المثاقفة التواصلية في الفولكلور الشعبي وتمظهراتها في اعمال الرسام العراقي المعاصر.

This study attempts to explore the technical and semantic aspects of the contemporary heritage, in particular the use of the folklore, including folkloric signs and mythological symbols, and a heritage atmosphere known to the public and the private, and to express it in new artistic contents with a contemporary vision, as this phenomenon has become in need of research that deepens its significance, and explores its origins And its intellectual and cultural references, and determines its artistic value, for folklore is nothing but popular culture that circulates among people and is represented in songs, dance, cinema, theater and folk stories, and it may also be included in fashion designs and even customs, traditions and food, and the importance of folklore lies in being a means of transmitting knowledge and culture from Generation to generation, in light of human, spiritual and moral values, and the study of heritage gives us a clearer idea of human thought and its development over generations on the one hand, and man’s interaction with his environment over time on the one hand. The serious interest in studying folklore has emerged because of its close relationship between folklore and contemporary Iraqi art in terms of their historical origins, and that the contemporary Iraqi artist's evocation of legacies is an expression of the human civilization crisis in the twentieth century.From this standpoint, the first chapter is determined by the research problem that focused on the answer to the following question: Does communicative education in folklore manifest itself in the works of the contemporary Iraqi painter? The plastic text is a form of popular expression through the artistic achievement presented by the contemporary Iraqi plastic artist. The second chapter focused on its two papers: the first was on folklore, a historical overview, the second was on contemporary Iraqi painting, and the chapter was concluded with the indications of the theoretical framework. As for the third chapter, the two researchers reviewed the research methodology represented by the descriptive and analytical method and the research sample that included (6) samples, and the chapter was concluded by analyzing samples, while the fourth chapter was reviewed the most important results, among which were: that folklore in contemporary Iraqi art is nothing but An accumulated, continuous and renewed popular innovation in the human community, and that the folklore represents a tapestry of symbols that in its entirety constitute a symbolic pattern or building that has a specificity that distinguishes it from other symbolic systems. The chapter concluded with recommendations and suggestions. [ABSTRACT FROM AUTHOR]