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The Bronze Sculptures As a Model

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The Bronze Sculptures As a Model COMPETITIVE STRATEGY MODEL AND ITS IMPACT ON MICRO BUSINESS UNITOF LOCAL DEVELOPMENT BANKSIN JAWAPJAEE, 17 (7) (2020) Figure Features in Sadiq Rabee's Sculptures: the Bronze Sculptures as a Model Mustafa Thamer Shafi1, Aqeel Husseln Jaslm2 1College of Fine Arts-University of Babylon 2College of Fine Arts-University of Babylon Mustafa Thamer Shafi, Aqeel Husseln JaslmFigure Features in Sadiq Rabee's Sculptures: the Bronze Sculptures as a Model-- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(7), 3722-3732. ISSN 1567-214x Keywords: Micro Business Unit, Competitive Strategy, Performance ABSTRACT The current research included the features of the form in the sculptures of Sadiq Rabee, "Bronze sculptures as a model", four chapters about me, the first of which is the general framework of the research, while the second chapter in the current study included the theoretical framework that contained two knowledge topics, the first of which was addressed: an introduction to the meaning of the form while the second topic included two axes The first axis included the figure in contemporary Iraqi sculpture, and the second axis included the sculptor Sadiq. At the end of the third chapter, the researcher mentioned the indicators that emerged from this chapter. As for the research procedures, in which the researcher identified his research community as (20) sculptural works from which the researcher chose in an intentional manner the samples of his research that were identified as (3) sculptural works. The descriptive and analytical approach is adopted in its analysis, and concluded by analyzing samples, as the sculptor in Mengizah relied on a method that tended to modernity in shaping because of its effect through his studies in Italy and his acquaintance with the methods of artistic formation related to the propositions of modernity in the completion of sculptural works as in most models. Some of the sculptor's works tended to create geometric constructions in his artistic composition with high degrees of abstraction aimed at creating various formations as well as providing the recipient with multiple readings without specifying a title for their meaning. Artistic treatments relied on the principle of harmony between the form and its intellectual content. This was reflected in the selection of materials that match the semantics of the ideological work whether in terms of texture (or (shape) or color), so beauty is no longer manifested in the form of the material only, but in its dimensions Intellectual and semantic as well. This was exemplified by all the models. Moreover, the researcher reached a number of conclusions, the most important of which are: The use of bronze ore in most of the works of the sculptor Sadiq Rabie, because it meets his psychological and emotional needs and is easy to acquire, as well as its advantages that made him one of his preferred materials and many 3722 COMPETITIVE STRATEGY MODEL AND ITS IMPACT ON MICRO BUSINESS UNITOF LOCAL DEVELOPMENT BANKSIN JAWAPJAEE, 17 (7) (2020) works were formed by the sculptor by taking it as a position. Horizontally, it could be formed from a purely subjective narration that has a psychological connection to subjective issues or to his observations of works in the West directed towards that in many of his works accomplished in this direction. INTRODUCTION 1. 1 Research Problem The association of aesthetic meanings with art indicates the vision, perception and study of the artistic work as the historian, sociologist and art critic does, provided that the formulas of the creative work are nothing but a reflection of the age or civilization in which it was produced. The work of art is determined through a set of intellectual visual relations of the artist and the culture of the historical era. However, the artist works to provide the work with a flood of his feelings, attitudes and self-visions, which are the motivation that determines the forms and contents. The aesthetic values of realistic forms come through the artist’s portrayal of reality, no matter what expresses the truth , That it must come that involves some substitution, alteration, or reduction, as the artist introduces some modification to the image when he refers it in the sculptor's currency into two dimensions only. The shapes in sculpture have varied throughout history, within the limits of their external details and the design form created by the sculptor on the body of the sculpture. From here the problem of the current research arose by answering the following question: Did the artist, Sadiq Rabie, form an active presence in the field of contemporary Iraqi sculpture, and did his works possess formal features that achieved uniqueness or orientation in their public discourse? 1. 2 The Importance and Need for Research 1. The research comes as an added link to the theoretical aspect of plastic art, especially in its aesthetic aspects. 2. The current research serves researchers in Faculties of Fine Arts, Institutes of Fine Arts, and artists, and intellectuals, and those interested in the field of the art of modernity. 1. 3 Research Objectives The current research aims to identify the characteristics of the figure that are known in Sadiq Rabee's sculptures, basically the bronze sculptures as a model. 1. 4 Research Limits Objective Limit: The research was limited to the study of bronze sculptures. Temporal Limit: Work accomplished for the stage (1959-2019). Spatial Limit: The works of the sculptor accomplished in Iraq and Italy. 3723 COMPETITIVE STRATEGY MODEL AND ITS IMPACT ON MICRO BUSINESS UNITOF LOCAL DEVELOPMENT BANKSIN JAWAPJAEE, 17 (7) (2020) 1. 5 Definition of Terms 1. 5. 1 The Feature: Linguistically the feature is a trait or the attribute in the language is singular, and the plural are attributes and the mark is for the effect and the feature is the effect (1) and is meant by it and the mark of the thing. The attribute is an effect, as in the words of the Almighty their faces in their faces from the effect of prostration (2). By their simaham, he means the feature at the front of the carpet from the abundance of prostration, and the mark is what is characteristic of the thing, and if something affects a feature, the thing will have a feature that is known by it. The attribute also came as a sign, it was combined with the attributes and marking of the thing, it was interpreted, it was asked for the mark of any sign you know, and the good was marked in it: its effect was shown (3). And he has made a feature for himself by which he is known, and it is said that he is characterized by good or evil (4). The feature is the property that distinguishes everything and can be observed in anything, and it is the established quality that characterizes every work of art, and distinguishes one from the other. A trait is a trait, characteristic, phenomenon, or attribute inherent in the tagged with it, so that members of the same sex can differ so that they are distinguished from each other in a perceptible manner (5). The procedural definition is that a feature is a characteristic or distinctive mark of it or a characteristic that perceives everything or all of an artistic work that gives the work an expressive specificity, gives it characteristics that are set up for it and referred to by it, and it is within the interaction of a number of relationships that create the final form that composes the characteristic of that thing. 1. 5. 2 The Shape: Linguistically it is the form by opening the likeness and the like, and the plural forms and forms. And form: the proverb, he says: This is in the form of this, that is, on its example. And so-and-so shaped such-and-such any similar in his cases. And this is said from the form of this, i.e. from hitting it and the like, and this is doubtful about this, any like it (1). It is a necessary condition for the perceptual diagnosis of content, and there is a form in the structural sense, which is a certain harmony or proportional relationship of parts with the whole, and each part with the other (6).The procedural definition of the form is the interaction of the structural and formative relations of the artistic work with its constituent contents, and the form is not the essence, and it approaches the realization of the image of the artwork and its overall structure, and it is one of the elements of the composition of the artwork, which is the appearance or the image that is achieved according to limits through the response of systems of structural relations to the form with the content made up the shape. THEORETICAL FRAMEWORK 2. 1 The Concept of Form in Artwork The construction of the artwork depends on the mutual organization between the form and the ideas that the content carries in the imagination of the artist, which may be the result of the implications of consciousness, unconsciousness, heritage, customs, values and attitudes, or it may be a fleeting moment that the artist feels and may carry connotations and meanings 3724 COMPETITIVE STRATEGY MODEL AND ITS IMPACT ON MICRO BUSINESS UNITOF LOCAL DEVELOPMENT BANKSIN JAWAPJAEE, 17 (7) (2020) of foresight in the future. Any displacement of the content may push the form to the forefront of the discourse, making it a jewel in itself and this is what is seen in the arts of sculpture, or the content may seize the formality of the speech, making it dependent on it from what it sees in similar arts such as realism and the like.
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