Heraldic Symbols Research Articles

ФИГУРЫ САМОБЫТНОЙ КУЛЬТУРЫ В ГЕРБАХ МУНИЦИПАЛЬНЫХ ОКРУГОВ УДМУРТИИ КАК ПОТЕНЦИАЛ ЭТНОКУЛЬТУРНОГО БРЕНДИРОВАНИЯ ЛОКУСА

Not only states, republics, districts and cities, but individuals and surnames (families) have the right to the coat of arms. At the same time, the territorial coats of arms reflect historical or cultural features, stereotypical ideas. The article examines the specifics of the figures on the coats of arms of Udmurtia’s municipal districts. It is safe to say that when developing regional heraldic symbols, creative groups selected figures and images based on the original history and culture or on the economic specifics inherent in this territory. The possible process of locus branding aimed at the formation of an ethnocultural image based on the study of the coats of arms of the Udmurt Republic’s specific districts is also touched upon. Images and descriptions of local symbols served as the material for the research. The figures on the coats of arms of the districts are aimed at creating an original ethno-cultural representation of a certain area in order to attract the attention of potential visitors and ensure tourist flow by giving the territory the status of a unique recognizable place.

Heraldic Tracts in the Tudor and Stuart England

In the late 16th–17th centuries both heraldic and chivalric practices and heraldic literature were flourishing in England. The article reconstructs the repertoire of the heraldic tracts written under the Tudors and the Early Stuarts. These sources represent an especially significant complex for the study of the rise of the social as an autonomous sphere. Heraldic and paraheraldic tracts can be divided into three categories in accordance with the structural organization of the texts: displays of heraldry, tracts about nobility, and catalogues of nobility. Each category is characterized by its peculiar themes within a broad heraldic spectrum. The tracts concerning nobility revealed the substance of the phenomenon, defined and structured its analytical parameters; therefore, the boundaries of the nobility were determined and specified. Heraldic displays, in addition to their practical and didactic functions, visualized the abstract notion of “nobility” and impressed this concept upon the minds due to a wide range of associations, which were revived in the process of interpretation of the heraldic symbols. Finally, the catalogues of the nobility concretized nobilitas in its visible boundaries and/or historical dynamics. Taken as an intertext owing to the compilations and mutual citations, these three types of the heraldic narratives created the space where the autonomization of the social was developing. The crucial factor in this process was the multi-dimensional nature of the definition of the concept of nobility. The evolution of the heraldic tracts illustrated important and large-scale processes: 1) the evolution of the perception of the English constitution not as the corpus of practices, but as the complex of practices and texts, which not only fixed the custom but also made its interpretation possible; 2) the rise of the social in the Early Modern intellectual discourse.

CORPORATE SOCIAL RESPONSIBILITY OF BUSINESS AS A TOOL FOR THE FORMATION OF THE BRAND OF THE NORTHERN TERRITORY FOR THE INTERNAL TARGET AUDIENCE

The article considers the communicative potential of corporate social responsibility of subsoil user companies in the northern territories of Russia as a tool for the formation of a territorial brand for the internal target audience living in northern settlements with an unfavorable climate. The purpose of the study is to determine the formation of the KhMAO brand for residents of this territory and the role of corporate social responsibility of subsoil user companies in this process. From the authors’ point of view, the presence of a strong brand of the northern territory, in addition to the population’s knowledge of its heraldic symbols and emotional attachment to the place of residence, is expressed in a high degree of involvement of residents in public life and the desire to continue living in this territory.The study was conducted in October-December 2022 by an online survey, which was attended by residents of the Khanty-Mansiysk Autonomous Okrug - Yugra: large cities and small settlements (n=287).The results of the study show that the KhMAO can be considered as a brand: its residents highlight the unique qualities of the place of residence, about half give it a positive assessment, most know heraldic symbols, about a third plan to continue living in this territory. The study also revealed that knowledge of CSR programs implemented by subsoil user companies and their assessment as eff ective is higher among those residents of the territory who plan to continue living in this territory. This is especially noticeable on the example of the rural settlement of Salym, the data for which were analyzed separately. This approach to the analysis was chosen because a number of large projects are being implemented in the territory of this settlement within the framework of corporate social responsibility by the oil company Salym Petroleum Development.The results of the study allowed us to conclude about the eff ectiveness of corporate social responsibility as a tool for building and strengthening the brand of the northern territory for the internal target audience, to identify the most promising areas of this activity and to show the importance of its information support

Terahercų emisijos spektroskopija pavidalų panašumui tirti: Ukrainos ir Lietuvos simbolių nagrinėjimas

In this paper, the thermal emission from the n-GaAs/GaAs structure equipped with the Ti/Au metasurface is being investigated in the terahertz region. The metacell shape was chosen to be of heraldic origin, that is either the Ukrainian Trident or the Lithuanian Columns of Gediminids. The experiments were performed using far-infrared Fourier spectroscopy, where the heated sample served as the source of THz radiation. The optical properties of such structures were simulated using the rigorous coupled wave analysis method in order to explain the origin of experimentally observed spectral features. The deconstruction of the simulated spectra was also performed by simulating the properties of simplified metacells which constitute the metacells of the heraldic symbols investigated here. The spectral analysis suggests the similarity between the investigated symbols, which is also reviewed from the historical point of view.

Историко-предметный метод атрибуции донского военного портрета эпохи 1812 года

Introduction. The article discusses the formation and development of the Don military portrait in the context of the formation of the South Russian nobility and military events of the late 18th and early 19th centuries. “For exploits and wounds,” Don officers and generals received ranks, orders, and insignia, lands, estates, money, and valuable gifts, and were elevated to the nobility. They consolidated their new social status in a visual form: ceremonial, semi-ceremonial, chamber, military, and coat of arms portraits, a large number of which have been preserved in museums in Russia and abroad and in private collections. Methods and materials. Relying on the historical-subject method of attribution of portraiture and at the interdisciplinary level, the artistic image of the Don military elite of the 1812 epoch is studied; attribution, characterization of the content, interpretation of images, and their accompaniment are carried out. The portrait of the hero of the 1812 epoch, Major General Pyotr Grekov the 8th , accompanied by the family coat of arms of the nobility, is being studied. Analysis. The evolution of the Don Cossack uniform and fittings, the imperial award system and its extension to the generals and officer corps of the Don army are characterized, and the rules for depicting awards on portraits and heraldic symbols are described. All of them act as sources of attribution for portraiture, revealing the character and merits of the Don General. Results. Based on the historical-subject method of attribution of works of portrait painting, the date of writing is established, and an assumption is made about the model and the author of the image.

Russian Themes in Jovan Raić’s Epic «Boj Zmaa s Orlovi» (1791)

Researching Russian themes in Jovan Raić’s epic Boj Zmaja sa Orlovi is a continuation of up-to-date explorations of the language, versification, and intertextual relations of the poem with the texts of the Russian literature. We have approached the epic from a comparative perspective and analyzed it in parallel with The Tale of Igor’s Campaign and Osman by Dživo Gundulić. We were analytically focused on the heraldic symbols, as well as on the mythical and fairy-tale imagination. The images of Russia vary from dominant ones – distinctively commendable, uttered by gods from the Antiquity and shaped by Jovan Rajić, to derogatory ones, uttered by Muhammad. In the epic, the Russian Empire is materialized both through cities (Kherson, Ochakiv, Khotyn) and by stressing tsarina Catherine II and her courageous generals.

The “On the Emblems” Treatise as a Valuable Source of the History of Date Clan Emblems

The article analyzes the history of family emblems that belonged to the Date clan, which is described in the “Aide‑Memoirs on the Careful Examination of [Date clan] Emblems” treatise by Confucian scholar Yusa Bokusai (also known as Yuza Jirouzaemon, 1658—1734). It considers the process of creation of this document, its structure and content as well as its value for modern studies on the Japanese family emblems. The main feature of the treatise is a detailed description of the use of each family emblem. Yusa Bokusai comprehensively compared the data from historical documents with artefacts he found and the memories of the eldest vassals and servicemen of the Date clan. Based on results of the comparison, he revealed how changes in the aesthetic preferences of a particular head of the Date clan influenced the status of heraldic symbols, their appearance and use. Moreover, the treatise highlighted a series of issues, related to the study of the emblematic history of the families, that for many centuries owned a large number of emblems. The most important among them are those with a correlation with the emblems' functions and its applying on certain tangible objects, precedents of granting and receiving the emblems and the reflection of these processes in historical documents, the issue of using the suzerain's family emblems by vassals and servicemen.

Вербализация символа: блазонирование в государственной геральдике постсоветских республик

The article deals with the linguistic embodiment of national symbols. On the basis of lexicography, the author determines the semantic structure of the national idea and describes its implementation in the heraldic symbols of the countries of the former USSR. The semantics of the state contains the following semantic blocks: power, territory, population (people) and the country as a whole. It is established that the main symbols of power amid artifacts are the crown, sword, scepter, orb and trident, and amid the images of fauna – images of a lion, an eagle and a griffin. The territory is symbolized through the image of the administrative and historical division of the country, images of typical representatives of its flora and fauna. Most frequently, on the coats of arms one can see images of the economically most important or most typical representatives of the country’s flora, followed by landscape elements, and only after them the images of the animal world. The symbols associated with the people inhabiting the country of the certain coat of arms include images of specifically national artifacts, objects of material culture. A significant part of the images of the national heraldry symbolizes the concepts and ideals common to the country of the coat of arms as a whole: mythological and folklore images, confessional and astronomical symbols, history and other symbols. National anthems and national heraldry coincide in the history and geography of the country, while the latter is practically lacunary in relation to the emotional and evaluative side of patriotism.

HERALDIC MOTIFS IN FAMILY STAINED GLASSES OF THE 16TH CENTURY OF THE VON DIESBACH FAMILY

This article deals with the problem of research and attribution of heraldic stained-glass windows of the Swiss Union in the 16th century, when the art of stained glass was in its heyday. By this time, the formation of a new social class, the burghers, was being completed, whose wealthy families, thanks to the special historical conditions for the development of the Old Confederation, were able to have their own family coat of arms. In order to demonstrate their social status and services to society, coats of arms were placed in stained-glass windows, which were donated to churches. The purpose of the article: using the example of the heraldic stained-glass windows of the von Diesbach family, preserved in the church of the city of Worb, canton of Bern, is to show how the established rules of heraldry were transformed in the heraldic stained-glass windows of the Swiss Union. The study relies on sources in the form of surviving armorials, as well as official documents of the time, which depict the coat of arms of the von Diesbach family, which made it possible to conduct a comparative analysis of coats of arms in manuscripts and stained-glass windows. In the process of research, a technical and technological method was used to identify the possibilities of including heraldic symbols in stained glass compositions. As a result of the analysis of the heraldic stained-glass windows of the von Diesbach family in the church of the city of Worb, canton of Bern, it was concluded that they are a vivid example of the use of stable heraldic symbols, however, in the stained-glass windows of the Old Confederation (Swiss Union). the rules of heraldry were not applied too rigidly and consistently, they were interpreted in stained-glass windows taking into account the social structure of society, the location of stained-glass windows in architecture, as well as the technological possibilities of stained-glass art.

The Relevance of Modern Municipal Heraldy of the Cities of the Republic of Crimea

The article presents the results of a comprehensive sociological study aimed at studying the relevance of municipal heraldry in modern society. The sample covered 1807 respondents living in the cities of the Republic of Crimea. The assessment of the relevance of the symbolic images depicted on the heraldic books was carried out depending on the calculated relevance index. It is shown that the ratio of symbolic elements depicting natural and economic objects in the studied region is (53.9% to 46.1%). Symbolic elements are often obsolete. Most of the economic identity depicted on the coats of arms, which were reconstructed from their pre-revolutionary historical or Soviet prototypes, are associated with similar difficulties in interpretation. Thus, a total of 73.6% of symbolic elements bearing economic significance are outdated and only 26.4% display a modern identity. Therefore, 62.8% of respondents do not know the heraldic symbols of their settlements. As a result, it can be concluded that heraldry is not very informative, since the interpretation and perception of symbolic images without special knowledge is difficult, and, therefore, the potential for use is limited.

MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES

The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what was «really», but of what was brought into the situation described by medieval scribes. The model of our analysis of the content of miniatures is based on the methodology of the German researcher Erwin Panofsky, according to which the analysis of miniatures takes place in three stages: 1) pre-iconographic description; 2) iconographic analysis; 3) iconological interpretation. Our research is based on French manuscripts containing images of the Mongols with various heraldic symbols, written evidence, numismatic and cartographic sources. During the work, it was noted that the Mongolian heraldry is presented in the format of shields and banners. Each element has its own color – red, orange, blue, yellow. The following heraldic signs were identified: a dragon, a six-pointed star, a crescent, a two-pronged tamga, a «king's head», lilies, a «star of David», various geometric shapes of figures, etc. It was also determined that the image of heraldic symbols on the miniatures carries a certain symbolism – social and ethnic. With the help of «imaginary heraldry», Christian miniaturists defined the place of the Mongols in the social stratigraphy or emphasized ethnicity.

The functions of heraldic symbols in the English fiction

The article considers the main functions performed by heraldic symbols due to their verbalization in blazons as descriptions of coats of arms by a specific set of language constructs. Heraldic symbols as the quintessence of culture are analyzed in the communicative-functional aspect. There are some special characteristics of heraldic symbolic units, namely, their multifunctional orientation, the possibility of multiple interpretations, the presence of a nomination mechanism, and others. The mediative and mnemonic functions of symbols, taken from the works of Lotman, are manifested in the heraldic symbols of fiction as one of the mechanisms of cultural memory, therefore, the symbol is a mediator of the semiosis spheres. The list of functions is supplemented by the consideration of the social dimension, because heraldic symbols are potentiated in the society, therefore, the essence of the identification-integrative and adaptive-regulatory functions of heraldic symbolism is revealed. The concepts of multimodal imagery and synesthesia effect, which are embodied in the interaction of verbal and nonverbal symbols, are involved in the analysis of the blazons on the material of English fiction. The theme of symbols functioning is supplemented by the classification of the main functions and subfunctions proposed by the author. The focus of the study is also the identification function, resulting in an emphasis on the role of a special heraldic language in the expression of the personality. Taking into account the types of coats of arms, the article considers the coding function in the punning and allusive coats of arms, as well as in the heraldic lexemes borrowed from other languages. The cross-cutting idea of the article is revealed through the interpretation of heraldic symbols in their functioning in the works of English fiction and poetry and summarized in the definition of the symbol not only as a linguistic unit, but also as a semiotic phenomenon of culture.

From Akmolinsk to Nur-Sultan: the Influence of the State Ideology on Developing the Official City Symbols

The article studies the development processes of the official (city) symbols of the current capital of the Republic of Kazakhstan at different stages of the city's history. The influence of the state ideology on development of the symbolic space of Kazakhstani territories is analyzed by the example of this city. The authors show how heraldic symbols were created in various historical periods: during the time the Kazakh zhuzes were part of the Russian Empire, then during the period of the Kazakh SSR in the USSR and, finally, in the years after the emergence of the independent Republic of Kazakhstan. It is noted that the symbolic space of the city of Nur-Sultan changed at different stages of the city's existence and largely depended on the practice of spreading political ideology. Thus, the first stage is analyzed in terms of the influence of the Russian Empire ideology, including the theory of «official nationality», the second stage shows the role of the Soviet propaganda system of Marxist-Leninist ideology, the third stage is assessed in terms of the influence of ideology aimed at consolidating the multinational Kazakhstan people. When N.A. Nazarbayev had come to power the course of the country's long-term development was defined, it was aimed at strengthening the unity of society and creating a new national capital. This strategy was implemented including with the help of a symbolic space — the official city symbols (coat of arms, flag). The authors note that at this stage the symbolism begins to reflect to a greater extent the historical and cultural traditions of the country. At the same time, Nur-Sultan is positioned both as a «national capital» and as a city for all nations living in Kazakhstan.

ГРАВЮРА «ПОХОВАННЯ ГРАФА ФЕДОРА ГОЛОВІНА» З ФОНДОВОЇ ЗБІРКИ НАЦІОНАЛЬНОГО КИЄВО-ПЕЧЕРСЬКОГО ІСТОРИКО-КУЛЬТУРНОГО ЗАПОВІДНИКА

Дослідження присвячено введенню до історичного контексту гравюри із фондової колекції Національного Києво-Печерського історико-культурного заповідника. Розглядуваний витвір гравірувального мистецтва зображує процесію на похоронах графа Федора Головіна (1650–1706). Відбиток, про який іде мова, датовано ХІХ ст., однак зроблено його з дошки XVIII ст. Дошку виконав невідомий гравер, найпевніше – іноземного походження. Візуальний ряд гравюри містить низку символів, характерних для жалобної культури епохи бароко. Авторка дослідила окремі мотиви, відображені у гравюрі (геральдичні символи, стилізовані античні образи, тема лицарства тощо). Проведено компаративний аналіз зображення поховальної процесії Федора Головіна і відтворених у джерелах похорон інших російських державних діячів того часу, зокрема імператора Петра І. Зауважено, що риси, продемонстровані у творі, тяжіють до польсько-шляхетської традиції pompa funebris. Цю традицію, своєю чергою, росіяни могли запозичити росіянами у козацької старшини Гетьманщини. Також у дослідженні окреслено перспективи вивчення таких творів як джерел барокової поховальної і жалобної ритуалістики.

Historical heraldic symbols as a marker of reproducing and transforming regional identity: The case of Ukraine

This paper demonstrates a way to examine the transformation of the territorial shape of the region. The official symbols (flags and emblems) of modern administrative units of Ukraine were analyzed for the usage of heraldic symbols of historical regions that lost their administrative status a century before. The results confirm more or less constant symbolic reproduction of historical regions, but their spatial shapes has changed under the influence of new administrative boundaries. Simultaneously, in certain cases historical heraldry loses its former meaning and is involved into the development and strengthening of identities with new administrative regions rather than historical ones.

Letras de justadores y categorías del amor poético en la Tercera parte del espejo de príncipes y cavalleros

En este artículo están reunidas y analizadas todas las letras de justadores que Marcos Martínez incorporó a su libro de caballerías Tercera parte del espejo de príncipes y cavalleros (1588). Se han clasificado en diez categorías que definen el amor poético y cortesano. El estudio de estos poemas se hace en el contexto argumental de la obra, pues se identifica para cada uno de ellos tres niveles de significado: un nivel narrativo o argumental, un nivel plástico-alegórico, que se refiere a la descripción de las armas y la divisa de los caballeros que las portan, y un nivel poético donde la letra misma completa el sentido que se desea expresar respecto a los sentimientos de los personajes o de la situación narrada en el episodio. Además del análisis, se ofrece un catálogo de las letras.

О ПРОБЛЕМАХ ФОРМИРОВАНИЯ ВИЗУАЛЬНОГО ОБРАЗА В ОТЕЧЕСТВЕННОМ БРЕНДИРОВАНИИ ТЕРРИТОРИЙ

The problem of designing visual signs in the context of Russian territorial branding by means of graphic design actualizes not only the image potential of regions, but also represents a significant sphere of understanding cultural identity, revealing cultural codes and semantic images relevant to the perception of a modern man. As the origins of modern geo-branding, the article examines heraldic traditions of city emblems, their archetypal images rooted in cultural memory and history. Particular attention is paid to the perception of abstract index signs and the most common examples of modern geo-branding in the absence of conventional interpretation. The potential of basic heraldic symbols in the design of graphic complexes, implementing the branding of regions is considered. The article provides arguments in favor of a systematic approach to the design of visual identification of territories based on a scrupulous pre-project analysis, respecting the historical and cultural codes of territories. The authors propose a list of constructive measures aimed at creating a territory branding system that will be able to solve functional problems actual for this area. The content of the article is intended to thoroughly understand the processes of regional branding as a factor of regional socio-cultural and socio-economic development.

(Re)creating the Eglantine Table

Abstract The Eglantine Table at Hardwick Hall (c.1568) was probably crafted to commemorate marriages made between the Hardwick-Cavendish and Talbot families. In addition to various heraldic symbols, the table’s friezes depict gaming paraphernalia, thirteen musical instruments, and several music books, including a stacked score of a devotional song by Thomas Tallis: ‘O Lord, in thee is all my trust’. While there is thorough existing scholarship on what the Eglantine Table depicts, this article explores what can be inferred about the contemporary value of musical recreation from how meaning was produced in the table’s iconography using a ‘material approach’ to music as both an object and also a sounding body. This article demonstrates why recreation, including music-making, is defined most prominently by why people choose to engage in it and the human actions that make recreation happen. Viewed in this fresh light, the Eglantine Table, including its musical iconography and notation, offers insight into the meaning of musical recreation and the values that shaped domestic interiors, objects and social bonds in an early modern English aristocratic home.

THE HERALDRY OF THE DE BOHUN EARLS

This paper analyses the evidence relating to the heraldry used by the patriarchs of the de Bohun family (1066–1373) as preserved in seal impressions, rolls of arms, manuscripts, wills, inventories and personal objects held in private collections. It traces the development of the family’s coat of arms, as well as the adoption and use by the de Bohun earls of various heraldic symbols (such as the swan, the trefoil, the leopard and the wyvern) to serve as a reminder of the family’s glorious ancestry and its many royal and noble marital alliances. By analysing the unique heraldry adopted by each de Bohun earl, this paper concludes that the family’s noble identity evolved over several generations and that the choice of heraldic symbols by each earl was highly individual, providing a unique insight into their sense of identity and personal values, as well as their desire to ensure family memory.

Sociocultural Aspects of Citys Heraldry: History of the Symbols of the City of Irkutsk

A versatile art of heraldry includes historical, geographical, legal, and certainly, cultural components. Heraldic symbols reflect notions of basic, fundamental values of society, groups and separate individuals, preserve traditional values and, due to respective symbols, contribute to the formation of notional values. It is impossible to imagine modern society without coats of arms, flags, official signs or emblems. In the article, the authors consider regional and municipal aspects of heraldry which provide a symbolic basis for the development of the area as a part of the whole, integral state. All the above mentioned aspects define a responsible approach to such an essential process as art of heraldry. The article highlights a largely unknown for a broad public and confusing story of the coat of arms of Irkutsk, several versions explaining this peculiar case are taken into account. The authors offer a journey into the history of the city and investigate different representations of the symbol of Irkutsk.