Fine Arts

Kufic script is one of the oldest Arabic scripts and has developed over time until it reached the Kufic structures we know today. Calligraphers have exploited its letters that can be decorated, as it is the most fortunate script in the field of ornamental decoration, in addition to its mathematical beauty, as it is a geometric script with sharp angles. This research includes four chapters, the first of which represents the adopted methodology, starting with the research problem, importance, and the research objective, which is to identify (the integration of structure and meaning in the Kufic Arabic script), then the limits of the research, which was limited to Iraq from (1432 AH - 1445 AH), and determining the terms and definition of what was mentioned in the research title (Integration - Structure - MeaningThe second chapter is devoted to the theoretical framework, divided into two sections: the first deals with the concept of integration, while the second addresses the structure of the decorative text and its variations through design relationships and their application, as well as the relationship between the decorative form of the text and its meaning as a reading function. The third chapter addresses the research procedures, including methodology, the research community and its tools, sample selection, and analysis. The fourth chapter is devoted to the results, recommendations, and proposals)

The research problem is represented by the weakness of students' skills in artistic works within the subject of art education according to the exploratory study that the researcher applied to a sample of students in the subject of art education, which affects their learning. Therefore, the research aims to identify the effect of a strategy based on educational tasks in developing students' skills in the subject of artistic works compared to the traditional method. The research used the experimental method, where a sample of students was selected from a middle school in Baghdad. The sample was divided into two groups: experimental and control. The experiment was applied and using the t-test, the results showed that there is a difference between the performance of students who studied using the strategy based on educational tasks and those who learn using the traditional method.

The researcher concluded several results, the most important of which is that the strategy based on educational tasks has a statistically significant effect on developing students' skills in the subject of artistic works.

Based on these results, the researcher recommends:
1. Use the strategy based on educational tasks in teaching the subject of artistic works.
2. Provide the necessary training for teachers to use a strategy based on educational tasks.

The current research aims to investigate the effect of the MURDER strategy on enhancing the cognitive motivation of students in the Department of Art Education, specifically in the subject of Methods of Teaching Arts.
To achieve the research objectives, the researcher formulated a number of hypotheses and discussed the results accordingly. The study was limited to:
Fourth-year students in the Department of Art Education.
College of Basic Education, Al-Mustansiriyah University.
First semester of the academic year 2024-2025.
Methods of Teaching Arts as the subject of study.
The researcher adopted two research methodologies: the descriptive method, applied to construct the measurement tool, and the experimental method, specifically the two-group experimental design, to assess the strategy’s effect. Accordingly, the research required the preparation of two instruments:
1. An achievement test consisting of 20 items.
2. . A cognitive motivation scale, comprising 10 items distributed across three domains based on a three-point Likert scale.
The research sample included 40 students from the department, with equivalence established across several variables. The researcher personally taught both the experimental and control groups over a six-week period. The psychometric properties of the research instruments were determined, and various statistical methods were applied to analyze the data using SPSS software.The research findings demonstrated that the MURDER strategy had a significant effect on enhancing the cognitive motivation of Art Education students in the Methods of Teaching Arts course
.Based on these findings, the researcher formulated a set of conclusions, recommendations, and suggestions for further research.

This study seeks to explore how to employ the social transformations of the Iraqi society in Iraqi songs through texts in the form of narrative storytelling linked to the beauty of the melody through a distinctive type of singing in Iraqi music, namely (Basta Baghdadi), as the circumstances of Iraq were characterized by major events with diverse social secretions, the topics of which were reflected on the poets to include them in the texts of their songs in the form of narrative storytelling
The texts of (Basta) were inspired by their expressive meanings from aspects of daily social life, noting and documenting a specific historical event or social occasion, to express a close mental image in the individual and put him in a positive interactive position and an attractive means of entertainment, and it drew the attention of composers towards it and attracted recipients to it due to its rapid spread and ease of memorization and it continued to be circulated among members of society. The research came in four chapters, the first of which included the methodological framework of the research, and the second chapter dealt with the theoretical framework and the first section included the emergence and development of the Baghdadi Basta, while the second section included: First: Methods of composing lyrical poetry in Basta, Second: The musical meters accompanying Basta, Third: The types of Basta entry when singing, and the third chapter included the research procedures and analysis of the selected sample according to the descriptive analysis method, and the fourth chapter came with the results it reached, including.
1- Basta is a song with two sections, the first is the refrain and the second is the branch (couplet), and its maqam is from the same tune with which the Iraqi maqam is performed, and its construction depended on a musical introduction, then the refrain, then similar couplets.
2- Most of these Basta were accompanied by traditional instruments made of wood such as the nut and the santur, and instruments made of pottery such as the riq and the tabla.
3- It has a single melody (monophonic), consisting of a repeated
refrain and couplet, with the words often changing.

The emergence of the first architectural manifestations that go back to the beginnings of the advancement of Islamic intellectual concepts in their search for signs of urban revival and the formation of their identity in this art can be traced back to the construction of the first mosque of the Prophet Muhammad in Medina with the beginning of the history of the Prophet’s migration to it in the year (622 AD), from which the artistic developments continued in succession in This field to catch up with it, and after a short period of time, the manifestations of formation and decorative formation of its various types, which spread remarkably to integrate with what was drawn by the signs of artistic renaissance in Islam and to seize the place of the vanguard within those arts until Islamic art was called for a period of time by decorative art, and these decorative symbols accompanied the entirety of it. Islamic arts, including the arts of architecture, both religious and civil, but by virtue of the conceptual structure of the Islamic religion, they took an abstract pattern in which their forms were distanced from the objective and disciplined analogy with their counterparts in the real world. The religion, which is based on the topic of our research paper, is to highlight the most important semiotic readings of its forms The decorative facade of its main entrance .

This research explores the aesthetic and functional dimensions of interior designs for fashion show runways, with a focus on creating an atmosphere that mirrors the elegance and luxury of the fashion industry. This is achieved through the use of premium materials and unique designs that blend modernity with tradition.
Functionally, the designs aim to provide ample space for models and guests, ensuring optimal viewing from all angles. Lighting is crucial for highlighting designs and creating the show's ambiance. Runways also facilitate smooth movement, crowd flow, and provide spaces for photography and related events.
Research shows that lighting significantly enhances the visibility of clothing designs and details, contributing to the overall atmosphere and appeal of the show. Fashion show runways serve as vital platforms for promoting fashion, boosting designers' success, and fostering business relationships by showcasing the latest trends.
Key findings indicate that lighting accentuates the details, textures, and colors of garments, and that runway designs vary based on designers' artistic visions, drawing inspiration from themes like nature, culture, and art.
The research concludes with a list of sources and appendices, underscoring the importance of both aesthetic and functional aspects in the success of fashion show runway designs.

The concept of "rhizome" emerged within cultural/philosophical studies through concepts of otherness, connection, and plurality, which are not linked to a unifying origin. These concepts rely on the complex, interwoven, and interconnected networking that conveys broad meanings and connotations, establishing an aesthetic and intellectual abundance represented by the performance of the contemporary Arab theatrical actor.
The first chapter included the research problem that revolved around the following question: (What is the rhizome and what are its manifestations in the performance of the contemporary Arab theatrical actor?). The importance of the research that sheds light on (the rhizome) as a cultural and philosophical concept that dominated the cultural races in the late 1980s, and clarifies its features, mechanisms of operation and crystallization in the performance of the contemporary Iraqi theatrical actor. The importance of the research comes in accordance with the contribution of the rhizome to the growth of the performance sense (of the actor/actress) through the acquisition of the skills of observation, comparison, data collection and anticipation in order to launch, escape, expand and enrich integratively with branches, communication and rhizomatic intertwining that reflects the function of (the actor/performer) and adds pleasure, suspense and intellectual excitement to the reception process. The aim of the research sought to: identify the rhizome and its manifestations in the performance of the contemporary Arab theatrical actor. The temporal boundaries of the research were determined: (2021-2022), the spatial boundaries: Iraq/Baghdad, and the boundaries of the subject: studying the rhizome and its manifestations in the performance of the contemporary Arab theatrical actor, in addition to defining the terms that appeared in the title of the research.
The second chapter (the theoretical framework) consisted of two sections; the first was entitled: Contemporary Philosophical Illuminations on the Concept of the Rhizome, and the second was entitled: The Rhizome and Its Representations in the Actor's Performance of International and Arab Theatre Performances. It included the performances of the American actress and dancer Twyla Tharp, the experiences of the German actor and director Frank Castorff, the works of the Italian actor and director Romeo Castorff, and the experiences of the Belgian actor and director Jan Fabre. The section dealt with Arab theatre through the experiences of the Palestinian/Jordanian actor and director Hakim Harb, the works of the Algerian director Mohamed Charshal, the experience of the Image Theatre of the Iraqi director Salah Al-Qasab, and the works of the Iraqi actor and director Anas Abdul Samad in the Impossible Troupe within what is termed (meta-narrative). After searching and investigating in the libraries of Arab and Iraqi colleges of fine arts, and electronic websites, the researcher did not find a previous study on the rhizome and its manifestations in the performance of the contemporary Arab theatre actor. The third chapter was devoted to the research procedures. The research community was identified and included the Arab theatrical performances that participated in the Baghdad International Festival in its second session in 2021 and its third session in 2022. It was identified as (26) Arab theatrical performances presented on the stages of the Iraqi capital, Baghdad. The researcher extracted the research sample from these performances, which included three theatrical performances: the first performance (Ismail's Places), directed by (Ibrahim Hanoun) from Iraq, the second performance (The Night of Sculpture), directed by (Ayad Al-Raymouni) from Jordan, and the third performance (Shat A Ra), directed by (Amin Nasour) from Morocco. The researcher used the descriptive approach in analyzing the research sample, relying on the indicators resulting from the theoretical framework as a tool for analyzing the sample. The fourth chapter included the results, conclusions, recommendations and suggestions, and the research concluded with a list of sources and references.

Trying to create all theof the theater's components requires the effectiveness of the functions and configurations of the place, as we are constantly trying to discern the limits of the theater's work as part of the stage locations.We are constantly trying to identify the limits of the theater's work as part of the stage locations that resist the phenomena of space and its reflection on the audiencethat resists the phenomena of space and its reflection on the audience that seeks to explore the components of the theater performance
in different locations based on the principle of how to add and shape the direction of semantic transformation in ain a specific environment such as a theater performance, which is the main question of the title.The research contains the first chapter: FrameworkThe methodological framework and its methodological requirements, especially the main question in revealing the concept of semantic transformation within the theater showThe title was divided into two sectionsThe first : The first was the semantics of the theater show and the second: Semantic transformation in the theater performance.Some of the research indicators from the second chapter and matching them with the research sample resulted inThe results of the research in the fourth chapter: They were as follows:
- 1 The semantics of the actor's movement in the play (Othello in the kitchen), to give the connotations of the place andevent and social color connotations inthose performances .
The researcher concluded : Referral and embedding is the closest form of transformationFrom the function of the static text to the moving show.
The researcher recommended and suggested that the researcher access
Arabic sources . I hope that I have succeeded in my endeavor to solve the research issue.Translated with DeepL.com (free version)

The research titled \"Sufism and Its Representations in Minimal Art\" consists of four chapters. The first chapter is dedicated to the methodological framework of the research, concluding with the research problem encapsulated in the following question: What is Sufism in Art, and what are its representations in Minimal Art? This chapter also includes the research objectives, its significance, and the need for it.The second chapter addresses two main topics: the first is titled \"Sufism: The Origin and Expansion of the Thought,\" while the second focuses on \"Minimal Art.\"The third chapter is devoted to the research procedures. The researcher intentionally selected three models and analyzed them using the descriptive approach (qualitative content analysis method) based on indicators from the theoretical framework.The fourth chapter presents the research findings, which include: 1- Sufism is represented in Minimal Art through the shared pursuit of truth by embracing asceticism in life and art, relying on the simplest elements to achieve spiritual purity.2-Intuition represents the most appropriate path to achieving knowledge and goals in Sufism, which we find represented in the art of the minimalist.
.As for the conclusions: 1- Minimal Art represents an alternative movement in the trajectory of global art by utilizing minimal materials, whether drawn or ready-made, and employing them in the creation of artistic works. 2- The influence of Eastern thought in general, and Islamic thought represented by Sufism in particular, on global and Western art movements.
The search ended with recommendations, proposals and a list of sources.

In recent decades, the world has witnessed rapid technological developments that have made many significant changes that have affectedThe lives of peoples, and among the most important of these developments in the field of information and communication technology is the emergence of ,The Internet that made the world look like a small village, and that serves individuals and societies in many and many ways.The Internet has become a tool for dealing in various fields and during this period we have witnessed several revolutions in the use ofThe Internet is one of the most important marketing areas.The technical production institutions have become aware that the secret of their survival and development is to preserve and attract the recipient, as most of the satellite channels have created their own websites to display through them all the dramatic programs and series that are shown on their own screens, and the electronic advertising is considered one of the most popular promotional means. Towards social networking sites, including Facebook, YouTube, Twitter, Instagram and others (Social Media).The satellite channels took advantage of the electronic advertisement to bypass all spatial limits in light of the increasing promotion, shortening the effort, time and money, to influence the recipient, his intensity and his conviction to follow the remaining events of the series.And the focus of our study revolves around (How to draft the advertisement for the TV series in the Social Media?), And we chose Facebook as a form to know the effectiveness of this promotional medium for TV drama.Thus, our study included four forced chapters as follows:The methodological framework: in which we identified the study thanks, and the most important topic, their studyThe objectives are to achieve them, and to clarify the terminology of study.The second chapter, theoretical framework and previous studies: It consists of three topics, the first topic is the electronics declaration, and an agreement was taken, and we dealt with it in advance of Jehovah's announcement of electronics and installations to it.As for the second topic, factors of the emergence of electronic advertising and its features, and the third topic, drafting ads for the TV series via Facebook As for the third chapter, the research procedures: we dealt with the tool that was used to collect data, present study areas, the research community, and sample characteristics. As for the fourth chapter, analyzing the samples and discussing the results: we presented the sample that was intentionally chosen, and we presented the results and conclusions after analyzing the sample. Then we clarified the most prominent recommendations that we reached. And a list of the most important sources used in the research.

The twentieth century was characterized by digital scientific and technological progress and all the industrial wealth and technology that accompanied artistic activity. We find that many changes have appeared at the level of artistic work in general and the theatrical field in particular. The theatrical performance became a field for practicing experimentation with different materials and adding new digital technical practices, which led to the emergence of... Many modern artistic concepts. The scenographic designer was interested in experimentation and research to give a new scenographic expressive image to the design visions of the theatrical display elements so that they fit the contemporary intellectual dimensions of the culture that keeps pace with contemporary art based on the material and the aesthetic variables and expressive practices that arise from it, so that the scenographic designer becomes in possession of the material and extracts its aesthetic elements. Investing all its capabilities in conveying the aesthetic and artistic idea embodied in the elements of the theatrical presentation.
This openness in collecting many materials has led to more freedom and freedom in the field of discovering new materials and using ready-made materials on stage within the show, including expressive values and plastic solutions. These different materials that make up the elements of the theatrical show began to invade the theatrical show, and with their entry at that time new concepts and trends emerged. There is a lot of art in postmodernism, including assemblage art... (Pop art, minimalist art, conceptual art) and other different trends. In this research, the researcher tries to benefit from the artistic and technical features of one of the postmodern arts, which is assemblage art.

The current research aims to:
1. Develop an educational program based on the Cultivation Theory.
2. Measure the effectiveness of the educational program in acquiring the subject of aesthetics among students of the Art Education Department.
3. Measure the effectiveness of the educational program in increasing cognitive flexibility among students of the Art Education Department.
The research is limited to students of the Art Education Department in the Open Educational College / Diyala Study Center for the academic year (2024-2025), the educational content of the aesthetics subject, and the educational program prepared by the researcher based on the Cultivation Theory.
The researcher adopted two research methods: the descriptive and experimental method. The research sample consisted of 40 male and female students from the department, among whom the researcher ensured homogeneity and equivalence in several variables. The researcher applied the experiment, which lasted for eight weeks, and used two tools: the first was the achievement test, consisting of 12 multiple-choice items, and the second was the cognitive flexibility scale, consisting of (12) five-alternative items. The psychometric properties of both tools were extracted. Statistical means were applied using software
The results of the research revealed the effect of the educational program based on the Cultivation Theory in acquiring the subject of aesthetics and increasing cognitive flexibility among students of the Art Education Department. Based on the findings, the researcher provided conclusions, recommendations, and suggestions.

With the emergence of technology and its use in the modern production process، it has become possible to create a modern form of performance that is completely different from previous performances in traditional theater. Stage design using digital (computer) technology is a modern art form and achieves the greatest degree of interaction and relationships between theater and audience. The use of digital technologies by theater directors and designers is due to two main reasons: the search for new theatrical forms، and also the need to attract new audiences to the theater and convey creative thought to that audience by combining traditional theatrical forms with modern technologies، which is what digital theater seeks to achieve. Therefore، the researcher divided his research into: Chapter One: The Methodological Framework، which includes the introduction، then the problem and the need for it، then the research methodology، the importance of the research، the research objective and its limits، and a definition of terms.
Chapter Two: The Theoretical Framework. This chapter includes two sections focused on achieving the research objectives. The first section deals with directing methods in traditional and digital theater. The second section addresses the transformations of digital performance in theater and their impact on the audience، firstly through digital technologies and their impact on theatrical performance، and secondly، the impact of the digital transformation on the audience.
The research procedures are as follows: the research community، the research sample، the research methodology، an analysis of the play (U92)، the results، their discussion، and conclusions، and a list of sources and references

Chapter One
Artwork consists of several elements, the most important being line and color. These elements give the artwork its final form, especially in painting and sculpture. Each of these branches has its distinct characteristics. Painting involves a two-dimensional surface, dealing with length, width, colors, and lines, while sculpture uses materials with mass and volume, such as marble, bronze, clay, and recently introduced materials derived from petrochemicals and recycled substances. However, many artists have transcended this classification and separation between the two art forms, integrating them in ways that make it challenging to distinguish or categorize their work as either painting or sculpture.
Thus, the research problem can be framed with the following question:
"How are the technical intersections between painting and sculpture represented in contemporary Iraqi artworks?"
The research identified the key terms ("intersections" and "technical") and defined them linguistically, philosophically, and procedurally. The spatial boundaries for the artwork were exhibition halls and private collections, while the temporal boundaries spanned from 1984 to 2023. The thematic boundaries focused on studying the technical intersections between painting and sculpture in contemporary Iraqi art.
Chapter Two
This chapter includes three sections:
1. The first section addresses the key elements of artwork—color and line.
2. The second section discusses technical intersections in European and American visual arts.
3. The third section examines technical intersections among Iraqi visual artists.
Chapter Three
This chapter analyzes the research sample, consisting of five models.
Chapter Four
This chapter presents the key findings and conclusions, as follows:
Findings:
- Painting and sculpture, as practiced by the artists in the sample, complement each other. For some artists, painting precedes sculpture; they sketch their sculptures before transforming them into three-dimensional forms.
- The artists in the sample strive to produce works that combine painting and sculpture by using diverse artistic and constructive materials that blend the techniques of both art forms in their shapes and textures.
- The creation of sculptural notebooks and the effort to shape them with new artistic representations reflect the artists' extensive expertise in both painting and sculpture.
Conclusions:
- The elements of artwork, such as color and line, used in both painting and sculpture, are symbolic and expressive, serving as the primary drivers in revealing the artwork.
- Art has evolved among many artists in the sample, becoming liberated from the constraints that traditionally separated painting from sculpture. The distinction between the two art forms has been virtually eliminated.

The artistic work is a product of human awareness based on understanding. It carries a language that speaks to others, in accordance with the nature of understanding, which seeks to reveal the character of relationships and events and their sequence and to communicate an idea through the artistic work. Artistic discourse has an active role in a person’s life, as he interacts with him through his cultural awareness and the nature of the environment, and carries out the process of interpretation and interpretation intuitively. The artistic work is a source It is important in directing the recipient’s thoughts through its structure, that is, the content of the idea that carries within it a historical or cultural specificity resulting from the ideology of aesthetic contemplation. This research focuses on the role of the discourse, the structure of the artistic discourse of the Freedom Monument as a model, and the influences of the general environment and its impact on the forum. It consists of four chapters. The first chapter is the methodological framework of the research. It is concerned with presenting the research problem, which is defined in the following question Do the structure of the freedom artistic discourse and the influences of the general environment have an impact on the forum, the Freedom Monument, as an example? influences of the general environment have an impact on the forum?The importance of the research was demonstrated by studying the levels of artistic discourse and the structural displacements of (Jawad Salim), because of their clear effects on the nature of contemporary sculpture. The structure of artistic discourse can contribute to spreading thought and cultural awareness because it targets all classes of society and provides a basis for introducing the nature of the intellectual structure of artistic discourse in the Freedom Monument, which represents a model for an important period of The modern history of Iraq and the need for reading is concerned with reducing the forces pressuring people and the crises that afflict the social, political and moral systems that ideologies art, and the impact of this on aesthetic taste ,Its objectives were defined in studying the following: First: studying how artistic discourse is employed in a manner that works to spread awareness and cultural and civilizational values.secondly: Revealing the function of the structure of artistic discourse in the Freedom Monument and the influences of the general environment and its impact on the forum. The chapter concluded by defining the basic terms mentioned in the text of the title As for the second chapter: The theoretical framework, it included two sections, the first concerned with studying the topic of the emergence of artistic discourse, and the second section dealt with the study of: analyzing the structure of artistic discourse. The chapter concluded with the indicators that resulted from the theoretical framework, while the third chapter included: research procedures, which are the research community, its samples, tools, and the research methodology, and a number of examples of artistic works were selected.
As for the fourth chapter: it contained the results reached by the researcher. The chapter also contained a set of recommendations and was supported by sources and references. The research concluded with a summary in English

The study dealt in the first chapter with the research problem, which shed light on understanding the structure of the elements of melody in the music of the Mandaean hymns, through the formulation of the research title
(The melodic structure of the music of the hymns of the monotheistic religions, the Sabian-Mandaean in Iraq as a model)
Hence the importance of research, and the definition of terms
The second chapter (theoretical framework) came to define the concept of structure, artistry, structure in music, the structure of melody and rhythm in the music of peoples, a brief history of chanting in the civilization of Mesopotamia, the structure of religious chanting in contemporary Iraq, up to the forms of musical sentences in the musical construction, and we touched on the reality of religious chanting music when monotheistic religions in Iraq, and then the reality of the melody element in the music of the rituals of the Sabean Mandaean religion in Iraq.
The third chapter dealt with the total research community, which amounted to 4 samples, and the research sample, which amounted to two samples by 50%, out of the total research community.

An artist's artistic identity reflects his individuality and self-expression, yet it is inevitably influenced by the social and cultural environment surrounding him. It emerges from a dynamic interaction between the artist's creative experience and the cultural influences of their society. Artistic styles do not develop in complete isolation; rather, they interact with various social and intellectual transformations. Consequently, artists may find themselves in a struggle between preserving their personal identity and assimilating external influences, which may stem from their own society on one hand and from different cultures on the other. Interaction with other cultures can lead the artist to reconsider their expressive techniques, opening new artistic horizons that may result a radical transformations in their style. This study aims to highlight how an artist's identity is shaped through his creative experiences on one hand and through cultural interactions with others on the other, as well as the extent to which such cultural exchanges influence artistic development while preserving artistic and cultural identity.
Accordingly, the study poses the following research questions: How is an artist's artistic identity formed? How do other cultures influence the construction of their identity and style? And can we speak of an independent artistic identity in the context of such interactions? To address these questions, we adopt a descriptive and analytical approach to examine and analyze examples from modern visual art, focusing on the works of prominent European artists such as Paul Gauguin, Henri Matisse, Vincent van Gogh, and Pablo Picasso. The objective is to explore the transformations in their artistic styles, understand the conditions that shaped their unique artistic identities, and examine the impact of cultural influences on the formation of these identities.

Understanding the artistic discourse in contemporary art poses a fundamental problem related to the multiplicity of meanings and the diversity of interpretations between the artist and the recipient, raising questions about the effectiveness of this art in achieving communication. In light of the stylistic pluralism and excessive symbolism that characterize contemporary works, it becomes difficult to find a unified framework for understanding, leading to significant variations in the interpretation of artistic messages. Additionally, the absence of traditional narrative and the entanglement with complex social and political issues further complicate the process of reaching a shared understanding. Consequently, the problem lies in how to build bridges for artistic communication that balance freedom of artistic expression with the audience's ability to comprehend these works beyond cultural and cognitive barriers.

Movement in theater is one of the most essential expressive tools that an actor relies on to convey ideas and themes to the audience. It is not merely physical motion within the theatrical space but rather a visual language that carries symbolic meanings and enhances the impact of the performance. This research aims to study the mechanisms of semantic construction in the actor's movement in Iraqi theater, focusing on how movement is employed as a fundamental element in generating visual meanings that integrate with the text and acting performance. The study analyzes the role of movement in conveying meanings and explores the performative techniques used by Iraqi actors to enrich the theatrical scene. It specifically examines how meaning is constructed through the actor's movement in Iraqi theater, where movement serves as an expressive tool carrying symbolic meanings that help communicate ideas and themes to the audience. Additionally, the research explores the methods, techniques, and constraints involved in the process of movement-based semantic generation that actors rely on in shaping their movement within the theatrical space and its impact on highlighting dramatic messages.

Children's theater in particular constitutes an essential element in directing the child's imagination and mind towards the best because of its special skills and methods that enhance his attention and attraction to it, and thus it is easy to spread educational and moral values and improve the child's skill, especially through spontaneity and repetition. The current research focuses on shedding light on two main contexts in the actor's work in children's theater performances. The first is the context of repetition, which is a method that is positioned within the mechanisms of repeated movements and sounds and ready-made images framing the character. As for the spontaneous context of the actor, the actor represents a diverse method in presenting the character through the actor's unique skill with voice and body and in a manner that is consistent with the child's imaginative and behavioral ability. Among the most prominent conclusions reached by the researcher are:
1- The skill (the skill of performing acting roles) is considered one of the most important experiences undertaken by the theatrical actor in general and the actor in children’s theater in particular .
2- The actor must have a continuous workshop on his performance of the character and work on innovation and discovery during rehearsals .
3- The actor in the children’s theater needs specifications that he can only obtain through his awareness and awareness of the age groups to which he presents that show or play.

History is a field that does not stand on a single direction. To consider history as a past event is ignorance in and of itself. History is an ongoing, dynamic debate that is not static, as long as there is a movement of research, observation, discovery, and exploration for complete information to explain that historical event. As long as there is a thinking mind and intellect, history is neither static nor rigid at the end of time. The evidence is that philosophy, art, and social culture explore the past in order to explain the present and explore the past in order to shape the human future. Therefore, history cannot be separated from the stimuli of reason, and therefore history can be described as rational. Therefore, the research includes four chapters. The research problem is defined by the following question: What is the dramatic role of history in the theatricalization of Khazal Al-Majidi's theatrical texts?
The second chapter (the theoretical framework) includes two sections. The first addresses the manifestations of the historical relationship in theatrical drama, while the second addresses the structure of the historical event in the theatrical text. The third chapter takes the text of the play "Sidra" as an intentional model for the research sample. Through its analysis, a number of results are obtained, which are discussed in the fourth chapter, in addition to the conclusions.

The conflict that results between intellectual freedom and the restrictions imposed on individuals within society is not an issue rooted in human interaction with his environment. This conflict arises as a result of the tension between the individual's desire to express his thoughts freely and the values, rules and traditions that society sets to control behavior and protect its stability. The individual always seeks to practice freedom of thought and express his opinions, while societies impose social, cultural and political restrictions surrounding individuals from every side. Here, the researcher tries to shed light on the concept of intellectual domestication in the theatrical text. The research included four chapters: Chapter One, the methodological framework, which addressed the research problem, its importance and the need for it, and the research objective represented in identifying the concept of intellectual domestication in the theatrical text and the mechanisms of influence and control, in addition to the limits of the research and defining the terms. As for Chapter Two, it consists of two topics: the first is the concept of intellectual domestication, and the second is intellectual domestication in the theatrical text. The chapter ends with indicators of the theoretical framework. As for Chapter Three, it included the research procedures, by defining the research community, as the researcher relied on indicators of the theoretical framework in the laboratory of sample analysis, selected in the form Intentional, as the fourth chapter included the results and conclusions as well as sources and references.

The roots of this topic extend deep into the early theatrical text, dating back to the emergence of theatrical art, which was influenced by social and cultural values throughout history. The research includes four chapters. The first chapter addresses the research problem, which revolves around the question: "What is the poetic image of advertising discourse in a theatrical text?" The research objective was to identify the dimensions of the poetic image of advertising discourse in a theatrical text, and to uncover the advertising effect of theatrical discourse according to the mechanisms produced within the theatrical text. The study limits (1987-2000), for the city of Baghdad, for the texts of the Iraqi playwright (Falah Shaker), and the second chapter which contained two sections: the first, the researcher addressed the advertising discourse in conceptual rooting, as well as the poetic image and the dramatic advertising image in the dramatic text, as for the second section, the researcher presented the subject of the poetic image of advertising in the theatrical text, as for the third chapter which contained the research procedures and the research community for the years that extended (1987-2000) for the texts of the writer (Falah Shaker), and the research concluded with a number of results and conclusions in the fourth chapter.

The current research dealt with the study of (Developing aesthetic taste using Hermann patterns in art education for students of the Institute of Fine Arts - Design Department) and consists of four chapters. The first chapter was devoted to explaining the methodological framework represented by the research problem that sheds light on developing aesthetic taste using Hermann patterns in art education for students of the Institute of Fine Arts. The first chapter also contained the research objective, which is developing aesthetic taste for students of the Institute of Fine Arts (Design Department). The research limits were limited to students of the Institute of Fine Arts (third stage). The second chapter included three topics. The first topic dealt with the concept of aesthetic taste and its importance, while the second topic included Hermann patterns, definition, principles, and uses. The third topic included art education in enhancing aesthetics. The third chapter included research procedures. The researchers relied on the descriptive analytical approach to study the extent of developing aesthetic taste for students of the Institute of Fine Arts, and the semi-experimental approach to determine the change in aesthetic taste before and after a certain period of learning and experience. Chapter Four included the most important results: a noticeable improvement in the aesthetic taste of the students after a period, which indicates the effectiveness of the experiment. As for the most important conclusions: the difference in responses among the students based on various factors such as artistic background, previous experiences, and interaction with artistic content

Educational theater is one of the most important educational tools that contribute to developing creative skills and critical thinking in learners, as it provides an interactive environment that combines art and education. In this context, minimalism has emerged as a modern approach that can be employed to enhance the effectiveness of educational theater by reducing visual and physical elements and focusing on the essence of the theatrical idea.
The educational process faces increasing challenges in stimulating creativity and critical thinking in students, especially given the reliance on traditional methods that focus on indoctrination rather than interaction and intellectual production. Despite the significant development in educational theater, there is still a lack of studies examining the role of modern visual methods, such as minimalism, in enhancing creative skills. Hence, the research problem is to analyze the effectiveness of minimalism as a visual and educational approach in educational theater, and the extent of its ability to stimulate intellectual and creative interaction among learners. The current research included four chapters: The first (the methodological framework) includes the research problem, which the researcher defined with the following question: (To what extent does the employment of minimalism in educational theatre contribute to the development of creative skills and critical thinking among learners?), then came the research objective, which was represented by the following objective (highlighting the educational dimensions of minimalism in educational theatre, and demonstrating its impact on the development of creative skills among learners, through analysing and employing the principles of simplification and abstraction in educational theatrical performances). Then the researcher set limits for the research, then the researcher concluded the first chapter with the terms included in the research title. As for the second chapter, it included a presentation of the theoretical framework, which came to consist of three topics: the first topic is the concept of minimalism and its historical development, the second topic is the educational dimensions of educational theatre, and the third topic is the educational impact of minimalism in the development of creative skills. The third chapter presents the research procedures in terms of the research community, which included five theatrical performances. The chapter also includes a research sample consisting of one play ( ) chosen intentionally. The research relies on a descriptive-analytical approach, studying and analyzing the theatrical performance. The research also discusses the effect of reducing visual elements (such as decor, costumes, and lighting) on enhancing the audience's attention and increasing their focus on the core idea of the play, which contributes to raising the level of reception and comprehension.

The image of the other includes forms and concepts with multiple and complex ramifications, in addition to the understandable use in the cultural field of the dominant authority on both sides of the conflict between the self and the other, thus forming the image of the self that has turned against itself to reproduce the other in the self from the position of discourse and interpretation under the burden of geography and its transfer to the cultural mark that presents us with the opposing factors; While the image transformations of all cultures reflect the mechanisms that reflect their power against the other and their displacement in contemporary times, the image of the other can be formed through the available uses in all arts, especially in the literary and artistic fields, including the theatrical text, which found its effective presence in consolidating the stereotypical image in light of its historical and intellectual implications and the theses of philosophers and thinkers, this is what allowed the concept of the other to emerge as a phenomenon that can be examined and studied in theatrical art, so the research problem was formulated with the following question: What is the image of the other in the contemporary Arab theatrical text? The theoretical framework included a review of the intellectual approaches to the concept of the other, touching on the most prominent opinions of philosophers, thinkers and the three monotheistic religions, discussing the opinions of contemporary colonial projects, as well as the concepts approaching the concept of the other

Our research, entitled The Expressive Embodiment of Psychopathic Personality Pattern Shifts in Film, deals with the dialectical relationship between psychological manifestations and how they are represented cinematically in a way that shows the audience the actual motives of these characters: (What is the expressive embodiment of psychopathic personality pattern shifts in the cinematic film?) In it, we mention the most important results that the researcher reached:
1. That the structure of the internal and external appearances of the characters in the cinematic film gives it an expressive and semantic power to express what human beings are.
2. The element of illusion and breaking the horizon of the recipient in psychopathic character films is based on a structure that relies on the embodiment of the character's conscience and how he receives and sends reactions in the external environment.

This pursuit of the ancient stems from the human need to revive the heritage of all peoples, with the aim of gaining insight into the cultural traditions of these nations and the mechanisms of societal life. Theater has employed these ancient cultural practices for their artistic aesthetics. Furthermore, in Arab theater, and Iraqi theater in particular, we find popular phenomena and a need for change in its basic structure, which is laden with stories, tales, and songs, such as One Thousand and One Nights, the story of Abu Hassan the Fool, and other stories and anecdotes that have become an important resource for Arab and international playwrights and writers. This research comprises four chapters: The first (the methodological framework of the research) includes the research problem, which the researcher defined with the following question: (What are the educational and pedagogical dimensions of popular heritage that have been employed in Iraqi theater?) Then came the importance and need for the research, as well as its objective, which was represented by the following:
The research aims to: (identify the function of popular heritage in Iraqi theater). The researcher set boundaries for the research, then concluded the chapter with the terms included in the research title. The following terms were defined: (function, heritage, educational dimensions, educational theater.
The second chapter included a presentation of the theoretical framework and previous studies, and consisted of three sections: Section One: The Concept of Popular Heritage; Section Two: Iraqi Theater; and Section Three: Educational Theater. The third chapter presented the research procedures in terms of the research community, which included (6) theatrical performances. The chapter also included the research sample, which consisted of one play, namely: (The King is the King), chosen intentionally, adopting the descriptive (analytical) research method. The fourth chapter presented the most important results the researcher reached through his research, the conclusions based on the results, and then came the recommendations and proposals. Finally, the researcher provided the sources and references.
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The nature of the research tagged with: Interactive Ceramics, an integration between the visual arts and modern technology, is crystallized because interactive ceramics is one of the arts that combines traditional skills in the manufacture of ceramics and pottery with modern technologies, which transforms ceramic works into changing entities that interact with users and the surrounding environment, which is an example of the integration between the visual arts and modern technology, as it allows potters to reimagine ceramics as a living and interactive medium, Which creates forms that combine manual creativity and technical innovation, opening new horizons for contemporary art, and this is what was determined through the research problem that is based on two questions:1- How to integrate visual arts and modern technology in interactive ceramic art? 2- Can digital and sensory interaction be integrated into ceramic works? How does this affect the nature of the material, techniques and methods used in production? And explaining the importance of the research, which can be summarized in: 1- Highlighting the importance of the recipient’s interaction with the ceramic work as an integral part of it. 2- Applying new and diverse methods and techniques in the formal display of ceramic art inside exhibition halls. 3- Technically liberation from the material and going beyond the conceptual dimension, its philosophy, and its interactive impact in forming a multi-faceted concept of contemporary ceramic art,The research aims to reveal the characteristics that distinguish interactive art based on technological development and its impact on contemporary ceramic art. The limits of the research were limited to the objective limit, which is the extent of integration of visual arts and modern technology in interactive ceramic art, and the spatial limit, which is Asia and Europe.The time limit is 2015 AD - 2022 AD, and it also dealt with some terms related to the title and body of the research. As for the second chapter, it included three sections, in which the first section dealt with the nature of interactive art, and the second section dealt with the impact of technological development on contemporary ceramic art to create a new visual experience.The third section dealt with the impact of multimedia on the development of interactive ceramics, and then the third chapter in which the practical research procedures were determined and two international models from the Netherlands and Japan were identified because they are related to the limits of the research. After conducting the analysis processes, the researcher reached a number of results, the most important of which were:1- Ceramic art as an interactive art creates a continuous dynamic state and a new sensory experience between the viewer and the ceramic work.
2- Interactive ceramic art is produced only through the audience’s interaction with the work, as it makes the recipient a contributing element in creating the artistic work.
3- Ceramics as an interactive art contributes to achieving artistic and aesthetic dimensions in the field of ceramic art.

Theatrical field is one of the important means in the process of development and development, as the educational process needs many means and studies and follow-up of the development in the world to be effective and efficient in developing the scientific, literary, technical and behavioral abilities of children.
The activity of school theater is part of the modern school curriculum, it helps to form the habits, skills, values and methods necessary to continue education and participate in the overall development, and according to the choice of the researcher, the title of the discussion (Effectiveness of the school theater presentation in the development of the child's personality), the research is divided into four chapters. The first chapter of the systematic framework for the discussion and the creation of the research problem, the importance of the research, the objectives of the research, the limitations of the research, and defining the terms. As for the second chapter (the theoretical framework and previous studies), it includes three topics, the first chapter deals with the concept of al-Madrasi theater and its origin and development, and the historical account of al-Madrasi theater in some countries of the world and the Arab world (Egypt and Iraq), specifically, and the differences and theater schools. Madrasiya in the world, Egypt and Iraq, as for the second discussion, it touched on the presentation of the school theater and its interest in life events, while the third discussion discussed the concept of the child's personality and its traits and the opinions of the scholars. Westerners in the child's personality and characteristics. In the previous studies, the researcher did not find a similar study on the subject of the debate on the two adjacent truths (Moses Zanad Sohail, Thoughts on Child Education) and (Manthahi Muhammad Rahim, The Children's Theater in Iraq and the National Development Plan), as well as the summary of the most important indicators that the theoretical framework revealed. . As for the third chapter, it includes the research procedures and the composition of the research methodology, where the researcher chose the descriptive and analytical method for the relevance of the research and the research complex, which includes (4) theatrical performances of the plays presented in the educational festival of the directorates of education in Baghdad in 2012 and 2013, Fatm Akhtiar There are two plays, one of which is Kaina for a deliberate discussion, and the other is a play (Etslawa Beit Umm Soad by director Mohsen Jilawi) and A play (Al-Qat fi al-Masida by Samiya Abbad Hasan). As for the fourth chapter, it contains the results of the research reached by the researcher, including the analysis of a play (Atslawa Beit Umm Suad) and a play (Al-Qat fi al-Masida), which emphasized the values and ideals of ethics and education, such as (patriotism, al-Ikhlas, cooperation, and wisdom). The language of the text is appropriate for children and with characters close to me, the social reality, with the selection of costumes, techniques and audio-visual elements suitable for the theatrical performance, but the conclusions of the researcher are that The purpose of presenting school theater performances is to provide educational materials (al-Qassas al-Elami, al-Turbaiya) with the purpose of developing and developing the child's personality and giving him the ability to organize himself intellectually and socially in various aspects of life, as well as the chapter on some recommendations, suggestions and sources.

Research is ongoing in the language of the theatrical performance, and continues in the process of renewal to enrich the performance and increase the effectiveness of the two main parties of the equation of the performance (the performer and the recipient) because the absence of interaction between them weakens the theatrical performance, and this matter includes all types of theatrical performances, including street theater performances that travel to markets, public squares and important streets to present community issues with abbreviation, condensation and exciting performance.
Street theater works on the principle of the presence of a performer versus a recipient and communicating with each other by creating a common interactive language, without paying much attention to the language of other things (the scenery, costumes, accessories, lighting, etc.) except in the case of dramatic necessity imposed by the action, as the sovereignty in street theater is for the language of the performer (dialogue, gesture, movement, etc.) and the language of the recipient (the interactant) resulting from the reaction to the course of the performance.
The current research aims to identify the characteristics of the interactive language in street theater.
The theoretical framework consists of two sections:
The first section: The language of theatrical performance:
The discoveries of the languages of the theater and drama in general have deepened, and the theater has many languages added to the language of dialogue/speech, including:
The language of space (color, line, mass, light and shadow), which is concerned with the designer of scenery, costumes, makeup and lighting.
The language of the body, signs and gestures, which is often specialized in actors based on the directing instructions.

The study dealt with image making in applications of artificial intelligence and its impact on the credibility of the media, as the issue of counterfeiting and fabricating images is incompatible with the goals of media institutions and the positive things that accompany artificial intelligence programs, including saving time and effort, and negative things, including distorting and falsifying facts. And falsifying it if the researcher finds it. This topic is one of the research problems that needs to be studied and its social and technical dimensions determined. The study aimed to identify how artificial intelligence programs are used in image making and to know the most important artificial intelligence programs that are used in image making. This research is descriptive, and the researchers relied on the survey method, so that 50 questionnaire forms were distributed electronically, and they were distributed to the respondents (11) university professors, (36) media professionals, and (3) members of the public, to obtain their perceptions and impressions of creating images using artificial intelligence techniques.

The aesthetic image created in the writer's imagination is expressive images of a magical reality full of visions, and these visions py a role in shaping the images of the theatrical performance, as the theater raises a problem from the problems of society by broadcasting an aesthetic idea that is related to the individual, and this idea must be related and consistent with the social and political reality and the events taking place in it, as it aims at different topics, and the one who creates this idea is (the creative writer) with a broad imagination and visions who can, through these visions, employ all his creative skills that he obtained from the accumulation of knowledge, and thus he can start drawing those ideas through a broad imagination and intellectual maturity open to a visual world and on scientific and cognitive foundations, and by moving all his mental sensors with which he can assemble and form a moving or fixed visual form in which there are aesthetic and magical parts that glow that story in which he relies on his inner feeling, and he employs that unique and fertile aesthetic imagination in composing visual (visual) and auditory images that gather in the imagination of the creator in the form of a visual strip and a formative form that suggests the creativity of the maker The real one, the research examines the concept of formal ideology in theatrical discourse by following the concept and revealing its operations in the theatrical field.

The research entitled (The presence of the body in the fixed effect and the moving medium in contemporary art) deals with the presence of the body as an effect and a medium in contemporary artistic styles. It contained a methodological introduction and three chapters. The methodological introduction revealed the research problem through the following two questions: 1- What are the cultural drivers and technical methods in the presence of the body as an effect in contemporary formation? 2- What are the mechanisms for representing the presence of the body and the openness of its performances as a moving medium in contemporary art ?
Then, the importance of the research and its objective, which is to reveal the presence of the body in both fixed and moving works in contemporary art, is discussed. The second chapter also addresses the thematic, spatial, and temporal boundaries of contemporary artworks worldwide from 1963 to 2016. The second chapter includes four sections. The first addresses the changing concepts of the body in modernity and contemporaneity. The second section addresses the mechanisms of receiving and circulating the body in contemporary art. The third section sheds light on the manifestations of the body as an influence in postmodern art. The fourth section addresses the mediating body in performance art, body art, and the fusion of body and machine. The third chapter represented the research procedures, which included defining the research community and its sample, which consisted of four technical models, two models for each axis, then the research tool and sample analysis .

This studyaims to uncover the digital aesthetics, or so-called social media icons, which represent a blend of art and technology. Theseiconsrely on integrating creativity witht echnology. Digitalization has led to a diverse aesthetic practice, whether in dimensions or image formation. Theseaestheticsreflect the logo\'sidentity and are characterized by simplicity, symbolism, geometricshapes, and abstraction. Theyalsoattract attention, as colors and linescontribute to influencing the user\'seye. This has led to the popularity of thistool, which has fostered interaction betweendifferent cultures. Therefore, thisresearchaims to uncoverwhatthese logos concealwithintheir digital space. Theyconceal more thantheyreveal. Theyrepresenta living model of digital aesthetics, representing not only a form of change, but also an effective tool for enhancing interaction in the age of technology.

This research is concerned with studying (the aesthetics of texture in contemporary Iraqi ceramics), which is divided into four chapters: The first chapter includes a presentation of the research problem, which is defined by the following questions: (1) What is the role of texture in the aesthetics of contemporary Iraqi ceramics? (2) What are the most important treatments and techniques used to show texture in contemporary Iraqi ceramics? (3) Is there a great diversity in tactile values in contemporary Iraqi ceramics?The importance of the research and the need for it came through the importance of texture and tactile treatment in ceramics, so that the current research sheds cognitive and scientific light on the aesthetics of texture in contemporary Iraqi ceramics. As for the aim of the research, it lies in: identifying the aesthetics of texture in contemporary Iraqi ceramics. The research was determined by studying the ceramic works completed in Iraq, which were displayed in Iraq or in other countries. Within the specified time period between (1990_2000).Chapter Two: It included the theoretical framework and previous studies, which contained two sections: The first section dealt with studying aesthetics in some philosophers, and the second section dealt with studying the relationship between texture and the elements of artistic composition. The theoretical framework was concluded with a set of indicators and previous studies. Chapter Three: It dealt with the research procedures, which included identifying the research community and selecting the research sample of (3) ceramic works, then the research tool and sample analysis.While the fourth chapter included the research results and conclusions, as well as recommendations and suggestions. The most important results reached by the researcher are: 1. Iraqi potters rely on the aesthetic potential of the texture element in presenting tactile variations in ceramic work in order to move the elements and create tactile contrasts with distinctive aesthetic and artistic dimensions as in all the sample models.The most important conclusions reached by the researcher are: 1. Iraqi potters combined the element of texture with the element of color in order to achieve different artistic and aesthetic dimensions. The study concluded with a list of sources and references, then a summary in English.

The current research addressed the effectiveness of e-learning in teaching fine arts courses at the College of Fine Arts – University of Wasit, in light of the transformations imposed by the COVID-19 pandemic on higher education systems and the reliance on digital platforms as a primary means of instruction. The importance of this research stems from the unique nature of fine arts education, which relies heavily on sensory interaction, visual perception, and hands-on practice—raising questions about the suitability of e-learning to meet these educational demands.
The study aimed to explore how effectively e-learning delivers artistic knowledge and skills to students, to assess the level of interaction between instructors and learners in virtual environments, and to identify key technical and pedagogical challenges—especially in practical subjects.
A descriptive-analytical methodology was adopted, and a questionnaire was administered to faculty members across various fine arts disciplines. The findings revealed that e-learning was more effective in theoretical courses, enhancing access to learning resources, promoting self-directed learning, and facilitating flexible communication. However, practical courses faced challenges in delivering sensory and artistic skills and conducting direct critique and assessment.
The research recommends adopting a blended learning model that integrates in-person and online instruction, enhancing technical infrastructure, designing specialized digital curricula, and training faculty to effectively use digital media in alignment with the specific nature of arts education.

The human mental and manual performance was and still is the focus of attention and admiration, especially with its specialized artistic production of a fluid nature that urges the steps to influence the manifestations of contemporary civilization, including architecture, which is considered indicators that reflect the extent of the progress and development of nations. The history of modern and contemporary art was full of shapes and formations that embody ideas and contents. Modern and contemporary architecture relied on the ideas, products and plans of artists who broke the familiar and traditional towards the fluid and flexible, sometimes strange, direction. The influence of modern and contemporary philosophy had its mark that cannot be ignored in the architectural achievement, which reveals existential philosophy and the method of deconstruction. Contemporary architectural practice worked on the specificity of the current moment in a state described by the theorist of contemporary architecture (Charles Jenkins) as a state of death and revival of styles. Complex forms and high sculptural effects appeared based on the concept of imbalance and instability. The research included four chapters. The first chapter contained the research problem, its importance and need for it, the research objective and its limits, and the definition of terms. The chapter also included The second is on the theoretical framework, which contained two topics (the first: the fluidity of specialized performance in plastic art, and the second: the fluid approach in the curves of contemporary architecture), and the third chapter included the research community, which is the product of the architect ZahaHadid during the period (2012-19-20), while the research sample amounted to three models, and it also included the research methodology, its tool, and sample analysis, while the fourth chapter included the results, conclusions, recommendations, and proposals, and the research ended with sources and references.

This study aims to analyze the role of visual arts in expressing cultural and societal identity in the digital age, where digital technology has become a new means for artists to express their cultural and societal issues in innovative ways.The research explores how modern technologies such as artificial intelligence, digital arts, and social media can be used to reshape visual and cultural identities. It analyzes traditional and contemporary digital artworks, while examining the impact of digital globalization on the visual arts.
The research includes four chapters. The first chapter includes
(The research problem, the importance and need for the research, the research limits, the research objective, and defining the research terms).
The second chapter includes: Indicators of the theoretical framework
Fine arts and cultural identity-
The digital age and its impact on the fine arts-
-Fine arts as a tool for expressing societal issues
The interaction between the public and the fine arts in societal issues-
Chapter Three covers: (Research procedures, research community, research sample, research methodology, and research tool). Chapter Four covers: (Results, conclusions, recommendations, and proposals). The most important findings are:
1-The visual arts play a pivotal role in strengthening cultural and societal identity in the digital age.
2-Digital technologies provide new opportunities for artistic creativity and cultural expression.

Art was and still is a reflection of the environment of the societies that produce it. It is the true mirror and the language of social psychology that sends messages internally and externally to confirm the tendency towards taste, beauty and superiority. These messages have dimensions and details that are read as media marketing for the extent of the American people’s development and their self-confidence. Some interpret this development as a national identity for a society with multiple ethnicities, religions and affiliations. The tendency towards difference in the visual techniques in art, including the art of visual arts, allows the artist to confirm his distinction that he obtains through exhibitions and the continuous change in the topics he presents through the form that has become the content of the artwork in contemporary arts, especially at the end of the sixties of the last century, which embodies in its topics the manifestations of American society in hyperrealism. The current research consists of four chapters. The first chapter contains the research problem, its importance and need for it, the research objective, its limits and the definition of terms. The second chapter includes the theoretical framework, which contains two topics (the first: Realism in visual art, and the second: the American hyperrealistic society, and the third chapter includes the research community). It is the product of the artists Estes, Peterson and Glenray during the period (2005-2006 AD). The research sample amounted to three models, and it also included the research methodology, its tools and sample analysis. The fourth chapter included the results, conclusions, recommendations and suggestions. The research ended with sources and reference

Статья посвящена исследованию влияния фотографии на процесс формирования эстетического восприятия и эмоционального интеллекта. В работе рассматриваются ключевые аспекты взаимодействия визуального искусства и человеческой психики, включая развитие наблюдательности, улучшение эмоциональной отзывчивости и расширение культурного горизонта. Особое внимание уделено роли фотографии как инструмента самовыражения, а также её потенциалу для развития творческих способностей и личностного роста.

В статье рассмотрены вопросы развития искусства ваяния в эпоху Возрождения, а также исследуется роль образа кондотьера в восстановлении традиции такого скульптурного жанра, как «конный монумент». Проведен сравнительный анализ конных монументов авторства итальянских скульпторов.

Целью данной статьи является анализ современных интерактивных технологий, применяемых в музейном пространстве, а также рассмотрение их роли в образовательном процессе и профориентации. В статье рассматриваются основные типы интерактивных решений, их преимущества и ограничения, а также приводятся примеры успешной интеграции цифровых инструментов в музейные программы.

В статье рассматривается значимость художественно-творческой подготовки в формировании артистической выразительности начинающих артистов воздушной гимнастики. Анализируются компоненты художественно-творческой подготовки, включающие музыкальное, актерское, хореографическое, импровизационное и искусствоведческое направления. Обосновывается необходимость интеграции данных компонентов в тренировочный процесс с целью развития креативности, эмоциональной отзывчивости и формирования индивидуального сценического образа артиста. Представлены результаты теоретического анализа и методические рекомендации по оптимизации художественно-творческой подготовки начинающих артистов воздушной гимнастики.

В статье обосновывается необходимость внедрения деятельностных методов в широкую практику преподавания литературы. Описывается опыт эффективного применения метода инсценирования в 6 классе при изучении пьесы А.Н. Островского «Снегурочка» (1873). Результаты исследования демонстрируют, что инсценирование способствует более глубокому пониманию текста и развитию soft skills у младших подростков.