الفهرس 
الفصل الاوليوجد فقط 14 صفحة متاحة للعرض العام
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المستخلص
Sculpture, like other forms of art, is a means of understanding because of the human vocabulary and connotations it contains. Its effective phenomena are linked exclusively to humans, because it is a creative product, both intellectually and practically, made by human hands. It is a creative outcome that derives its existence from reality. from its beginnings, it was a means of absorbing the surrounding environment and harmonizing with it. “Given the changes that occurred in the artistic concepts of women’s statues as a result of social developments in the twentieth century that define the concept of beauty in sculptural work, many of the components and elements involved in constructing a sculptural work do not necessarily have aesthetic value in themselves, but rather their aesthetic value is achieved in The framework of the artistic unity of the sculptural work as a whole, and this confirms that “beauty is a function achieved by the artistic work with a number of components that may not in themselves be beautiful according to the standards of approval, but here in particular they reach their aesthetic entity. Therefore, beauty is considered a temporal and spatial structure that is achieved in one subject rather than another. Beauty includes a psychological aspect, which is the process of feeling that plays a role in accepting or rejecting a work, judging it, and feeling and feeling beauty in the art of sculpture is no longer limited to the element of satisfaction resulting from aesthetic arrangements based on the harmony and unity of the elements of form in its traditional construction. “Beauty is achieved through the complementary relationship between formal effects and expressive contents, an effect that leads to highlighting the characteristics of the sculptural work and achieving aesthetic goals, and since the values of beauty are not fixed and the nature of beauty is variable and its rulings are evolving, they vary in their perception between the artist who creates beauty, reveals it and perceives it and the ordinary audience.” Who is trained in such processes in order to taste the artist’s production, follow it, and include it as an asset to benefit from in his cultural and daily life, which represents their result in the sense of beauty and rejection of ugliness, and from here the aesthetic taste grows through repeated encounters with works of plastic art, so the viewer distinguishes between the original works that strongly affect his life, And the other effect disappears once you turn away from it. The art of sculpture has been characterized by diversity in thought and philosophy based on its production since ancient times. The ancient arts in the field of women’s statues have provided the world with diverse works of art in terms of thought and its connection to religion, politics, or beliefs throughout the ages, which abound in museums and archaeological sites in various parts of the world. These sculptural works differ greatly in their forms, artistic methods, and expressive purposes. Despite the antiquity of these works of art, they still influence us and draw our feelings toward them to understand their nature and the intellectual content behind them, while admiring their greatness, strength, and steadfastness throughout those long ages. They tell us the story of civilization, its stability, and its strength. And its weakness: “There are works in which all expressive, aesthetic and plastic values are achieved and integrated in complete harmony, and modern and contemporary sculptural works are no less in terms of the expressive and philosophical power based on their formation than ancient sculpture, and each era has its own philosophy and logic in analyzing and presenting successive creative visions of works.” Which prompted critics to try to explain it and link the metaphysical phenomena with modern thought and its development through the stages and schools of modern sculpture. These works in the modern era have begun to increase steadily, as they constitute a great asset of the global and local artistic heritage that we deal with in our cultural life. That is, statues of women as one of the branches of human activity emanating from sculpture within the framework of public art, their forms and aesthetic contents are affected by the change that occurs in aesthetic concepts in general, and field sculptural works in particular, which are affected in terms of form and content by the change that occurs in aesthetic concepts, especially those The type of statues of women erected in the open air, which does not represent a new phenomenon in the twentieth century in particular, and which is known recently as (Out Door Sculpture), and we find that its roots extend deep into the history of civilization within the framework of various artistic styles, but the goal of its erection is that Some changes occurred as a result of the development of some aesthetic concepts related to the art of sculpture. Some of them are related to the plastic concepts that concern the elements that make up the sculptural work, and some of them are related to the functional role according to the goal for which the woman’s statue was created. The study Problem: In light of the previous presentation, the research problem can be defined in the following main question: What is the relationship between the aesthetics of the form and content of women’s statues in ancient Egyptian civilization and women’s statues in the twentieth century? The following sub-questions branch out from this question: 1. What are the forms of presence of statues of women in ancient Egyptian civilization and the twentieth century? 2. To what extent does the content of women’s statues affect the surrounding space aesthetically? The importance of research: The importance of the current research is evident in the following points: • Explaining the role played by form and content in statues of women in Egyptian civilization and the twentieth century. • Revealing new horizons for methods of forming women’s statues. • The research helps direct attention to the Egyptian cultural content of women’s statues. • The research gives a vision about confronting the expressive problems and their implications facing the sculptor in Egypt and ways to treat these problems. Research aims : The research sought to achieve the following aims: 1. Shedding light on the aesthetic role of the shape of women’s statues, especially in ancient Egyptian and the twentieth century. 2. Revealing the content of women’s statues, especially in ancient Egyptian civilization and the twentieth century. 3. Contributing to the creation of contemporary plastic visions that contain an Egyptian form and contemporary content. 4. Shedding light on developing solutions for contemporary methods used in forming women’s statues. Research hypotheses: The hypotheses of the current research are as follows: • There is a relationship between statues of women in ancient Egyptian civilization and statues of women in the twentieth century. • There is a relationship between the aesthetic aspect and the form and content of women’s statues in ancient Egyptian civilization. • There is a relationship between the aesthetic aspect and the form and content of women’s statues in the twentieth century. Research Methodology: The researcher used the descriptive analytical method and the experimental method. The Thesis was divided into four parts as follows: Chapter one: the general framework of the research In that chapter, the researcher presented the background of the research and presented the research problem in the form of a question as follows: What are the forms of presence of statues of women in ancient Egyptian civilization and the twentieth century? To what extent does the content of women’s statues affect the surrounding space aesthetically? In the same chapter, the researcher presented the importance of the research, its objectives, and research hypotheses, and addressed the research terms. In the same chapter, she also reviewed previous studies related to the research topic. Chapter Two: The aesthetics of women’s statues in ancient Egyptian civilization and the civilization of the twentieth century
The researcher studied the following important points: First: the concept of aesthetic value. Second: A study of the materials used in statues of women in ancient Egyptian civilization and the civilization of the twentieth century. Chapter Three: A study of the relationship of form and content to statues of women in ancient Egyptian civilization and the civilization of the twentieth century. The researcher touched on the following important points: First: An analytical study of a selection of women’s statues in ancient Egyptian civilization. Second: An analytical study of a selection of women’s statues in twentieth-century civilization. Third: Artistic style and its relationship to form and content in women’s statues. Chapter Four: Self Experiment , results and recommendations Using the experimental method and based on what was reached in the theoretical framework of the research, the researcher conducted a self-experiment consisting of eight sculptural works made of wood and polyester. The content of the works is related to the content of statues of women in ancient Egyptian civilization and the civilization of the twentieth century. In this chapter, the researcher dealt with a technical and aesthetic analysis of her personal experience, reviewed the results of the research, mentioned some suggested recommendations, and also reviewed the Arabic references, foreign references, and websites on the international information network used in the research.