Abstract

The influences of the surrounding arts have become a state of confusion and bewilderment in the process of comparing visual texts, comparing them to the familiar and their temporal development in comparison to the changes accompanying them, and what has established principles referred to as cognitive aesthetics among scholars and specialists by invading the field of theorising, critiquing and engaging in attempts of experimentation and its representations of induction, interpretation and criticism. As a semiotic text, it relies on its systems capable of interpreting the sign, signal and connotation and interpreting them in a visual communicative way, turning the visible and invisible into interpretable methodological premises, and accompanying the state of criticism, and enabling the understanding of the critical semiotic method, which adopts the decoding of text codes and its translation into its plastic language, considering the plastic artwork as a vision subject to the qualities of experimentation.
   The first chapter dealt with the methodological framework of the research from the problem and importance, the second chapter dealt with the theoretical framework of the research from the introduction of the research and the chapter was entitled the stereotype and the beginnings of experimentation, including new trends in Arab abstraction, structural patterns and the relationship of their movement on the surface of the painting, experimentation and its transformations in the Arab plastic arts, the aesthetic vision of form and the fantasy of experimentation, and the third chapter was entitled examples from the experience of Arab artists (Farouk Wahba, Adel Mustafa, Ahmed Salim, Walid Shait, Blasim Mohammed) and was the research community and was the basis for the research on the content of abstraction. The chapter ended with findings, conclusions and recommendations.