انعكاس بنية اللاوعي في التشكيل العراقي المعاصر

Abstract EN

The structure of the unconscious or collective unconscious, in particular, represents an important reference in terms of the type of intellectual, literary, and artistic achievement and clarifies its features and characteristics according to the nature of the accumulation of knowledge heritage at its various levels in terms of mythology, religion, cultural heritage, norms, and all certain constants, as well as the variables of social structures being sensory representations of all.

As a result, it is feasible to distinguish the type of art creation based on the anthropological elements that play a key role in the features of this creative sector.

Perhaps, the unconscious structure contributed to the superficial and deep structures that lie behind the apparent form in Iraqi official movement and sculptural achievement, as manifested by artistic experiences that represent a major phenomenon in the visual verification that groups and stylistic trends have led to, or at the level of individual works in Iraqi city squares and streets and their museum legacy.

To enhance the relationship between the Iraqi people's fight for stolen freedom and trust in the holy, and the ideological, which is an intellectual sickness that stimulates creative output via a sort of communal memory repetition about the people's catastrophic worries and history.

As a result, this study examines the changes in the unconscious structure as a result of variables such as place, time, and cultural heritage as well as the ramifications on the form of art because the subconscious represents popular collective memory that acts as a direct watchdog over the creative artistic self, leading to the examination of a number of Iraqi artistic models in the fields of painting and sculpture.

This leads to the attainment of the fundamental goal implicit in the question of looking for the ramifications of the subconscious structure to produce the desired creative experience.