جماليات المشاهد التصويرية للتعميد في رسوم عصر النهضة

الملخص EN

The present study deals with "The beauty of the photographic scenes of the baptism in the paintings of the European Renaissance ".

It sheds light on Religious pictorial scenes in art history because it is regarded one of the fundamental devices that influenced art.

Besides, it helps to document the stages of its transformation according to its different curricula and technical schools.

In addition to the fact that Christian paintings have different methods and techniques, it has a prominent role in revealing the development of art in the field of painting in Christian places of worship.

This is because (the church) is formed of a supportive, motivating, and even a press for the art of photography in the direction of biblical aesthetic data and theological vision as an educational purpose and academic posterity.

In accordance with this, the researcher is aware of the importance of this study to identify the fundamental aspect of Aesthetic affinity of (The ritual of baptism) in the Christian religious drawings of Renaissance paintings.

As a matter of fact, the study at hand tackles The paintings in Christian places of worship as churches, monasteries and others as an attempt to bridge the knowledge gap in this area.

With regard to the organization of the thesis, it consists of four major chapters.

The first chapter proposes the methodological framework for research covered the identification of the research problem.

Besides, it shows the question raised by the researcher (What are the beauty of the photographic scenes of the reconstructions that characterized the conclusions of the Renaissance paintings .) ? Significantly, The values of the present study are : i.

To represent an analytical view of the embodiment of baptism in the space of Christian art.

Actually, this gives a chance for the art tutors and those interested in this field to see the structural data that reached the religious image buildings according to the privacy of the connection between the image of baptism and its aesthetic and seminary stores.

ii.

To benefit critics and examiners of the history of plastic art by looking at the findings and conclusions that illustrate an important historical area that is correlated with the data of the disclosure of the aesthetic discourse of the scene of baptism.

iii.

To provide our local and Arabic libraries are full of scientific efforts that enrich the cognitive and descriptive aspect of the scenes of pictorials.

iv.

To establish the current research of new studies on the examination of the technical completion of the measure of baptism, through various ideas, concepts and themes, through which the visual formats are re-read with aesthetic and constructivist beauty.

Over and above, the current research draws its importance through the communication relationship between the art and the Christian religion and the assertion of religious tendency in narrative according to the diversity of stories and conversations that reveal the narrative of the idea and the subject.

It is worth noted that the researcher proves that there is a necessary need for this study, namely that the subject was not studied in detail and independently.

As such, there is a lack of academic studies dealing with this subject and the lack of specialized libraries for foreign translated sources as well as Arab sources, which formed a knowledge gap.

As a result, it gives a rationale to the researcher to engage in the approach of this issue and to address it and reach the desired results.

The study at hand aims to investigate the beauty of the Renaissance painting scene which is demonstrated by two major axes.

From one hand, the spatially study of pictorial scenes in the paintings of the European Renaissance.

And temporally, from other hand, by identifying the terms for the substance of the research have been defined, especially since (1300m-1600m).

The second chapter covers the theoretical framework for research and contained three scholars.

The first section of the chapter surveys the aesthetic affinity of the image in philosophical thought, the philosophical aesthetics of the image were studied in Greek, medieval and Renaissance thought, and ways of the intellectual and philosophical data of the Renaissance period and its effect on its art and the most important artists.

In the second section, the religious pictorial scenes in Christian art, religious paintings in early Christian art are recognized, displaying his most important artistic achievements in his various styles and techniques such as, Frisco, mosaics and icons, as well as Byzantine art and its characteristics and the movement of destroying the Holy Pictures .

In the third section, the researcher addresses the issue of "The baptism between the idea and the historical references", as it dealt with the idea of baptism, its concept and its applications, and its historical references.

While Chapter three is specialized for search procedures.

Actually, one hundred and fifty-four technical panels has been surveyed thoroughly and intricately for the sole purpose of this study, which fall within the time period that represents the current search limits (1300m-1600m).

It is safe to say that The researcher has the ability to count them as photographers from the relevant sources (books, magazines and specialized periodicals; Foreign, Arab and local.

As well as from the Internet and sites of European artists, the site of art museums and various exhibition halls in the world .

On a general note, fifteen samples are chosen to be analyzed in details , including the variety of artistic styles and the difference in the time and place of the drawing.

Follow the analytical descriptive approach to sample analysis.

All things considered, the fourth chapter based on the obtained results of the analysis, the study makes some recommendations for possible future research .

In conclusion, the researcher proves that : 1.

The concept of Christian baptism, in Renaissance paintings, derived its religious doctrinal reference, from the Bible and biblical and Evangelical stories .

2.

Even though the Renaissance artist depicts the beauty of the graphic scenes of the art painting through reality, he doesn't overlook his interaction with his community or create a balance between himself and his social theme.

In the samples (4,), it notes that it has carried symbolic connotations and a similar balance that gave an aesthetic dimension to the plate.

3.

The abstraction of the shapes was abandoned with the traditional use of elements and methods of aesthetic organization, seeking to enjoy life, sensory manifestation and return beauty to man as an important key axis.

This is evident in all samples.

The most important findings of the researcher are that : 1.

The ritual of baptism in the Christian religious belief and its contents in the Renaissance paintings constituted a beautiful object through the structural pattern of the idealistic nature of the landscape and its ideologically humanistic intellectual campaigns.

2.

The images of Christ and Saint John are dominated by its different situations and formulas, in the spaces of the pictorial scenes of baptism, they form a major focus in their subjects and to emphasize the religiously and ideologically pressing intellectual character of the cognitive perspective of the Christian thought.

3.

The idea has become felt in the Renaissance photography, stereoscopic shapes, bright colors, and color contrast are often to give the impression of its high, brilliant, and aesthetic merit.