The Last Supper: Between the sacred and the advertisements 

ARBA’ILO (ARBIL), Iraq — For centuries, Christian communities have turned to church icons for meaning and consolation. In the Syriac Orthodox tradition, they are often called “windows into heaven,” objects meant to guide prayer and meditation. Among the most famous of these icons is Leonardo da Vinci’s painting “The Last Supper, painted in the 15th century at the Convent of Santa Maria delle Grazie, commissioned by the Duke of Milan, Francesco Sforza II (1495–1535). The work depicts the final moments of Jesus Christ with his disciples before the crucifixion, specifically the moment following Christ’s declaration that one of his disciples, Judas Iscariot, would betray him. 

It is one of the world’s most recognized religious works. Yet in recent years, it has also become a canvas for advertising. The latest example came in Arba’ilo (Arbil) in the Kurdistan Region of Iraq (KRI), where a restaurant called UK Pizza & More launched an ad that played on da Vinci’s scene. Instead of a solemn gathering, the message was simple: “The Last Slice of Pizza.” 

Public Outrage

The backlash was immediate. Social media filled with angry comments, not only from Christians but also from followers of other religions and sects in Iraq, the Beth Nahrin region, and around the world who saw the campaign as needlessly provocative. Many called it a direct insult to Christian faith and traditions.

The KRI’s authorities stepped in quickly. Nabaz Abdul Hamid, Arba’ilo’s (Arbil) mayor, told Network 964 that the restaurant, located in “Nusran” area, was ordered to shut down on Sunday, August 24, 2025. He said the decision came after officials confirmed the ad had been posted on Facebook. Arba’ilo (Arbil), he stressed, “rejects anything that stirs division or shows disrespect for religion.”

This was not the first time The Last Supper has been co-opted for commercial purposes. In the Holy Land, the Kasrawi company once ran an ad swapping Christ and the apostles with goats in reference to Eid al-Adha. The stunt prompted boycotts and angry store owners tossing products into the trash. Additionally, at the Paris Olympics, the painting surfaced again, this time in a satirical performance by members of the LGBTQ+ community. A man in makeup and women’s clothing stood in for one of the figures, sparking fierce criticism.

Observers are questioning whether religious sanctities have turned into a convenient tool for chasing “trends,” with no clear rules on how sacred symbols should be used in marketing, or on where to draw the line between commercial creativity and respect for faith. Are existing regulations too weak or vague to stop such misuse, or does governmental indifference effectively embolden those who deliberately offend?