تقابل الأشكال الموظفة في النحت العراقي القديم

Abstract

Abstract

     The current research dealt with the semantic contrasts of the forms employed in the ancient Iraqi sculpture, as it was concerned with studying the artistic achievement of works in Mesopotamia, so their formal correspondences were studied on the grounds that their texts were formed through the relationship between the figures in the sculptural work, especially the wall works, so the research problem was looking through the communicative relationships with All the joints of existence and its reasons, so the research in the nature of a thing is the depths of its formation, its essence, and the reality of its own origin, and its theoretical framework is a search in the concept of intellectual confrontation and with regard to the structures constituting the manifestations and things of existence in general (vocabularies and particles of life and thought in general), the researcher touched on the concept of form and its representations in art The form is considered the "sensual form of materials" which is composed of a system of sensory relations to the formal elements that characterize that form. These artworks embodied the intellectual value, social system, cultural heritage, religious belief, and time limits from (150-4000) BC. M within its spatial boundaries in northern, central and southern Iraq, in artistic forms with intellectual connotations in accordance with the intellectual construction. The third chapter also dealt with the research procedures of the research community and the analysis of selected samples of sculptures in Mesopotamia in an intentional manner amounting to three works within the limits of the objective, temporal and spatial research. The research concluded with the fourth chapter, indicating the most important results

• The ancient Iraqi sculptor in Mesopotamia relied on employing forms in a contrasting manner that was in harmony with the nature of ancient Iraqi art in general, by simulating the social and mass lived reality after this art deliberately represented excerpts from the life of the common people and the problems and crises they faced, the military and political nature, and what It is the status of kings, soldiers and military leaders.
• The sculptural works bore the characteristics of contrasting formal expression, which was consistent with the spiritual character and the general form that prevailed in the embodiment of (the gods, the king, the military commander, and the rest of the society’s classes....... etc.), so they are before they enter into the embodiment of the work. The artwork was accepted by the general taste, and the artist found in it his means to embody important, popular and desirable personalities among the prevailing society at the time.

and his conclusions.

• The sculptural works were able to evoke the nature of ancient Iraqi art to represent a narration of a realistic and social fact that represents the life of gods, priests, kings, the military, and the general public of their various classes and roles in society.
• The plastic nature of the sculptural works in public and private life, as they represent most of the personalities of the different classes and their roles in society, made their employment reciprocal with the different people in the artwork of the sculptural works that have undergone some minor changes, her sculptor’s body to overshadow the distinctive expressive character within the artwork of the character Various listed.

Keywords: Corresponding to, - the figure, - the ancient Iraqi sculpture