Journal articles on the topic 'Symbolism in art'
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1
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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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 Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape.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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Vanover, Ty. "Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe." Arts 13, no. 3 (June 5, 2024): 103. http://dx.doi.org/10.3390/arts13030103.
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There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.
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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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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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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism." Ars & Humanitas 16, no. 1 (December 22, 2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.
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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
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Stoian, S. P. "THE SYMBOLISM OF THE VISUAL IMAGE IN THE PHILOSOPHICAL CONCEPTIONS OF E. CASSIRER AND C. LANGER: THE CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 52–55. http://dx.doi.org/10.17721/ucs.2017.1.11.
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It’s mentioned that the European atmosphere of increased interest in the problems of symbol and symbolism in the cultural space, giving rise in the second half of the XIX century to the registration of symbolism in art direction also contributes to a number of philosophical studies to the rethinking of the functioning of the cultural sphere, as well asthe whole of human existence from the standpoint of symbolism.A powerful concept that gives us an understanding of the global symbolic basis of culture is the theory of E. Cassirer, which he outlines in his work "The Philosophy of symbolic forms", expanding these issues infurther series of works collected under the title "An Essay on Man". Cassirer’s views are one of the main methodological foundations in our research, because the human culture has deeply symbolic character and consists of various symbolic forms, among which art takes a special place. Culture is not something predetermined; it is created by a person who is gradually separated from the natural world precisely because of its ability for continuous production of symbols. Along with the myth Cassirer distinguished such symbolic forms as language, art, science, through which the essential components of the symbolic reality of man are also produced. In work "Philosophy of Symbolic Forms", the art is mentioned in the context of consideration of the specificity of these symbolic realms and researcher focuses on myth, language and the problem of scientific knowledge. The philosopher indicates the communicative function of art, which becomes extremely important in the twentieth century in the context of the active involvement of the viewer in the process of co-creation. One of the main characteristics of symbolism about art that it distinguishes the concept from the previous Cassirer's symbolic concepts, particularly medieval, in his opinion, that art is really symbolic, but the symbolism of art should be understood not in transcendental but immanent sense. S. Langer in "Philosophy in a new key: A Study in the Symbolism of Reason, Rite, and Art", continuing the Cassirer's line on the recognition of the symbolic nature of human existence and the view of man as the "symbolic animal", along with an analysis of the symbolism oflanguage, which it defines as discursive, consider the symbolism of visual forms, which he calls presentations, or rediscussion, referring to him the sphere of art. Analyzed concepts demonstrate strong scientific interest to the question of symbolism in human culture, and emphasize the relevance of treatment to this issue.
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Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture." ICONI, no. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.
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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series as organizing centers of art synthesis in the era of information technology. The purpose of this article is to examine the teaching of Russian symbolism about the integration of various forms of art and the features of synthesis in the postmodern era. The idea of integrating cultural forms was one of the key elements in Russian symbolism at the beginning of the twentieth century and was interpreted as a real prospect for the development of culture. In a broad sense, synthesis in symbolism meant the integrity of life, the integration of all spheres of human activity, the “organic connection” of cultures of the past and present. The synthesis can be realized on the basis of the art of symbolism, which can create a new culture. The synthesis of arts was understood as the beginning of the formation of a new culture. The core of the synthesis of arts, the symbolists saw music. Postmodern art is characterized by synthetism. Computer and information technologies create new forms of synthetic media art. The video series becomes the center of integration construction of postmodern audiovisual culture forms. The symbolist idea of the synthesis of arts as the beginning of cultural change in the postmodern era remains a utopian project. But the creation of new art forms in postmodern culture i s based on integration. New technologies are becoming a factor that determines the specifi cs of the synthesis of arts and infl uences the dynamics of culture. Both in Russian symbolism and in modern art, the goal of art synthesis is to present an integral image of the world, to form a system of worldview attitudes.
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Shuang, Wang, and Ren Shuai. "Colour symbolism in the art of Thangka." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (December 1, 2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.
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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.
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OSTASHCHUK, Ivan, Keyan LIANG, Svitlana KHRYPKO, Daria CHEMBERZHI, Olena LOBANCHUK, Olena NYKYTCHENKO, Iryna SPUDKA, and Volodymyr CHOP. "Floral Symbolism in Ukrainian Temple Art." WISDOM 28, no. 4 (December 25, 2023): 70–78. http://dx.doi.org/10.24234/wisdom.v28i4.1042.
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The origins of the formation of plant symbolism in Christian temple art have been investigated, particularly on the example of the texts of the Holy Bible. The primary connotations of the garden’s symbolism in Christian sacral art are analyzed as an expression of the idea of a lost paradise, contemplation of the images of which is possible in the space of temples. Plant symbolism is revealed in the holistic art systems of the Sophia of Kyiv and St. Cyril’s Church in Kyiv. The fundamental values of plant symbolism in St. Sophia’s Cathedral and St. Cyril’s Church are highlighted by the idea of the continuity of Christian semiotics with the Old Testament Judaism and the combination of local pre-Christian traditions.
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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.
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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.
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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (February 2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.
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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.
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Riabchenko-Shats, Valeriia Dmitrievna. ""Vesy" magazine as an indicator of the maturity of Russian Symbolism." Культура и искусство, no. 4 (April 2023): 10–21. http://dx.doi.org/10.7256/2454-0625.2023.4.40395.
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“Vesy” magazine has become an extremely important milestone on the path of self–knowledge of Russian symbolism - its pages have captured the final design of the main principles and methods of this literary and cultural movement. However, the cultural discourse on the pages of the magazine, despite popular belief, was not homogeneous and static. Having marked the strengthening of symbolism as an important phenomenon in art and public life, “Vesy” magazine at the same time became a platform for discussions about the crisis of symbolism that was brewing at the beginning of the XX century, reflecting completely different stages of the development of this trend. The subject of this research is the journalistic materials published on the pages of “Vesy”, the object of the work was the evolution of the ideas of symbolism reflected in selected materials. With the help of discourse analysis, it became possible to study the most important stages of the development of symbolist discourse, which is the purpose of this work. The analysis of the journalistic materials of the magazine showed that “Vesy” failed to remain within its original ideological and aesthetic positions: contrary to traditional ideas, symbolism sought to live its own time, and during the period of social upheaval, its ideas were certainly developed. The results obtained can contribute to the theoretical knowledge about the symbolist journalism, “Vesy” magazine, as well as the evolution of the ideas of symbolism.
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Vlasenko, I. M. "DIDACTIC CONDITIONS OF KNOWLEDGE SYMBOLISM IN PROFESSIONAL TRAINING TEACHER OF ART CULTURE." Educational Dimension 13 (May 26, 2022): 46–57. http://dx.doi.org/10.31812/educdim.5741.
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In the article didactic conditions of learning o f symbolism in the course of art culture are defined. Through interpretation of symbolics the mechanism of mastering of knowledge by students of High School is discovered, stages of the information s submission and key images symbols of style are picked out.
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الاحمد, حنان. "النخلة مصدراً للرؤية في التصوير التشكيلي السعودي." Uruk Journal 15, no. 3-P1 (September 22, 2022): 2010–31. http://dx.doi.org/10.52113/uj05/022-15/2010-2031.
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The elements that surround the artist in his local environment is one of the important components that formed the art painting, the palm tree has an important value and eminent place in the Saudi environment, led to its presence in the Saudi Art as one of the vision sources with its aesthetic and symbolic connotations in the artistic expression. The research aimed to track the palm tree depiction in the Saudi painting, and highlight its meanings, and the artistic methods to utilize the palm tree in art painting and that’s by several aspects: the shape, the symbolism and the expressive side. The research outcome shows the depiction of palm tree started with the beginning of the Saudi Art with its pioneers, and it is still had eminent place as a distinguished visual element in the current Saudi painting, that indicates the Saudi artist awareness to the visual and symbolism values of the palm tree as it considered one of Saudi visual culture component, he painted it with a realistic style, reformulate it with different symbolisms and images in his artworks that goes beyond the direct image of the palm tree into visions that hold meanings and symbolisms that are attached to the artist feelings to express his identity, heritage, habits and traditions in paintings that have a sense of authenticity in a contemporary way.
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Mankovskaya, Nadezda Borisovna. "Narcissus in a mirror image. Aesthetics of André Gide’s symbolism." Культура и искусство, no. 4 (April 2020): 71–84. http://dx.doi.org/10.7256/2454-0625.2020.4.31968.
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The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of André Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is interpreted as illusory, appears as combination of senses, or is left as side as nonexistent. The main conclusion of the conducted study consists in a statements that in the period of symbolism André Gide was sure that illusory character was extraneous to art. Disregarding the external, art must refer to the profound truth, heroic beginning of human personality. Emphasis is made on infiltration into the spheres of esoteric, mystical and spiritual. The article analyses André Gide’s “Treatise on Narcissus (The Theory of Symbol”), in which such worldview found its programmatic expression.
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LYTVYNENKO, Аlla. "Symbolism in art: icon and portrait." Humanities science current issues, no. 50 (2022): 115–20. http://dx.doi.org/10.24919/2308-4863/50-17.
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Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (September 28, 2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.
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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping scientists in the nineteenth century understand and record the full phenomena of an eclipse, even as the advent of photography also came to solve a number of scientific puzzles. In the most recent century, artists have responded to eclipses with symbolism, abstraction and playfulness. This article is part of the themed issue ‘Atmospheric effects of solar eclipses stimulated by the 2015 UK eclipse’.
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Peck, William H. "ANIMAL Symbolism in Ancient Egyptian Art." Sculpture Review 52, no. 2 (June 2003): 8–15. http://dx.doi.org/10.1002/j.2632-3494.2003.tb00085.x.
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Singh, Raj Kishor. "Symbology and Codes in Dan Brown’s Origin." Molung Educational Frontier 14 (July 22, 2024): 242–62. http://dx.doi.org/10.3126/mef.v14i01.67923.
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This paper explores the intricate web of symbology and codes found within Dan Brown's gripping novel, Origin. As a renowned master of blending history, art, science and religion, Brown weaves a tale that captivates readers with a labyrinth of symbols and enigmatic ciphers. Through an analysis of key elements in the narrative, this study aims to shed light on the significance of symbolism and cryptographic puzzles as essential devices in the plot's development. Drawing upon Brown's signature writing style, the paper examines the role of religious symbology, ancient texts and iconic art and architecture, intertwining them with scientific theories to craft a compelling narrative. The central focus lies in the protagonist, Robert Langdon, a symbologist, whose expertise in languages and linguistics plays a pivotal role in deciphering messages and solving the mystery at hand. Jean Moréas' Symbolist Manifesto (1886) is a foundational text in the development of literary symbolism. In this manifesto, Moréas emphasized the importance of symbolism in art and literature, advocating for a departure from naturalism and realism. He proposed that artists should focus on conveying emotions and ideas through symbols, rather than direct representation. Applying Moréas' theory of symbolism, the researcher analyzes how Dan Brown employs symbols and codes as key elements in Origin. By analyzing the relationship between language and technological innovation, the study aims to unveil how these elements converge to heighten the intrigue and suspense in the novel. It delves into the significance of linguistic techniques and cryptic passages, as tools for building suspense and enriching the reading experience. Langdon reveals meanings and ideas inherent in symbols and codes and demystifies the concepts- "Where do we come from?" and "Where are we going?"
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Vadillo, Ana Parejo. "Symbolism at war: Charles Ricketts and the politics of the stage." Journal of European Studies 51, no. 3-4 (November 2021): 318–36. http://dx.doi.org/10.1177/00472441211033397.
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This article considers the effect of World War I on Charles Ricketts’ work for the stage as an avant-garde set and costume designer. It looks at his cosmopolitan designs in the context of European symbolism. The first part of the essay focuses on Ricketts’ symbolist manifesto ‘The art of stage decoration’ (1913). The essay then examines his designs for three Shakespeare plays that toured Le Havre in 1918 to entertain the troops. I argue that, in the aftermath of the war, Rickett’s symbolism became the lens through which he assessed the complex political landscape of the 1920s, and suggest that his stance against realism politicized his practice and explains his interest in Mussolini’s fascism.
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Oboladze, Tatia. "The Myth of the City in the French and the Georgian Symbolist Aesthetics." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 16, 2018): 4519–25. http://dx.doi.org/10.18535/ijsshi/v5i3.07.
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“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.
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LADCHYN, Yaroslav. "ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD." ART Space 1, no. 4 (2024): 183–207. http://dx.doi.org/10.28925/2519-4135.2024.410.
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This article is dedicated to exploring the artistic characteristics of symbolism in Japanese visual art during the Edo period (1603-1868). Through an analysis of this era, the author investigates the utilization of natural symbols, particularly flowers and birds, in the works of artists. Additionally, the article examines the influence of seasonal symbolism and its impact on artistic practice. Special attention is placed on the use of colors and their significance in conveying emotions and atmosphere. Furthermore, depictions of mythological creatures such as dragons and fairies are studied, along with their role in expressing spiritual concepts. The study also delves into the utilization of geometric forms and their symbolic meanings within the context of cosmic and philosophical aspects. The author further analyzes the incorporation of everyday objects and their contribution to creating allegorical imagery. The primary objective of this article is to uncover the significance of symbolism in Japanese visual art during the Edo period and to reveal its influence on the cultural, philosophical, and aesthetic context of that time. The article examines the utilization of natural symbols, seasonal, and color symbolism as means of metaphorically conveying profound concepts. It highlights the impact of mythological creatures on artworks of that era and the use of geometric forms to convey cosmic and spiritual dimensions. The role of object symbolism in generating additional meanings in art is also explored. The central aim of the article is to comprehensively comprehend the significance of symbolism in Japanese art during the Edo period and its effect on the cultural and artistic milieu of the time. The research is focused on investigating the role of symbolism in Japanese art during the Edo period and its impact on the cultural and artistic context of that period. Additionally, the article examines object symbolism and its role in shaping dual meanings and additional layers of significance in artworks. The study is aimed at unveiling the essence of symbolism in Japanese visual art during the Edo period and deepening the understanding of the impact of these artistic techniques on the cultural context of the time.
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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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El Weshahy, Mofida, and Radwa Omar. "Snake's symbolism in Coptic and Islamic Art." Journal of Association of Arab Universities for Tourism and Hospitality 19, no. 3 (December 1, 2020): 291–316. http://dx.doi.org/10.21608/jaauth.2021.64221.1141.
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AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING." International Journal of Social Humanities Sciences Research (JSHSR) 4, no. 10 (January 1, 2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.
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Simon, R. M. "The symbolism of style: art as therapy." Child Language Teaching and Therapy 8, no. 2 (June 1992): 224–25. http://dx.doi.org/10.1177/026565909200800216.
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Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism." Optometry and Vision Science 77, no. 1 (January 2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.
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Willard, Christopher. "Color and meaning: Art, science, and symbolism." Color Research & Application 25, no. 5 (2000): 382–84. http://dx.doi.org/10.1002/1520-6378(200010)25:5<382::aid-col12>3.0.co;2-s.
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Arnheim, rudolf. "The symbolism of style: Art as therapy." Arts in Psychotherapy 20, no. 4 (January 1993): 347–48. http://dx.doi.org/10.1016/0197-4556(93)90069-e.
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Khanal, Sandhya. "Symbolism of Sacred Art in Water Conduits." Nepalese Culture 17, no. 1 (May 7, 2024): 33–46. http://dx.doi.org/10.3126/nc.v17i1.64397.
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Nepal is a country with abundance of traditional art, architecture and culture. Almost every monument comprises faith, belief, devotion and sacredness which are initiated to be expressed through symbolic representation. Historicity of water conduit of Kathmandu valley can be traced back to early Cristian Era. They were installed to fulfill basic need of water. Flowing water is compared to goddess Ganga. Thus, every water conduit is equated to goddess Ganga with depiction of a crocodile, her vehicle. Cent percent water conduits of the valley consists of sculptural art associated to Hindu or Buddhist deities and a few with architectural monuments. It also comprises sculptural art of several creatures as; serpent, fish, frog, chameleon, mongoose. These deities, monuments and creatures are found to be a symbolic expression of theme associated with religious belief and faith. In this context, finding out the theme of an art expressed in a water conduit, chief feature of sacred sculptural art of water conduits and symbolic representation of sculptural art of water conduits of Kathmandu valley have been focused as an objective of this research. This qualitative research is based upon historical fact. Thus, the facts are collected from historical monuments through survey, interview, collection of photographs and are analyzed in a descriptive way. Related literary sources have been consulted as a secondary source. From several references, it is to be considered that water conduits of the valley have been basically set up for social and religious utility with installation of several deities according to their faith. Art of each conduit as well as image portrays specific features belong to related historical age. Besides this, each sculptural art depicted on the conduit conveys symbolism of goddess Ganga and several pilgrimages composed within a precise pious abode.
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Minnullin, Oleg R. "THE LEGACY OF SYMBOLISM: ON EVOLUTION OF ITS RECEPTION BY ACMEISTS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 4 (December 22, 2022): 161–78. http://dx.doi.org/10.18522/2415-8852-2022-4-161-178.
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The article analyzes a number of poems by Acmeists, representative for the philosophical and aesthetic foundations and poetics of this movement in the Russian poetry of the Silver Age. The research attention is focused on reception dynamics, in particular, the legacy of symbolism, by the poets of the acmeistic direction. Acmeism in the study is interpreted, first of all, as post-symbolism: philosophical-aesthetic and purely artistic achievements of the older poetic movement of Symbolists became a foundation for their own artistic achievements. The Acmeists’ break up with the Symbolists was never absolute. The declared opposition to Symbolism left great opportunities for attraction and reliance on previous practicies and their direct use in the process of cultural and artistic transmission. Creative strategies of Symbolism have always continued to exist within the frame of the Acmeists’ activity, and since the 1920s sometimes they even determined the nature of their art. The article analyzes in detail the selected poems by A. Akhmatova, N. Gumilev, G. Ivanov, and G. Adamovich. In the article it is established that among the “younger” acmeists (G. Ivanov and G. Adamovich), compared with the older ‘Guild poets’ (N. Gumilev and A. Akhmatova), the attraction to the creative principles approved by the Symbolist poets is increasing. Representatives of the younger acmeist group can be defined as “those who overcame Acmeism” (in analogy with the well-known title of the article by V.M. Zhirmunsky “Those who overcame Symbolism”). The essence of this overcoming consists in removing the fundamental opposition of aesthetic attitudes and poetics of two movements: the symbolist impulse to the transcendent, supported by the corresponding poetic language, and the acmeistic requirement for the tangibility, convexity, material and bodily “heaviness” of the artistic image.
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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.
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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.
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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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Payette, Jessica. "Post-WagnerianKlangempfindungen: The Premieres of Maeterlinck Operas in Vienna." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 285–317. http://dx.doi.org/10.1017/s1479409815000336.
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The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from Wagnerian techniques by cultivatingKlangempfindungen(acoustical sensations) and anti-thematic symphonic approaches to generate musical equivalents to the poetic and painterly incitation of psychophysical stimuli. Julius Korngold and other prominent music critics, some of whom were Debussy’s and Dukas’s exact contemporaries, describe how symbolist compositional syntax emerges as a musical terrain that produces a stark contrast between the suspension of latency and frenetic episodes. Symbolist composers accentuate this contrast to increase sensitivity to a literary device at the core of Maeterlinck’s art: the protagonists’ fixation on environmental conditions and changes, descriptive imagery that apprises audiences of their emotional state.
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Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.
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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).
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Stoian, S. P. "EUROPEAN CODES OF CONTEMPORARY UKRAINIAN SYMBOLISM." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 94–98. http://dx.doi.org/10.17721/ucs.2020.1(6).18.
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The article analyzes the specifics of contemporary Ukrainian symbolism in visual art in the context of a relationship with the European tradition. By drawing parallels between contemporary works by Ukrainian authors and symbolic images created in different historical periods of European culture from ancient times to nowadays, their deep kinship in their motives and meanings is demonstrated. This indicates that modern Ukrainian symbolism, on the one hand, is organically included in the European tradition, and on the other hand, contains unique, authentic features inherent in Ukrainian culture. Numerous works by contemporary Ukrainian authors, close to the idea of creating images, far from the principles of realism, images. It always hides multilayered, undiscovered meanings, testifies to the significant relevance of symbolism in contemporary art. At this stage of development, it demonstrates a crisis of form and radical conceptuality, in contrast to which artists are beginning to develop an interest in deeper, meaningful and multi-vector artistic images. It is noted that human is immersed in the world of symbols from birth, and it is this ability to symbolize even in primitive times begins to distinguish it from the animal world, because only human consciousness can create a symbolic space of culture. Art is also born in the bosom of symbolism because even the first rock paintings contain symbolic and mythological meanings. After all, man can see in the image of a tree, not just a plant that is a source of food or shelter, but a symbol of the universe, which combines three levels of the universe: underground, earthly and celestial. Symbolism is a much broader phenomenon than just an artistic direction, because the desire to generate symbolic images in art was present in all periods of human development, retreating to the periphery in times of powerful rationalization of culture and returning to the forefront of appealing to transcendent, irrational, unconscious of our existence. Only by conducting a thorough analysis of this phenomenon from the birth of art in primitive times, going through all stages of development of European culture, we can fully understand the origins, specifics and relationship of modern Ukrainian symbolism with European tradition, as well as its authenticity and originality. It distinguishes the phenomenon from all that has already been created in the space of visual art.
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Appleton, Jay. "Nature as Honorary Art." Environmental Values 7, no. 3 (August 1998): 255–66. http://dx.doi.org/10.1177/096327199800700301.
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This paper addresses the apparent difficulty experienced by philosophers in applying the methodology of art criticism to the aesthetics of nature and uses the idea of ‘narrative’ to explore it. A short poem is chosen which recounts the ‘narrative’ of a simple natural process – the passage of day into night – and this is followed by a simplified critique illustrating how the poem invites questions relating to style, technique, subject, etc., leading to the query whether the art form (poem) can be dispensed with and the subject (nature) be left to tell its own story, using the ‘language’ of symbolism. The interface between art and science is reviewed particularly in the light of the ideas of John Dewey and what has happened since. The ‘symbolism of environmental opportunity’ is proposed as the key to crossing the arts/science boundary, and the question is raised whether the distinctiveness of nature is of paramount importance in this context. Various grounds for scepticism are examined, e.g. the danger of drawing inferences about human interaction with nature from the behaviour of other species.
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Guan, Haiying, and Yuhua Li. "On Andrei Bely’s poetic philosophy and art of fiction." Chinese Semiotic Studies 19, no. 2 (May 1, 2023): 217–31. http://dx.doi.org/10.1515/css-2023-2002.
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Abstract As a unique literary theory, Andrei Bely’s symbolism is a religious world view, and his “symbols” are deeply rooted in the symbolist’s cognition of world structure. This distinct world view exerts a special effect on Bely’s exploration of the poetic mechanism of symbolism. In the practice of completing the creation of symbolic image, the construction of symbolic text, and the achievement of artistic function, word, rhythm, and color are among the most important and necessary conditions to help Bely produce a polyphonic aesthetic effect.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Khachatryan, Armine. "Sound Symbolism and Onomatopoeia." Armenian Folia Anglistika 11, no. 1 (13) (April 15, 2015): 58–64. http://dx.doi.org/10.46991/afa/2015.11.1.058.
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The function, realization and the role of sound-symbolic phenomenon can vary in some languages. The study of sound symbolism and onomatopoeia in Armenian, Russian and English showed that highly expressive forms of language occur not only in daily conversation, advertising, newspapers and magazines, but also in creative literature: children’s poems, stories and great works of art. As a powerful stylistic device they realize an impact upon the reader or listener and evoke certain emotional expressively evaluative reactions. The comparative analysis of this phenomenon demonstrates that the word is heard differently in different cultures.
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Zlatkova, Lуuba. "RHYTHM AND SYMBOLISM IN THE FOLK MUSIC ART." Education and Technologies Journal 10, no. 2 (August 1, 2019): 244–50. http://dx.doi.org/10.26883/2010.192.1709.
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Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 137. http://dx.doi.org/10.25038/am.v0i20.333.
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MONEY – a unit of account, a deposit of value, and a medium of exchange – formally evolved from grain, precious metal, cheap paper, to state-of-the-art digital accounting records managed by artificial intelligence. Although the economists of the 19th century believed in its neutrality, money is an ambiguous socio-economic phenomenon which serves as a political tool and a measure of value even if its own value is volatile. The stamp of authority marked the symbolization of money as a cultural artifact: the character of a ruler, a symbol, or an inscription on the coin came to be a signifier of value. Accordingly, the financial system raised artistic concerns when money began to be an abstraction, i.e., a symbolic paper which acquires legitimacy via social consensus and constructs its value on the underlying commodity or the performances of the economic system. Starting from the similarities between Artistic and Monetary simulacrum and the fact that artwork functions as a deposit of cultural and financial value, this paper will discuss the artistic use of monetary symbolism from the early examples of satirical prints in The Great Mirror of Folly (1720) triggered by the speculation with one of the first European official paper currencies, to Duchamp’s art experiments with the securities and contemporary art research practice based on financial aesthetics. Article received: April 5, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies 20 (2019): 137-147. doi: 10.25038/am.v0i20.333
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MalborgKim. "Art Nouveau Style Symbolism in Loie Fuller's Dance." Korean Journal of Dance Studies 36, no. 36 (May 2012): 1–18. http://dx.doi.org/10.16877/kjds.36.36.201205.1.
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Petrova, Stefka, and Marian Petrov. "Phytonymic Symbolism in Bulgarian and Russian Folk Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 125–29. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_013.
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The report examines the anthropologized and other semantic and connotative loads of the names of some plants (wormwood and oregano) in Bulgarian and Russian folk art. The topic is related to the comparative study of a cultural heritage of the two nations. In recent years, linguistics in the Bulgarian and Russian languages has increased research in this direction. An example of developments in both languages is the recent research by Anna Angelova. Keywords: folk art, phytonymic symbolism, linguistics, Bulgarian, Russian
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Meisel, Martin. "Seeing It Feelingly: Victorian Symbolism and Narrative Art." Huntington Library Quarterly 49, no. 1 (January 1986): 67–92. http://dx.doi.org/10.2307/3817192.
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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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Balter, M. "ORIGINS: On the Origin of Art and Symbolism." Science 323, no. 5915 (February 6, 2009): 709–11. http://dx.doi.org/10.1126/science.323.5915.709.
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Wyckoff, Don G. "Images on shell: Spiro symbolism and ceremonial art." Reviews in Anthropology 12, no. 4 (September 1985): 329–37. http://dx.doi.org/10.1080/00988157.1985.9977748.
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Klyushina, Elena Vitalievna. "Constructing art history: Contemporary curatorial strategies in studying symbolism of the Baltic states." Studia Slavica et Balcanica Petropolitana 2(32) (2022): 236–47. http://dx.doi.org/10.21638/spbu19.2022.216.
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The article is devoted to the analysis of curatorial strategies used in the international exhibition «Wild Souls. Symbolism in the Baltic States», successfully implemented under the supervision of Rodolphe Rapetti in 2018–2021 in Paris, Tallinn, Vilnus and Riga. Revealing the originality of the curatorial narrative contributes to the identification of current research directions in the study of the Baltic countries visual culture of the 19th–20th centuries. The implemented project has the potential for further revision of generally accepted ideas about the genesis and development of the symbolist art in Estonia, Latvia and Lithuania. This also contributes to the formation and widespread dissemination of methodological approaches that have not been previously used in the art studies of these countries. To understand the novelty of the chosen strategies, historiographical analysis of art in the Baltic countries from the 1940s to the 1980s is carried out. The third conference of art historians of the Baltic republics in 1990 was called a turning point in the history of cultural studies. It is at this scientific event that Boris Bershtein calls for a metaposition and the usage of metalanguage in the construction of an «internal» description of national culture. According to the author of this article, an exhibition «Wild Souls» is intended to become such a metaposition, capable of summarizing the already accumulated knowledge and offering a new look at the development of visual culture. Using universal approaches to the study of symbolism, Rodolphe Rapetti, together with colleagues from Baltic museums, demonstrates the trans-regional community of artistic phenomena that took place in these countries, and also convincingly proves the involvement of the Baltic artists in the general European artistic process at the turn of the 19th and 20th centuries.