ماهية العلاقة بين الموروث والمعاصرة في الخزف العربي المعاصر

Abstract

Abstract

What is the relationship between heritage and contemporary elements in contemporary Arabic ceramics?

          This study examines the relationship between heritage and contemporary Arabic ceramics, focusing on how contemporary artists draw upon heritage as a cultural reference point in their creative endeavors. The artist's personal mental framework, rooted in rituals, mythology, and symbolism, allows for the transformation of past human experiences into tangible, contemporary aesthetic entities. This process involves research and exploration, activating the values inherent in the heritage. It is not merely a matter of literal borrowing but rather a recontextualization within a new framework. Heritage serves as a repository of knowledge from ancient societies, transcending its boundaries as a dynamic creative activity. It fosters the potential for individual creativity, enabling artists to express their unique identities through aesthetic and meaningful works.

          The research explored the nature of the relationship between heritage and contemporary elements in contemporary Arabic ceramics. Chapter one provided the methodological framework for the study, addressing the research problem, its significance, and its necessity. It also defined the temporal boundaries of the research, which were set between 1981 and 2000. The research aimed to understand the nature of the relationship between heritage and contemporary elements in contemporary Arabic ceramics. Chapter one concluded with the definition of the research terms.

          Chapter two, representing the theoretical framework, consisted of two sections. The first section explored the concepts of heritage and contemporaneity, while the second section examined the characteristics of heritage and contemporary elements in contemporary Arabic ceramics. Chapter two concluded with the indicators of the theoretical framework.

Chapter three included the research population, a sample size of three, and the research instrument, which consisted of indicators. The sample was analyzed using a descriptive method.

          Chapter four presented the research results, conclusions, recommendations, and suggestions. Among the findings:

1. The ceramic works of the artist Sheniar Abdullah adopted ancient historical signs as a legacy, embodying them in his artistic text. These signs included cuneiform scripts and symbols, which were associated with the Mesopotamian mentality as a ritual heritage. The artist borrowed these elements to symbolize fluidity by recalling the flowing water from a fountain, as well as a genuine desire to return to the original sources of Islamic civilization, represented by the word of God (Allah) in his contemporary ceramic work.

Furthermore, the researcher arrived at a number of conclusions, including:

• Contemporary Arab ceramists have focused their attention on interpreting the heritage found in Mesopotamian works and those inspired by mythological figures and Islamic symbols to produce contemporary works. This heritage served as a significant source for them, as they emphasized the imitation of symbols associated with deities.

          This heritage served as a significant source for them, as they emphasized the imitation of symbols associated with deities.

The research concluded with a list of references.