Introduction: Unlike sports, where performance is measured quantitatively, ballet performance is assessed by viewers depending on their aesthetic perspective of view. Previous research on pirouettes has primarily examined biomechanical parameters, such as comparing ground reaction forces and rotational axis across different skill levels, as well as investigating angular momentum and spotting techniques in relation to the number of turns. However, it remains unclear whether these biomechanical indicators correspond to dancers' perception of beauty during rotation movements, as their perception of aesthetically competent performance and their body consciousness during rotation remain unknown. Exploring both dancers' and teachers' perspectives on how they evaluate aesthetics and on which body regions they consciously focus to refine their movements may reveal key elements of aesthetically competent performance, thereby contributing to a deeper understanding of aesthetic movement in ballet. In this study, "perception of beauty" refers to the overall impression of aesthetic quality as judged by observers, whereas "body consciousness" denotes the specific body parts that dancers themselves attend to when executing movements. Here, we aimed to investigate the elements of the aesthetically competent pirouette from the dancer's aesthetic perception and explore their body consciousness. Methods: In an online questionnaire survey, 108 dancers answered the following questions regarding pirouette en dehors and en dedans; (1) definition of the beautiful pirouette, (2) attention during turn, (3) attention in turn axis, (4) teaching point only for teacher, and (5) turn axis image. Answers (1) to (4) were collected through open-ended questions and (5) were selected from the illustration. Open-ended questions were processed using frequency word analysis and co-occurrence network analysis. Results: The results showed that both amateur and professional dancers focussed on stable axis and passé positions, and professionals were more conscious of standardized skills in ballet, such as "turn-out" or "position," to determine aesthetically competent pirouettes. Amateurs and professionals had several different viewpoints they were conscious of when executing movements in 2 directions of turning. Moreover, their consciousness of the turn axis could be described as the line from the toe to the head, although it is from the centre of pressure to the centre of the mass in most previous biomechanics studies. Conclusion: This study suggested the elements of aesthetics during pirouette from the dancer's perspective can be the stable axis, height of passe, turn-out of both legs, arm position, spotting, and smoothness of finishing (landing).

China’s freehand brushwork oil painting is a unique artistic achievement formed by the collision and deep integration of Chinese and Western arts. With the help of oil painting materials, it integrates the spiritual core of China’s traditional image aesthetics, and pursues the aesthetic realm of “likeness is better than likeness” and “scene blending” in terms of modeling, color application, and artistic conception creation. As the key category of China’s traditional aesthetics, image aesthetics emphasizes the organic unity of “meaning” and “image”, advocates conveying infinite spiritual meaning through limited artistic images, and provides deep aesthetic guidance and a practical path for China’s freehand oil painting creation. Starting from three dimensions: the origin and transformation of aesthetic spirit, the integration and innovation of creative language, and the expansion and deepening of practical path, this paper deeply explores the concrete presentation and application methods of imagery aesthetics in freehand brushwork oil painting, aiming at revealing the cultural genes and artistic values contained in China’s freehand brushwork oil painting, and providing ideas for the inheritance and development of contemporary freehand brushwork oil painting.

Music theory learning is a conceptual foundation in performing arts education, but in practice it is often perceived as an abstract subject that is detached from students' artistic experiences. This study aims to examine music theory learning from a pedagogical and aesthetic perspective and to formulate principles for its development based on a praxial music education framework and humanistic pedagogy. This study uses a descriptive qualitative approach based on classes of students in the performing arts education study program, with the researcher acting as a practitioner-researcher who conducts systematic observation and reflection on the learning process. Data were collected through classroom observation, student reflective journals, semi-structured interviews, and analysis of learning documents, then analyzed using thematic analysis techniques. The results showed that the integration of theoretical concepts with musical practice, aesthetic reflection, pedagogical dialogue, the use of digital technology, and cultural relevance transformed music theory from procedural knowledge into musical meaning-making practice. This approach improves students' aesthetic sensitivity while strengthening the construction of their professional identity as prospective art educators. This study confirms that music theory learning is designed in an integrative and contextual manner as an epistemic and humanistic practice, transcending its traditional function as mere transmission of structural knowledge.

Dante Gabriel Rossetti's portraits-most notably Lady Lilith (1867)-present a distinctive facial structure characterized by a broad mandible, heavy lower face, and a pronounced yet softened lantern jaw. This "Rossetti jaw," repeated across his muses, stands in marked contrast to both Victorian feminine ideals and contemporary aesthetic norms that privilege a V-line taper, reduced mandibular width, and accentuated midfacial contours. By examining Rossetti's visual vocabulary through the combined perspectives of art history, cultural studies, and modern craniofacial aesthetics, this paper argues that the Rossetti jaw operates simultaneously as an aesthetic, symbolic, and cultural disruption. In Victorian culture, the broad jaw implicated anxieties about female agency, sexuality, and the emerging figure of the New Woman. In modern contexts, it challenges the narrow globalized beauty template shaped by evolutionary cues-youthfulness, neoteny, and gracile features-and reinforced by cosmetic surgery trends. Through comparative morphologic analysis, symbolic interpretation, physiognomic literature, and psychological readings, this study explores the jaw as an axis of power, autonomy, and embodied identity. Within Rossetti's mythopoetic framework, a strong jaw signals female will, erotic authority, and the capacity to resist male control. In contemporary plastic-surgery discourse, such morphology raises questions about whether aesthetic norms genuinely reflect natural diversity or merely reproduce cultural anxieties about assertive femininity. Ultimately, the Rossetti jaw illuminates the tensions between historical ideals, modern surgical preferences, and deeper archetypes of the powerful feminine, revealing how facial structure can encode both beauty and subversion across time.

The object of the presented research is tropes as lexical means of artistic expressiveness, which appear as modes of the subject's existential creativity. The subject of the research is the philosophical foundations of these language means. The research objective is to identify, substantiate and reveal the philosophical basis of language means of artistic expressiveness from an ontological, epistemological, anthropological, ethical and aesthetic perspective. This research is not limited to a linguistic analysis of speech patterns, but rather seeks to detection and structurally represent the philosophical meaning of traditional language means that reflect the implicit correlations between being and cognition and serve as ways of self-creation and life-making for the subject. The research explores how various language means reveal ideas about the hierarchical organization of being, determine the ways in which reality is perceived, illustrate the relationship between human and the world, represent moral principles, serve as means of artistic representation of reality and, in general, reflect the creative essence of language and the language forms of the subject's existential creativity. The scientific novelty of the research lies in the attempt to identify the ultimate foundations of linguistic means of artistic expression, which are revealed not only as techniques for aestheticizing the text and enriching the language semantically, but also as ways of representing and structuring reality in the context of the subject's existential creativity. The main result of the research is the development of specific philosophical foundations for the most important tropes, such as metaphor (ontological, epistemological, anthropological and aesthetic), personification (ontological and epistemological), allegory (ontological, epistemological and ethical), periphrasis (ontological), irony (epistemological), hyperbole and litotes (ontological and epistemological), oxymoron (ontological), synecdoche (ontological) and euphemism (ethical). These foundations reveal the specifics of the existential, cognitive, individual-personal, moral and artistic relations between human and the world.

This research aims to reveal the aesthetics of the duality of sound and silence in Iraqi theatrical performance as an effective communicative system that contributes to constructing the dramatic rhythm of theatrical action through the reciprocal interaction between the actor and the audience. In this process, silence becomes a dramatic discourse charged with meaning, while sound is embodied as a dramatic image within an integrated artistic aesthetic structure, enabling the audience to perceive the dimensions of the word and its expressive functions within the theatrical performance. The study adopts a descriptive–analytical methodology and is structured into four chapters. Chapter One addresses the research problem, its significance, objectives, and limitations. The research problem is formulated around the following question: What are the aesthetics of sound and silence in Iraqi theatrical performance? The scope of the study is limited to theatrical performances presented on the stage of the National Theatre, and the chapter concludes with the operational definition of key terms. Chapter Two presents the theoretical framework and consists of two sections. The first examines sound and silence from an aesthetic perspective, while the second explores their employment within the theatrical director’s vision. The chapter concludes with a set of theoretical indicators adopted in the applied analysis. Chapter Three is devoted to the research procedures, including the identification of the research population, sample, and the analytical tool employed in examining the selected sample. Chapter Four presents the findings, discusses the results, draws conclusions, and provides the list of references..

This study analyzes the contemporary dance work Diffrent. Dot from the perspective of reception aesthetics, focusing on the parallax reception that emerges within an immersive performance environment. Contemporary dance, as a non-verbal art form, generates meaning in diverse ways depending on the audience’s sensory and experiential engagement. Using the concepts of horizon of expectations, indeterminacy, and différance as its theoretical framework, this study examines how audience interpretation unfolds through spatial, temporal, and cognitive forms of parallax reception.Based on qualitative data drawn from audience viewing reports and SNS reviews, the analysis shows that the circular stage and immersive structure expanded the audience’s participation and produced multilayered interpretations, while the performance pamphlet functioned as a mediating text that shaped the horizon of expectations. Through this process, Diffrent. Dot reveals itself not as a work that conveys a fixed message, but as an open text whose meaning is continually reconstructed by the viewer’s position, perspective, and experience.This study demonstrates that the work operates as an artistic field in which meaning is co-created through the interaction of choreography, environment, and audience reception. It further provides a concrete example of how reception aesthetics can be applied to contemporary dance and suggests new directions for research on audience interpretation within immersive performance contexts.

Genealogically, American playwright Magda Romanska’s ‘Opheliamachine’ interweaves a textual evolution of two masterpieces: William Shakespeare’s ‘Hamlet’ and Heiner Muller’s ‘Hamletmachine’. Recently, the audiences of Dhaka experienced a theatre production based on the play ‘Opheliamachine’ which is produced by the Department of Theatre and Performance Studies, University of Dhaka. This research examines how this production has been created and what is the significance of this theatrical work both in the local and global cultural sphere. This study, therefore, aims to explore the textual history of the play as well as the thematic frameworks, acting style, scenography, and post-dramatic horizon as the aesthetic perspective of the production.

The objective of this article is to present the role of wood in contemporary architecture from the perspective of aesthetics, technology and social perception. The study is based on a review of literature from 2020 to 2025 (Scopus, Web of Science) and an analysis of the authors’ own projects. Wood’s natural texture and colour are conducive to creating friendly spaces rooted in tradition, while modern technologies enable its use in large, energy-efficient buildings. In social terms, this strengthens the identity of a place and openness to interaction, combining heritage with innovation. The conclusions emphasise the importance of wood as a key material for sustainable design, integrating aesthetic, technical and social values.

Abstract: The Al-Aqsa Manarat Qudus Mosque is the oldest mosque on the island of Java. The presence of the paduraksa gate inside the mosque, specifically in the main building of the main prayer hall, is what makes this mosque unique. The problem addressed in this study is how to understand the beauty of the Al-Aqsa Manarat Qudus Mosque from the perspective of Djelantik's theory of beauty. This method is a study aimed at dissecting the characteristics of beauty in a work of art using aesthetic theory. The data used were obtained from field studies, literature studies, and interviews. The method employed is a qualitative descriptive method with a single embedded case study. The results of this research indicate that the interior of Al-Aqsa Manarat Qudus Mosque has characteristics of beauty from an aesthetic perspective. Beauty is identified through the description of the composition of shapes, principles, elements, and meanings in the mosque's interior. Al-Aqsa Manarat Qudus Mosque has a strong sense of unity, viewed from the traits of symmetry, rhythm, and harmony present in its interior. The spatial elements in the Al-Aqsa Manarat Qudus Mosque have geometric shapes, smooth textures, and soft colors. This creates a solemn and grand atmosphere in the Al-Aqsa Manarat Qudus Mosque.

Mural painting represents one of the oldest art forms in humanity, having an exceptionally significant impact on human aesthetic ideas and technological accomplishments of the East and the West. The results presented in this study suggest that, although Chinese Dunhuang murals and Italian frescoes were situated on separate side of the Eurasian continent, both had much in common regarding their roles as the religious propagators, the arrangement of their compositional forms and material foundation, thus having similar aesthetic perspectives of expressive idealism and realistic depictions. Nonetheless, a certain discrepancy was caused by the inherent differences in natural conditions and cultural priorities, and this led to the fundamental differences in the application of mineral pigments and the expression of color effect in both cultures. It is evident that both sources of pig The conclusion is that such a relationship of similarity in the difference and vice versa is a lively representation of the long-term cultural exchange and learning between the civilizations of the Eurasians through the Silk Road. This research offers a refreshingly material insight into the history of East-Westartistic exchange and thus valuable historical allusions and inspiration to the scientific conservation of ancient murals and thein novative formation of modern murals.

At the heart of the performing approach is the issue of rhythm as a vector of formal coherence, semantic tension, and expressiveness in Beethoven's piano sonatas. Classical phraseological structures arise from a rhetoric of continuity and becoming, where musical time is a dialectical process between metrical stability and transformative impulse. Through techniques like motivic shortening, progressive acceleration, sonic expansion, and metric reconfiguration, Beethoven redefines the relationship between expressiveness and sound structure, creating a language in which rhythm becomes the generative principle of form. From a semiotic and aesthetic perspective, Beethoven's beats goes beyond the technical dimension, becoming a signifier of will, inner tension, and temporal drama. An analysis of the Sonata in E minor, Op. 90, shows the fragile balance between the tragic force of the first movement and the contemplative lyricism of the second movement, expressing an inner temporality between discourse and revelation. In this conception, rhythm is not only a structural phenomenon but also a metaphysical principle of expressive unity in Beethoven's sonatas.

This article focuses on the phenomenon of color symbolism in contemporary art, systematically sorting out its theoretical evolution from the traditional symbolic system to the modernist revolution, and then to the theoretical reconstruction in the contemporary context, revealing the dynamic development process of color symbolism. By analyzing the interaction between artists’ coding strategies and media technology coding, this study explores the generation mechanism of color symbolism. Combining cross-cultural communication cases, explain the laws of maintaining and mutating cultural prototypes in communication, and reveal the decoding logic of the audience from the perspective of reception aesthetics. Based on the research results of cognitive neuroscience, this study reveals the physiological basis and psychological perception mechanism of color symbolism, providing an interdisciplinary analytical framework for understanding the complex aesthetic value of color symbolism in contemporary art.

The 17th century was a period of significant cultural and artistic tran­sformation, characterized by the collision of traditional and emerging forms. This cultural shift gave rise to a diverse and eclectic style in various artistic disciplines, including painting, architecture, and literature. The prevailing ar­­tistic ideas and aesthetic perspectives of the time underwent a transfor­ma­tion, giving way to a new and distinctive style known as Baroque. A foun­dational principle of the prevailing European Baroque culture is the broa­dening of the aesthetic function of literature, which is founded on figurative thinking and the integration of diverse artistic forms within the context of a single work (verbal text, fine art, music). The Baroque pe­riod was distingui­shed by a pursuit of astonishment through imagination, wherein elements of strangeness, unusualness, unconventionality, and bizar­reness played a pivotal role in its aesthetic principles. As demonstrated in the following ana­lysis, Georgian literature of the 17th-18th centuries serves as a prime example of the aforementioned general principles. The present work examines such poetic texts in Georgian Baroque poetry that surprise and amaze the reader due to their unusual form and multiplicity of mea­nings. They are as follows: ‘rvuli’, pattern poem, acrostic, telestic, and the cryptogram. The present article concerns precisely such poetic texts, which are perceived simultaneously by sight and sound. These texts are built on the principle of wit and aim to stunning their readers. Sulkhan Saba Orbeliani’s verse form ‘rvuli’ (რვული) is a four-line poem that exhibits eight identical internal and external rhymes: four before the caesura and four at the end. In the Baroque context, the ‘rvuli’ verse form is notable for its capacity to en­gender multiple interpretations, aligning with the Baroque era's fascination with poetic play, sometimes using the principle of mirror reflection, popular in Baroque poetics. This period was characterized by an inclination among authors to captivate, amaze, and surprise their readers with elements of uni­queness and innovation in their poetry. The poem's original structure enab­les its reading and interpretation in three distinct ways while preserving its content, thus resulting in three variants of a single poem. In this manner, the Baroque author's objective to astonish his audience with innovation is accomplished. Poems of this nature, which encompass two, three, or more reading options, are based on the principle of play. Archil II's "Verse Rotating Like Grinding Wheel", is a particularly no­teworthy example of a pattern poem. Verse consists of single line – “This is ba­­sed on a parable about Vanity” and in ten-strophe verse this one line is repeated 44 times with different order of the words in the line. Archil II has effectively transformed the poem, infusing it with a novel dimension of mo­vement and rotation. This transformation is characterized by a dynamic in­terplay of velocity, with the pace of rotation varying across the verses. This dynamic interplay, when graphically represented, evokes the sensation of acceleration, a phenomenon that mirrors the prevailing scientific interest du­ring the Baroque era. Moreover, poet utilizes a circle, made of this single line, rendered in red ink, to crown the poem, thereby imbuing his religious-philosophical notion with an additional visual dimension, one that further enhances its impact, thus elevating this pattern poem to the status of a splen­did exemplar of Baroque aesthetics. Other notable verse forms include the acrostic, telestic, and the cryp­tog­ram verse, which are distinguished by their unusualness and ornamen­tation characteristic of the Georgian Baroque. Archil II's seven iambics, cha­racterized by profound religious sentiment, are embellished with acrostics and teletics. Furthermore, the acrostics and teletics of all seven iambics, when read sequentially, form an independent poetic text. The "recognition" or "decoding" moment is a conceptual element of the Baroque style. In Georgian Baroque poetry, Vakhtang VI was fascinated by this type of cryptogram, puzzle. The characteristic "unusualness" and quick wit of the Baroque period are the combination that underlies the works cre­ated on the principle of the aesthetics of surprise of this era. In the context of Georgian Baroque poetry, a significant category of po­etic works is grounded in this principle, thereby offering a discernible glim­pse into the aesthetic predilections and intellectual inclinations of Georgian authors and their readership during this historical era. These po­ems are characterized by their intricate structures, unusual and enigmatic ele­ments, and their capacity to elude facile interpretation.

Purpose: Several donor-site morbidities associated with free-flap have been studied in recent years. However, little research has examined patients’ preferences for the donor- site selection from an aesthetic perspective, particularly regarding donor-site scarring, and the factors influencing these preferences in lower-extremity reconstruction. This study aimed to design an online questionnaire to assess aesthetic preferences for donor sites of the thoracodorsal artery perforator (TDAP) flap, superficial circumflex iliac artery perforator (SCIP) flap, and anterolateral thigh (ALT) perforator flap, which are the most commonly used lower-extremity reconstruction procedures at our institution. Additionally, the study sought to identify factors associated with the preferential selection of specific donor sites.Methods: A total of 315 participants were included in this study. Participants completed internet-based questionnaires containing images of three donor sites. All functional or surgical details were intentionally excluded so that only aesthetic preference was evaluated. The relationships between aesthetic preference and demographic factors influencing donor-site selection were analyzed.Results: Among the demographic variables, sex, age, aesthetic interest score, and level of education were found to significantly influence donor-site selection. The results showed that the SCIP flap was statistically preferred over both the TDAP and ALT flaps. Preferences for the TDAP and ALT flaps did not differ significantly.Conclusion: If other factors can be easily addressed, the patient and surgeon should agree on a donor site that minimizes scar visibility. It is also important for surgeons to recognize that patient characteristics such as sex, age, level of education, and aesthetic interest significantly affect donor-site choice. Therefore, surgeons should carefully consider each patient’s aesthetic preferences in the context of their clinical condition.

Against the backdrop of intersecting technological latent demands and the revival of Eastern minimalist aesthetics, this paper examines the glaze color of Ru kiln's Tianqing glaze. Through historical analysis and case comparisons, it demonstrates the aesthetic of glaze color via visual, tactile, and aesthetic perspectives. The visual experience emphasizes material unity, the tactile experience conveys emotions through sensory engagement, while the aesthetic realm stimulates imagination through cultural subtleties in product design. This approach offers innovative insights for modern technological product design and the renaissance of Eastern aesthetics.

This article analyzes Charles Baudelaire's Artificial Paradises from an aesthetic perspective, taking into account the socio-historical context that shaped contemporary views on the impact of narcotics on artistic life. Narcotics consumption is approached as a form of rebellion against the loss of the sacred dimension and the dehumanization of everyday experience. By examining biographical aspects of Baudelaire's life, the study establishes connections between the poet's personal experiences and the symbolic imagery of the text, associated with drug-induced states. The imagery in Artificial Paradises often takes on a mythological form. Through the concept of the "waking dream," Baudelaire evokes an entire fictional universe shaped by visions of the unconscious, understood as a response to the social and personal crises experienced by the poet. Furthermore, by considering the historical context, the study shows that recreational drug use became an integral part of Parisian life in the nineteenth century. The analysis concludes that self-induced states influence artistic creativity through the ambivalent role of narcotics, functioning both as a source of creative stimulation and as a means of escape from social crisis

This article analyzes the artistic interpretation of gender roles and the motifs of loyalty and betrayal in literary images. It examines the emergence of the gender approach as a methodological criterion in 20th–21st century literature, the representation of male and female characters within socio-cultural contexts, and the linguistic, psychological, and aesthetic dimensions in which the concepts of loyalty and betrayal are interpreted. Using examples from Uzbek and world literature, the article demonstrates how loyalty is associated with devotion, duty, and spirituality, while betrayal is connected with freedom, personal interest, or inner crisis. It is emphasized that contemporary literature revisits gender stereotypes and, through literary images, reflects society’s changing values from a new aesthetic perspective.

As a persistent form of socio-cultural expression, urban dance is deeply rooted in the lived experience of ordinary people and has gradually evolved distinctive formal characteristics. Examined through the lens of sociological aesthetics, a comparative analysis of folk dance troupes in the Song dynasty and contemporary Chinese square dancing reveals the functional continuity of urban dance across historical periods. Dance functions as a principal medium through which its internal content and structure are articulated, while simultaneously carrying significant social meanings: it enables public participation, facilitates interpersonal interaction, and contributes to the construction of collective and individual identities. Within the context of the aestheticization of everyday life, the sensory experiences of countless individuals collectively constitute the contemporary social fabric. By interrogating such individual experiences, one may discern that both the folk dance troupes of the Song era and today’s square dances served, in their respective times, as vital means for social formation—indeed, as embodiments of society itself.

Abstract Objectives As one of the crucial literary genres in the imperial examination system of early seventh-century, judgment texts left profound imprints on the development of prose. This study aims to investigate the stylistic evolution of ancient texts and the aesthetic psychology of literati from an interdisciplinary perspective combining narratology and psychology. Methods Through systematically reviewing ancient judgment texts and employing psychological research methodologies integrated with classical prose theory, this study conducts an interdisciplinary investigation into the narrative characteristics, stylistic evolution, and literati aesthetic psychology reflected in these texts. Results The research demonstrates narrative characteristics in of early 7th century judgment texts: The textual language evolved from florid ornamentation to a harmonious balance between literary refinement and substantive content; the adjudicated scenarios transitioned from strictly factual accounts to consciously fictionalized narratives. “From psychological and aesthetic perspectives, as a unique hybrid genre of judicial document and literary creation, the early seventh-century judgment texts reflected the contemporary literati’s reception psychology.” Conclusions From the perspective of reception psychology in classical prose, literati demonstrated a distinct propensity for hybridizing diverse literary genres to formulate new paradigms. Though originating from judicial practice, judgment texts underwent a remarkable stylistic evolution from factual documentation toward literary fictionalization during their integration into the examination system. This generic transformation, propelled by the creative adaptation and receptive psychology of literati, offers seminal insights into the development of ancient prose aesthetics. Such genre innovation not only reflected public psychological acceptance but also resolved intrinsic anxieties about stylistic development on a spiritual level. Acknowledgments This research was supported by the following grants: 2023 Humanities and Social Sciences Youth Fund Project of the Ministry of Education of China “The Transformation of Tang Dynasty Parallel Prose and Intellectual Trends in Prose Reform”, (Grant No. 23YJC751031).