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