Internal Beauty Research Articles

The Application of the "Beauty of Artistic Conception" in Chinese Painting in Interior Space Design

"Artistic conception" is the aesthetic core of Chinese painting and the essence and soul of Chinese painting. The "artistic conception" of Chinese painting is the high unity of art, nature, life and soul, forming a unique aesthetic system of Chinese painting. The "beauty of artistic conception" of Chinese painting is applied to the design of modern interior space to create space with the expression of mutuality of emptiness and reality, reckon blank as inked and symbolic implication, which can also make Chinese painting produce new visual impact in modern society. The application of the "beauty of artistic conception" of Chinese painting in interior design does not simply present the "Chinoiserie", nor is it limited to the direct imitation of Chinoiserie elements, but allows the implication of interior design to be deeply expanded, and also allows viewers to perceive the rich feelings and internal beauty associations contained in the design in the interior space. This paper will elaborate the connotation and performance characteristics of the "beauty of artistic conception" of Chinese painting, and analyze the measures and implementation methods of applying the "beauty of artistic conception" of Chinese painting to interior space design, as well as its unique value. The purpose of this paper is to innovate the design concept of modern interior space and provide a Chinese design idea, so that the interior design can reach the space design realm of "Unity of Heaven and humanity in One".

The Effect of Image Management Behavior and Interpersonal Tendency of Beauty Workers on Psychological Expectations

People in modern society are more interested in managing their images than ever before. He usually makes a lot of efforts to identify what he is like and to identify appropriate words and characters, as well as various expressions, postures, and appearances. Unlike in the past, when only internal beauty was important, the sense of value of appearanceism that aims for external beauty is emerging more strongly. Therefore, this study examines the factors of image management behavior and interpersonal tendency, and identifies and verifies whether beauty workers' image management behavior and interpersonal tendency affect psychological expected effects, thereby confirming the factors that improve beauty and interpersonal tendency. SPSS 22.0 was used to analyze the collected data, frequency analysis was used to find out the general characteristics of the subject, factor analysis and reliability analysis were used to find out the validity and reliability of image management behavior, interpersonal orientation, and psychological expected effects. Regression analysis was used to investigate the effect of image management behavior on psychological expectation effects and interpersonal tendency on psychological expectation effects. Beauty to express value for oneself is eventually exerted when one can refine one's inner image and fill the emotional part, and improves self-confidence through sociable and desirable interpersonal tendencies. Compensating my shortcomings and making changes according to my mood also requires a mindset that recognizes that raising self-esteem and self-worth are essential actions in interpersonal relationships and social life.

Differences in Awareness of Skin Changes, Appearance Management Behavior, and Brand Preference According to Marital Status of Senior Women

Today's society is in a trend toward external beauty rather than internal beauty due to rapid changes. As of the 21st century, with the development of high-tech technology, humans are familiar with the Internet and SNS, and the world is sharing with each other and making various exchanges. Among them, with this development, modern people are increasingly interested in the fashion and beauty industries, increasing individual values and accelerating the trend cycle, creating new trends according to social and cultural trends. In particular, it is an era in which consumers are centered from Generation Y to Generation Z, which were born and grown together in the digital era, and are highly influential and led. Entering Generation Z, he is leading the era by directly expressing his inner desire and beauty differentiated from free and future-oriented others that deviate from the existing framework of dissolutionism. With this development of the times, new elements are added to the existing disintegrationism, which can be new to the new disintegrationism created by reflecting the needs of consumers. Maison Margiela, a fashion brand that represented the disintegrationism of the past, embraces various cultures and presents creative and interesting designs to the public. Nail art design has an identity as a diversified visual element, and modern people need a new design that fits the trend in a new aspect. Therefore, this study aims to produce autonomous, individualized, and diversified gel nail art designs as works to satisfy consumers' needs by examining the trend and aesthetic value of the times as a new deconstructionist characteristic of fashion brand Maison Margiela. As a method of this study, the characteristics of neodisintegrationism in Maison Margiela fashion were analyzed through previous studies, books, and the Internet, and based on studies by Kim (2021), Lee (2018), Wu (2021), and Park & Kim (2020) were combined with the characteristics of recreational gel nail art. The materials for producing the work were gel polish, gel brush, glitter, wire, and full tip No. 3. The conclusion of this paper is based on the design of Maison Martin Margiela, a representative fashion brand of neo-disintegrationism for diverse and creative designs, and the gel nail art design is presented by classifying the characteristics of neo-disintegrationism into playfulness, diversity, and reinvention recombination. The research results produced by the work are as follows. First, with Yoo Hee-sung's design, Work 1 first produced a sense of freedom as a design element from a design suppressed by a design that deviates from the existing framework of nail art. Work 2 is a design using space, designed for pure purpose, not intentional expression, and produced works in a fun and playful atmosphere. Second, with the diversity design, Work 3 expressed color expression and see-through flowers, and produced works by expressing gender boundaries from a neutral perspective. Work 4 was produced with a design that expresses an open and intriguing inner desire by expressing a part of it in three dimensions. Third, with the reinvention and recombination design, Work 5 was transformed and applied using space in three dimensions to produce works by expressing them in a auditory design. Work 6 was recombined by applying the existing gradation technique and produced a work with a design that gives a familiar image rather than unfamiliarity by using curves to create an integrated harmony of play and diversity. Therefore, this study was produced as a gel nail art work by applying the new deconstructionist Maison Margiela's fashion elements and sublimated into art works, and individual personality and original design showed trends and usability in nail industrial sites, and it is hoped that gel nail design research will be continuously conducted.

“Beauty of the Person” According to Karol Wojtyła (Ontology and Experience)

This paper outlines the essential core of Karol Wojtyła’s thought on beauty. By introducing the central category of “beauty of the person”, Wojtyła essentially integrated and ordered therewith all the other meanings of the term. Whatever is beautiful in an adequate sense is also morally good. As far as human beauty is concerned, Wojtyła pointed out that it is differentiated by gender, i.e. female beauty and male beauty, and by “layers,” i.e. external beauty (aesthetic, sensual and bodily beauty) and, more importantly, internal beauty, which constitutes the beauty of a person as a person. Outer beauty allows a person to be noticed, to be discovered, but in love one cannot stop at outer beauty (the temptation to treat the body as a possible object of use). For love is love of the whole person, not only of his or her beautiful body and sexual attractiveness. A specific issue is the analysis of the creation of beautiful things, which at the same time are imprinted in the interior of man and – as long as man does not give in to the egoistic “temptation of self-emptying” – bear witness to his “immortality.”

External or internal beauty? A study on the mechanism influencing food waste behavior

A personal norms intervention strategy is an effective way to reduce food waste behavior. However, the mechanism controlling how personal norms affect food waste behavior needs to be further investigated. In addition, previous studies have reported that weight control is part of this mechanism, but few studies have focused on how internal (personal norms) and external beauty (weight control) act simultaneously on individuals. This study constructed an analytical framework with personal norms as the independent variable, emotions as the mediating variable, and weight control as the moderating variable from a cognitive perspective. A stratified regression approach was used to analyze 835 validated questionnaires on food waste at the consumption level (outside the home) that were collected from across China. The results showed that (1) Chinese consumer personal norms about eating at restaurants and outside the home exacerbated food waste behavior; (2) consumer emotions mediated the effect of personal norms on food waste behavior; and (3) weight control moderated both paths associated with the mediating effect of emotions, and its cubic term had a more significant moderating effect. Policy recommendations are proposed based on the conclusions of this study that will effectively reduce food waste behavior.

Eyebrows, Chintz and a Smile: Some Features of the Author’s Interpretation of the Concept BEAUTY in the Poetry of Pavel Vasiliev

Purpose. The article examines the features of the representation of the concept BEAUTY in the poetry of Pavel Vasiliev. In his work, there is a transcultural symbiosis of Russian and Kazakh aesthetic canons of beauty.Results. Typically Kazakh features of a person's appearance look aesthetically attractive for the poet. He considers eyebrows to be an important part of a human beauty. A peculiar artistic interpretation of this detail of appearance is manifested in the epithets, in a dynamic metaphorical model [EYEBROWS → are BIRDS]. A relevant sign of beauty is the harmony – the proportionality of a person’s figure. The peculiarities of understanding the beauty of a woman in clude close attention to such details of clothes and shoes as a skirt, a shawl and heels. The skirt in the process of metonymization replaces the woman [SKIRT instead of A BEAUTIFUL WOMAN]. Semiotically relevant is the characteristic of clothing made by the fabric – chintz, silk. In the semiosis of fabric as a sign of class affiliation and financial situation, such mechanism of analogy as the metonymy is involved. Developing and supplementing the ideas of oppositeness of external and internal beauty of a person and the localization of the internal beauty in his eyes, Pavel Vasiliev defines the locus of a spiritual beauty in a smile, in the corners of a woman's lips.Conclusion. The concept of BEAUTY in Vasiliev’s poetry has the individual and author's artistic and aesthetic features, and preserves the folk aesthetic ideal of beauty at its core.

ОБРАЗ ГЕРОЯ-ХУДОЖНИКА НА МАТЕРІАЛІ ТВОРІВ ВОЛОДИМИРА ВИННИЧЕНКА

In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.

Motywacja metamorfozy a potworność cielesna i duchowa w wybranych realizacjach wątku „Pięknej i Bestii”

The article discusses the motivations of the monstrous metamorphosis in some Beauty and the Beast retellings, chiefly those by Gabrielle-Suzanne de Villeneuve (1740), Jeanne-Marie Leprince de Beaumont (1756), Alex Flinn (2007), and Małgorzata Musierowicz (1996). Other versions are mentioned as a broader context. The aim of the article is to observe a correlation between transmotivation and a retelling’s structure and message.
 While folk versions usually omit the motivation altogether, literary and film retellings often provide in-depth explanations of the transformation. In the 18th-century fairy tales, the metamorphosis is a villainy inflicted on an innocent victim, and Beauty has to see through the monstrous appearance in order to realize the true, internal beauty of the Beast. Retellings from the 20th and 21st centuries, on the other hand, often present the metamorphosis as a comeuppance for some emotional and moral fault. Physical deformity reflects spiritual monstrosity, and the Beast’s struggle with the latter helps him become free of the former. As a consequence, transmotivation implies a shift in the narrative from Beauty’s experience to the Beast’s internal change. This may be due to the didactic tradition of the fairy tale for children, in which the hero is tested and disciplined, as well as the influence of the modern novel, focused on individual characters’ psychology

THE REFLECTION OF CONCEPT OF BEAUTY BY ENGLISH PHRASEOLOGICAL EXPRESSIONS

Our article is devoted to phraseological units of the English language which denote the appearance of people, their beauty or ugliness. The methodological basis of the study is the works of prominent Ukrainian and foreign scholars on the problems of linguacultural studies, cognitive linguistics and phraseology. We have tried to identify the standards of beauty in the English language, which are expressed by means of phraseological units. The choice of language material is due to the fact that stable expressions contain a system of stereotypical images, prototypes and standards, and are expressed by a set of stable units that are mostly marked by national and cultural specifics. From dictionaries of phraseology of the English language, we chose more than 220 phraseological units which denote the external and internal beauty of a person. Among them, almost half of the phraseological units is devoted to the designation of human appearance. Stable phrases, sampled from dictionaries, can be divided into the following groups: 1 – description of a person's appearance by his face, 2 – description of a person's appearance by figure, 3 – description by appearance in general.

Posture modification through Sunjeevan Yoga

In this twentieth century with dynamic changing lifestyle, more towards sedentary, growing technologies, crazy working hours, pressures, deadline, competition, responsibilities and eventually growing stress is reason for growing physical and pathological disorders. This is also the cause of early pathological disorders. One becomes victim of wrong posture due to monotonous routine, improper work environment and lack of exercises. We are conscious about our health and follow specific fitness regime and diet, but awareness of body and its structure is also equally important. We are conscious about our external look, but we ignore internal beauty of our body. Maintaining balance of well-arranged body created by the environment and our energy should be well preserved. Yoga plays an important role in creating this awareness, posture practice to keep us physically healthy, meditation to keep our mind healthy and raj yoga teaches us to have insight to know the goal of our soul which is ‘peace’. This article emphasis on posture awareness through posture modification. It emphasis on what is posture modification and how it can be achieved through posture correction. It explains the importance of posture correction and how important is body awareness with reference to effect of gravitation force on our body, to bring change in our body to maintain symmetry/ balance and preserve it. It also covers Ashtanga yoga, 8 limbs of yoga which is the best guide to teach us how to live our life, with systematic progression in setting up our goals towards the purpose of our life. When I say understanding of the body that also includes understanding of our daily routine and the flow of posture correction from foot to toe and flow of the yoga therapy which goes after identification of the problem. The article also mentions few important facts in this article, Kids learn through imitating our behavior physically and socially. Gaining knowledge and wisdom is fate, passing this knowledge to next generation is our responsibility. As the topic says, principles of Sunjeevan Yoga are explained throughout the article. Just like various schools of Yoga, Sunjeevan Yoga is also a school of Yoga which has main aspect as Yoga Therapy using different Hatta yoga asnaas and props to treat patient with various physical deformity and supportive therapy to pathological disorders. Keeping the base of Patanjali yoga sutra as philosophy behind Sunjeevan Yoga therapy, it works more on body and mind awareness. To summarize, Lifestyle Management is crucial and is need of an hour. This can be achieved through Yoga, that is awareness of body and mind. Lifestyle management is spending quality time at work, family, friends, and oneself. How well we manage our body and mind that is physical and virtual health and how we primacies our priorities. Yoga is just not just stretching and postures, but yoga is posture recognition and modification, stretching with awareness.

Two multinational, observational surveys investigating perceptions of beauty and attitudes and experiences relating to aesthetic medical procedures.

BackgroundData on opinions and experiences of aesthetic medical procedures outside the United States and Western Europe are scarce.AimsThis study aimed to survey users and non‐users of aesthetic procedures in countries where this information is less readily available, to understand attitudes and perceptions relating to beauty.Patients/MethodsTwo independent internet‐based observational surveys were conducted. Survey 1: individuals from Colombia, Lebanon, Malaysia, Russia and Turkey who were ‘users’ or ‘non‐users’ of aesthetic medical procedures. Survey 2: individuals from Colombia, Russia, Thailand, Turkey and the United Arab Emirates who were ‘users’ of non‐surgical aesthetic treatments.ResultsSurveys 1 and 2 were completed by 300 and 160 individuals, respectively, most of whom were female (94.0% and 99%). Overall, respondents rated the eyes and smile as the most pleasing male and female facial features. Most participants (mean 82.6%; range 75%‐100%) believed maintaining a healthy lifestyle was important for ageing gracefully, and over one‐third (36.0%; 28%‐47%) believed men age more gracefully than women. The emphasis respondents placed on the importance of physical attributes vs inner feelings, internal beauty and self‐confidence varied between countries. Users were often more positive about aesthetic medical procedure outcomes than non‐users. Adequate information, good physician communication (including managing treatment expectations), treatment recommendations based on patient need and good aftercare improved treatment satisfaction.ConclusionsThe eyes and smile were key features of attractiveness, but maintaining a healthy lifestyle was consistently considered an important factor for ageing gracefully. Ensuring patients are well informed was a major determinant of treatment satisfaction.

PAINTING EPOCH AND SENSE: A FORMAL INSPECTION

The tradition of painting that has been around for a long time is called the epoch of painting. And the change in modern times is called the meaning of sense in painting. As the Aadimanav became civilized, the Indian conditions changed. Religion and spirituality were given important place in Indian culture. In India, internal beauty has always been given precedence over external beauty. Therefore, in India's painting, the emotional side became clearer and more emerging.
 Due to political upheaval in India and some political reasons, the influence of Greek art is seen on the painting of India. Then came the golden age of Indian culture, which is considered Ajanta. The works of this era are considered to be the best.

An Extensive Review of Face Powder Formulation Considerations

The face powder was demanded by many nations in the world in the beginning AD and in Asia white skin was believed to be the sign of aristocratism, membership of the elite, and yet, white color is the pure symbol of the internal beauty and nobility. In addition, some face powders are sold in varying specialty shades to suit different skin needs; for example, a face powder with a greenish tinge will minimize the appearance of redness, while a purple-tinted powder may help the appearance of sallow or yellow skin. There is a legitimate reason to use face powder, and the pharmacopeias prescribe them in the treatment of many skin affections. At all events the proper use of powder is beneficial, it lightly covers and unifies a complexion, hiding the ravages of time, improving even the beautiful face. Face powder comes in different shades to match varying skin tones, and it is a good idea to choose the skin tone that most closely matches the natural skin. This will help the makeup appear more natural; it should be virtually unnoticeable. It may be necessary to use different face powders for summer and winter, as the skin may become tanner in the summer, or drier and in need of extra moisture in the winter. They are of benefit in acne, freckles, sunburn and red nose. Beneath their attractive aspect and odor, face powders should be made by the perfumer to combine the qualities of an elegant cosmetic and therapeutic agent; they must primarily possess adherence, lightness and be transparent; secondly, they should be detergent and delicately absorbent in order to aid the natural functions of the skin, taking up the fatty matters not easily dislodged by water; they should also tend to increase the natural elasticity and regular functions of the skin.

An extensive review of face powders: Functional uses and formulations

The face powder was demanded by many nations in the world in the beginning AD and in Asia white skin was believed to be the sign of aristocratism, membership of the elite, and yet, white color is the pure symbol of the internal beauty and nobility. In addition, some face powders are sold in varying specialty shades to suit different skin needs; for example, a face powder with a greenish tinge will minimize the appearance of redness, while a purple-tinted powder may help the appearance of sallow or yellow skin. There is a legitimate reason to use face powder, and the pharmacopeias prescribe them in the treatment of many skin affections. At all events the proper use of powder is beneficial, it lightly covers and unifies a complexion, hiding the ravages of time, improving even the beautiful face. Face powder comes in different shades to match varying skin tones, and it is a good idea to choose the skin tone that most closely matches the natural skin. This will help the makeup appear more natural; it should be virtually unnoticeable. It may be necessary to use different face powders for summer and winter, as the skin may become tanner in the summer, or drier and in need of extra moisture in the winter. They are of benefit in acne, freckles, sunburn and red nose. Beneath their attractive aspect and odor, face powders should be made by the perfumer to combine the qualities of an elegant cosmetic and therapeutic agent; they must primarily possess adherence, lightness and be transparent; secondly, they should be detergent and delicately absorbent in order to aid the natural functions of the skin, taking up the fatty matters not easily dislodged by water; they should also tend to increase the natural elasticity and regular functions of the skin.

A sin in dramatic art by Lesya Ukrainka: from primary literature to the art version

The article represents an attempt to provide an interpretation of notion “sin” based on dramatic poems and dramatic sketches on early Christianity by Lesya Ukrainka. Choosing such an aspect is determined by lack of attention from literary critics who up to now either avoided it in spite of the evident need for interpretation or interpreted it from atheistic positions or treated this problem as one of the many factors not emphasizing it on purpose. The main attention in the present research is paid to the interpretation of a central notion “sin” based on the Bible, the Law of God, special reference books such as encyclopedias and dictionaries on the Bible. Since the analyzed works represent a monotheistic and polytheistic ideology we considered it necessary to compare the understating of a sin in Christianity and paganism, using for this material collected by F. Zelinsky, G. Lozko, S. Sviridova and others. The analysis of fiction books is done on content-creative and shape-creative levels taking into account problematic and thematic complexes, peculiarities of building an image system (opposition of religion, age, social status), plot and composition structures (type of conflict, peculiarities of its development, solution, role of remarks, structure-creative role of a sin etc.) poetics of character creation (gradation, contrast). The importance of sin in understanding the works by Lesya Ukrainka has been concluded: we are convinced that it is about the synthesis of philosophical and esthetic and philosophical and psychological levels of understanding human nature ambivalent by its essence, whose display depends of understanding the priorities in the dyad material / spiritual which means either seduction and a sin or conservation of internal beauty. The perspective of further research has been determined: general analysis of works by Ukrainian writer (lyrics, lyrico-epos, drama, prose in particular fragmentary); deeper, more persuasive understanding of a literary contribution to the literary context at the beginning of the XX century and in further periods; an ability to appeal to archetype origins, cultural codes.

屈原與經術———從詞語、文法及思想看屈賦對儒經的接受和融合

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 王逸標舉屈賦“依託五經以立義”，其《楚辭章句》中屢屢舉屈賦與經語互 證。這種論證方法，一直爲後世學者所沿用。洪興祖對王注多所補充。明、清 兩代《楚辭》學家如汪瑗和蔣驥等，對前人的論證方法，既有繼承，又有所擴充、 深化和完善，觸及屈賦與經術的更深層次的關聯。在近現代學者中，饒宗頤教 授是提出“屈原與經術”命題的第一人。饒公曾列舉十四條《離騷》與《論語》、 《易》、《書》、《詩》、《左傳》互證的文例。本文踵武饒公的論證方法，除條舉五十 餘例，印證屈賦中語多源於經書外，還從文法及思想兩方面，提出新證，著力證明 屈原與經術密切相關。從“内美”、“中正”、“折中”，以及“道”、“路”意象，足見屈 原的思想植根於經術，不獨文章爲然。不可不知的是，屈原的“中正”思想，亦與 《管子》相通，具備多元融合、恢廓宏遠的特質，也因此成就了屈原思想的獨特性。
 It has been a traditional belief that Qu Yuan’s works were partly derived from the Confucian canons, and some exegeses even regarded him as a Confucian scholar from the Chu state in the south. The late Professor Jao Tsung-i delivered a speech entitled “Qu Yuan and Confucian Canon Studies” in the 1970s, in which he selected more than a dozen phrases from the Li Sao for comparison with their counterparts in the Confucian canons. Professor Jao’s interpretation accords completely with views put forth by some Eastern Han and Ming-Qing scholars. The present article is a thorough examination of the relationship between the Li Sao and the Confucian canons as well as thoughts of different schools. It comes to a conclusion that Qu Yuan not only absorbed Confucian views but also integrated them with those from different schools of the Warring States Period and thereby created his own ideology. This observation finds support in the evidence of a large register of phrases, especially those with philosophical meanings, such as: “internal beauty” (neimei 内美), “essential breath” (jingqi 精氣), “impartial and upright” (zhongzheng 中正), and the symbolic “the way and the path” (daolu 道路), as well as several other specific syntaxes. All these examples attest to the relationship between Qu Yuan’s works and the Confucian canons.

Колоративні компоненти як лінгвокультурні маркери сучасних турецьких антропонімів.

Our analysis showed that colour terms, in addition to designation of colour itself, have certain cultural and historical connotations. It can be clearly seen in personal names, formed in the ancient Türkic period, when each of the base colours had a profound symbolic meaning. Today, as we can see on the example of modern nicknames, colour terms in a personal name mostly have a direct meaning but add some emotional connotations and are used to indicate the features of a person's appearance. Both in ancient times, and in modern Turkish society the following colour terms are actual: ak (white), kara (black), al (red), gök (blue), sarı (yellow), ala (light brown; variegated), boz (gray, grayish brown, colour of soil), kır (light gray, dirty white), çakır (blue-gray eye colour). Beyaz (white), pembe (pink), mor (purple) and mavi (blue), being borrowed words from other languages, are quite few.It should be said that Berlin and Kay’s theory regarding colour universals is not entirely plausible with regard to the Turkish language, as in the early periods of the development of the Turkish language we can see not only the basic 11 colour terms, that they singled out (although, of course, black, white, red and blue are of primary importance in the ancient Turkic culture), but also such colours as boz, kır, ala. The name reflects only the most significant and important realities and events for the people, therefore the presence of such colour terms as boz, kır, ala in personal names indicates their importance and is specific for the culture of the nomadic Turks, that, as we suggest, is related to the earth and animal breeding. However, Berlin and Kay’s hypothesis about the evolution of colour terms related to the historical development of language is confirmed by our research.By their lexical meaning all the Turkish anthroponyms with colour words can be divided into the following groups: 1) names that represent natural phenomena; 2) names that reflect a person’s high position in society and his nobility; 3) names that reflect the external and internal beauty of a person, his positive qualities. Positive qualities for men are heroism, strength, courage, reflected in such lexemes like demir, taş, alp, batur, er, tunç; positive qualities for women are beauty, tenderness, purity, reflected in the lexems ipek, pınar, başak, nur, gül.

Management of Psoriasis through Ayurvedic principles - A Case Study

Now a day’s society is more conscious about external beauty compare to internal beauty and also some professional fields they require good looking and charming beauty. Usually 10-15% cases present before general practitioners are pertaining to skin diseases. Due to altered life style, lack of physical exercise, unhygienic, mental stress, over eating, skin diseases are commonly observed. Psoriasis is chronic disorder which is commonly encountered in day today’s clinical practices. It is one of the burning issues having social importance. Increased stress and life style are main predisposing factor which is accounting for wide spared prevalence of this disease. All the skin diseases in Ayurveda have been discussed under the broad heading of Kushtha. Which are further divided in Mahakushtha and Kshudra Kushtha. This paper highlights a case study of Kitibha Kushta (Psoriasis) treated withthe Ayurvedic principles Shodhana Chikitsa.

Duchowość osób odbywających karę pozbawienia wolności

Autorzy prezentują wyniki badań, których celem było ukazanie specyfiki życia duchowego osób odbywających karę pozbawienia wolności. Ich analiza potwierdziła, że osoby odbywające karę pozbawienia wolności charakteryzują się statystycznie istotnie uboższym życiem duchowym, aniżeli grupa kontrolna, którą stanowiły osoby niekarane. Osoby skazane w istotnie mniejszym stopniu poszerzają własną świadomość, rzadziej poszukują sensu otaczającej rzeczywistości, czerpią istotnie mniej przeżyć duchowych z czynienia dobra, są mniej wrażliwe na sztukę oraz na piękno zewnętrzne i wewnętrzne, co związane jest z wyborami moralnymi.

COSMETIC SENSE OF AYURVEDA: A REVIEW

The word Cosmetics is defined as the Substances of diverse origin, scientifically compounded and used to cleanse, allay skin troubles, cover up imperfections and to beautify. Ayurveda emphasizes on both external and internal beauty and external beauty is complimented by internal beauty . It is said that Kaanti, Chaaya, Varna ,Prabha of an individual is determined at the time of Shukra - Shonitha Samyoga itself. The factors contributing to these are Matruja, Pitruja, Rasaja and Sathmyaja B havas and also Mahabhu t a predominance. These fact ors determine the Prakrithi, Sara, Samhanana, Pramana and Twak of the individuals. Following are the suggestions of Ayurveda towards beauty and health. For Physical beauty, Dinacharya. For Internal beauty, Achara R asayana, Sadvritta and control over Dharaneeya Vegas. Dinacharya includes Mugha Sodhana, Abhyanga, Udvarthana, Anjana, Keshaprasad hana, Vyayama, Nasya. Diet also plays an important role. Charaka charya explains that by R asayana, a person with dark complexion can have fair complexion. He also explains about various Yogas and single drugs in Rasayana which has cosmetic effect. By Sadvritta , by Samyak Yoga of Indriya and performing of different actions after proper thoughtful analysis of his intelligence has all role in maintaining internal beau ty. By control of Dharaneeya V ega proper care of Physical beauty is possible because any of the mental disturbances can have negative impact over the skin which further hampers the physical beauty.