الإثراء الجمالي لتفكيك وتركيب الصورة في الرسم العراقي المعاصر

Abstract

Research Summary

 This research tagged under the title (aesthetic enrichment to dismantle and synthesize the image in contemporary Iraqi painting) through the works of the Iraqi artist in showing the manifestations of aesthetic enrichment in the elements of artworks through dismantling and installation to find out the most important joints of those contemporary and historical formations, which came in their artworks that include a process of examination and scrutiny of the aspects related to the process of aesthetic enrichment in the artistic image according to the composition of the image, as the research consists of four chapters The first chapter was represented by the general framework The importance of the research comes as it sheds light on the structure and relationships between the concepts of deconstruction and installation in the artistic image (artwork) and the mechanism of its completion in the contemporary Iraqi formation. The second chapter, represented by the theoretical framework, dealt with three sections, the first section is aesthetic enrichment between the tangible and the application, and the second section is the basic entrances to the concepts of deconstruction and installation between philosophy and art schools, and the third section dealt with Iraqi painting and the mechanisms of its operation, and the third chapter (research procedures) has contained the research community and the research sample and its tool, and the descriptive approach was used in the analysis of four models chosen intentionally from the drawings of Iraqi artists, and the fourth chapter included the most important results: The aesthetic enrichment of the formal composition in contemporary Iraqi painting rises according to a diverse harmonious kinetic context with a tactile context that supports the artistic image, as in the model (1, 2, 3, 4), resulting from the tactile harmonization between the surface of the painting, the added material and color, or between the components of the same plastic work of the same material. Some artists neglected the principles of anatomy in the artistic image associated with academic performance to create freedom of aesthetic expression, non-restriction in performance as a sign of deconstruction in the artwork and freedom to reconstruct the subject of the painting, as in the model (2). Conclusions include: The artistic image of most Iraqi artists was founded on the basis of the pressing narrative event according to ideological, social and psychological influences, while the research ended with recommendations, proposals, margins, sources and references. Keywords: aesthetic enrichment, deconstruction and installation, artistic image, contemporary Iraqi painting.