Abstract
Daesh has profoundly affected the psychological statues of Iraqis; they sacrificed thousands of souls and martyrs to liberate their country from a savage enemy. This study has, therefore, a psychological perspective. It tackles the reflections of agony, suffering and poverty in the behaviour of the artists, writers and translators. 
 
 Iraqi artists have represented their suffering and pains in their paintings. They encoded the symbols, colours and semiotic mosaics in association with rhetorical connotations. 
 
 Mosul is the city most affected by the terrorist acts during the war. Therefore, the study has selected four Mosuli artists who drew, painted and visually documented that period. Translation does not limit itself to the study and analysis of verbal/linguistic texts; it also tackles the extra-linguistic signs and codes of the source language to transfer them into the target language appropriately and in a way that seems intelligible to the readers or the spectators of these paintings. 
 
 The research questions are based on a set of issues: Are the teachers of translation able to construct a bridge between Iraqi society, European society and other societies? These paintings have socio-cultural symbols specific to Iraqi society. Are the teachers of translation able to come out from the shell of the linguistic texts and move towards the semiotic and visual texts?
Highlights
It is undeniable that the period of Daesh was harmful and caused many humanitarian disasters
The entire story of ISIL is a sort of Hollywood scenario or a film dedicated to show the audience the history of the Middle Ages wars
The need to draw such objects is to display their suffering to the world. This mission requires a translator who can facilitate that display by creating explanations of the cultural background and the significations of semiotic elements in the artistic works that are associated with rhetorical messages
Summary
It is undeniable that the period of Daesh was harmful and caused many humanitarian disasters. A year since that setback, Mosul and other Arab Sunni ISIS-controlled places witnessed a set of complexities such as poverty, lack of educational facilities and deconstruction of precious antiquities. Their acts were doubtful and not understandable. The outcome products are imprinted by the consciousness of the drawer For this reason, the study has selected the visual works of four Mosuli artists to analyse their semiotic and rhetorical values. The scope of analysis is restricted to the role of translation and its effect of transferring impressionist signs and visual reflections of the artists’ experiences. Three assistant professors who are specialists in translation are the study’s experts
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