The aesthetics of traditional Baghdad signs and their applications in curtain fabric designs

Abstract

Abstract of the research

With the development of man, he began to add to his artistic works a decorative touch with an ornamental character, using artistic formations and elements in which the work exceeded its intended purpose to what achieves a deeper understanding in loading those works with aesthetic values ​​related to the content they carry, including what appeared on it from formations that carried a decorative character that complements its formal design. And for such units to express in their formation and aesthetic values ​​their originality, in addition to their social and intellectual connotations for what they carry of diversity in their forms and through them entering the environmental reality represented by their intellectual proposals about the meaning of belonging to the environment and society whose advancement is measured by what it leaves behind of artistic achievement that records its exploits. As a result of the many transformations that the art of design was based on, which relies in many of its works on the aesthetics of traditional forms, including Baghdadi, which reflected an aspect of the creative skills produced by the human mind in different eras in the city of Baghdad, which gives the artist-designer the environment and fertile ground to borrow vocabulary and shapes and employ them in curtain fabric designs to show the aesthetic dimension and achieve the identity and privacy of the country from which they were created. Accordingly, the question comes to verify the following:

• Do the traditional Baghdadi signs achieve aesthetic dimensions in curtain fabric designs?

The research aims to reveal the role of the aesthetics of the traditional Baghdadi signs and the possibility of applying them in preparing curtain fabric designs. As for the second chapter (the theoretical framework), it came with two topics. We mention the first topic, which included first: The nature of beauty in art and design, and second: The societal and environmental values ​​​​influencing curtain fabric designs. The second section included two axes. The first is the aesthetic elements and design foundations that control the design of curtains. Second is the modern methods used in the design of curtain fabrics. Then came the indicators of the theoretical framework, which is what came in the second chapter. In the third chapter of the research, the research procedures that the researcher followed to reach the research objectives, as the researcher relied on the descriptive method (content analysis), then the research came out with the most important results and conclusions and a list of sources.