Basrah Arts Journal

The research deals with a proposed program to develop the creative ability associated with Arabic calligraphy among students of the fifth level of the Department of Visual Arts at the College of Design and Arts according to the creative activities and strategies used, and this study seeks to prepare a teaching program to develop the creativity of visual arts students to produce artworks related to Arabic calligraphy and Islamic art in a way General, and aims to raise the level of skill and technical performance of students at the fifth level in the Arabic calligraphy course based on the strategies and creative activities used for teaching, and allowing visual arts students to create artworks related to Arabic calligraphy and their Islamic heritage and to enhance the identity and pride in the Arab-Islamic heritage among visual arts students, and finally, after studying the investigations and objectives, The researcher reached some results, the most important of which is Arabic calligraphy, which is part of the Arab heritage and Islamic art, and is characterized by its ability to continue and communicate, which helped the students to create contemporary works of art derived from the Arab heritage and Islamic art. Islamic, and also Arabic calligraphy enjoys a huge amount of creative aesthetic values and rhythmic systems, and the multiplicity of their relationships, forms and types, which led to the presence of calligraphy in contemporary art and facilitated the production of creative works among visual arts students.

The applications lesson is a bud that is subject to several intellectual and technical limitations, which are supervised by specialized professors, a space that gives the student a space of freedom in choosing texts and representative students, and opens a wide field for applications students to express their technical and methodological inclinations, whether by adopting a specific direction or trying to diverge and be creative. Therefore, we find that the personality of the student in the study of applications has its impact and existence through his adoption and choice of theatrical work as a text and treatment. Artistic and cultural institutions. the research was directed to demonstrate the effectiveness of the curricula in understanding comedy for directing students of the Faculty of Fine Arts.

The research tagged (Representations of Contemporary Technologies in Graphic Art) deals with the dialectical relationship between the diversifications of technologies within their temporal developments and the structure of graphic work, especially in our current era and the huge openness of digital technologies and their cultural influences in thought and their functional deliberations in life and their aesthetic representations in art. This faces a cognitive tangle and questions represented in: 1. What is the cognitive space of graphic techniques between the primitive and contemporary edges? 2. How did reproduction replace the original in contemporary circulation? The importance of the research is represented in the following points: 1. The research deals with one of the forms of arts whose historical presence has indicated through time and space. 2. The research seeks to seriously explore the roots of an artistic phenomenon seeking to innovate manifestations of the beautiful always. 3. The research monitors and analyzes the phenomenon of archaeological transition from immanent to transcendental. The boundaries of the research receded between the early days of the spread of digital technologies in the visual arts, including graphics, and the researcher chose the year 1970 to the year 2023 to contain the research problem from its beginnings to its conclusions. Therefore, to the basic indicators reported in the third chapter, which dealt with three distinct models as a research sample, and concluded from its analysis to the results of the research that were discussed in the fourth chapter, and the researcher drew conclusions from them and identified recommendations and proposals.

The subject of undermining depended on many intellectual and philosophical systems, and it penetrated into most aspects of human life, such as political, social, cultural and artistic, to indicate the inconsistency of the human world, the disintegration of its parts, and the collapse of values. This concept refers to the human personality in its real and hypothetical capacity, as it was the plaything in the hands of these practices in order to pass its ideas, so the personality sometimes ascended the top of the pyramid and at other times descended towards the abyss, after it was lowered to the rank of an animal, and for the necessity of this topic, the researcher decided to formulate the title of his research, including A study of (psychological and social undermining of the personality in the texts of the high theater), because the global theater presented many models that were a witness to most of these practices that were applied against the personality throughout the ages, and the manifestations of demolition, distortion, loss and destruction that followed.

The current research dealt with (the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals) through the study of the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals and the Sumerian era, so the researcher sought in the first chapter to clarify the research problem, its importance and the need for it, as well as the goal of the research, which It is represented by the following: defines "the aesthetic of sculptural and functional creativity in the art of carving Sumerian cylindrical seals." Then the researcher concluded the aforementioned chapter by defining the terms that are directly related to the title and objectives of the research. As for the second chapter, it included a presentation of the theoretical framework and previous studies. It consisted of two chapters. In the first chapter, it was established that the emergence and development of cylindrical seals in Sumerian society. As for the second topic, it dealt with the Sumerian sculptural creativity of the seals aesthetically and functionally. The third chapter specialized in monitoring the research community and the tool that included collecting information, so samples were adopted from it in an intentional manner, and it amounted to (3) sculptural works that covered the limits of the research by adopting the descriptive analytical approach for the purpose of analyzing it according to the indicators of the theoretical framework of the research that the researcher relied on.

The current research studies the method in which the artist employs interaction with the surroundings through the language of impact at (Shaker Hassan and Alberto Burri) as a comparative model for the purpose of revealing the way in which each of them employs his concept of impact in his artistic works, technically and intellectually. The research consists of four chapters. The first is the general framework of the research, it deals with the research problem that emerged in hypothesis, what is the nature of the philosophy of impact and the method of its implementation in the works of Shaker Hassan and Alberto Burri as a comparative study? Then the basics of the research framework are presented, including the importance, objectives, limits, and defining terminology. The second section (the theoretical framework and previous studies) include three sections: The first section is devoted to studying the concept of impact. The second section is devoted to studying experimental performances in the plastic art. The third section includes experience of impact the intellectually and technically at Shaker Hassan and Alberto Burri, then the indicators which resulted in the theoretical framework previous studies are mentioned. As for the third chapter (research procedures): the descriptive approach in which is chosen, and then all the works are determined in order to take sample from which, and choosing the research tool (observation) to achieve the research goals. After that, the samples are analyzed according to a technical vision with philosophical dimensions. Then the fourth chapter comes with (results, conclusions, recommendations and proposals)

Decipheringthecodesofcontemporaryplasticartrequiresanintellectualeffort,sothatcommunicationbetweentheartistandthemediaoutletcanstripawaytheambiguitytoreachaclearreadingsuchthattheachievementcanbeunderstandablypresentedtotherecipient.Thefirstchapterservestoidentifytheproblem,thescopeofthestudy.Astheissuestemsfromtheambiguousnatureofanartist\'spieceformediapublication,itwouldderiveseveralquestions:WhatisthelevelofinterestoftheArabpressinthefieldofplasticarts?HowwillingistheArabpresstoactivelycontributetothefield?Andaretheyopentoenhancingtheprocessofunderstandingorreceivingit?Theauthor(s)furtherelaborateupontheimportanceandaimoftheresearchthatisquantifiedbytheobjectiveandtemporalmetricsofthestudyalongwithrelevant,definedterminology.Thesecondchaptercoversthetwoconceptsofinformationandreceivingthroughitsdesignofthestudy\'stheoreticalframeworkandtheauthor(s)acknowledgmentandcitationsofpriorrelevantworks.Itsthirdchapterdetailstheproceduresbywhichtheresearcher(s)wouldidentifyasamplepopulaceconsistingofchosenrelativesandrelevantworksofart.Thefourthchapter,inprovidingitsanalysisoftheresultsandthedrawnconclusionsofthestudy,gaveinsightintohowmediaandartcaninfluenceanaudience\'sopinionsaboutcommunityissues.Suchaconnectionwouldnotablycontributetothedecision-makingprocessandshapetheconvictionsoftheindividual

This research is concerned with studying the meanings inherent in theatrical performance in the light of the analytical mechanisms adopted by phenomenological philosophy, which examines how artistic works are performed, in an attempt to reach their first facts, by directing perception to the beginning of things ،And then to associate with it a direct experience according to the thoughts manifested in the feeling. Thus, consciousness carries out the experience of meaning in theatrical performance, through a long series of cognitive practices, which can be intellectually and aesthetically compared to the (montage) practices that abound in the creative consciousness in the style of cinematic depth of field. The first chapter defines the problem of research (systematically) with the following question: What are the aesthetic approaches to the coexistence of meaning between the depth of the cinematic field and the structure of theatrical presentation. While the second chapter is determined (theoretically) by the following: the first research (the strategy of cohabitation of meaning in the depth of the cinematic field), the second research (the strategy of cohabitation of meaning in theatrical presentation) ، The third Topic (aesthetics of depth of field in theatrical performance). The third chapter is determined (procedurally) by the theatrical show (Shajar Murr), written and directed by (Abdul Majid Al-Hawas), for the year (2015). In addition to the fourth chapter, which includes the results and conclusions of the research. Finally, a list of sources, references and a summary of the research in English.

This research is concerned with the study of (the lettering structure of the sacred letters in the contemporary Arabic formation), which worked on studying the structure of the Arabic letter within the limits of the sacred speech, and the great role that the speech played when it was embodied within the artistic works, whether it was drawing, sculpture or ceramics. The first is the preservation of Islamic heritage and arts, which were distinguished by the most important element in them, which is the Arabic letter and calligraphy, which gained their sanctity from the Noble Qur’an and the noble prophetic sayings. The researcher reached a number of results, including: 1- The contemporary literal structure of artistic discourses, with their different types and their preoccupations in Arabic formation, revealed divine connotations that are liberated from their rules. 2- Representing the literal structures in their abstract forms through dealing with the details, disposing of the mass, and manipulating the texture to broadcast a sacred discourse represented by simulating the essence, and by activating the technical feature within the formation of contemporary discourse and its data, which is a procedure to introduce sacred connotations to convey the meaning and undermine the similarity and simplify it with plastic and semantic dimensions.

The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.

Thetheaterisfilledwithimagesoftorment,andthesentenceoftormenthereismoregeneralandcomprehensivethananyotherexpressionsuchaspessimism,sadnessandalarm,forexample,thetormentrepresentsthebiggestconcernintheZaiditheateringeneral,andintheplayofmartyrsfirstenterparadiseinparticular.Theideaofthetormentinflictedbyeveryone,themartyrandhismother,withoutaclearexplanation,leadstotheideaofgeneralpunishment,whichseemstosomeextentacceptabletothemind,especiallythefeelingofsin,whichmadebothShahid1andShahid2admitthathedoesnotdeservetobeamartyr,especiallyaftertheywerethrownintodestructivewarsthatareuselessexceptformasterswithhigherinterests,Religionhasnothingtodowithitexceptanillusionusedbypoliticianstoincitewartoreaptheirownfruits.Bothmartyrsappeartobeinastateofpermanentcrucifixion,criticizingavaguehopetocome.Here,Al-ZaidigetsveryclosetoBeckett'stheaterinthegameofthinkingaboutthesincommitted,whichistheuseofthewarmachinetokillwithoutjustificationorrealpurpose.Toturntheplayintothepointofviewofitsauthortowardswarandthedestruction,devastationandillusionsitproduces,toturnthesamepointofviewintooneofthemostimportantformsoftormentinthetheaterofAliAbdulNabiAl-Zaidi.

This research deals with the conceptual analysis of the mind in its contemporary philosophical form, as the philosophy of mind has increasingly grown through scientific practice that sought to analyze concepts and experimental issues related to the structure and function of the brain. This created a space for distinguishing between different types of mental phenomena from each other, and research About the characteristics that are necessary and sufficient to determine the mentality, which is seen to have the ability to determine mental specificity. Therefore, the research will focus on the most important of those concepts that have been philosophically worked on in defining the concept of the mind. Accordingly, the structure of the research was established within four chapters. The first chapter contained (the framework General) on the research problem, which the researcher summarized by asking (How do the philosophical works of the mind contribute to the production of contemporary art?), and the goal of the research is (to identify the concepts of contemporary philosophy of mind and activate them as analytical mechanisms for contemporary plastic work). As for the second chapter (theoretical framework), it included Two sections: The first section dealt with: (The mind in light of its contemporary problems), and the second section dealt with: (The mind and the works of contemporary philosophers). As for the third chapter (Research procedures), it included defining the research community. (3) artistic works were selected, and the researcher analyzed them as a sample. For the community, while the fourth chapter contained the results and conclusions.