الخطاب الايقوني ولوجيل فخار الحضارة العراقية القديمة

Abstract

Arts are an effective tool in interpreting the lifestyles of ancient societies and civilizations and exploring the depths of their depths by studying the images of the scenes and the forms of ancient statues that their artists have carried out throughout the ages and continuing to the present. (The environmental, mythological, magical, religious, social, psychological), and so on. The current research included four chapters: The first chapter included the problem of research, which arose through the answer The question is: (What is the extent of the iconological discourse adopted by the pottery of Iraqi civilization through its visual scenes and its forms, ideas and contents?), As well as its importance and the need for it and the objective, which means the (known as the iconological discourse of the pottery of Iraqi civilization).The second chapter included two topics: the first (the concept of ecology and the discourse of the technical image) and the second (the intellectual dominance of the ancient Iraqi pottery), and the indicators that resulted from the theoretical framework, and ended the second chapter of previous studies.The third chapter, which included the research community and the method of research (the method of iconography), and the research tool, the indicators used by the researcher to analyze the sample of the research consists of (4) model of civilization.The fourth chapter included the following conclusions:1-The diversity of the iconological discourse by the variety of sensual and fictional perceptions of artists and from space-time to the other in the method of implementation (realistic, expressive, fictional, scientific) in all the research sample.2-Enter the artist technical signs to translate his ideas and express them by symbols and signals to shorten the subject in the visual scene (image), he converted all the sensory objects in the daily life to tools to address the intellectual subject through these signs and documentation to be icons known to reflect the event in every Models.3-Enter the old artist imagination in the implementation of the technical image to install the symbolism of God and borrowed from the legend adopted by the confirmation of the faith and the religious scene, executed either on the pottery or pottery as in models (1, 3, 4).As it contains the following conclusions:1-Most of the figurative scenes are of a unified intellectual nature, with varying performance, methodical performance and the method of extracting the pottery work in its final form, due to the technical differences in the technique of artistic production.2-sought the Iraqi artist old to root elements of the text and iconography forms, whether human or animal or vegetable or frozen or cosmic planets symbolizing the ancient Iraqi goddess and named their names, can be interpreted iconic extract by the recipient and understood according to the legendary data and seeking knowledge of human cultures.And also included recommendations and proposals. The research ended with Arab and foreign sources, supplements, title and summary in English.