Visual Text Structure between Identity and Uniqueness in Contemporary Iraqi Painting - Selected Models
Keywords:
Structure, visual text, identity, style, Contemporary Iraqi DrawingAbstract
Abstract
Iraqi art formed a turning point in the second half of the twentieth century, as it sought to remove the constants, which created for the artist a product that constitutes a turning point based on two poles, the first being the inspiration of the cultural heritage, and the second, the method of employing it in a contemporary style. Uniqueness in contemporary Iraqi Drawing - (selected samples), the research included four chapters, the first chapter was devoted to clarifying the research problem, which resulted in the following questions: How was the structure of the visual text manifested in highlighting the identity of contemporary Iraqi drawing? Did the Iraqi artist rely in building his visual texts on identity and heritage? How was the Iraqi artist distinguished by the uniqueness of his artistic style? What are the foundations adopted by the visual artist to consolidate his identity in contemporary Iraqi art? As for the second chapter, it included two sections dealing with the first topic - the structure between significance and concept, while the second topic - contemporary Iraqi drawing, a reading in style and identity. Five works of art, and analysis of sample models, while the fourth chapter deals with the research results, including: Contemporary Iraqi artists relied on a number of methods that I can say are internationally approved, sometimes presented in a surreal, realistic form, sample (1) or in an expressive form. Note model (2) or in an expressive form Symbolic Note Figure (3) or a synthetic installation form dominated by the character of abstraction as in sample (4) or in a symbolic form as in sample No. (5) to become in a visual text a special identity in terms of structural construction and uniqueness of style for the artist. It also included the conclusions, including: The contemporary Iraqi artist deliberately included identity in his visual texts that were related to heritage, and based on style, material and technology