Fnon Al-Rafidayn Journal

This research explores the representations of intellectual concepts that emerged and developed during the 20th century, shaped and influenced by their surrounding environments in conjunction with industrial and technological transformations, as well as the massive expansion in communication and information exchange—epitomized by the internet revolution, advanced technologies, and globalization. These forces reshaped the trajectory of contemporary arts, especially Postmodern Art. One of the most prominent shifts was the emergence of Pop Art, which marked a radical departure from traditional classical art concepts. Art had once adhered to established principles grounded in conventional aesthetics; however, with the advent of new artistic movements, these rigid constraints began to fade, giving way to unfamiliar and unconventional styles. Pop Art, in particular, drew inspiration from popular culture, advertising, and consumer products. It sought to imitate everyday objects and tools rooted in social reality, thus appearing bizarre and distinct from the refined art that had preceded it. This research focuses on Representations of Pop Art Concepts in Contemporary Australian Ceramics and is structured into four chapters. Chapter One (Methodological Framework) outlines the research problem, which is formulated as the following question: To what extent have the intellectual concepts underlying Pop Art influenced the aesthetic and expressive characteristics of contemporary Australian ceramics? This chapter also presents the research significance, objectives, and scope, which is limited to the period from 1978 to 2022. It further provides operational definitions of key conceptual terms used in the study. Chapter Two (Theoretical Framework) includes three sections: The first addresses the concept and its intellectual applications in art. The second focuses on the study of Pop Art. The third investigates contemporary Australian ceramics, concluding with the theoretical indicators. Chapter Three presents the research procedures, including the research community and sample.
Chapter Four concludes the study by presenting the key findings and a list of references and sources.

Since ancient times, humans have exhibited an innate tendency to connect and integrate with nature, as reflected in their use of natural materials in building their homes. Interior designers have long drawn inspiration from nature in their search for new conceptual and symbolic models. In the contemporary era, interior design practices have successfully integrated elements of nature into interior spaces, giving rise to rich, innovative, and evolving phenomena. These practices have demonstrated positive impacts on human psychological and physical well-being, enhanced environmental performance, and contributed to the distinctive aesthetic character of contemporary interior design. Accordingly, the research problem is articulated in the following question: What are the aesthetic potentials of biophilic design that foster positive responses across various design dimensions? The study aims to explore the concept of biophilic design and its aesthetic dimensions in contemporary interior spaces. The theoretical framework addressed the concept of biophilic interior design, the aesthetics of contemporary interior environments, and focused on analyzing the aesthetic dimensions of biophilic design. The research population was limited to interior spaces of Asian airports established within the last decade that adopted biophilic design principles. A case study approach was employed, leading to the following key conclusions: Biophilic design reveals multiple aesthetic dimensions—sensory, experiential, environmental, ethical, symbolic, and formal—offering interior spaces a renewed conceptual language and supporting their innovative qualities. Biophilic design demonstrates a high capacity to integrate functionality and beauty within a single space by evoking elements of living nature and harmoniously blending them into the interior, creating spaces rich in cognitive and emotional resonance.

Music and sound effects have accompanied theatrical performances as a primary means of interpreting and expressing events, given their dramatic value that has been utilized in global theater productions throughout the history of theater. Music plays an active and significant role in educational theater, as it contributes to creating suspense, excitement, and capturing the attention of the audience—specifically children. It also plays an essential part in developing the child's aesthetic and intellectual taste.
This research consists of four chapters. The first chapter addresses the research problem, its importance, and the need for the study. The problem is defined by the following question: How has music been employed in educational theater performances? The aim of the research is to explore how music is utilized in educational theater based on specific foundations and standards related to music and songs directed at children within their own theatrical framework. The research is limited to the year 2018, focusing on theatrical performances presented at the College of Fine Arts intended for children. The subject of the study is the use of music in educational theater performances, with the play Shatta fi Warta serving as a case study. The chapter concludes with definitions of the key terms used in the study. The second chapter presents the theoretical framework, divided into two sections: the first discusses music in theater, while the second focuses on music in educational theater. The chapter concludes with a set of theoretical indicators. Chapter three outlines the research methodology, including the research community, sample, and tools employed by the researchers in analyzing the chosen sample. The fourth chapter presents the findings, conclusions, recommendations, and suggestions. The research concludes with a list of references.

This research explores the epistemological discourse in Kurdish art, considering it a productive domain of artistic creation. The topic is addressed through two main sections. The first section examines the epistemological principles within Kurdish sculptural discourse, focusing on the implicit knowledge-based foundations in sculpture that form a complex structure indicating a coordinated dynamic significance rooted in societal references tied to reality. This section includes an analysis of Shwan Kamal's sculpture Lady Justice, emphasizing the hidden epistemological aspects embedded in its discourse.
The second section investigates the artistic principles that shape the discourse of Kurdish sculpture, which help to identify distinct features that differentiate Kurdish sculptural identity from others. The study particularly focuses on the work of sculptor Dara Hama Saeed (Pekehri Goi Mokriani), which relies on Kurdish epistemological memory to commemorate the figure of Abdul Rahman Latif Ismail. The research concludes with several findings and deductions.

The image of the city and its diversity has had a significant presence in the achievements of contemporary Iraqi artists, as it encompasses a wide range of concepts. The city, as a living entity, embodies both the individual and the collective experience, making it a flexible and rich subject that artists have chosen to convey their varied messages. Through visual documentation, artists have expressed their visions, ideas, and inner thoughts by portraying the city's stories and images in diverse visual forms.
This study explores the image of the city as reflected in the works of contemporary Iraqi plastic artists. It begins with the methodological framework, which outlines the research problem, significance, objectives, and scope, followed by the definition of key terms.
The theoretical framework includes two main topics: the first chapter discusses "The Diversity of the City’s Image in Iraqi Painting", where the researchers examine the major types of urban imagery documented by Iraqi painters. The second chapter addresses "The References That Shaped the City’s Image in Iraqi Painting", analyzing the key influences and sources that contributed to the multiplicity of urban representations. The research also presents the applied procedures, including the study population, sample, research tools, and methodology, leading to the analysis of selected artworks, followed by results and conclusions. Among the findings: The city images in some Iraqi painters’ experiences were depicted with striking realism, aiming to preserve these images in the memory of viewers in case they change over time. The Iraqi artist has allocated a considerable space to such imagery in his artistic journey. Iraqi painters often recalled images of their cities from memory, which played a central role in shaping their visual narratives. These recollections extended across Iraqi, Arab, and even foreign cities, while maintaining their emotional and symbolic significance. The research concludes with a list of references.

There has been a growing interest in preparing the actor as a foundation for achieving effective communication with the audience. This has coincided with the emergence of various directing methodologies, such as Stanislavski’s approach emphasizing psychological exploration of roles, Meyerhold’s biomechanics, Grotowski’s focus on physical preparation, and Boal’s concept of the "Joker" actor, among others. These methodologies continue to evolve, aiming to prepare the actor both psychologically and physically through a set of exercises that enhance performance skills. Given the importance of actor training in line with global theatrical developments, and based on the researcher’s experience with sophrology in international workshops and practical engagement with a series of exercises tailored to contemporary theater, this study explores the significance of sophrology as a performative technique in shaping theatrical performance. Sophrology has become increasingly utilized in theatrical practices, particularly through its impact on the actor’s stage performance. This study is structured in four chapters. Chapter One (Methodological Framework) outlines the research problem, centered on the question: How is sophrology represented as a performative technique in shaping theatrical performance? It also highlights the significance and necessity of the research, particularly in introducing this lesser-known technique to Arab and Iraqi theatrical practice. The chapter concludes with definitions of key terms used in the title. Chapter Two (Theoretical Framework) includes two sections: the first discusses the technical and scientific foundations of sophrology, referencing views of philosophers, authors, and theater directors on its importance in theatrical work; the second examines the visual elements of theatrical performance, addressing the relationship between bodily presence and material components on stage, with references to directors such as Robert Wilson and Ariane Mnouchkine. The chapter ends with a summary of key theoretical indicators. Chapter Three (Research Procedures) presents the research sample—François Dausin’s performance Telling and Embodying Lived Stories—selected purposefully and analyzed using a descriptive-analytical approach. Chapter Four (Results and Conclusions) presents the key findings, followed by conclusions and recommendations. The study concludes with a list of references and the abstract in English.

Recent developments in the art of theater have introduced experimental approaches aligned with the spirit of the times, particularly influenced by postmodernist movements that offer innovative formulations departing from traditional norms. One of the most prominent aspects of this shift is the reconfiguration of the theatrical atmosphere through the subversion of spatial construction and the deconstruction of architectural logic. This approach replaces rational spatial contexts with illogical, alternative spaces—those which have emerged in the works of contemporary directors and are notably rooted in the theatrical visions of Joseph Chaikin and Robert Wilson.
The innovative use of space plays a central role in such works, employing compositional elements that evoke worlds of haunting nightmares. Based on this, the researcher identified an opportunity to examine the nightmarish quality of dream like spaces and their manifestations in Iraqi theatrical performances. The play Red Line is selected as a case study to explore the spatial construction indicators that govern the performance. These are analyzed in detail at the applied level and discussed in the research findings and outcomes.

Over the history of cinema, numerous experiences have accumulated in composing music for films, evolving from live accompaniment in silent cinema to becoming an organic component that contributes to shaping meaning and generating emotion. This study aims to analyze the skills involved in selecting and employing film scores in Kurdish cinema by examining compositional methods, strategies of integrating audio and visual elements, and the extent to which this contributes to creating a distinct auditory identity that reflects the cultural and emotional themes of Kurdish films. The significance of this research lies in its contribution to providing a scientific framework that documents a marginalized cinematic experience and reveals the potential of music in constructing meaning within the Kurdish context. The first chapter presents the methodological framework, including the research introduction which addresses the role of music in shaping audiovisual discourse and raises the central research question: What are the artistic skills required for selecting music in Kurdish cinematic films? And how can their level be assessed within the general artistic and cultural framework? The second chapter, the theoretical framework, consists of four main sections: the first discusses the development of cinematic music and its stages of aesthetic transformation; the second examines the essential components in composing and preparing film scores; the third focuses on the perspectives of prominent directors regarding film music; and the fourth provides an overview of the history of Kurdish cinema. The third chapter details the research procedures, adopting the descriptive analytical method and analyzing a sample from the film Zagros, selected for its distinctive dramatic tone and precise use of Kurdish music within a European narrative structure. The fourth chapter is dedicated to presenting and discussing the findings. The study reveals that music in Kurdish cinema is not used as a decorative accompaniment, but rather as a meaningful dramatic element that shapes identity and expresses themes of exile and belonging. The research concludes with key findings and recommendations, followed by footnotes and references.

Over the history of cinema, numerous experiences have accumulated in composing music for films, evolving from live accompaniment in silent cinema to becoming an organic component that contributes to shaping meaning and generating emotion. This study aims to analyze the skills involved in selecting and employing film scores in Kurdish cinema by examining compositional methods, strategies of integrating audio and visual elements, and the extent to which this contributes to creating a distinct auditory identity that reflects the cultural and emotional themes of Kurdish films. The significance of this research lies in its contribution to providing a scientific framework that documents a marginalized cinematic experience and reveals the potential of music in constructing meaning within the Kurdish context. The first chapter presents the methodological framework, including the research introduction which addresses the role of music in shaping audiovisual discourse and raises the central research question: What are the artistic skills required for selecting music in Kurdish cinematic films? And how can their level be assessed within the general artistic and cultural framework? The second chapter, the theoretical framework, consists of four main sections: the first discusses the development of cinematic music and its stages of aesthetic transformation; the second examines the essential components in composing and preparing film scores; the third focuses on the perspectives of prominent directors regarding film music; and the fourth provides an overview of the history of Kurdish cinema. The third chapter details the research procedures, adopting the descriptive analytical method and analyzing a sample from the film Zagros, selected for its distinctive dramatic tone and precise use of Kurdish music within a European narrative structure. The fourth chapter is dedicated to presenting and discussing the findings. The study reveals that music in Kurdish cinema is not used as a decorative accompaniment, but rather as a meaningful dramatic element that shapes identity and expresses themes of exile and belonging. The research concludes with key findings and recommendations, followed by footnotes and references.

Domes and minarets are among the most significant architectural elements that distinguish the Islamic style. These two structures are closely associated with the religious and aesthetic identity of Islamic buildings, especially mosques. Domes represent a remarkable embodiment of both engineering and artistic advancement, characterized by their elegant and adaptable designs, which appear in a variety of forms such as circular, conical, and polygonal domes. Domes were used to create spacious and open interiors in mosques, enhancing spiritual and contemplative atmospheres through natural lighting and intricate ornamentation.
Minarets, on the other hand, serve as beacons that guide people to places of worship and announce the call to prayer. They have become visual symbols of mosques throughout the Islamic world. Minarets are distinguished by their slender and graceful designs, which vary across regions and reflect local architectural styles and engineering innovations. Over the centuries, these structures evolved to become integral to the identity of Islamic architecture, designed in ways that allow muezzins to ascend easily to perform their duties.
This study traces the historical development of domes and minarets from the early Islamic periods to the modern era, focusing on their engineering and artistic aspects. It also highlights the influence of Islamic architecture on other cultures and the global spread of these iconic elements. The study underscores how domes and minarets are not merely functional components but artistic masterpieces that embody the spirit of Islamic civilization, showcasing its unique synthesis of beauty and function.

The current study aims to explore the impact of Ausubel's theory and its effects on developing art skills among students of art education, using the elements of art as a model. The research highlights the role of an effective educational environment in enhancing the art education system through the application of Ausubel’s learning method. This method seeks to create an environment that fosters the balanced development of the learner’s artistic personality, integrating cognitive, skill-based, psychomotor, and emotional aspects. Such an environment enables students to imagine, perceive, and benefit effectively from artistic situations, thereby accelerating the acquisition of knowledge and improving educational quality in line with Ausubel’s theory.
The research problem was defined by the following question: What is the impact of Ausubel's theory on developing art skills among students of art education in relation to the elements of art? This was followed by the statement of significance, objectives, and the definition of terms. The theoretical framework addressed Ausubel’s theory, its concept, and main features. The research reached several conclusions, including that Ausubel’s theory contributed to shifting the educational process from traditional methods to a new learning approach centered around students. This shift led to increased self-confidence among students and provided them with the opportunity to take control of their learning of art elements, thereby enhancing their understanding of practical and technical applications. Consequently, students' learning skills were significantly improved.

Abstraction is considered one of the most essential principles that designers must apply in the field of interior design for elderly care homes, which relies on simplicity and minimalism. Abstraction thus represents an important technical variation in the design processes, which are often described as complex and interwoven, through which designers aim to achieve the functional and aesthetic objectives of interior spaces. This research addresses the following question: Do abstraction and its minimalist dimension impose specific requirements in the design of interior spaces in elderly care homes?
The first chapter includes the research objective, which is to identify the abstract and minimalist design requirements in the interior design of elderly care facilities. The researchers defined the key terms related to the study as foundational concepts and outlined the research boundaries as a comparative study between elderly care homes in Iraq and the United States from 2010 to 2020. The second chapter presents the theoretical framework, which consists of two sections: 1- Abstract thinking and its minimalist dimension in design. 2- The abstract design requirements and their impact on the quality and safety of spaces in elderly care homes. The third chapter covers the research methodology, which employs a descriptive approach and comparative analysis to reach conclusions that fulfill the research objectives. The fourth chapter presents the findings and conclusions of the study, along with recommendations and suggestions for future applications.