Aesthetics of excavations in the Atabeg era of Mosul

Abstract

Abstract:

This research, tagged with (the aesthetics of excavation in the Atabeg era of Mosul), contained four chapters, the first chapter of which concerned the general framework of the research, represented by the research problem by answering the following question: How was the aesthetics of excavation embodied in the Atabeg era of the city of Mosul? It also included the importance of research and the need for it, and its aim was to identify (the aesthetics of excavation in the Atabeg era of Mosul), while the limits of the research were limited to studying the aesthetics of excavation in the Atabeg era of Mosul for the period (543 AH to 629 AH), and the first chapter ended with defining and defining terms.

     As for the second chapter: it included the theoretical framework for research and previous studies, as it contained three topics. Metal artifacts, and the second axis: methods of execution on stone, the third axis: methods of implementation on plaster. As for the third topic, the title included: Methods of engraving on stone in the Atabeg era, and it was divided into three axes that included, the first axis: methods of implementation on stone, and the second axis: methods of implementation on metal artifacts, the third axis: methods of implementation on plaster, up to Indicators theoretical framework.

    As for the third chapter: it included research procedures in which the researcher identified the research community, which included (30) models of sculptural work, and chose (3) models for analysis intentionally, as well as the research tool.

    As for the fourth chapter, it contained the results and conclusions that the researcher reached through analyzing the research sample, which focused on the indicators of the theoretical framework.

The researcher reached the following results:

1- The botanical decoration, at the beginning of its emergence and implementation, was characterized by the imitation of nature and its distance from modification, as it became with all its units and elements one of the important Islamic decorative models that were widely spread in the field of Islamic plastic arts, especially in the city of Mosul.

2-  Diversity in encasing and inlaying metal artifacts of silver and gold to add to red copper, which makes the multiplicity of colors overshadow the character of the variety of executed materials to highlight the beauty and quality of displaying metallic artifacts.

Key work: Aesthetics, engraving, era, atabaki, Musol