Symbolic Art Research Articles

박지원(朴趾源)의 「불이당기(不移堂記)」와 ‘채움’의 수사학 : 액자 구성과 예술 체험 간의 상관성에 주목하여

By a close reading of Park, Ji-Won (朴趾源)’s 不移堂記 (A Monumental Document for the Hall of No-Defection) one will notice the interrelationship between the thematics and the distinctive discursive structure which this text seems to involve. I aimed to investigate the textual conditions showing the semantic relationship between a proper name and its substance, signifying a new house or a pen name, corresponding to its form of frame and the theme; it had already been known as the structural isomorphism.BR The repeating construction of the narrative frames in 不移堂記 brings about the rhetorical effects very strongly which strengthen and harden the argumentative foundation that is the nature of writing of traditional monumental documents in Far East. As the new frame is presented again and again in this text, we, the readers, could identify a character’s whole life progressing forward the growth of his whole person. Here, the function of the framing structure invites us to join his journey of life and to gaze at it from the critical distance.BR On the aspect of the thematic horizon, 不移堂記 widens its basic issue, which has begun from concrete artistic symbols and conventions, as far as it includes the whole artistic act and the value system in the traditional world. With this frame-serial, we can appreciate that the various symbolic signs and codes often employed in the context of the East Asian traditional liberal arts, and the serious interpretive matters in the intellectual community, such as a black-and-white painting by a noble man, has been evolving into the whole system of the art and hermeneutics lying in the traditional world.BR In particular, the narrators in each frame show that they turn the conventional code and interpretation into their own intrinsic meaning through the thorough reforming of character by their own experience; it designates the procession of inserting a frame into another frame, on the phase of the isomorphic structure. This reflexive usage of framing takes the inner process of self-reflection to the concrete linguistic and discursive form, by the act of art producing as the core virtue of a noble man (君子).BR Therefore, through the framing structure of interactions between the critical distance and the life experience of reforming, 不移堂記 represents the problem of artistic appreciation and communication and that it should be achieved through the devotion of entire lives of the interpreter, the reader as well as the artistic creator.

РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА

The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly reality of the very beginning of the transcendent, formulating the original position of the connection of the world sinful and sacred. This is their main purpose. Hence, the saturation of religious-cultural symbols with a variety of historical, social, moral-ethical, aesthetic, modern, mystical-esoteric, and other meanings syncretically link in one indissoluble sense, which is involved in the transcendental mystery of being. Hence, the exceptional generalization of religious symbols, due to its abstract nature, maintains its cultural content within the enormous time and space dimensions of epochs, supranational and transgovernmental communities in world religions. Symbolism in religious art allows us to relate the experiences of millions of people to some kind of integrality, different in their ethnic origins and cultural traditions; to act as a form-forming and system-forming factor of separate cultures and whole civilizations.The Canon as a certain law, which is a typical example for imitation, may be not only religious, but also artistic. The canons of artistic and religious origins are born as an integrity that is difficult to divide, but each of them has its own specifics. The canon is often considered only as a factor limiting the artist, but it also has the other side. Compliance with the canon allowed the artist - even a mediocre one - to reach a high level of artistic creativity. Thus, the average level of mass art production, for example, the ancient Russian icons due to the hard canon is very high. The true artist, working on nuances of artistic form, could show his personality and creative genius.The symbolic and canonical components of religious art were unable to completely determine peculiarity or uniqueness of artistic thinking. Only in certain historical frameworks they were able to organize the stability of artistic integrity at a specific content-formal level. Moreover, the canon emphasized the talent and originality of the artist who created within its framework, as in order to create a significant work of art within the framework of the canon, it is necessary to have a great creative potential, the ability to overcome existing stereotypes. Thus, for example, Andrei Rublev’s works were carried out within the limits of the Orthodox, Christian canons, but at the same time it went beyond its formal boundaries, becoming a peculiar and unique phenomenon of the Eastern Slavic culture. The same were the works of other world artists who represented religious and sacred art of the Western Church - each of their geniuses went beyond the narrow limits of theological prescriptions, which is due to the unsurpassed perfection of their artistic creativity, and as a result, the world’s artistic heritage.

Shapes, Patterns and Meanings in Indian Temple Architecture

Art, in many contexts, is seen to have symbolic meanings, pertaining to the context and contributing to it positively. When the shapes and patterns used to create art, starts to acquire meaning contextually, it transcends into 'symbolism'. Therefore art contributes in the overall understanding of the structure and ambience. Also, shape evolving into patterns is, more often than not, an algorithmic process. These patterns in consideration are characterised to be fractal in nature. Therefore a logical connection can be made between patterns and their meanings, that is, fractals and symbolism. In Hindu religious architecture, the shapes have a set of meanings, their combinations have certain meanings, and the patterns evolved from them have, either a higher metaphorical meaning or a totally new interpretation. In this paper, symbolic art has been considered in the context of Hindu religious architecture and attempts to link the independent disciplines of 'symbolism' and 'fractals' in this context.

Lyon's Wagnerian Diva: Louise Janssen (1863–1938)

AbstractIt seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).

The Prospects of Jewellery Works: The Case of Wa Municipality, Ghana

Jewellery fabrication as a profession and a way of living has a socio-cultural and psychological influence in our society. It is characterized by various functional and symbolic art forms that have several ingenious techniques, skills and cultural facets undertone. Although there has been different type of Jewellery products used by the people of Wa municipality, little or no attention has been given to its viability as a means of income for those interested in its products and the sale of it. The study therefore, through the use of descriptive survey research methods ascertained the types of Jewellery works used, the frequency of their purchase and the philosophy of its use. It also unfolded some precious metals that can support the production of Jewellery in the Municipality. The population for the study comprised users of Jewellery works and mineral experts. Stratified and purposive sampling techniques were used. Primary data for the study were sampled from Jewellery consumers and precious metal dealers from the three zones in the municipality. Secondary data sources were gathered from books, journals, magazines and many others. Data gathered were assembled, analyzed and interpreted. It was found out that ten different types of Jewellery works are used in the municipality. It was discovered that 47.62% of the population of study buy Jewellery works each year. The study also unveiled the use of scrap metal made up of precious metal and pure gold as the fundamental source of material to produce Jewellery work in the Municipality. It was recommended that total attention for the potential of human resource for the Jewellery industry be given extreme support. Furthermore, the study underscored the potential of small-scale business set-up in Jewellery as a means of employment.

Symbolic Manifestation of Saudi Women

The use of symbols in visual art is a technique which has been handed down over generations. In contemporary art, it has had a particular resonance, particularly in societies where limits are imposed on a particular demographic, within legal regimes which do not guarantee the right to free expression, or under censorship. But the political and social movements, indeed, the changes which have taken place in the religious sphere with regard to women in Saudi Arabia over the last ten years, have made their struggle itself into a symbol, and its artistic expression through symbols into a rich source for analytic readings.

Sound as a Sign and Artistic Symbol in Film

The article searches into the significant and symbolic aspects of sound in creating the films audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the directors inner desire and is based on his esthetics, cultural experience and worldview.

9th International Symposium on Steel Bridges

ForewordWe all realize that bridges are symbols of art and science, architecture and but mainly engineering skills. They symbolize links between people, communities, and nations. Bridge building is a high-ranked profession.Although the competition from other building materials has become stronger, steel bridges offer a lot of advantages. Steel offers efficient solutions in terms of initial costs, sustainability and life cycle costs. This is shown by the success of composite bridges in particular for short and medium spans. The coming high-strength steels bring reduction of self-weight and decrease of construction depth. Steel structures fulfil the highest degree of aesthetic quality. And steel is the futuristic material to continue connecting our lives under growing human population challenges.Steel bridges are innovative. In order to exchange the newest trends in steel bridge construction, international experts have come together for 9th International Symposium on Steel Bridges in Prague 2018 organised by Czech Constructional Steelwork Association (CAOK) in coordination with European Convention for Constructional Steelwork (ECCS). It will promote the exchange knowledge, findings, innovations, and experiences in design, fabrication and erection.I would like thank to contributors to this publication of 9th International Symposium on Steel Bridges in Prague 2018 providing us with the latest deep knowledge on steel bridges. I am sure that the symposium contributes to the technological development of steel bridges. I wish us great lectures full of ideas and visions and a lot of fruitful discussions.František Wald,Chairman of Scientific Committee

Art Under The Gun: The Role of Symbols Especially the Key in Contemporary Palestinian Art

The art of Palestine, especially painting, has focused in recent decades on symbolism with value concepts, although it has experienced indirect effects of Western modernism. Palestinian painting symbols, which include a wide range of elements and phenomena, are, in some cases, consistent with common themes and sometimes are for Palestinian artists due to specific circumstances, as well as political and religious conditions. Meanwhile, some motifs have a special expressive capacity. Researches on the art of Palestine show that since the birth of Israel, some of the motifs have exerted a role and even beyond a painting as a symbol and dynamic expression of Palestinian art, and the Palestinians found them a model of national ownership expropriation and confiscation of their property. The specific conditions of Palestine have led to the emergence of resistance culture and art; and in the present paper, it is attempted to refer to the contemporary Palestinian painting to examine the element of resistance and its symbols, especially the key symbol in the contemporary Palestine art.

Semiotic Documentary Measurement by Pavel Faryenyuk

Науковий рецензований журнал відкритого доступу, що публікує статті з актуальних питань загальнотеоретичних, мистецьких, історичних, практичних аспектів у галузі аудіовізуального мистецтва та виробництва.

Symbolism and Metaphors of Art-focusing on Video Works

In our visual culture, video artworks have become the focus of public attention by degrees, and semiotics has gradually revealed its importance in industries such as film, television, criticism, and creation. Therefore, the study of symbolism and metaphor in artworks has become a prime direction of public discussion and research. This study analyzes cases of video artwork and identifies symbolic and metaphorical connotations of art symbols. This study also discusses the applications and purposes of art symbols during the process of creation, and it explains the metaphorical contents of these symbols from a creative viewpoint with examples of some personal works.

The Political and Revolutionary Implications of the Mysterious History of Parquet Flooring

This presentation seeks to ask about the potential political implications of the history of parquet flooring. This is to prove that while politics indeed shape art, art also has a hand in shaping politics; and it is more symbiotic than generally assumed. Using empirical quantitative and qualitative research, I traced the origins of parquet flooring to the Palace at Versailles. This is where wood and the techniques of marquetry were first used to replace a marble floor in the King’s bedroom. The marble was too cold, and as the King’s Bedroom had a number of issues with drafts, it added to the health risk to keep the marble floor. Changing the marble to wood, but keeping the pattern of a marble floor allowed for the aesthetics of marble without the hazard.This presentation will look at the history of parquet flooring and apply it to the political climate of pre-revolutionary France. It will first address the research required to find the origins of the flooring. It will then argue the necessity of parquet flooring, along with other later features of the palace, as symbolic of the flaws of absolutism. Finally, the presentation will how this symbolic art fits into the complicated relationship between politics and art.

The image of man in the sociocultural space of the present-day world through the prism of the international festival of schools of art and design

This paper presents a survey and a brief analysis of some of the major topics in the present day visual arts as seen from the perspective of a variety of architectural and artistic schools from around the globe featured at an arts festival held in 2015 in Turin, Italy. The authors undertake to examine some of the major historical factors for the postmodern era facilitative of artist efforts being concentrated in the direction of reflecting mankind’s most salient topics and images – namely, man and his place in the world. This philosophical topic, which highlights the significance of man in society and the world as a whole, is not something new. It has been explored by many a Russian and foreign researcher. Most philosophical concepts have regarded man as an inherently valuable being, a major source of images and symbols in art. Contemporary art, naturally, owes its birth to a variety of artistic cultures and worldviews. One cannot but recall here the syncretism of man’s primitive culture, the idea of the harmony of soul and body from the period of classical antiquity, and later from that of the Renaissance, the cult of the body from the Baroque era, etc. A new aspect examined in this paper is the attempt to focus, instead of going back to the analysis of past experience, on the subject from the perspective of the modern age and take an integrated look at some of the common consistent patterns in the process, which should help view the phenomenon under study in a more comprehensive fashion and in its development, and, eventually, determine its place in global art. Comparing various samples of art in an attempt to demonstrate some of the present-day trends may help gain a deeper insight into their nature in the domain of art and design in this constantly changing world of today, with these trends representing a single complexly structured space characterized by dynamic interaction between multiple variables. Keywords: dimension, (focus) area; sociocultural reality; installations; artistic image; creative work by young people; modern age; man; human body; schools of art; space; exposition

The Mississippian Site of Origin for the So-Called Moundville Spider

Abstract For 60 years, the origin of an iconographically significant example of Southeastern Mississippian symbolic art has been enmeshed in error and ambiguity. A trail of sleuthing over 25 years provides information used to assess museum curation records and published clues from 1887 to the present, contextualizing the mystery and finally allowing identification of a specific Mississippian period cemetery of origin for the so-called Moundville spider.

Maurice Maeterlinck’s Philosophy of Art

In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.

New Media Art as Expressive Language—Artistic Abstraction, Illusion, Emotion

The advent of the digital age has given us a new interpretation of the definition of art. Artists try to use works with new media features to create. In the course of their continuous development, there has been an over-emphasis on sensory special effects caused by technology, leading people The art of new media art is essentially questionable. This article explores the relationship between artistic abstraction, illusion and emotion in new media art based on Susan Lange's theory of artistic symbols. Exploring the artistic characteristics of the new media art itself can also bring artistic perception to the viewer and stimulate emotions.

The influence of art symbol of Ming Dynasty furniture on Contemporary Home Furnishing

<p>Nowadays, Chinese style is a hot topic. On the application of Chinese style in home design, Ming Dynasty furniture is indeed a classic in the history of ancient Chinese furniture, it reveals the excellent thoughts of Chinese culture, this symbol thought contribute to the Chinese style toward the international. The Art symbolic throughout penetrate the home design. Symbolic thought in various stages of the design is only slightly different form of expression, its connotation is the first design philosophy of China.</p>

Symbolika narodowa w polskiej sztuce ulicy

The article refers to the figure of Socrates and its contemporary reception as a cultural We have already managed to get used to street art in the space of Polish cities. Mural art pieces bring colour into ordinary streets, delight the eye, sometimes make us sad and thoughtful. In a way unnoticeable to the member of an audience they divide Poles and build communities. Although street art is a global phenomenon, native artists are Poles above all. Polish is their mother tongue, and the culture in which they have been growing up and in which they have gone through the socialization process is the Polish culture. The first part of the article defines a symbol in the national culture from the point of view of sociology and cultural anthropology. In second part the development of street art in Poland is outlined. In the next sections of the article the results of the content analysis and the comparative analysis of the murals collected in 2016 and in 2018 are presented. The analyses pay special attention to the national symbols included in the pieces. The Polish flag and national colours are the most popular national symbols in patriotic street art. The Polish anthem is placed on walls the least frequently. Constitutional symbols painted by street artists often undergo modifications and are not treated with adequate respect. Amongst historical symbols the Polish military uniform and well-respected people are the most popular. In the article the analysis of the content and the comparative analysis are used. The results of the detailed analyses have a factual character and represent a contribution to further research on the ways in which national symbols function in the public sphere.

Philosophical dimensions of the symbols of ukrainian tradition: symbols of natural and sociocultural in folklore

The article analyzes the symbolism of the natural and cultural meaning of the symbol in the Ukrainian traditional culture. It is proved that natural symbols have artistic and socio-cultural symbols, primarily due to the social and mythological hierarchy. The images of birds that combine the heavenly and earthly world, the sacred and everyday cultures are united. The nightingale becomes a personification of art, the swan becomes an embodiment of experience and poetry, the crane becomes a symbol of the veneration of ancestors, the stork becomes a symbol of motherhood and love for the Motherland, the family. This is due both to authentic Ukrainian mythology and cultural contacts with the ancient and European worlds. Particularly complex and long-standing symbols, its philosophical and ontological content in Easter eggs (pysanka), since the pysanka reflects the ancient cosmological myths.

Коммуникативные функции пространственных искусств в искусствознании конца XIX — первой половины XX века

This article focuses on the correlation between the Theory of Evolution and psychoanalysis which influenced the methodology of art history researches at the end of the 19th — first half of the 20th centuries. The author takes into consideration the verbal nature of the communicative function of spatial arts which is based on the phenomenon of empathy — the natural human ability to imitate the nature and to make it emotionally expressive. Thus, the article shows the impact of Empathy on “Kinesics” (Latin) — the plastic expressiveness of the body, which is widely used in the Fine Arts. Here it can be also seen the theoretical and methodological interrelation between the row of theories, such as: the Evolutionary Theory of Charles Darwin, the theory of aesthetic tmpathy of R. Fisher, H. Wölfflin’s aesthetics of pure visual, the psychoanalysis of S. Freud, the theory of archetypes by C. G. Jung, the theory of “pathos formula” by A. Warburg, the theory of symbolic forms by E. Kassirer, the iconography of E. Panofsky, and, finally, the connection between the Neo-evolutionary theory of K. Lorenz and the Perceptionality of E. Gombrich. This research led the author to the following conclusion: the application of evolutionary theories and psychoanalysis to the study of the history of arts makes it possible to reveal the preverbal basis of the language of plastic arts, gives an opportunity to study the communicative function of the plastic expressiveness of the figurative language of facial expressiveness, movements and gestures in works of fine arts. Furthermore, it enables us to trace the role of “Kinesics” in the formation of artistic symbolism and its place in the process of the historical genesis of cultural and historical memory.