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Abstract art /qusay tariq

بواسطة: قصي طارق qusay tariq  |  بتاريخ: 2013-04-12 ، الوقت: 23:06:29
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Abstract art art in performance depends on abstract forms from escaping similar undiagnosed and visualization in its natural form and realism.


And is characterized by the ability of the artist to draw a shape that imagined either fact or fiction in the form of a completely new may look similar or not similar with the original format of the final draw with distance from the geometric shapes. The pioneers of this abstract art artist / Picasso, but Picasso care deprivation and colors and fonts that characterize his paintings but he did not care about esthetics in his paintings. The Age of Art is about to be the human lifespan. Art is a form of work and work activity is characteristic of the human race




In this sense, taking convey a mental picture of the world of imagination and dreams to the real world, which began simulates things and the visual image. So he began art simulation emulates the things that were directly related to them. ((The method of Neanderthal thinking, is concrete way tends to things at colleges and resort never to abstraction or things naked. Nor tends never to study details or given it deserves importance. This method make it do not draw much attention to the nature of the internal things, but sees the decisive element is the face of it, is the form is what the eye sees them., he believed that all have the same format also has the same essence)) (), says George Thompson in his book ((Achilles and Athens)) the primitive magic offers

The idea that ((Control actually possible by creating a fake picture of the control)) () so it was the first man paints a very graphic, but now increasing evidence that the assets due to the magic art. Art is a magic tool to control the minimum and realistic but still unknown. But to say that art simulation. Has been replaced by more recent knowledge is the relationship between art and perception. The traditional concept of the image as a mirror placed in front of nature, the concept was removed in favor of the concept, which believes that there is a "run of the nature and other images of human beings. "These two concepts are identified and hand drawing and trends since the very beginning, in Tombstone, prehistoric, saw artists to express interface concepts of the time allowed glancing at the level of artistic vision fact twofold a misleading often, about art as a simulation of the signed "conceptMahakaa "as art mirror of nature lend harmony between perception and artwork higher value. Required to be logic simulation is mirror free of any defect or distortion is that the legacy of Altamira and other prehistoric says otherwise



"The beginnings of thinking abstract, due to the philosophy that originated in Greece was interested philosophers very interest in the study basically spiritual things and general principles. Relationship overall fractions. Was before to put Aristotle rules logic. Was to applicants upon a great credit to sharpen thinking, and prepareto determine the components of mental thinking and approach. Socrates credited revealed the idea of the overall concept. has decided that everything that exists in itself ... and Socrates stressed the idea of ​​the overall concept, which has the characteristics of sex, and select arena dubbed Aristotle: domain "


What concerns us in our search this is abstraction exchange (pure) free of any subject which does not die any link in some way representative associated with the outside world (objective) picture that creates artist abstract is not intended to portray a certain thing does not represent anything but themselves and only what is it. It is an image model. But is the original, is the result of an artistic act and can only be understood as something alone. This is the abstract style of exchange which simulates artist absolutely nothing.

This is what makes us classify abstract artwork in two types of abstraction exchange, which is originally associated with the subject, and abstraction of the second degree is associated with the subject. The subject is located in the painting be a reason to put restrictions on the imagination so that we can not go beyond the limits of the subject. Also remain detained in a spiral thread immediately realize is consumed then there is the question posed by researcher Jean Brnellie The subject of the painting something that is not essential. Can this painting in the extreme, but you must do without on this topic?



"Waving the logical result, if we said the principle that we mentioned above and which confirmed the theories of modern aesthetics all. Mean that the artwork before everything" surface color cover a particular system. It is clear that it is possible to dispense with the subject and shooting things or representation provided that the arrangement is premature (a concert of the eye) and can be our real panel until we find no trace of something that belongs to the outside world. Here we drift in a straight line by virtue of our thinking to the so-called public art abstract "() In this sense," Art is abstract not primarily intended to portray Thread outer adult what amounted to a process of abstraction and modification which deals with the artist this topic, but aims to portray what we call the subject of internal or Thread fictional and then the image is painted a kind of projection of the subject "() and researcher finds that in the abstract art exchange (pure) potential to express emotions emotional esoteric deep than in the art with the subject. therefore" abstraction is an image of reality as perceived by the mind, not register glimpse offered by traditional image, but imagine actually in the fundamental nature of something continuous and complex synaptic relations vehicle. Valrsam abstract paints what he knows and what feels, in addition to what he sees, and his first goal in this is to emphasize organizer of the fact, that the painting is linked to different positions to each other

The Engine Center for School (Cubism) in the graphic is reconfigured forms taken from the outside world for the benefit of the system and cognition, often attributed according to this trend. Fee to Picasso and Braque. As based on a new method based on the argument ((feeling that the visible universe is only stripped of the fact that intensive steady or very processes interlocking as depicted (Whitehead) * The painter Cubism believes that painting should be simply register for deportation surface which gives him the eye of the world. tried Cubism give real change to the phenomenon of abstraction when presented their models to explain this trend. and arguments that you want to confirm that the objects and faces different significance. something invisible behind the object visual proverb Merlo Ponte (The implications are not visible)  


() Looks Franklin Rogers, poetry, painting, translate Mai Muzaffar, safe house for translation and publication, Baghdad, 990 pp. 73-77

() Abdel Moneim pen, Introduction to the Theory of Literature, Back House Beirut. I 2. 1979, p 17

() Izz al-Din Ismail, art and human, Dar pen, Beirut, Lebanon. I 1.1974 p

(*) Almasedk: The set of units ratified by word or form or sense, etc. any viable change things unlike essence, Abdullah Al-Khatib, mental cognition in Fine Arts, House of Cultural Affairs, Baghdad, 988 pp. 90.

() Mohammad Sami Mahfouz, abstract thinking infected Algahrien, Arab Renaissance House, Cairo, 1964, p 2

() Mohammad Sami Mahfouz, op cit, p 2

() Mohammad Sami Mahfouz, op cit, p 4

() Mahmoud Bassiouni, art, in the twentieth century, Knowledge House, Cairo. Egypt 1983. Pp. 145

() Ibid, p 146.

() Mahmoud Bassiouni, op cit, p 145

() Ibid, p 145

() Ibid, p 146

() Mahmoud Bassiouni, op cit p 147.

() Izz al-Din Ismail, art and human, Dar pen, Beirut, Lebanon 1983

() Jean Brnellie, research in aesthetics, Renaissance House, Egypt, 1970, p 206

() Izz al-Din Ismail, art and human, Dar pen, Beirut, Lebanon, 1974, p 194

() Afif Bahnasi, revolution and art, and the Ministry of Information, Culture Directorate General, Technical Series, Baghdad

() Seen Maurice Merlo Ponte, visible and invisible, translation, Suad Mohammed Khader, House of Cultural Affairs, Baghdad, 1987, p 34

() Seen Jacob Cork, language in modern literature, modernity and experimentation. Trillion Joseph and his colleague, House safe, Baghdad 1989, pp. 33-35.

() Afif Bahnasi, revolution and art, and the Ministry of Information ((General Directorate of Culture, Technical Series)) Baghdad, pp. 121-122

() Michel Asi, art and literature, aesthetic in search of species and schools of literary and artistic works, trade publications office, Beirut, i 2, 1970, p 216

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