جدول المحتويات

مجلة نابو

ISSN: 24114650
الجامعة: جامعة بابل
الكلية: الفنون الجميلة
اللغة: Arabic and English

This journal is Open Access

حول المجلة

مجلة فنية محكمة تصدرها كلية الفنون الجميلة - جامعة بابل .
صدر العدد الاول لها سنة 2006 .
وهي مجلة متخصصة بالمعرفة الفنية والثقافة الجمالية والحوارات المعرفية .
اماالاعداد التي تصدرها فهي سنوية حيث تصدر عدد واحد في السنة .

Loading...
معلومات الاتصال

napoomag@yahoo.com

جدول المحتويات السنة: 2016 المجلد: العدد: 15

Article
Cultural reflection of social identity in the Iraqi theater techniques (selected models)
الانعكاس الثقافي للهوية الاجتماعية في تقنيات العرض المسرحي العراقي ( نماذج مختارة )

Loading...
Loading...
الخلاصة

Culture is a cultivated behavior ; that is the totality of a person’s learned , accumulated experience which is socially transmitted , or more briefly , behavior through social learning which is used to evaluate the individual and community . This concept has appeared specifically in Europe in the end of the century to improve and reform individuals . The art , in general , plays a great role in fixing culture and spreading it the world and it helps in creating the human , national and popular unity . Theatre can influence people more than anything else because it considered as the wide field that represents the cultures and their reflection on people through the limits (audible , seen and moving) . This search paper is consisting of four chapters . The first chapter deals with the methodical frame including the search problem and question (to what extent the theatrical technologies can express the features of the local identity in the plays show) . It also includes the importance and goal of this search . It aims to highlight the social phenomena and society fighting and the mechanism of representing them through the play show techniques like directing and acting . The searcher tries , through this search , to follow the society cultures which constitute its cultural features , which is not searched before . The social life is considered as a group of behaviors and cultures which refers to a specific social identity . This search paper also aims to be useful for the students of the theatrical arts department in the fine arts colleges rather than its relation to the students of anthropology department because it is interested in the thoughtful and cultural aspects . The first chapter ends with identifying the terms . The second chapter (theatrical frame) includes two subjects that are 1. The culture concept and its knowledge variety and spreading . 2. The effect of the theatrical techniques in representing the various society cultures . This chapter ends with the indicators resulted from the theatrical frame . The third chapter includes the search procedures , search society , and search sample including two plays which are (curfew and red carpet). The fourth chapter includes the results , conclusions , sources and references . 1) adoption of the artists of the 3D art to represent the events in a strange environment with it, gives the other (receiver) pleasure and surprise and puzzlement, and novelty in the receive and in the interaction and contribute to the production of work culturally, intellectually and visually and marketing. 2) contemporary art tri-dimensional drawings adopted the aesthetics of metaphor and aesthetic heritage, according to the principal communication and juxtaposition between the artist and the artwork and the receiver Vantage overlap and compatibility. In this researchs results, searches reach a number of conclusions including: confirmation graphic arts on the ground, the importance of vulnerability, impact and aesthetics in restoring public places geographical configurable through the act of painting, as a grant fun and pleasure, participation and communication and contact with the other. As well as the recommendations and some of the most important proposals to hold the next study: (The visual illusion aesthetics in the US wall 3D street art on the wall).

الكلمات الدلالية


Article
Drawing properties in the Fatimid era
خصائص الرسم في العصر الفاطمي

المؤلفون: Sharif Ali Jaber علي شريف جبر
الصفحات: 39-68
Loading...
Loading...
الخلاصة

The civilization of Fatimians without a doubt is considered more development and prosperity from others one، for its achievement which made during the era of Fatimidy . Fatimians attested to establish the first University of world and the scientist AL- Hassan Ibn AL-Hytham lived in this Civilization who has spreaded his sciences over three centuries in Europe and others of great scientists. Also Fatimians country library which was quite huge to draw attention many of his to rains like ALmakrieze، The library books reach to 1،600،000] million and six hundreds of thousands of bookbinders. ] and the main features of this country which dust it that they were not oblige their people to believe with them، Fatimians was quite wide and included different kinds of people، history records that Fatimids established and built Cairo. The border of Fatimians extended from south of Europe to morocco and north of Africa with ALSham countries and Arabian Island، Fatimids has obvious and prominent in all Kinds، of scientific، economic، military، and cultural fields، Similarly this plain civilization development interposed development in the field of arts and beaux arts . Fatimid left for us architecture arts in that era which included different art works like wall paints in Cairo ، also there were many of wall paints in Kingdom AL- Kassar Church (( Capella Palatina )) in the Ballermo Island of Saqllea in south of Italy . which it was bound up by Fatimid for 90 years in addition to a lot of paint in pieces of textile and on the dishes of pottery But about the miniatures which were quite several of it that several of historians mentioned it as AL-Makrize، But with a pity that have not reach of these miniatures for us، for it exposed to damage when ALAeopiaans made to burn manuscripts of famous library. So Fatinians era attested to a lot of paints in different Kinds . The aim of research is :- To understanding the distinguishing artistic features in Fatimian era. I followed the historic style to compound the information of theoretical manner and attributive method in analysis filed of artistic works to explore and discuss the results. The scholar grouped the artistic information which place in research subject. For to a lot of paints which represent the native society، The researcher choosed a sympol with prief and ordered manner. And these paints performed by different forms and technicues. It included wall paints، on the earthen dishes and paints on pieces of textile. So the numbers of sympols teached to 14 (Fourteen) symbols. The researcher arrive at such of result which achieved the aim of the research which are as the following :- - The Fatimians paints was shown real method about prevailing economic life which was a life of luxury and economic prosperity that what we see in the dresses of people who wear superior dresses and dorned with embroidery type، Also it discovered the attention to music as an evidence about the luxury which rising from the economic luxury ، Also the attention with scientific research in addition to the details of daily life ، also the forms of animals in these era. The paints of Fatimians Characterized by to be flatten not deep because it was not appear the effects of the light and shadow and was not attempt to the perspective except some of works which reflected good dealing with the perspective، Also Fatimian paints characterized by simplification ، Shorthand and without accuracy in paints of human body and dresses in and dresses in figure lacked of bending ، and a dorned by decorative unite ، used strong and plain lines ، to definition figure، and it revealed the express of different movements of human body. It characterizes to paint faces of persons with wide eyes and using shine and beauty colors which added beauty color variety and plain ability to paint an animal in style with exact kinship and anatomy as the paint of deer ، horse and camel، also it included assembled legendary figures . also it is noted by finding the written decorates of Leafy AL-Koffy hand script which famoused in Fatimians era. The Fatimian paints had reflected the effect with Sammaraa paints though they used the sash which had appeared Sammaraa paints and they used pends techniques of dresses that compound as Lines figure in one point to get these figure embodies in addition to use the tape that included gem grains and plant decoration the Fatimians paints appeared the effect with Bezentian paint though to use the circle holes at the back the head of persons in addition to effect with Persian traditions in paints though the using the subject of man or young who sit and holding the glass (cup) in his hand.

الكلمات الدلالية


Article
Aesthetics style at the Max Beckmann fees
جماليات الاسلوب في رسوم ماكس بيكمان

المؤلفون: Huda demanded cruiser هدى طالب طراد
الصفحات: 69-97
Loading...
Loading...
الخلاصة

Researcher starts in the field discussed this، it is placed style important given that poses an aesthetic phenomenon occupied an important place in public discourse map visual form and drawing him in particular. As evident this phenomenon through the aesthetic style in one study of modern European artists fees (Max Beckmann). The current research included four chapters، the first chapter contains research problem and its significance and the nature and limits of his goal and define terminology. And it identified the problem of searching through Tmzarha follows by asking: - What is the aesthetics of style in the artist Max Beckmann charges? The first chapter also includes the goal of a research: - Learn about the aesthetics of style in fees (Max Beckmann). The limits contained in the first chapter has been limited to the study of the aesthetics of style in fees (Max Beckmann) and analysis of pictorial models for paintings executed with different materials (oil، acrylic، etc.) on Alcanvas for the time period (1918 -1945 AD). The second chapter has included theoretical framework، which contains three sections addressing First topic: Reading in the aesthetic concept of style، and in the second section Vontoy on the study of the diversity of artistic styles in modern European painting، and in the third section has been studying the experience of Max Beckmann’s art. The third contained a chapter on research procedures، including the research community and appointed by the nature of the curriculum، and then the sample was analyzed (5) a model. The fourth chapter Vahtoy on search results and conclusions، and the results that have been reached: 1. Characterized businessman (Beckman) showing the deep features of Alansanahomn Socially deepens the link with the reality in various forms، as in the research sample models (1.2، 3، 4.5). 2. Characterized by style (Beckman) being the expressive approach fraught Bbaada aesthetically very psychological bent through the embodiment of the manifestations of death، pain and suffering and cruelty and brutality as in the research sample models (1.2، 3، 4.5). The researcher found to a number of conclusions، including: 1. Estm technique is generally self-expression and constructivist vision in which the elements and foundations are organized within the esthetic medley format. 2. The stylistic vision of (Beckman)، involving a great deal of vulnerability to the nature of artistic styles expressionism and Alohoucah. As well as Surrealism. This study also included recommendations and proposals، including: 1. Narrative style in the modern expressionist painting mechanisms. As well as the abstract in English.

الكلمات الدلالية


Article
Jerotsk representations in Cubism modern - a model Picasso
تمثلات الجروتسك في الرسم التكعيبي الحديث - بيكاسو انموذجا

Loading...
Loading...
الخلاصة

The current research dealt with (REPRESENTATIONS OF GROTESQUE IN THE MODERN CUBIC PAINTING -PICASSO AS A SAMPLE- ) which focuses on the pivots of modernity that are represented by cognitive modifications in the European art and culture that both eighth and ninth century have witnessed which contributed in undermining the Abstmological and cultural structures of the art by the favor of the domination of variety, strange and extraordinary … in producing new extraordinary unprecedented ideas of Grotesque nature interested with processes of disgracing, distortion and strange …so the problem of the research is briefed with inciting couple of queries of a cognitive and artistic nature which most important are : - 1- Are these representations for the Grotesque in the modern art? 2- What are the mechanism of operating the Grotesque in the cubic painting generally and the paintings of Picasso exclusively . First chapter of this research included the methodical frame of the research which included the problem , importance, need and its goal which is represented by knowing the representations of Grotesque in the modern cubic painting –picasso as a sample- within the limits of the contemporary art in France for the period ( 1903-1940) also included identifying some terms and their definition. Second chapter was (theoretical frame) which included four sections first dealt with ,art of Grotesque ( concept, theory and application), while the second section includes : features of Grotesque in the modern European painting, third section included : Cubism between dissembling and assembling, while the fourth section dealt with : Bablo Picasso ( starts, references, destinations). Third section dealt with procedures of the research included the population of research is ( 25) samples , being electing similar samples of the research’s sample intentionally are (5) samples . The two researchers depended in analyzing the samples on descriptive method via style of analyzing , also this research included building the tool by it’s primary and final form. Fourth chapter included results and conclusions of the research, plus to recommendations and suggestions, most prominent results got by the two researchers are:- 1- The cubic painter Picasso depended on the aesthetics of strange in doing his works on the level of shape and content , when he passed the familiar and constant to the modified and new extraordinary, in order to discover the “ what is behind” of the shape that run from the chains of the reality through re-casting the organizing by new techniques based on distortion , ugly and extraordinary. 2- Picasso adopted extraordinary methods in producing new shapes of a Grotesque nature via using materials and strange domestic ores with adding ready substances by technique of sticking ( Collage) , to provide the viewer aesthetic areas of free playing in recruiting and collecting and constructing, to indicate conceptual stylish and aesthetic modification exceeds the imitation limits, and ruin the real styles. Most important conclusions the two researchers have come up with are: 1- The culture of the new plastic art of cubism in it’s endeavor to ruin the visual shape and crashing the point of vision to the level that doesn’t let the visual phenomena except marginalized features barely could enrich the shape nor content. 2- The desire of ruining and demolishing and not being committed with order and harmony and natural rates are the prominent features of cubic Grotesque paints also they are ridiculous paints mix between scare and strangury. In the shed of above mentioned , the two researchers suggested that : ( Aesthetics of Grotesque in composing the post modernity) reaching the references, appendix and shapes.

الكلمات الدلالية


Article
Brown in the Iraqi drawing Almasrhakbh forties and fifties
بنية اللون في الرسم العراقي المعاصرحقبة الاربعينات و الخمسينات

المؤلفون: Ammar Abdul-Hamza Habib عمار عبد الحمزة حبيب
الصفحات: 141-180
Loading...
Loading...
الخلاصة

The structure of color in Iraqi contemporary painting The research is an attempt to study the structure of color in the contemporary Iraqi painting , to fathom the color options ,selections and use in the structure of the artistic works ,which establish the hierarchy of the forms of the works .The color strata has been a long time analyzed and evaluated according to certain values and theories almost has nothing to do with the process of painting .The time has come to study the mechanisms of creating the coherent structure of the esthetic ,semantic and creative message .The deep structure and the transformational component that generate ,stimulate interest and arose esthetic excitement of the artistic message . The study falls in four chapters, chapter one devoted to the importance and the need for the study as well as its objectives which are limited to the analysis of the paintings, the period of 1950 -1976.The chapter also includes specifications of the significant idioms of the research. Chapter two is a theoretical framework .It deals with an introductory to color theory , which establishes the bases of stretcher of color, rules and criterions has been formed to read and analyses the visual texts of the sample. Procedure has been design to select the community of the research which include (50) works .A sample of (6) works represent the period and meet the objectives and limitations of the study. Chapter four is devoted to the findings, conclusions and suggestions. The most important findings are the following:- 1-It has been dealing with the options and choices on the basis of intensity saturation and value of the colors to create the shallow depth ,the colors look like to float on the surface of the painting as in the models (1)(3)(4)(6). 2-The external context has influence the context of painting to the point that realize the environmental colors, the cast or touch of Ochers has appeared. The Arabic narrative process simulated in the painting from righto left, more over the Arabic semantic associated with colors, other semiotics systems can be noticed in all models except number (1). The main conclusions are the following:- 1-the positive and negative semantic of colors form a sphere ,the colors on its tropical circle ,white and black are on poles ,if the selection from the colors towards the white pole, then it is positive , on the contrary is negative semantic , 2-Most paintings with aerial perspective organizes colors from warm bright ,straight, saturated to cool faded colors as if they use the spectral colors vertically on the surface of the paintings . The other use the spectrum in parallel with the surface of the paintings .

الكلمات الدلالية


Article
Synthesis formal visual discourse in contemporary graphic design
التوليف الشكلي للخطاب البصري في التصميم الطباعي المعاصر

المؤلفون: Dena Mohammad Aenad دينا محمد عناد
الصفحات: 181-209
Loading...
Loading...
الخلاصة

The study looking at the identification of synthesis formal visual discourse in contemporary graphic design possibilities, as it became the visual discourse source mainly for the production values, symbols, and the formation of consciousness, conscience and taste and behavior, and as a result became a concern a major visual art as an integrated system and influential for sending and receiving, and can be on the way to configure different effects and achieve the desired goals considering that the visual reality is reshaping reality origin and self-realization and a new vision for the world. Based on this study tagged come (Synthesis of formal visual discourse in contemporary graphic design) to clarify issue through four chapters, the first chapter included the research problem and the need for him, has identified the problem as follows wonder (what synthesis formal visual discourse in contemporary graphic design)? The objective of the study (to determine the grounds of technical knowledge to be adopted by the designer in achieving formal synthesis), also included the importance of research and the limits of research as well as identifying terminology. And ensure that the second chapter the theoretical framework, consisting of three sections focusing first section on (synthesis formal in the art of contemporary graphic design), and focused the second topic on (synthesis in light of modern technologies), and ensure that the third section (synthesis formal visual speech as the value of creative innovative. It has identified the third chapter of the research procedures as researcher followed the descriptive method and the method of content analysis, the purpose of the analysis of the sample has been relying on the outcome of the theoretical framework of the literature related to research to contribute to the objective research. And the children of analysis on this basis. The fourth chapter of this study included the most important results, including: 1- led to the use of images and design programs available space and technological wizards, to activate exaggerated formalism in achieving synthesis formality and overlay formats to give the visual qualities of excitement and attraction semantic meaning and symbolic and deliver a full and clear message to the recipient. 2-deliberately designed to use non-formal synthesis fashionable and innovative idea for the show by going to the visual imagination to stir, making a strong and clear message to the recipient showed in order to achieve the goal of the design, which was marked by creativity and innovation in the concept of the design, And ensure that the most important conclusions, including: 1- The formal synthesis is a way to achieve artistic values, leading eventually to enrich the design work with new ideas and give an aesthetically and functionally artistic dimension to the achievement of the semantic meaning of the idea and the delivery of complete and clear message to the recipient. On the grounds that they were united in a single unit and became a new entity. 2- The use of modern technologies and ongoing technical wizards to serve the idea and secured realized by the designer according to his artistic vision, led to convert the visual rhetoric into reality fantastically creative. 3- employ metaphor formalism in graphic design to achieve a synthesis based on visual rhetoric, carrying intellectual and aesthetic dimensions. And then it incorporated the recommendations and proposed a (formal study of the synthesis in the interactive design and its role in achieving the visual attraction). And Arab and foreign sources and then the summary in English.

الكلمات الدلالية

جدول المحتويات السنة: المجلد: العدد: