The purpose of this paper isto Modern spontaneity in contemporary ceramics is one of the methods of free and organized expression at the same time, and The study of surface treatments and new methods is a new and diverse source for the aesthetic dimensions of the ceramic body.technical elements and did not depend on the technical assets that limit the ways of its expression. He used various materials in his depiction of ceramic surfaces. Where the structural and design structure of the forms that characterize his artistic productions was inspired by lines, colors and plastic vocabulary as an expression of visuals...Hence the following question:What is the nature of the aesthetic dimensions that must be available on the surfaces of ceramic shapes?, What is the possibility of benefiting from studying different techniques and methods on ceramic surfaces?, The possibility of benefit that combines the two sides...skills and aesthetics together, and is used in it to build the shape and the ceramic body aesthetically.One of the most important results reached by the researcher is that:Civilizational vocabulary derived from the artistic heritage of ancient Iraqi pottery records a great presence in the products of contemporary Dutch ceramics as in model (1, 2, 5, 6), some Dutch artists were inspired by civilized vocabulary from the arts of ancient Egypt with a geometric tendency, so they reformulated and used them in contemporary ways, but they still referred to their original cultural roots, such as the engineering of the Paranoiac pyramids as in model (2, 3), the arts of architecture and Islamic scientific inventions inspired the potters of the Netherlands to employ them in the structure of contemporary ceramics in clear formal metaphors that add to their works an aesthetic dimension and a historical tinge as in model (2, 4), contemporary potters employ the cultural vocabulary inspired by the ancient arts in a simplified modulation and formal reduction method in order to be in line with the spirit of contemporary arts, but it remains clearly related to its ancient cultural roots as in model (1, 2, 3, 5, 6) , some contemporary Dutch potters are trying to take advantage of the formal formulations of the ancient civilizational vocabulary and re-present them according to different structural methods that distance the connection with their artistic origins from which they were derived as in model (4) ,and the employment of cultural vocabulary inspired by different artistic roots results in a pattern of special civilizational cross-fertilization within a single artistic structure, where the artist’s culture and environment impose its own vocabulary on his artistic productions by way of awareness or sub consciousness, so it appears clearly in his contemporary ceramic achievement. As in model

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