Religious Contents in Contemporary Iraqi Painting

One of the common topics in the path of art and man is the subject of the relationship of the self with the other, that unknown that accompanies the self and interacts with it negatively and positively in the path of knowledge resulting from the act of accumulation and dialogue and the formation of sensory, mental and emotional images of the objective environment with its material dimensions and metaphysical powers. It arrives in advanced stages of a feeling of majesty in front of the unseen and diminished forces, thus forming a spiritual connection that we call technically (religion) and religiosity is a picture of that relationship expressed by the current research and continued its manifestation in one of the human activities and activities and we mean art – painting under the name (religious contents) The current research included four chapters in order to achieve objectivity in observing religious contents and their reflections on art. How was it reflected in the drawings of Iraqi plastic artists? The first chapter also included the importance of the research, which came from the fact that it sheds light on the basic factors affecting how to deal with the metaphysical aspects of contemporary Iraqi painting. As he puts in their hands an academic contribution to clarify the issue of the relationship between religion and art, enriching the knowledge of the artistic and cultural library. The aim of the current research is to know the religious contents in contemporary Iraqi painting, and it is determined chronologically by the period from (2000 – 2020), spatially in Iraq, and objectively by religious contents. The second chapter also included the theoretical framework of the research, as it included three sections, the first topic, religious implications in Iraqi thought, where the researcher traced the emergence of religious thought in Iraq, ancient and modern, and the development of that thought and its major transformations. The second topic, religious contents and their representations in global thought and art, as it is possible to understand the conceptual and stylistic formulations that manifest the religious content in art. The third topic, the features of religious thought and the crystallization of religious contents in contemporary Iraqi thought and art, where the researcher clarified in this topic the sensory, mental and conceptual features and how the Iraqi artists interacted with them after learning about global experiences and addressing the issue of the identity problem in moving to the world from our environment with its objective framework And sensory. As for the third chapter, the research procedures, it included the research community, which represented the totality of the artistic works (drawing) that dealt with the topic of religious contents, as well as the research sample represented by (12) models that were chosen in a deliberate way to achieve the goal of the research, and the researcher relied on analyzing the research sample Based on what the theoretical framework concluded of indicators as criteria through which artistic works can be analyzed according to the descriptive approach (content analysis)As for the fourth chapter, it included the results of the research, its conclusions, recommendations and suggestions, and the most important results are:1: The presence of the Qur’anic text formed visually by letters and verses and the link between the idiomatic significance of the Qur’anic text with the explanatory image corresponding to the literal meaning of the verse as in the sample model (1, 10. (2: The religious contents were manifested in the form of a story drawn according to a pictorial narrative context represented in the details of the Qur’anic text and the stories contained in it in a manner that adopted the documentary tendency and the symbolism required by the endorsement of some elements and the displacement of the temporal and spatial framework in order to serve the requirements of the visual text in order to achieve the full perception of the event or story as in the sample model.