تمثيل شخصيات ملحمة جلجامش الرافدية في النحت البارز القديم

Abstract EN

The research includes: an Introduction which gave the definition of the movement (ancient and modern) and shows the movement in the artwork and its divisions: virtual and physical external and internal movement.

1 – The external virtual and physical movement that can be extrapolated through the creation of the artwork and the relationship of elements to each other.

The researcher provides the metal works that are related to parts of the joints moving and refers to Calder as a leader of this method in sculpture.

2 - The internal Movement in the work of art: starting from movement of the point to form a line, then the surface, down to the size of three-dimensional work, and the movement of diodes within the artwork.

Stages of the vision of the artwork it is: split into three phases a - from the standpoint of sensory, that is, through sight movement, and the transition between the elements of the artwork, b - the analytical and cognitive process of the similar or contrasting binaries of art work trends of elements in it, and its interlocutor, c - the process of mind which includes The story behind the artwork.

The researcher finally deals the rhythm of the movement in the work of art, the futurism, and structural sculpture through "Tatlin" and "Boccioni" and others.

The research ends with analyzing two artworks for the artists: Picasso and Maillol.