هدفت الدراسة للبحث فى ماهية العلاقة الجدلية بين الشکل والمضمون فى الأعمال التشکيلية للفنان حسين العزبى ،وبيان رؤيته الفلسفية والجمالية کأحد الفنانين التشکيليين المنتمين للمدرسة الحداثية المتطورة ،واستبيان تعامله مع المواد والتقنيات والأدوات لکى تصنف باعتبارها شکلاً أم مضموناً فى فلسفته التشکيلية ،من خلال وصف وتحليل لعدد أربعين لوحة ذات مضامين متباينة من أعماله على مدار مشواره الفنى الذى تجاوز الأربعة عقود ،وهناک عدد من الأطروحات التى تناولها بکثرة وترجمت وعيه وتجربته الذاتية وأفکاره الفلسفية منها تعامله مع أهل النوبة وتأثره بالحضارة المصرية القديمة ،وکذا النزعة الصوفية وآلام المسيح برؤية فلسفية جمالية خاصة ،والترکيز على المرأة والعازفين الموسيقيين وغيرها من الموضوعات. أما تقنياته فکانت حداثية متميزة وتساعد فى تکوين رؤيته المتکاملة. وانتهى البحث لاستنتاج حول هذه الجدلية ذاتها التى شکلت إبداع حسين العزبى ،حيث أفرزت سمات فلسفية وجمالية فى أعماله التشکيلية ،فحدث تماهى أو التباس فى تلک العلاقة ،مما جعل لشخصيته الفنية تفرداً من خلال توظيفه لأدواته الحائرة بين المادة ،والتکنولوجيا والألوان والخطوط والإضاءة ،وکافة عناصره الأخرى ،وحتى فيما بين الشکل والمضمون ذاتهما ،فبات هذا الجدل الواسع والحيرة الدائمة تولد حالة إبداعية ذات فلسفة تشکيلية وجمالية شديدة الخصوصية شکلاً ومضموناً.
The study aimed to research the nature of the dialectical relationship between form and content in Hussein El-Ezaby's paintings, and to explain his philosophical and aesthetic vision as one of the fine artists belonging to the advanced modernist school, and to define his dealings with materials, techniques and tools in order to be classified as a form or content in his philosophy, through a description and analysis of a number Forty paintings of varying contents from his works over the course of his artistic career that exceeded four decades, and there are a number of theses that he dealt extensively and translated his consciousness, his own experience and his philosophical ideas, including his dealings with the people of Nubia and his influence with the ancient Egyptian civilization, as well as the mystical tendency and the pain of Christ with a special aesthetic philosophical vision, and focus On women, musicians and other subjects.As for his techniques, they were distinguished by modernity and helped in forming his integrated vision. The research ended with a conclusion about this same dialectic that formed Hussein Al-Ezaby's creativity, as it produced philosophical and aesthetic features in his paintings, so there was an identification or ambiguity in that relationship, which made his artistic personality uniqueness through his employment of his confused tools between matter, technology, colors, lines, lighting, and all other elements, and even between the form and the content themselves, this broad debate and permanent confusion generate a creative state with an artistic philosophy and a very special aesthetic in form and content.
 
 
The study aimed to research the nature of the dialectical relationship between form and content in Hussein El-Ezaby's paintings, and to explain his philosophical and aesthetic vision as one of the fine artists belonging to the advanced modernist school, and to define his dealings with materials, techniques and tools in order to be classified as a form or content in his philosophy, through a description and analysis of a number Forty paintings of varying contents from his works over the course of his artistic career that exceeded four decades, and there are a number of theses that he dealt extensively and translated his consciousness, his own experience and his philosophical ideas, including his dealings with the people of Nubia and his influence with the ancient Egyptian civilization, as well as the mystical tendency and the pain of Christ with a special aesthetic philosophical vision, and focus On women, musicians and other subjects.As for his techniques, they were distinguished by modernity and helped in forming his integrated vision. The research ended with a conclusion about this same dialectic that formed Hussein Al-Ezaby's creativity, as it produced philosophical and aesthetic features in his paintings, so there was an identification or ambiguity in that relationship, which made his artistic personality uniqueness through his employment of his confused tools between matter, technology, colors, lines, lighting, and all other elements, and even between the form and the content themselves, this broad debate and permanent confusion generate a creative state with an artistic philosophy and a very special aesthetic in form and content.