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Register a new userFormal expression for sculptures and paintings Between Islamic Art and Art of the Ancient Near East
التعبير الشكلي للمنحوتات و الرسوم بين الفن الإسلامي و فنون الشرق الأدنى القديم
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يسلط البحث الضوء على الجوانب المتشابهة في التعبير الشكلي لكل من الفن الإسلامي و فنون الشرق الأدنى القديم، إِذ تجلت هذه الجوانب في العديد من السمات الفنية الشكلانية، كالتكرار و التناظر و الشفافية و المنظور و غياب الظل و النور، فضلاً عن غيرها من السمات التي يمكن معاينتها في النتاجات الفنية لهذه الفنون. و مع الفوارق الزمنية و الجغرافية و الفكرية بين حضارات الشرق الأدنى القديم و الحضارة الإسلامية، فإن هناك العديد من العوامل الموضوعية التي أدت أدواراً متفاوتة التأثير في حالة التشابه هذه. و أبرز هذه العوامل هو التشابه الواضح في الخصائص المناخية و البيئية التي نشأت فيها تلك الحضارات، و كذلك عامل الاحتكاك الناجم عن التناحر و الهجرات المتبادلة بين شعوب هذه المنطقة، فضلاً عن التعاقب الحضاري بين تلك الفنون من جهة، و الفن الإسلامي من جهة ثانية. إِذ أدى كل من الفن الساساني و الفن البيزنطي دور الوسيط بين تلك الفنون و الفن الإسلامي، نظراً إلى تأثر هذين الفنين بفنون الشرق الأدنى القديم.
Research sheds light on aspects Similar to express formal each of Islamic Art and Art Ancient Near East, where reflected these aspects in many technical features formalism, Iterance, and symmetry, transparency and perspective and the absence of shadow and light, as well as other features that can be previewed in the artistic to the arts . Despite the temporal and geographical disparities and intellectual between civilizations of the ancient Near East and the Islamic civilization, there are several objective factors that played varying roles influence in the case of these similarities. The most prominent of these factors is the obvious similarity in climatic and environmental characteristics that originated those civilizations, as well as the friction factor resulting from mutual rivalry and migrations between the peoples of this region, in addition to the cultural succession between these arts on the one hand, and Islamic art from the second hand. Where he played all of Sassanid art and Byzantine art as a mediator between these arts and Islamic art, due to these tow arts had been influenced by the arts of the ancient Near East.
Artificial intelligence review:
Research summary
يسلط البحث الضوء على الجوانب المتشابهة في التعبير الشكلي بين الفن الإسلامي وفنون الشرق الأدنى القديم. يتناول البحث السمات الفنية المشتركة مثل التكرار، التناظر، الشفافية، المنظور، وغياب الظل والنور. يوضح البحث أن هذه السمات ليست نتيجة تأثير مباشر من فنون الشرق الأدنى القديم على الفن الإسلامي، بل هي نتيجة لعوامل موضوعية مثل البيئة المحلية والتفاعل الحضاري بين الشعوب. يعتمد البحث على المنهج التاريخي التحليلي المقارن ويستعرض أمثلة من فنون بلاد الرافدين، مصر القديمة، وسوريا القديمة، بالإضافة إلى الفن الإسلامي. يخلص البحث إلى أن هناك سمات فنية مشتركة بين هذه الفنون، وأن البيئة المشتركة والاحتكاك الحضاري لعبا دورًا في هذا التشابه.
Critical review
دراسة نقدية: على الرغم من أن البحث يقدم تحليلًا شاملاً للجوانب المشتركة بين الفن الإسلامي وفنون الشرق الأدنى القديم، إلا أنه يفتقر إلى التعمق في بعض الجوانب الفكرية والفلسفية التي قد تكون أثرت على هذه الفنون. كما أن الاعتماد الكبير على الأمثلة التاريخية دون ربطها بشكل كافٍ بالسياق الثقافي والديني قد يقلل من قوة الحجة. كان من الممكن أن يكون البحث أكثر شمولية إذا تناول تأثيرات الفنون الأخرى مثل الفن الهلنستي والبيزنطي بشكل أعمق.
Questions related to the research
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ما هي السمات الفنية المشتركة بين الفن الإسلامي وفنون الشرق الأدنى القديم؟
السمات الفنية المشتركة تشمل التكرار، التناظر، الشفافية، المنظور، وغياب الظل والنور.
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ما هي العوامل التي أدت إلى التشابه بين الفن الإسلامي وفنون الشرق الأدنى القديم؟
العوامل تشمل البيئة المحلية المشتركة والاحتكاك الحضاري الناتج عن التناحر والهجرات المتبادلة بين شعوب المنطقة.
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ما هو المنهج الذي اعتمده البحث في تحليل الفنون؟
اعتمد البحث على المنهج التاريخي التحليلي المقارن.
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هل يعتبر البحث أن الفن الإسلامي تأثر بشكل مباشر بفنون الشرق الأدنى القديم؟
لا، البحث يشير إلى أن التشابه ناتج عن عوامل موضوعية مثل البيئة المحلية والتفاعل الحضاري، وليس نتيجة تأثير مباشر.
References used
علي جواد، تاريخ العرب قبل الإسلام، ج 1، القسم . السياسي، مطبعة التفيض بغداد 1950 م،ص 148
صالح عبد العزيز، حضارة مصر وآثارها، نقلاً أبو صالح الألفي، الفن الإسلامي، دار المعارف، ط 2، لبنان، ص .19
الألفي، أبو صالح، الفن الإسلامي، دار المعارف، ط 2 لبنان.
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The ancient civilization of Mesopotamia expressed widely its high levels of political and civilized development at that time. That progress reflected on the evolution of all aspects of life, especially on the artistic one. Since ancient times, Mural
Art got an obvious role in bringing religion closer to the minds of people through decorating temples and taking care of its ornamentation and graphics.
Mesopotamia was distinguished for its prodigious artistic production, which was well known by its precision in expressing various topics. The Assyrians made a revolution in the history of Murals art by suggesting depth within the painting itself. The Assyrian art was also superior in showing the physical strength in the human, animal and predators' forms. It also focused on documenting the of glory of heroism and military victories.
Old East man had brought to perfection a lot of Art works, including many of what on his mind and imagination of visions and thoughts.
Superstitious Creatures which were formed by mixing a group of
creatures with each others were one of his mental
and fired
imagination achievements
The releif and other Art works contain monuments, like statoes
paintings, jewelry, ivory, bones, wood and athermaterials which man used to achieve these Art pieces.
In the Assyrian Civilization, winged bulls appeared with human
crowned heads (Lamasu). These wonderful sculptures stood on the gates and palaces and castles entrances, and through their position, they expressed Assyria’s greatness and their kings power. They spread terrify and horror in the enemies hearts, same as magic, they also were support to the entrances because of their big stone mass.
Heidegger's philosophy of art is considered a philosophy that is different from what
we are used to with other philosophers. He made art as one of ways to expose the truth,
because the quiddity of existence manifests from appearance of the existed
and it's
openness by the work of art, within a stressful relationship between the world and the
earth. The art has to bring them closer, so that man can create a world that contains all
possibilities, so he used the instrument to bring for the earth from its obsession and make
the world appear.
What we want to get to in this research is knowing the basic ideas about Heidegger's
philosophy of art, and explaining the concept of aesthetics from his point of view. This was
done through our presentation of his philosophy and the subjects that he adopting. "The
origin of work of art, the relationship between world and earth, and the concept of truth",
and treated by examination using a method that combines phenomenology with ontology to
answer the question: "What the quiddity of art is?"
While Yu and Poesio (2020) have recently demonstrated the superiority of their neural multi-task learning (MTL) model to rule-based approaches for bridging anaphora resolution, there is little understanding of (1) how it is better than the rule-based
approaches (e.g., are the two approaches making similar or complementary mistakes?) and (2) what should be improved. To shed light on these issues, we (1) propose a hybrid rule-based and MTL approach that would enable a better understanding of their comparative strengths and weaknesses; and (2) perform a manual analysis of the errors made by the MTL model.
Every era has its own intellectual and social dimensions the influence of which extend to
touch the artistic topics in terms of creativity and production conditions. The religious belief
is considered as an important effect on the whole historicall
y-successive artistic process. The
oppression exercised by the religious authority on creativity has always been present, but in
forms that differ from an era to another.
Viewing the religious theme embodied in art works, we will recognize that vast area achieved
throughout ages.
At early stages art rested on primitive, mysterious magic-based beliefs. Then art introduced a
physical representation of the images of the national gods and religious beliefs that used to
give explanations about the universe and glorify kings. Clergymen, then, started to identify
the boundaries and function of art in a way that served their goals. Christian religious men
continued to employ art for the sake of their messages and teachings with a controversy over
the role and limits of art. On the other side, Islamic art expanded but it neither served belief
nor subject to any religious guidance. With certain spiritual nature, such Islamic art might
have sought to avoid prohibition fatwas.
Finally, art could not be freed from religion scopes until Renaissance had come with its
human and mental spirit.
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