النظم التصميمية و إشتغالاتها في الرسم العراقي المعاصر

الملخص EN

This research is concerned with studying (the functional systems of design in contemporary Iraqi painting) and it is located in four chapters.

the research problem dealt with how to accommodate the currents of modernity of design thought, such as cubism, abstraction, futurism, surrealism and the Bauhaus school, which represented a fundamental reflection of the aesthetic and functional design data through its interest in the mechanism of looking at the relationship between (art and industry) or (between art, craft and skill) from a new perspective through it, she re-read the concept of beauty.

the contemporary Iraqi painting space, the functional systems of design, are associated with creating aesthetic responses through which the Iraqi painter justifies the design feature in the painting, starting from the state of awareness of the need to give the objective unity to the painting, an aesthetic attention, crystallizing the effectiveness of the patterns the construction and its conformity with the design act were drawings (Jawed Selim, Faeq Hassan, Shaker Hassan Al Saeed Mahmoud Sabry, Kazem Haider, Rafea Al-Nasiri, and others) extract the aesthetic frameworks of composition with in the traditional and familiar in the means of formulation, and at the same time deepen the rational and emotional tendencies, with geometric and semi-engineering implications subject to a mathematical vision, some of which are rigorous, and accordingly the research problem was determined by the following question : the research has one goal, which is to identify the functional systems of design in contemporary Iraqi painting as for the second chapter (theoretical framework) it included three sections on the experiences of Iraqi artists in different stages 1.

the beginning of the establishment (the stage of the fifties and sixties) 2.

the renewal of the stylistic vision (the eighties generation) 3.

the crystallization of contemporary experiences.

the third chapter was concerned with the research procedures that included defining the research community and selecting the sample of (5) models and analyzing them according to the descriptive analytical approach the fourth chapter included a set of results, the most important of which are.

1.the Iraqi artists worked on the concept and method of crafting the artwork by adopting the design aspect of the artwork by including a group of geometric shapes with lines overlapping each other as in models (5, 4) 2.depicting the Iraqi scenes related to heritage, history and popular symbols and re-engineering them according to the areas of the painting by designing triangles, squares, circles and half-moons, and stressed the importance of the geometric structure of shapes as in models (1, 2, 3) : set of conclusions, the most important of which are 1-the style of most Iraqi artists during the various experiences of the history of modern art bears geometrical implications stemming from a precise design in the structural form of the artwork, and this came from the desire of contemporary painters to break the stereotype that prevailed previously 2-rationality in the formation of elements, spaces and lines, and away from the emotional aspect in the formulation of the artwork, which was inspired by the paintings of Iraqi artists, which was also characterized by being loaded with an aesthetic energy by including symbols and popular legacies.