Artistic formation is an interconnected system of a group of elements and units interconnected with each other in an interwoven fabric, which in turn will be forms with ideas and contents that the artist is keen to convey to the recipient, the formative building includes various types of visual arts, and architecture is in turn a visual art, built from a group Elements and units that show their aesthetic value during the intersection of their building lines and the systems and models of building their external walls, which may be built with a system of incomes and projections or protrusions and pits in their walls, which creates different areas of shade and light during the fall of the sun's rays on them, so their aesthetic value increases, especially what we see in ancient civil buildings, and not We forget the other complementary elements of construction, such as windows, doors, and their construction patterns, and due to the aesthetics of these architectural forms, they became the inspiration for the artists who added the idea of these shapes to plastic works, especially in contemporary Iraqi ceramics, and the artist Tariq Ibrahim is an Iraqi potter who attracted him and aroused his interest in architectural structures, especially houses in clay. And the old heritage houses have always been attracted by their construction material, which is clay, and based on that, the research problem is possible, and the question arises: Next: What are the architectural formations and how did the potter Tariq Ibrahim employ them in his ceramics? The methodological framework included: the importance of research and the need for it, the goal of research, and spatially defined: Iraq. Chronological formations are defined: 1980-2000, and thematically: Architectural formations in the works of potter Tariq Ibrahim.
The theoretical framework contains three topics: The first topic: the concept of training in the plastic arts, the second topic: architecture and art, and the third topic: contemporary Iraqi ceramics and the indicators of the theoretical framework.
The research procedures were: the research community, the research method, the research sample, the research tool, and the sample analysis. He concluded with the results and conclusion), including:
1. Show the shapes and configurations of cities and homes on the surfaces of hard ceramic works with geometric shapes, as in sample (1) and (2).
2. The potter, Tariq Ibrahim, the architectural formations were evident in his ceramic works.
The chapter concluded with recommendations and suggestions, and sources and references.
Advertising design is one of the arts of communication of various levels and one of the aspects of the fields of design arts, and that the construction of the design environment in the advertising is one of the important entry points in making the recipient feel this environment and feel as if being one of its elements. It is an entrance worthy of study and research and is a problem worth raising according to the following question: - What is the effectiveness achieved in the virtual design environment for digital advertising? The two researchers dealt with the research in three frameworks, the methodological framework which identified (the problem of research, its importance, purpose, limits, and the definition of ter
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The second section was the patterns of the secondary event in the film wherein the researchers dealt with the patterns, types and functions
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... Show MoreAddress the current research study " Symbol Significances in Fakhir Mohammad Paintings " in an attempt to detect signs of the icon in the artist's fee . The research contains four chapters The first chapter of which the methodological framework for the search starting with the problem of the specific research and asking the following: Maaltold semantic code in fees Luxury Muhammad? As well as displaying the importance of research and the need for it and in order to search through ( you know the implications of the code in the fee Luxury Muhammad) and for the period of ( 1980-2010 ) in his works of art as well as identifying the search terms . In the second chapter , such as the theoretical framework , and contained three sections focus o
... Show MoreMost of the mosques in the Islamic world fall under specific and known forms and patterns to a large extent, and such patterns have grown and evolved from the few basic and uniform models, but they changed slowly due to the impact with a mixture of changing functional requirements and cultural landscapes because of the variables of time and place to form patterns known and famous in this day across parts of the Islamic world and its borders. There was no exception to these patterns, but small numbers of mosques that were probably the result of personal experiences or improvisational resolutions, or in response to specific or temporary stimuli. However, the emergence of a specific pattern which does not belong to any of these patt
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... Show MoreEach era has advantages in terms of innovation and development in form, technology, style, and design in ceramic vessels, both at the level of functional and aesthetic performance, so this study aimed to demonstrate the importance of geometrical foundations in the design structure of contemporary ceramic vessels, and also to reveal the constructive skills in The structure of the ceramic figure.
The researchers used the descriptive analytical approach to suit the nature of the study, and they described and analyzed the ceramic works in terms of geometric shape systems, elements and foundations of design in construction, formal diversity in the general design of ceramic vessels, and references and sources of artwork. In addition to th
This letter dealt with one of the most prominent verbal and contractual issues, which are the similarities of the legal texts, or the so-called news features. The scholars differed as to their interpretation. Most of the verbal schools went on to interpret these texts in a valid interpretation according to the data of the Arabic language, in order to preserve them from the divine self's pronouncement of similar creatures, while we find that the ancestors kept it on its surface with delegating its meanings to God Almighty. This is what Burhan al-Din al-Kurani suggested in this letter, declaring his total rejection of interpretation.
The research deals with the lyrical introduction in the commentary of Tarfa bin al-Abd as a formative system characterized by flexibility and richness of imagination, which achieved a formative treatment and a unique construction within the structures of the structural and semantic language. I dealt with the poetic verses represented by the lyrical introduction as a formative hypothesis, basing its goal on a methodological framework distributed on the problem that was summarized by the following question: Is it possible to look at the poetic pattern within the pre-Islamic poem / hanging blinking as a model, in its plastic dimensions and to identify the stylistic treatment that achieves the formation space within the poetic text. The rese
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