Sunday, April 30, 2023

Why The CNF Was Copyrighted?


The Chaldean National Flag In The Loop

           Chaldeans the indigenous people of Mesopotamia are so confident of their history and remarkable heritage. Thus no Chaldean will visit a site or a Facebook page run by the so-called 20th Century Assyrian Cult to attack them or leave a message of hate behind. We are just focusing on positive messages in life and educating others about over 7300 years of Chaldeans' deep and rich history. May 17th is the Chaldean National Flag Day and I would like on this blessed occasion to explain to those who are not aware of the fact that the Chaldean National Flag CNF is also considered a masterpiece artwork. The main goal of this article is to furnish our beloved Chaldeans and friends with sufficient relevant information and particular technical details about the Chaldean National Flag, i.e., CNF Copyright. 


Before answering the hilarious question addressed every so often by some anti-Chaldean racist regarding the copyright certificate of the Chaldean National Flag, I want to bring to everybody’s attention an important point concerning the Assyrian Flag.

It is worth noting that the Chaldean Nestorians aka Aṭuraie/Chaldeaie Neṣtornaie who adopted in 1976 the ancient state name (Assyria) and falsely claimed it as an ethnic name are violating both scientific history discoveries and Biblical statements. All the historical documents assure that the modern cult's made-up name (Assyrian) was faked by the MI-6 in London, England, and embossed on these Chaldean Nestorians to use them as local pawns who could assist them in achieving their colonial mission in the Middle East. However, this false identity was never adopted officially until 1976. This unprecedented action to adopt the British made-name was taken after assassinating their superior leader, the Chaldean Nestorian Patriarch Mar Shimun XXIII Eshai on Nov. 6, 1975, who strongly refused to change his ancestor's official Church Seal from Chaldean to the 20th-century Assyrian cult fake name.

As it is well known, the designer of the 20th Century Assyrian Cult’s flag was the late George Atanous, a mere historian and definitely no artist. He was born in Russia in 1919. His parents were Chaldeaie Neṣtornaie originally from the town of Urmia, Iran. He studied for two years after high school in India (oilfields technical drawing). His design that was imposed on the 1976 cult by the Assyrian Universal Alliance AUA (a hardcore hateful group and anti-Chaldean politically motivated) was rejected for years by the majority of that cult. In fact, that inaccurate design shape and composition derived from the British flag and was openly criticized and refused by the Assyrian American Educational Association.

However, because of too much political pressure and money involved in this matter, the design was posted on the front cover of the September/October 1981 issue of the Assyrian Star magazine depicts the 1981 Miss Assyrian winner holding the so-called modern Assyrian flag.

           Despite that approval from the Assyrian American Educational Association, the design was and still is depicted today in two different shapes - with and without the top symbol of the god Shamash, who is also referred to in some sources as the god Ashur. To learn about this Egyptian / Asiatic-Anatolian symbol, read the section Relishing the Illusion in The Untold Story of Native Iraqis, Chaldean Mesopotamians 5300 BC – Present, PP 131-140. 


           The right question is: Can flag designs be copyrighted? The simplest answer is Yes, we can trademark a flag according to the International Copyright Institute. However, one may still ask why the Chaldean National Flag was copyrighted in the first place.

Due to the fact that the designer of the Chaldean National Flag is an established professional artist and a member of the International Association of Art (iaa/aiap) UNESCO Paris, since 1986, he has honored the 1954 iaa Bylaws. Any member of iaa, as well as art critics and professional artists, know the fact that I have to honor iaa 1954 bylaws and register my designs (i.e. the Chaldean National Flag).

           Incidentally, to have an idea about my artistic level, I am the only professional artist who won the two international contests to design the Iraqi National Flag in 1986 and 2008. Furthermore, this unique and unmatched design of the CNF was registered for the first time in 1986 at the Ministry of Local Government in Baghdad, Iraq. Any design or artwork is considered the intellectual property of the artist by iaa and the International Copyright Institute. The copyright registry can easily prevent others from altering or even claiming the artwork. It is also quite known that “Copyright is important as it helps to protect the value of an author/academic/researcher's work, by giving the originator of the work the ability to protect it from unlicensed or uncredited usage.”

          The 2003 Federal Court records prevented an unqualified party from claiming and altering the original design of CNF. Post-federal-court verdict, the original design is internally protected and the federal decision became law. Therefore, I decided in 2004, as the owner of the CNF intellectual property, that it was about time to publicly announce giving unlimited permission and authorization that applies to all Chaldeans worldwide to use the legitimate design of the Chaldean National Flag (CNF) as long as it would not be reshaped, reformed, altered, or modified. I also openly and publicly stated in 2004 that the official CNF design is my 100% gift to my beloved Chaldean Nation worldwide. See the link below:

Finally, I would like to thank the Chaldean Heritage Foundation for giving me this opportunity to expose the ongoing smearing messages and other attempts that are part of the continuing laughable campaign that I have faced since I began exposing one of the biggest lies in modern history, which is the 20th Century Assyrian Cult in 1999. To learn more about this ongoing personal attack, read the article at the link below:

The Untold Story of Native Iraqis Vs. The New Fascists’ Propaganda | Shoot the Messenger



Amer Hanna Fatuhi, Ph.D.

Visual Artist & Historian |


Monday, December 13, 2021


 The Past Shaping Life Future Challenges Through Art!


The Art of Bridging the Past and the Future!  

At the beginning of 1988 artist, Amer Hanna Fatuhi, who became an international figure after winning the 1984 UNESCO Award and was featured on national and European art and cultural magazines, decided to leap from the Rhinoceros period RP of his 1985 One-man show "Home of Madness". As many art critics wrote about, this artistic period has dominated Fatuhi's artwork since his first One-man art exhibition, The Hard Time, 1981.

Artist Fatuhi was so wise to not jump in the dark but to walk gradually by blending his three compositions in one challenging path that contained:

1- The Minimal Symbols and Signs on a two-dimension background; most of these paintings appeared in his work when he was a university student. On those artworks, Fatuhi used mixed media and symbols derived from space and physics theories with pictograph, cuneiform symbols, a single word or a phrase from his published poems, i.e.,  Adam & Eve, The Everlasting Cold, Nadia, The Sorrow of Lady L, and A Freedom to Nowhere!

2- His second One-man show's main purpose was to demonstrate the artist's capability in figurative art while depicting metaphysical themes. Artist Fatuhi borrowed one simple technique from that show, not from the large paintings but the simplified Rhinoceros head that dominated his sketches.

3- In his Pictographic 1988 new line of work, artist Fatuhi used the head of the Rhinoceros as a colorful background to fill it with Logogram/pictograph symbols. These symbols were derived from the Mesopotamian 3D Clay Token writing system founded during the Neolithic period between 8000-5600 BC, more than 10,000 years ago! 

By the end of that year, artist Fatuhi created over 200 artworks, mostly Monoprint art and Hot-printing, a technique he created in the same year. These artworks traveled the world and became the artist's hallmark among other modern and postmodernist artists. Many European, Canadian, and U.S. museums collected those works and hosted Artist Fatuhi and his new unique artworks, especially after his 1992 Two-man exhibition SIEGE and his two groundbreaking One-man exhibitions THE CHAMBER, 1992, and LOOKING FOR ANOTHER PARADISE,1994. 

Like how Van Gogh, Gauguin, and Picasso were influenced by the Japanese art, Tahitian women, and African masks & sculptures, artist Fatuhi focused on exploring and studying the Kishian Pictograph writing system (From Kish, the first city-state after the great Mesopotamian flood). Since then, he has become the only worldwide artist who created this one-of-a-kind artwork style called in 1992, LOGOGRAMISM. 

It is no secret that Fatuhi's academic background and expertise in fine arts and ancient Mesopotamia motivated him to create LOGOGRAMISM to illustrate modern times' challenges freely. Being a well-known rebel artist, he went beyond the traditional paintings and sculptures by departing in 2006 from the canvas and focusing on the frame. He also started creating artworks mixing multi-layers of sharp and neutral colors or using just one color with daylife materials to create texture impressions and visual effects. This thinking out of the box and no rules also allows the artist to create a panoramic 360-degree artwork, which builds his legacy over time! 

To view Amer Hanna Fatuhi's remarkable artworks, view "Babylon, Love, Chaos, & Beyond" at the following link: 

E. Elijah, Editor / Art Critic 

Thursday, November 18, 2021

The Love Window to the Past!

Tracking Love Footsteps in the Land of Eden

Enlil, Nannar, Sumer & Uruk by Amer Hanna Fatuhi, 1999

Oil with Mixed Media on Hard Board

 The Art of Amer Hanna Fatuhi is all about a steady heart and a dynamic mind. Bridging between the deep past with the present and far future is his magical and artistic secret!

The Eight-Four millennium BC Mesopotamian pictograph writing system is the foundation and the inspiration behind this mixed media artwork that depicts scenes derived from the archaic dawn of ancient Mesopotamia and modern time challenges! 

Fatuhi has been widely known since his two-man art exhibit (Siege) 1991 for his unique style in art that mixes between pictograph symbols and his exceptional technique. He usually uses multilayers of paintings with a texture effect made of various elements and implants all of that through several execution methods. 

* The small-framed artwork is Tenacity, 1993  /


Wednesday, August 25, 2021

Museum Quality Digital Artworks at Wabeek Country Club


Chaldean & Jewish Leaders' Outing

Museum Quality Digital Artworks at Wabeek Country Club


On August 6, 2021, prominent Chaldean leader Sam Yono received distinguished leaders from both Chaldean and Jewish communities at his amazing Wabeek country club in Bloomfield Twp.

Distinguished attendees were Jeanie Weiner, president of the Jewish History League, Rav, Asher Lopatin, the Executive Director of JCRC/AJC: A partnership for community relations and Jewish advocacy, and David Kurzmann, Senior Director, Community, and Donor Relations, Jewish Federation of Metropolitan Detroit.

The guest of honor was the well-known visual artist and historian, Dr. Amer H. Hanna (Fatuhi), the Co-founder of the Chaldean Educational Center of America (CECA) and the senior director at EA art gallery, in addition to the Chaldean engineer Raed Mar, the Vice president of the CECA.


Dr. Fatuhi handed out autographed complimentary copies of his newest book Chaldean Legacy / Walking with the Indigenous Mesopotamians 5300 BC – Present. He also presented two of his unique museum-quality digital art posters, i.e., Babylon's schematic map, and Fr. Abraham's immigration from Mesopotamia to the Promised Land of Israel.


Check out these panoramic, and educational tools at EA art gallery:


The gathering is the first phase in upcoming meetings aimed at strengthening the historical ties between Chaldeans and the Jewish community. Both peoples come from the same root, i.e., being the indigenous Mesopotamians.


After the meeting, the host, Mr. Yono, accompanied the attendees on a tour inside and outside the amazing Wabeek Country Club. Wabeek has wonderful large banquets, Gyms, tennis courses, pools, a wide and beautiful golf course, and most importantly great service and superb hospitality.


Congratulations Sam, Two thumbs up!


Amer Hanna Fatuhi, Ph.D.


Monday, June 14, 2021

Stand with me for the Flag & the National Anthem!

Dear All -- We must not let the biased media, brainwashed athletes, and those millionaires who do not believe in America divide us!
When we stand for the Flag and the Anthem we stand for America, it is that clear and simple.

When we stand for the National Anthem, we stand for those who can no longer stand with us.
It is about honoring their heroic sacrifice.

The Brave Men and Women of the Military are the REAL Heroes.

May the LORD Bless Their Souls and May the LORD Bless AMERICA
The Land of the Free and the Home of the Brave


Respect & Honor the Flag, Because it stands for our freedom … Hooah !


Wednesday, June 9, 2021

BABYLON Schematic Plan … EA art gallery

BABYLON, "The Bond of Heaven & Earth"

Digital Art Museum Schematic Plan

It is well known that Robert Johann Koldewey is considered the first archaeologist who started the systematic expedition of Babylon in 1898. Worldwide, archaeologists have used several schematic maps of Babylon since then. Among the most popular maps was the one drawn during Koldewey’s expedition of the Hanging Gardens of Babylon during 1899-1917.

Many historians included schematic plans of Babylon in their studies, however, they were either displayed incomplete geographic or /and architectural details of Babylon.  

However, no study, including the famous Cultural Atlas of Mesopotamia and the ancient near east by Michael Roaf and the Historical Atlas of Ancient Mesopotamia by Norman Bancroft Hunt, covered the most important structures and city details. The two atlases mentioned above were either incorrectly labeled or failed to include important structures.

Even the Iraqi State Organization of Antiquities and Heritage, known for publishing many well-done maps, missed important details.

The enclosed 2004-2021 colored, digital art schematic map of Babylon, which I have researched and sketches, is almost the perfect version of Babylonian structures, quarters, and landmarks.

This beautiful extraordinary digitally-drawn colorful museum-quality plan of Babylon signed by the artist, which was published in the newly released book Chaldean Legacy is available at:

The 36x24 framed version is available for only $750 plus the shipping cost. The unframed 36x24 digital artwork is only $500 plus the shipping cost.


Amer Fatuhi, Ph.D.

Visual Artist & Historian  


Wednesday, June 2, 2021

Chaldean Legacy - Press Release


** For Immediate Release **

Amer Hanna Fatuhi

248.705.2222 | atelier a


New Book Explores the Deep and Rich History of the

Indigenous People of Iraq, Chaldean Mesopotamians


Amer Hanna Fatuhi releases

Chaldean Legacy: Walking with the Indigenous Mesopotamians 5300 BC – Present’


TROY, Mich., May 17, 2021 – Amer Hanna Fatuhi, Ph.D., is a scholar in Mesopotamian History, Native Chaldeans, and Iraqi minorities.  He is also a professional writer and visual artist.

“Chaldean Legacy: Walking with the Indigenous Mesopotamians 5300 BC - Present” (published by Xlibris) is the culmination of the author’s broad cultural and intellectual experience as a historian. It transparently depicts the story of his ancestors, the indigenous people of Iraq, the “Chaldeans” / Proto-Kaldi, aka the Native Iraqi Christians, the Iraqi Jews of Babylon (Iraqi, and Mandaeans.

“Chaldean Legacy” brings honor and glory to the unexplored course of events and remarkable achievements of the Chaldeans throughout their deeply rooted history 5300 B.C. - present in a panoramic study. The author stated, “The Nation that does not learn its history will be inflicted with degradation, and dies out.

By revealing some of the important unknown insights about the Chaldeans’ history, the author brings out the best in them. The unique features in the book, i.e., exceptional manuscript, long list of authentic images built from scratch, and genuine illustrations made particularly for this study, will captivate the attention and imagination of the readers everywhere.  To learn more, visit


Chaldean Legacy: Walking with the Indigenous Mesopotamians 5300 BC - Present

By Amer Hanna Fatuhi

Hardcover | 6 x 9in | 368 pages | ISBN 9781664171862

Softcover | 6 x 9#in | 368 pages | ISBN 9781664171855

E-Book | 368 pages, will be accessible in November 2021 | ISBN 9781664171848

Available at Xlibris, Amazon, Barnes & Noble, and Major Bookstores

About the Author

Amer Hanna Fatuhi, Ph.D., is a scholar in Mesopotamian History. He is also a professional writer and visual artist. He studied engineering, fine arts, and history. He also designed the Chaldean national flag in 1985 and won the 1986-2008 international contests to design the Iraqi national flag. For more information, visit: