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Aesthetics Soviet sculpture in the twentieth century | ||
| Journal of Nabo | ||
| Article 1, Volume 0, Issue 13, 2016, Pages 45-86 | ||
| Author | ||
| Forgiveness Aladdin Obaid | ||
| Abstract | ||
| The research currently in place (the aesthetics of theSoviet sculpture in the twentieth century) specialize Find studying Marxist theory and theoretical foundations and mechanisms of functioning in the works of art art Russian sculpture, the study of the first beginnings of the art of the Soviet sculpture dealt with by the socialist realism in works of sculpture and works that dealt with the poor class subjects and political figures and leadership and heroic, literary, scientific, also touched on many of the Russians and sculptors to work, and according to the information gathered and studied the researcher was able to try to clarify the subject of research through four chapters: InterestedFirst chapter: the methodological framework for research, represented by the problem of research that have been identified through which the reasons for doing this research, and the importance of research and the need for it, and the aim of the research of b (known as the aesthetics of the Soviet sculpture in the twentieth century) and the border, which was appointed by which the time period desired studied in the Soviet Union . And it ended the first chapter defines the most important terms in the title of the paper. Seond chapter: it contains three sections represent the theoreticalframework,namely: - First section : the reflection of the aesthetic theory of Marxism. - second section : the philosophy of the Soviet sculpture inthe twentieth century. - third section : the most important pioneers of the Soviet sculpture. As well as determine the theoretical framework of indicators that emerged during the three detectives, and touchedon earlier studies to look. The third chapter: research procedures, have been identified as the research community and the sample taken from him,and show the approach taken in the search, and search tool, theend of the analyzed sample consistingof(5)models. The Fourth chapter: has included the findings, conclusions, recommendations and proposals, and the findingsoftheresearcher: 1. advocated Marxist theory (Art Society) and overturned the theory (art for art), because art community the best way to get to the poor class and the expression of humanitarian issues drawn from everyday life and make art for society as a whole, after it was art only for art and artists, so as to strengthen the relationship between Art and life of the people, and urged the community to achieve new successes in building socialism communism. 2. marked by acts of socialist sculpture embody leading political and literary figures as a result of their significant role in building the society, and its achievements of the Championships and national positions, which is an attempt to show the great importance of science Marxist beauty in the art of sculpture avant-garde and progressive, due to be confined to function as such, political Pure ideology. One of the conclusions reached by the researcher: 1. The emergence of the philosophical dimensions of Marxist theory in the art of sculpture Russian Socialist clearly, where concepts and Mattiytaha emerged in the subjects taken from the simple proletarian society. 2. might turn socialist art to portray a lot of social, political and other cases, the implementation of the plan of Lenin as monumental propaganda carried out by the massive monument monumental play the role of witness ideological primarily devoted to these works suggest thespiritoftheSovietchampionship. The researcher has proposed a study of: (sculptural scenes of gravestones in the Soviet sculpture). | ||
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