The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topic dealt with the philosophical and artistic concept of the image. The second topic was concerned with the representations of the soldier's image in modern painting, while the third topic dealt with the characteristics of the soldier's image in Iraqi painting.
The third chapter was devoted to research procedures. In order to achieve the goal of the research, a number of results were reached in the fourth chapter, including:
1- The imaginary image of the soldier appeared through a visual scene that combined different times and places in one space, as Alaa Bashir relied on the combination of the two aerial perspectives (or the so-called bird’s eye), and the ground according to metaphysical philosophy, which aims to transform the world and things into imaginary visions. Where the idea transcends the reality. (model 1)
2- The realistic sensory image of the soldier was shown by the colors and their poetic effects on the influences and suggestive codes carried by the color, and the depth of the spirit of originality mixed with heritage, which makes us feel belonging, authenticity and national identity, defined by the priorities of the sensible and what is aesthetically perceived. (Model 2)
1- The figurative image is one of the images that arise in the art of painting, and it witnesses an intense presence in the context of the significance of the image and the referral to a mental conception through concepts abstracted from its sensory image.
2- The imaginary image in art witnesses a moral dimension regarding the mind’s retrieval of things abroad, and building them in a way that reveals new relationships that were not realized before.
3- According to mental images, images are manifested in art within the limits of the work of knowledge and mental awareness. Images are formed when the mind is the repository, as the analyzer and compound of the meanings of things outside.
4- The sensory image in art works on dismantling reality by relying on simulation, as imagination works in it to depict the moral abstract in a sensual way, relying on experience as a source of all knowledge and its domain is the mind
The digital revolution had greatly affected the methods through which we communicate, starting from the basic concepts of the internet technology and the web content in addition to the important issues that concern the culture of the digital media, the internet governance and the variation in the digital age in general and the graphic and internal design in particular.
This research addresses an important topic that goes along with the scientific development in the field of the digital design, especially in the internal and graphic designs. This study consists of two sections: the first includes the problem of the study and the need for it. Starting from the problem of the research, there is no clear perception of the formal characte
The research shows that the visual image plays an important role when Farzdaq in the issue of aesthetic perception, it enables him to feel a sense of artistic and mental perception to raise astonishment and admiration through his ability to link the optics through the suggestive image to carry us to a new vision imagined full of visual images.
After completion of the artistic production, the artist plays the echo of this production upon the recipient. Whether this recipient is from the public, art connoisseurs, or private artists, critics and academics. In the past, the boundaries of Time and place had a great effect in limiting this echo or its quality, as the views of the recipients were largely influenced by the prevailing thought or the artistic trends that dominate the artistic scene in the surrounding environment in which the artist created. In order for the artist to show works for the widest segment of the recipient, he bears the burden of the costs of transporting the work, a keeper of damage on the move, and the material amounts that may hinder the publication of the
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