The Improvisation of Textual Iisomorphism and its Formal Representations Between Originality and Tradition in the Drawings of the Artist "Pablo Picasso" as a Model.

Abstract

 The more the artist becomes aware of himself and the world around him, the wider his concept of concepts (freedom, creativity, imitation, originality), and his movement continues to search for new mechanisms and mediums in art (such as improvisation, similarity, spontaneity, immediacy, uniqueness... etc) to contribute to the production of new deep and complex works, practiced by the artist with his artworks, to reach his goal through which he linked emotions to tangible things, this explains how the spiritual is generated from the material, and how the rapid brush strokes with the magic of the artist's style turn into visual formations that carry their psychological and emotional connotations wider and more appropriate for the artist, and this indicates that icons in the Middle Ages transcend visible objects to reach the invisible. It represents the sacred divine presence, the spontaneous art of immediacy and exaggeration that amazes the eye. Therefore, the current research entitled (Improvisation of textual isomorphism and its formal representations between originality and tradition in the drawings of the artist "Pablo Picasso" as a model) contained four chapters, the first chapter concerned the methodological framework of the research, where it contained the research problem, which was identified by the following question: What is the extent to which it is possible to show the improvisation of textual similarity between originality and tradition in the drawings of the artist "Pablo Picasso" as a model?, As for the two objectives of the research 1- Identify improvisation and the mechanism of its work with textual isomorphism 2- The current research aims to identify the originality and imitation of the works Artistic and the distinction between them in the drawings of the artist "Picasso", the limits of the research were determined from 1900 to 1970 and spatial limits: improvisation and textual similarity, and reviewed the search terms and their definition. The second chapter also contained the theoretical framework, and it contained three sections: the first improvisation and spontaneity of artistic formation between artistic texts, the second topic: textual similarity and its repercussions in the works of artists, and the third topic: the concept of originality and tradition and its implications in art. The third chapter contained the research procedures, and the fourth chapter included the results of the research represented: 1- Every improvisational artwork starts from a starting point and seeks to achieve a goal, but there is no progress in the facts of art.2-  The improvisation of textual isomorphism is no longer a copy or tradition, nor is it a description and news and transmission, but rather it is the provision of a qualitative return after the formation and formation of artistic creation, and that making the center of attention is the model or origin from which the formation takes place. As for the conclusions: 1- The improvisation of the isomorphic has two meanings, the first is its external self or its external existence, which only expresses itself, and the second is the metaphorical meaning that carries interpretation and bifurcation, so taking the form carries in its hollow these two meanings.2- Most works of art have meaning and knowledge, and this meaning is approved by the transition between the signifier and the signifier related to the vocabulary of this work, whether improvised or intentional. It also included the suggestions and then the sources and references.