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الرمز و الرمزیة في الفن التشكیلي
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يتألف البحث من العناصر الآتية: أ- مقدمة: تتضمن لمحة عن الرمزية، و أهم روادها، و الأهداف المشتركة فيما بينهم. ب- الرمز والرمزية في الثقافة الغربية: يستعرض الباحث وجهات النظر المتعددة حول تعريف الرمز و استعمالاته، و يقدم تعريفاً للرمز و الرمزية في بعض المعاجم و الموسوعات الأجنبية فضلاً عن آراء بعض الفلاسفة و النقاد. ج- أهداف الرمزية: و هي تخطي الواقع و بلوغ معاني أخرى خفية فضلاً عن سعيها من أجل تلاقي الفن التشكيلي مع النشاطات الثقافية الأخرى الأدبية و الموسيقية و العلمية و الفلسفية. د- الرمزية في الفن التشكيلي: يبين الباحث تاريخ انطلاقها، و تياراتها و أهم الفنانين الذين استخدموا الرمز و لم ينتموا إلى الرمزية، فضلاً عن الفنانين الذين مهدوا لها، و الفنانين الذين أثروا فيها و طوروها و نبذة عن أهم فنانيها.
This paper consists of the following elements: A - Introduction: includes an overview of symbolism, and the most important patrons, and common goals among them. B - The symbol and symbolism in Western culture: the researcher reviews the multiple perspectives in the definition of the symbol and its uses, and provides a definition of the code as mentioned in some dictionaries and encyclopedias as well as to the point of view of some philosophers. C - The objectives of symbolism: It is beyond reality and the achievement of other hidden meanings in addition to their quest for the convergence of art with other cultural activities, literary, musical, scientific and philosophical. D - Symbolism in plastic art: the researcher shows the history of its inception, its currents and the most important artists who have used the symbol and did not belong to it. In addition, it shows the artists who have paved the way for it. Finally it describes artists who influenced this concept and developed it.
References used
إيلينيك، يان الفن عند الإنسان البدائي ط 1 ترجمة: د. جمال الدين خضور . دمشق/سورية دار الحصاد 1994
باونيس، الآن الفن الأوروبي الحديث تر: فخري خليل مراجعة: جبرا إبراهيم جبرا بغداد دار المأمون للترجمة . والنشر 1990
تشادويك، تشارلز الرمزية تر: نسيم إبراهيم يوسف الهيئة المصرية العامة . للكتاب - 1992
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This research studies the process of symbol transition from psychoanalysis to other
scientific and philosophical fields, especially hermeneutics and Paul Ricoeur's
interpretation theory. In fact, this research studies what the interpretation theory
has done
to the concept of symbolism. The latter migrates to it from psychoanalysis which forms for
Freud an essential basis in his study of the kinds of neurosis and psychopathy. Actually, his
goal is to make symbolism contributes to get scientific results. Thus, this symbolism
should be put in an attire of what the interpretive has called the concept of mythologization
to reach the work which the interpretation will do and consider too as an essential activity
to eliminate mythologization from the domain of the symbol.
Paul Ricoeur, based on the interpretive, has taken upon himself to discuss directly Freud's
works. He tries in these discussions to understand the techniques of psychoanalysis to
handle the basic Freudian conceptions to enable the interpretive to reread Freud through
symbolism and mythology. Thus, this research illustrates how Ricoeur depends on the
inquisitive thought, i.e. through questioning deeds and words. The research clarifies this
point through discussions we try to make as critical as possible in order to understand the
results of the interpretation theory that brings out the symbol and myth, in terms of the
psychoanalytic experimental exercise, in order to create the interpretive theory itself. This
takes place after the symbol becomes an important part of the displacement-andcompensation
processes within the texts which are subjected to interpretation after the
interpretive has managed demythologization.
The plurality of symbols forms in consciousness current
story and their repetition form the most important goals that the
research seek through to keep up with thoughts movement and
their pandemonium deep inside the human mind
The research clarifies the aspect of the monument, its position,
types and different forms since ancient times till now. It also shows
the development of its raw materials, ratio and fitness with the
space as well as the variations in its classifi
cation standards
throughout history. This research also handles the effective role of
a monumental work in fixing high values in human memory and
developing the architectural social reality and organizing the site
and place that it occupies not only making it beautiful.
The monument is a long term symbol embodied in the meanings
reflected by its artistic forms which are full of human and mental
senses.
This research approaches the issue of majority ignorance of the
importance and value of a monument in our countries. Arabic
people have a minor or even no knowledge at all of the statue.
Efforts should be made to strengthen the relationship between
individuals and monumental works as well as architecture in a way
that will bring positive results for both and for our homelands.
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.
تبحث الدراسة عن العناصر الجمالية لدمشق بوصفها مدينة تاريخية،
و ما يتعلق بذلك من تفاصيل عنها و عن الحياة الشعبية فيها، و كل ما له أهمية خاصة
مما انعكس في تجربة الفنانين التشكيليين، الذين كان لإبداعاتهم و نشاطاتهم
و نداءاتهم، مع من معهم من المعماريي
ن و الباحثين التاريخيين و المهتمين و المتفهمين من
أولي الأمر ، قدر كبير من الأثر في مجال الحفاظ على معالمها و حمايتها من تعديات
غير المدركين للقيمة الجمالية التي لاتتجزأ لشوارعها و أزقتها بكل ما تحتضنه من
مساجد و عمارات و فسحات و أسواق و أبواب و خانات و بيوت و شرفات و مناهل
و زخارف و ورود..الخ، أو غلبوا عليها نزعة الاستثمار و حاجة التوسع على القيمة
التاريخية و الثقافية و الفنية التي لا توازنها حتى الغايات السياحية و الخدمية أو المرورية،
حين يتطلب الأمر التغيير الكلي أو الجزئي لمعلم من المعالم و لن يكون التغيير
مقبولا في حال من الأحوال إلا في إطار الترميمات المتخصصة، و التدعيمات
الضرورية الحذرة للبيوت و الأبنية العامة و المنشآت الأخرى التي تحاكي تراثها
و خصائصه الأسلوبية و التقنية.
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