توظيف الرمز التشكيلي الشعبي في الخطاب الجمالي والسياسي المعاصرين في السودان ولاية الخرطوم دراسة حالة

Abstract

This study tackled the employment of the traditional visual symbol in the aesthetic and political discourse in the Sudan, with Khartoum state as a case- study. The researcher managed to study the visual symbol through the concept of visual discourse, considering that the process of receiving the visual process and the formation of its significance is a product of its rotation of a visual and non- visual system of discourses; thereby, it moves into an orbit of its own rhetorical context and space. Thereupon, I considered the visual symbol as a visual discourse text of significations that corroborate such space and concept in which it moves.Therefore the study attempts to apply the concept of the discourse or the symbol context on traditional heritane and folklorists , so as to employ it in contemporary aesthetic and political discourse. . The study examined the visual symbol theories through the different artistic school and trends, and it highlighted the concept of material culture and its vital role in the visual symbol documentation process and the affirmation of the formation of its significance, putting in mind that visual symbol is perceived through the tools of material culture in its concerned context and space. Also, the study shed light on the role of material culture in strengthening the process of the continuity of the form, whereas the significance is changing. The study dealt with the employment of the popular visual symbol in the aesthetic discourse system and the exploration of the extent of the heritage inspiration in the space of this discourse. Therefore, the study, in this chapter, reviewed the heritage concept through the Plastic Schools in the Sudan. As it first, explored, the popular painting which had represented a visual foundation of the academic aesthetical discourse. Also, it dealt with the cultural framework in which such popular painting and discourse were manifested. And here, the study mainly examined Khartoum School’s aesthetic discourse by presenting its concept and vision of heritage and the psychological motive which affected its existence and its heritage’s inspiration. Also, the study approached the context and the spatial, temporal and episodically space which accompanied its appearance. Also, and analysis was conducted to the significations of some of Al –Salahi works of different period of time. The study discussed the theoretical framework of the Crystal School. Also, it dealt with the theoretical debates which tool place at that time and was related by the artists and artistic critics. Hence, relating its position vis- a- vis the heritage in a theoretical form. In addition to this, the study considered the problem of my failure to find the artistic works of this school. This lead me to stress the importance of the visual and theoretical documentation of the aesthetic creation, which in turn, is suffering of weakness for more than half a century. Therefore, any methodological and systematic study of such aesthetic creation represents an objective problem which requires ample effort and time. In reviewing the aesthetical discourse of Al- Wahid School, I broached its theoretical discourse through the analysis of its theoretical statement. Also, I carried out an analysis of the signification of some works belonging to Ahmed ‘Abd al- al. My focusing on the aesthetic discourse and its inspiration of the heritage through the plastic school and hot the individuals, is attributed to the fact that it did not acquire adequate study, hence its consideration as a whole involves some difficulty due to its thematic vastness and the hidden points surrounding it. Therefore, my focus was devoted to its studying through the plastic art schools in the Sudan and expounding their conception of the heritage.The study reveales that the employment of historical visual plastic symbols in the aesthetic discourse has come through ideological trends artistic schools and the psgchological aspects that flow the artistic creative ablitities of the plastic artist.|Furthermore, proplems related to weakness of transmition to the public viewers are a result of the indirect negligance of the official parties responsible for this role Lastly, I considered the employment of the popular symbol through the political discourse, by examining the concept of political languages; its systems, motives and objectives, and the handling of the visual symbol and its mechanisms in the festive system of May government. Also, the study of the color significance considering it as a complementary visual symbol to the form. Then I dealt with the Inghaz Political discourse and the extent of its recourse to the use of the visual discourses out of the religio- social discourse system.I carried out a signification analysis of the ad billboard in the public street which accompanied the Inghaz festivals of Peace Day. Finally, the political discourse basically worked on the employment of the traditional Plastic symbol and reformed it so as to achieve its own political targets. So, it has used the traditional heritage of the community as well as the political inheritance as a mechanism to confirm its political orientations and its acceptance by the public to show its commitment to faith and identity. This is due to the authority of a one sidedenss central government since in independence.