Symbolic Art Research Articles

A visual art intervention program for older people with stroke in residential care settings: A feasibility study.

Stroke poses challenges to the physiological, psychosocial and spiritual well-being of affected individuals. As the impacts of stroke might not be reversible, a shift in focus to providing care is desirable. Visual art interventions using visual and symbolic art can help participants to express their feelings, give them a sense of choice and the feeling that they are retaining a sense of control, promote insights, restructure their sense of cognition and instil hope. There have been few studies on visual art interventions involving older people with stroke and none in residential care homes (RCHs). Theoretical support and rigorous research designs on the subject are lacking. Thus, this study seeks to address this research gap by examining the feasibility of a visual art intervention for older people in RCHs and exploring the impacts on their holistic well-being. This was a single-blinded, two-arm, randomised controlled feasibility study grounded on Watson's Caring Theory. The Holistic Well-Being Scale and Caring Factor Survey were used in the study, with three assessment time-points: before the intervention (T1), at the mid-point of the intervention (T2) and immediately after the intervention (T3). Sixty-one older people with stroke were recruited from 14 RCHs and randomised into the intervention and control groups. The recruitment rate was 44.53%, and the retention rate for the intervention group was 93.55%. Implementing the programme was affordable (at approximately US$126/head), the duration was acceptable (721 min) and the feedback from participants and staff of the RCHs was positive. The visual art intervention programme proved to be clinically feasible. This study adds new insights to the development of visual art interventions and to the caring sciences. The efficacy of the programme on holistic well-being has yet to be confirmed.

ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD

This article is dedicated to exploring the artistic characteristics of symbolism in Japanese visual art during the Edo period (1603-1868). Through an analysis of this era, the author investigates the utilization of natural symbols, particularly flowers and birds, in the works of artists. Additionally, the article examines the influence of seasonal symbolism and its impact on artistic practice. Special attention is placed on the use of colors and their significance in conveying emotions and atmosphere. Furthermore, depictions of mythological creatures such as dragons and fairies are studied, along with their role in expressing spiritual concepts. The study also delves into the utilization of geometric forms and their symbolic meanings within the context of cosmic and philosophical aspects. The author further analyzes the incorporation of everyday objects and their contribution to creating allegorical imagery. The primary objective of this article is to uncover the significance of symbolism in Japanese visual art during the Edo period and to reveal its influence on the cultural, philosophical, and aesthetic context of that time. The article examines the utilization of natural symbols, seasonal, and color symbolism as means of metaphorically conveying profound concepts. It highlights the impact of mythological creatures on artworks of that era and the use of geometric forms to convey cosmic and spiritual dimensions. The role of object symbolism in generating additional meanings in art is also explored. The central aim of the article is to comprehensively comprehend the significance of symbolism in Japanese art during the Edo period and its effect on the cultural and artistic milieu of the time. The research is focused on investigating the role of symbolism in Japanese art during the Edo period and its impact on the cultural and artistic context of that period. Additionally, the article examines object symbolism and its role in shaping dual meanings and additional layers of significance in artworks. The study is aimed at unveiling the essence of symbolism in Japanese visual art during the Edo period and deepening the understanding of the impact of these artistic techniques on the cultural context of the time.

Application and analysis of online and offline blended teaching mode based on online and offline in art theory course civics

Abstract In the context of the new era of socialism with Chinese characteristics, college, and university curricula need to reform the content of curriculum Civics and Politics in keeping with the times and introduce new era Civics and Politics elements into the curriculum content. The study integrates civic and political elements into the art theory classroom in a scientific and refined way according to the concept of civic and political curriculum. Then, data mining of students’ online learning behavior in online-offline blended teaching is carried out by constructing an improved Apriori algorithm. There is no significant difference between the midterm grades of the experimental group and the control group, and the mean score of the experimental group’s final grade is 10.55 points higher than that of the control group, and the significance P-value is less than 0.01. The experimental group and the control group present significant differences in the three aspects of artistic creation, artistic symbolism, and artistic content (P<0.05), and P>0.05 in the artistic genre and artistic performance, and the differences between the two groups are relatively small. There is a high correlation between the number of visits to the learning page, the completion of resource learning, the completion of chapter testing, and the learning effect, and there is no significant effect of homework submission initiative on the students’ learning effect.

Synergistic Development of Chinese Language Teaching to Foreigners and Traditional Culture in the Information Age

Abstract This paper collects data on teaching resources and traditional cultural elements for the Chinese language teaching abroad platform and mines and analyzes the behavior of teaching Chinese as a foreign language. The association rule method is employed to analyze the correlation between Chinese language teaching and traditional culture based on the teaching data. According to the data, New Year’s Snacks (87.83 million) is the most-watched teaching video on YouTube, followed by Lotus Leaf Glutinous Rice Pork Ribs (67.74 million). Chinese cultural symbols (a total of 100) and Chinese cultural and artistic symbols were used more frequently (a total of 54), and optimal teaching aids were selected for different categories of Chinese cultural symbols. This study successfully explored the association relationship between traditional culture and Chinese language teaching to foreigners, providing a basis for the synergistic development of the two.

Lingzhi : Mushrooms, Immortality, and Order

Abstract: This article examines references to the lingzhi 靈芝 mushroom in Song encyclopedic compilations ( leishu 類書), specifically the Taiping yulan , as both a reflection and embodiment of greater shifts in the consolidation of state power and religious control during this period. This mushroom forms an ancient and vital component of Daoist medicine and alchemy, and an equally influential symbol in Daoist literature and art. Written references date back to the Han, when it was understood as both a divine medicine of immortality and signifier of political mandate. After providing an analysis of lingzhi 's symbolic significance from the Han until the Tang, this study argues that Song governmental encyclopedic efforts culturally stripped the fungus of its divine significations, which preceded its symbolic commodification in later periods.

Нотоиздательская фирма «П. Юргенсон»: организация, торговая политика и владельческие штампы. По материалам из собрания Российской государственной библиотеки

Music publishing company ‘‘P.Y. Jurgenson’’ has demonstrated outstanding achievements in industrial production and culture of the Russian Empire throughout its history, becoming one of the leaders of the printing industry and a symbol of Russian musical art. The paper examines the organization of this enterprise, its system-forming factors in the context of economic theory and its humanitarian facets. Among them are specialized catalogs containing valuable information about the planned nature of the release of musical literature, thematic headings, their volume and content. Together, they create an opportunity to experience the dynamics of commercial strategies and the scale of products. Among the materials introduced into scientific discourse for the first time, the owner’s stamps of the company ‘‘P. Jurgenson’’ is a characteristic detail of its organizational work. The focus is on the various artistic design of these signs, which creates a perspective for a variety of possible interpretations. One of them is associated with the functioning of warehouses used for storing and selling their own circulations, as well as musical literature produced by other trademarks, which was in the nature of a mutual partnership. Consequently, such interaction was widespread and was part of trade policy among Russian and foreign entrepreneurs.

Analysis of the Role of the Unconscious in Surrealism and its Comparison with Symbolism in Expressing the Concept of Imagination in Ibn Arabi’s Mystical Revelations

Symbolism and Surrealism, as two artistic and literary movements, aim to discover hidden and spiritual realities through the deep layers of the human mind and imagination. Symbolism, which emerged as a reaction against Naturalism and Positivism, believes in a reality beyond the perceptible world that is depicted through symbols, dreams, and imagination. Meanwhile, Surrealism, deeply influenced by Freud’s psychoanalytic theories, emphasizes the unconscious and dreams, seeking hidden truths through unusual perceptions and mental imagery. In this context, the thoughts of Muhyiddin Ibn Arabi, especially in the realm of sleep, dreams, and the world of imagination, establish a profound connection between Islamic mysticism and these two movements. Ibn Arabi considers dreams as a means of accessing spiritual worlds and embodying meanings in symbols, a view that aligns with the approach of Symbolists and Surrealists in uncovering hidden realities. This article examines the comparative concepts of dreams and imagination in Symbolism and Surrealism and compares them with Ibn Arabi's mystical revelations in the discovery of symbolic secrets. The results of this study show that both movements utilize the capacities of the unconscious and symbolism to uncover a reality beyond apparent truths. However, Ibn Arabi employs divine revelation and symbols to understand the ultimate truth, while Surrealism focuses on mental complexities and the inner world. This comparative analysis contributes to a new understanding of the interactions between meaning and the unconscious in these two intellectual currents and highlights the central role of Ibn Arabi in advancing discussions related to hidden and internal realities in the expression of the symbols of art and literature.

КАК НАСВИСТЕТЬ ТО, ЧТО НЕЛЬЗЯ ВЫСКАЗАТЬ

Art languages are not easy to study because, even if their syntax can be analyzed, their semantics poses a difficult problem. Natural descriptive language with its semantics as a reference to external objectivity does not work as a model for this area because, firstly, in this case the specificity of art as such is lost, and secondly, such a model is not applicable to music, surrealist painting, and avant-garde poetry. Understanding artistic symbols as directly referring to human emotions also cannot form the basis of a semantic theory of art since the connection between expressive means and emotions may turn out to be natural and not conventional, which contradicts the very idea of a sign-symbol. The right path can be indicated by the concept of exemplification, proposed by Nelson Goodman. Within this concept, some object that has some natural commonality with the signified — for example, color — is in a relationship of back reference with a term or concept that semantically refers to this object. However, such a semantic solution does not seem sufficient in the case of such «non-objective» arts as music since it does not answer the question about the nature of the signified itself. As a possible solution, the concept of «showing» is proposed, which, as an alternative to «saying», was put forward by Ludwig Wittgenstein in his Tractatus Logico-Philosophicus. Saying and showing are seen there as mutually exclusive: what is shown in the signs of language cannot be expressed through language. In addition to the logical form, the object of showing can be the «limit of the world», understood by Wittgenstein as a synonym for the «metaphysical subject». What is common in showing the logical form and the limit of the world is the «method of projection». Thus, a musical phrase as an example within the relation of exemplification indicates a way of projecting the world that shifts its limit and accordingly changes the «experiencing of the world as a whole».

Research on the Generative Mechanism of Intelligent Reconstruction for the Integration of Traditional Paper-cutting Art Symbols and Modern Pattern Designs

Abstract In the realm of Chinese traditional arts, paper-cutting symbols embody deep-seated aesthetic and cultural values. Within the framework of artificial intelligence, the fusion of these conventional symbols with contemporary pattern design through intelligent reconstruction processes promotes innovation in modern design. This paper introduces a novel pattern feature extraction algorithm specifically designed for identifying and extracting the essence of traditional paper-cutting art. Utilizing Deep Convolutional Generative Adversarial Networks (DCGAN), an automated method for generating woven patterns is developed, integrating conventional motifs with modern design elements. Additionally, a segmentation model based on DeepLabV3+ semantics is constructed to facilitate this integration. The study focuses on the fusion of traditional paper-cutting symbols with fabric patterns, providing a new direction for textile design research. The empirical evaluation involved seven experimenters who predominantly favored patterns that blended abstract and traditional styles, with the average style rating exceeding 3.2. Moreover, the color performance analysis of the reconstructed fabric patterns across five regions showed color difference values greater than 4, indicating superior color fidelity. These findings underscore the potential of combining AI-driven techniques with traditional art forms to enhance and revolutionize modern design practices.

승무의 구성미(構成美)와 무용 미학적 의의

This study examines the aesthetic significance of Seungmu in terms of its artistic spirit, artistic function, artistic symbolism, and artistic philosophy. It has been identified. To this end, the aesthetic characteristics of Seungmu as the essence of traditional dance were revealed in terms of composition, such as dance moves, music, dance clothes, and weapons. The research results are as follows. First, ‘Seungmu is a living form, and its technique and artistry are so outstanding that it can be said to be the essence of Korean traditional dance. Second, Seungmu is a dance that harmonizes the beauty of Movement-in-Stillness and Excitement, and the emotional expression of tying and releasing based on human origins and resentment. Third, based on Susan Langer's symbolic theory, the aesthetic symbols, symbolic systems, and archetypal symbols of Seungmu were examined. It is believed that this study will be helpful in understanding the aesthetic significance of dance through the compositional beauty of Seungmu.

카노 모델을 바탕으로 한 나가면(儺面具) 예술 디지털 플랫폼의 구축 및 혁신적 응용에 관한 연구

In traditional Chinese culture, Exorcising mask is an intuitive artistic symbol of China's intangible cultural heritage and contains unique national characteristics. Therefore, the purpose of the research is to explore design methods for analyzing and classifying public needs, and through the combination of artistic design and digital platform to realize the innovative design and application of Exorcising mask technology, so as to effectively promote the protection, dissemination and innovation of traditional Exorcising mask craftsmanship. The research method is to establish a user emotional demand model for Exorcising mask products from the three levels of instinct, behavior and reflection of the emotional design theory, and use the KANO model to perform data verification and function sorting on the established model, and design new digital platforms and traditional images based on the analysis results. The research conclusion is that the combination of design and technology achieves a diversified approach to traditional handicrafts. The design method of analyzing and classifying public needs using the KANO model can accurately discover the real emotional needs of the public, and provide direction and data support for the design of traditional Exorcising mask art products.

Floral Symbolism in Ukrainian Temple Art

The origins of the formation of plant symbolism in Christian temple art have been investigated, particularly on the example of the texts of the Holy Bible. The primary connotations of the garden’s symbolism in Christian sacral art are analyzed as an expression of the idea of a lost paradise, contemplation of the images of which is possible in the space of temples. Plant symbolism is revealed in the holistic art systems of the Sophia of Kyiv and St. Cyril’s Church in Kyiv. The fundamental values of plant symbolism in St. Sophia’s Cathedral and St. Cyril’s Church are highlighted by the idea of the continuity of Christian semiotics with the Old Testament Judaism and the combination of local pre-Christian traditions.

«Modification of ghosts»: conductors interpretations of Yevhen Stankovych’s Sinfonietta in 2017 and 2023

«Modification of ghosts»: conductors interpretations of Yevhen Stankovych’s Sinfonietta in 2017 and 2023

기호학적 관점에서 본 중국 동시대 미술의 의미작용

This study employs semiotic theory to explore the visual symbols and their meanings in contemporary Chinese art. By analyzing the visual symbols of specific artworks through case studies and interpreting their meanings centered around Roland Barthes's theory of myth, the research delves into the association between art and semiotics in various artistic forms including two-dimensional, three-dimensional, and digital visual symbols. Focusing on works created after the 1979 'Star Art Exhibition', it provides a nuanced understanding of the semiotics and visual symbols in contemporary Chinese art, demonstrating semiotics as a valuable framework for in-depth analysis. The findings reveal that through semiotic analysis, contemporary Chinese art can be seen as a 'text' with profound socio-cultural meanings, enhancing our comprehension of the intricate interplay and deeper significations between contemporary art and signs.

공간예술로서 뉴미디어 아트의 기호학적 작품분석

The artistic symbolism of new media art is closely related to its concept and is based on the regulations on socially used symbols. To explore the new possibilities of new media art as modern engineering art, we first summarize the semiotics theories of Saussure and Barthes and then analyze the works of Shaw, Waliczky, Sommerer, Mignonneau, and Rogala, representative new media artists since the 1960s, based on Barthes’s theory of the Text. The works of Shaw and Waliczky aim to expand space in new media by forming a new tactile space with the participation of visitors. The works of Sommerer and Mignonneau create virtual spaces led by visitors to induce space expansion through integration within the work. The works of Rogala promote the formation of a closely related space by the gap between the dinotation where the inner deformation takes place and the space created by the movement of the visitors. This kind of semiotic analysis of artworks can help expand the breadth of analysis in the field of media art and build another foundation for creation.

Mythological Images and Their Interpretations in Jewish Art of Eastern Galicia, 18th – 19th Century

This study analyzes the mythological representations of sea creatures, the hippocampus, and the Leviathan in the Jewish art of Eastern Galicia. It identifies the formation of a distinctive symbolic and sign system within Jewish art, serving as a means to convey fundamental religious and philosophical principles. The prohibition of anthropomorphic depictions contributed to the development of an entire cycle of animalistic and botanical images, illustrating the diaspora Jews' conceptualizations of the Land of Israel, the Jerusalem Temple, the Gardens of Eden, the commandments of the Torah, and the Talmud. Based on the study of artworks, including preserved illustrations from the destroyed synagogues in Khodoriv and Hvizdets during the Holocaust, as well as ritual objects such as Torah shields, Torah reading pointers, Hanukkah lamps, and the decoration of tombstones-matzevot, it has been established that Jewish art developed its own program of ornamentation and the use of symbols and signs. The features of the iconography of mythical sea creatures have been identified. It is emphasized that the traditional representation of the hippocampus as a creature with the body of half horse and half fish in Jewish art monuments was replaced by depictions of a creature with the body of half goat and half fish, or half lion and half fish. Such transformations can be explained by the influence of folklore and the reinterpretation of folk art. The symbolism of the hippocampus is associated with perceptions of the sea that surrounds the Land of Israel and serves as a metaphor for the transition to another, beautiful, paradisiacal world. The iconography of the depiction of the Leviathan is also connected to its symbolism. The Leviathan coiled in a ring is a traditional symbol of anticipation of messianic times, and the Leviathan coiled around a city or specific structures embodies the concept of the temple, alluding to a sacred space, as the skin of the mythical creature will be used for the tent of the righteous. Representations of the hippocampus and Leviathan on tombstones-matzevot embody the idea of anticipating messianic times and resurrection. The exploration of symbolism in Jewish representational and decorative art provides insight into the traditional Jewish culture of Eastern Galicia.

Simbol Kesenian Kuda Lumping Bagi Masyarakat Di Kelurahan Gunung Lengkuas

Kuda Lumping is a dance art in which in the performance process there are several things which are symbolized by mystical things, namely the ritual of burning incense, offerings of offerings and attractions of trance. The purpose of this study is to find out how the symbol of the Kuda Lumping art is for the people in Gunung Lengkuas Village. In this study the theory used by researchers is the Symbolic Interactionist theory. The method used in this study uses a descriptive-qualitative method which examines the artistic symbols of the Kuda Lumping for the people in Gunung Lengkuas Village. by using purposive sampling technique. Based on the results of the study, the researcher found that with the process contained in the Kuda Lumping performance where the community symbolizes that the things contained in the Kuda Lumping performance process are offering sesajen, burning kemenyan and the attraction of kesurupan is symbolized as mystical, thus an assumption or the meaning in society regarding the Lumping Horse is different which of course this is closely related to symbolic interactionism, where individuals or society in interpreting or assuming something based on creation through an interaction process which then chooses, evaluates, thinks, classifies and transforms the meaning of an object. So that in interpreting the art of Kuda Lumping it goes through an interaction process which then the individual concludes. In the community of the Gunung Lengkuas sub-district, 2 different meanings have been created regarding the Lumping Horse, namely the first, the Lumping Horse as entertainment and the Lumping Horse as a Mystical performance.

Postmodernism and Logo Design: Take the Memphis Style as an Example

In the context of the post-industrial era, the comprehensive development process of transforming the design purpose into a design concept is particularly prominent in terms of breadth and depth of the impact on product design. Its postmodernism aims to better adapt to the material foundation and spiritual needs of human spiritual and cultural development, and between manufacturing and design. the intersection of the product is the core, so that the performance between the product and the design becomes more and more profound. Using the literature research and analysis method, the comparative research method is used to analyze the changes in the performance of art symbols in postmodernism and summarize the expression methods of Memphis design. The humanization, diversification, personalization, color, etc. of the performance have the characteristics of Memphis style, which fully reflects the needs of human life diversity. The pursuit and performance are also in line with the characteristics of the popularization of art ubiquitous in society. At the same time, the logo performance constantly draws on and adopts the orthogonal spirit of humanism, which closely combines traditional art theory and real cultural life, and closely combines the theory of traditional art with the actual life of modern art, so as to fully oppose Reflecting the pursuit of the universal life of mankind and the increasing needs of social material civilization and real cultural survival.

The Artistic Philosophy of K.G. Paustovsky

The article examines the artistic philosophy of K.G. Paustovsky, that implies both a set of creative principles contained in the “Golden Rose” and other essays, and basic semantic structures of his prose. His general creative principle is defi ned as “artistic austerity”. The artistic philosophy of K.G. Paustovsky is based on the understanding of creativity as a special effort of personality formation. At the level of artistic form, this asceticism creates a classical style; and at the level of content, it is a symbol of overcoming death through love. At the level of human relationships model, creativity is the science of meeting, mercy and forgiveness. Death becomes the artistic symbol of the truth fulfi llment. Catharsis is achieved by the reader through communion with the primordial goodness of being, manifested through beauty and mercy in human relationships. The author examines the representative texts of K.G. Paustovsky, which demonstrate these principles at the level of the writer’s refl ections and key plots.

Spirit as a Riddle to Itself: Symbolic Art and the Deep History of Freedom

Abstract In this article I suggest that we should understand symbolic art not as some kind of wonderous prequel to classical art, but as a theory of the advent of spiritual self-reflection on a collective scale. Symbolic art is the first form of what Hegel calls ‘absolute spirit’. I understand absolute spirit as the realm of reflective social practices through which humans discuss and reflect on what it is to be human. Symbolic art is thus the first form in which spirit generates genuine self-knowledge. I argue that symbolic art should be understood as the unprecedented beginning of asking what it is to be human, without having a picture of what it is to be human preceding it. The advantage of understanding Hegel's symbolic art in this way is that we are able to go beyond the narrow conception of symbolic art as existing only in the oriental world and arrive at an understanding of symbolic art which includes social practices from the deep history of our species.