Manifestations of the civilizational conflict in romantic sculptural expression

Abstract

Abstract

The research entitled (Manifestations of Civilizational Conflict and its Aesthetic Transformations in Romantic Sculpture) aims to study the methods of embodying conflicts in the sculptures of the Romantic movement through its reliance on artistic schools. It consists of four chapters. The first chapter (methodological) contains the question of the research problem (What are the manifestations of civilizational conflict and its aesthetic transformations in sculptural and Romantic expression?). The aim of the research is to identify these manifestations and the objective limits of his completed artistic works, the time period (1819-1869 AD) and the place in France, and to define the research terms. The second chapter (the theoretical framework) includes the first section (Manifestations of Conflict in Ancient Civilizations), and the second section (Aesthetic and Expressive Manifestation in Romantic Sculpture). The third chapter deals with the research procedures, namely the research community and its sample of (3) models, its tool, and the sample analysis. Chapter Four presents the following findings, the most important of which are: 1. Conflict in Romantic works constituted the core of sculptural treatment, as they expressed it as an existential value that transcended appearances to embody psychological and dramatic tension in the sculpted moment. 2. The Romantic vision was clearly evident in their works through their focus on unbridled emotions, dynamic movement, and subjective emotion as a source of aesthetic expression. Its conclusions, the most important of which are: 1. Romanticism does not depict conflict as an event, but rather as an eternal human condition. For them, sculpture is not merely a visual formation, but a philosophical text embodied in the bronze mass that distinguished it