Heritage and its implications in the sculptural composition of the works of potter Abbas Malik

Abstract

            The research aimed to study the process of innovation and creativity of traditional and popular forms that include aesthetic values ​​with expressive symbolic concepts inspired by the social values ​​of society, which achieve designs that represent a mixture between the past and the present that compete with other works. For this reason, the title of the research was chosen. The study included four chapters, including: Chapter One: Research Problem: What is the heritage and its implications in the sculptural composition of the works of the potter Abbas Malik? It also included the importance of research and what benefit this study provides to researchers and students in the field of ceramic sculpture, especially heritage of all kinds. In addition to the goal, which is to reveal the heritage and its implications in the sculptural composition of the works of the potter Abbas Malik In addition to the temporal and spatial limits of the research, and the presentation of terminology, the second chapter includes the theoretical framework that contains two axes: the first axis is the concept of heritage. The second axis: The significance of heritage and its enrichment in the artistic movement with previous studies. The third chapter included the research procedures, including the research methodology, the method followed by the researcher in analyzing the samples, and the research community, which contained (20) samples that were chosen intentionally through the approval of the researcher and thus sorting the samples and selecting (4) samples for analysis The fourth chapter included the results, conclusions, recommendations and proposals, while the results came: 1- The traditional forms in the Kuwaiti potter’s works were edited according to the processes of reduction and simplification to become signs through dialectical relationships with colors and oxides, whether under or over the glaze, between simulation and symbolism, and unified between the outlets of her expressive vision. This is why the spontaneity in the implementation of the forms, their movement and extension over time, gave the folk heritage forms a formative aesthetic that is open to interpretation according to the temporal and spatial environment.