Fine Arts

: The current research studies the functional and aesthetic dimensions of the art of Islamic miniatures, and it consists of four chapters. - Did the photographer of the Islamic miniatures move between the various decorative and written patterns away from adhering to a specific pattern? And how was he able to reconcile function and beauty in the implementation of those miniatures and their expressions and the need for it ? Disclosure of the aesthetic dimensions of the art of Islamic miniatures as well as the limits of the research and identifying the most important terms and defining them, while the second chapter concerned me with the methodological framework for research and previous studies. The first topic was devoted to the functional and aesthetic dimensions of the art of Islamic miniatures. The theoretical framework, while the third chapter dealt with the research procedures, sample, research method, and sample analysis The fourth chapter also represents the results, the most important of which is that the spiritual dimension is functional in the design of Islamic miniatures, representing the response to a hidden feeling (mystical) that tends to the unseen or the absolute through the endless movements and lines that appeared in the narrative style that spread a lot in the art of Islamic miniatures, in addition to the conclusions and recommendations And proposals as well as the sources and references adopted by the researcher.

Art is one of the most important ways to evoke the past and memories, which can be represented by sound or image. Listening to the songs of Umm Kulthum, for example, but not limited to, is only part of this nostalgia and remembrance of a time that most Arab peoples see as the best and most beautiful. Away from all the political, social and demographic changes surrounding it.
As for the plastic side, the Arab painters have avoided this approach due to their close connection to their history and their popular heritage, so we see the general tendency of them to document places and events in an earlier time, it is possible that they may have lived through some of it or lived in its details, and that is due to their nostalgia for the past with its people, places, and places. its events. This is what is called idiomatically (nostalgia).
Iraqi painters have been depicting scenes related to the past, so their pictorial references were an evocation of legacies and heritage in general terms, events, people, or places, until the old heritage theme became a style for many of them. Even for art students. We see the pioneers of plastic art in Iraq who were inspired most of their works from conjured images, including Jawad Selim, Faiq Hassan, Ismail Al-Sheikhly, Nuri Al-Rawi and others, and from contemporaries, for example, Mahmoud Fahmy, Faisal Aleibi Shaker Al-Alusi and Ali Al-Tajer.

The research tagged (Aesthetic education and displacement data in the decorative formation of the minaret dome in Mashhad Al Shams Mosque) included three chapters. And what information did that official information work on, then the importance and need for the current study, as well as:
The aim of the research: (to know the aesthetic education and displacement data in the decorative formation linking the dome of the lighthouse Mashhad Al-Shams Mosque. The limits of the research: the objective limits (Aesthetic education and displacement data in the decorative formation of the minaret dome in Mashhad Al Shams Mosque). Temporal limits: 51 AH - the sixth century AH. Spatial boundaries: (Al-Shams Mosque in the city of Hilla - Iraq).. as well as defining the search terms.
The second chapter (theoretical): The research: - The first: The first axis: An introduction to the concept of education between aesthetic and functional data, The second axis: - Displacement data in architecture, The second topic: Islamic architectural elements (domes and minarets). And finished with the most important indicators. The third chapter (research procedures) dealt with: 1- The research community, 2- The research sample, 3- Research methodology: the descriptive approach (content analysis), 4- Analysis of the study sample. The research ends with the most important: (Results: This study showed us a very important discovery, which is knowing the time through light and shadow on the lighted dome of the Mashhad al-Shams Mosque, as it was reached through this unique model among the conical domes in Iraq to the discovery of (a sundial), It is a unique displacement parameter that did not appear previously in models of Islamic mosques. Conclusions: It appears to us that the disclosure of the essence of the visual act that drives the processes of perception and influence on the recipients plays a role in the decorative formation of the Islamic architectural construction on the one hand, and the research in the effectiveness of formal communication and its aesthetics on the other hand). The most important scientific sources were also documented.

This research is concerned with studying (the effectiveness of cognitive criticism in the arts of modernity) and it falls into three chapters. The problem of the current research included the topic (the effectiveness of cognitive criticism in the arts of modernity), which witnessed the arena of intellectual and cultural dialogue, a state of unprecedented development in the stages of previous human civilizational thought. From blind obedience and docility and not presenting opinions and ideas without contemplation, it calls for freedom, and these new attempts of a cognitive nature resulted in the loss of academic traditions and the artist entering into an experimental process. The cognitive effectiveness of art in general and plastic art in particular was manifested in the research of art criticism On the scientific methodology and its cognitive controls that led to the separation of the form from the content or meaning, which is in fact the separation from the referral to outside the text with the meanings it represents. Knowledge criticism occupied the intellectuals and researchers in the fields of their dialogues between the encourager, the discusser, the adopter and the opponents; Therefore, the emergence of knowledge criticism was a prophecy of building a new criticism theater based mainly on shaking the ground of art criticism, whose methodological mechanisms were worn out after it was, until recently, a systematic tool for reading and re-reading the artistic texts of the stage of modernity. In this period, he made it necessary to study the subject of cognitive criticism that was produced within the scope of the arts in the period of modernity. Hence, the researcher found the need to address the study and investigation of the effectiveness of knowledge criticism and the artistic data that appeared by artists in the period of modernity, defining the problem of the current research in light of the answer to the following question: What is the effectiveness of knowledge criticism in the arts of modernity? How do you prostrate formally in the artistic painting?

The current research dealt with the subject (the homogeneity of writing in pop art), which specialized in the research to study the nature of the main concepts of technology through understanding the display technology of the concept of homogeneity of writing, how to structural treatments and the mechanisms of their operation in pop art works of art, and the research contained a Four chapters, the first chapter is concerned with the methodological framework of the research, represented by the research problem, which is determined by the following question: What are the aesthetic motives for the act of writing for pop art and the semantic references it carries at the level of forms, ideas and topics?
The chapter also contained the importance of the research and the need for it, its aim and limits, and its definition of the terms included in the research. As for the second chapter: it contained two topics, as the first topic dealt with: the homogeneity of writing (the concept), and the second topic dealt with: writing in the art of pop art in artistic formation. The third chapter included: identifying the research community and its sample of (3) Models with different artworks. To obtain the inclusion of the fourth chapter with a number of results and conclusions.

The paper deals with the signs of personal icons in Modern European painting (1889-1940). The paper falls into four sections, commencing with identifying the significance of the research, its objectives and the definitions of key terms. Section Two is devoted to the theoretical framework that covers: 1. The historical development of the concept of Icon, and 2. Employments of Icon in modern European painting . Section Two covers the findings that may contribute to the analyses the research samples.
Section Three deals with the research procedures. The Sample consists of five samples intentionally selected. Section Four presents the conclusions of the paper, the most significant ones among them are: 1. The Personal Icon is embodied in the working of the artist's 'Identification System' and 2. The artist's individual experience is the cornerstone of the style and dealing with the 'Painting Surface.' One of the findings the study arrives at is that 'The Personal Icon' is a means of exploring the artist's character

With the development that has afflicted the world and what modern technologies have brought about, and the intellectual struggle that is going on between the different levels of understanding and awareness, there is a kind of awareness that has begun to afflict the masses of many and establish a new one. Intellectual references, and because the modern world, which has entered strongly in the era of informatics, has become preoccupied with the large amount of information that many have benefited from and showed that, and this is evident in what the workers in the field of art in general and design in particular have presented, as the research indicates the determination that man tries to reconcile with And between the technological world in which he lives in an attempt to control in order to survive and practice the process of life, by satisfying the needs of the self. And conforming to requirements that may be luxury, a break from boredom, or communication with others on a civilized, technical, and artistic level. d scientific level. The study is summarized in this research about the huge changes in the level of technical information in visual deception and its impact on the printed advertisement and the pattern of thinking and response of the recipient, which combines this and benefit from the scientific point of view, and the employment and investment of these technological innovations of modern scientific skills and facts that achieve pleasure and benefit from the creative capabilities that The designer was able to move to the advanced interactive aspect as a complementary and unconventional element with the recipient, moving it from design in two and three dimensions to wider scales. Accordingly, the research confirmed that there are reasons and points that must be focused on or prepared as basics in the design of interactive advertising, and they represent pillars for creating a state of attraction that achieves this goal by investing in advanced technical and technological aspects to achieve this. As the research problem is summarized in the following question (what the basics of promotion and visual attraction in the design of print are ads).

The current research included exposure to the term openness as an epistemological concept that took a wide space in postmodern arts in general and contemporary sculpture in particular, and what it brought about in terms of the development of society's reality, and the sculptor's feeling in creating his aesthetic discourse.
The research came in four chapters: the first of which is the general framework of the research and included the research problem that tended towards openness and what it carries of the cognitive content of the foundations of a certain period of time. How is the concept of openness embodied in contemporary sculptural work and what are the means that helped in its plurality of reading?), its importance and the need for it being a form of knowledge addition specialized in the art of sculpture and a study that contributes to opening the cognitive and aesthetic horizons for students of art and those interested in it, and then the goal of the research that was determined in recognition On the concept of openness in contemporary sculptural work and the means that helped in its plurality of reading, and the limits extending from 1991AD_1998AD, and identifying and defining the most important terms contained in it. The plastic field and how the sculptor helped in broadcasting his sculptural discourse through the formal and content structure of the accomplished piece. Literacy and how to read the sculptural work (openness and closure) in the third topic, and the researcher concluded with some important indicators that were useful in analyzing the research sample

Art is an eye-catching phenomenon، as man practiced his artistic concept through the study of artworks and the symbolic and aesthetic connotations in them of the throwing tendency in the drawings of Iraqi artists، which appeared in many works of art in which the Iraqi artist embodied the data of her artistic experience according to the symbolic tendency. It was necessary to study this topic in general terms and study it in contemporary Iraqi painting in particular in the drawings of Iraqi artists and the symbolic tendency that the artistic drawings carry in what constitutes a documentary phenomenon of identity and originality in contemporary Iraqi painting. (Symbolic tendency in the drawings of Iraqi women artists - (2000-2020)) The research was divided into four chapters. The first chapter included the definition of the research problem and touched on the importance of research and the need for it. The research، it was revealed: The objective boundaries: the plastic artworks drawn and executed with different materials .: Temporal boundaries: (2000 - 2002) AD .: Spatial boundaries: Iraq. As for defining terms، the researcher dealt with the symbol both linguistically and idiomatically.

This research is concerned with the study of the visual stimulus in the linear performance, as the visual stimulus is considered as a result of the outputs of the artistic treatments in the linear achievement in order to achieve the goals of the envisaged aesthetic message.
The research included four chapters. The first chapter included the research problem, which was represented by the following question: What is the The visual stimulus in the calligraphic achievement?
The researcher defined the goal of the research, which is: to identify the visual stimulus in the linear achievement.
While the second chapter included two sections, the first: the visual stimulus and the limits of employment, and the second: the constructive constants of the linear achievement. The research sample intentionally and by (3) samples to represent (10%) of the total community, followed by the analysis of the samples according to the research tool represented by the analysis form, which was confirmed by a group of specialists in this field.
The fourth chapter included the presentation of the results, including:
1. The calligrapher relied on the characteristics of letters such as flexibility, ductility, overlapping, overlapping, stretching and elongation to achieve visual excitement.
2. The linear achievements that are characterized by simplicity in terms of composition or formal structure may sometimes exceed the visual excitement.
3. The element of color has a great effect on stimulating the eyesight of the recipient, because of the connotations it carries that the calligrapher is targeting.

This research is concerned with the study of (the media and their representations in the Iraqi formation) and it falls into three chapters. The problem of the current research included the subject of (the media and its representations in the Iraqi formation), which witnessed the arena of intellectual and cultural dialogue, a state of unprecedented development in the stages of previous human civilizational thought, and the media helps to activate thinking and move it and generate new ideas and visions, and therefore it is a necessary process To get rid of blind obedience and docility and not to offer opinions and ideas without contemplation, it calls for freedom, and this resulted in these new attempts of a media nature, as the media dimension is the translator of social life, after the activities of the members of society were subject to its rhythm due to the daily influence it possesses. And a renewed movement and a louder voice in humanitarian activities, as it is the window through which members of society (the recipient) learn about the different forms of civilized development, and at the same time it is an effective and influential media tool in shaping the true picture of society on social issues. It provides information, social analysis, opinion, social expression, culture and education. As the media has the ability to produce logical premises when it interacts with the nature and essence of the issues exchanged between the social forces. Aya, including demonstrations, and gains more importance when its models are linked to the essential content that achieves its complete harmony by revealing the nature of the development of relations and their contradictions.; Hence, the researcher found the need to address the study and investigation of the media means of demonstrations in contemporary Iraqi plastic art and the artistic data that appeared by Iraqi artists in the contemporary period, defining the problem of the current research in light of the answer to the following question: What are the media means and their representations in Iraqi plastic art (demonstrations as a model) )?

This research is concerned with the study of (the media and their representations in the Iraqi formation) and it falls into three chapters. The problem of the current research included the subject of (the media and its representations in the Iraqi formation), which witnessed the arena of intellectual and cultural dialogue, a state of unprecedented development in the stages of previous human civilizational thought, and the media helps to activate thinking and move it and generate new ideas and visions, and therefore it is a necessary process To get rid of blind obedience and docility and not to offer opinions and ideas without contemplation, it calls for freedom, and this resulted in these new attempts of a media nature, as the media dimension is the translator of social life, after the activities of the members of society were subject to its rhythm due to the daily influence it possesses. And a renewed movement and a louder voice in humanitarian activities, as it is the window through which members of society (the recipient) learn about the different forms of civilized development, and at the same time it is an effective and influential media tool in shaping the true picture of society on social issues. It provides information, social analysis, opinion, social expression, culture and education. As the media has the ability to produce logical premises when it interacts with the nature and essence of the issues exchanged between the social forces. Aya, including demonstrations, and gains more importance when its models are linked to the essential content that achieves its complete harmony by revealing the nature of the development of relations and their contradictions.; Hence, the researcher found the need to address the study and investigation of the media means of demonstrations in contemporary Iraqi plastic art and the artistic data that appeared by Iraqi artists in the contemporary period, defining the problem of the current research in light of the answer to the following question: What are the media means and their representations in Iraqi plastic art (demonstrations as a model) )?