Bibliografie tematiche / Symbolism in art – dictionaries

Letteratura scientifica selezionata sul tema "Symbolism in art – dictionaries"

Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Symbolism in art – dictionaries"

Górska, Magdalena Kinga. "Status teoretyczny emblematu w polskiej dekoracji". Terminus 23, n. 3 (2021): 227–58. http://dx.doi.org/10.4467/20843844te.21.010.13847.

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The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met

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Shuang, Wang, e Ren Shuai. "Colour symbolism in the art of Thangka". OOO "Zhurnal "Voprosy Istorii" 2023, n. 12-1 (1 dicembre 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 e Volodymyr CHOP. "Floral Symbolism in Ukrainian Temple Art". WISDOM 28, n. 4 (25 dicembre 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, n. 11 (30 novembre 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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LYTVYNENKO, Аlla. "Symbolism in art: icon and portrait". Humanities science current issues, n. 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, n. 2077 (28 settembre 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, n. 2 (giugno 2003): 8–15. http://dx.doi.org/10.1002/j.2632-3494.2003.tb00085.x.

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY". Проблемы исторической поэтики 19, n. 1 (febbraio 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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Markantonatou, Stella, e Voula Giouli. "State-of-the-art on monolingual lexicography for Greece (EL)". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (13 novembre 2019): 78–97. http://dx.doi.org/10.4312/slo2.0.2019.1.78-97.

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The authors report on a recent survey on monolingual dictionaries available on the Greek market. General dictionaries outnumber spelling and educational ones and enjoy a prestigious status. Only one general dictionary is digitally born and only two are available through the web, but several are available as CDs. Most of the prestigious dictionaries have received public funding but not all. Lexicography is well considered in Greece where printed dictionaries seem to still have the lead.

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LADCHYN, Yaroslav. "ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD". ART Space 1, n. 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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Tesi sul tema "Symbolism in art – dictionaries"

Swoboda, Sylvia. "Symbolism and Art". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2034.

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I am interested in communication through symbolism. The symbols that I incorporate in my mixed media work are simplified into essential lines and shapes. I use the Kabbalah’s Tree of Life diagram as a structure to hold my own personal symbols. These symbols are my interpretation of the phases of life. I also use prehistoric symbols such as the spiral, circle, square, triangle, and cross as a focus to emphasize the beauty of these very basic lines and shapes which we see all around our world. To emphasize the beauty of symbols I use repetition, color, and texture. Life is overwhelming and chaotic at times. Having simplicity in my visual surroundings creates a sense of tranquility and contentment. I aim to convey these feelings to the viewer while having them interpret what the symbols mean to them.

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Leyva-Perez, Irina. "Alchemy and Symbolism in the Work of Carlos Estevez". FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/740.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

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Alexandri, Alexandra. "Gender symbolism in Late Bronze Age Aegean glyptic art". Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251901.

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d'Esterre, Elaine, e mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision". Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.

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My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, seen by the image of my other eye, or faction, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a rewriting of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

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Li, Gregory Kenneth, e 李群雄. "Tantric symbolism in Vajrayogini imagery". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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Crosby, Nancy A. "Shifting reality /". Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar". Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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Peacock, Judith Ann. "Ecclesiastical vestments as works of art : intertextuality, meaning and design". Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324165.

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Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.

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Thesis (MPhil)--Stellenbosch University, 2103.
ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.

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Libri sul tema "Symbolism in art – dictionaries"

Cassou, Jean. Encyklopedia symbolismu. Warszawa: Wyd. Artystyezne i Filmowe, 1992.

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Rupert, Shepherd, a cura di. 1000 symbols. New York: Thames & Hudson, 2002.

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Carr-Gomm, Sarah. The Hutchinson dictionary of symbols in art. Oxford: Helicon in association with Duncan Baird, 1996.

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Pierce, James Smith. From abacus to Zeus: A handbook of art history. 4^a ed. Englewood Cliffs, N.J: Prentice Hall, 1991.

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Pierce, James Smith. From abacus to Zeus: A handbook of art history. 5^a ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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Ross, Leslie. Medieval art: A topical dictionary. Westport, Conn: Greenwood Press, 1996.

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Revilla, Federico. Diccionario de iconografía y simbología. Madrid: Cátedra, 2012.

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Revilla, Federico. Diccionario de iconografía y simbología. 6^a ed. Madrid: Cátedra, 2009.

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Ripert, Pierre. La France monumentale: Dictionnaire-guide : préhistoire, civilisation gréco-latine, art roman et art gothique. Paris: Lafon, 1998.

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1913-, Janson H. W., a cura di. From abacus to Zeus: A handbook of art history. 6^a ed. Upper Saddle River, N.J: Prentice Hall, 2001.

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Capitoli di libri sul tema "Symbolism in art – dictionaries"

Müller, Maya. "Iconography and Symbolism". In A Companion to Ancient Egyptian Art, 78–97. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch5.

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Shklovskii, Viktor. "Art as Technique". In From Symbolism to Socialist Realism, a cura di Irene Masing-Delic, 64–81. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-008.

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Burns, Leland S., e John Friedmann. "Budgetary Symbolism and Fiscal Planning". In The Art of Planning, 223–40. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4613-2505-5_15.

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Kimber, Gerri. "The Incorporation of Symbolism". In Katherine Mansfield and the Art of the Short Story, 33–39. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483881_7.

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Tuksar, Stanislav. "The Terminology of Music Instruments in Croatian Multilingual Dictionaries of the Baroque Period". In Word Art + Gesture Art = Tone Art, 377–89. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7_23.

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Delaney Grossman, Joan. "’The Marble Bust’ and Briusov’s Vision of Art". In From Symbolism to Socialist Realism, a cura di Irene Masing-Delic, 121–31. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-012.

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García-Diez, Marcos, e Blanca Ochoa. "Art Origins: The Emergence of Graphic Symbolism". In Encyclopedia of Global Archaeology, 986–1005. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2819.

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García-Diez, Marcos, e Blanca Ochoa. "Art Origins: The Emergence of Graphic Symbolism". In Encyclopedia of Global Archaeology, 1–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2819-1.

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Tinoco, Antonio Ruiz. "Tools for Creating Online Dictionaries Judeo-Spanish". In Linguistic Informatics – State of the Art and the Future, 180–95. Amsterdam: John Benjamins Publishing Company, 2005. http://dx.doi.org/10.1075/ubli.1.14tin.

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Brown, Katherine T. "Autumn". In Arboreal Symbolism in European Art, 1300–1800, 43–72. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291435-4.

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Atti di convegni sul tema "Symbolism in art – dictionaries"

Hu, Xiaoming. "Is Takashi Murakami’s Art an Exploration of Symbolism?" In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.101.

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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"". In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.

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Zheng, Dan. "An Analysis of Symbolism in The Scarlet Letter". In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.84.

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JORDÁN, Régulo Franco. "Art, symbolism and power in Moche Society, North Coast of Peru". In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-001.

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Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM". In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.

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The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.

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Sun, Hanying. "Creation and Interpretation: Study on the Symbolism of Traditional Chinese Painting". In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.035.

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Makarevičs, Valerijs, e Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art". In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.

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YUE, Chunxiao. "On the Symbolism of the Natural Objects in Tess of the d’Urbervilles". In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.040.

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Juma, Osman. "Study on the Dictionaries of Alishir Navayi’s Works". In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.326.

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Zhang, Xiaoyan. "The Cultural Transmission of Raise the Red Lantern: The Representation of Symbolism". In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.097.

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