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Published: 10 December 2022
Last updated: 29 January 2023

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1

Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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2

Sande, Siri. "Egyptian and Other Elements in the Fifth- Century Mosaics of S. Maria Maggiore." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 65–94. http://dx.doi.org/10.5617/acta.5531.

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The point of departure for this article is the mosaic with Nilotic motifs that runs along the bottom of the apse of S. Maria Maggiore in Rome. The mosaic is a work of Iacopo Torriti dating to 1296. There has been a great deal of discussion, however, whether he invented the motifs or whether he copied them from the fifth-century apse (or even included parts of the original). It is here suggested that Torriti used motifs which were originally present in the fifth-century apse and that they, together with other motifs relating to Egypt in the still preserved fifth-century mosaic panels, had a symbolism well suited to the ideas about Mary and the Incarnation that were prevalent in Rome in the fifth century.
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3

Kemp, Barry. "Egypt's Invisible Walls." Cambridge Archaeological Journal 14, no. 2 (October 2004): 259–60. http://dx.doi.org/10.1017/s0959774304210162.

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City walls invite functionalist explanations. It is at first sight easy to deduce why they were built. Where contemporary written and pictorial evidence survives, however, the subject begins to take on a cognitive dimension. Did people at the time really perceive them as we are apt to imagine? The subject has been extensively discussed in the context of medieval Europe where contemporary pictures and contemporary accounts can be set against the architectural remains themselves. City walls were built for status and symbolism as much as for protection. The following collective discussion of the subject in the context of Egyptian history, both ancient and medieval, seeks to follow the same approach: to confront the documentation of the changing practice of urban walling with evidence that represents the mindset of the day. For the time of the Pharaohs the subject is complicated — and made more rewarding as a consequence — by the immense effort which the Egyptians also devoted to walled enclosures around prominent religious buildings. Here the temptation for us is to create a separate category from walled settlements, but on a basis that could be quite misleading. Although the dichotomy between the sacred and the profane is apparent in the construction of walls, meanings change and the distinction is far less apparent in the subsequent use of these enclosures. In medieval Egypt the massive walls of Cairo, parts of which are still an impressive sight, also turn out to be a poor guide to how urban defence was generally perceived at that time. As is ever the case in archaeology, the relationship between the minds of the present, the minds of the past and the objects of reflection forms a subtle and complex triangle.
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4

Morkoç, Selen. "ART HISTORY AND ARCHITECTURAL SYMBOLISM: A Hermeneutical Critique." Architectural Theory Review 8, no. 2 (November 2003): 124–33. http://dx.doi.org/10.1080/13264820309478489.

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5

Peri, Oded. "Ottoman Symbolism in British-Occupied Egypt, 1882–1909." Middle Eastern Studies 41, no. 1 (January 2005): 103–20. http://dx.doi.org/10.1080/0026320042000322734.

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6

Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research." Философия и культура, no. 12 (December 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.

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The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.
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7

Montserrat, Dominic. "The Representation of Young Males in ‘Fayum Portraits’." Journal of Egyptian Archaeology 79, no. 1 (October 1993): 215–26. http://dx.doi.org/10.1177/030751339307900114.

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This article discusses the symbolism used on the mummy portraits of adolescent boys from Roman Egypt. The social implications of these symbols and representational modes are examined, with particular reference to their links with contemporary constructs of puberty, male sexuality and rebirth.
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8

Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.
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9

Poo, Mu-Chou, and Gay Robins. "The Art of Ancient Egypt." International Journal of African Historical Studies 31, no. 2 (1998): 493. http://dx.doi.org/10.2307/221163.

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10

Teodorescu, Ana. "Tiger Symbolism in the British Raj." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 51–62. http://dx.doi.org/10.52214/cja.v1i2.10126.

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This research paper explores representations of the tiger during British colonization of India, arguing that the symbolism embodied in these depictions started with the copying of Indian rulers’ ceremonial attachments to tigers and gradually merged into an approach which delineated class division and racial segregation. A brief history of British-Indian relations situates the period in question and paints a picture of the powers at play. Themes of power dynamics, racism, and gender roles are explored in relation to art and animal history, offering a comprehensive view of a phenomenon that was accepted but never openly discussed. The power of symbolic imagery in constructing cultural identities is emphasized and illustrations vividly support the thesis for the various stages.
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11

Tromble, Meredith. "The advent of chemical symbolism in the art of Sonya Rapoport." Foundations of Chemistry 11, no. 1 (October 30, 2008): 51–60. http://dx.doi.org/10.1007/s10698-008-9058-1.

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12

Hussain, Syed Ejaz. "Symbolism and the State Authority: Reflections from the Art on Indo-Islamic Coins." Indian Historical Review 40, no. 1 (May 9, 2013): 17–40. http://dx.doi.org/10.1177/0376983613475863.

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13

Saad, Reem Lotfy Mahmoud. "Art and Cultural Identity." Academic Research Community publication 1, no. 1 (September 18, 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.104.

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This paper analyzes aspects of Egyptian history, including unique qualities that influenced the Egyptian culture and gave it its identity that has developed throughout the years until today. It will also discuss Egyptian visual arts and its critical role throughout history, including how arts have appeared and developed over Egypt’s lifetime and influenced the Egyptian citizen. Furthermore, this research sheds light on the effects of every political change that took place in Egypt, and how that could be a mirror of the Egyptian civilization, its development and its decline while considering the role of visual arts throughout and after the revolution of 2011. Analyzing Egyptian culture, education, technology, internet and multimedia after the revolution can be imperative to understand the cultural identity and the role of visual arts in Egypt. Thus the mutual relationship between arts and the Egyptian cultural identity will be questioned, along with the way that they impact each other, and finally, how both of them could play a key role in developing Egypt after the 25th of January, 2011 revolution.
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14

Curran, Brian A., Jean-Marcel Humbert, Michael Pantazzi, and Christiane Ziegler. "Egyptomania: Egypt in Western Art, 1730-1930." Art Bulletin 78, no. 4 (December 1996): 739. http://dx.doi.org/10.2307/3046219.

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15

Song, Yixiao. "The Analysis of the Vision of the Sermon: A Comparative study on Gauguin's relationship with Symbolism and Fauvism." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 308–14. http://dx.doi.org/10.54097/ehss.v1i.676.

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Paul Gauguin is one of the three masters of post-impressionist painting school. The Vision of the Sermon is a landmark work of Gauguin in the process of artistic creation, which was created during Gauguin's sketching on the Brittany peninsula. It is through the completion of this work that Gauguin is known as the "founder of symbolism". Through the image analysis of the Vision of the Sermon, this paper summarizes and compares Gauguin's painting characteristics with symbolism and fauvism. Combined with scientific literature research, we can better understand Gauguin's artistic characteristics and his thinking on art and life. Symbolism and fauvism all have many common skills and characteristics with Gauguin and have a close relationship with each other. Through research, we can comprehensively and objectively analyze the connotation of Gauguin's illusion after his sermon, understand Gauguin's painting style and ideas, and witness Gauguin's influence on other painting schools and their position in the history of art.
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16

Khazbulatov, A., and Zh Shaigozova. "Zoomorphic code of kazakhstan culture: camel symbols (cultural and art history understanding)." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 231–42. http://dx.doi.org/10.51889/2020-3.2077-6861.28.

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The purpose of this article is to study symbolism of the camel that existed among the ancient nomads of Central Asia, example of Kazakh culture. The authors, studying the evolution of the multi-valued image of a camel from the pantheon of sacred animals of the Turkic-Mongolian world, try to consider it as one zoological personification of the picture of the world of ancient Kazakhs, as one of the elements of the zoomorphic code of Kazakh culture. In present Kazakh culture, the sacred meaning of the camel is lost, but people still love and believes in camel’s unconscious faith power.
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17

Vorova, T. P., N. V. Pidmogylna, and O. I. Romanova. "Short Excursus into the History of the Russian Symbolism Origin." International Letters of Social and Humanistic Sciences 63 (November 2015): 151–217. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.151.

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Being well-known nowadays as the Silver Age of Russian literature, Russian symbolism is an extraordinary phenomenon of spiritual life at the end of the 19th – beginning of the 20thcenturies. This essay aims to study the appearance and development of Russian symbolism as a result of revaluation of cultural wealth in philosophy / art and stimulation of the appropriate rise of the certain aesthetic systems which were embodied in the literary works of that period. The current study introduces a new approach to the origin of this trend and represents the new tendencies in Russian symbolist novels which were beyond the artistic movements of that epoch. The sources of symbolist literature are traced in the principles of esoteric theory and its basic postulates. The results of the investigation and received conclusions are confirmed with the direct textual references from the novels of the writer who proves to be a forerunner of literature with bright mystical orientation.
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18

Joost-Gaugier, Christiane, and Richard Stemp. "The Secret Language of the Renaissance: Decoding the Hidden Symbolism of Italian Art." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1121. http://dx.doi.org/10.2307/20479149.

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19

Davydova, Olga Sergeevna. "Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism." Философия и культура, no. 2 (February 2022): 1–12. http://dx.doi.org/10.7256/2454-0757.2022.2.37229.

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This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.
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20

Wilkinson, Richard H. "Controlled Damage: The Mechanics and Micro-History of the Damnatio Memoriae Carried Out in KV-23, the Tomb of Ay." Journal of Egyptian History 4, no. 1 (2011): 129–47. http://dx.doi.org/10.1163/187416611x580741.

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AbstractPreliminary study of the damaged royal names and images in KV-23—the tomb of Tutankhamun’s successor Ay—conducted a number of years ago and more recent consideration of the data from that research have enabled an understanding of the mechanics of the damnatio leveled against the monument. This research has also enabled the formation of conclusions regarding some of the symbolic aspects of the destruction. Although the details of the recovered evidence are those of a singular event in a particular tomb, the principles of the mechanics and symbolism underlying the destruction have broader application to our understanding of the process of damnatio in ancient Egypt, though many unanswered questions remain.
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21

Luba, Iwona. "Sources and Contexts of Modernism in the Art of Vilnius in the Interwar Period." Acta Academiae Artium Vilnensis, no. 98 (June 26, 2020): 16–32. http://dx.doi.org/10.37522/aaav.98.2020.22.

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The paper is an attempt to define the term “Vilnius modernism”, its earliest manifestations in various, and even contradictory, formulas. The sources of modern art in Vilnius after the end of the Great War, artistic, historical and ideological contexts of the dynamically changing phenomenon of Vilnius modernism – from late symbolism, through neoclassicism, to strictly avant-garde art –are indicated. Both theoretical declarations/ manifestoes as well as works of art and their interpretations at that time are taken into account.
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22

Gamaliia, Kateryna. "ELEMENTS OF ART STUDIES IN MEDIEVAL RESEARCH OF PETER BIZZILLI." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 93–101. http://dx.doi.org/10.31866/2410-1915.23.2022.260969.

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The purpose of the article is to consider the Professor’s contribution at Odesa University, P. Bizzilli, to the domestic medieval studies formation. The reconstruction of the people’s spiritual universe of the past epoch, initiated by P. Bizzilli, is one of the important components of the methodology of humanitarian research, characteristic of many representatives in modern medieval studies. After the romantics of the nineteenth century, interest in the Middle Ages gained new development in the early twentieth century, which contributed to his research at European universities. During the century, M. Bloch (1973), J. Huizinga (1988), M. Barg (1987), J. Le Goff (2005, 2008), U. Eco (2003, 2004) addressed this topic, exploring in detail the features of medieval culture. L. Karsavin (1995), O. Dobiash-Rozhdestvenska (1987) and P. Bizzilli (1916, 1993a, 1993b, 1993c, 1995) should be singled out as active figures in the formation of medieval studies centres in Ukraine. Scientific novelty. For the first time, the medieval works of P. Bizzilli from the standpoint of art history were analysed. Conclusions. P. Bizzilli, considering the main elements that make up the medieval picture of the world, comes to conclusions that coincided with and preceded the creative discoveries of his contemporaries (I. Greaves, L. Karsavin, O. Dobiash-Rozhdestvenska). In particular, it applies to the features of medieval art, the nature of which P. Bizzilli associated with the characteristic of medieval man’s life concept. He considered universalism, symbolism and hierarchy to be the defining features of the medieval worldview, envisaging the formulation of relevant problems by the following authors. A comparative analysis of the medieval works of P. Bizzilli, his contemporaries and researchers in the next years allows us to conclude that among the fields of humanities in which his ideas remain relevant should be called art history. One of the important conclusions of P. Bizzilli was the statement that the formula of medieval culture was symbolism and hierarchy. Medieval fine art, rich in complex and finely designed symbolism, is reduced to understanding and revealing the symbolic meaning of the surrounding reality.
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23

Dufault, Olivier. "Was Zosimus of Panopolis Christian?" ARYS. Antigüedad: Religiones y Sociedades, no. 20 (October 7, 2022): 135–70. http://dx.doi.org/10.20318/arys.2022.6795.

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Zosimus of Panopolis, the first identifiable author of Greek alchemy, wrote in late-3rd or 4th-century CE Egypt. For over a century, scholars have pictured him in turn as Christian or as pagan. A reconsideration of Zosimus’ On the Letter Omega and the treatise known as the Final Count or Final Abstinence (teleutaia apochē) and the First Lesson on Excellence demonstrates that he saw Jesus as a savior, that his citations of the Hermetica are not in contradiction with basic Christian notions and that believed that the gods of Egypt were evil divine beings. His Christology and anthropology shares characteristics with “Classic Gnostic” theology and other early Christian notions. Also characteristic of the soteriologies presented in some heresiological reports, Zosimus described Jesus as teaching humans to “cut off” their body. This last observation, which is dependent on recognizing Zosimus as a Christian, shed light on the symbolism of the First Lesson on Excellence.
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Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (May 6, 1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists and of Symbolism as such, The unfolding history of his contact with their work and with Symbolism is traced. Some revealing relations are uncovered. Having established a number of definite Symbolist traits in his work, his poetical oeuvre is projected against the set of fundamental characteristics of Symbolism as a phenomenon identified by S. Dresden in his book Symbolisme (1980). Seen at against this background, the range of symbolist features in his work shows up clearly. The conclusion reached is that Van Wyk Louw so thoroughly absorbed those characteristics of Symbolism that corresponded with his own creative personality that they have blended almost imperceptibly with the rest of his oeuvre, thereby creating the impression that they are fully native to his work.
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25

Keyser, James D., and David S. Whitley. "Sympathetic Magic in Western North American Rock Art." American Antiquity 71, no. 1 (January 2006): 3–26. http://dx.doi.org/10.2307/40035319.

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Much rock art worldwide was traditionally interpreted in terms of “hunting magic,” in part based on the related concept of “sympathetic magic” In the last forty years, these interpretations were disproven in many regions and now are largely ignored as potential explanations for the origin and function of the art. In certain cases this may be premature. Examination of the ethnographic and archaeological evidence from western North America supports the origin of some art in sympathetic magic (often related to sorcery) in both California and the Plains and provides a case for hunting magic as one of a series of ritual reasons for making rock art in the Columbia Plateau. Both case studies emphasize the potential diversity in origin, function, and symbolism of shamanistic rock art.
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Hazri, Tengku Ahmad. "Performance Art as an Instrument of Spiritual Contemplation: The Case of the Malay Wayang Kulit (Shadow Play)." ICR Journal 6, no. 3 (July 15, 2015): 371–87. http://dx.doi.org/10.52282/icr.v6i3.317.

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This article offers an interpretation of the wayang kulit (Malay shadow play) as a type of traditional art, in which the art forms are conceived within the broader cosmology derived from religious tradition. To this end, it focuses on three aspects of the play, namely, the rituals, mythology and symbolism in the setting to uncover their meanings and how these relate to the tradition in which it was conceived. As the play predates Islam and was immersed in animistic and Hindu-Buddhist milieu, it underwent reinterpretation to accommodate the coming of Islam and in fact was utilised to convey Islamic message by building on the people’s pre-Islamic beliefs, thereby offering an instance of intercultural dialogue through art.
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27

Nesen, Iryna. "Stage costume and problems of theatrical symbolism in Ukraine." Linguistics and Culture Review 5, S4 (November 13, 2021): 819–31. http://dx.doi.org/10.21744/lingcure.v5ns4.1768.

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Theater as a form of cognition of the phenomenon of man and society is of interest to researchers in various fields. This is a consequence of the syncretism of all the elements that shape the art of theater. An important place in the art of theater is a costume, according to modern theater critic Patrice Pavi, as one of the main elements of the organization of stage space, which directly affects the integrity of the scenery and its integration with the actor's body. They open the image of each character: by determining the age, sex, character, profession, emphasize individuality or typify the person. The costume is a sign of a person and at the same time a means that allows reincarnation into another person. With the help of staging, the principle of the inner composition of the play is determined: the interaction of the costumes with each other in terms of cut, shape, color, material and place in the overall scenography of the design. The problems of costume in the system of Ukrainian theater remain little studied, in contrast to folk costumes or the history of fashion.
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Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (March 24, 2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.

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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically inspired architectonic symbolism, employing far older techno-cultural suppositions about interior space. I thereby offer an account of the intellectual and spiritual heritage upon which Romantic writers in the United States drew to articulate cognitive interiority. These Romantics did more than value creativity in contradistinction to Enlightenment rationalism; they were acknowledging themselves as recipients of the ancient belief in cosmogenesis as self-transformation.
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Woodford Schmidt, Carolyn. "Aristocratic Devotees in Early Buddhist Art from Greater Gandhaa: Characteristics, Chronology, and Symbolism." South Asian Studies 21, no. 1 (January 2005): 25–45. http://dx.doi.org/10.1080/02666030.2005.9628642.

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Chuu Krydz, Ikwuemesi, Egwuibe Nnaemeka, and Obodo Eva. "Realism, eloquence and symbolism in Reuben Ugbine's ceramic sculptures." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–13. http://dx.doi.org/10.53836/ijia/2022/23/1/006.

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Ceramics is often seen as utilitarian art, although some contemporary Nigerian ceramists like Chris Echeta, Tony Umunna and Ozioma Onuzulike have tried to re-inscribe it as veritable fine art. Conversely, sculpture in recent times has shifted mostly towards the stylised, abstract and conceptual, as can be seen in recent works by select sculptors. Although the above trends may be deemed to be general, there are still artists who seem to defy or subvert the trends through the formal and iconographic essences of their works. The works of Reuben Ugbine, a graduate of sculpture from Yaba College of Technology Lagos, provide a good example and have received huge attention due to their style, visual eloquence and social commitment. This paper, therefore, examines Ugbine’s ceramic sculptures and how they transcend the banality of genre and subvert the common expectations from contemporary ceramics and sculpture in their embodiment of meaning and social relevance.
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Olivová, Lucie. "Decorative Borders in Chinese Folk Prints. Insight into the Náprstek Museum Collections." Annals of the Náprstek Museum 38, no. 1 (2017): 17–28. http://dx.doi.org/10.1515/anpm-2017-0018.

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The article examines the printed borders which adorn a moderate number of Yangliuqing prints from the collections of the Náprstek Museum. They are made up of auspicious elements common in the symbolism of Chinese folk art. Their design differs and falls at least into two groups. The reason behind placing the border on a picture is yet unclear.
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Looper, M. G. "The Continuum Encyclopedia of Native Art: Worldview, Symbolism, and Culture in Africa, Oceania, and North America." Ethnohistory 49, no. 4 (October 1, 2002): 871–73. http://dx.doi.org/10.1215/00141801-49-4-871.

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Kokkinen, Nina. "The art of mystification: esotericism differentiated in the definition of Finnish symbolism." Scripta Instituti Donneriani Aboensis 20 (January 1, 2008): 98–111. http://dx.doi.org/10.30674/scripta.67330.

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This article focuses on Sarajas-Korte’s definitions that proved to be so significant to Finnish art history. In spite of the fact that her research still represents the most extensive and profound work on Finnish Symbolism, the aim here is to question some of her definitions and categorizations. Most of her concepts are puzzling, since she tends to use them in several different ways. One example of her conceptualizations is the way she uses the word esotericism and its derivatives. First of all, she seems to associate esotericism with secrecy and things hidden—in other words she follows the definition created already by the ancient Greeks. Secondly, she fuses esotericism with Symbolism as she herself defines it; hence Symbolist art is grounded on the ‘esoteric conceptions of symbols’. She also uses the word esotericism as though it would reflect the spirit of an age, as she writes for example about ‘the esoteric youth’ of the time. In addition to these three meanings, Sarajas-Korte seems to understand esotericism also by means of tradition. Her view of the esoteric tradition, however, is quite inclusive, since it seems to contain everything from the secret societies of Joséphin Péladan to the stories of the Bible and the Ramayana.
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Minaeva, Oksana. "Iconography of Power of the Pagan Bulgarian Ruler: Images, Symbolism and Tradition." Hiperboreea 4, no. 2 (December 1, 2017): 5–52. http://dx.doi.org/10.5325/hiperboreea.4.2.0005.

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Abstract The ideas of ruler's power of the pagan Bulgarians and their expression are a question of debates concerning different fields of humanities such as history, archaeology, epigraphy, religious studies, and art history. The discussion proposed tends to seek the ideological basis of the ruler's power as seen through cosmogonic, religious and political notions preserved in written historical sources, traces of rites and beliefs in mythology and folklore and in the arts. Thus, the three levels of the ruler's ideology are considered: the written/verbal texts, ritual texts and visual texts in order to find out a set of iconographie formulae of expressing the power of the pagan Bulgarian ruler.
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Reid, Donald Malcolm. "Modernism on the Nile: art in Egypt between the Islamic and the contemporary." Historian 82, no. 3 (July 2, 2020): 363–64. http://dx.doi.org/10.1080/00182370.2020.1846339.

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36

Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: EPILOGUE." Journal of Experimental Botany 60, no. 15 (September 15, 2009): 4219–20. http://dx.doi.org/10.1093/jxb/erp266.

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Blair, Sheila S. "Artists and patronage in late fourteenth-century Iran in the light of two catalogues of Islamic metalwork." Bulletin of the School of Oriental and African Studies 48, no. 1 (February 1985): 53–59. http://dx.doi.org/10.1017/s0041977x00026951.

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Islamic metalwork has in recent years been the subject of several important new publications. James W. Allan has written a lavishly illustrated guide to a recently acquired private collection whose pieces attest to the high quality of objects available to the discriminating collector. The 27 pieces span the variety of wares produced in the medieval Islamic world: bowls, ewers, candlesticks, inkwells, incense burners, and other objects produced in Egypt, Syria, the Jazira, Iran, and India from the tenth to the seventeenth century. Multiple photographs in both colour and black and white accompany a lengthy discussion of each piece. In the introduction the author offers a brief summary of the Islamic metalware tradition (its origins, expansion, and decline) and discusses the symbolism inherent in its decoration, particularly the imagery of light and darkness and the sun.
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Pirníková, Tatiana. "Brundibár – A Children’s Opera: History and Present." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 402–15. http://dx.doi.org/10.1515/sd-2017-0024.

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Abstract The paper focuses on the opera Brundibár. The authorial couple – composer Hans Krasa and librettist Adolf Hoffmeister – wrote it in the period of growing interest of artists in pedagogical aspects of the works of art. The changed social climate, however, meant for the work an unplanned journey – during the Second World War it was performed inside the Terezin ghetto by its inhabitants. The human message of the fairy tale story has thus been elevated into a higher symbolic frame – a resistance against the arrogance of power and violence. Especially the post-war era followed this symbolism. The author of the paper contemplates the innovative interpretative levels whose ambition is to cross the traditional performance frame of the work and to find connections with problems of contemporary society.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.

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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Honoré, Emmanuelle, Thameur Rakza, Brigitte Senut, Philippe Deruelle, and Emmanuelle Pouydebat. "First identification of non-human stencil hands at Wadi Sūra II (Egypt): A morphometric study for new insights into rock art symbolism." Journal of Archaeological Science: Reports 6 (April 2016): 242–47. http://dx.doi.org/10.1016/j.jasrep.2016.02.014.

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Odrekhivskyj, Roman. "Iconostases of Galicia: History and Features of Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 49–58. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235127.

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The meaning of sacral art in the spiritual culture of Ukrainian people is scarcely explored. Analytic review of iconostases in Galicia during 19th and the first half of the 20th cnturies as a phenomenon of Ukrainian artistic culture may be used during the restoration of ancient religious buildings, as well as in construction of new ones. The aim of the research is a historical comparison as well as artistic and culturological analysis. A series of iconostases have been introduced into scientific circulation. The meaning of carved décor in Galician Ukrainians’ sacral culture has been outlined. The formation of iconostasis design in the sacred environment of Galicia is investigated. The dominant and accentuating role of the iconostasis in the design of the church interior is established. The artistic carving played an important role in the history and artistic features of the iconostasis. The artistic and figurative solution of iconostases was conducted with the imitation of historical styles and used imitation of the ornamental and compositional structures of traditional folk art. Consequently, a national style emerged that became an original phenomenon of world art. Prospects for further studies are in increasing the number of studied iconostases, in investigating the symbolism of carved décor and its meaning in the sacral culture of the Ukrainians. Furthermore, the traditions of the design of religious buildings may be applied in modern construction
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Davydova, Olga Sergeevna. "Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries." Философия и культура, no. 1 (January 2022): 1–10. http://dx.doi.org/10.7256/2454-0757.2022.1.37191.

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The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.
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El-Shewy, Mohamed. "The spatial politics of street art in post-Revolution Egypt." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 263–80. http://dx.doi.org/10.1386/jucs_00029_1.

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This article is concerned with exploring the politics of street art and graffiti in Egypt in the aftermath of the uprising against former President Hosni Mubarak in 2011. Rather than viewing street art and graffiti as mere by-products of the revolutionary period, the article centres them as important elements of political and social struggle. I put forward a reading of Egypt’s street art and graffiti as sites of politics through both aesthetic and spatial approaches. To do so I draw on Jacques Rancière’s concept of ‘dissensus’, a term referring to a political and aesthetic process that creates new modes of perception and novel forms of political subjectivity. In various writings, Rancière argues that part of the work of ‘dissensus’ is the creation of spaces where political activity can take place. As spatially bound practices, street art and graffiti can allow a visible ‘dissensus’ to take place. Through a semiotic analysis of several street art and graffiti works, the article makes a further contribution to scholarship on Egypt’s revolutionary street art and graffiti scene. Instead of focusing on the figure of the ‘rebel artist’, I centre the works in relation to the history of Egyptian nationalism, and argue that we need to complicate our understanding of street art and graffiti’s potential as modes of resistance.
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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples of European-Mediterranean culture presented with biology and history of art: General Introduction." Journal of Experimental Botany 60, no. 1 (November 25, 2008): 5–6. http://dx.doi.org/10.1093/jxb/ern359.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples of European-Mediterranean culture presented with biology and history of art: JANUARY: Crocus." Journal of Experimental Botany 60, no. 1 (November 25, 2008): 6–8. http://dx.doi.org/10.1093/jxb/ern360.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: APRIL: Iris." Journal of Experimental Botany 60, no. 4 (February 26, 2009): 1067–68. http://dx.doi.org/10.1093/jxb/erp042.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: MAY: Columbine." Journal of Experimental Botany 60, no. 6 (April 1, 2009): 1535–36. http://dx.doi.org/10.1093/jxb/erp087.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: JUNE: Lilies." Journal of Experimental Botany 60, no. 7 (April 10, 2009): 1893–95. http://dx.doi.org/10.1093/jxb/erp088.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: JULY: Lotus." Journal of Experimental Botany 60, no. 9 (June 3, 2009): 2461–64. http://dx.doi.org/10.1093/jxb/erp166.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: OCTOBER: Roses." Journal of Experimental Botany 60, no. 13 (July 2, 2009): 3611–13. http://dx.doi.org/10.1093/jxb/erp215.

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