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
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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.
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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
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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. Nobler defines shape as "one of these elements, so the artist may produce solid forms" in various sizes and bodies, which may be many or few, and they may be compact in an interlocking group or isolated from one another in loose spaces and the decisions taken by the artist that affect the quality, number and arrangement of shapes are the basis" (7).
2. 2 The Elements of Shape 2. 2. 1 Calligraphy The form is based on a network of relationships and the means of linking that together control the formation of the aesthetic impression of the recipient, so the form is associated in all cases with its basic elements and means of assistance which is a summation of the universe of these elements that there is a mechanical relationship without those original components of the form there is no bonding means.The calligraphy is one of the most important elements of the form because of its great role in understanding the form through the expressive energy that it transmits. Artists of various kinds have used it to express their aesthetic agreement and their visual vision while depicting feelings and feelings not appearing on the pictorial surface. Line is a carrier of their emotions and visions, their hatred war and brutality in general, about their love for nature and beauty in particular. The sculptor may use lines of contradictory or harmonious forms in different places of the sculptural work, the incarnation of certain psychological and human states that he wants to depict (8).
2. 2. 2 The Color Color is associated with form through the interconnected relationships involved in the formations of the artwork, so the creative artist relates to colors, and shapes, and he loves color for color, and the shape for the form as he perceives it for itself, not for himself, he sees the inner life of things manifested through their shapes and colors and gradually makes them accessible to our perception that is in the matter. The artist uproots us, if at least for a while, from our intellectual precedents related to form and color that bind themselves between our eyes and reality (9).
The color stems from a sensory result that the recipient releases automatically through coexistence with color, and this is what George Santiana found. This effect becomes a general "factor of beauty in a way that is not for other senses". The color values differ from us, and they are similar in that to the different values of other sensors (10).
2. 2. 3 Space Space has a great role in understanding the shape by imparting the third dimension to the masses and volumes on the pictorial surface. The primitive man crossed the space by sculpting and drawing shapes and different positions and in order to express the dimension or proximity (11). Space is very important and necessary. The state of balance between the sculptural form and
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the surrounding space is not found through the consensus of individual optical units in several groups and interconnected forms, that is, the existence of a state of proportion between the sides of the elements formed in the artwork, and in this case the blocks remain together and this results in the sculptural work The three-dimensional rotator, which is most often displayed in public squares, but in the second type of sculpture, which is the prominent wall form, that space may be arranged without formulating it in a way that is compatible with the size of that space. Therefore, it is possible to mix between the artwork and the space in one complex structure, that is, we contain the internal art form in terms of which we work to find spaces, located behind the openings and holes through which the recipient sees the forms behind the artwork, and sometimes it is a space in the sculptural work itself, i.e. not in the form of holes, but as spaces within the general composition of the sculpture itself.
Although, spaces "may not equal the importance of the form, the inner spaces of the outer shell, and the spaces latent between the forms of the internal and external sculptural elements, played a major role in the aesthetic order" (12).
2. 2. 4 Texture Texture is an important element of the form, so enjoying the material is the simplest form of tasting the material and the most widely circulated, so the texture of the work of art is a source of presence that we feel directly in it, because the material is the body of the work and cannot be dispensed with in ancient times and our present age, the form does not form until. The artist forms matter, theme, emotion, and imagination in a self-sufficient and structured work that has inherent significance (13).
2. 2 The Figure in Contemporary Iraqi Sculpture 2. 2. 1 Contemporary Iraqi Sculpture The march of Iraqi art in general and contemporary sculpture in particular formulated a number of factors and movements that represented the main pillars and from which the first beginnings of the young plastic art movement in Iraq were produced. It appeared in the early twentieth century (1920-1930), with the emergence of a number of amateur painters, most notably Abd al- Qadir al-Rassam - who was an officer in the Ottoman army - and Hajj Muhammad Salim (Abu Jawad Salim), who was an amateur painting and influenced this movement, represented by his sons Jawad, Nizar and Naziha. Among the first other artists to emerge in this field were Muhammad Saleh Zaki and Asim Hafez (14). Therefore, it has become a duty for us to look at all the artistic works of our artists within the social and political framework that the artist lived during an important period of the struggle for freedom and expansion in Iraq, especially in the new generation.
It depicts reality, because we always live it, but it depicts those crucial moments and rare events, diving into their depths and exploring their depths to deduce what they are, which has been hidden from the public (15). Therefore, many schools and artistic movements appeared in Europe and thus have influenced contemporary Iraqi sculpture. That is why the Iraqi artist imitated it, and the effects appeared explicitly in the curricula of some artists in one form or another. Here, it must be evident that the international plastic
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movement arose "upon displacement from the constants of classicalism, leaving the conformity and the likeness further than that. While the state of displacement and departure from the Iraqi art formation movement took place in the early forties of a variable origin from previous constants in the world. The movement of the variable in the world has shifted from a constant to a variable, while the movement in Iraq has given rise to a variable into a new variable (16). The Iraqi artist became his serious endeavors to crystallize the features of his new tendency, which formulated the founding periods of Iraqi art, and planned his foundational position in drawing inspiration from the cultural heritage, and his marriage to contemporary international art. Regional and Arab civilization, and then, what may be called the contemporary Arab school in Iraqi art, the second simulation of European art in general. In order to distinguish the second case, which is related to modernity in Iraqi art, which is its tradition of European art, this requires us to demonstrate the knowledge of the references of that art.
Among the Iraqi artists, the sculptor Sadiq Rabie, who is considered a pioneer of the Iraqi plastic march, and to this day, he presented many important sculptures to the Museum of Contemporary Art, and his bid is still continuing today. The artist, Sadiq Rabie, was born in Hilla on 10/8/1935, this great city that gave birth to many artists, including the sculptor Sadiq Rabi.
With the late Jawad Selim on 3/25/1960 in Florence, Italy, and his supervision of the completion of the monument after the death of Jawad Salim and his inauguration in Baghdad (17).
He also presented many works that reflect the Iraqi environment and its characters, proposing many treatments to employ the aesthetic elements in its forms, especially the human forms, as his sculptural blocks tend towards modernity, not only in his use of raw materials, but also environmentally inspired in his direction towards the renewal of what is modernist in most of his works. In which the ancient Iraqi art had a large share in it, mixing between the old and the modern through its Iraqi peculiarity, in which its raw materials were derived from the environment itself, through techniques and materials with formal features in his works, which the research is based on revealing them and demonstrating their technical and aesthetic activities (18).
2. 2. 2 Indicators Resulting from the Theoretical Framework 1. That (form) in the artwork must be expressive, and it is this expression that gives a clear meaning to it by containing some content. The form must be expressive and then expressive meaning. 2. The material has a great impact on contemporary sculpture through its perceptual manifestation, which is the physical product and the basic structure of sculpture in terms of techniques and treatments that enable the sculptor to achieve what he sees. 3- Contemporary Iraqi art, in all its diversity, used the inherited values to portray it with a texture that approximates its texture in the material from its ancient civilization, and in a contemporary style.
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RESEARCH PROCEDURES 3. 1 Research Community The research community included the (20) bronze sculptures of the sculptor Sadiq Rabie. After surveying it, the research community was limited to the years from 1959 to 2019 AD to cover and achieve the research objectives.
3. 2 Research Sample The research sample was chosen according to a specific order of the research topic, intentionally in line with the nature and topic of the research, as the researcher chose samples to represent the necessities of the research, amounting to (3) sculptural artwork.
3. 3 Research Tool In order to achieve the objectives of the research, the researcher relied on the indicators that resulted from the theoretical framework as an analysis tool using the descriptive analytical approach as a method for analyzing the research sample where the work is described and analyzed on the basis of general description, analysis of work on the analysis of sample samples.
3. 4 Research Sample Analysis Model (1) Business name: Seated woman Size: 25 x 30 cm Material: Bronze Source: From the artist's own property Analysis: An anthropomorphic sculptural work made of bronze material, embodying a seated woman executed in an abstract manner, no tall and slender figure from the top, her face to the other side, as well as we notice the shortness of her legs from the bottom and the absence of hands.
This represents a reduction in the sculptural work in a simplified manner by the sculptor and the work is based on a rectangular base. It is made of stone material. The abstract approach that covers the majority of the general form in the sculptor's productions is nothing but a means of expressing what is subjective that flows into what is objective in the form. As for the features of the sculptural form that this achievement carries, we find that the sculptor tended towards presenting his self-vision in an abstract expressive style with a symbolic orientation through the general body of the form. When reading this figure, a relief represents a symbolic icon that refers the recipient to the questioning of the expressive meanings behind the manifestations of the figure and on this basis The aesthetic orientation of the form was born through the element of abstraction and expression that covered the general form and in line with the concept of the age in proposing what is modernist in the formation. Sadiq Rabi Al-Muraqa also dealt with some sculptors who dealt with this topic, how not when women represent the symbol of life and fertility in many ancient historical civilizations and including the civilization of Mesopotamia. And the Nile Valley, it thus represents the wife, sister and mother. The sculptor focused in this work on the relationships of these vocabulary groups in the similar balance between the left and right parts of the work as a basis upon which the unity of the subject relied, as well as another balance based on
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the direction of the lines and movement of the work, which I would like the sculptor to create or find a way in the success of his formal formulation and its characteristics from a stylistic peculiarity.
Model (2) Artwork name: Composition Size: 20 x 28 cm Material: Bronze Source: From the artist's own property Analysis: A sculptural work made of bronze material, executed in an abstract way, the work suggests an external appearance, resembling an open flower, interspersed with several holes, one on the right side and the other on the left side, the color of the work is tilted to yellow thanks to the accepted nature of bronze, while the texture of the work is soft to the touch. He embodied in his sculpture this form with a dynamic structure with curves and rounds, flowing and sinuous extensions in blocks, surfaces and lines, which took a circular shape at the level of the form of the sculpture, as for the base of the work, which is in the form of a rectangle made of alabaster, and in the form of the work appeared a pattern of movement, this is from On the one hand, a part of the treatments that were intervened between the sections of the carved block appeared, which in turn prevented an internal balance between the sections while intensifying some aspects that were necessary to restrict the general composition of this work. The formation of the semi-spherical work came in the formulation of the sculptural work, allocating the areas of the mass with curved paths through the rotations of the sculptural work, which provided this form a pattern of movement that these paths hint at. For its intense geometry and spontaneity in movement, flowing into what bronze subtracts.
From the curves, the role of the sculptor in the drafting of these edges differs in order to conform and achieve a formal harmony with the soft texture of the work and the effect of using bronze.
The sculptor gained through his credit on the relational system between the material and the form, and through this relationship he did a dynamic expressive and geometric energy in the appearance of the form, and he clarifies the apparent organization between the procedure in general, in terms of its connection with the essence of the material and leaving the apparent between softness and roughness in some situations, and with this the marriage of the sculptor Between the tangible, structural and aesthetic compatibility, which produced a pattern of dynamic movement of the sculptural work with the connection of form to the content, and the balance is an important link in the sculptural work. The referential foundation of the work goes back to the personal psychological principles and expressive and visual conceptualization of Sadiq Rabei, and one of the features of this work is to clarify the personal influence of the sculptor, And to act in form and communicate according to the concept of life.
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Model (3) Name of the artwork: Composition of a woman Size: 15 x 35 cm Material: Bronze Source: From the artist's own property Analysis: A sculptural work made of bronze material carried out in an abstract manner that represents the woman's figure from his external appearance while he fell on her back, which represented the main pillar of this figure, the length of the work (35) cm and width (15) cm rested on a white marble base along the length of the work Sculptured. The work represents the formation of the character lying down, and this topic is considered one of the topics that the sculptor often presented in different forms and treatments.
The picture of the work becomes clear to the viewer at first glance as if they were fossil formations like those formed by natural conditions from deposits of other natural factors, but they appear after reflection artistically with their links to the analogous form of the woman’s personality Despite the external borders of the general form, where the work consists of one piece intertwined with its preaching, representing half of the body of the person represented, and both contain internal spaces that distinguished the parts of the work that took on the texture and roughness of the various parts of the work. And that the representation of the basic form of such a subject may not be a borrowed form, according to what the artist proved by proposing many similar forms in his works, but the modernist abstract representation of this topic shows its links to suggestive forms that you often find in the folds of the artwork and its meanings and the composition of the work and does not hide from it. It was one of the intellectual concerns of the artist, which is evident in the sculptural formulation that is mixed between the form stored in the artist’s memory, which can be observed not only in the form but through the tactile formulation in all parts of the work. The sculptor deliberately produced a formulation of a sculptural composition of a primitive form, through which he tried to show the aesthetic values through intermittent linear treatments, contradictory stray reflections, and the relationships between the internal and external spaces and the dialectic about the artistic form and the camouflage element on the other hand, taking advantage of the graphic connotations of the shapes accumulated in himself over many years.
FINDINGS AND CONCLUSIONS 4. 1 Findings 1. The sculptor in Munjizah 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. 2. Some of the sculptor's works tended to create geometric constructions in its rich 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. 3. Artistic treatments relied on the principle of harmony between the form and its intellectual content, and this was reflected in the selection of materials
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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. In its intellectual and semantic dimensions as well. It was so in all models
4. 2 Conclusions In addition, the researcher reached a set of conclusions, the two most important of which are: 1. The use of bronze and bronze 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 favorite materials. 2. Numerous works of the sculptor were formed by taking a horizontal position that 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 that directed him towards that in many of his accomplished works in this direction.
4. 3 Recommendations 1. The necessity to overcome difficulties for researchers who study subjects outside Iraq, by allocating scholarships to serve science and art. 2. The need for artistic and media institutions to take care of deepening aesthetic awareness among learners and connoisseurs of plastic art, by holding seminars and conferences, and holding critical dialogues in a way that contributes to developing and creating feasible working contexts with the aim of developing the reality of the plastic movement in the country.
4. 4 Suggestion This research suggests studying the problem of the horizontal direction in contemporary Iraqi sculpture.
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Bergson, Henry: Laughter, T: Ali Moqled, 1st Edition, Beirut, 1987, p. 103. Santiana, George: Sense of Beauty, Op. Source, pp. 122-123. Al-Sheikhly, Ismail Ibrahim: Perspective, Dar Al-Kutub for Printing and Publishing, Iraq, University of Mosul, 1999. p. 152. Munz, Peter: When the Golden Branch is Broken. Structuralism or Topology, see: Cactus Saadoun Al-Saadoun, House of General Cultural Affairs, Baghdad, 1986, p. 88. Stolentis, Jerome: Art Criticism, Aesthetic and Philosophical Study, T: Fouad Zakaria, 2nd Edition, Arab Foundation for Studies and Publishing, Beirut, 1982, p. 339. Jabra Ibrahim Jabra: Contemporary Iraqi Art, Art Series (15), Directorate of General Culture, Baghdad: 1972, p. 15. Abbas Al-Sarraf: The Prospects of Plastic Criticism, Ministry of Culture and Information, Freedom House for Printing and Publishing, Art Series, 34, Baghdad, 1979, p. 283. Al-Obaidi, Jabbar Mahmoud: The Variable (Q) in Contemporary Iraqi Sculpture, Academic, Issue 38, Magazine 9, Year Nine, Ikal Publishing House, Baghdad, 2003, p.170. Al-Bassam, Muayyad Dawud: Sader Spring and the Extension of the Journey, 1st Edition, Art Spaces Library, Baghdad, Bab Al-Moazam. Iraq. 2009. p. 7. Asim Abd al-Amir: Relative Modernity, Not Confused Modernity, House of General Cultural Affairs, Baghdad, 2002, p.13.
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