Symbolic Art Research Articles

Contemporary Actionism as a Total Work of Art

The following report explores Richard Wagner’s concept of total art or Gesamtkunstwerk, a notion that gained prominence in the 19th century and found resonance in Symbolist art. This movement interpreted total art as a synthesis of various artistic forms, particularly music and theatre, infused with spiritual significance. Our objective is to demonstrate that in contemporary performative art, the integration of diverse media could give rise to a comprehensive work of art, akin to Wagner’s original vision. The article contends that performative art and actionism, by employing complementary artistic elements such as music, literature, theatre, objects, installations, and painting, have the potential to evolve into a unified and spiritually enriched work of art.

“Towards the Connection Between Humans and Nature”: A Critique of the Myths of Stone Castles in Ecocritical Contexts

This paper explores the complex relationship between the myths surrounding stone castles and ecological dimensions in Thailand, focusing on Northeastern Thailand. Stone castles are historical and artistic symbols and representations of the deep connection between humans and their natural environment. These myths, rooted in folklore, convey community histories and cultural identities, highlighting the struggles and triumphs of past civilizations. The storytelling related to stone castles emphasizes sustainable practices and respect for natural resources, fostering a sense of unity and pride within communities. Using an ecocritical lens, this study examines the significance of these stone monuments beyond their artistic value, revealing the sustainable practices and environmental awareness of ancient peoples. By analyzing these myths, we gain insight into the values and beliefs that shaped human interactions with nature throughout history. The myths illustrate a legacy of ecological respect and balanced coexistence with the environment, offering crucial lessons for contemporary society on the importance of environmental conservation and cultural preservation. Ultimately, this critique highlights the need to appreciate and understand the ongoing relationship between humans and nature, as reflected in the myths of stone castles.

PECULIARITIES AND DEVELOPMENT STRATEGIES OF ARCHITECTURAL DECORATIVE ART IN THE ANCIENT HUIZHOU REGION, CHINA

Purpose of this study is to conduct a comprehensive analysis of the ancient decorative art of Huizhou, identifying its aesthetic, symbolic, and technological characteristics, as well as exploring its development pathways in the modern era through the use of digital technologies. Methodology. This research employs iconography, literature analysis, comparative studies, and other methods to classify and theoretically summarize drawings and textual materials. Results. The study analyzes the reasons behind the establishment of decorative art in ancient Huizhou. It identifies the aesthetic and technological features of the decor in three primary types of traditional crafts in this region. Based on the analysis of ornaments, patterns, forms, their compositions, semantics, and manufacturing technologies, the decorative art of Huizhou is systematically categorized from the perspective of symbolic and cultural meaning, as well as technical methods and production tools. The social function, symbolism, and aesthetic value of Huizhou's decorative art are revealed. Additionally, the prospects for developing and disseminating this ancient art through digital means are demonstrated. Scientific novelty. For the first time, Huizhou's architectural decorative art has been systematically categorized from the perspectives of aesthetics, semantics, and technologies. Its unique artistic significance has been unveiled through a detailed analysis of compositions, their symbolic meaning, materials, and technological processes. A digitization and inheritance strategy for Huizhou's "Three Carvings" (wood, stone, and brick) has also been formulated, aimed at protecting and promoting this intangible cultural heritage through modern scientific and technological means to realize the applied value of ancient art in contemporary design. Practical significance. The results of this study can be applied across various fields of art and design in the ancient Huizhou region by professionals such as digital artists, designers, engineers, and others, to create unique works and gain experience by integrating digital technologies with traditional decorative art.

Analyzing Dwelling in the Fuchun Mountains from a Pictorial Perspective

From the perspective of iconography, this paper presents an in-depth analysis of Dwelling in the Fuchun Mountains, a classic work of traditional Chinese landscape painting. This work has been highly respected since the Tang Dynasty and is regarded as one of the important representatives in the history of Chinese painting. Its rich connotation and artistic value have always been the focus of scholars' research. The thesis aims to deeply interpret the historical and cultural connotations and artistic symbolism embedded in Dwelling in the Fuchun Mountains through the iconographic method, from the levels of ex-iconography, iconography and iconographic analysis, to reveal its important position and value in Chinese traditional art. Adopting the iconographic method, the analysis is divided into three main levels. First, through pre-imaginative analysis, we focus on the physical facts and visual representations on the surface of the work; second, we use imaginative analysis to explore the information of the specific objects in the work and explore their connections and themes; and finally, we carry out imaginative analysis to reveal the deeper historical and cultural connotations and symbolic meanings of the work. Through in-depth iconographic analysis, Dwelling in the Fuchun Mountains demonstrates the core values of traditional Chinese landscape painting, presenting a fusion of natural landscapes and humanistic emotions. It is not only a work of art, but also a vivid expression of traditional Chinese culture and aesthetics. The findings of this dissertation will contribute to a better understanding of the profound historical and cultural connotations embedded in Dwelling in the Fuchun Mountains, as well as its important position and value in the history of Chinese art.

Digital marketing communication strategy Diraloka in maintaining the national tradition

<p>This study discusses how Diraloka maintains national traditions in the postmodern era using marketing 4.0 strategies (online and offline). Technological developments make overlapping cultures accumulate and sometimes can get rid of each other, as well as various values that are often eroded by the speed of the times. This study aims to know and analyze Diraloka's digital marketing communication strategy<br />in maintaining the national tradition of the modern postal era to build brand awareness. This research uses symbolic interaction theory. The paradigm used is constructivism with a qualitative research approach. The method used is a case study. The subject of research is key informants and informants. Data collection<br />techniques use interviews, focus group discussion (FGD), observation, and documentation. The results of this study show that Diraloka's involvement in implementing digital marketing communication strategies by voicing national traditions is positively assessed by the audience or the surrounding community. From Diraloka's engagement rate on Instagram, it can be seen that this brand builds a good relationship with its audience. The story shared by Diraloka is packaged through symbols of art, literature, and literacy, and utilizes AI (Artificial Intelligence) technology for its design. Thus, moving together in maintaining,<br />developing, and voicing national traditions can have an emotional impact. Diraloka can form a civic virtue Marketing Communication Strategy 4.0, Diraloka, Symbolic Interaction, National Tradition,<br />Brand Awareness.called #AliansiPejalan and # KawanDira as a form that supports the common good of Indonesian citizens.</p>

Is God evolving? Totems in contemporary art

This article explores the evolution of totemic symbolism in contemporary visual art and its profound link with religious concepts, particularly the image of God. It examines how artists reinterpret sacred themes through totems, reflecting both historical religious traditions and modern societal transformations. Through a review of totemic representations from ancient to contemporary artworks, this study illuminates the evolving portrayal of divine figures – from traditional religious icons to more personalised spiritual symbols. This evolution not only signifies changes in artistic expression but also suggests a deepening societal understanding of divinity. The analysis highlights the totem’s role as a mediator between the human and the divine, offering insights into the spiritual connections that transcend conventional religious frameworks. This research not only enriches the discourse on the relationship between art and religion but also underscores the dynamic interaction between cultural heritage and contemporary artistic exploration.Contribution: This study enriches the field of art history and religious studies by tracing the transformative representation of totems in art from ancient symbolism to modern reinterpretations. It underscores the totem’s role as a dynamic symbol in contemporary visual culture, facilitating deeper spiritual connections and dialogues across various cultural and religious landscapes. The findings of this study provide a nuanced understanding of how contemporary art mediates complex theological concepts, thus offering new perspectives on the intersection of art, religion and spirituality.

Rewriting the Heart Sutra: Buddhism and the (Geo)Politics of Symbols in Qiu Zhijie's Art

This article studies the Chinese artist Qiu Zhijie's (b. 1969) three experimental “rewrites” of the canonical text Heart Sutra and their geopolitical connotations within and beyond China. Examining Qiu's copious writings as well as curatorial and artistic practices over a decade, the article shows how the artist's evolving views of Buddhism have triggered, justified, and added nuances to his shifting positions in art and politics, including assertions of “native” identity and aesthetics, pursuits of non-elitist art and “folk” wisdom, and ambivalent takes on cultural colonialism. To contextualize Qiu's Buddhist-affiliated art, the article also traces how the modernized versions of Buddhism entangled with avant-garde art and politics in the postwar era, and how concepts like authenticity and cultural influence claimed not only aesthetic and thus market value, but also territorial ambitions. The citation of Buddhist doctrines and practices, the article argues, enabled Qiu to present his aesthetic maneuvers as ostensibly apolitical and hence more powerful as embodied ideologies. The artworks create “fragile” yet potent symbols of geopolitical connections that serve the discourse of a Sinocentric world, where China shares roots with “peripheries” such as Taiwan and Tibet and draws its soft power from a collectively created yet mystical and singular identity.

Symbology and Codes in Dan Brown’s Origin

This paper explores the intricate web of symbology and codes found within Dan Brown's gripping novel, Origin. As a renowned master of blending history, art, science and religion, Brown weaves a tale that captivates readers with a labyrinth of symbols and enigmatic ciphers. Through an analysis of key elements in the narrative, this study aims to shed light on the significance of symbolism and cryptographic puzzles as essential devices in the plot's development. Drawing upon Brown's signature writing style, the paper examines the role of religious symbology, ancient texts and iconic art and architecture, intertwining them with scientific theories to craft a compelling narrative. The central focus lies in the protagonist, Robert Langdon, a symbologist, whose expertise in languages and linguistics plays a pivotal role in deciphering messages and solving the mystery at hand. Jean Moréas' Symbolist Manifesto (1886) is a foundational text in the development of literary symbolism. In this manifesto, Moréas emphasized the importance of symbolism in art and literature, advocating for a departure from naturalism and realism. He proposed that artists should focus on conveying emotions and ideas through symbols, rather than direct representation. Applying Moréas' theory of symbolism, the researcher analyzes how Dan Brown employs symbols and codes as key elements in Origin. By analyzing the relationship between language and technological innovation, the study aims to unveil how these elements converge to heighten the intrigue and suspense in the novel. It delves into the significance of linguistic techniques and cryptic passages, as tools for building suspense and enriching the reading experience. Langdon reveals meanings and ideas inherent in symbols and codes and demystifies the concepts- "Where do we come from?" and "Where are we going?"

The Specific Application and Meaning Expression of Folk Art in Urban Landscape Design Under the Optimized Interactive Genetic Algorithm

In the major cities with many high-rise buildings in contemporary China, land resources are becoming more and more scarce, and the urban ecological environment is in urgent need of recycling, and due to the blind imitation of Western culture and design mode and the neglect of China traditional regional culture, the urban landscape lacks interaction, resonance, and sense of belonging with citizens, and the phenomenon of landscape similarity emerges in various cities, focusing on the landscape space of urban complexes. There are also these problems. Urban residents urgently need a third space that can adjust their physical, mental, and spiritual needs. How to design an urban complex landscape that meets the aesthetic needs and humanistic needs of contemporary cities and has regional characteristics has become the first important task of my research. Folk art is an artistic treasure created by the working people in their production and life. Folk art is the embodiment of cultural regionality and the foundation of national culture. It awakens people’s awareness of the importance of local culture, awakens people’s sense of belonging, and is closer to the local public life. Today, the living soil and social and humanistic environment of folk art are in the process of urbanization in China, and there is a trend of gradual disappearance of lifestyle changes. How to make the contemporary urban complex landscape an organic soil for the survival, expression, application, and development of folk art is an important task in contemporary urban landscape design. Based on optimization, related concepts such as symbols, folk art symbols, urban complexes, urban complex landscape design, etc. have been sorted out. The relevant experimental results show that the construction land accuracy of the logistic regression model based on genetic algorithm has increased from 78.0% to 85.3%. kappa increased from 74.5% to 81.2%. Research shows that the logistic regression parameter optimization method based on genetic algorithm has better simulation effect than the conventional logistic regression method and is more suitable for the situation of unbalanced data distribution and many data features in the simulation of large-scale urban land dynamic changes.

AESTHETICS OF PLAK-PLIENG GRAVESTONE OF LAMURI KINGDOM ACEH: A STUDY ACCORDING TO SUSANNE KNAUTH LANGER'S AESTHETIC CONCEPT

The Lamuri Kingdom in Aceh has relics in the form of gravestones called "Plak-plieng" stones, which are concrete evidence and records of the history of the kings who were buried with these gravestones. This Plak-plieng gravestone is thought to be a gravestone made by local people during the reign of the Lamuri kingdom with a mixed population who emigrated from outside Aceh at that time. The Lamuri Kingdom was an Acehnese Hindu kingdom that existed in the 4th century, turned into Islam or a sultanate in the 9th century, and lasted until the 15th century. The Plak-plieng gravestone, which is characteristic of the Lamuri royal graves, was rediscovered in 1890. Based on the date written on the gravestone found, the Plak-plieng gravestone dates to the 12th century AD. Thus, the Plak-plieng gravestone was made during the Islamic era, or when Lamuri became an Islamic kingdom. The type of research in this study is research using a descriptive method. The descriptive method is a method used to look for elements, characteristics, and properties of a phenomenon. The method begins with collecting data, analysing the data, and interpreting it. This descriptive research tries to reveal and explain the problems that occur in society, especially the problem of searching for symbolic aesthetics on the Plak-plieng gravestones of the Lamuri kingdom of Aceh. The Plak-plieng gravestone contains various symbolic elements that we can find using Susane K. Langer's theory. The findings of the symbolic aesthetic meaning found are divided into several parts according to Langer's aesthetic theory. On the Plak-plieng gravestones of the Lamuri Kingdom of Aceh, symbolic aesthetics are found as a symbol of art. The implied value of this gravestone gives us an idea of the high artistic value that existed in past societies. In this way, we can see that the level of artistic taste of the people of Aceh in the past was very high. The discovery of the inscription on this gravestone also explains the glory days of a kingdom led by the owner of the gravestone. This day dates back nine hundred years. In this way, we can learn about the value of art in the past through the Acehnese civilisation and how they found materials for making sturdy gravestones and a variety of ornaments that were very complicated and beautiful.

‘Making-remote’ as an Alternative to Realism in Late Palaeolithic Cave Art: Representations of the Human at the Threshold of Appearance

Abstract I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g. schematisation and abbreviation. I also argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others.

Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.

National culture symbols in murals of China: Chinese public art as a synthesis of aesthetics and politics of China / Símbolos de la cultura nacional en los murales de China: el arte público chino como síntesis de la estética y la política de China

The purpose of the study is to explore the social and psycho-emotional influence of traditional Chinese national symbols on the contemporary wall-paintings in Chinese public art as the synthesis of aesthetics and politics expressed in fine art. The scientific and practical significance of the study lies in the description of the influence of traditional wall-painting and Western art styles on modern Chinese public art. The group of respondents consisted of 96 students and teachers from Chinese art universities. The researchers used the method of expert assessments (semi-structured interview with the use of a special questionnaire), the ‘Health, Activity, Mood’ method and the D. V. Liusin method for determining the level of emotional intelligence. Having analysed the study results, the researchers proved the hypothesis that the use of traditional national symbols in contemporary Chinese public art is a factor that determines the artistic, psycho-emotional and ideological impact of this art form.

Observații filosofice despre arhitectura religioasă și arta sacră

This article tackles the aesthetic implications of religious architecture, somehow outshined by dominant metaphysical undertakings of the sacred space. The first part of this study deals with the interpretation of the principles of religious architecture explained by Vitruvius and their impact on the German and Scottish Enlightenment. The second part sheds light on the Kantian approach of the religious space through the aesthetic category of the sublime in its two paradigms – mathematical and dynamical – closely observing to what extent they support Kant’s intention to project religion within the limits of reason. From here, the research tracks the inheritance of these traditions reflected by Hegel’s Lectures of Aesthetics, for whom the architecture is embedded in the so-called symbolic art, one of the three major components of the system of arts. In the end, we will see how modern philosophy leaves a last trace of interest on religious architecture and the phenomenon of living in some Heideggerian writings, but without any aesthetic intention. We will check what the possibility of a theological program of religious architecture still means at the end of modernity, relying on some notes of Le Corbusier, and how we can recover a traditional model of religious architecture, which can explain the aesthetic experience beyond the metaphysical one, in the Eastern Orthodox Romanian mental space.

Cultural symbols in wall paintings between Iraq and Italy

The research titled (Cultural Symbols in Graffiti art between Iraq and Italy - A Comparative Study) deals with the diversity of cultural symbols, their metaphors, and methods of expressing them for each people and is divided into four chapters. The first represents the methodological framework and includes the research problem, its importance, purpose, limits, and definition of terms. The second includes the theoretical framework and includes three topics: an intellectual introduction to culture and its relationships, the historical and conceptual root of Graffiti art, and the symbolic representations of culture in Graffiti art. The third chapter included research procedures and analysis of its sample, which included three drawings from each country. The researcher concluded a number of results such as.1. Cultural symbols In Iraqi Graffiti art are characterized by specific metaphors and are limited to concrete isolation walls. While in Rome Cultural symbols are subject to a wide field of reference and are spread throughout most of the city’s spaces.2. Most cultural symbols In Iraqi Graffiti art are characterized by iconic shapes and descriptive colors. While in Rome Most of the symbols are written and symbolic forms and conventional colors based on the concept of difference, breaking expectations, and achieving shock.3. Cultural symbols In Iraqi Graffiti art establish decorative formations that perform a recreational function that do not reveal awareness of the cultural role of the system. While in Rome Cultural symbols establish aesthetic formations that perform a cultural expressive function and are aware of the cultural role of the system.Which were discussed and conclusions drawn.

The key characters of animal-style art in the Middle and Late Bronze Age

This paper aims to illuminate the archaeological cultures of the Middle and Late Bronze Ages in the neighboring regions of Mongolia. It delves into the phases and chronology of Mongolia’s Bronze Age development, scrutinizing key characters and their symbols in early animal-style art. The artistic expressions stemming from the nomadic way of life are categorized as “animal-style art,” wherein nomads transitioned the characters from two-dimensional to three-dimensional representations a significant and invaluable contribution to the history of global art. The distinctive characters of art from the Middle and Late Bronze Age not only played a central role in subsequent cultures such as Arjan, Pazyryk, Chandman- Sagil, Slab Burial, and Tagar but also evolved in terms of expressive meaning, attaining a heightened level of perfection. In other words, the origins of this distinctive “animal-style art” can be traced back to the 13th century BC in Central Asia, particularly within the territory of present-day Mongolia. Subsequently, it proliferated across the expansive plains of Eurasia, reaching its artistic zenith between the 7th and 3rd centuries BC.

The Specific Application and Meaning Expression of Folk Art in Urban Landscape Design Under the Optimized Interactive Genetic Algorithm

With the rapid and stable growth of China's economy and the rapid development of urban construction, urban complexes have sprung up in major cities. The lag in urban ecological environmental protection, maintenance and construction has brought great pressure to the needs of today's urban residents in terms of life, safety, and sense of belonging. In the major cities with many high-rise buildings in contemporary China, land resources are becoming more and more scarce, and the urban ecological environment is in urgent need of recycling, and due to the blind imitation of Western culture and design mode and the neglect of my country's traditional regional culture, the urban landscape lacks interaction, resonance, and sense of belonging with citizens, and the phenomenon of landscape similarity emerges in various cities, focusing on the landscape space of urban complexes. There are also these problems. Urban residents urgently need a third space that can adjust their physical, mental, and spiritual needs. How to design an urban complex landscape that meets the aesthetic needs and humanistic needs of contemporary cities and has regional characteristics has become the first important task of my research. Folk art is an artistic treasure created by the working people in their production and life. Folk art is the embodiment of cultural regionality and the foundation of national culture. It awakens people's awareness of the importance of local culture, awakens people's sense of belonging, and is closer to the local public life. Today, the living soil and social and humanistic environment of folk art are in the process of urbanization in our country, and there is a trend of gradual disappearance of lifestyle changes. How to make the contemporary urban complex landscape an organic soil for the survival, expression, application, and development of folk art is an important task in contemporary urban landscape design. Based on optimization, related concepts such as symbols, folk art symbols, urban complexes, urban complex landscape design, etc. have been sorted out. The relevant experimental results show that the construction land accuracy of the logistic regression model based on genetic algorithm has increased from 78.0% to 85.3%. kappa increased from 74.5% to 81.2%. Research shows that the logistic regression parameter optimization method based on genetic algorithm has better simulation effect than the conventional logistic regression method and is more suitable for the situation of unbalanced data distribution and many data features in the simulation of large-scale urban land dynamic changes.

Design formulations to merge symbols of ancient Egyptian and Japanese art into textile printed hangings as an input for enriching the educational environment

Design formulations to merge symbols of ancient Egyptian and Japanese art into textile printed hangings as an input for enriching the educational environment

Signs of colour symbolism in traditional Altaian culture

The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.

Melding language and image: Kaytetye Indigemoji as a language learning project

ABSTRACT Purpose In recent years, digital projects have created tools for learning languages, such as mobile applications (apps). In contexts where the language has low prestige, innovative digital learning tools can support language revitalisation. This article takes the Australian Kaytetye Indigemoji app as a case study in community resource development. It aims to do two things: (1) show how resource development can be a vital forum for language teaching and learning; and (2) assess the affordances of digital images—fundamental to the Indigemoji app—for Indigenous language learning. Methodology Taking an ethnographic approach encompassing informal conversation and participant observation embedded in relevant literature, we analyse the community workshop where the Kaytetye Indigemoji app was developed. Findings We find that the development process can provide an essential language-learning activity. We also find that visual opportunities presented by the app harness existing multimodal practices in central Australian Indigenous communities, including symbolic art and a highly developed alternate sign language. We show that effective digital learning resources can be built through community development processes which engage with local learning methods. Value This research identifies how digital resource development can be harnessed to be maximally useful for Indigenous language learning in a small and relatively disadvantaged area in Australia.