تعاريف عامة .. الفن و وظيفة الفن المرئي ، من كتاب تكنولوجيا التصوير من ص٧ - ص ١٠

Introduction General definitions Before entering into the technical aspects, I thought that we should review a simplified explanation of some of the definitions and technical terminology in use, in order to help us understand the different arts that you encounter in our various works. Whether it is pictorial, plastic, or architectural, it is also called what we call “lower arts.” It is used in our daily life, such as applied arts or decorative arts. Some have called the fine arts after the word (ARTI) was called the gilding of artifacts in the Italian Renaissance, and at that time it meant workmanship, skill, control of form and manners, and the relationship between form and ideas, and between work methods or its art and materials. Accordingly, the term “art” does not carry the obligation not to imitate nature, artistically and creatively, to man’s demands and actions (1), but to enrich it, just as art expresses the record (ART) and the function of visual art: visual art is not produced by beautiful, resonant words such as poetry, for example, 000, but It can be produced with artistic formal elements. Although it conveys ideas, it is not intended to transmit information in verbal form, but rather it creates emotional states or moods, ... (1) The founder of the “Bauhaus” institute in Germany believes in this principle, and therefore his policy stemmed from a basic principle, which is that art is to serve society Therefore, it is not correct for the rich to abide by the rules of the photographic imitation of nature and its simulation.. but to work on enriching it. This principle had the greatest impact on the development of arts in the twentieth century.
and expands the aesthetic field of experience for all those who feel it Narrative or storytelling is not exactly the direction of the visual arts, and yet it can be, has been, and often will be, performed by visual art But there is no law that a painting must be told portraying the same story for everyone watching, or telling a story at all. In the most abstract of arts - i.e. in the art of music - the listener does not have to distinguish the material of the subject in order to enjoy the melodies, patterns of sounds, composition of instruments and other sensory values ​​within the reach of the composer and the performer. A person does not have to know that the music he hears is the calm after the storm, or the night on a distant, barren mountain, or that it is a cultural experience - and the reality may reduce the pleasure of the beginner if he tries to adhere to or adhere to restrictions that require him to appreciate the Pastorale or the Mazurca or any work of the composer The great Beethoven, or Chopin's study, known as Work 37 (37 Opus), Workbook No. 2,000. The visual arts preceded the formation of my conceptualization of sound patterns or memory of a smell, sight, or other feelings by means of a series of symbols, but they do not depict these feelings and the like •# Perception Beauty in art: Beauty is not an integral part of art, which seems to reside in the viewer's imagination.The realization of harmony and balance, the relationship of shapes to each other, contrast, and the appreciation of beautiful combinations and formations with structural characteristics...were among the factors that created the style in primitive art.But The effectiveness and monotony of this realization was a late development that arose in the period that defined ancient Egyptian art... as it arose in the classical period of Greek art, which took man as a measure of its philosophical appearance. Other arts outside the scope of the classical tradition of Greece, Rome and the Renaissance are inhuman ideals... in the sense that they have other instinctive or cultural models. Accordingly, many works of art that cannot be denied may not appear beautiful to everyone who sees them and attracts their appreciation... because beauty is a relative matter that differs from one person to another. Nostalgic experience: Experience is a rather special word that has been used in connection with aesthetic perception in art. In fact, it indicates a special talent that may be innate, not only to perceive beauty, but also to elusive interrelationships, as it is an ability to sense style. Gourmet may be described as a person with highly developed philosophical tastes, in addition to being endowed with a delicate sensitivity similar to - in our material world - a Geiger device (mine detector), which qualifies him to distinguish philosophical taste and characteristics in style, which are not clearly visible to other contemporaries. Defining style as the complete body of a specific people's production at a timespecific . This style is applied most easily to primitive cultures that have few relative traditions, art forms, and social systems • The style is recognized in the complex cultures of ancient Rome, the eighteenth century, and even the present day. The style of the past appears clearer than the style of the present, simply because time has made a great deal of confusion, and the perspective of distance enables us to see an era as an integrated unit. And that the different types of style in a particular time may be based on the basis of national lines, where art is affected by the political, economic and social nature of the people and the era, as was the case in the Protestant Netherlands and Catholic Spain during the counter-reforms in the seventeenth century. There may be regional differences in style as a result of geological conditions (which affects the materials used in art and its technology) or isolation, where we note the accuracy of local conditions and the restriction of habits of thought due to ignorance, fear, or indifference to other styles. As for personal styles, they depend on the personality of the artist. These emerge only in periods when the national style, for example, has been fully developed and fixed in a particular situation, and when there is a realization of the importance of the individual. And in an era like the early Renaissance when innovative ideas and new traditions were emerging, they still retained their vitality, and there were many distinctive styles as well as the personal instinct of artists and individuals flourishing side by side. Perhaps the style in any era is what can be seen in its easiest manifestations in the absolute decorations, or the furniture, or the design of clothes, as they are all abstract arts that have only structural boundaries. He preceded us to understand it, realize the possibilities in this world, self-development, or expand the imagination by creating or revealing new topics. As a result, the artist may rearrange or delete inappropriate, confusing, or distorted elements. Photography may capture a single image, but the artist creates complex images, and not only the contemporary artist, but also artists of all ages who sensed the meaning of art, and then explained to us - as poets do - the events and the oddities of nature, and the contemporary scenes of many opinions. What happens is that these insights are purified and then patterned into arrangements that the artist creates and controls. Piero della Francesco (in the fifteenth century) created a wide world organized in a beautiful geometric sequence of shapes. As for Perugino, he was not concerned with the general meaning of the subject matter and displayed his awareness of the logical world in his religious paintings. And since nothing of jealousy hinders the Christian enthusiasm from running information offices or passenger services... So what is he doing..?? The artist involuntarily expresses the era in which he lives. By the sixteenth century, the conquest of the visible world by painters had been completed. And with invention. The camera in the nineteenth century deprived the artist of the practical application of skill with regard to highlighting appearances, except on a few occasions, such as medical and scientific photography, where it is still
The eye has the advantage over the machine in recording and displaying nature. But artists have always been more concerned with the materials of their craft and with some abstract and theoretical understanding. Whether religious or mythical, the artist's own style was determined by how he presented the form or subject with expressions emanating from his interests in surface drawing, spatial relations, color harmony, models, construction, or any complex problems that arise while presenting fantasies or symbols on one aspect of thought. The artist's means: There are few Some people tend to define art, but everyone sees that they know what a work of art should look like, and pass their judgment on an artist's work at just a glance. More than a century ago, visitors to exhibitions began inserting their umbrellas or sticks into the drawing cloths on the paintings, which often expressed things that the viewer considered inadmissible to express through high art (therefore, exhibitions in Europe and America were denied entry to what could spoil the paintings with visitors). But it is also likely that this is also due to the method by which the artist produces these effects, such as colors and their mixing in the case of two-dimensional arts (and in the graphic arts it is permissible that the color is not in its degrees of lightness and darkness). Architecture is summed up in dealing with and in all of this, the scale or size, whether alone or another factor, forms the masses and spaces in connection with its surroundings. . - .