pivots.The first one included the beautiful and ugly in modern European painting , the second dealt with the beautiful and ugly in modern European sculpture while the third topic is concerned with the study of ugliness features in two pivots , the first one contained the ugliness features in the art beyond modernism and the second pivot contained the ugliness features in the sculpture beyond modernism. Chapter two concluded with showing the indications to be useful in constructing the devise of the research and analyzing the samples.Chapter three has included the research procedures that contain the whole research , the sample and the nature of the device of the research , research method and used statistic means then analyzing the sample which includes ( 17 ) artistic works.Chapter four has included the research results and conclusions , moreover ; recommendations and suggestions. The most significant results that the research has reached are : - 1 - The structure of implemented artistic view that concerns with ugliness concept leads to make a fierce shock for the receiver in attempt to express the current image of reality and disclosing what are not declared in the meaning that delete the art beyond modernism any ascendant traditional aestheticism.2 - There are products with hostile dye that arise the hatred through pushing the shapes to break into the social conflicts and disclosing the destruction of ideological systems over indications that show the refusal state for cruelty of a society beyond the industry.3 - The ugliness depends in products the art beyond modernism on artistic change through activating the distorted rejected shapes which lead to more deeper disputes and universality for social conflicts within ( Oulama ) by describing it as a valuable system that could move the constant concepts round traditional beauty with all its procedural , technical existence and to fix the concept of non - aesthetic across devoting the theses structure that give changeable aesthetics for promised ones. It is not able to repeat the formation of artistic performance due to ideal features for traditional art time but it attempts through returning the formation of shapes by distorted way to put the shapes in compound components that make easy to arouse the aesthetic understandingcombined with ugly shape. 4 - The products of arts that concern ugliness aestheticisms in art beyond modernism have the ability to invest the subjects that could arouse the sensitivity of receiver towards the human image infringement that make the works empty of human andmoral values through making the implemented art structure loose from any moral and human evaluation in an attempt to present meanings taken from social immoral life to express the human crisis who is threatened by lost in social framesubmitted to weak broken construction. The most significant conclusions that the research has reached are : - 1 - The ugliness aestheticisms are making with the subjects represented by ( violence and political , economical and social cruelty ) tearing the Arab self and its declination and western society with all its distortions , dispersion and lost.2 - The ugliness aestheticisms are trying to express the torn realistic image through dissociation the reality parts and divide them then reconstruct due to view that arouse the sensitivity of receiver towards a lot of truths and human , culturaland political accidents.3 - The ugliness aestheticisms acquire their new descriptions through connection with shapes that express the disorder limitations for living reality. The researcher has referred to a group of re

التنوع التقني في اعمال النحات صادق ربيع == Technical Diversity In The Work of Sculptor Sadik Rabe

اسم المؤلف: ساره محمد مناف
اسم المشرف: سعد علي يوسف البصري
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The value of any work of art lies in the magnitude of the thought ,and given the importance of aesthetic studies between the cognitive continues between the.Artwork and the receiver,it has become necessary to know the techiques and materials in the work of the sculptor Sadik Rabie through statement.Analysis and implications as well as documented.The importance of study of sculptural works by the artist Sadik Rabe rabe including inherited from the accumulation of cultural and matalmh in his study in different environments impact on the headrng technical coupled movementof modern sculpture in Iraq ,and produced from unfinished techninian confirming the importance of art tributary streams of human life,the goal of current research to reveal : ldentify the techniques adoption of his works and the methods and materials used.And identifies research studied sculptural works of sculptor Sadik Rabie ,perfomed during the period (1962 - 2006)And the researcher has designed a form for business analysis ,has been under analysis Business ,which contained the form on the About : business name,ago a chievement ,measurements,materidea of working ,and other information has researcher collects information on private business artist through personal in terviews in the player artist in Baghdad and his own house,and analyzed business and extract the findings and conclusions,with the benefit of indicators resulting from the theoretical framework, have reached aresearcher to a number of re sults including : 1 - the artist Sadik Rabie of the uniqueness in ntegath sculpture and especially the stylistic and method of implementation ,most of his work is characterized by the diversity of materials at work one depending on what is required of the purpose of the subject,2 - confirmed sculptor space sculptured almtmazj with raw material and their relation hipaesthetic formalism a chieved by this intention.3 - Use the sculptor texture to express aesthetic values.4 - work on thesimplification and reduction of the shapes associated with the elements of nature and sought to strip the forms and configured for investigating forms new creative.5 - Obseved divsity in the nature of the raw material and the different composition so as to contribute significantly to diversify the nature of the shapes sculptural.6 - invented artist systems formality new sculptyre of Iraq ,far awaysystems shape or configuration prevailing and traditional.7 - A variation appeared in tonal has to do with expression and the weighted value of the form.8 - artist a dopted the principle of the part that compensates for the total or carrying capacity may out weigh the overall graphical work sculptural.9 - granted its in sculpture prospects interpetion multi expressive capabitities.10 - characterized most sculptural Ntegath the Basma interials,wood etc…11 - came someof this sculptures a ccordance with vision,self for sculptor.12 - that technical Alttnoa in his works confirm specificity and uniqueness of sculptured accomplished sculptor has ratified the spring.Reached a researeher to conclusions including : 1 - that most of the products of the artist approached and interviewed the concept of shape without thread direct.2 - the role of the artist importance and the basis of the product of sculptural form through experience and technical knowledge,aesthetic and technical.3 - that freedom of sculptor and non - adherence to the application of building codesthe configuration in sculpturalform ,following the self - interest side and stylistic freedom configuration get seulptlistic freedom configuration get seulptued done.4 - the display space through work and ,in turn ,in the embodiment dimension Alalaqati among done sculptured and outer space,then the interest of space ,then the interest of space interiorto create dimension aesthetically and technically.The researcher recommends to : 1 - where the researcher recommends interesting as poct of the media and the opportunity for more articles Altkadih for sculptors lraqi.2 - attention side of the archival and documentary honest sculptor spring and sculptors Iraq.3 - recommends a researcher studying the achievements of sculptors Iraqis and get to know their march technical and ntegathm creative.4 - researcher recommends relevant departments uch as ministry of culture est a blishing galleries pevmanently to the achievements of techniccqlSuggests researcher : 1 - further res earch and studies that address the experiences of sculptors.2 - conduct a study on the technical diversity of the products of Iraqi scuhptors.3 - conduct a study on the diversity of style with Allen.

تشاكل اجناس التشكيل المعاصر : دراسة في ضوء المنهج التداولي == The Amalgmation of Contemporary Genres of Plastic Art

اسم المؤلف: شيماء وهيب خضير
اسم المشرف: بلاسم محمد جسام
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: نحن نعيش عصر تغلب عليه العواصف الاجتماعية والهزات والتناقضات على المستوى الثقافي عامة والفن بنحو خاص.لقد اصبح الفن المعاصر الذي تنوعت طرائقه ومواده وتعذر توفع تعبيراته يتحدى كل مبدا منطقي لما كان يعرفه الفن على المستوى التاريخي وصولا الى الثورة الكبرى عل | We live in an age dominated by social storms and earthquakes and contradictions at the cultural level in general and special about art.It has become contemporary art which varied methods and materials and could not Tof expressions defies every principle logical because he knew the art at the historic down to the great revolution on the principle of form and rules and kind, and that any analysis or reading and interpretation of the forms of creativity current will stop at the borders conflict with each rational aesthetic. So the reality turned into forms and then split shape or correlation and clashed with another is not of the same sex or kind and dominated the culture of diversity and multiplicity and heterogeneity and Altsnat loss or loss of significance meaning.This research on the administration of fossils in technical Alchakl and read these deviations historical form of art in everyday life and the project life turned into a work of art, and vice versa.. The assumptions of the system concerned deliberative Palmassatah major global border dropped while I worked on the assumption that art can be found in the place in anything and reproduction formats will be rootless..In light of this research is divided on : Chapter One : included research problem, and its importance, and his goals and boundaries and define some terms in the board.Chapter II : Conceptual Framework : The three topics : 1 - First research : Alchakl - concept and outputs - 2 - The second topic : the concept deliberative and تشاكل races technical and deliberative correspond Arts3 - The third topic : contemporary aesthetic discourseConcept and analysis toolsChapter III : ApplicationAnd community - based research, and the sample placed lesson and tools used.Chapter IV : And includes the findings and conclusions that came out of research.

المرجعيات الاعلاماتية في الرسم المعاصر : دراسة في تحولات النسق == The Influence of Media On Contemporary Painting A Study In Transformation of The Style

اسم المؤلف: ندى عايد يوسف
اسم المشرف: بلاسم محمد جسام
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: الحمد لله العليم الذي لا ينسى من ذكره ولا ينقص من شكره، ولا يخيب من دعاه ولا يقطع رجاء من رجاه. بعد ان تم انجاز هذا البحث يقتضي واجب الاعتراف بالجميل ان اتوجه بالشكر والتقدير الى الدكتور بلاسم محمد المشرف على هذه الاطروحة لما قدمه من عطاء ثر وتوجيهات وار | The media system as a power that controls the masses' tastes and kinds of education needed, can identify the concepts and strategies concerned with the media information. This sort of information is considered the legend that is used by the economic institutions aiming at controlling the public knowledge and the masses' opinions to promote the implied stated objectives. This research discusses the dimensions of the relation between Contemporary art and the infomedia system and the reciprocal influence between the two sides. However, the educational discourse is imposed by the institutions governing the media information. This imposed discourse has altered the art concepts and values, and as a consequence these new concepts and values define the future of the art's theory and practice. The question does not deal with the drawing as an art based on established criteria; but rather detects areas of the renewal and the sequential difference in its systems and drawing the attention to a particular phenomenon transferring it from the Local orientation towards making it global. In order to achieve this aim, the techniques of communication should be activated; otherwise, the project's existence is not recognized. It is necessary to cover the informational data and references that are related to art making. This necessity is drawn from the prominent problems in building an informational vision for the future art moderations and compositions compared to the aesthetic values, communicative abilities, range of media control, means, and the appropriate techniques. leading a search in the references of art and modeling it according to the desired goal show results after the completion of the work.This study " The Influence of media On Contemporary Painting - A Study in Transformation of The Style. This research include an introduction and five chapters. The research's introduction included procedures of research problem identified in the disclosure of the impact of Information and media presence in contemporary art, with a view to finding a holistic interpretation within the cultural context depending on a range of fields and building artistic awareness that is configured to draw informational references according to the justifications of communication. The importance of this research is focused on some global art variables in order to discover the importance of the system's configuration. As well as shed light on the communicative relationship between artwork and audience.The objectives of the research can be summarized as follows : 1. Revealing The Influence of media system On Contemporary Painting.2. Detecting the informedia references in the contemporary art. While confined to the limits of search plastic arts that extended from the year (2003) until the year (2012). The first chapter deals with the problem of format and technical monitoring shifts by two sections. The first section reveals the possibilities of developing forms that can be traded outside the spatial boundaries. This system's importance comes from producing communicative forms that link between the artwork and the public recipients. And dealing with the other search after receipt by displaying the views of some theorists who contributed to the confirmation of the role of receiving while reading the features of art work; that led to his ascendancy to the throne of power and the exclusion of the role of the artist; consequently, that led to certain effects contributed to form shifts in artistic taste.The second chapter consists of three sections. The first is about communication theory and research in multimedia that play a role in making art a communicative mean that led to a change in the system of technical patterns in offsets and retreat of the museum's role , artistic identity, information, and commerciality. As a consequence, art has been deriving its presence from the subjects displayed on television, the internet revolution, watching, the deliberative convention, and the historical shift. While second section focused on the output of contemporary art, the photographical violation and trading arts. While The third section deals with the influence of the impact of the network on art and it displays a range of art movements emanating from the effects of the computer.The third chapter includes three sections. The first section focuses on the media information and the body use, while the second section sheds light on art and globalization. The third section is entitled Art and Architecture.painting on the theoretical frame work classes with a total investment reached the appropriate levels that Chapter four includes. In this chapter, an analysis of a group of samples is made. These samples are selected to be sort of systems that accept the use of multiple techniques and technologies adopted in artistic styles.The fifth chapter deals with the research's results, recommendations and proposals. Finally, this research has led to certain points as results for what has been included throughout this paper : 1. The digital revolution and the spread of the computer's effects has made certain changes in the art of painting and opened new horizons for the artists to take advantage of this medium, as well as from the virtual world's space to make it real. It is through the interaction between technical standards and digital programs became possible to create works that achieves aesthetic purposes with the help of computer and software that requires openness and lack of commitment to previous theories of beauty.2. Despite successive systematic shifts, the change made by media information has not affected the essence of painting, but the difference in the techniques and mechanisms and means of output and modes of delivery. the substance can be expressed with oil and light, assembly, the screen, and the Internet. The difference is between the ages and cultures intellectual concepts that urged a change. And that would contribute to the creation of shifts in the vision way, taste and achieve the dazzling and surprising component.3. The media information focuses on techniques' investment and new media to ensure communication. Offering technical art at the expense of artistic experiments that reflect the individual self. It is made by the integration of modern technology with traditional techniques to create art carries aesthetic value.4. The media information is eligible to study communicative systems that can turn the illusion into reality and contribute to the consolidation of belief through forced intrusion on all levels of society through art. In order to achieve technical communication requires the formation of attendance different from the other.5. this reference produces many services and countless connotations that are implicit in the work of art that cannot be reduced and intensity and unifying media information references; Every action has its terms of reference that have nothing to do with the other works.6. Art history since its inception to today based on a range of different references. But with the media information, it is not intended to be the iconographic, symbolic reference, or indicative, or any other divisions. It is the reference that follows from the relations that generate at the moment watch the action. To detect speech disguised behind the artwork. Which may be political, or social, or existential, or utilitarian, or advertisements, or media.

دلالات الحب في الفن التشكيلي العراقي المعاصر

اسم المؤلف: حاتم عباس بصيلة
اسم المشرف: عباس نوري خضير الفتلاوي
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

ملامح السريالية في فنون ما بعد الحداثة

اسم المؤلف: اكرم يوسف ناصر شلهوم الخفاجي
اسم المشرف: عباس نوري خضير الفتلاوي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جمالية الرمز الطوطمي في الفن الامريكي المعاصر == Aesthetic of the Totem Symbol in the American Temporary Art

اسم المؤلف: هندباد علي مجيد الرفيعي
اسم المشرف: شوقي مصطفى علي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

الابعاد الوظيفية والجمالية للتكوينات الخطية في العمارة الاسلامية == The Functional and Aesthetical Dimensions to The Handwritten Formations in Islamic Arahitectecture

اسم المؤلف: نورس عدي علي القريشي
اسم المشرف: عباس جاسم حمود الربيعي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جماليات الوحدات الهندسية المنفذة على مفردات العمارة العربية الاسلامية == Aesthetics of Geometrical Units Implemented on Arabic Islamic Architecture Items

اسم المؤلف: مها فؤاد محمد ربيع
اسم المشرف: محمد علي علوان عباس القره غولي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

الاستجابة الجمالية وعلاقتها بسمات شخصية المتلقي == AESTHETIC RESPONS AND IT’S RELATION WITH FEATURES OF VIEWER’S Personality traits

اسم المؤلف: منى خضر عباس الطائي
اسم المشرف: كاظم مرشد ذرب
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

حقيقة الروح والنفس في القران الكريم وتمثلاتهما في الفن الاسلامي == The Truth of Soul and Spirit in the Holy Quran and their representation in the Islamic art

اسم المؤلف: منال خضر عبيس العبيدي
اسم المشرف: حسن مجيد حسين العبيدي | عامر عمران الخفاجي | صفاء حاتم سعدون
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

الخطاب وتمثلاته في الفن البيئي الغربي == Discourse And Its Representations In The Western Environmental Art

اسم المؤلف: كوثر عبد الصاحب كاظم
اسم المشرف: مكي عمران راجي الخفاجي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جماليات السرد في التصوير الاسلامي == Narration Aestheticisms in Islamic Drawing

اسم المؤلف: فرح علي عبد الرزاق عبد ان درويش الدليمي
اسم المشرف: محمد علي علوان عباس القره غولي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جماليات التجريد في الاشكال البصرية لابواب محمد غني حكمت == The aesthetics of abstraction in visual forms for branches Mohammed Ghani Hikmat

اسم المؤلف: عبد الكريم شاكر نعمة
اسم المشرف: شوقي مصطفى علي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

ثنائية الجمال والوظيفة في الخطاب البصري المعاصر == The Duality of Beauty and Function in the Contemporary Visual Discourse

اسم المؤلف: سوسن هاشم غضبان العلي
اسم المشرف: كاظم نوير كاظم الزبيدي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جدلية الحرب والسلام في الفن العراقي القديم == THE DIALECTIC OF WAR AND PEACE IN ANCIENT MESOPOTAMIAN ART

اسم المؤلف: رياض كريم هاشم
اسم المشرف: عامر خليل ناصر الشجيري
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

بناء وتقنين مقياس التفضيل الجمالي لطلبة كليات الفنون الجميلة == Build And Scale Rationing Aesthetic Preference For Students Of Colleges Of Fine Arts

اسم المؤلف: رؤى صادق محمود العكام
اسم المشرف: كاظم مرشد ذرب
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

بنية التكرار في المنمنمات المسيحية والاسلامية : دراسة مقارنة == Structure Repetition in Islamic and Christian Miniature

اسم المؤلف: رفيف موسى عباس
اسم المشرف: صفا لطفي عبد الامير
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جدلية العلاقة بين الفن والدين في اوربا == the Dialetique relationship between Art and relegion in Europe

اسم المؤلف: حمدية كاظم روضان المعموري
اسم المشرف: كامل عبد الحسين خضير النداوي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

جماليات التناص بين مدارس التصوير الاسلامي == Aesthetics intertextuality between schools Islamic imaging

اسم المؤلف: حسن هادي عبد الكاظم الغزالي
اسم المشرف: محمد علي علوان عباس القره غولي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

بنية الفكر الاجتماعي وتمثلاته في الفن العراقي القديم == the social thought structure and its applications in ancient Iraqi art

اسم المؤلف: حسام صباح جرد
اسم المشرف: عبد الحميد فاضل البياتي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

المرتكزات الفكرية في الفن المفاهيمي == Intellectual foundations in conceptual art

اسم المؤلف: توفيق نعيم ساهي فرحان
اسم المشرف: صباح احمد حسين الشايع
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التشكيلية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: البصرة
الصفحات الاولى:

اشكالية المنهج في النقد التشكيلي العراقي المعاصر == The Problematic of curriculum of criticism Iraqi plastic art

اسم المؤلف: بهاء لعيبي سوادي الطويل
اسم المشرف: شوقي مصطفى علي الموسوي | جبار حنون مهاوي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:

المنظومة القيمية وتمثلاتها في الفن الاسلامي == The System of Values and Its Instantiations in the Islamic Art

اسم المؤلف: ايمان خزعل عباس معروف
اسم المشرف: عارف وحيد ابراهيم الخفاجي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التشكيلية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بابل
الصفحات الاولى:
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