Genealogy of the female body and the sensual and expressive selection of the body in contemporary Iraqi art

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Dr. Nada Aaied Yousif


Ta D image of women the concept of a compound and Mtaalq should survey it which requires a form Mtamodaa between perception and imagination. In which the mental image is referred to a work of art that draws its elements from reality.

By tracing the history of plastic art, we find that women manifested with different meanings and symbols that presented mythical, religious and social themes up to subjectivity, from which the artist selects an exemplary image that is formed in a form or subject. Based on knowledge with its findings from the news of background data access to an approach between the mental image of the artist 's own image and reality , to declare subjectivity that hide in the image of the woman or may be to intensify the culture of the era as a whole. This research came as "The Genealogy of Women and the Sensory and Expressive Selection of the Body in Contemporary Iraqi Art ". which contained four chapters. The first chapter is concerned with the methodological framework that is concerned with it The research problem identified by revealing the following questions:

  1. What are the founding references for the aesthetic image ofwomen in the Iraqi artist?

  2. What are theinterpretive dimensions of the body in the works of artists? Is the female body an expression of symbolic or instinctive connotations for artists?

  3. Do checkwomen balanced Psychology b yen self - artist and traditions of the society ? What are the sensory and expressive effects that were reflected on the works of Iraqi artists?

The research aims to reveal the presence of women in contemporary Iraqi art , and to show the expressive influences in their artwork.

While the second chapter was concerned with the theoretical framework of the research, which was represented in three sections, the first was about the genetics of the body, while the second adopted a statement on the history of Iraqi plastic art, while the third focus was on the presence of women in contemporary Iraqi plastic art . As for the third chapter, it followed the research procedures in collecting the research community represented by the works of the artists ( Mahoud Ahmed), (Laila Al-Attar) and (Neamat Mahmoud), with the adoption of an analytical study of the samples according to what was reached from the indicators of the theoretical framework in addition to what was stated in the context of the framework Theoretical construction of a search tool. Based on the analysis of the samples , in addition to what was stated in the theoretical framework, a set of results were reached.


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