Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930

Aesthetics of technical diversity of Mohammad al- Kinani's works Ayad Mahmood Hayder College of Fine Arts/ University of Babylon Bassam Adnan Jasim College of Fine Arts/ University of Babylon

Abstract:

Art is a remarkable phenomenon, where a person practiced his artistic concept through the study of artistic works and the intellectual, aesthetic and technical implications involved in them, which appeared in a number of artistic works in which the Iraqi artist personified the data of his artistic experience according to the sentimental expression, as it was necessary Studying this subject in general and studying it in the works of (Muhammad Al-Kanani) in particular, and the technical drawings carried by the aesthetics of technical diversity because of what constitutes a documentary phenomenon in contemporary Iraqi painting should be studied as the tagged title (Aesthetics of technical diversity in the work of Muhammad Al-Kanani).

The research was divided into four chapters that included the first chapter: the definition of the research problem, which was summarized by the following question: (Did technical diversity contribute aesthetically to the experiences of Muhammad al-Kinani?), And the first chapter also included the importance of research, the need for it, its goal, its limits and the definition of terms Contained in it. As for the second chapter: it included the theoretical framework in three sections: The first topic included: the concept of beauty. As for the second topic: dealing with technical diversity historically, and the third topic: technical diversity in contemporary Iraqi painting, leading to the output of the most important indicators of the theoretical framework. The third chapter included research procedures, from the research community, and the research sample of (3) models were selected intentionally, while in the fourth chapter: it included the results of the research and the conclusions of recommendations and proposals, and the results that the researchers reached, including:

1. The aesthetic experience is the basis that Al-Kinani carries out after art. A human activity that is inseparable from his real life, reflecting the emotions and the connections related to him personally.

2. In the works of Muhammad al-Kinani, a variety of aesthetic geometric figures appeared, including rectangles, squares, lines and points.

As for the most important conclusions:

1. Al-Kinani was concerned with the technical variations that formed one of his aesthetic constants, a characteristic that acquired its spiritual and visual existence and formed part of his creative personality.

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2. The external openness of the country and the wide knowledge of the experiences of international artists and the technical techniques used all contributed to the technical diversity with which Al-Kanani carried out his works such as collage, distillation, fortification, and printing techniques with citrus.

Then the research dealt with a list of research sources and annexes and a summary in English.

Key words: aesthetics, technical diversity, Mohammed Al-Kinani

1- Chapter One / Methodological Framework

1-1 Research problem:

Beauty is an attribute that is associated with all artistic products, including arts in particular. These artistic products possess aesthetic qualities when they are subject to the transformation factor at the level of formal or technical values, in the sense that there are great pressures that establish aesthetic values and provisions in the artwork, so beauty is one of The most important features and characteristics that can be associated with any experimental work, it has established the features of the first visual civilization in Iraq and due to what Iraq possesses from a great civilization depth established for artistic and aesthetic approaches very large in artistic productions, and these civilizational achievements have become the best borrowing reference drawn From him, Iraqi artists On their various generations, with their methods, experiences, metaphors and conceptual metaphors, they have helped technical transformations in their work, and thanks to the development of science and technology, which has become a very big pressure in establishing formal systems, in technical trends in the world, and that Iraq is part of the movement The international plastic artist broadcasted the first experiments of Iraqi artists who came from abroad, using techniques from artists whose technology and scientific concepts have been enriched in their works. The concept is aesthetic, considering that beauty comes on the technological side, as beauty is affected by experimental and technical transformers. In the experiences of (Muhammad Al-Kinani), which were distinguished by its technical diversity, which was influenced by this civilization extension and the aesthetic momentum that civilizational references inspire, as well as experimental and technical transformations, due to the pressures of mechanization and the compressor of technology and the developed material, so his works formed a phenomenon that can be studied, and this phenomenon It cannot be condoned or forgotten if we turn to the technical aesthetic aspect of his work, and therefore the research problem can be established according to the following question: Did the technical diversity aesthetically contribute to Muhammad al-Kinani's experiences?

1-2 The importance of research and the need for it:

This study represents an addition to the field of knowledge specialization in the field of experimental studies in contemporary Iraqi plastic art. This research also contributes to identifying one of the experiences that varied technically and stylistically and which in one way or another affected the contemporary Iraqi plastic movement.

1-3 Research Objective: The research aims to: Identify the aesthetics of technical diversity in the works of Muhammad Al-Kanani.

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1-4 Research Limits: The current research is determined by the following: The works of the artist Mohammed Al-Kinani implemented with different techniques and materials. And accomplished in Iraq. In the period (2010 - 2016 AD).

1-5 Define terms

Aesthetics:

A- Language:

- In Mukhtar al-Sahah, al-Razi is al-Hasan. The man (camel) is attached to beauty (beauty). And beauty is the source of the beautiful, and the verb is beautiful (2, p. 524).

B- Terminology:

- In the philosophical lexicon, (beauty) is synonymous with goodness, which is the proportionality of the members, balance in forms, harmony in movements, and the beautiful is the object in a face that is imprecise and accepted by the soul, it is (what relates to contentment and kindness) (3, pp. 407-408) ).

Beauty is an attribute that is observed in things and which gives pleasure in the soul or a sense of order and harmony (4, p. 264). For the purposes of this research, the researchers have defined their following procedural definition: what creates a distinct picture in the mind that manifests itself through the desired knowledge that the appearance and essence of things allows us to provide us with pleasure, contentment and harmony

Diversity:

A- Language:

Type: diversify the thing, make it types. Variety of thing: it became a species. Genre Collection Types: Each Class of Everything (5, p. 847). And he (Maalouf) defines it. Classification, classification and type. The combination of the types of classes of each type of everything, which is more specific than sex (6, p. 847).

B- Terminology:

(Safa) defines it as 'an optical structure consisting of formal elements governed by the means of organization in design and linked by structural relations of extension, symmetry, contrast, segmentation, perforation, consistency, symmetry, tiredness of space' and are based on aesthetic and intellectual foundations (7, p. 185) . As (Saliba) defines him, 'what distinguishes something by itself, that is, it has a nature of its own, and it cannot be traced back to the types and varieties (3, p. 512).

For the purposes of this research, the researchers have defined their following procedural definition: it is the main driver of a variety of methods and methods by which the perceived artist is unique.

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Technical:

A- Language:

Technology (TQN) - (Mastery) - Its provisions (1, p. 78). It is a linguistic term derived from the verb mastered, in the sense of wisdom and perfection in the sense of the subtle and skilled man (8, p. 85).

B- Terminology:

The word “technical” is mentioned in Al-Mawred Dictionary “Method or method of processing technical details by the writer or artist, artistic proficiency, technical methods, especially in scientific research,… method of achieving a desired purpose” (9, p. 954). And technology in relation to art (among all methods and methods that are specialized in art or profession) (5, p. 63). The researchers define the procedure procedurally as follows: (It is the set of operational processes that rely on cognitive theories and skill experiences that the artist enjoys to produce his artwork). Technological diversification procedural: It is the experimental transformation by investing and using tools, tools and materials to produce works with aesthetic loads.

2- Chapter Two / Theoretical Framework

2-1 First topic / The concept of beauty

The sense of beauty is one of the general qualities that humans are distinguished for, as it is the gift of God (glorified and exalted be He) to man, as he is the only being who has the ability to feel and taste beauty, and the sense of beauty and its taste is not limited to the limits of the world of matter, but rather extends to the world of thought And art, hence the beauty and the process of tasting and judging it is subject to multiple perspectives. 'And this difference and contrast with regard to the subject of beauty, but is due to two things: The first thing: the absence of an accurate practical standard for beauty, linking all tastes ... The second thing: the difference of mental faculties and imagination among individuals, the connoisseur may absorb the momentum of the artwork Comprehension without which another connoisseur would shorten one topic (10, p. 50). Beauty is not subject to a fixed standard, for the presence of a moving variable that measures the surrounding environment in society, civilization, human perceptions and behavioral aspects, but rather the origin of the changing reference. Every person tries to rush to the beauty that is appropriate and according to his beliefs that fit with it, and about this 'It is impossible to formulate a standard of beauty,' he says. 'It is well known that tastes vary endlessly' (11, p. 19). Since the singular beauty constitutes an essential axis in the title of the current research topic, the two researchers are concerned with exploring the subject of beauty in art on the historical and objective levels, and the limits of this research, with an attempt to shed light on the philosophical propositions that concern this topic.

The Pythagoreans (572-462 BC) emphasized that beauty is based on a specific numerical system that included harmony and harmony in the universe and form, the self-aware, or the perceived subject, and made the origin of existence and the universe based on the mathematical numerical system, and they set an engineering standard for beauty based on Their philosophical reflections on music and the attribution

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of their melodies to certain numerical proportions, thus extracting a mathematical medium between two opposing types of melody, which was interpreted by harmony as the result of unity and coalition between opposites.\" It is necessary here to refer to the transformation that the Sufsatians have made in the field of the sense of beauty and art, which has prevailed sensuality and individuality over reason and objectivity, and this was the main reason in the revolution (Socrates and Plato) on that art that takes appearances and imaginations as the basis of it and deny the importance of morality As an aesthetic portable in art, art as a human phenomenon does not return to a sacred origin but comes from the human self. Aesthetic values on this basis can change by changing the conditions of human life (13, p. 14). It is the Sufsatians who have set man as a measure of nature. (Man is the measure of everything) (14, p. 270- 271). Socrates's concept of beauty has also been linked to goodness and morality. He found that beautiful art is a purposeful art that achieves the moral benefit of man, every art that achieves the supreme moral end is a beautiful art, and the good benefit is the common characteristic of all the things that we describe as beautiful (15,p. 11). Plato (427-347 B.C.) believes that art must be subject to morals and philosophy, and Plato believes that art comes from inspiration, and that art is a matter of interest, and that the arts are women, each of whom specializes in the care of art. Philosophically, however, the source of inspiration lies in 'beauty itself', and these housewives of art symbolize it; Art is a tradition of nature and its simulation, i.e. it is a portrait of a higher image, and the artist sees inspiration or inspiration from it, not from reason and knowledge (17, p. 65-66). Aristotle's beauty (385-322 B.C.) has consistency, harmony and clarity, which are the most important aesthetic characteristics, qualities that, in his view, can be adopted objectively, so art is a simulation of beauty (18, p. 61). Descartes (1556-1650 AD) says: \"The beautiful thing is beautiful as its elements are so different. and their differences, and to the extent that there is a proportionality between them, and that this proportionality must be mathematical. Descartes proved the primacy of taste over the example of beauty in particular, making his aesthetic concepts relativeto(19, p. 59). Descartes linked beauty to pleasure, the realization of the truth is the highest stage of the perception of beauty by the mind explaining the process that reveals the forms and aesthetic concepts, \"This has defined the vision of beauty in the self through the relativeity of the viewers and has given the study of the character an importance in aesthetic appreciation through an interest in the measurement of feelings, emotions and moods in the arts.' The latter is the product of the creativity of the soul, awareness and freedom, and this spiritual nature of artistic beauty qualifies him, to be higher than natural beauty, art is creativity and not just simulation, if the sensor turns into spiritual, and the spirit manifests in the sensory form, the beauty of Hegel is the beauty of the manifestation of the idea In a sensual way, which in the inevitable result is a beauty expressing the absolute spirit, Hagel emphasized that artistic beauty is higher than natural beauty (11, p. 65). From Santiana's point of view (1863-1952), beauty is seen as a sense of beauty, a cognitive process governed by both reason and sense. Therefore, the basis of Santiana's perceptual perception is to provoke pleasure or pure pleasure in the substances, shapes and meanings inherent in them and to pass on them to the physical self. (12, p. 118). John Dewey (1859-1952) tries to link art to experience and take down on art a functional scientific utilitarian formula that has given human experience in general an aesthetic character or wants to expand the concept of aesthetic experience, he saw that art is experience and life, as he says: 'Since experience is an achievement carried out by the being The neighborhood is in its struggle with the world of things, linking beautiful art to useful art and they are the manifestations of one human activity at its core, and Dewey's artistic taste is the creation and creation of the experience of the connoisseur of the artwork' (21, p. p. 183). Therefore, with a multiplicity of

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opinions on the concept of beauty, researchers can observe the relativeity of the concept from one person to another according to its culture and sensory perceptions.

2-2 Second Research / Historical Technical Diversity

At the beginning of the talk about the technical variations that have occurred in art in general through history and experiments and methods and its active impact in the movement of fine art from experimental transitions on the visual surface, tops this, the transformations that have been experienced by techniques since (cave art) despite the limited idea of primitive man to deal with the oceans Random, and the first technical signs appeared as the shapes of the pedestal and engraved from the pictures of animals painted with precision, especially in the caves (Chauvet) which is one of the oldest and most important art scenes implemented by the technology (deafness and printing) so I returned the first technique addressed by the human with high skill In very few colors, such as red and black handmade between blood, bone flour, burnt wood, plant juice and stone ghee, the primitive man used his fingers in execution, which he discovered by the impression of his feet on the earthly and clay floor of the cave or that he saw the edition of his palm contaminated with animal blood on the walls of the cave, which led him to practice this process times and times (22, p. 17). Its technical diversity can be traced through the development of its tools and pigments prepared from the crushing of stones, the other technique practiced by the technique (Wrottage) or saezing some forms in the caves was done in the manner of drilling on the walls in a weak way some sharp machines made hand-made for hunting and not for artistic photography, and can Following the technical diversity of the human caves as we find him practiced the technique (liquefaction pigments) he noticed for the first time the torrent of colors has is the color of the blood of his prey, he inspired him a sense of formation after leaving the blood certain forms on the ground, especially after that blood interacts with the earth to form small concave forms Egyptian art has also been distinguished by its naturally used raw materials, such as soil with red and white dusted mineral compounds extracted from lime or powdered white limestone dissolved in water with blackness of stabilization and green chemically extracted from copper-green and blue cobalt powder from azores, and with this technique multicolored and graded by mixing them with each other for other colors. The Greeks also used the same method in preparation, the inhabitants of the village of Crete paint their walls with white gypsum and carry out the drawing directly while it is still wet, and after the completion painted drawings in the warnish for installation, extracted from plant oils or distilled oil, the sculptures painted from the outside with a bright material to gain the statue with vivid qualities and decorated with glass stones and lips painted red copper and teeth represented by pieces of ivory or silver inside the lip (24,p.93). As for the technique of The Persians, which became known in the European Renaissance, which became decorated with architecture in Italy, inherited by the artist from previous generations some artists who worked with this technique such as Gito and Michelangelo and the most famous works of Angelo (Church of the Sistine) and of the arts that were associated with the art of architecture of Asir Renaissance, the kalasi drawing, despite its diversity according to the diversity of the regions, it depends on the exact drawing of the forms, and is defined by a rule that is not permissible to depart from and the use of the technique (Tempra) which is the colors of the enchanted is not It is transparent and has the ability to cover the surface of the painting and combine it with a water-glued medium (From water-soluble substances) such as natural resins such as Arabic gum, the colors prepared from it are called guazzo, animal colloidal materials such

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as rabbit glue, fish, egg whites or metal materials such as wax dissolved in the turpentine(25, p. 16). As for the technical diversity used in modern European painting, which took the field of drawing by spreading and the emergence of formative vocabulary in the dictionary of works of art, which changed the narrative and methods of building the developments achieved at the end of the nineteenth century from a scientific and intellectual point of view such as the emergence of philosophical currents and the development of theories Electromagnetic analysis of how light acquires color values (26, p. 22). In addition to introducing new materials to the pictorial surface. There are technical variations that have prevailed in postmodern artistic movements, including (distillation technique) whose characteristics depend on the subjective and meaningless first pioneer (Jackson Pollock), who used the bright metallic colors, opening the way to use all that comes to mind from spraying pigments spontaneously. The use of various materials even in recent times has used its own techniques and tools to suit the way it is implemented and the size of the painting such as sand, powdered glass, wood sticks and knives with liquid colors (27, p. 317). Shape (1)

2.3 The Third Research / Technical Diversity in Contemporary Iraqi Painting

Iraqi fine art in the 20th century witnessed an important stage in the drawing movement in 1931 the first exhibition of works of art was held in a modest pavilion of (agricultural industrial exhibition), this exhibition was of great importance in the artistic movement, as the authority began to pay attention to the talented, sent artistic missions to Europe, to study art, and headed by Akram Shukri, the first envoy in Iraq to England, Fayek Hassan to Paris, Atta Sabri to Rome, Jawad Salim to London, and kept the role. Others. Wet into Wet technology is one of the most widely used techniques by leading iraqi artists and young people, where most of their work has been completed in this way, and paved them with many possibilities in terms of freedom of performance and then the methods of performance and different tools have expanded, including what was associated with the performance of (Touch Technology) (Figure 2) ), by covering the surface of the painting in a bright color to form the floor of the painting in an undefined blur, then comes the cutting stage, and also using the flat brush to give the surface of the color and to contribute the obvious effects left by the brush in enriching the expressive and aesthetic aspect, and the brush plays An important role in the performance process to the process of artistic output through the multiplicity of methods of dealing with it, which became a feature of some artists to the extent that their personal styles became one of the most important features of it (29, p. 199-214). Hence the importance of technical methods in contrast to the value and durability of the painting and its composition in terms of color, the material itself (technique), the material color or any material from another climate of another clay ( rough, soft, flat or scribbled) the most important thing is that this material be a second means of expression except the creation of the image or the composition of the image or the quality of expression that achieves the subject of the image '(30, p. 31). Another technique has also been adopted by some Iraqi artists as a technique (Glazing) and sometimes called paint or polishing technology, a technology that depends on the placement of transparent layers of diluted color that are on each other, or on dark and dry areas and the coating layer must be dry when applying the second layer, and enter This technique with various modern experiences, to events changes in the clarity of color values, the introduction of air between the parts of the composition, and to show the texture better, or to age the work among the models obtained by the researcher realistic paintings of (Abdelkader Paint) (Figure 3) and painting by the artist (Faiq Hassan) (Figure 4) and experiences Contemporary Artist (Hazam al-Nasiri) (Figure 5)31, p. 15.

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The artist (Hana Malallah) used technical diversity and effective experimentation to highlight the importance of the image and stimulate the mind of the recipient and involve him in the aesthetic work as in the exhibition of the impact presented works shared by the recipient by moving parts of the visual text to create an aesthetic equation and a different perception of what was presented, including many techniques in Its works are such as rags, drilling, burning, thalming, sapering, slicing, snouting, printing and groove. As for the artist (Hashim Tawil) may learn about other techniques, the most important of which is lithograph lithography and silk network, and related techniques of photography and photo transfer by optical sensitivity, and with the development of technical methods and modern printing methods, especially digital photography ( (digital photograph found) High aesthetic potential in digital printing, especially when combined with modern design programs such as Photoshop, in addition to other well-known programs in the field of printing design, then began to discover surfaces, materials and new techniques that serve the subjects, which poured into his inherited ideas. 32, p. 101) His kravic works are based on the combination of two methods for producing printing work, in the first use of the traditional technique in the preparation of surfaces by hand or chemically and infused and then printed, and the second in intervention and addition of non-traditional touches such as combining work with details of previous work either by drawing Direct or collage or transfer of the subject by digital photography, after which the work is treated like the treatment of the drawing board and the result is work in one copy or limited editions. Drawing, planning, collage and photography meet but are dominated by kraviks (32, p. 115).

2.4 Theoretical framework indicators

1- Idealism is the rise and transcendence of the absolute of the sensory world and its false manifestations, ideal beauty seeks the absolute idea, not the material nature. For our evaluation of beauty and judgment, this issue depends on the class development of each class has its own aesthetic rule.

2- The Bergmatians believe that beauty and its sense are governed by the self-sense response and its interaction with the subject of sense and its substance and its interaction with it to balance it with it to achieve the highest level of feeling and beauty.

3- The artistic techniques always remain in the case of experimentation, renewal and finding a mechanism implemented by an artist at any stage in his works of art and the available alternatives and media, we find the cave artist varied his techniques from the stage of design and printing to the technique of slitting and slinging.

4- Ancient civilizations (Iraqi, Egyptian) were characterized by the use of coloring technique in clothing, furniture, pottery and frescoes.

5- The Iraqi artist was influenced by the methods and techniques that he derived from his heritage or was influenced by his knowledge such as scholarships and developed within the scope of personal identity.

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6- The technique of epithelial glazing inspired the Iraqi artist to show the texture better and bring the building of the painting to typical levels by taking care of the final colors above the surface of the painting and focusing on the areas of light in the painting, this technique simulates the classic Works of Europe, the technology of glaze She neglects the blocks of the bakers, and sometimes uses soft brushes.

- Chapter 3 / Research Procedures

3-1 Research Community: The research community is limited to photographs of the work of the artist Mohammed al-Kanani obtained by the researchers through the interviews conducted by the researchers with the artist, and personal correspondence on the social network, which amounted to some works of approximately (98) works of art and benefit from them to cover the goal of the research.

3-2 Research sample: The research sample, which numbered (3) samples, is limited to the artist Mohammed al-Kanani, which was selected by the researchers intentionally and according to the period of the time limit.

3-3 Research Method: The researchers relied on the descriptive approach to sample analysis as it is the most suitable curriculum compatible with the nature of the research, and easier to reach the research objectives.

3.4 Sample analysis:

Model (1)

Business Name: Burned Library

Production year: 2010.

Article: Inks and acrylic.

Measurement: 4m x 50cm

Return: Personal acquisition in the Netherlands Rotterdam.

The artist Mohammed Al-Kanani carried out his work in a rectangular form and put it on a large base wooden box because the material of the work thick paper and the complicated folds of the book came out in spontaneous and frank colors distributed on the front and back of the painting in the form of spaces with clear non-geometric color spots, made up of red, white, blue, brown and oker degrees intertwined with the lions that prevailed on the general form of work.

The kanani relied on several techniques, including the establishment of the surface accomplished in several colors of transparency similar to the technology of watercolors with acrylic material and inks with rapid performance after the publication of black ink in a drip method spontaneously and thus chose (Kanani) his techniques selectively corresponds to his emotive revolution, as he several in terms of The reasons for the enormous visual achievement compared to the other traditional painting, but for those who know the style and technique of the artist touches the color harmony with his total presence, the

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surface of the book saturated with black color to make it compositions similar to letters and geometric shapes, on all the areas of the painting and these lines took A free, non-geometric path in which the artist expressed the freedom of fire that devoured his operator and cultural heritage, these important inks on the work surface is only a literal translation of what the artist saw with the burning of a professional , it is known for the kanani that he is a painter with different techniques combining printing with inks and multiple materials , and notes In this work of the canon, the absence of a linear or chromatic perspective through which we can access the depth of the work, to have a scattering of vision, and confusion in penetrating his world, everything is closed and everything is open at the same time. This is confirmed by the text of the indication within the work as a function unit that contributed to the detection of the extent of the damage caused by the fire if there are clear symbolic signs with physical references such as distorted letters and forms of ink boxes represented by free forms with their lines spread through the primitive sign that represented the free line of expression The text in its iconic symbolic compositions is a big sign of the size of the cultural and historical reference that the artist possesses. The work of artbook in general is a model that forms an open system based on free play in color and font and moves the mark and alters it within the text, so any text is a model for the signs of geometric shapes and color spots. In doing so, he sought to create a relationship with the recipient by broadcasting his aesthetic texts on the surface of the artwork, which is filled with signs indicating that the burning affected all the contents of the library, especially the important texts and books collected by the artist by selection to reach the important presence in the cultural and plastic scene in Iraq. The reference is psychologically, and effectively, effectively in the same artist, so its effect is evident in this text in that library, which was burned to be an extension of the engines through which that work was established.

Model (2)

The name of the work: a wall.

Production year: 2015.

Article: Different materials.

Measurement: 50 x 180 cm

Return: Mets Museum, Paris.

This work is a model of the style in which the works of Mohammed Al-Kanani, as he carried out many works in the same style with some simple treatments that occur in color, size and space, this work was carried out in a rectangular longitudinal form that overcomes its elongated form as it depended on giving the largest volume to the longitudinal area on the The calculation of the show and its work is the rhythms of the dynamic color harmonious areas dominated by gray colors divided and overlapping and adjacent to what contradicts them in the circle of colors and did not specify its edges with solid edges, which gives the work the character of expression, and that is mainly related to the artist's self from the inside and his own destinies On drafting and organizing, the painting has made spaces of various materials and layers in the form of compositions distributed on the painting of materials, number and materials, some of which are manufactured and consumed (gypsum, gaffes, cardboard) and notes that the artwork is formed by

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high color topography distributed on the visual surface, if the circle occupies the space The upper one sized the shape, followed by irregular squares, the kanani was interested in the structural elements through his treatments of the material and spaces Falkanani means the aesthetic composition and the contemporary pattern structure, which makes him look inspector for an article that affects his sense more than others, has concrete relationships to follow In the surroundings in which he lives, and pushed by his prolific to own it, and then to embody it as a given, can be transformed and changed to the depths of his sense in order to show the essence of the subject intended to convey to others, the style of work and its method implemented by the technique of collage, which has stuck materials to create the visual surface Which made it feel rough, using adhesives and then treated the surface with acrylic colors using monochrome and secondary colors because the canane believes that secondary colors possess the ability to express, based on the exclusion of sharp variations, which leads as a result to a regular rhythm and harmony A homogenous color, in the form of layers similar to camouflaged geometric blocks, the kanani tried to liken the work to the real wall using some technical techniques that helped him to achieve his goal, if we note closely at the work we find we have used the technique of processing color with the knife in a color drag way after putting a dense dough and pulling it With the knife to form some slits between colors, and also treated the surface with areas of color (off white) with the technique of the technique of the olick light color to calm the surface and tighten it, and added some lines identified according to the directional sequence which is an attempt to enhance the movement of the surface and give it the value of the disability Also like the canane the shape of the chair in the work in the form of linear boundaries out of line just color converted its geometric system into a system with expressive attributes that highlight the levels of performance through the effect of the material that was placed on the surface, as it approaches in some configurations to the design style as an added structure of the artwork, we find that the work by doing I mean the artist wanted to convey to the recipient the conflict between the constituencies and the political gasp behind the positions by the politicians who distorted the walls of cities, the artist succeeded in absorbing and translating the power of expression and describing it in the lines and colors of the past as close to modernity in the formation to acquire his paintings In this sense, the technique implemented is unique as a style and as an artistic novel that has highlighted the aesthetic dimension of describing this vision.

Model (3)

The name of the work: space.

Production year: 2016.

Article: Acrylic.

Measurement: 100 x 100 cm

Return: Turkey's Word Hall.

A square-shaped art painting executed with acrylic material is a surface that has been divided into spaces occupied by fragmented color blocks on the parts of the painting in the upper section does not exceed the color orange, ivory black and light violet, while the lower side appears on the right of the painting

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more like two squares in the color of oker They are bordered by some of the swathes in ivory black, the brown painting was dominated by a little swab of violet on a third of the painting and the lower part was white. The technique in this achievement depended on the colors that are somewhat different and in a transition to the concept of color in the kanani we see accumulations on the surface of the painting to create a visual space meaning, which is nothing more than a technique mastered by the artist in most of his paintings was not the color axis that expressed the existence of the painting basically but One of the elements of this expression and the color remains in the painting of the canane is a precise introspection of the unconscious act without avoiding its references, the kanani has initiated the use of a written unit is the line to use to form forms so there is a relationship between color and line such as the mark between the letter and the number and among the techniques The task that was inspired by the kanani in his painting the needle for the creation of nozzles and intermediate limits such as those found in the works of Max Ernst we find that the kanani has diversified the techniques in this achievement, the technique of fortag, itching, shaking and knife all carried out in the quick session because acrylic colors need to perform quickly The work went through several stages in the performance, the first stage the foundations of the canani painting this orange and oak and spaces in ivory black inside it in the final brown color decorated on it some of the slits as circles and signals in the same process carried out in the lower area, as a result appeared work more like With the topography of the ground and from the atmosphere with border intersections with its opposite atmospheres in the seasons and seasons, the environment is characterized by the diversity of its visual vocabulary and its dramatic transformations, also its continuous attempt to provide an attempt to throw behind the veils of stylistic deficitor conduction soaked by repetition and ambiguity painting He presented a wide expanse in which we hope for the advantages of an equivalent that carries his reality manifested in a certain place of the world or nature or the ocean in the painting elements of formality emerges many advantages that document his adventures and his continuous travel and research in forms to submit his thesis inspired by many vocabulary in order to illustrate the value of What can be reflected in his work of art to take a climate designed by a subtle mental and aesthetic paradox whose data is spilled through a series of experimental and stylistic uses to approach the environmental act that infiltrated the topography of things independently of the will of what has been presented in his aesthetic experiences within the modern environment that he translated By turning its local themes into a simplified image, it describes the self-deprecations and the heaviness of their worries intensively, but at the same time rich in human meanings, its abstractions, and its symbolism reflects in its entirety an aesthetic technical dimension that describes the strong human wave that was enticing Iraqi art, but the effects appear clear in the work of During the european neighboring experiments of the post- modern in the use of any technique that is subject to the concept according to the principle of using the idea on the technique of the use of the technique, these works took the painting out of the space of old techniques into the space of renewal according to the principle of dropping identity or gender, it forms the style of the canani itself in , to rebuild it from our understanding. The art advocated by pragmatism always contains a certain meaning that lives in a social milieu that tends to go beyond its current situation to subjects where it loses its main characteristics to be subjected to a series of contradictions that evolve and bind to involve some of the alteration, modification or reduction that refers to it as a complete manifestation of a new idea. And a social topic.

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4- Chapter 4

4.1 Results discussed:

1- What distinguishes the style of Mohammed Al-Kanani using several techniques in his artistic products, the most important of which is the technology of distillation as in sample (1) and thus approaches in terms of technology with Jackson Pollock.

2- The works of Muhammad al-Kanani are shown in geometric forms in a variety of aesthetic forms, including rectangles, squares, lines and points that are repeated as in the sample (3,2,1).

3- The features of the philosophical aesthetic thesis apply the pragmatic (experience and technique) in a sample (3,2,1) and his works were characterized by the intermarriage between technical diversity and performance experience.

4- The aesthetic experience is the basis that the kanani performs after art is a human activity that is inseparable from his real life, reflecting the emotions and connections associated with him personally.

5- The works of Mohammed Al-Kanani have gained the character of independence and subjectivity in the style stemming from technical innovation, experimentation and the coming of what is new, and what makes the method distributed by the artist's own energy and inner sense between direct, immediate, automatic, kinetic (emotional), disciplined (traditional), quick, Simple, complicated.

6- The burning technique in sample (1) broadcasts aesthetic texts to the accomplished because it was powered by engines that pushed (the canane) in the application of the technique by describing the scene with a psychological force transmitted from the inside.

7- The technical experiences of the Canani are a departure from the stereotypes that contributed to the stability and non-metamorphosis and this heterogeneous openness caused by the connection to the world so that these global technical experiences are the influences in the work of the artist himself as in sample No. 2.

4.2 Conclusions:

1- Al-Kanani was interested in the technical diversity that formed one of his aesthetic constants, a trait that gained its spiritual and visual presence and formed part of his creative personality.

2- The external openness of the country and the wide knowledge of the experiences of international artists and the techniques used all contributed to the technical diversity with which the Kanani carried out his works such as collagen, distillation, fortag and acid printing techniques.

3- For social, cultural and psychological influences... Others have a big role in the experimental variations of The Kanani recently, the artist here has become a vital part of society that senses its concerns and lives its plight and therefore is a leader in the process of change for both cultural and social presentation.

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4.3 Recommendations:

In light of the results of this study, the researchers recommend the following: activating the free application stake with an open experimental workshop for students of fine arts colleges and institutes, and inviting some artists to benefit from their artistic experiences and experiences.

4.4 Proposals:

The researchers propose to conduct the following research: (The Kraviki features in the works of Muhammad al-Kanani), (technical heterogeneity between painting and sculpture in the works of Muhammad al-Kanani).

5. Sources:

1. Al-Razi, Mohammed bin Abi Bakr Abdul Qadir: Mukhtar al-Sahahh, Arab Book House, Beirut, 1981, p. 111.

2. Gibran, Massoud: The Dictionary of the Major, Dar al-Alam for Millions, Beirut, 1980.

3- A group of senior linguists: The Arabic Dictionary Foundation, Arab Organization for Education, Culture and Media, 1989.

4- Upholstered in Language and Media, Dar Al Mashreq Publications, i27 1984.

5- Louis Maalouf: Upholstered in Language, I4, Publications of Kin, Qom, 1429 Ah.

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7- Intermediate Dictionary, C1, Egypt Press, Cairo, 1980.

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10- Hegel, Introduction to Aesthetics, T: George Tarabishi, I2, Beirut- Lebanon: Vanguard House of Printing and Publishing, 1980.

11- Abdul Haidar, Najm: Aesthetics (Horizons and Development) Faculty of Fine Arts, University of Baghdad, i,2001.

12- Matar, Helmi, Amira: The Philosophy of Beauty Originating and Developing, Culture House for Publishing and Distribution, 1998.

13- Gigin, Ulf: Major Problems in Greek Philosophy, Translation: Ezzat Qarni, Cairo: Arab Renaissance House, 1976.

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14- Abu Rayyan, Mohammed, Ali: The Philosophy of Beauty and the Genesis of Fine Arts, University Knowledge House, Alexandria, B.T.

15- Abdul Jassim, Finish: The Theory of Simulation in Greek Philosophy, Philosophy Journal, Mustansiriyah University, Iraq, Issue 16, 2017.

16. Mehdi, Aqeel: The Aesthetic Question - The Artistic Image and The Dynamics of Contemporary Thought, 2008.

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20- Zakaria Ibrahim: Philosophy of Art in Contemporary Thought, Cairo: Library of Egypt, Egypt Printing House, 1966.

21- Al-Jadir, Walid: Man and Primitive Art, Journal of the Academy of Fine Arts, Baghdad University, First Issue, First Year, 1971.

22- Hodger, Henry: Technology in the Old World, I1, T: Randa Qaqish, Arab House of Distribution and Publishing Amman, Jordan, 1988.

23- Sorio, Eitan: Aesthetic through the Ages, T: Mashel al-Assi, Aweidat Publications, Beirut, 1982.

24- Hamouda, Yahya: Color Theory, I1, Al-Karab Publishing and Printing House, Cairo, 1979.

25- Adnan, Arij Saad: Technology and Its Transformations in Modern Painting, Unpublished Master's Thesis, Faculty of Fine Arts, University of Baghdad, 2006.

26. Mueller, G.I. and Frank Elger: 100 Years of Modern Painting, Previous Source.

27- Salim, Nizar.

28- Raji, Makki Omran: Techniques used in contemporary Iraqi oil painting, unpublished master's thesis, Faculty of Fine Arts Baghdad, 1989.

29- Al-Rubaie, Shaukat. Faiq Hassan, Ministry of Culture and Information, Department of Fine Arts, Baghdad, 1982.

30- Al Kaabi, Naseer Kazim: Painting Personal Painting Technology, Unpublished Master's Thesis, Babylon University, Faculty of Fine Arts, 2017.

31- Abdul Jabbar, Bassam Mohammed: Stylistic Diversity in The Art of The Kraravik, Unpublished Master's Thesis, Faculty of Fine Arts, Babylon, 2010.

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Forms of research

Form (1) Form (2)

Form (3)

Form (5) Form (4)

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