البعد السياسي في لوحات محمد مهر الدين : (حرب قذرة)‎ أنموذجا

Abstract EN

This research is meant to study the political side in the painting of Mohammed Muhraldeen (dirty war) as an example The study is composed of four chapters, the first chapter is devoted to reveal the problem of the study, the point of the study, it's importance, limitations, and to define the terms that comes in it.

The problem of the study dealt with what happened to Iraq in the last years, from several wars, invasions, and many other problems on the political, economical, and social level.

And how it had a reverse action on the artist in general, since he is considered the voice of the people, and the potential to change these events into artistic results, carrying in it's folds the concept of objection, confrontation, refusal.

The artworks of Iraqi artist Mohammed Muhraldeen and especially his exhibition (dirty war) is considered an integral part of the general situation, all of the works became the voice of objection upon all of what happened and a natural reaction since he is part of the generation that lived all of those wars, and from this the problem has been defined by answering this question: -how far can you implement the political side of Mohammed Muhraldeen paintings through his gallery (dirty war)? The importance of the study have been manifested in that it can possibly be a documentary and scientific paper for art students or for those who are interested in arts and politics, as well as studying the artworks of the Iraqi artists during the war that lasted so long and which have been reflected upon the society, since it had many pictures and scenes showing how the artist have been affected by his surroundings.

The study has one purpose: defining the political view in Mohammed Muhraldeen's paintings, (dirty war) as an example.

Regarding the limits of the study, the researcher represented drawings and illustrated books that were executed with various materials and techniques, which have been presented in orfali gallery in Amman, Jordan 2014.

As for the second chapter (the theoretical framework), it included two sections.

The first was concerned with studying the political influence in the artworks of the Iraqi artists.

While second was about the political side of Mohammed Muhraldeen's drawings, which have ben divided into two periods, the early period of his artworks and his political theses, and the late period and the paintings of (dirty war) The third chapter was about the study procedure, which included defining and locating the study sample which was three samples, and analyzing it using the analytical descriptive method.

The fourth chapter contained the study results, conclusions, recommendations, and suggestions.

Among the findings of the researcher: • The artist carried out resentment and refusal ritual against the war of 2003, the result was drawings that showed all of those ideas, and in which he intentionally deformed them to show the ugliness that he sees in the conquered country as in the model 1 and • The phrases that are written in Arabic and English dominates the visual field of Mohammed Muhraldeen's artworks, according to artistic method that he follows, believing the the words have deep impact on the people who watch his work, especially the phrase (dirty war) which he wrote many times to show the ugliness of the war.

Among the conclusions the researcher have reached: 1.

The works of Mohammed Muhraldeen that showed the colonial objection was aiming to show the hidden face of this false war and the amount of political cunning of the first world countries and their true intentions in colonialism and destruction.

So the artist showed us all of those hidden and obvious details at the same time.

2.

The methodical vision of Mohammed Muhraldeen is composed within indicative framework that takes the political dimension of what happened in Iraq after 2003 as a dominating idea in his paintings, so that the idea will be beautiful and expressive at the same time.

Among the recommendations the researcher have mentioned is that she sees the need to look at (dirty war) drawings and being examined by specialists in art or those who study modern art for it's importance and because it will remain pivotal work that shows the history of Iraq, and it is possible to make a study about the effects of war and the political reality after 2003 on the expatriated artists outside Iraq.