أداء الرسم : بحث فني

Abstract EN

Limiting academic research to the field of arts education has posed its own problem.

In the field of research, the assumption is that by clarifying the purpose and method of conducting research, it was thought that art would contribute to greater thinking.

These kinds of scientific parameters disturb the practice of research in the arts, because they contradict the nature of artistic practice that embodies an engagement in artistic research, which the artist himself is unaware of.

We sometimes confuse the creative and productive process somewhat in the way we produce a new invention, a new type of product, or create new things, or a new type of artwork.

While conceptually, Joseph Kosuth (1971) well said that: "The artist, not unlike a scientist in which there is no distinction between working in a laboratory and writing a dissertation, now has to 'develop the conceptual implications of his artistic propositions, and argue in their interpretation'".

This paper revolves around explaining the writer as the artist himself who performs the live experience of painting and plays the role of the research target.

Many artists use drawings to help them understand as a way to satisfy scientific curiosity and that the activity of drawing is a way of trying to understand who we are and how we function in the world.

However, this goal is an exceptional one, the dual experience of the artist as the instrument that produces the painting and as the viewer himself welcomes and appreciates as he reveals himself/she is capable of questioning.

In a certain way, this research aims to show that by making drawings, drawing represents the lived experience, and it can be another form called artistic or artistic research.