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|a إن غاية دراسة تاريخ الفن هي غاية معرفية ترتبط بمخزون علمي ونظري، هذا إذا كان الدارس غير متخصص في دراسة الفنون بشتى أشكالها وبرامجها، وعلى الأغلب فدارس الفنون عند دراسته لتاريخ الفن لا يخرج هذا المخزون النظري إلا في صورة محتوى بحثي أو توثيقي أو اجتياز امتحان يقيم مدى تحصيله المعرفي، برغم أن دارس الفنون بالأخص لو كان ممارس للفن في احتياج إلى محتوى آخر يجاور المحتوى المعرفي النظري حين تعرض عليه إشكالية الربط بين الماضي والحاضر، ذلك المحتوى هو عبارة عن مقاربة قيمية تطبيقية لدراسة تاريخ الفن تساعد في تحديد أسس علمية لأساليب الاستنباط والاستلهام. فبدون شك جميع البرامج التعليمية الخاصة بالفنون تحتاج إلى مرجعية معرفية لتاريخ الفنون لاستغلالها في بعض مخرجات تلك البرامج، تلك المخرجات المعتمدة على التطبيق والتنفيذ وتهدف إلى التواصل بالماضي، وإذا ما كانت الدراسة واعية وناضجة ومكتملة وتشمل مقاربة قيمية تطبيقية ذات آليات مدروسة لدراسة تاريخ الفن، تحققت الغاية الحقيقية من دراسة تاريخ الفن، ولذلك جاءت هذه الدراسة لتضع مقاربة تطبيقية لدراسة تاريخ الفن. مشكلة البحث: الهدف لدى دارس تاريخ الفن هو المقاربة القيمية عند النقل أو الاستلهام، لذا نحن نواجه بعض المشكلات بل الكثير منها في النقل عن الفنون والحضارات، فمنها ما هو نقل يشوه جوهر وواقع الفنون ومنها ما ينقل دون وعي ومعرفة حقيقية ومنها ما هو مباشر وواضح بحيث ينفي وجود المقاربة الابتكارية الواعية. منهجية البحث: المنهج الوصفي التحليلي. أهداف البحث: تحقيق مقاربة قيمية تطبيقية ذات منهجية تجاور المحتوى النظري، ما يجعل الدارس قادر على استخراج سمات جوهرية تخدم عملية المقاربة القيمية التطبيقية ليخرج عمل معاصر ذو قيمة سماته التشبث بالماضي وذو ملمح معاصر وكذلك إحياء ثقافات وحضارات الشعوب بطريقة علمية، بعيدة عن فكرة الاستنساخ، من خلال إيجاد ما هو أشمل وأعمق في الأخذ عن مفردات وعناصر دراسة تاريخ الفن، بالإضافة إلى خلق آليات تحكم وتضبط عملية المقاربة لابتكار أعمال معاصرة في مختلف التخصصات تحكمها القيمة الحقيقية لعملية المقاربة.
|b When a student is not specialised in any art programmes, the goal of studying the history of art is to achieve a knowledge goal related to scientific and theoretical content. And, most likely, when art students study the history of art, they don't come out with this theoretical inventory except in the form of research, documentary content, or passing an exam that evaluates their cognitive perception. When art students face a challenge to connect the past to the present, they require additional content in addition to the theoretical content. This content is an applied valued approach to the study of art history, which aids in the identification of scientific methodologies for inspiration. Without a doubt, all educational art programmes require a knowledge reference to the history of arts to be exploited in some of these programmes' outputs; those outputs rely on implementation and are aimed at connecting contemporary art with the past; and if the study is conscious, mature, and complete, and includes a practical valued approach with well thought- out mechanisms to study the history of art, the real goal has been achieved from studying art history. As a result, this research paper will take an applied method to art history study. Background and problems: The student of art history differs significantly from the student of history in general. Although they may have similar content, the study of art history must have different goals than the study of civilizations history. The goal of an art history student is to apply a valued approach when inspired, we have some, if not many, issues with the transmission of arts and civilizations, some of which distort the essence of the arts, some of which are took without awareness or true understanding, and others which are direct, deny the presence of a conscious innovative approach. Because of the shortage or absence of models that can be described as the outcome of a specialised study of art history, many of the inspirations that strive to link the past and the present often neglect the genuine substance of ancient art and leave the field for inspiration to non-specialists.
|b Objectives: In this research paper, I aim to further one of the goals of art history study, namely, to achieve a valued applied approach with a methodology that is adjacent to theoretical content and connects the student to the past and the present through scientific methods that enable him to extract essential features that serve the applied value approach to produce contemporary work that clings to the past while having a contemporary appearance.- Reviving cultures and civilizations using scientific procedures that are far from replicable, but rather by embracing the aspects of art history study in a more comprehensive and in-depth manner. -In all art programmes disciplines, i create methods that manage the process of approaching to generate contemporary works of actual value. -One of the essentials for creativity is a wide range of knowledge and a wealth of experience gained from widespread application of theoretical content. As a result, the process of developing applied value approaches, which achieve the practical content should not be despotic in order to detract from or disrupt the primary goal of studying art history. The same percentage of knowledge must be maintained, and no flaws should be allowed due to the applied content adjacent to the theoretical content Methodology: Descriptive analytical method Major results: 1- The opportunity to establish an applied approach to studying art history through tailored content. 2- Demonstrate the success of the applied approach to art history study by looking at the students' work and their ability to connect cognitive, inventive, and executive skills. 3- The ability to achieve the aspect of continuous development and updating on the study's content, because the presented model keeps up with everything new in various educational arts programmes, enhancing and supporting art history study and placing it in an authentic position for students. 4- Creating an element of excitement and thrill for the learner by turning the study from a theoretical to an experimental study, this is the most pleasurable study for an art student, in most situations. 5- Ensuring the graduation of a generation capable of thinking more deeply when confronted with the problem of connecting the past with the present, and between the original and the contemporary, a generation that retains all of the essential artistic values of all eras with the possibility of producing them in contemporary works that preserve their position without compromising their value, this causes us to reject all of the bad works.
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