Hegel points out that the beauty of harmony is represented in the unity of contradictions and the framework of the mutual dialogue between the thing and its opposite. He argued that the sense of harmony and rhythm is due to the tension between contradictions because conflict is the basis of every development. The conflict of contradictions stems from the attraction of each phenomenon toward its opposite. Beauty is represented in the unity of contradictions. From this proposition, we find a philosophical introduction to an expanding field of forms through the analytical and intellectual context of contradictory relations, which are closely related to the values and forms of balance in nature, from a harmonious unity on a balanced rhythm, which includes all the contradictory paths, and it is easy for the artist to reformulate them philosophically to form a new formal system that provides design solutions based on unity that results from the rhythm of contradiction and harmony formulated within it and its relationship with it. The research problem is inferring from that philosophical vision implemented in mural painting on the architectural surface internally or externally is based on devising possible design solutions through the formative values of rhythm contradictions in the language of form and the use of concepts of contradiction in the construction of mural artwork based on examples of works implemented in modern and contemporary art, and its analytical study and identifying the extent of its enrichment of the plastic, aesthetic, expressive, and creative aspects of that vision, as the researcher sees to produce an artistic work in line with the scientific discoveries of raw materials and new techniques that influenced the current ideology by proposing ideas and concepts reflected on the vision of the formation and visual from the differentiation of formal relations on the methods and trends of each artist to achieve that vision and interpret the contradictory formal relations in different forms in the production of mural artworks; so as to use such vision in formulating multiple treatments based on the rhythm of contradiction, to enrich the aesthetic values presented in the artwork through the formal employment of architecture and the design employment of the mural painting i.e. the subject of the research.