The modern plastic movement in Syria [Research in the modern historical emergence and development of artistic styles]

Abstract

It is difficult to isolate the flourishing of the arts from its factors, whether social, economic or cultural, not only because art cannot be separated from civilized discourse, but also because it is one of its pillars. Modern art in Syria passed through stages affected by political, economic and cultural factors, where art was an indicator associated with those factors, as artistic achievements constituted signs that allow researchers to study challenges and respond in dealing with them. If the Ottoman era had cast deep shadows for long periods, then the French Mandate eras would represent a series of challenges and the search for legitimacy to restore identity, but in an era with its own philosophical and epistemological characteristics, it allowed artistic discourse not to stop at simulation or reproduction, but rather to work on crystallizing it. With its expressive, symbolic and aesthetic dimensions. A number of scholars and art critics have had the opportunity to address the emergence of modern art in Syria, study its features and characteristics, and stop at a number of pioneers. And dismantling the relationship between external influences and their connection to artistic styles on the one hand, and the status of those studies and their contributions to the critical formulation of the scene, on the other hand.
There is, here, a dynamism imposed by the cognitive additions, not only in the re-evaluation of previous achievements, but also in finding keys to critical readings that keep pace with modern aesthetic discourses, allowing researchers and critics to make adjustments and innovations that address issues that are still awaiting such studies and critical-knowledge additions.