Fine Arts

This paper presents Jadara University’s vision for establishing the College of Arts and Design in Jordan, founded on a national perspective that seeks to reinforce cultural identity and promote creativity as a key pillar of sustainable development. The vision reflects the University’s recognition of the essential role of arts and design in shaping national consciousness, supporting the creative economy, and contributing to a knowledge-based society. Through this initiative, the University aims to create a contemporary academic environment that balances au the
nticity and innovation, integrates artistic education with scientific research, and strengthens community engagement.
The proposed methodology emphasizes the integration of theoretical knowledge with practical application, the utilization of modern technology in art education, and the establishment of strategic partnerships with national and regional institutions to foster creative practices and support cultural industries. The main objectives of the vision are to prepare qualified creative professionals, deepen aesthetic awareness, and enhance Jordan’s position within the regional and international cultural scene.
The paper also highlights the importance of research as a cornerstone in the development of arts and design, serving as a means for knowledge production, analysis of artistic and cultural phenomena, and the use of creativity for community service. The College currently offers a Bachelor’s program in Graphic Design, a Bachelor’s program in Interior Design, and a Master’s program in Design and Visual Communication— distinctive programs that address labor market needs and integrate artistic thought with technical skill.
Looking toward the future, the paper outlines the College’s strategic orientation to introduce new programs in Digital Arts, Multimedia Design, Fashion Design, and 3D Design, in alignment with Jordan’s Vision 2030 for a creative and knowledge-based economy. Ultimately, the study concludes that Jadara University’s vision represents a national model for positioning art education as a driver of cultural identity and creative development, reaffirming the University’s role in nurturing a generation that unites beauty, knowledge, and national belonging. The results indicate that the establishment of the faculty represents a strategic step toward supporting cultural development and the creative economy in Jordan.

Media and communication have become crucial in contemporary life, especially after the rapid advancements in digital technology that have permeated all fields. Among the most important of these are visual arts: painting, photography, film, television, and digital images. These developments have compelled these visual arts to move beyond traditional methods of production and presentation, striving to keep pace with the contemporary digital revolution and integrate media and communication technologies and their associated industries into artistic production in general, and visual arts in particular, within the realms of production, presentation, and distribution. Television—the eighth art—is no longer the sole medium for visual presentation, despite its superior image and sound capabilities. Digital screens and new content have emerged, aligning with the socio-cultural transformations in contemporary societies. "YouTube" is one such digital technological development in the field of visual arts.

The current research studies the aesthetics of design in Islamic miniatures. It consists of four chapters. The first chapter is dedicated to the methodological framework of the research and focuses on the research problem, which is defined by the following question: How were the aesthetics of design formed in Islamic miniatures? Did the artist of Islamic miniatures move between different decorative and calligraphic styles, moving away from adhering to a specific style? And how was he able to reconcile these by adopting design principles that were unknown at the time in the execution of those miniatures and their expressions? In addition to the need for the research and the research objective, which is: to identify the aesthetics of design in Islamic miniatures, as well as the limits of the research and the identification and definition of the most important terms. The second chapter is concerned with the theoretical framework of the research, as the first section is dedicated to the aesthetics of design principles in the integration of the artwork, and the second section is concerned with approaches to design principles in Islamic miniatures. In addition to the indicators revealed by the theoretical framework, Chapter Three addressed the research procedures, sample, methodology, and sample analysis. Chapter Four presented the results, most notably that the Muslim artist: 1- was able, by instinct, to skillfully distribute figures and other elements within the miniature painting to create successful artistic compositions. 2- The design principles, such as symmetry and harmony in form and color, were evident, as if the artist was aware of the factors contributing to the success of the artwork. 3- The Muslim artist drew upon previous paintings he had studied, adopting elements of harmony, dominance, and repetition. 4- The Muslim artist worked on a deliberate formal and chromatic rhythm by distributing figures appropriately on the edges, top, and bottom of the painting. The research concluded with the sources and appendices.

We all know for certain that pictographic writing is a means of recording and documentation that found its broadest transitional scope with artistic achievement. Pictographic writing is no longer merely a readable image, such as the symbol for a star or the symbol for a bull, but has taken on another dimension. This dimension may complement or diverge from its original function, but it does not sever its cognitive connection. It has maintained its vitality through a tangible and beautiful interaction that contributes to the perpetuation and dialogue of Mesopotamian thought. This allows us to explore the beginnings of exchange and mutual understanding along broader paths. Herein lies the concept of the objectification of pictographic writing within art and the effectiveness of cognitive juxtapositions.

Similarly, the research problem asks: What is the nature of the objectification of pictographic writing in ancient Iraqi art? The research aims to uncover these images and their formative dimensions within the artistic output, within the specific temporal boundaries of Sumerian civilization. This civilization is considered the ideal foundation for application, as pictographic writing emerged from it and interacted with its formative texts in numerous artistic works. Accordingly, the theoretical framework is structured into three sections. The first section discusses the early formations of pictographic writing, the second examines the symbolic objectification of pictographic writing, and the third addresses the pioneering role of the Sumerian school.

One of the most important conclusions of the study is that Mesopotamian artists juxtaposed pictographic objectification with other rhetorical complements, such as cuneiform writing, local symbols, and composite forms often referring to deities or architectural symbols, among many others. This served to intensify the grounding of meaning and ensure its accurate and precise presentation. Thus, Mesopotamian artists did not leave pictographic writing static but rather objectified it with images that ensured connection and communication within the artistic output.

Modern theater studies, particularly those concerning the art of acting, are interested in the structures adjacent to the humanities. Among the most prominent of these is esotericism, whose effectiveness and intellectual and epistemological approaches can be discerned through numerous studies and research, which almost unanimously define it as "the science of the inner self" (13, 2015, 22).

Psychologically, humans are composed of two dimensions: consciousness, which can be called the manifest part, and the unconscious, or inner part. These two terms constitute the intellectual duality of the activity that esotericism addresses. It studies humans in terms of their conscious emotions and reactions, which are linked to unconscious motives and stimuli, each with its own psychological drivers.

Humans represent a conscious self that engages in life to establish connection and communication with others, as well as with the self. Since the actor is a human being situated within this interactive sphere, the research must necessarily focus on that actor/human being, according to the requirements of esoteric science, and investigate the realities of the conscious and unconscious motives and emotions within the human/actor, through his endeavor to embody the theatrical character and the subjective data that the actor derives from his personal experience. It must also examine the artistic tools that he can embody in the dimensions of the theatrical character, given its status as a hypothetical, abstract entity.

(The function of art in modern education)
The current research aims at detecting the function of art in modern education by using descriptive approach (content analysis method).
It includes a collection of books, research and educational curricula related to the subject of research (71) published books, (16) philosophical books, (14) scientific researches and (17) guide to the teacher of educational art and (24) periodicals.
After the translation of the important detective from the research community mentioned above, the study of the researchers of the college Board of the New York (International Arts Education Standards), which has a page (177) pages, which dealt with the content curriculum for art education in (13) foreign countries: Australia, Austria, Canada, China, Finland, Ireland, Japan, New Zealand, Scotland, Singapore, Sweden, United Kingdom, and the United States) have been selected as a sample for this global component of their direct relationship (Detecting the function of art in modern education), excluded from them (16 ) A page that included the title, index, and sources, thus becoming the number of pages analyzed (161).
The research tool was constructing on the basis of the literature of specialization and previous studies of paragraphs representing the function of art in modern education. number (454) paragraph. After sorting and deleting the repeated ones. The numbers become (127) paragraph. It has been classified into (5) main areas: (school function, aesthetic function, moral function, health function, economic function).The sections of the tool were organized according to their main areas in a closed questionnaire addressed to a sample of specialists in art and artistic education, for the purpose of expressing their opinions on the validity of each. Accordingly, paragraphs that did not have a coefficient of agreement (0.75) or less were deleted and some paragraphs were modified. Thus, the number of tool's sections become (118) paragraph, (41) school jobs, (23) aesthetic jobs, (22) ethical jobs, (15) health jobs, and (17) economic function. Using the Cooper equation, the tool's reliability coefficient was extracted. The coefficient of the reliability ranged between (1) and (0.83). The total coefficient was 0.93, which is the coefficient of reliability.
The stability of the tool was calculated by selecting the method of the analysts' agreement. Using the Scott equation, the stability of the tool was extracted. The coefficient of the agreement was 84 and 0.94. The total coefficient of 0.87 was the stability coefficient.
After analyzing the 128-pags of research sample, the results were as follows:
1- The number of art jobs in modern education are (118) jobs (41) school posts, (23) aesthetic function, and (22) moral function, (15) health function, and (17) economic function.
2- The fields include in this study are identical with the contents of the international curricula for art education. There are 3 fields of which are ranked first with 100% respectively (moral function, health function, economic function). The field of (school function) ranks second with a percentage of 99.106%, while the field of aesthetic function ranks last with a percentage weight of 96.490%.

The current research, "Intertextuality of Celebrities in Postmodern Artworks Between East and West," examines how the intertextual image of famous figures in art, politics, economics, and sports is presented through a method of intertextuality that is sometimes unintentional and sometimes deliberate. The research comprises four chapters. The first chapter addresses the research problem, its significance, and the need for it, as well as its objective: to identify intertextuality of celebrities in postmodern artworks between East and West, and to define its scope. The first chapter concludes by defining the most important terms used in the research. The second chapter includes the theoretical framework and previous studies. It comprises two sections: the first section discusses the aesthetics of intertextuality and the method of imitation in pictorial composition, while the second section examines the intertextual image and its presentation in postmodern art, along with the most important indicators reached by the research, as well as previous studies. The third chapter deals with the research methodology, and the fourth chapter includes the research results, conclusions, recommendations, suggestions, and the sources used.

This study aims to identify the trends of art criticism in digital media through social networking sites, particularly Facebook, as one of the most prominent digital platforms that has provided an interactive space for audiences, artists, and critics to exchange opinions about artworks.
The study stems from the problem of revealing the nature of the artistic critical discourse circulating on these digital platforms and its role in shaping the aesthetic taste of the audience.
The researchers adopted the descriptive analytical method using content analysis by examining a sample of posts and comments related to artworks published on several artistic pages and groups on Facebook.
The study sample consisted of (50) artistic posts whose related comments were analyzed in order to identify the nature of art criticism, its patterns, and the level of critical language used in these comments.
The results revealed that plastic artworks represent the largest proportion of artistic content shared on Facebook artistic pages.
The findings also indicated that most critical comments tend to be positive and impressionistic rather than based on specialized analytical criticism. In addition, the critical discourse on social networking sites largely relies on simple and general language used by the audience in expressing their opinions about artworks.
The study concludes that social networking sites have contributed to expanding participation in art criticism by allowing the public to interact with artworks and express their opinions directly, making Facebook an open cultural space for artistic dialogue and the exchange of critical perspectives between artists and the public.

This study examines the integration between scientific principles and aesthetic construction in contemporary art, exploring how this interaction manifests in contemporary installation artworks. The research problem centers on how scientific concepts-particularly light, reflection, and space-are employed to create interactive perceptual and aesthetic experiences. A descriptive-analytical methodology was adopted through the analysis of three selected artworks representing different modes of integration: Infinity Mirror Rooms, The Weather Project, and Sky Mirror. The analysis was conducted according to specific scientific, aesthetic, perceptual, and technical indicators.
The findings indicate that the integration of science and aesthetics forms a foundational structure in contemporary art, where physical principles function as both conceptual and aesthetic elements. The study also highlights the central role of modern technology in realizing artistic vision and emphasizes the active participation of the viewer in meaning-making through immersive and interactive experiences. The research concludes that contemporary art increasingly embodies interdisciplinary visual knowledge that redefines the function and boundaries of the artwork.

Heritage is one of the discursive formations loaded with ideological systems that determine the touristic nature of each stage of history and the ways of the arts members of these discourses. Therefore, the words of the past and the awareness of its historical movement are sufficient to understand the present, and even to open up to critical thinking of the self, which suffers from several crises, the most important of which are the problem of identity, unity and progress.This makes the past one of the most important invocations of the present, as a procedure that achieves the centrality of the self. This is what contemporary critical studies have noticed, especially what the French thinker Michel Foucault presented regarding discourse analysis, using archaeology as a cognitive tool to reread history epistemologically. This makes the concept of archaeomythology a fertile ground for revealing the cognitive and aesthetic strategies of the response of modern Iraqi painting to mythology, according to the research problem question: How was the archaeomythological reading of the texts of the Epic of Gilgamesh represented in modern Iraqi painting?The research included four chapters. The first chapter defined the general framework and included the research problem, its importance, its objective, its limits, and the definition of its most important terms. The second chapter, the theoretical framework, included two sections. The first was entitled: The cognitive concept of archaeomythology, while the second was entitled: Archaeomythological applications of the Epic of Gilgamesh in Iraqi painting. The third chapter included the research procedures, while the fourth chapter included the results and conclusions.

The current research, "Employing Natural Forms in Architectural Design," comprises four chapters. The first chapter addresses the research problem, posed as the question: What is the role and importance of employing natural forms in architectural design? It also discusses the significance of the research and its objective, which is to explore the use of natural forms in architectural design. The chapter then defines the thematic scope of the research, focusing on the study of the use of natural forms in architectural design, as well as the spatial scope, encompassing India, the United States, and Denmark, and the temporal scope, from 1986 to 2008. This is followed by a definition of key terms. The second chapter, "Theoretical Framework," includes two sections: "The Concept of Form in Philosophy and Art" and "Natural Forms as Designs for Architectural Masses." The third chapter, "Research Procedures," covers the research population, the research sample, the research instrument, the research methodology, and the analysis of the three sample models. Chapter Four includes the research findings, conclusions, and recommendations. Among the most important findings are the following:
1. The designer's endeavor to utilize elements of nature is a direct reflection of the social relationship between humans and the environment, thus enhancing the interaction between architectural systems and the physical natural world, as demonstrated in all the sampled models.
2. The use of natural forms achieves a balance between spirituality and contemplation on the one hand, and the utilitarian and aesthetic aspects on the other, making them an essential part of human life, as seen in all the sampled models.

The present study aims to design an instructional model based on the Elective course to develop critical and creative thinking skills among fourth-year students in the fields of fine arts (sculpture, painting, and ceramics). The researcher relied on formative construction concepts in building this instructional design, as they represent the theoretical and intellectual foundation for reinforcing principles of performance and innovation. This was achieved through developing an instructional design that includes teaching strategies aimed at transferring theoretical knowledge into practical skill-based applications, in accordance with sensory and cognitive experiences prepared to achieve this goal.
Additionally, a number of modern strategies were activated to help students transform abstract ideas into innovative artistic works embodied in reality, thereby enhancing self-confidence and strengthening thinking and creativity. The design also promotes the acquisition of cognitive, theoretical, and analytical skills among learners, which constitute the basis for teaching this course, considered one of the core subjects for specialization in the fields of sculpture, painting, and ceramics. These strategies were developed and implemented practically within the course, where the researcher adopted a variety of teaching methods in this instructional model. The descriptive method was used to describe the strategies employed in building the model, as well as to present examples and samples of artistic works in the fields of sculpture, painting, and ceramics.
To strengthen the analytical aspect of the study, the researcher adopted a scientific approach by designing a questionnaire consisting of ten items aimed at evaluating the effectiveness of the proposed instructional model and its contribution to developing students’ critical and creative thinking skills. The results of the questionnaire were analyzed using the SPSS program through descriptive statistical analysis, which contributed to interpreting the findings and determining the extent to which the instructional model achieved its objectives and its effectiveness in developing students’ artistic and cognitive abilities.

The present study aims to design a proposed instructional program and measure its effect on the academic achievement of second-year students in the Department of Art Education at the Open Educational College in the subject of Children’s Arts. This study comes in light of the cognitive and technological transformations that have necessitated the adoption of modern teaching methods to improve learning outcomes.
The researchers adopted an experimental approach using a two-group design (experimental and control). The research sample consisted of (42) male and female students, with (21) students in each group, after ensuring equivalence in the variables of chronological age, prior experience, and gender. The researchers prepared an instructional program composed of four instructional units. A cognitive achievement test was designed as the research instrument after verifying its validity and reliability.
The program was implemented with the experimental group, while the control group was taught using the traditional method. The results revealed statistically significant differences at the (0.05) level in favor of the experimental group in the post-achievement test, indicating the effectiveness of the instructional program in improving students’ achievement. The researchers attributed this result to the systematic organization of the instructional content based on scientific principles, the adoption of diverse teaching strategies, and the use of instructional aids and formative assessments that enhanced interaction and learning.

This research aims to explore the aesthetic values and heritage elements embedded in the packaging design of "Gaz" sweets produced in Isfahan. It analyzes how contemporary designers utilize the visual vocabulary of the "Isfahan School" (Safavid era) to construct the visual identity of this cultural product. The research adopts the Descriptive Analytical Method, examining a purposive sample of (5) diverse packaging models (metal and cardboard) representing various design trends. These samples were analyzed using a content analysis form covering structural, graphical, and aesthetic aspects.
The research reached several findings, most notably: the dominance of Safavid architectural elements (such as Naqsh-e Jahan Square) and historical miniatures on packaging interfaces as a means of documenting spatial identity, and the total reliance on "Nasta'liq" script as a consistent textual element reflecting authenticity. The results also revealed extensive use of "Gold and Turquoise Blue" colors and modern printing techniques (Hot Stamping and Embossing) to simulate the texture of traditional crafts (such as Khatam and Mina) to enhance the perceived value of the product. The research concludes that Gaz packaging transcends its commercial function to become a cultural medium and a visual document promoting Isfahan's artistic heritage both locally and globally.

The research addressed "design and its symbolic role in commercial advertising design." It comprised four chapters. The first chapter, "The research problem, its importance, need for it, its objective, its limitations, and the definition of terminology," addressed the research problem, design, and its symbolic role in commercial advertising design.
The research objective included identifying design and its symbolic role in commercial advertising design. It also included the research's limitations, namely temporal, spatial, and thematic boundaries. It then defined the terms linguistically and technically, followed by the researcher's procedural definition.
The second chapter, "The theoretical framework," consisted of two sections. The first section consisted of three topics, addressing the concept of unity in design, unity and its significance in advertising, and symbolism in advertising design. The second section also consisted of three topics, addressing advertising design, the use of colors in advertising, and attention-grabbing factors in advertising. It also addressed the theoretical framework's indicators. The third chapter then consists of the research procedures, beginning with defining the community and research methodology and analyzing the research models represented by intentional samples in commercial advertising design. The results in the fourth chapter present the results of the sample analysis and include (conclusions) the most important points raised in the theoretical framework

This research, "The Effectiveness of Technical Design in Constructing the Visual Experience in Contemporary Iraqi Theatrical Performances," is summarized in four chapters. The first chapter addresses the methodological framework and the research problem: "To what extent does technical design influence the development of the audience's visual experience in contemporary Iraqi theatrical performances?" The chapter included the research objectives: "To reveal the role of technical design in enhancing the aesthetics of theatrical performance and raising the level of visual impact on the audience," and the importance of the research: "To clarify the impact of technical elements on the viewer's experience and how modern technologies can enhance visual interaction and aesthetic appeal for the audience." The research boundaries were defined: temporal (2015), spatial (Iraqi theatrical performances), and thematic (the effectiveness of technical design in constructing the visual experience in contemporary Iraqi theatrical performances). The terms "effectiveness," "design," "technical," and "experience" were defined. The research comprised a second chapter with two sections: the first, "Technical Design and its Importance in Theatrical Performance," and the second, "The Effectiveness of Technical Design in Iraqi Theatrical Performances." Following this, the chapter's indicators were mentioned, the most important of which was that "Technical design is a fundamental element in constructing the theatrical image, as it contributes to shaping the visual structure of the performance through the integration of scenographic elements such as lighting, set design, costumes, and sound effects." The third chapter detailed the research procedures, the research population (Iraqi theatrical performances, specifically the play "Red Carpet" by Jabbar Judi), and the chapter's indicators as the research instrument. The second method used in analyzing the sample was the descriptive-analytical approach. Chapter Four then presented the results, the most important of which was that "technical design is a fundamental element in contemporary Iraqi theatrical performance, as it contributes to the formation of the theatrical image and enhances the aesthetic experience of the audience." It also included conclusions such as "dynamic theatrical space has become essential in contemporary performances, as it allows for multiple transformations within a single scene and increases the effectiveness of technical design in managing theatrical movement." The chapter further recommended integrating the critical analysis of technical elements into theater education programs to develop the abilities of students and young directors to design visually and dramatically integrated performances.
Among the most important suggestions was conducting comparative studies of several contemporary Iraqi theatrical performances to analyze the effectiveness of technical design across different scenographic styles. The research concluded with a list of the most important sources used

Contemporary art has undergone profound transformations in the nature of the pictorial image due to technological developments and the integration of diverse artistic media in the production of artworks. These transformations have led to a reconsideration of the concept of the artistic medium and its role in shaping the visual structure of the artwork.
Within the context of the Post-Medium Condition, the artwork is no longer confined to a single medium as in traditional artistic practices; rather, it emerges from the interaction and integration of multiple media in constructing the visual structure of the artwork.
This research aims to explore how transformations of the artistic medium contribute to the re-encoding of the pictorial image in contemporary art through the analysis of selected artworks representing different approaches to pictorial construction.
The study adopts a descriptive analytical method. A purposive sample of contemporary artworks was selected, including works by Ahmed Alsoudani, MounirFatmi, and Bill Viola, as representative examples reflecting transformations of the pictorial image within the context of media integration.
The findings indicate that the pictorial image in contemporary art no longer relies on direct visual representation but has become a complex visual structure based on fragmentation and reconstruction of form. Furthermore, the integration of different media has expanded the perceptual field of the pictorial image beyond the surface of the painting to include spatial and temporal dimensions within the artwork.

The ‘postmodern’ aestheticbrokewith the foundations of classicalvisual arts to present us with a different world, bringing about radical changes in contemporarycreative practices, whichconsequentlytook a different direction, This has revolutionised the concept of creativitythrough the artist’s adoption of various media, programmes and algorithms – practices thatalignwith the shifts in Western societiesawayfrom the constraints of artistic convention. This has led to a transformation in the identity of the creative agent on the one hand, and in the identity of the creative audience on the other. Stelarc’sworkisconsidered one of the mostsignificantexamples of digital performance art, worksthat have been shaped by information technology and digital media. In the context of examining images of the artist’s performances for the purpose of analysis, we have included a section of the article entitled: Artificial Intelligence, beginnings and potentials :Art in the Age of Artificial Intelligence, whichisdevoted to the conceptual and historical aspects. Wealsodecided to includeanother section focusing on the artist’sexperience, whichtook the form of sections centred on the variousrelationshipsbetween the biological body and the robot, presentedunder the followingheadings: - Artificial Intelligence and the Penetration of the Biological Body: The Hybridisation of the Real and the Virtual - The Robot as an Extension of the Biological Body - The Body’sIntegrationwith the Robot, concluding the article with a set of conclusions.

This study aimed to analyze and compare Broudy’s Model of Aesthetic Response and Carin’s Model of Art Criticism to identify the most suitable theoretical framework for designing art education curricula that develop students’ skills in artistic analysis. The research employed a comparative analytical approach, examining both models’ theoretical frameworks and identifying their similarities and differences based on key indicators, including philosophical foundation, main objective, sequence and nature of stages, treatment of the emotional dimension, and suitability for instructional design.
Results indicated that Broudy’s model offers a comprehensive philosophical and educational framework, integrating sensory perception, emotional response, and cognitive analysis, thereby enhancing students’ critical thinking and artistic taste. In contrast, Carin’s model provides a clear procedural framework focusing on structured analytical steps but is less effective in integrating the emotional dimension.
The study concluded that Broudy’s model provides an optimal framework for instructional design in art education, while elements of Carin’s procedural approach can be incorporated when structured training is needed. Recommendations include applying Broudy’s model in practical courses, conducting future empirical studies to assess its impact on students’ analytical abilities, and integrating modern tools and techniques to enhance aesthetic learning experiences.

The current research, entitled "The Representation of Synthetic Performance in Contemporary Iraqi Art," addresses the intellectual and aesthetic transformations that the Iraqi art movement has undergone since 2003, becoming one of the most significant turning points in its history. This opened the door to an atmosphere dominated by the winds of freedom, and every form and style within the movement was subject to this transformation, whether in its methods of presentation or its techniques. Consequently, artistic styles became open to several contemporary artistic trends and movements, including contemporary synthetic performance art. Therefore, the research problem can be formulated based on the following questions: Is there a representation of contemporary synthetic performance art within Iraqi art, and does it constitute a significant phenomenon on the Iraqi art scene in terms of its methods of presentation and aesthetic character?
The current study will consist of four chapters. The first will deal with the methodological framework of the study, which is a cultural study on the concept of compositional performance and its functions in contemporary Iraqi art. This period witnessed the launch and development of what is known as compositional methods in contemporary productions, which is a turning point in what that material constitutes in terms of texture and spatial existence. Also, the third millennium witnessed the sweeping influence of display methods and technology on all fields of creativity. The opening of display to space provided a wide field and a tremendous leap for Iraqi art, as it is part of the contemporary global art phenomenon. This defined the problem of its research, its importance, and the need for it within the limits of the objective entitled: (To identify the representation of compositional performance in contemporary Iraqi art) within the period between (2010-2022).
The second chapter will cover the theoretical framework and previous studies. It will be divided into two sections. The first section will address two main points: the first, the intellectual trends of composite performance art; and the second, the origins and development of composite performance art. The second section will focus on composite performance in contemporary Iraqi art, culminating in the cognitive indicators of the theoretical framework.
The third chapter, "Research Procedures," will include the research population of 30 examples obtained from various books, sources, art encyclopedias, and Iraqi artists' social media pages and websites. Four outstanding examples will also be selected for analysis. The fourth chapter, dedicated to presenting the results and conclusions, includes the following key findings:
1-The contemporary Iraqi artist's approach is rooted in place. Place possesses a unique character and plays a fundamental role in the execution of contemporary art. It is a factor that both influences and is influenced by the artwork, in terms of the specific components of that place.
2-Contemporary art is a new language adopted by the Iraqi artist to facilitate greater communication and understanding with the audience. Through it, the call to transcend the confines of the structure designated for art or artistic display has expanded to encompass the very horizon of art itself, becoming a material for expression.
At the end of the summary, recommendations, appendices, Arabic and foreign sources, and a foreign language abstract will be included.

The present study investigates the scenography of display in contemporary relational art. Chapter One introduces the methodological framework of the research, which includes the research problem that emerged from the study and was formulated in the following question: What is the scenography of display in relational art? The aim of the study is to identify and characterize the scenography of display in relational art, within the objective limits that comprise the study of scenography of display in the productions of relational art executed with diverse materials, media, and modes of exhibition. The temporal boundaries of the study extend from 1993 to 2008, while the spatial boundaries are restricted to works realized in the United States of America and Europe. Chapter One concludes with definitions of the key terms used in the present study. Chapter Two constitutes the theoretical framework and is divided into two sections. The first section addresses scenography—its concept, origins, and development—as well as the scenography of display in contemporary visual art. The second section examines relational art from a scenographic perspective, and the most important indicators produced by the theoretical framework are then synthesized. Chapter Three sets out the research procedures. The researchers compiled the research population, which consists of sixty (60) artworks collected from works published on the Internet. From this population, three (3) artworks were intentionally selected as the research sample. The researchers adopted the indicators derived from the theoretical framework as criteria for analyzing the sample and employed the descriptive method using content analysis in the present study.

This study investigates the mechanisms of expression in Pablo Picasso's ceramics produced between 1947 and 1967 in Spain. The research aims to identify and analyze the expressive strategies that characterize Picasso's ceramic works, revealing how his aesthetic and conceptual choices reflect broader human and social concerns.
The study is structured into four chapters. The first outlines the research problem and objectives, while the second discusses the theoretical framework, addressing the concepts of expression and expressionism and examining Picasso's artistic phases relevant to these ideas within the context of European art. The third chapter presents the methodological procedures adopted for analyzing selected ceramic samples, ensuring analytical credibility. The fourth chapter summarizes the findings.
Results indicate that Picasso's expressive direction is evident in his selection of themes inspired by everyday social life, particularly those reflecting the struggles of marginalized and impoverished communities. His ceramics demonstrate a unique aesthetic vision, transforming ordinary reality into emotionally charged, humanistic forms. Moreover, his innovative understanding of the relationship between mass and void contributed to the development of a distinct modern ceramic art that remains influential in the history of both art and ceramics

The current research is concerned with studying (the aesthetic dimensions of Iraqi mural painting), and it is divided into three chapters. The first chapter includes a statement of the research problem, the need for it, the research objective and its limits, and the identification and definition of the most important terms contained in it. The problem of the current research included (What are the aesthetic dimensions of Iraqi mural painting?), as the arena of intellectual and cultural dialogue witnessed a state of development unprecedented in previous stages of human civilization. The aesthetic dimensions help to activate and stimulate thinking and generate new ideas and visions. Therefore, it is a necessary process to get rid of blind obedience and submission and not to present opinions and ideas without reflection. The artist entered into an experimental process. The aesthetic effectiveness of art in general and fine art in particular was manifested in the search for the methodology and its scientific controls in mural art, which led to the separation of form from content or meaning. The aesthetics of design in the products of mural paintings occupied intellectuals and researchers in their fields of dialogues between encouragers, discussants, adopters and opponents. Therefore, the emergence of aesthetic dimensions in the products of mural painting was as an informational message with an aesthetic character. Hence, the researcher found it necessary to study and investigate the aesthetic dimensions of the murals that appeared by contemporary artists, defining the problem of the current research in light of answering the following question: What are the aesthetic dimensions of Iraqi mural painting?
The current research aims to identify: (What are the aesthetic dimensions of Iraqi mural painting?)
Research limitations: First: Subject matter: A study of the aesthetic dimensions of Iraqi mural painting.
Second: Timeframe: (2015–2020) AD. Third: Spatial Boundaries: Iraq
The second chapter included the theoretical framework and consisted of two sections: the first section covered "Beauty Philosophically," and the second section covered "Aesthetic Visions and Their Representations in Mural Art." The third chapter dealt with the research findings, including:
1) The importance of aesthetic vision in revealing the functionalities of artistic texts within mural art and their interpretation according to a set of visual perceptions.
2) The aesthetic dimension influences the reflection of sensory experience on artworks (murals), enabling them to become active participants in cultural activities.

This study examines the concept of digital visual memory and its impact on the reconfiguration of the image in contemporary Iraqi visual art. Employing a qualitative descriptive–critical analytical approach, the research analyzes selected works by internationally recognized Iraqi artists through a theoretical framework grounded in memory studies, visual culture, and digital transformation. The findings reveal that the digital image no longer functions as a direct representation of reality but operates as a structural system for memory production through archival temporality, media discourse deconstruction, embodied symbolism, and mediated perception. The study further demonstrates that digital media act as a structural agent reshaping formal and semantic relationships within artistic practice. It concludes that digital visual memory provides a robust analytical framework for understanding image transformations in contemporary Iraqi art within the global art landscape.

This study examines Post-Impressionism as a significant phase in the cultural and artistic life of late 19th-century Europe. It briefly analyzes the works of Georges Seurat, Paul Signac, Vincent van Gogh, Paul Cézanne, the Pont-Aven group led by Paul Gauguin, and the Nabis.

Contemporary ceramic art has witnessed significant transformations in material, surface, and function, leading to the emergence of an expressive discourse that goes beyond traditional technical and aesthetic frameworks. This research aims to analyze the relationship between surface aesthetics and material type, and to reveal the role of material, medium, and technique in constructing a contemporary visual discourse that carries renewed cultural and intellectual meanings. The study is based on the assumption that transformations in materials, tools, and surface treatments represent not merely technical developments but a shift in the nature of the visual discourse of ceramic works, contributing to the transition of ceramics from a functional context to an open artistic field characterized by experimentation and innovation.
The research problem is formulated in the following question: How have transformations in materials and aesthetic techniques in contemporary ceramics contributed to reshaping expressive discourse, transforming it from a traditional functional and decorative context into a contemporary visual discourse? The significance of the research lies in highlighting the intellectual and aesthetic transformation in contemporary ceramics, clarifying the relationship between material experimentation and the construction of conceptual content in artwork, and emphasizing material as a semantic and aesthetic element.
The research population consisted of )35 (ceramic works, while the sample included )three( works analyzed using the descriptive-analytical method to identify manifestations of material and aesthetic transformation and their role in shaping a contemporary expressive discourse.

This research seeks to uncover the aesthetic dimension of digitalization, as it represents a qualitative shift toward contemporary art. It has a profound impact on restructuring the relationship between the artistic concept, its execution techniques, and its dissemination methods, while maintaining the purity of the artistic idea and its noble purpose. Accordingly, the study utilizes the creative output of students from the Fine Arts Department in the Graphic Design course as a model for study and analysis.
The research is based on the descriptive-analytical method and the visual content analysis method. Three samples of work by students from the College of Fine Arts, Department of Fine Arts at the University of Wasit, were selected and converted into analytical data. These samples were analyzed according to specific criteria, including compositional, visual, and aesthetic aspects such as form, balance, composition, visual hierarchy, as well as the employment of color and symbolism within the capabilities of digital media.
The research concludes that digital technologies have sparked a paradigm shift in the structure of graphic works, enhanced the diversity of visual styles, fostered creative abilities, and broadened the intellectual horizons of students. Furthermore, it has established a new medium of communication between the artwork and the audience, transcending the boundaries of time and space. The research emphasizes the necessity of integrating and facilitating the use of digital technologies within educational institutions to advance art education and keep pace with the requirements of the modern era.

The cultural and intellectual transformations witnessed in the contemporary world have revealed new patterns of artistic practice, contributing to the reshaping of the concept of art, its functions, and its meanings, particularly in the field of visual arts. Contemporary art is no longer confined to the traditional aesthetic framework but has become a field of knowledge open to diverse intellectual and cultural domains. This has allowed for the emergence of the concept of artistic innovation as a creative approach that strives for innovation, renewal, and the exploration of new expressive horizons.
In contrast to this pioneering approach, cultural identity emerges as a fundamental pillar in artistic discourse. Contemporary artistic practices face the challenge of balancing the demands of renewal with the preservation of cultural distinctiveness. Hence the importance of this research, which seeks to study the relationship between artistic innovation and the grounding of identity in contemporary visual arts through an analytical epistemological approach that affirms that innovation does not necessarily entail a break with cultural references.

Kufic script represents the forefront of the identity of Islamic art and a pivotal stage in its development, as it transformed writing from its documentary function into an aesthetic form that enhanced its significance. Great care was devoted to the drawing and ornamentation of its letters in a manner befitting the status of the sacred text, while also supporting the language of visual and aesthetic dialogue and filling the incomplete artistic gap. This development occurred through the evolution of Qur’anic manuscript writing, which had previously been written in the Hijazi script (Meccan and Medinan), characterized by the rightward inclination of its letters and its lack of regularity. It later evolved into a script distinguished by precision, the regularity of its geometric letters, and its strict adherence to artistic rules.
The first chapter of the research addresses the research problem, its importance, objectives, and the definition of terms. The second chapter includes several topics, most notably: the stylistic patterns of writing and the demonstration of its calligraphic refinement. It then discusses Kufa as the capital of Arabic calligraphy and a source of its aesthetic enrichment. The chapter also highlights evidence confirming the pioneering role of the first teacher of Arabic calligraphy. The researcher then moves to the third chapter, which analyzes two samples and concludes with several research results, the most important of which are:
1. Kufic script represents an advanced stage of refinement compared with its predecessors, as it constitutes the first center from which the artistic foundations emerged, confirming its development from earlier scripts, such as the Hijazi script (Medinan and Meccan).
2. The pioneering role of Imam Ali (peace be upon him) as the first teacher of Arabic calligraphy is evident through his guidance to his scribes and his recommendations for developing the artistic aspect of Arabic calligraphy; this was reflected in the artistic enrichment of the works produced by his most prominent students and contemporaries.

The current study aims to investigate the effectiveness of visual storytelling in developing creative imagination among fourth-grade primary school students in the subject of Art Education. The significance of the study stems from the vital role of creative imagination in enhancing children’s expressive and cognitive abilities, as well as the need to employ modern instructional approaches based on visual interaction within the classroom environment.The study adopted a quasi-experimental design using two groups (experimental and control) with pre- and post-testing. The sample consisted of (50) students from Al-Mansour Primary School in Baghdad, who were randomly assigned into two groups: (25) students in the experimental group and (25) students in the control group. To achieve the aim of the study, the researcher used a standardized Creative Imagination Scale adapted from Madani (2022), which consists of (40) items distributed across four dimensions. The instrument was administered to collect data, which were then analyzed using means, standard deviations, and the t-test for independent and paired samples.The results revealed statistically significant differences in favor of the experimental group in the post-test, as well as a clear improvement between the pre- and post-tests within the experimental group. In light of these findings, the study recommends incorporating visual storytelling into Art Education lessons to enhance creative imagination and encourage free artistic expression among students.

This study examines the aesthetics of rebellion in contemporary Afro-American painting through an analysis of Kehinde Wiley’s practice as an applied case for reconfiguring pictorial representation and redistributing symbols of visibility and status within the painting. The research adopts a descriptive–analytical approach and relies on a set of theoretical indicators as an operational framework for visual reading. The research corpus encompasses Wiley’s artistic production from 2005 to 2020 within the geographic context of the United States, and a purposive sample of three artworks was selected for analysis. The findings highlight several recurring features: the reactivation of inherited pictorial templates in varied forms; shifts in the locus of visual prominence in relation to the figure–ground dynamic; a sustained tension between the protocols of official portraiture and everyday contemporary references; and the functional role of décor and background as meaning-producing structures rather than mere ornament. Comparative reading also enables an approach to deconstructing Western centrality when signs of redistributing notions of heroism, elevation, and recognition emerge from within an officially sanctioned Western visual format. The study concludes that, within its stated scope, the aesthetics of rebellion can be understood as observable, structural mechanisms operating within the painted image.

Children’s theatre is considered an important educational and aesthetic medium that contributes to shaping the child’s awareness and developing their perceptions of the self and the other. The concepts of otherness emerge as an intellectual and artistic element reflected in theatrical texts, as well as in the visual and dialogic representation of children’s theatre performances, which makes studying it a to reveal its aesthetic and educational dimensions.
Awareness of the self is not complete except through the perception of the other; individual identity is formed and deepened in the mirrors of interaction with otherness. This philosophical truth is clearly manifested in all forms of human expression, particularly in the art of theatre for children, which is considered a fertile space for shaping awareness and enriching imagination. Children’s theatre, as a mirror of society and a reflection of its hopes and challenges, is not limited to entertainment alone, but undertakes a great educational mission in instilling values and developing aesthetic sense. In this context, otherness emerges as a vital perspective that goes beyond being merely an external presence to become a fundamental component in building the child’s personality and their perception of the world around them.
The current research aims to delve into the depths of this concept and reveal its aesthetic and educational dimensions within children’s theatre performances. From an aesthetic perspective, the study seeks to explore how otherness is manifested in the structure of the theatrical performance, whether through character design, diversity of performance, or even the aesthetics of space and time. It also examines how this diversity can form a rich artistic composition that evokes feelings of wonder and admiration in the child, and develops a refined visual and auditory sensitivity.
From an educational perspective, the research aims to analyze the profound impact of otherness in shaping the child’s awareness of accepting difference, enhancing the values of tolerance and empathy, and rejecting stereotypes. The “other,” whether a strange character, a creature from another world, or even a different idea, represents an opportunity for the child to learn how to deal with what is unfamiliar.
Accordingly, the research adopts the hypothesis that incorporating otherness in children’s theatre in a conscious and systematic manner effectively contributes to building a more open-minded generation capable of understanding and respecting others.
The current research consists of four chapters. The first chapter (methodological framework) includes the research problem, which the researcher defined through the following question: (How is otherness embodied as an aesthetic and educational perspective in children’s theatre performances, and to what extent does it contribute to building the child’s awareness of the “other”?). It also includes the research objective, which is (to explore the relationship between theatrical aesthetics and the concepts of otherness in shaping the child’s awareness). The researcher also set the research boundaries and concluded the chapter with the terminology included in the research title.
The second chapter presents the theoretical framework, consisting of two sections: the first section addresses the concept of otherness in philosophical and educational thought, while the second section discusses children’s theatre between entertainment and education.
The third chapter presents the research procedures, including the research population, which consists of five theatrical performances. It also includes the research sample, consisting of one play selected intentionally. The research adopts the descriptive analytical method, through which the theatrical performance is studied and analyzed

This research addresses the problematic role of the material medium in contemporary ceramics as a field where the technical and the aesthetic intersect, and the sensory and the conceptual intertwine, making it an active element in the production of meaning rather than merely a carrier of it. The research begins with the premise that ceramic material is no longer understood solely as a tool for technical execution, but has become a semantic structure formed through its physical and chemical properties and its expressive potential, contributing to the construction of the aesthetic discourse of the artwork.
The research addresses the transformation of ceramics from a traditional craft practice to a contemporary visual discourse that embraces experimentation and leverages technological advancements in firing, glazing, and formal construction. This redefines the relationship between form and content. The research also highlights how contemporary artists utilize texture, color, mass, space, cracking, and the spontaneity resulting from thermal interaction as aesthetic elements that transcend the functional dimension to establish a conceptual vision linked to identity, memory, environment, and cultural context.
The research concludes that the material medium in contemporary ceramics represents a dynamic interaction area between technique and meaning, where the technical treatment is not separate from the aesthetic structure, but rather meaning is established through the working of the material itself, which enhances the understanding of contemporary ceramics as a cognitive and aesthetic field that transcends the limits of the craft to the horizon of artistic and philosophical discourse.
Contemporary ceramic art has witnessed fundamental transformations in its formal structure and expressive content, as a result of technological development and the expansion of experimental horizons in the use of materials and media. In this context, the material is no longer merely a technical element subject to considerations of shaping and execution, but has become an active medium that carries aesthetic and semantic dimensions that contribute to building the visual meaning of the ceramic work, This shift contributed to a reformulation of the relationship between matter and form, such that the physical and chemical properties of the material became part of the aesthetic discourse of the artwork, and the concept of the material medium emerged as a link between the technical aspect and the expressive dimension, The nature of the material, its texture, malleability, and response to heat and surface treatments play a pivotal role in determining the aesthetic and semantic features of contemporary ceramic form. The diversity of materials and their processing techniques has provided the ceramic artist with new expressive possibilities that have gone beyond the traditional function of ceramics, towards deeper artistic and conceptual horizons.
Hence the importance of this research in studying the material medium between technical characteristics and aesthetic meaning in contemporary ceramics, to reveal the nature of the dialectical relationship between technique and beauty, and to demonstrate how the material transforms from a constructive element into an expressive medium that contributes to the production of aesthetic meaning, through a theoretical approach and the analysis of selected examples of contemporary ceramic works, This was determined through the research problem, which lies in revealing the nature of the relationship between the technical characteristics of the material medium and the aesthetic meanings achieved in contemporary ceramics, and the extent to which these characteristics contribute to producing new visual and expressive meanings, and demonstrating the importance of the research, which is summarized in: 1- To highlight the role of the material medium as an active element in producing aesthetic meaning, 2- To clarify the dialectical relationship between the technical aspect and the expressive dimension in contemporary ceramics, 3- To contribute to enriching theoretical and applied studies in the field of ceramics, 4- To present an analytical framework that can be used in art education and contemporary ceramic experiments, The scope of the research was limited to the following: the objective boundaries: the material medium, its technical characteristics and aesthetic implications in contemporary ceramics; the temporal boundaries: the late twentieth and early twenty-first centuries; and the spatial boundaries: selected examples of contemporary ceramics (local and global), The artistic boundaries: ceramic works of an artistic and expressive nature. The research addressed some terms related to the research title. As for the second chapter, it may consist of two sections. The first section dealt with the concept of the material medium in the plastic arts, while the second section dealt with the material medium (the raw material) and its technical characteristics in ceramics. After that, the research procedures were determined in the third chapter, and three samples of contemporary ceramics were chosen because of their relation to the scope of the research. After the analysis processes, a number of results and conclusions were reached.

This research examines technological transformations and their aesthetic impact on modern sculpture and contemporary art through a comparative study. It highlights how technology played a central role in reshaping the structural and formal construction of sculpture, especially from the early twentieth century onward. While sculptural form was initially limited by traditional materials and academic methods, intellectual, philosophical, and industrial changes in Europe and America opened new possibilities for experimentation with diverse materials and innovative techniques. These developments enabled sculptors to produce three-dimensional works that interact dynamically with space and the viewer….The study consists of four chapters. Chapter One presents the general framework, including the research problem, objectives, boundaries, and key terms. Chapter Two discusses the theoretical framework in three sections: the concept of transformation in artistic form, the technological variable and its aesthetic impact on modern European sculpture, and its impact on contemporary (postmodern) art in America. Chapter Three analyzes eight selected artistic models from modern and postmodern periods for comparison. Chapter Four presents results and conclusions, The findings reveal that modernism emphasized geometric construction and spatial mass, shifting sculpture toward dynamic three-dimensional interaction…. In postmodernism, the use of ready-made objects, industrial materials, and light produced hybrid and multimedia forms, redefining the relationship between technology and aesthetic expression.

Art education reflects an important aspect of the learner's personality. Therefore, this research aimed to identify the effect of the REACT strategy on developing the skill performance of fourth-grade primary school students in art education. The research population consisted of students from schools in the Al-Rusafa First Education Directorate in Baghdad. A purposive sample of 30 students each was selected from two groups. The experiment was implemented after preparing its requirements, including formulating objectives, developing plans, a skill test, and observation forms. After collecting and processing the data, the results showed the superiority of the group that studied using the REACT strategy over the group that studied using traditional methods. Accordingly, the researcher recommended adopting it to develop skill performance.

Chapter one presented the research problem, summarized by the following question: "How effective is an educational program based on employing the (SOLO and Marzano) taxonomies in developing visual-spatial intelligence among students in the Free Drawing subject?". This was followed by an explanation of the research importance and objective, which aimed to measure the impact of employing (SOLO and Marzano) taxonomies in developing students' visual-spatial intelligence in "Free Drawing," followed by the research hypothesis and the definition.
Chapter two consisted of three sections: the first dealt with the SOLO Taxonomy and the depth of cognitive understanding; the second focused on Marzano’s Taxonomy for higher-order thinking skills; and the third presented the dimensions of Visual-Spatial Intelligence.
Chapter three included the research procedures, involving the selection of the experimental method to achieve the research objective, identifying the research population and its sample, and controlling variables such as the curriculum, previous experience, and gender.
Chapter four presented the research results and their discussion. The findings indicated that employing the taxonomies through visual-spatial intelligence helped enrich the teaching of the "Free Drawing" subject for students who received the instructional content according to these models compared to those taught by the traditional method. The results led the researchers to conclude that the SOLO and Marzano taxonomies possess a clear effectiveness in developing the cognitive skills of Art Education Department students in the "Free Drawing" subject. The study recommends encouraging instructors in the Art Education Department to prioritize the application of educational objective taxonomies in teaching practical subjects in general. Furthermore, the researchers suggested studying the impact of establishing a mobile art exhibition.

Today, vocation aleducation is witnessing significant transformations due to rapid advance ments in visual innovations and digital technologies, which have reshaped the educationalprocess and directly impacted methods of teaching art sciences. In thiscontext, the study of art education becomes crucial as itserves as a bridge connectin gtraditional artistic knowledge with contemporary visual innovations, aiming to develop learners’ creativity, critical thinking, and aesthetic sensibilities.
This paper focuses on examining how new visual media—such as digital drawing, photography, video, virtual reality, and interactive media—canbeintegratedinto inclusive educational environ ments, allowing students to engage interactively with elements of beauty and art. It also highlights the necessity of balancing the grounding in traditional artistic knowledge on the one hand, with leveraging visual innovations to enhance creativity on the other, ther ebypreserving cultural identity while enabling students to express the mselves freely with in a contemporary framework.
The study relies on a descriptive-analytical methodology, supported by practical experiences from modern educational programs with in academic and artistic institutions. It investigates the impact of visual innovations on developing students’ skills in visual perception, artistic expression, and understanding the relation ship between form and content, ther ebyenhancing the irabilities in visual communication and interaction with various artistic texts.
In conclusion, the paper emphasizes that art education and art sciences in the era of visual innovations are no longer confined to tradition allearning or merek nowledge transmission. Instead, they have become a dynamic creatives pacethat combines artistic heritage with in novativetea ching methods, enabling students to contribute to advanced artistic production in line with the developments of the digital age with out abandoning the principles of traditional aesthetics.

Research Summary: Research Abstract: The current research entitled (Transformations of Artistic Discourse in Contemporary Iraqi Sculpture) examines the visual and cognitive discourse reflecting the intellectual, aesthetic, and technical shifts in contemporary Iraqi art. The first chapter establishes the methodological framework, addressing the central research question: What are the transformations of artistic discourse in contemporary Iraqi sculpture? The study aims to identify these shifts within a thematic scope covering various materials, a temporal scope from (2010 to 2022), and a spatial focus on works by Iraqi artists.
The second chapter (Theoretical Framework) consists of three sections: the first explores the Concept of Artistic Discourse, the second analyzes Shifts between Concept, Form, and Material, and the third identifies the Features of Artistic Discourse in Contemporary Iraqi Sculpture, concluding with the extracted theoretical indicators. The third chapter details the research procedures, involving a population of (60) sculptural works, from which (3) samples were intentionally selected for analysis using the descriptive-analytical method (content analysis). Finally, the fourth chapter presents the results and conclusions, followed by the bibliography and appendices

Research Title: Technical Reciprocity Between Painting and Ceramics: Leveraging Collage to Create Innovative Contemporary Artworks.
Summary:
This research explores the evolution of contemporary plastic arts in response to rapid technological and material advancements. It focuses on breaking the traditional boundaries between artistic genres—specifically Painting and Ceramics—through the strategic use of Collage. The research problem centers on how the integration of ceramic elements and industrial waste onto the canvas can transcend conventional expression and enrich the artwork's surface.
Key Highlights:
• The Problem: Investigating how the "Technical Reciprocity" between painting and ceramics can achieve innovative structural and aesthetic solutions that move beyond two-dimensional limitations.
• Objective: To utilize collage techniques by incorporating ceramic pieces, fragments, or ceramic waste onto the painting’s surface, creating a unique synthesis of color and tactile mass.
• Significance: This study serves artists, researchers, and art students by opening new horizons for creative expression. It emphasizes the importance of "mixed media" in providing diverse tactile and visual values, while also touching upon the sustainable reuse of industrial and artistic by-products.
• Methodology: The research follows an applied approach, resulting in a series of artworks that manifest the intersection of painting and ceramics. It redefines the artwork not as a single-medium entity, but as a hybrid surface where the characteristics of both genres merge into a unified, modern aesthetic.
The second chapter included two sections. The first section covered the emergence of collage (philosophical vision and historical roots), while the second section covered collage techniques in contemporary drawing. The third chapter presented the practical procedures, the fourth chapter contained the analysis of research samples, and the fifth chapter included the research results.

This research addresses the problem of Representations of Reality in Contemporary Arab Art: From Reflection to Critical Accountability, examining it as a critical issue situated between self-reflection and art criticism. The study investigates how the absence or weakness of reflective artistic practice and institutional critical discourse contributes to the formation of aesthetic decline and undermines the coherence of visual meaning in contemporary Arab artistic production. The research is structured into four main chapters, each contributing to the analysis of this central problem.
Chapter One presents the methodological framework of the study, including the research problem, questions, objectives, significance, boundaries, key terms, methodology, and data-collection tools. Chapter Two develops the theoretical framework by addressing the concept of decline from a philosophical and aesthetic perspective, alongside a systematic review of previous studies and a discussion of their research gaps. Chapter Three outlines the practical procedures of the research through a descriptive–analytical study of a selected artistic sample consisting of four contemporary Arab and Iraqi artists, based on visual examination and content analysis. Chapter Four presents and interprets the findings in relation to the research objectives and proposes recommendations and directions for future research.
The study concludes that the intellectual nature of decline in contemporary Arab art represents a complex crisis emerging from the imbalance between self-reflection and critical engagement. This crisis is manifested in the absence of philosophical vision, weakened aesthetic awareness, the dominance of formalistic practices, and the erosion of institutional art criticism. The analysis further demonstrates that artists who possess a clear intellectual project grounded in reflective practice and supported by critical awareness are capable of producing meaningful and coherent artworks that resist superficiality and aesthetic stagnation. Accordingly, the study recommends strengthening Arab art-critical institutions, integrating aesthetic philosophy into art-education curricula, and enhancing intellectual and institutional support for artists in order to establish a contemporary Arab aesthetic discourse capable of confronting decline and restoring depth and meaning to artistic production.

The theater constitutes the intellectual and aesthetic incubator with its police-like broadcasts that have become a semantic path that diagnoses and monitors human problems and oppression, worries and pains, to point to them and strive to resolve them with aesthetic technical means represented by the performance of theatrical actors through their performance techniques in an intellectual space that man borrows through the visual and auditory level to move the sensory, emotional and mental level in the recipient’s soul in an effort to repair the soul, strengthen freedom and impose the concept of humanity.
The research comprised four chapters. The first chapter addressed the research problem, which centered on the following question: (What is the politicism of oppression and its manifestations in the performance of the contemporary Iraqi theatrical actor?). The importance of the research stemmed from studying the politicism of oppression as a widespread and recurring behavioral, intellectual, and psychological phenomenon in Iraqi society. This phenomenon arose after a series of intellectual transformations brought about by war, occupation, the onslaught of globalization and digital technology and its misuse, as well as the spread of deviant and abnormal behaviors and moral decay in global and Arab societies in general, and Iraqi societies in particular. The research aimed to identify its causes and repercussions and to clarify its politicistic meanings in order to mitigate it as much as possible. The research objective focused on (identifying the politicism of oppression and its manifestations in the performance of the contemporary Iraqi theatrical actor). The time limits were set: (2015-2025), the spatial limits: Iraq (Baghdad, Babylon), and the subject limits: a study of the police-like oppression and its manifestations in the performance of the contemporary Iraqi theatrical actor), with the definition of the terms and procedural definitions contained in the research title.
The second chapter (theoretical framework) consisted of two sections. The first section was titled: "The Conceptualization of Oppression as a Polysemous Concept," and the second section was titled: "The Conceptualization of Oppression as a Polysemous Concept and its Manifestations in the Performance of International and Arab Theatrical Actors." The researcher then extracted the indicators of the theoretical framework. The second chapter concluded with a previous study, which the researcher identified, detailed, and discussed. The third chapter was dedicated to the research procedures. It defined the research population, which consisted of twenty theatrical performances. The researcher selected two of these performances purposively as a sample for analysis: the play "YaRab" (Oh Lord), directed by Mohammed Hussein Habib in 2015, and the play "Junoon al-Hamam" (The Madness of Doves), directed by AwatifNaeem in 2025. The researcher used the descriptive-analytical method to analyze the research sample, relying on the indicators of the theoretical framework. This was done after presenting the sample to experts who provided their observations and opinions. The researcher then revised and finalized the sample, which is presented in the research. The fourth chapter included the results, conclusions, recommendations, and suggestions. The researcher listed the sources in a single list at the end of the research

In connection with international art, Sudanese art has, since the fifties of the twentieth century, tended towards expressive thought using material and technology and coming up with material and technical combinations that emphasize the creative aspect of contemporary Sudanese art. Therefore, this study came with the aim of revealing the aesthetics of expression in the works of contemporary Sudanese sculptors and to identify expressive and aesthetic values And stating the stylistic characteristics of it, this study is based on four chapters: The general framework of the research. As for the theoretical framework, it included three topics, the first was entitled Beauty in Human Thought, and the second was entitled Expression. The third topic was the development of plastic arts in Sudan. The researcher concluded with the indicators that resulted from the theoretical framework.
As for the research procedures, in which the researcher defined his research community with (20) sculptural works, from which the researcher intentionally chose his research samples, which were determined by (3) sculptural works. Adopting the descriptive analytical method in its analysis, and sealing with the analysis of samples.
The sculpture concluded with the results, the most important of which are:
The research showed that the material is no longer just a physical medium that carries the shape in contemporary Sudanese sculpture, but rather it became aesthetic to dealing with it, through its sensory and synthetic properties, which the artist revealed through technical synthesis.
The relations and connections in the Sudanese sculpture art were limited to the technical methods of processing, and the features of the Sudanese sculpture remained conservative and linked to the historical legacy and its historical culture.
The international artistic trends influenced its diverse ideas in sculptural work formulations, so the diversity of these trends was a point of attraction and launching the ideas of contemporary Sudanese artists.
contemporary Sudanese sculptor was inspired by forms with elements of composition having their own sculptors in the sculptural work that achieved the aesthetic expression.

The study was entitled (the impact of the problem of the state of infrastructure in the schools of Babylon Governorate on the educational aspects and the strategy of its solutions in the light of the sustainability programs of the University of the Future), where the problem of the current research lies in the following questions:
( What is the problem of the state of infrastructure in the schools of Babylon Governorate and what is its impact on the educational aspects and what is the strategy of its solutions in the light of the sustainability programs of the University of the Future)
The case study was aimed at: -
The results of the study indicated the weakness of the state of infrastructure by a high rate exceeding (70%) in Iraqi schools and in Babylon Governorate in particular, as the application of sustainability programs faces many obstacles, the most prominent of which is the high financial cost of implementing solutions and raising the deteriorating reality that occurs, And the need
(faculty members) for special and intensive training to use technology effectively in learning environments, and from the .

Structural shifts in contemporary visual arts and the rise of Generative AI necessitate investigating "Expressive Metonymy" and meaning generation in AI-generated graphics. This research pursues the semantic essence behind technical brilliance, highlighting metonymy as a rhetorical mechanism penetrating superficial forms into deep cultural interpretation. It emphasizes metonymy’s role in anchoring "Human Intentionality" within algorithmic outputs, ensuring intellectual value and creative identity against philosophical voids.
The research problem questions how metonymy establishes human intentionality and the machine's impact on originality. It aims to identify meaning-generation mechanisms via metonymy in AI-generated graphics, highlighting visual rhetoric's role in artistic communication. The theoretical framework examined Meaning, Perception Psychology, and Future Challenges. Using a descriptive-analytical methodology, the study analyzed a purposive sample of graphic works for metonymic embodiment and surreal juxtaposition.
Key results confirm the inevitable integration of algorithmic form and human intent; while algorithms generate complex juxtapositions, meaning remains contingent on the designer’s awareness and precise prompting. The research concludes that expressive metonymy is the fortress of human identity, preventing works from becoming mere technical displays devoid of thought. It recommends updating design curricula to integrate these semantic shifts.
Keywords: Expressive Metonymy, Meaning Generation, AI-Generated, Intentionality.

Contemporary man lives in a postmodern era that has not fulfilled its promises of freedom and the search for truth, in a world where the image prevails over narrative storytelling, in a world where ideological narratives and comprehensive ideas fall to be replaced by centralisms and multiple ideas, in a world of measurement subject to the truth imposed by numbers and digital surveys, in a world of artificial technical performance, and in the midst of this, contemporary man tends to and submits to the calculator and algorithms that produce codified art and a commodified culture that suits the market and the consumer's passion for discovering the manufactured new and programmed falsehood, so that art becomes a hybrid art for the postmodern man who is objectified and imitates the machine and its digital outputs, which tend towards ridicule, falsification, fragmentation, branching out and the absence of the origin. The current research consists of four chapters. The first chapter contains the research problem, its importance and the need for it, as well as the research objective, its limitations, and the definition of terms. The second chapter includes the theoretical framework, which contains two sections: the first (the concept and philosophy of reification) and the second (the phenomenon of digitization and contemporary artificial intelligence). The third chapter includes the research community, which is the output of digital artists using artificial intelligence programs during the period (2024-2026). The research sample consisted of three models, and it also includes the research methodology, its tools, and the sample analysis. The fourth chapter includes the results, conclusions, recommendations, and suggestions. The research ends with the sources and references.