آلية تطبيق الشكلانية الروسية في الرسم التجريدي هاشم سمرجي و بريجيت رايلي : دراسة مقارنة

الملخص EN

Russian formalism in the first quarter of the twentieth century was considered one of the important theories that worked in literature, criticism and art.

Its arguments were put forward to demand a shift in criticism from its general framework and a tendency toward the structure of the text and its internal articulations.

As an independent aesthetic structure, or a structural system that includes a group of elements that interact with each other.

And because Russian formalism, as is most ancient and contemporary critical curricula, is a purely literary critical curriculum that works on text, and formation, especially drawing, is nothing but visual texts, the researcher sought to apply its mechanisms to the art of drawing in both the Iraqi artist Hashem Samarji and the Western artist Brigitte Riley .

Accordingly, the formal text must be viewed in Russian formalism, as a stand-alone entity, so if the recipient intends to interpret the text according to his inductive conclusions within the context of the text, because the formal requirements of the formal critic to move away from any criticism that does not adhere to the text, the research is based on four chapters, namely, Chapter The first included: the research problem, its importance and the need for it, and then the limits of the research and the definition and definition of terms contained in it.

And H, the second chapter of: The first topic: Russian formalism: the origins and the philosophical root, the second topic: the representations of Russian formalism in abstract painting and visual art, the third topic: the experience of the artist Hashem Samarji and the artist Brigitte Riley, and the third chapter included: Research procedures and analysis of the research sample, The fourth chapter includes the results and conclusions .

designs with themes and forms that are common in life but with a high abstraction 1- According to the analysis of all the models, there appeared a delusional movement that does not stop, but rather has a continuous presence in the movement.

2- Samarji’s proposal tends to employ geometric lines and stripes in a way that exceeds the regular geometric areas and shapes that Riley drew, even though Riley used strips as well 3 -Riley seeks an aesthetic system without looking at a specific topic, such as being an intellectual object, while Smerji's works tended to have designs with themes and forms that are common in life but with a high abstraction 4- The works, with their continuous movement, emphasize the transmission of intellectual concepts despite their abstractness, thus forming a spiritual and emotional given, but for Riley it represents a Western vision with a mental climate, while for Samarji it represents his orientalism and his dealings with Western concepts represent a marriage between the emotional East and the Western mental .

In summary, the researcher's findings have drawn a number of conclusions, which can be presented as follows: 1-- The models showed that they are parallel with the mechanism of applying Russian formalism according to its monetary elements 2- There is no doubt that the works of both artists (Riley and Smurji) represent a climate that transmits dual values between East and West due to the act of their respective references.

3- Models represent an ideal system of abstraction, which was adopted by the Russian formalist theory, because it works on what is outside the subject and thought.

It depended on what is within the being of the artwork without looking at what surrounds it.