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problematic the visual and the invisible in Sumerian art | ||
| Journal of Nabo | ||
| Article 1, Volume 0, Issue 4, 2016, Pages 1-28 | ||
| Abstract | ||
| Discussion dealt with the current (the problem of the visual and the invisible in art Sumerian) through the mechanisms he joined in the civilizations of the Middle old in general and the civilization of Sumer, in particular, has contained a search on the four chapters, contains the first on the methodological framework of the research represented the research problem and the need for it, which dealt with the problem dialectic Sumerian thought of the concept of the visible and invisible and their relevance to the core civilization of ancient Iraq (Mesopotamia civilization); as a dialectic of obstetric cast shadows on the levels of aesthetic and technical knowledge .. The aim of the research contained "known problem of the visible and invisible in Sumerian art" ... While in the range of research, the study was limited to the visual and the invisible in Sumerian art photographer and analysis of samples of the products of art and for the period of the Sumerian (3000-2000 BC). And the adoption of the hermeneutical method of analysis within the vision of aesthetic, conceptual and procedural two dimensions .... The second chapter included the theoretical framework, which contained the first section, "the visual and the invisible thought the pre-Sumerian" and of the roles of civilization and old, who found a fertile ground for thought Sumerian, as well as fit on the second section, "the visible and invisible in thought Sumerian" Since the beginning of the era dawn breeds .. While the third chapter contains the research procedures, containing the sample and the research community and the search tool and methodology as well as analysis of samples Find the (5) Sumerian works of art ... The fourth chapter and the latter has included display the search results and conclusions as well as the recommendations and proposals Among the most prominent findings of the research: The concept of the visible and invisible, may form the infrastructure from which the art Sumerian on the various directives of intellectual and stylistic and religious belief in the confirmation bias existential ... Artist Sumer away from the specified data format visual formats of spatial data toward the intuition of images perceived overall dimensions of absolute spiritual, through the functioning of the visual artist to dismantle the advertiser based on the modification, installation, and hybridization, giving his themes transcend recipe .... The fourth and final chapter contains the results of which were of the most important: the artist away from the Sumerian form visual data formats specified realistic spatial and temporal partial melting of the data for internal and transformation into the infinite spaces of the border along the outside of the proposed forms. In light of the results of current research, the researcher suggested some of the conclusions and recommendations as well as some suggestions: ((the invisible visible and controversial art in the ancient Assyrian)). | ||
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