المتغيرات الفكرية و التشكيلية لفن الخزف المصري في ضوء فلسفة ما بعد الحداثة

Abstract EN

Since ancient times, art has been associated with the environment and culture of society.

Throughout the ages, artists have sought to keep pace with the intellectual and artistic changes associated with changing concepts, philosophies and aesthetic theories, beginning from the arts of ancient civilizations to the arts of modernity and postmodernism, which directly influenced in changing the aesthetics standards, taste pattern prevailing and the concept of technical value.

While the modernity artist's interest was focused on achieving the individuality of formality and color, and the values of integration and harmony, emphasizing the concept of originality and the principle of individuality, postmodernism artists went to the collectivity with the widespread idea of artistic work in nature itself.

The artistic classification has collapsed, and the barriers between different artistic and scientific fields were also removed, and there was cooperation between artists in order to produce collective works of art with interest in the idea versus form.

Postmodernism art has been characterized with open structures and the combination of heterogeneous forms, fragmentation and breakdown.

The art of ceramics and the ceramic form, has been influenced, like other different art fields, by the intellectual changes of postmodernism arts, which moved it from the range of form and functional beauty to beyond, where they have helped the potter to move out from the limitations of artistic technique to aesthetic and structural dimensions keeping up with the postmodernism philosophy.

Hence, this research aims to study the intellectual and aesthetic variables that accompanied the postmodernism stage, and how it contributed to the change of the artistic vision of the egyptian ceramic formation to keep up with contemporary concepts.

This can be used in the field of teaching in the faculties of arts and art education in general and field of ceramics in particular.

That is to limit of the feasibility of traditional methods of understanding, creating and teaching art.