مدخل ، كتاب دراسة الصورة الفنية

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Until recently, studies of poetry either documented its relationship with the environment, preparing it as a picture of its era, and studying it in the light of its external circumstances, that is, in light of its cultural, social, economic, and political relations..., or documenting its relationship with the artist - the creator of poetry - and preparing it as a picture of himself, and studying it in the light of his circumstances. And the extent to which it matches the life of its owner, or the extent to which the life of this person matches him. . . , Or a third document his connection with them and the soul, so she considers him a trace of both of them, and studies him in the light of his close relations with them.

Despite the impressive results presented by these studies, the researcher can conclude that whatever is said about the external and internal motives that drive the artist to produce his work, he leaves us in the end a work, which in most cases may not concern us with his connections to his era or his birth as much as we are concerned with him as an aesthetic reality that is characterized by Objectivity and experimentation, and if we add to this that most of the scholars who were and are still following one of the previous paths say a great deal more about the circumstances and circumstances that surround the antiquities than what they say about the antiquities, then we realize that we do not claim the sterility of these studies, but rather their insufficiency alone and their richness to stand on the nature of poetic production as one of the Fine arts .

From this point of view, we started some time ago trying to find a new way to study poetry based on seeing it, a constructive vision that depends mainly on its essence, defines it and then goes on to analyze it. For the subtleties of the process of poetic creation, and for the nature of the artwork alike. Any change that occurs to one of them (art and medium) must be accompanied by a change that occurs to the other of them, as long as they are two sides of the same coin, or as long as the first of them is a wide world and the second is a door to it, meaning that stopping at art must start from standing at its basic building unit that the artist or artist imitates. He expresses or creates in its light, as it almost alone brings us closer to it from within, and as long as the approach to it is from outside it, as it places our hands not only on what it is, but also on the total differences and differences between its doctrines, currents, eras, and poets as well.

In order to study the artistic image in modern Arabic poetry, we found ourselves compelled to pave the way with a theoretical introduction that deals with several points that we saw at the beginning that did not relate to the field of research in a close relationship, in addition to that they could be developed into stand-alone studies, but we now feel that it is the natural entrance, or the crossing. The only way to research because it defines many aspects that we had to codify and stop at before proceeding with the study, and we can refer most of these points to the term “image” ((and the associations and problems it raises, as the word suggests the first thing that suggests that close and bad approach to the art of drawing, and this is what motivated us Until we publish our research on "Poetry Among the Fine Arts" as a prelude to publishing this research on the nature of the medium by which the art of poetry is used to stand out.

In fact, our talk about poetry among the fine arts was not focused on the history of these arts, nor on theories of classifying them through schools and currents, as much as it was a talk limited to explaining the aspects of the relationships between them, and we concluded from it that there are relations of some kind between the arts, but they do not refer They are not influences that begin in an art at a certain point and then transfer their influence to another art, but rather they are relationships based on controversy and mutual influences. With regard to poetry, we found that it is an art that transmits to us the temporality of the emotional experience in two formations, one successive and the other simultaneous, and that the recipient receives it with all his senses and experiences, and that the ages when they exalted one of its elements at the expense of the other were wrong in what they created for the simple reason that the pictorial and musical values ​​stem from within it and are not imposed. it from the outside.

As for our discussion in this introduction, we concluded several things from it: In the first chapter, we concluded that the language of art is an emotional language, and the emotion (with its universal significance) does not mean the abstract declarative word, but rather a complex, vital unit that does not accept abbreviation, which is the image »which is the main one. Each of the poems is a complete unit that organizes within it multiple units that are the building blocks of its general structure, and each of these building blocks is an image that forms with its sisters the overall image that is the work itself. Who is the mediator?

From a point that revolves around and in the rest of the chapters, we had to confront more of the picture, foremost of which is the issue of the term »In addition, it is used in various fields with different meanings, as it plays multiple roles within the scope of literary genres. Take, for example, its role in poetry, which you find different from its role in the play or even About his role in the types of poetry itself, such as lyrical, theatrical, nonfiction, musical, and others. . . Where each pleads "by means" in a constructive way that is not the same, and relying on it is not identical.

There is a relationship between the image and the ancient rhetorical forms that we were exposed to in the third chapter, and our point of view was that they - that is, the forms - are ruined buildings that have exhausted their energies, created their novelty, and have been outdated for a long time. As for our opinion, it is that poetry is based in its essence and centrally on the image that must be studied in the light of an integrated approach that does not elevate one of its elements at the expense of the other.

Conclusion This point, “Methods for the Study of the Artistic Image,” was our focus, as we focused in the fourth chapter on three approaches: the psychological approach, the symbolic approach, and the artistic approach. With regard to the first two approaches in which their owners try to exploit the results of other human sciences and apply them to poetry, we saw the danger and importance of this in Now, as for the danger, it stems from drifting behind these results to the extent that we forget that we are in another field, which is the field of poetry. As for the importance, it comes from the ability of these results to shed more light on the art of poetry. Perhaps we use the third artistic approach that starts from the rhetorical concept. The term has what keeps us away from the danger of results, and at the same time achieves for us their superior power.

So, the following pages were only at the beginning of an introduction to another study, and it was long and extended until we preferred it to be independent, and I hope that it will fill some of the shortcomings that our Arab library suffers in this field. Students who seek poetry through the image are provided with some help and goodness.