(1800- 1600 )

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Red curtain symbol in European paintings (16001800 AD)
Abstract
By . Salam Adwer Allos
It is easily for any researcher in the European paintings history to observe many of the secondary
formal vocabulary that repeated its appearance; some of them carried a Logical justification
like the door shape on the room wall in a painting embodied an internal scene, some of them
the recipient receives it granted for its more repetition therefor the eye used to it and became
inherited visually, Not looking to it about the reason for its existence, for example, the volatile
red curtains and drop-down. Some of these shapes may related to one drawer or group of
contemporary drawers within the time period, the formal word may become a symbol can
be observe its birth, followed by its first roots, limiting its repeated appearance and different
during a consecutive time period as well as its interpretations, intellectual denotations, some
of them its relation with the recipient and the society, or it is the formal words employed by the
producer. Therefor this research was about the red curtain shapes in the European oil paintings
in Baroque era and Rococo where its appearance was most prominent and extinguished, toward
that the real goal results in disclosure about the symbolic denotations of red curtain shape and
its role in supporting and enriching the intellectual contents in the achieved European oil
paintings in Baroque era and Rococo in the second chapter some of researches have classified
in what enrich the researcher and the reader by information quantity that able him to complete
the analysis process in agree with the research goals the first one discussed the curtain among
the job, theatre and symbol, the second one discussed the history and red color symbols but
the third one discussed the European painting in Baroque era and Rococo the third chapter
discussed information about the research society and methodology where depended on the
stylistic descriptive approach of samples that numbers reached four and after the completion
of analysis process the researcher reached to group of results in chapter four, included:

1.
Affecting by the dramatic atmospheres in how a narrative text in a narrated
directive seeing for the spectator, with a comprehensive denotation as well as the
effecting of the general theatrical shape (stage, curtain and lighting) on the drawer
view that discussed his subject and ideas, Baroque drawers and Rococo presented many
paintings the effects of theatrical atmospheres appeared very clear in it the appearance
of the red curtain shape similar to the theatrical curtain was the most effect and
extinguished in that. As it employed intellectual when it became in its red color which
attract the attention, a symbol for the exciting which dispelled disclosing what behind it
from secrets, the elements of surprise and astonishment at the recipient are cooperated
to create a state of feeling by the discovery pleasure.
2.
Because of the red color is a symbol of burning emotion and the attraction
related with the bodily exciting. It has employed the red curtain shape as a justification
to appear the dark red sometimes or in its second shape in another time in most
paintings that discussed the human love subject and the emotional relations or in
paintings showed the feminine body charms to show the bodily exciting or assuring
for the seduction idea.

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28 - Berti, Luciano. Micbelangelo, P: 50.

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45 - Sohtze, Sebastian. Garavaggio, P: 52.

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Kagon, Donald. The Western Heritage, P: 423.

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50 - Revsner, Nikolaus. Dutch Painting 1600-1800, P: 63.

Janson, H.W. History of Art, P: 279.

53- Charles, Victoria. Rococo, P: 7.

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( .)38 37 36 35 34 32 31 30 29

1 .1 . 1982 .
2 .2 . . 2011 .
3 .3 . 2009 .
4 .4 . : 1 1979 .
5 .5 . 2010 .
6 .6 . 1999 .
7 .7 . : 1 .1998
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2525 . : 1987 .
2626 . : 1 2 1981 .
2727 . 1988 .
. X X X2828 1993 .

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Brown, Christopher. Van Dyck, Oxford, 1982.
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Abstract

School ismetaphysical school of art and philosophical

look at the phenomena of the world in mind and not
intuitive mystical blend of reason and passion and innovate techniques combine different and intellectual fantasies of recombinant and natural phenomena
Vmekdrh rights to create symbols of the medium
between him and the things of the most important
features that distinguish it from other objects, thanks
to the media was able to go beyond dealing with the
physical world directly but only by invoking the Mamnha of the symbols of the place, and with the evolution
of human consciousness has become a function of the
symbol, more extensive and complicated nominally no
longer a meaningful dimensions are fixed, but variety is
determined not only by the context in which it appears
this phenomenon is reflected in the technical field in
particular, has been awarded the artists bypassing their
symbols other dimensions beyond the symbolic humble
him to embody their vision to the world around them
with visions of spiritual fantasy metaphysical far from
reality, and building on the adoption of the above research problem through the following question: Is there
a symbolic dimensions in the metaphysical school? In
the case of its existence as a mechanism of operation of
the symbolic dimension in the school metaphysics? Did
the dimensions is directly or indirectly?

34

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.
ABSTRACT
It is no doubt that though the artistic creativity and the
distinctive capabilities of the Sumerian sculpture in the
field of engraving on stone, but he could not convey
the real expression of his vision and his artistic amb tion only through using materials that depend a tec nology considered as invented and unprecedented in
sculpture, which later on became an important and
supporting factor in achieving his aim and his aesthetic
vision which he sought to reach sculpting works made
of stone more serious and more actual. And through
these works he expressed his creative artistic persona ity. He could employ this material, the bronze which is
not free problems, to achieve what he could not achieve
on stone before. Bronze ingot with its characteristics
gave the Sumerian sculpture a wide space and full li erty that accord with his ambitions in accomplishing
the best. The characteristics of this material motivated
him to artistic works were subject to high technology of
molding through which he could free himself from the
barriers of stone characteristics. So he never hesitated
in embodying sculpting works characterized with r ality represented in, generally, freedom in moving the
.hands, the legs and the body

78

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1 Encyclopedia of World Art, Vol. XIII, McGraw-Hill Book, Co., Landon, 1967, P.965.
2 McGraw-Hill, Dictionary of Art, Vol. 1, Landon, 1969, PP.512, 514.

3 1987 .55
4 1961 .46

79

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2 .2 2 .1985
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.Encyclopedia of World Art, Vol. XIII, McGraw-Hill Book, Co., Landon, 1967
.McGraw-Hill, Dictionary of Art, Vol. 1, Landon, 1969
Ravi, B. Investment Casting Development National Conference on Investment
.Casting Central Mechanical Engineering Research, Sep. 2008

90

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91

.JOHNSTONE.JAUER.WOOD CARVING
The Important of Tools in Formulation of Wooden
Sculptures
Abstract
Tools are regarded as important vehicles in carrying
out the sculptor work and an important creative el ments of the creative works for its importance as far as
the wooden object is concerned. Hence, the importance
of the study which tools and their role in the formul tion of the woody sculptures in chapter One, in addition
to the definition of some basic terms that are relevant
to the present study. The second chapter included two
inquiries: the first inquiry tackled a historical preview of
the use of wooden tools staring from the Greek civiliz tion and ending in the modern Iraq. While the second
inquiry tackled the tools used in sculpture with details
.of their volumes and types
The third chapter included a detailed description of the
procedures of the study which the researcher followed ,
and which has been taken in the analytical descriptive
based on observation in describing the samples according
to the tools deducted from the theoretical framework.
The chapter has also included the choice of sample which
tackled four Iraqi artists known in their dealing with
the wood, and their role in the movement of sculpture
of Iraq, who are: (Khalid Al-rahal, Mohammed Ghani
.)Hikmet, Khaleel Alward and Hadi Abbas Al-Saeed
The fourth chapter included the group of finding such
as that the tools associated with the life of man and were
developed according to the requests of life. The shovel
and the hammer were known since ancient time and t day their shapes were varied to be tens of types as in the
.second inquiry
Jawad.Abded.Al-abass

92

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116



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.
Abstract
)Evolution of the administration in the Iraqi theater(
oManagement play great importance in the process of pr
ducing the play, because it is considered an element of theater,
an element necessary and important because then summon the
other elements, which is responsible for following up its bus ness and complete its tasks, and stand on the stages of produ tion since the first step in the preparation and even the end of
the presentations and post- the presentations, research consists
of three , The first section discusses the history of theater in Iraq
and the second section discusses the privacy of the pioneers in
the Iraqi theater, and the third section discusses drama about
the importance of management and research found that the
administration did not develop scientifically and academically
.since the era of pioneers and up to now

117

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) (

Abstract
A body one of the tools stage actor as
the element appears has and which he
can find relations of communication,
including surrounds, as well as it plays
the body in the theater an important
role in the play in general, and we see in
the dance drama that has become a new
style in the theater, which depends on
the bodydirectly through the claims of
the language of communication and i teraction with the receiver as well as the
production of many of the images that
refer the recipient to the terms of re erence of an intellectual, historical and
art through movement and formation
mediated by the body, depending on the
energy possessed by the ability to move its
parts in a manner consistent with the n ture and the form is raised and thiscalled
for a researcher to formulate placed his
research (the body and construction is
in the dance drama fire from heaven,
a model).The most important concl :sions reached by the researcher are"
Physical functioning of the system on.1
the production of motor movements and
conditions that contribute to the show ae thetic and artistic image of the play, where
the richest body of the language spoken
.in delivering it to the meaning of the play"
Worked to give physical formations.2
suggestive pictures of the dramatic n ture of the conflict between good and
evil, carriers intellectual and aesthetic
implications of which helped the body
/ dancer on the rise of balling with his
ability in the vicinity of Scenography and
.theatrical space

136

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:
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152

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.


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.
153

ABSTRACT
Metaphor in interior design has drawn the attention of
theoreticians, critics and those specialized in the field of
interior design. So This study has pinpointed some ina equacies of previous works, namely ambiguity and lack
of well-defined frameworks, which emphasized the i portance of this work and outlined its problem, aims and
procedure. In order to highlight the required framework,
the research presented some definitions of the concept
of Metaphor as strategy from different viewpoints and
discussed the early studies tackling it. The research made
use of literary and architectural studies to come out with
a detailed theoretical framework for the metaphor in i terior design. This included many topics : What is meant
by, metaphor, References, How to deal with references
, The degree of strategy in metaphor. The realization of
this framework represented the first stage of the method
followed in this study. As for the requirements of the se ond stage (the application of the theoretical framework) ,
which were delimited by the choice of four groups of pro ects representing Post-Modernism approaches, in order
to find a general model that realizes the metaphor as stra egy, the contrast between those four approaches, in order
to find out the strategic factor that influence metaphor to
create forms in interior design. The application required
delineating the components of the framework applied as
well as the hypotheses, data collection, and measurement
of variables and the method of carrying out the measur ment of the projects in the practical part of this study. As
for the conclusions of the practical part, they emphasized
the instrumental role of the designer and the metaphor
means in communicating and enriching meaning of this
concept in interior design. They also attributed the di crepancies between the schools of Post-Modernism a proaches to the differences in their intellectual stands as
well as their practical works tendencies. This outlined a
special model for each of these approaches regarding the
.strategy of metaphor manifested in its final product

154

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-:
1 .1
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2 .2

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3 .3


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.

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1990 2010.
( )5-1 -:
:

155

( 1996.)48
:



.
(:)Strategies ( )Carl Scheider
.

( )Awareness ( )Enforcement ( )Update
( )Content ( )Models ())Implementation). Carl Scheider , 1996
-:Post Modernism




( )Post Modernism Condition
)Jencks,1991,p.7( .
-:Interior Design
( )


.
(.)http://www.vuw.ac.nz/home/subjects_degrees/subjects/itdn.aspx,p.1

/ .
( )1-2 :

-
.

156

( 2003 .)28-27
:
()

( .)28
()

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( 1973.)59-58
()
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(.)Jencks,1997,pp.168,179
()
-:
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2 .2 :
.

157

3 .3 :
(.)Antoniades,1990,p.30
()


( 1987.)105-103
( )

( )Antoniades,1990,p.145 ()
()
)Curtis,1996,p.429(.



( .)Jencks,1997,pp.83,132-183
( )
.

(.)Jencks,1997,pp.83-84
()


( . )Gandelsonas,1980,p.255
( )
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.
.
. ( 1974 .)35


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. .
. .

158

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-:
.

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1999.)111
: ( 1999 .)109
()

159

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(1986.)28-27
()

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.
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( .)440
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()

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160

( .)425-424 416
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( .)Greene,1976,pp.114-115

161

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.
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1990 1999.
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3 .3 .
( )4-3 ( )-:

162

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...........................................................................
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1998..........................................................................
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163

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.
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.

165

ED

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166

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1 .1

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3 .3


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5 .5

167

.
6 .6

.
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1 .1


.
2 .2

.
3 .3

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1 .1
.
2 .2
.
3 .3


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4 .4

( ).

168

( )4-4 -:
1 .1 .
2 .2 ( ).
3 .3 .

1 .1 ( ) :
1954 .
2 .2 .1974
3 .3 ( ) -
1996 .
4 .4
( ) - 1999 .
5 .5
12003 .
6 .6
( ) - 2004 .
7 .7 : . 1973
8 .8 1974 .
9 .9 :
1987.
1010 : : -
1986 .

11. Antoniades, Antony, Poetics Of Architecture , Van No strand Reinhold,

N.Y, 1990.
22. Curtis , William, Modern Architecture since 1900 , 3rd edition , Phaeton
press limited , The British Library , 1996.
33. Gandelsonas , Mario and Morton , David On Reading Architecture in
Signs , Symbols , and Architecture , John Wiley & Sons Ltd. 1980.
44. Greene ,H., Mind and Image ,Lexington ,KY,the University of Kentucky
press,1976.
55. Jencks, Charles, Architecture Today, Academy Adition,Landon,1988.
66. Jencks , Charles The Architecture of the Jumping Universe , AD Academy
Editions, 1997.
77. Jencks, Charles, The Language of Post-Modern Architecture, 6th, J.W. Lodon, 1991.
88. Johnson, Mark, Introduction: Metaphor in the philosophical Tradition, In
philosophical perspectives on Metaphor ,Minneapolis, University of Minnsota press,1981.

Carl Scheider , Architecture strategy ,1996 . www.Architecture strategy.html

http://www.vuw.ac.nz/home/subjects_degrees/subjects/itdn.aspx,p.1
http://www.arcspace.com/architects/gehry/emp_n/,pp.1-8
http://www.arcspace.com/architects/morphosis /SHR,pp.1-5

169

( )1 .
.1 .
.2
.
.3 .
.4
.
( )2 .

170

.
( )
/
20092010 - .





.





.

171

Abstract

Aesthetics of Color in Designing Commercial A vertisement

The current study deals with color treatment that a
designer uses as it is one of the most important el ments which share in evoluting a visible entity and
direct the visual recognition of the audience who
considers them as the visual reactor in the comm .nication process
The study aims at identifying the aesthetic side of
color in designing commercial advertisement . sp tiotemporal limits of the study is restricted to co mercial advertisements in Nenevah Governorate /
.Iraq 2009-2010
The second chapter of the study deals with theoretical
frame which is covered by three sections; the first is an
introduction of color, its psychology and its aesthetic
side. The second deals with color cognition, the fun tional expressive dimensions of color employment
and the designing space. The third section talks about
the visual attraction and communication of color,
the relation of color with designing constituents of
the commercial advertisement, light value, form and
touch. The third chapter expose the procedures of
the study. As for the forth chapter; it deals with the
achieved results that show color employment in d signing commercial advertisement which used for
accomplishing the expressive meaning and evoluting
the aesthetic attraction of the signing results in add tion to employ the visual touches the matter which
gives a sort of vitality and dynamisim and reborn the
embodied realism that is used for clarification and
characterization of the most important active units
.that express the nature of the advertised good

172

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: :
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:
1 http://www.colourware.co.uk/cpfaq/q2-1.htm#searchform

173

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1 .1 .
2 .2 ().
3 .3 .

.


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.

2 Graves, Maitland: The Art of color and Design , 1941 P. 423.

174

( )

( )

.


(


)( .)3
( )Dr. Oswald Chromatic

( ) .

( )1 ( )Dr. Mensil
. ( .)2 (Isaac
)Newton ( )


( )4()Rainbow ( .)3
Millie micron (
- ) . ( )3

.
( )Hletzmout :
1 .1 .Hue
2 .2 .Value
3 .3 .Intensity

( .
3
1997 .48

4 Schwarz, H. Colour for the Artist, London: Hudson & Methueu, 1980, p. 180 .

175

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5 , 3 2008 .59

6 Schrubbe, Emily, Designing Brands, Pock Part publishers, Inc- Is ted USA, 2000, P.42.

7
1997 .22

176

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9 Heim, A. intelligence and personality, London penguin book, 1971,p.37.

177

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:





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(.)13




(.)14
.
(.)15
10 .101

11 Arnheim, R. Art and Visual perception, Psychology of the Creative Eye, Berkeley mniv.
of California press, 1954, p. 1292.

12 2
2008 .109
13 ( )69 1980 .47
14 2001 .115
15 : 2
1981. 61 -60

178

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16 Hollis, Richard, Graphic Design, Aconcise History, Thames& Hudson world of Art,
Lodon- 2nd-ed, 2001, p. 9.

17 . . 2001 1.152
18
2002 . 60
19 1998 . 129 -128

179

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1010
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1111
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1212 ( )69 .1980
1313 1998 .

15 - Arnheim, R. Art and Visual perception, Psychology of the Creative Eye, Berkley, Univ. of California press, 1954.
16 - Heim, A. intelligence and personality, London penguin book , 1971.
17- Hollis, Richard, Graphic Design, Aconcise History, Thames & Hudson world
of Art, Lodon- 2nd-ed, 2001.
18 - Schrubbe, Emily, Designing Brands, Pock Part publishers, Inc- Is teed USA,
2000.
19 - Schwarz, H. Colour for the Artist, London: Hudson & Methuen, 1980.

188

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1515 16-Brown K. Hamilton G. C. Johnson, R. and Chou, S .(2005). Young Children in
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Early Childhood Matters, Bernhard Van Leer Foundation.
1616 17-Flak, H. & Others . (1983) . Child development and Relationship, New York :
Addison-Wesley.
1717 18-Hetherington, E. Moris and Paker . 1986 . Child Psychology, 3nd ed, McGrw-Hill
Book Company, New York.
1818 19-Horlock, E. B. (1968) . Child Development . New york, McGraw-Hill.
1919 Nevid, J. Rathus S & Greene, B .(2000). Abnormal Psychology in Changing world.
New Jersey: Prentice Hall press, 4th Ed.
2020 20-Wesely, W .(1985). A Study of the Effect of Father Presence or Father Absence
on the Self-Concept, Locus of Control, Family, Relations of Emotionally Disturbed
Adolescent Boys, in Dissertation Abstracts International, Vol.45, No.8.

2121
2222 http://www.ankawa.com/forum/index.php?topic=161497.021 2323
2424 http://forum.mn66.com/t15337.html22) (2525 1
2626 http://www.al-sham.net/1yabbse2/index.php?topic=4682.023) (2727 2
2828 http://www.q8classroom.net/vb/showthread.php?t=651824 2929
3030 http://ejabat.google.com/ejabat/thread?tid=2b4c0beada02b7fe25 3131
3232 http://glace12.maktoobblog.com/731195/%D8%A7%D9%84%D8%B7%D8%A8-%D
8%A7%D9%84%D9%86%D9%81%D8%B3%D9%8A-%D9%88%D8%AA%D8%AD%
D9%84%D9%8A%D9%84-%D8%B1%D8%B3%D9%88%D9%85-%D8%A7%D9%84
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230

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.



.
The new Arabic musical scale figuration

Abstract
This subject is considered as one of the most important figures in the development
of artistic musical movement for it facilitate the reaching of the musical guide (key
signature) for the subject known as ( musical scale figuration). To achieve this goal
the researcher discuss the research problem which is there is no rules for musician or
composer to follow to get an Arabic musical scale guide (key signature) when figuration
the tones and half tones. This problem is an important subject in the Arabic musical
scale for it is an essential and fundamental pole in the Arabic music.
The theoretical part of this research discusses the bases of the proposed approach.
The procedural framework of the research consist of the research procedure , the new
rules implemented on all musical tones and half tones on the musical scale, which is very
simple and helps much in the curriculum of musical theories (theoretical and practical).
Besides being an Iraqi creation this research can be used by all Arabic and foreign co posers who uses the Arabic musical scale. The researcher reached results that fulfill his
goals, and conclusions and made suggestions.

231

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