The contemporary art culture is considered a resultant of preceding human civilizations from the early days. At the same time, it got closer to the local privacy, because the contemporary Iraqi potter worked hard to create new art, refusing to base his art on the early works, creating art pieces that contains properties to inherited art and their form significance, in order to create a new identity of his own, bringing an empowerment to his deepened civilization, with the goal to create national identity ideas from one hand, and entity and locality from another. Europeans also followed the direction of our civilization, such as (Picasso, Henry Moore, Barbra Hurth, Brankouzi, Hans Arp,..etc). From this point of view comes the importance of this research in obtaining the significance the folk symbols and their influence on the national identity, such as the works of (Saad Shakir, Shiniar Abdullah, Mohammed Al-Arabi, Torki Hussein, Suham Al-Saodi, Sajda Al-Mishaikhy, Abla Al-Azawi, Nuha Al-Radhi, Mahir Al-Sammeraie, and others).
The research will study:
A- The significance, as an idea and a meaning in the visual field
B- The folk symbols, their reference and establishment, and their influence on the arts.
This reseach is only focusing on the time frame (1990-2010).
The study aimed .to identify on the melody tetrachords In the Iraqi Folklore song as mall as the melody tetracords is the basic in striation song if Iraqi Folklore so the researchers prepared their researchers from four chapters. In the first chapter of the researchers theoretical framework, included the research problem, which is determined by what is the melody tetra chords in the Iraqi Folklore songs. The research time limits were specific by year (2015-2016) then the first chapter ended with the terms mentioned in the title of research. The second chapter of the theoretical framework, included two subjects the first (Iraqi Folklore song) and the second subject included (melody tetra chords) then the third chapter deals with the resea
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This study aimed to review the aesthetic miracle in the story of Yusuf, peace be upon him, with the Al-Azeez’s wife, using the historical, descriptive and analytical approaches. The study sample was determined in the verses (30-34) of the Holy Quran. The study found that the beauty of Yusuf, peace be upon him, went beyond the four stages and steps of the aesthetic judgment that Feldman set, in which Yusuf’s beauty is nothing but a divine miracle that cannot be described, analyzed, and interpreted. Also despite the various concepts of beauty dealt with by ancient Greek philosophers such as the Pythagoreans, Socrates, Plato and Aristotle; and modern philosophers such as Descartes, Diderot, Kant, Hegel, and Schopenhauer are embodied in
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