الصياغات المورفولوجية في الفن العراقي المعاصر

الملخص EN

The research tagged (morphological formulations in contemporary Iraqi art) is concerned with tracing the experiences of contemporary Iraqi painting, and studying them is a morphological study that investigates the formulations that form aesthetic texts.

The research came in four chapters: The first chapter (the methodological framework of the research) contained the research problem that centers on monitoring and investigating morphological formulations in contemporary Iraqi art, the importance of research and the need for it, and the research objective in which the morphological formulations in Iraqi art are identified, its limits and definition of its terms..

As for the second chapter (theoretical framework), it included two sections: The first topic dealt with the nature of morphological formulations.

The second topic: the visual experience of Iraqi art.

As for the third chapter (research procedures), it included the research community and its sample of (") artworks, and the analysis of the research sample.

The fourth chapter contains the results and conclusions.

Among the most important findings of the research: The structure of the visual discourse of contemporary Iraqi painting is morphologically based on dedicating artistic performances, methods of painting and modernist formation and beyond in most of its artistic texts.

The artist (Diaa Hassan) emphasizes the engineering and architectural structures and the way they are installed, which is reflected in its visual forms and the suggestions it evokes.

His abstractions and reductions of (organic) forms seem to be composed of geometrically and with a design tendency, consistent with the nature of the formation of artistic decorations.

The artist (Makki Omran) presents his visual vision through an aesthetic formation based on occupying the visual space with forms and artistic signs that he borrows features from various worlds to fuse with his own crucible.

The human formations and their formation gather on the pictorial surface according to the aesthetic and semantic premise intended by the artist.

Likewise, the artist (Fakher Muhammad) intended a visual formation that took the fields of acting and work in equal parts to build his artistic work, so that he built his building on a fragmentary visual installation; The upper part of the work is a formal unit that forms the focus of attention and formation, and the lower part is occupied with shapes and multi-colored natural signs and lines, which represent the ground for the work.

Among the most important conclusions: The visual experience of contemporary Iraqi painting has benefited from the discourse of formation and the nature of Western visual representation according to the cross-fertilization of knowledge and aesthetics and the investment of its artistic data.

The artists of the research sample confirmed, through their artistic texts, the optimal performance method that suits their themes and the ideas they wish to convey to the recipient the search ended with a list of sources.