Technical Diversity in Nature Depictions by Babylonian Artists

Abstract

Abstract

The research entitled “Technical Diversity in Nature Depictions by Babylonian Artists” consists of four chapters. The first chapter addresses the research problem, which emerged from the following questions: What is the technical diversity in nature depictions that characterizes Babylonian artists? What technical styles can be identified in their works? It also presents the significance of the research, the need for it, and the research objective, which aims to identify the technical diversity in nature depictions among Babylonian artists. In addition, it defines the temporal limits of the study (2010–2015) and clarifies key terms.

The second chapter includes the theoretical framework, comprising two sections. The first section discusses the concept of technique in fine art, while the second examines technical diversity in contemporary Iraqi art, leading to the indicators derived from the theoretical framework.

The third chapter presents the research procedures. It defines the research population, which consists of (50) models, and the selection of a purposive sample of (5) artworks that were analyzed by the researchers according to the descriptive method. The fourth chapter focuses on the research results and conclusions, among which are the following:

1.    The concept of beauty and the technical mechanisms of its manifestation differ from one artist to another among Babylonian artists. Each artist possesses a distinct aesthetic vision, a different technical style, and a unique intellectual imagination in artistic creativity.

2.    Technical diversity among Babylonian artists is evident through the subjects of the paintings, which range between nature rendered in expressive and impressionistic styles. Through this, the artist develops his artistic and aesthetic vision in search of the self, both technically and stylistically.

Among the most important conclusions is that environmental affiliation creates a unified base of collective unconsciousness that is rooted with the same value in the consciousness of members of society, including artists. This explains the similarity of preferred motifs in nature painting and the processes of inspiration and re-production among most artists, such as palm trees, domes, and simple life scenes.

The researchers also presented a set of recommendations and suggestions, in addition to a list of sources and appendices.