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Register a new userThe Represented Figures of the Mesopotamian Epic of Gilgamesh In the Ancient Relief Sculpture
تمثيل شخصيات ملحمة جلجامش الرافدية في النحت البارز القديم
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يتألف البحث من: مقدمة: تتضمن لمحة عن تارخ الأساطير و التعريف بالأسطورة و أصلها بالفرنسية و اليونانية و معناها بالعصر الحديث. و التفريق بينها و بين الأجناس الأدبية الأخرى. علاقة الأسطورة بالفن: نرى ذلك جلياً في أساطير الخلق و تجسيداتها الفنية من نقوش و تماثيل و أختام قديمة في حضارات متعددة. ملحمة جلجامش: و فيها تعريف بالبطل و بالقصة الأسطورية. مشاهد الصراع في الأسطورة: تتجسد هذه المشاهد في الملحمة على الشكل الآتي: - صراع جلجامش مع أنكيدو - الصراع بين جلجامش و أنكيدو مه هوواوا مرةً، و مع ثور السماء مرةً أخرى. - صراع جلجامش مع الحيوان المفترس. الشخصيات المحورية في المشاهد المجسدة بالأسطورة: شخصية جلجامش، أنكيدو، هوواوا، ثور السماء، الإنسان العقرب. الآلهة (شاماش، عشتار، آن). لينتهي البحث بالخاتمة و ملحق الصور.
The research consists of: Introduction: it includes an overview of dates, definition of mythology in Greek and French origin and its meaning in the modern era. It differentiates between them and other kinds of literature. The relationship between the myth and art: as shown in the myths of creation and artistic of inscriptions, statues and seals in ancient civilizations. Epic of Gilgamesh: with the definition of hero and legendary story. Scenes of the conflict in the legend: this notion of epic scenes in the following form: - Conflict of Gilgamesh with Enkidu - The conflict between Gilgamesh and Enkidu versus Hoawa , and against the bull of heaven. - Conflict between Gilgamesh and the predator. Central characters in the scenes of the myth: Gilgamesh, Enkidu, Hoawa, bull of heaven, the human Scorpio, Gods (Chamash, Ishtar, Anne). At the end, the paper conclude with some results along with some sample pictures.
References used
Jeremy Black, Anthony Green: Gods, Demons and Symbols of Ancient Mesopotamia: An Illustrated Dictionary, 1992, University of Texas Press
بادنجكي، طاهر: قاموس الخرافات والأساطير، ط 1،طرابلس/لبنان،جروس برس، 1996
الباش، حسن: الميثولوجيا الكنعانية والاغتصاب التوراتي، ط 1، دمشق، دار الجليل، 1988
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The research includes: an Introduction which gave the definition of the movement (ancient and modern)
and shows the movement in the artwork and its divisions: virtual and physical external and internal
movement.
1 – The external virtual and physic
al movement that can be extrapolated through the creation of the
artwork and the relationship of elements to each other. The researcher provides the metal works that are
related to parts of the joints moving and refers to Calder as a leader of this method in sculpture.
2 - The internal Movement in the work of art: starting from movement of the point to form a line, then
the surface, down to the size of three-dimensional work, and the movement of diodes within the artwork.
Stages of the vision of the artwork it is: split into three phases a - from the standpoint of sensory, that is,
through sight movement, and the transition between the elements of the artwork, b - the analytical and
cognitive process of the similar or contrasting binaries of art work trends of elements in it, and its
interlocutor, c - the process of mind which includes The story behind the artwork.
The researcher finally deals the rhythm of the movement in the work of art, the futurism, and structural
sculpture through "Tatlin" and "Boccioni" and others. The research ends with analyzing two artworks
for the artists: Picasso and Maillol.
This research study aims to investigate some works of Picasso, as one of the most famous names in
modern art, especially in sculpture domain, as well as the way of his beginnings that feed him back with
the inspirations and the creative ideas. Thes
e last two ones which started with painting and ended by
creating unique patterns in the space that no one has ever discovered before. It was according to the
cubism school, in which Picasso is considered one of its founders and creators. The importance of this
research comes mainly form the knowledge of the way of merging between mechanisms and multiple
items on one side, and the creativity statue on the other side. Artist have employed his unlimited creative
skills in such a discriminated style representing his character and his inventive thoughts. In that way, he
established a new and a strange concept in sculpture world, whence the form and the essence, and through
that he can merge resplendently between collage and sculpture under one umbrella, compounding and
construction. His works in Synthetic cubism was evidence on his ingeniousness.
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.
Arab criticism has accessed a phase in which the tendency to changing the diction
of dealing with the text whether it was narrative or verse was an urgent necessity.
The most important aspects of this change are shown in the interest in what is
ca
lled (Form), the non-separation between the content and the context, revealing the
internal secrets of texts in an attempt to refreshing the point of view to the narrative text
and dealing in a different way with its structure throughout making a reading variety
derived from the common and the uncommon modern critical theories.
The interest in studying narrative structure on top of the critical researches
involved in novel which take part in introducing critical processing that analyses texts and
aims to uncover them away from mental – social and historical references that go-round
them.
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 sha
dow 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.
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