The Conceptdisplacement in Ancient Iraqi Ceramics (Agricultural Villages)

Abstract

intellectual and conceptual work in the art of ancient Iraqi pottery has contained the research on four chapters, the first chapter included the problem of research, dealing with the current research (The conceptdisplacement in pottery ancient Iraq) and which multiplied to answer the following question:

What is the displacement in the pottery of ancient Iraq (agricultural villages)?

To answer this question, it was necessary to set a specific goal that leads the research to achieve an answer to the question and come up with relevant results. Therefore, the aim of the research was to (identify the displacement in the pottery of ancient Iraq)

The researcher has set the limits of his research, the first of which is the objective limits: pottery works, pots, pottery tablets, pottery sculpture, seals, pottery compositions, either temporal boundaries: between the beginning of agricultural settlements, either spatially it has been determined by (ancient Iraq)

The study of this topic was the establishment of a theoretical framework through which we learn about the most important mechanisms and foundations of the work of the concept of displacement in the ancient Iraqi art as a first topic, while the second research has been entitled to displacement in the pottery of Iraq  Or sex or abundant goodness

2 – occupies the body of women focus of the work of displacement focused on the formation of equivalent analogy parallel to reality reformulate at the level of form and technique to achieve a rhetorical image expressive of religious and magical practices associated with the form of women in the mentality of Iraqi society

The researcher also developed a number of conclusions according to the data of those results that resulted from the analysis, the most important of which are

1- Displacement contributes to the launch of mythological contents with symbolic connotations by depicting ritual scenes saturated with begging and getting closer to the gods on the one hand and greatness on the other hand to express the spiritual and metaphysical forces that hide behind the manifestations of these forms

In the style of ancient Iraqi pottery sculpture, the form maintains the realism of the execution, while the imagined images are displaced and unrealistic in order to refer the realistic scene to a structural composition that remains linked to the natural reality as it reflects the vision of the ancient Iraqi artist.