Morphology and its applications in plastic art


  • Atheer Ibrahim Idan Al-Najjar
  • Sabah Ahmed Alshaya


The concept of morphology has expanded to include several fields of knowledge, including plastic arts. Morphology has studied the formative science of all organic formations, whether plant or animal, including artistic formations and ceramic sculpture art, specifically being the focus of the study. The emergence of artwork and its intellectual operative through its constructive elements within the context of formation, in order to establish intellectual content based on its meaning after lurking behind the origin of morphological formation, With the openness of a number of critics, intellectuals, and those interested in Iraq's expressive and aesthetic aspect, reflected in all fields of knowledge, plastic arts and ceramic art specifically, A reading of morphology and the applicability of the art of modern Iraqi ceramic sculpture is assumed to reveal the elements and intentional contents of the artist and to reveal the same cognitive and cultural meaning of the aesthetic morphological formation of contemporary Iraqi ceramic sculpture works. Accordingly, this research was built on four chapters: the first chapter: the general framework of the research has come in which the problem of research and the importance of the research and the need for it, then the goal of the research and its limits and determine the terms, either the second chapter has included the theoretical framework and the resulting indicators and previous studies, the chapter has contained the topic, which was represented by the title of morphology and its applications in plastic art, then the chapter concluded with indicators, The third chapter included the research procedures, which included the method used to analyze the content of the artwork, which the researcher found appropriate to achieve the goal of the study, and after reviewing and investigating, the researcher identified his research community to be (10) a ceramic sculptural model artistic, from which he chose (3) ceramic sculptural models selected according to the intentional method so that they are comprehensive and complementary to it and using the observation tool as well as benefiting from the indicators of the theoretical framework,  The fourth chapter contained the presentation and discussion of the results, conclusions and results

  • The aesthetic act was achieved in the context of the morphological concept, by which the expressive aspect was determined to be representative of the mechanism of morphological formation, relying on the artist on a unique formulation that shows us the heritage in a contemporary aesthetic way.
  • The context appeared as an active axis and has independence in terms of including the meaning behind the elements represented in the composition of the morphology of the Iraqi ceramic sculptural achievements, and this is what the Iraqi artist borrowed from his lived reality of the events of wars and the results of politics, within the social medium as an aesthetic text governed by the general format of the art scene

Then recommendations and suggestions, and thus conclude the researcher study list of sources, references, and appendices.