Abstract

Conceptual metaphors achieve the artist's goal; this is reflected in the concept of the American philosopher Morris Weitz of art in revisiting ancient theories under modern technological changes. The symbol played an important role in art in ancient times, where it emerged as a tangible representation of the facts. The artist recreates the reality to symbolize it. Thus, the artistic work was an innovation that was accomplished to reflect it according to its conditions and in accordance with its uniqueness. It allows the meaning to present itself because it represents it. This concept, which has been transformed into modern values and concepts based on disassembly, has allowed the artist to expand his awareness of the truth of himself, and to present works that carry multiple visions as evidence in the form.       This continuous change that characterizes the plastic arts historically, is driven by shifts in the ways of thinking that resulted from political, economic and social changes alongside the tremendous revolution of technological development. Therefore, the objectives of teaching art must be consistent with modern thinking methods, today society needs people who can make unconventional decisions, and are able to think differently, creatively. The study explores the development of metaphorical thinking in the works of photography, and this calls for a reconsideration of visual metaphors in the practices of artists, this leads to the question of research: Is there a descriptive conceptual structure on which the contemporary artist depends on his artistic work, an alternative to using the code? Is the cognitive perception of conceptual metaphor helps in the development of creative thinking?

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