Volume 25, Issue 3, February 2019, Pages 1048–1061
Shereen Alharazy1
1 Associated Professor, College of Art and Design, Jeddah University, Kingdom of Saudi Arabia
Original language: English
Copyright © 2019 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Art is not nature, but its modified nature resulting by integrated new relationships generating a new emotional response, as the artist depends on different formative systems in the construction of the artistic processes based on the non-ending variety of diverse and Differentiated systems in the nature, Where the environment and nature around us in its different manifestations is the main source of inspiration for all artists, regardless of different artistic methods of these artists, but is the reference and the test on which the artist depends on in the provisions of his artistic work, in terms of drawing form and achieving the foundations of the work of art, including aesthetic values Which differ in terms of different artists' visions, which leads to the contrast between them in dealing with these aspects, as each artist has his own vision in dealing with the various elements around him. However, the artistic vision that existed in arts in the past decades no longer there in the light of the recent scientific changes in tools, devices and computer systems that have emerged with the developments of modern science. In this sense, this research aims in combining modern science and taking advantage of its developments and techniques in the field of art, and creating distinctive artistic visions in different art fields, to come out with new aesthetic and artistic values derived from the nature around us.
Author Keywords: invisible energy, kirlian photography, electromagnetic fields, Artistic and aesthetic vision.
Shereen Alharazy1
1 Associated Professor, College of Art and Design, Jeddah University, Kingdom of Saudi Arabia
Original language: English
Copyright © 2019 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abstract
Art is not nature, but its modified nature resulting by integrated new relationships generating a new emotional response, as the artist depends on different formative systems in the construction of the artistic processes based on the non-ending variety of diverse and Differentiated systems in the nature, Where the environment and nature around us in its different manifestations is the main source of inspiration for all artists, regardless of different artistic methods of these artists, but is the reference and the test on which the artist depends on in the provisions of his artistic work, in terms of drawing form and achieving the foundations of the work of art, including aesthetic values Which differ in terms of different artists' visions, which leads to the contrast between them in dealing with these aspects, as each artist has his own vision in dealing with the various elements around him. However, the artistic vision that existed in arts in the past decades no longer there in the light of the recent scientific changes in tools, devices and computer systems that have emerged with the developments of modern science. In this sense, this research aims in combining modern science and taking advantage of its developments and techniques in the field of art, and creating distinctive artistic visions in different art fields, to come out with new aesthetic and artistic values derived from the nature around us.
Author Keywords: invisible energy, kirlian photography, electromagnetic fields, Artistic and aesthetic vision.
How to Cite this Article
Shereen Alharazy, “Artistic and aesthetic vision of the invisible energy of forms using kirlian photography,” International Journal of Innovation and Applied Studies, vol. 25, no. 3, pp. 1048–1061, February 2019.
