فاعلية التراث كمرجع بصري في أعمال الخزافة : سهام السعودي

الملخص EN

The experiences of peoples and the dates of their renaissance confirm the necessity of connecting the present with the most wonderful effects and data of the past, and in terms of reviving the most wonderful things in the past.

The mechanism is basically accomplished.

Accordingly, the current research, which was divided into four chapters, has been studied.

The first chapter contains the methodological framework for the research, starting with the research problem, which revolves around the concept of heritage shapes and the artistic value involved in these shapes and benefit from them by including them in contemporary ceramic works by emphasizing the bonds that link the past with the present, inspired Cultural heritage.

Hence, the research problem becomes clear, which raises a number of questions, including: Do traditional forms form aesthetic that affects taste over time? And why was the potter inspired by such shapes ?! To answer these questions, the research came to reveal the nature of these shapes, their symbolic connotations, and the beauty of those shapes in the works of the pottery Siham Al-Saudi The objectives of the research have been determined to identify the aesthetics of the heritage shapes in the ceramic works Siham Al-Saudi through their elements and the means of organizing them.

Also, are the heritage shapes a phenomenon in the field of ceramics? The chapter also included identifying the most important Terminology .

The second chapter included the methodological framework for previous research and studies, and included three sections.

The first topic studied: An introduction to aesthetics and includes (beauty for Muslims and the form in its aesthetic perspective and the elements of form and dual form and content).

As for the second topic, it included the intellectual dimensions of the elements and forms of Arab-Islamic arts and included (Arab-Islamic architecture, decorative arts, and Arabic calligraphy).

The third topic included inspiration for the heritage in contemporary Iraqi ceramics.

As for the third chapter, it was concerned with the procedures that included the research community, which amounted to (45) wall work, which were available at the hands of the researchers and present in Photographers, technical magazines, on the Internet, and on social media.

The research sample reached (5) technical models chosen in an intentional way, and the researchers analyzed them and reached through them the most important results, conclusions, recommendations and proposals within the fourth chapter.

The search ended with the most important sources.

Among the most important results: 1- The Arab and Islamic heritage has its aesthetic value and its special artistic principles stemming from the circumstances of its era, just as contemporary has its current concerns and stylistic overlaps.

2- The heritage shapes formed a phenomenon in contemporary Iraqi ceramics, as the potter used these shapes in embodying his works in order to gain a specificity in art and make the artwork more authentic and belonging to the artist's environment.