Fine Arts

This study explores the visual representations of cultural identity within the academic artistic productions of students from the College of Fine Arts, positioning these representations as an effective pedagogical entry point for fostering visual awareness rooted in local culture and environment. The research is grounded in the assumption that cultural identity is not only visually present in student artworks but also functions as an implicit or explicit reference in shaping their artistic discourse.
The research problem centered on how these visual representations can be activated and analyzed through a pedagogical lens that enhances cultural belonging and stimulates creative thinking. A qualitative analytical approach was adopted, focusing on a purposive sample of student artworks from the third and fourth academic years in the subjects of "Artistic Handicrafts" and "Free Artistic Experiments." Artworks lacking clear indicators of cultural identity were excluded to ensure sample validity and alignment with the research objectives.
Findings revealed that most artworks reflected aspects of the students' cultural identities through the use of traditional symbols, local techniques, and themes linked to the environment and community. These representations varied depending on the students' academic experience and cultural awareness. The results also underscored the significance of art education as a pedagogical and cultural field capable of cultivating and reinforcing identity awareness when guided through structured educational frameworks.
The study concluded that integrating cultural identity concepts into academic artistic practice contributes to producing an authentic visual discourse, and that the development of curricula and pedagogical guidance methods plays a crucial role in enhancing students’ cultural and artistic competencies. A set of recommendations and proposals were presented, aiming to reinforce the presence of cultural identity in educational institutions through curriculum enrichment and the activation of cultural dimensions in artistic analysis.

Expressionism, as the first art movement of the post-World War II era, was founded on a body of knowledge shaped by preceding modernist art movements (Surrealism, Expressionism, and Abstraction). It approached its experimental systems with a critical artistic vision, thus establishing a program for art and aesthetic discourse for the decade following its emergence. By embodying the power of emotion and spontaneous movement through its adoption of non-representational forms, it led to representations that resemble shapes without being bound to them. The artist sought to focus on the qualities inherent in the material and its use during the creative process, based on performance-based and experimental approaches emphasizing immediacy. This falls within a conceptual framework encompassing two aspects: gestural painting and the unconscious. Therefore, the current research aimed to explore the intellectual content of Abstract Expressionism and its impact on the work of students in the Art Education Department. The research sample consisted of artistic works produced by students between 2024 and 2025. A purposive sample of three artworks belonging to the Abstract Expressionist movement was selected and subjected to descriptive analysis. The analysis was conducted according to the indicators of the theoretical framework, yielding several conclusions, the most important of which is:
The current study showed that abstract expressionism, as manifested in the students' artwork, served as an educational and intellectual tool for developing their ability to transform abstract ideas and subjective emotions into visual images with aesthetic and intellectual significance.
Some of the artworks exhibited a metaphysical dimension, with students using color and free-flowing lines to express intangible, inner worlds, reflecting their engagement with the philosophical and spiritual underpinnings of abstract expressionism, as seen in sample artworks 1 and 3.

In light of technical developmentAnd the broad scientific and technologicalFor industrial productsOf devices, materials and toolsMechanics and othersIn our contemporary world,Performed by industrial designerTo innovate and find new ideasUntapped, ahead of its time.It is characterized by its unreality and unfamiliarity.Creative process employeesIn the presence of industrial productsAbove realism. So it can be establishedFor the current research problem: (What is the role of the creative process in creating an industrial product?( , The research aims to identify the importance of the creative process in creating modern and future industrial products.
The research community consists of industrial productsDesigned for the year (2023-2024) by American government centers and institutions,The research community was randomly selected to serve the research objectives. The samples, which were intentionally selected from the research community, were then subjected to an analysis process to verify the current research objective. The following conclusions were reached:

1- Some of Anujad’s products are distinguished by the fact that their primary goal is to achieve the required functionIn harmony with the light weight and small size of the existing industrial product.
2- Harmonizing the existing industrial product with the external environment in a way that achieves integration that is difficult to detectIn a way that stimulates the process of contemplation in the recipient of this creative design,Which organizes the recipient's experiences in a new way and level of perceptionFor the relationship between the existing industrial product and the environment in a new way.

This study was conducted to investigate digital art techniques and their impact on the development of educational poster design in terms of visual appeal and educational effectiveness. The researcher selected five (5) samples of digital educational posters from online sources using a purposive sampling method. A specialized analytical tool was developed by the researcher to examine the samples and construct its items based on indicators derived from the theoretical framework on digital art and digital educational posters. The tool was presented to a group of experts in the field to ensure its face validity, and two analysts were consulted to achieve tool reliability. The study’s findings and conclusions indicated that digital educational posters are more suitable for the digital generation: sample analyses revealed that children interact more effectively with images, colors, and digital effects compared to textual instruction or paper-based posters.

Tourism posters are considered one of the most significant and impactful visual communication tools for promoting tourist destinations worldwide, owing to their strong ability to attract attention and deliver messages directly. Functioning as a promotional medium, they combine artistic and informational elements to showcase a country’s cultural, natural, and historical assets through carefully constructed designs and concise yet effective visual content.
Given Iraq’s profound historical legacy and its invaluable archaeological wealth, such posters have the potential to evoke curiosity and fascination among audiences across the globe. Moreover, they serve not only to enhance international awareness of Iraq’s touristic value but also to strengthen national identity among its own citizens by reinforcing cultural symbols and heritage elements.
Therefore, tourism posters should not be viewed merely as media tools, but rather as strategic instruments that contribute to tourism development and the global promotion of Iraq’s historical and natural treasures at both regional and international levels.

In the days of silent cinema and before the advent of color, film directors used montage transitions to indicate temporal changes in film narratives, including flashbacks, dream scenes, and flash future. However, after the advent of color film, black and white techniques were used to express time travel. This technique often refers to the past, given our familiarity with black and white films and old photographs. Therefore, these two colors have been psychologically identified as a reference to the past. Accordingly, this research examines the relationship between color and time by analyzing certain films that were edited using specific techniques to reference past time. The research includes a methodological framework that encompasses the research problem and its question: What are the mechanisms for processing time in cinematic film? A theoretical framework encompassing two sections: the first: Color between physical and cinematic reality, and the second: The uses of black and white in color film. The research also includes an analysis of the sample and a set of results and conclusions.

The research addresses the topic of "The Emergence of Substitution Technology and Its Impact on Improving Industrial Product Design."
The importance of the research lies in the fact that substitution technology has helped designers develop ideas to solve the problems they face today and has become more responsive to societal needs and preferences.
Thus, the research objective is to utilize substitution technology to improve and develop the process.
Through this, the research objective was to utilize disruptive technology to improve and develop the design process, with the goal of achieving better performance and a record time spent during production and product design. The process of utilizing disruptive technology in manufacturing industrial products through its actual applications in industrial products and utilizing it to solve various design problems of form and function that reflect the modern era.
...to enable us to arrive at design foundations for effective integration of the functional and formal performance of the industrial product. The research sample was devices available at Samsung in 2024.
The research consists of five chapters. The first chapter addresses the research problem, its importance, objectives, and limitations within the research topic. The research problem is embodied in the following: What is the impact of the emergence of disruptive technology on the performance of the design process?
What are the ways to leverage it to improve industrial product designs? The second chapter presents the theoretical framework, including the role of disruptive technology in design processes, the advantages of disruptive technology when used in product design, and disruptive technology and its impact on developing and improving product designs. The third chapter presents the research methodology:
The fourth chapter analyzed the research sample of three industrial products, and the fifth chapter showed several results. The most important results of the research were:
1- The use of disruptive technology in the design process stages has provided a broad understanding of what the user and his environment need, with the possibility of finding points of improvement and development in the product in a clear and precise manner, granting innovation, creativity, accuracy and speed in the design process. This has led to obtaining a product that meets the needs and desires of the user and at the same time is a strong competitor in the market.
2- Utilizing technology to automate cognitive work through practical design methods has helped to accurately identify the design problem, in addition to assisting the designer in arriving at the best possible solutions by providing a number of auxiliary tools that helped him in conducting the necessary tests on designs to arrive at the best solutions.
3- Using Internet of Things technology in practical design methods has activated and enabled the communication process between the designer and the client, resulting in a precise and deep understanding of the client's needs. Furthermore, utilizing technology in design processes has raised the level of communication and interaction methods, whether between designers themselves or between the designer and departments within the industrial company.

This research investigates the creative process in art, exploring diverse artistic forms that delve into the essence of humanity and its existential needs, as well as the events that occupy most aspects of life, expressing and translating them into a language that suits the level of thought and aspirations. Perhaps art is the safest and most successful path to reaching a level of human taste and fulfilling personal, psychological, and intellectual desires. The creative process in art is nothing more than a path of cognitive and cultural communication to explore the depths of the self, which is what art generally embodies, and visual art in its creative form is a type of cognitive communication. Here, the researcher aims to justify Cézanne's ability to lay the foundations of modern art, from Impressionism to various other artistic schools. The research, titled "The Creative Process of Paul Cézanne's Style in Visual Art," addresses this issue through the following question: How is the creative process represented in Paul Cézanne's style?
The most important terms (creative process and style) were defined linguistically, philosophically, and operationally. The spatial boundaries of the artist's (Paul Cézanne's) artworks were in France—Paris, while the temporal boundaries were between 1886 and 1906 AD, and the thematic boundaries were the creative process of Paul Cézanne's style in visual art.
Chapter Two: This chapter included two sections. The first section addressed Cézanne's style in visual art, while the second section addressed the creative process of Paul Cézanne.
Chapter Three: This chapter included an analysis of the research sample, consisting of three models.
Chapter Four: This chapter identified the results and conclusions reached by the researcher. The most important findings reached by the researcher are
1- The work, in its general form, represents an outlet in a realistic and expressive style, a reaction to the imagination of society, which was embodied through the idea of a deck of cards.
2- The artist was able to capture his popular theme by progressing through advanced stages regarding his intended use of prominent color interactions in his representation of nature and its intentional references in order to reveal hidden areas to the viewer according to his stylistic vision, known as Cézanne's unique style.
3: Cézanne, in his style, placed the key to modernity within the details of his stylistic system and his personal feelings, focusing on an issue not previously addressed by other artists.
Conclusions, including:
1- The philosophical concept is directed towards an aesthetic formulation that expresses the artist's desires and inclinations towards a subject in an artistic form.
2- Cézanne's creative process in the field of visual arts approaches lived reality, and the artist depicts life as he sees it in form and content, with interactions that are close to reality according to his own vision.
The research also included a list of sources and references.

This study aims to examine the effect of the discussion method on the academic achievement of Fine Arts College students in the Fundamentals of Drama course. The study hypothesizes that active interaction and the exchange of ideas through discussion contribute to a deeper understanding of dramatic concepts and the development of students’ analytical abilities, compared to the lecture-based teaching method.The experimental method was adopted as the research design. The study sample consisted of first-year students from the Department of Cinematic and Television Arts, who were intentionally selected. The students were first taught using the lecture method, and later using the discussion method.The research tool was an achievement test in the Fundamentals of Drama course, which consisted of 25 items. The test’s psychometric properties (validity and reliability) were verified. The researcher ensured both internal and external validity of the experiment by applying the discussion method to the experimental group and the lecture method to the control group, with two sessions per week.After completing the experimental procedures, the achievement test was administered, and the collected data were analyzed statistically. The results indicated that the discussion method outperformed the lecture method in the achievement test.Based on these findings, the researcher recommended the adoption of the discussion method as a more effective approach than the lecture method in teaching the Fundamentals of Drama course.

Environmental awareness is an essential foundation for sustainable development. Understanding the relationship between oneself and the surrounding environment, as well as understanding the impact of one's actions on it, is crucial to finding a balance between human needs and preserving natural resources. In this regard, the importance of art education becomes clear, as it effectively enhances awareness among individuals by highlighting environmental issues through students’ creative works. The research aims to identify the educational applications of sustainable development goals from the perspective of environmental awareness in the productions of fine arts students. The first chapter dealt with the methodological framework of the research, the research problem, its importance and its objective. It also included the limits of the research as well as defining the terms. The second chapter contained two topics: the first: the concept of environmental awareness, while the second topic included sustainable development.The third chapter included the research procedures, while the fourth chapter included the results and conclusions. Among the results (1- Representations of environmental awareness in (the subject) reached the weighted average percentage (2) and the percentage weight (66.66%) as in samples (2, 3, 5),As for (the raw material), the weighted average percentage reached (2.1) and the percentage weight (70%) as in samples (1, 2, 3, 4), followed by (the technology), the weighted average percentage reached (2.4) and the percentage weight (80%) as in samples (1, 2, 3, 5).) It included recommendations and suggestions, and the research concluded with the sources.

This study addresses the topice of formal dynamics and its role in the design of industrial product form.The importance of this topic lies in the fact that dynamics is one of the main sources of expression for many things since ancient times until today . It is not limited to a specific aspect but has entered all fields, including design. Based on this, the aim of this research is to determine the effectiveness of formal dynamics in the form of industrial products.
The studyes included the importance of the research and the need for it is dynamics is considered one of the main sources for expressing maotion and the transition from stillness to its opposite. In addition, the research problem is defined by the extent of the effectiveness of formal dynamics in the design of industrial prodocts. The objectives of the research were to identify the effectiveness of formal dynamics in the design of industrial product . The research was limited to industrial products available from Hitachi Company in local markets for the year 2022.
As for the theoretical framework, it included two sections :
The first section discussed the concept and types of dynamics, while the second section dealt with dynamics in industrial product design in form and its relationship to design processes . This chapter conclud with the indicators.
The third chapter addressed the research methodology followed, where the descriptive analytical method was adopted to analyze selected models of industrial products from Hitachi Company for the year 2022. In this analysis, a special analys form was used that included specific axes to reach the results and then the conclusions.

contemporary Iraqi art. It seeks to uncover the nature of the symbols adopted by Iraqi artists and their intellectual and aesthetic connotations. The study demonstrates that modern Iraqi art inherited many symbols from the civilizations of Mesopotamia, myths, religious beliefs, and popular folklore, and then reframed them within contemporary frameworks that blend heritage and modernity.
The study focused on the works of a group of prominent artists, such as Jawad Saleem, who employed Islamic motifs, crescents, and Arabic script; Suad Al-Attar, who combined folkloric and Abbasid symbols with a contemporary awareness; Saleh Al-Jumai, who drew inspiration from Assyrian art and ancient writings; and Faiq Hassan, who employed humanistic and abstract symbols in his works.
This study includes four chapters. The first chapter explains the research problem, its importance, and the need for it; the research objective and limits; and defines the most important terms included within it. The study also aims to identify how symbols and allusions are employed in contemporary Iraqi art. The second chapter dealt with the theoretical framework, including the beginnings of contemporary Iraqi art, the beginnings of interest in the art of painting, and the trend toward imitating nature. The third chapter included the research procedures, the research community, the research sample, the research tool, and an analysis of the research sample.
Then, the research results, including:
1. The use of symbols and signs in contemporary Iraqi art, particularly in contemporary Iraqi painting, was directed in various directions, including distorting certain forms of symbols, simplifying them, abbreviating them, or encoding them, making them bearers of the greatest possible amount of connotations and meanings. These symbols and meanings greatly influenced the taste of the contemporary Iraqi painter.
2. The contemporary Iraqi painter found a great similarity between his motivations and struggles and the motivations expressed by ancient Mesopotamian symbols.
Based on the results, the researcher reached several conclusions, including:
1. Iraqi painting intentionally employed symbols and signs in its paintings due to the beauty of their forms.
2- The contemporary Iraqi artist has resorted to employing symbols and allusions, influenced by Jawad Saleem's maxim: "A return to heritage and modernity." A number of recommendations and suggestions were also mentioned, along with an index of research sources.

This research addresses the concept of biomechanics and its origins as a notion derived from related structural systems. It examines how the Russian director Vsevolod Meyer hold employed this concept within the theatrical context, particularly in physical performance. The study focuses on Meyer hold’s specific training methodology, which is grounded in his theories, ideas, and directorial vision concerning actor training. This approach contributes to the application of biomechanical principles in educational theatre.
The research consists of four chapters:
Chapter One presents the methodological framework, defining the research problem through the question: What are the biomechanical formations in creating the theatrical image within educational theatre? It also outlines the study’s aim, significance, and boundaries.
Chapter Two includes two sections: the first explores the historical emergence and development of the concept of biomechanics, while the second discusses actor training techniques according to the biomechanical method.
Chapter Three covers the research procedures and provides an analysis of the selected model—“Assuming What Actually Happened”—using the descriptive approach.
Chapter Four presents the research findings, interpretations, conclusions, and a set of recommendations and suggestions, followed by the list of references.

The art of the storyteller (Hakawati) is one of the most prominent traditional arts. The current study focused on the storyteller in children’s theater as an educational and entertaining tool that contributes to developing children’s imagination and enhancing their cognitive and cultural awareness.
The study, entitled “Dramatic Components of the Storyteller in Children’s Theater”, consists of four chapters. The first chapter addressed the research problem, which was formulated as: What are the dramatic components of the storyteller in children’s theater? The study aimed to identify and reveal these dramatic components.
Chapter Two included: the first section on children’s storytelling tendencies, the second section on the employment of the storyteller in dramatic performance, ending with indicators of the theoretical framework.
Chapter Three described the research community and analyzed two sample storytelling performances presented on the stage of Al-Rasheed Theater during a children-focused storytelling festival: the first
Chapter Four presented the results, including:
1) The performance movements, which included facial expressions, hand gestures, eye movements, and body movements, were present in both stories. The storytellers relied on them essentially, as all types of performance movements in both stories achieved a rate of 100%
Main conclusion:
1) Children-focused storytelling conveys diverse narratives that serve educational, cultural, ethical, and entertaining purposes.
Recommendation:
1) The storyteller should occasionally create an interactive atmosphere to increase children’s focus and enjoyment of the story.

Rural singing is one of the most well-known forms of singing in Iraq, truly embodying the Iraqi national identity. However, at the beginning of the twentieth century, it remained confined to the countryside and did not spread due to the lack of media and recording technologies at the time. It was a purely virgin singing art form. With the passage of time, the development of recording methods, and the opening of Iraqi radio, the importance of the research lies in its presentation of a new academic scientific study that demonstrates the performance capabilities of singing, and rural art in particular. It focuses on studying the style of a distinguished artist and singer, and identifying their performance capabilities. Within its theoretical framework, the research addresses three topics: (Rural singing in Iraq, Dahel Hassan and his role in Iraqi rural song, and performance capabilities and mediations of musical expression). The researcher also studied samples of the artist Dahel Hassan's songs, analyzing them using a criterion designed for this purpose. The results revealed the artist's reliance on a specific set of mediations, which he relies on to demonstrate his performance capabilities.

Since the current research aims to (revealing the role of art education in sustainable development)، the researcher adopted the descriptive approach، having defined the research problem in the first chapter by posing the following question: Is there a role for art education in sustainable development events? How can the functional role of art education in this development be investigated? The research boundaries included examining the role of art education in sustainable development within the Iraqi context for the period 1983-2025. The second chapter traced the beginnings of the concept of sustainable development and the interconnectedness of its dimensions. The third chapter addressed the process of integrating the arts into educational curricula، while the fourth chapter addressed the impact of art in shaping a knowledge society and demonstrated its value in accordance with the requirements of sustainable development. The fifth chapter included the researcher's conclusions، the most important of which were:
1. Humans are the focus and instrument of sustainable development at all times, as any intended change is linked to their actions and for their sake.
2. Art education contributes to making the teaching and learning process more responsive to any challenge related to sustainability.
3. Art education plays an influential role in building a contemporary educational discourse with positive extensions in school and non-school settings, linked to the fundamental goals of each dimension of sustainable development.
4. Art education helps the learner transition from their current experiences to new experiences in which the value of the knowledge they receive is revealed, enabling them to interact with related applications.
5. Contemporary art education strives to instill a culture of collaborative action and collective achievement.
1. This research concludes with conclusions, recommendations, proposals, and a bibliography.

The present study aims to explore the role of artificial intelligence in advancing graphic design by examining its applications in automating routine tasks, generating creative ideas, and customizing visual content in accordance with user needs. The findings indicate that this technology offers significant advantages, such as enhancing efficiency and productivity, as well as expanding the horizons of innovation. At the same time, it raises considerable challenges related to the loss of the human touch, intellectual property issues, and its potential impact on the labor market. The study adopts a descriptive-analytical methodology through the examination of international samples of graphic and advertising designs, with the purpose of providing a comprehensive perspective on the current state of artificial intelligence in design and anticipating its future prospects. The research concludes that maintaining a balance between artificial intelligence and human creativity is fundamental for preserving originality and strengthening competitiveness within the creative field. It further emphasizes that the integration of technology and human ingenuity constitutes the most effective approach for producing more impactful and innovative designs and for fostering a design environment capable of meeting the demands of the rapidly evolving digital age.

civilization of Mesopotamia, and it was titled (The concept of eternal return in Sumerian sculpture). The research included four chapters. The first chapter contained the methodological framework of the research, starting with the problem that ended with the following question: What are the representations of the concept of the eternal return in the art of Sumerian sculpture? The importance of the research is summarized in the attempt to shed light on the dimensions of the concept of (eternal return) in the sculptures of the Sumerian era, which constitutes a new reading of the sculptural texts of Mesopotamia with its historical sequences. The aim of the research is summarized in identifying the concept of (eternal return) in the art of Sumerian sculpture. The chapter also included the limits of the research that were determined objectively by the sculptural product (relief and cylinder seals), spatially Mesopotamia, and temporally (3500-2370).BC, as the researcher defined the terms of the research title that were used in the theoretical framework and research procedures, while the second chapter included the theoretical framework and previous studies of the research, as it included three basic topics, the first of which dealt with (the concept of eternal return), and the second topic came under the title (eternal return in the thought of Mesopotamia),The third section is titled (The Eternal Return in the Arts of Mesopotamia), while the third chapter included the procedural framework that included the research community, as it included the sculptures of the Sumerian era (reliefs, seals, and cylinders), and their number reached (25) models. (3) models were chosen as a sample for the research, and they were chosen intentionally according to reasons justified by the researcher.To achieve the research objective, the researcher relied on the cognitive indicators that resulted from the theoretical framework as a research tool. The research method is (descriptive analytical) as it is the method followed in artistic and aesthetic studies, followed by an analysis of the research sample models. The fourth chapter was a presentation of the most important results that the researcher reached after analyzing the sculptural models that represented the research sample and in In light of these results, the researcher reached a number of conclusions, followed by recommendations that the researcher sees as serving and developing the artistic production movement in Iraq. Then, the researcher put forward some proposals to continue the study based on the new topics raised by the research. In conclusion, the sources and references that contributed to the theoretical foundation of the research were presented.

The current research, entitled “The Characteristics of Illusion and Non-Illusion in Children’s Theater,” consists of four chapters.
Chapter One (The Methodological Framework) addressed the research problem, which was formulated in the following question;
What are the characteristics of illusion and non-illusion in children’s theater?
The aim of the research is to identify the characteristics of illusion and non-illusion in children’s theater.
Chapter Two (The Theoretical Framework) included three sections.
The first section discussed the psychology of the child, developmental stages, cognitive growth, and mental and sensory perception.
The second section examined the theory of illusion and non-illusion in theatrical performance.
The third section addressed the pleasure of illusion, the importance of breaking illusion, and its timing in children’s theater.
The theoretical framework resulted in several indicators, including:
1-One of the most important stages a child goes through is the stage of imagination, especially during the early years of life, when the child uses their wide imagination to visualize events or things and invent unreal ideas.
2-Children easily engage in performances that align with their world and psychological inclinations, and some of them are able to distinguish between reality and imagination.
3-The world of childhood constitutes a fertile environment for illusion, where the horizons of imagination open and the realms of reality and fantasy blend smoothly. In this context, children’s theater represents a unique space that allows children to immerse themselves in diverse worlds and enjoy the pleasure of illusion, while recognizing the importance of breaking that illusion at appropriate moments.
Chapter Three (Research Procedures) included the research population, the research sample, and the analysis of sample models according to the analysis form. The researcher reached several results that were presented and discussed in Chapter Four, including:
1-The play Me and the Clown enhanced the illusionary atmosphere and the child’s engagement in the performance, as well as their interaction with characters and events through expressive songs, lighting, and scenography.
2-The directing stimulated the child’s imagination through the use of unusual character names (Fadous and Madaous) and by creating a visual and emotional world for them, which made the child part of the dramatic narrative in the theatrical performance.
3-The directing ensured the child’s immersion in the virtual world by directly simulating the atmosphere of electronic games in Me and the Clown, which allowed the child to live the experience.