The first chapter (the methodological framework of the research) included the research problem, which was manifested in the following question: What is the metaphysical dimension in Shaker Hassan Al Said's drawings? As for the importance of the research and the need for it, the research will be a continuation of the process of other researches that preceded it in the field of contemporary Iraqi painting. It will contribute to clarifying the concept of the metaphysical dimension in Shaker Hassan Al Said's drawings. The grandmother of the subject being plowing in virgin areas of knowledge. The current research aims to (know the metaphysical dimension in Shaker Hassan Al Said's drawings). While the current research is limited to the study of: Spatial Boundaries: Iraq. Objective limits: a study of the metaphysical dimension in the drawings of Shakir Hassan Al Said, executed with different materials on different materials. Time limits: 1990 AD - 2000 AD. While the theoretical framework of the second chapter focused on studying contemporary Iraqi philosophy and painting. While the third chapter concerned the methodological framework: the research community, where the researcher looked at the published and available works of the artist Shaker Hassan Al Said’s paintings, which were specified in relation to the metaphysical representations in the drawings of Shaker Hassan Al Said, and limited the research community’s framework to the limits of the research in time and place. In a manner that covers the limits of the research and achieve its goal and ensures that the researcher monitors the largest amount of sample models that are working and the subject of the current research. Research sample: The researcher deliberately selected a sample form for his research, a painting from the framework of the research community. Research tool: The researcher relied on the indicators that the theoretical framework concluded for analyzing the research sample models. In his research, the researcher adopted the descriptive approach in analyzing the content of the artwork as a method followed in studies dealing with paintings by description and analysis. The fourth chapter came as follows, Results: Nostalgia and appeal to past worlds are images of metaphysical worlds present in the artist's achievement. The metaphysical power of the artist's senses aims to express the essence of things. Conclusions: metaphysical worlds have a translation of the essence of man (the artist). A formal product with expressive powers that translates hidden worlds. Myth, emotional notation, presence and absence, temporality, metaphysical worlds. The hidden essence is a metaphysical world. The researcher recommends studying the following: Metaphysical representations in Jawad Selim's drawings. Then came the list of margins and sources.
Ali, Osamah Adnan
"The metaphysical dimension in Shakir Hassan Al Said's painting,"
Journal of STEPS for Humanities and Social Sciences: Vol. 1
, Article 64.
Available at: https://doi.org/10.55384/2790-4237.1127
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