Artistic structural features of the works of the artists (Fakher Muhammad) and (Blasim Muhammd) A comparative study

The aim of this thesis is to identify the artistic structural features in the works of the artists (Fakher Muhammad) and (Blasim Muhammad) as a comparative study, considering that their works have many characteristics and features that have the property of producing meaning through social symbols and icons, which is a system with semantics in the event of a continuous transmission of artistic signals to achieve unity between form and content, and between the judgment of value and the judgment of reality in fine art text, the research problem consisted in answering the following question: How did Fakher Muhammad and Blasim Muhammad deal with the social system in building the internal relationships that link the components of each artwork? To answer this question, the descriptive analytical approach was used for the purpose of research, as it relies on the study and analysis of the works of each of the artists, a careful analysis and standing at the most prominent social features that were used as a semantic and aesthetic case, in preparation for controlling them, rearranging them, upgrading their functional level, and revealing their relationship in the social system. After reviewing the studies and research that dealt with the issue of formative structuralism in Iraqi fine art, the researcher found that the importance of the current research lies in studying the structural features of the art of Fakher Muhammad and Blasam Muhammad, an academic study showing the aesthetic aspect and artistic pleasure in an unconventional and familiar way for the recipient, and reaching the conclusion that the construction of the painting is linked to the internal relations that link the components of each building, rearranging them, and revealing their relationship to the social system, where the researcher believes that the part is closely related to the whole in an ever-reciprocating relationship, and the importance of the color relationship as part of that whole emerges as the fact that the construction of the color text varies from one artist to another, it is a building that embodies the personality of the creator and his artistic imprint and represents his knowledge and sociocultural potential, as well as the importance of the occupancy of space in the painting. and other dialectical relations between painting and society.