Fnon Al-Rafidayn Journal

This study is structured into four chapters. The first chapter outlines the research problem, its significance, the need for the study, objectives, scope, and key terminology. The central research question posed is: How was Fadhel Abbas able to realistically simulate the Iraqi environment in his paintings? Accordingly, the study aims to explore the realistic representation of the Iraqi environment in the works of Fadhel Abbas.
The second chapter forms the theoretical framework and is divided into three main sections: the first examines the history of realism in painting and philosophical thought; the second discusses realism in European art; and the third analyzes the impact of the real environment on contemporary Iraqi artists, with a focus on the experience of Fadhel Abbas.
The third chapter presents the research methodology, including the research population, sample, tools, approach, and sample analysis techniques.
The fourth chapter presents the results, conclusions, recommendations, and suggestions. Among the most significant findings is that Abbas’s simulation of the environment takes a purely realistic direction. The researcher concludes that his artworks are laden with precise details that reflect everyday life, as the artist draws directly from lived reality and the immediate Iraqi environment. Therefore, his paintings may be seen not merely as personal artistic expressions but as visual documentation of contemporary Iraqi reality.

Modernity represents a stage of dismantling old concepts and values and constructing new ones, a process reflected in modern art through the exploration of human essence. These transformations crystallized in the tension between existence and extinction. The structural systems of art have varied with the emergence of new approaches, evolving in parallel with the phenomena, conflicts, and progress of different eras. Art continues to grow and develop, accompanied by shifts in intellectual perspectives within conceptual, philosophical, and cultural systems throughout human thought.
The research is divided into four chapters. Chapter One presents the research problem, objectives, significance, and limits. Chapter Two provides the theoretical framework in two sections: the first addresses Representations of Death in Modern European Painting, while the second explores Representations of Death in Iraqi Painting. Chapter Three outlines the research community, sample, methodology, and sample analysis, leading to results that serve the research objectives. Among the key findings are:
The theme of death constitutes a fundamental basis through which a range of religious ideas and beliefs are conveyed.
Personality exerts a significant influence on the philosophical interpretation of death, as expressed structurally in works such as Goya’s renowned painting Saturn Devouring One of His Sons.

The researcher addressed the research title (Discourse Patterns in Contemporary Art). The research was divided into four chapters. In the first chapter (the methodological framework)، the researcher presented the research problem، which was represented by the following question: What are the discourse patterns in contemporary art? The researcher then explained the importance of the research، its objective، and its boundaries، defining its terminology. In the second chapter (the theoretical framework)، the researcher addressed two topics. In the first، he addressed the concept of discourse in thought، while in the second، he addressed the manifestations of discourse in the field of art. The theoretical framework concluded with the development of indicators. In the third chapter (the procedural framework)، the researcher defined the research methodology، the research community، its sample، and its tools. He then analyzed the research samples. In the fourth chapter، the researcher presented a set of results، reached a set of conclusions، and formulated recommendations and proposals. Among the findings reached by the researcher were:
Discourse in contemporary art focuses on presenting the margin and excluding the centers according to the deconstructionist strategy.
Various display techniques and unconventional materials are used in the production of contemporary art works that convey ideological discourses.

The present study, entitled “The Environment in the Works of Kurdish Artists – The Cultural Environment as a Model”, investigates the presence and manifestations of the environment in contemporary Kurdish artistic practices within a philosophical and aesthetic framework informed by the concept of cultural ecology. It explores the relationship between the Kurdish artist and their environment as a hermeneutic interaction that extends beyond natural or geographical space to encompass symbols, language, rituals, and collective memory as active agents in shaping aesthetic and symbolic consciousness.
The study is organized into four chapters. Chapter One presents the research problem, significance, and rationale, centering on the following question: How does the cultural environment, as a symbolic and interpretive structure, contribute to shaping the aesthetic and intellectual dimensions of Kurdish artistic production? The importance of the study lies in framing the cultural environment as an interpretive container of identity and a central force in the formation of Kurdish artistic expression. This chapter also outlines the research objectives, alongside the linguistic, conceptual, and procedural definitions of key terms.
Chapter Two establishes the theoretical framework, divided into two sections: the first addresses the concept of the environment, while the second examines the cultural environment in the works of Kurdish artists. The chapter concludes with a set of analytical indicators derived from the literature review.
Chapter Three discusses the research methodology and procedures, adopting a descriptive, inductive, and analytical approach, and focuses on three contemporary artworks by Kurdish artists selected as the study sample.
Chapter Four presents the findings, most notably that contemporary Kurdish art contributes to the reconstruction of collective identity as a dynamic and interpretive structure rather than a fixed essence. Each artwork functions as a symbolic repositioning of the self within a space imbued with political, social, and environmental tension.
The study concludes that art does not merely reflect the environment but actively produces it as a complex hermeneutic discourse. It further affirms that cultural ecology provides a critical lens through which to analyze meaning-making structures in Kurdish visual art. Finally, the study offers several recommendations and suggestions for future research.

The directorial features of each theatrical experience depend on the exchange of influences among theater directors, which gives the theatrical process a sense of growth and continuity. Nevertheless, each experience remains unique, shaped by its own literary theories and aesthetic practices.
Since theater is a human activity influenced by global trends, the theatrical experience in Iraq has drawn upon previous traditions to crystallize its own artistic, aesthetic, and intellectual foundations. In this context, the present study examines the directorial features of Iraqi theatrical performances and their interaction with global directing styles and approaches.
Accordingly, the study poses the following central question: Is there a unique directing style in Iraqi theater that allows us to distinguish one director from another? This question guided the objectives, significance, and boundaries of the research.
Chapter One presents the methodological framework. Chapter Two provides the theoretical framework in two sections: the first explores directorial features in international theater, while the second highlights the main directorial features of Iraqi theater. Chapter Three details the methodological procedures, including the research community, methodology, tools, and sample selection, which focused on Iraqi theatrical performances such as the play He Who Saw, directed by Abbas Amnathar.
Chapter Four presents and discusses the results, confirming the most prominent directorial features based on their sources and directorial tools. The study concludes with key findings, followed by a list of references.

The research examines the dramatic construction in Mohammed Ismail's performances directed at children, focusing on the aesthetics of arranging structural elements that shape children's theater. This form of theater plays an important role in building and strengthening the educational process while maintaining artistic value.
The study consists of four chapters. The first chapter presents the methodological framework, which defines the methodological foundations. The second chapter provides the theoretical framework, which is divided into three sections: the first discusses the concept of aesthetics as a perception that enables children to distinguish between things; the second explores the concept of dramatic construction, which represents the backbone of theatrical performance and its manifestations in children's theater; and the third addresses the aesthetics of dramatic construction in children’s theater performances, which highlight the educational and cultural values that shape children’s perceptions. This chapter concludes with indicators derived from the theoretical framework.
The third chapter outlines the research procedures, including the research population and sample, the analytical tool, and the methodology adopted. The fourth chapter presents the results and conclusions, derived from the analysis of the selected sample.

The This article, derived from a master’s thesis titled Representations of the Hero Image in Contemporary Kurdish Painting, explores the semantic transformations of the hero image between two opposing poles: socio-cultural heritage and digital media as a contemporary epistemological and visual system. The study addresses a central question: How is the Kurdish hero reimagined in painting—between collective memory and digital visual technologies—and to what extent does this new image remain connected to or detached from its mythical, religious, and historical origins?
Employing a critical-analytical methodology, the research situates its investigation within contemporary philosophical, cultural, and media contexts, drawing on concepts such as identity representation and the dialectic of the hero image and media. Through a visual analysis of three selected Kurdish artworks produced between 2003 and 2025, the study identifies stylistic and semiotic features that define the hero image before and after the rise of digital media.
The study concludes that the hero image in contemporary Kurdish painting is no longer a direct revival of tradition. Rather, it has become a symbolic repositioning within a transformed visual field, where myth converges with digital iconography, and the traditional hero gives way to a globalized figure shaped more by networked influence than by fixed ideological values.

The aesthetic embodiment of the heroism of the Popular Mobilization Forces in contemporary Iraqi sculpture reflects the connection between art and reality, as well as its role in expressing national and human values. The Iraqi art scene has witnessed remarkable developments in sculptural works that address the heroism of the Popular Mobilization Forces, where artists have employed local materials and modern techniques to convey sentiments of sacrifice and courage. These works are distinguished by their integration of national symbols with aesthetic elements to express popular cohesion and defend Iraqi identity. Sculptors have depicted heroic moments in a style that combines realism and symbolism, imparting a philosophical depth that reflects both suffering and hope. In this way, sculpture has become a means of documenting historical events and reinforcing the national spirit, in addition to inspiring future generations to draw from the noble values embodied in such heroic deeds.
The research is divided into four chapters. Chapter One (Methodological Framework) outlines the research problem, formulated through the central question: How has the heroism of the Popular Mobilization Forces been aesthetically embodied in contemporary Iraqi sculpture? It also defines the research objectives, which focus on revealing the aesthetic aspects of this embodiment, as well as the significance of the study, which lies in highlighting the aesthetic and symbolic dimensions of representing heroism in sculpture. This chapter further specifies the research limits and clarifies the key terms.
Chapter Two (Theoretical Framework) consists of two sections: the first addresses the philosophical concept of aesthetic embodiment, while the second examines the expressive values of sculpture in representing national heroism. The chapter concludes with a set of indicators derived from the theoretical framework.
Chapter Three (Research Procedures) defines the research population and methodology, explains the analytical approach, specifies the research tool, and details the process of sample selection and analysis.
Chapter Four (Results and Conclusions) presents the findings derived from analyzing the selected samples, followed by the main conclusions, as well as recommendations and suggestions for further study. The research concludes with a list of references.

The growing interest in the concept of Orientalism in the arts in general, and theatrical art in particular, along with the emergence of new directing styles, has contributed to the production of a number of theatrical performances that address the East—especially Eastern theater—by employing its techniques and rituals. This has created a form of cultural cross-pollination on both sociological and anthropological levels, while simultaneously liberating Orientalism from its traditional colonial associations. Given the specificity of the research title, the authors found that examining the concept of Orientalism within the theatrical field reveals significant contributions to shaping contemporary global performances, as scholarly interest in this idea has recently increased. Hence, the researchers chose to address this topic.
The study is structured into four chapters. Chapter One (Methodological Framework) presents the research problem, which revolves around the central question: How is Orientalism represented in contemporary global theatrical performances? It further discusses the importance and necessity of the study, particularly its role in introducing the concept of theatrical Orientalism—which is largely absent from Arabic and Iraqi theatrical discourse—and incorporating it into performance studies. The chapter also defines the main terms used in the title.
Chapter Two (Theoretical Framework) consists of two sections. The first examines Orientalism—its concept, historical stages, major patterns, and leading figures—highlighting their ideas and contributions. The second section explores Orientalism in world theater, reviewing the works of key contemporary directors who have integrated Orientalism into their productions at both theoretical and practical levels, including Antonin Artaud, Jerzy Grotowski, Eugenio Barba, Ariane Mnouchkine, and Robert Wilson. The chapter concludes with key indicators derived from the theoretical review.
Chapter Three (Research Procedures) discusses the selected sample: the performance of Inferno by director Romeo Castellucci, deliberately chosen for analysis through a descriptive-analytical approach.
Chapter Four (Results and Conclusions) presents the major findings, including:
Orientalism and its influences appeared in the performance through the embodiment of both aesthetic and terrifying aspects, particularly in the opening scene featuring the formation of dogs and the actor.
The director used the actor’s body and symbolism to highlight ritualistic elements with Eastern references, thereby engaging the audience. This was especially evident in the second scene, which juxtaposed the actor’s naked body with the decorations on the façade of the papal palace.
Eastern religious rituals were emphasized through the collective movement of actors in the fourth scene, where they advanced toward the wall at the back of the stage and collided with it repeatedly.
The study concludes with a set of final conclusions and recommendations, accompanied by references and an English summary.

This research explores the dialectical relationship between modern painting and state architecture in Iraq from an aesthetic and symbolic perspective. It provides a descriptive and analytical study of four selected architectural samples in Baghdad- the National Theatre, and the Martyr’s Monument. The study aims to examine the symbolic and compositional indicators embedded within these buildings and assess their effectiveness in conveying aesthetic values amid Iraq’s shifting political and cultural contexts. Using structured criteria—including form, function, visual reception, and implicit messages—the analysis reveals varying degrees of symbolic expression. While some buildings successfully reflect aesthetic and symbolic openness, others demonstrate a lack of interaction with the public. The study concludes with a call to re-evaluate the use of architectural symbolism as a tool for collective memory and visual identity in state architecture.

The world has witnessed an intellectual and aesthetic shift that produced diverse philosophical and artistic movements. Within this context, Marxism emerged as a human-centered framework concerned with interpreting social phenomena through analysis of material and moral conditions, economic activities, and human needs. Theater, as a cultural practice, became a medium for translating political ideas and generating change by creating expressive images of political issues in artistic form.
The present research addresses the question: How is Marxist thought represented in contemporary theatrical performance? The importance of the study lies in its contribution to incorporating Marxist perspectives into contemporary theatrical visions, offering insights to scholars and practitioners of theater. The research aims to identify the representations of Marxist thought in contemporary Iraqi performance, with temporal limits set in 2019 and spatial limits in Baghdad.
The study is structured into four chapters. The theoretical framework addresses Marxism in modern thought and the political dimensions of acting. The applied study analyzes the play The Asylum using a descriptive-analytical approach. The findings show that the performance embodies a duality of imagination and reason, presenting the asylum as both a theatrical space and a symbolic parliament. Through satire, role transformation, and gestural performance, the play incites audiences to reflect on political conditions and inspires critical engagement with social and political transformation.

The present study, entitled “Intellectual Dimensions in Contemporary Kurdish Art”, explores the intellectual frameworks that underpin contemporary artistic production in the Kurdistan Region of Iraq. Adopting a scientific research methodology, the study is organized into four chapters:
Chapter One addresses the research problem, significance, objectives, limitations, and definitions of terms. The central research question is: What intellectual challenges confront contemporary Kurdish art within its environmental context in Kurdistan-Iraq? The objective is to identify the intellectual dimensions shaping the region’s artistic practices.
Chapter Two presents the theoretical framework, which is divided into two sections: the concept of contemporary art, and the development of contemporary Kurdish art. This chapter concludes with key indicators derived for subsequent analysis.
Chapter Three outlines the research procedures, including the research population, sample selection, and methodology, with analytical focus applied to three selected artistic models.
Chapter Four discusses the findings and conclusions, emphasizing how contemporary Kurdish art reflects and responds to intellectual and environmental challenges within the region.

This analytical study examines selected models of contemporary Iraqi sculpture through the analysis of three works by artists Dadvan and Hamid Ajeel. The study focuses on form, materials and techniques, visual treatment, and expressive styles. The examined artworks vary between symbolic abstraction, assemblage, and symbolic realism, all demonstrating a tendency to employ material as an expressive medium that conveys philosophical or intellectual meanings. The study reveals a deep interaction between form and content, transforming sculpture into a visual discourse that reflects human existence, identity, anxiety, and isolation in a contemporary context.

Technological developments have pervaded all aspects of life in their various forms. In each field, digital technology has a path forward. This progress has not only saved time and effort but also increased the accuracy of the results obtained. From this perspective, design has kept pace with these developments and achieved unparalleled success in providing design solutions that serve both function and beauty.
The research started on a path towards artificial intelligence technology and what this technology has achieved in its path of innovation and distinguished creativity by transforming the designs completed from visible to invisible, which can make the recipient a part of the virtual world from which any design was generated within this technology.
The research included three chapters, the first of which represented the research methodology, in which the research problem was identified by asking how artificial intelligence fantasy appeared in movie advertisements. Fantasy is considered one of the most important topics that deal with imagination and unrealistic ideas, including the ideas presented by movies. The goal was determined by identifying the appearance of artificial intelligence fantasy in advertising and its limits during the academic year 2024.
The second chapter dealt with the theoretical framework, in which the most important topics related to the subject were presented. The third chapter dealt with the research procedures, represented by the research community and its sample of four models that were chosen in a manner that was appropriate and achieved the research goal.
The research concluded with the results, including:
The foundations of artificial intelligence created design relationships that formed an attractive element. They attracted the recipient to a style they were not accustomed to, resulting in a new kind of fantasy, as in all the sample models.
Artificial intelligence was reflected in the production of fantasy in a new style, as in model (4).
A set of recommendations and suggestions were presented, and the research concluded with references and an appendix of images of the research community models, as well as the abstract.