Symbolic Art Research Articles

SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.

VŨ TRỤ QUAN VÀ BIỂU TƯỢNG CÂY SI TRONG MO MƯỜNG CỦA NGƯỜI MƯỜNG MĂNG

Mo Muong is a complete picture of the life of the traditional Muong people. In it, moral thought, cosmic philosophy and religious conception are vividly expressed through Mo verses. With the respect and gratitude of his descendants for the “absolute past”, the Muong folk author creatively used the special artistic symbol of the Benjamin ficus tree, Si tree in Muong, to create the spiritual tradition for Mo Muong. Therefore, after thousands of years of existence, Mo Muong still holds a strong attraction for the Muong in any region, in any era. By document analysis and ethnographic fieldwork, the author has systematically synthesized the cosmology and the symbolism of the Si tree in Mo Muong.

Artistic symbolism of I.Turgenev as a manifestation of romantic spirit of his works

The article considers the artistic symbolism of the writer as a reflection of the literary movement of his work, and analyzes it. The history of the issue on this topic originated a long time ago; it is quite extensive and causes undoubted interest. The peculiarity of the romantic view is associated with the personality of the writer and the inherent deep psychologism, psychophysics of his personality. The symbolic system in the Turgenev’s works is filled with Hegelian ideas about the inextricable relationship between the life of Nature and a man, which the writer adopted and developed. This relationship lies in the field of parallel processes occurring in them. A lot of attention in the work is paid to the forces of inertness and egoism, which, according to the author, are also engines of progress. This whole set of ideas, reflecting the various facets of human being and constituting the basis of the romantic system and the symbolism of his work, gives rise to a significant layer of symbolic details filling his works with a special artistic “sound”, where rich love symbolism has become a separate “ornament”.

FUNCTIONING OF OYCONYMS AND URBANONYMS IN AN EPIC NARRATIVE

Objective. The objective of the article is to study the principles and specifics of functioning oyconyms and urbanonyms in the epic narration as a part of the lexical-semantic system of the language. Methods. The main scientific results are obtained by an onomastic method, extralinguistic analysis, structural-paradigmatic and lexical-semantic analysis. The cognitive method states in the urbanonymic paradigm the key functional features of urban names in the epic and song-epic narration. Results. The toponyms and their varieties are found under the influence of fiction of ancient epics, ballads and folk songs, as well as chronicle and chronicle literature. But in the epic text, attention to the epic event and imidge is often more important than chronological accuracy, because in the epic narration the time is subordinated to the artistic aspect. The medieval epics differs from the chronicle narration, which must be documented. In the ballad the name acts as a poetonym (symbol) and at the same time functions as a deixis, which indicates historical events and manifests as a chronological marker of action. In epic text the oyconyms and urbononyms act as signs of ancient culture, take on the function of the coordinates of the medieval locus. They acquire in the literary text the meaning of toponymic and oyconymic concepts. Famous place names act as artistic symbols, at the same time confirming historical facts, battle scenes, etc. Toponyms are involved in the formation of historical-geographic and landscape-geographic descriptions, influence the mention politics, economics, trade, culture, specialties of business, identify the function of documenting text, linking to the locus. In the literary context is the medieval interest to linking urban area with names and including toponyms that mark the historical and discursive space and form new lexical and semantic fields. They themselves create a lyrical tonality and special atmosphere, in which the historical theme is similar to literary and poetic ones.

Technology of Using ICT in the Field of Arts and Culture

Informаtion аnd communicаtion technologies hаve become аn integrаl pаrt of our lives. They hаve chаnged our sociаl hаbits аnd chаnged our perception of ourselves аnd the world аround us - аffecting humаn behаvior. Аrt works the sаme, even more, becаuse it cаn provide unexpected performаnces of the world аnd thus provoke new insights. By utilizing new mediа resources, students cаn expаnd their creаtivity through digitаlly simulаted informаtion. Flexibility of digitаl dаtа is whаt mаkes new mediа of vitаl importаnce for the teаching of fine аrts. By using аutomаted mediа tools аnd grаphic softwаre, students cаn quickly see the results of their ideаs. By аpplying ICT, the аmount of work in creаting visuаl informаtion is minimized, so students will hаve more time for creаtivity, collаborаtion, reseаrch аnd аssessment. The role of Arts in nowadays education and its significant function devolves the specific task of structural analysis through the organization of certain explanatory activities in strong relation with Arts. The specific educational exercise - in secondary education - postpones the ostentatious references and indicates Arts as an inner vision, leading to a real explanatory behavior, practiced especially in the theory of signs. The deciphering of the artistic symbolism aims to the meaning of the concept of interpretation and revelation of multiple senses, in virtue of certain legitimate values which are assigned to hermeneutics. As specific and valuable methods used in the actual Arts education, there can be mentioned: organizing certain activities in relation with the vector that connects the diffusion of the work to its particular meaning / interpretation, designing special “games” of oppositions and combinations within a system of units, but also introducing new technologies that confers the intention of approaching Arts and the related interpretative educational activities in order to offer to the students new meanings through the mediation of signs and works. The overall aim of this chapter is to explore some of the pedagogical potentials, as well as limitations, of animations displaying complex biochemical processes. As the first part of our larger research project, a learning environment was developed where visualizations by means of 3-D animations depicted some of the processes in the carbon cycle. In the analysis, we describe how three groups of students made use of and reasoned about the computer animations. In relation to the aim, three salient themes are discernible in the video material of the students’ reasoning; the risk of focusing the attention on misleading aspects of the animation, the possible occurrence of a form of isolated reasoning, and the students’ varying understandings of what resources they are expected to use when performing a given task. The use of ICT in music education has meant an educational revolution because teachers may design much more motivating and varied musical activities than when using traditional methodology. Music teachers must dominate strategies to integrating new technologies into their lessons in order to better develop students’ competence in music. These strategies include interacting with multimedia (image, audio or video), knowing how to edit scores, using MIDI electronic instruments, or manipulating sound by computer.

Artistic Employment of Quranic Symbols in Modern Syrian Poetry

Modern poetry has paid attention to artistic symbols, due to the moral hoarding that these symbols carry, which in a brief phrase can refer to a long story or event that the text is not likely to include in its entirety. The symbol fulfills this function, which summarizes the pronunciation and satisfies the meaning. The study dealt with modern Syrian poetry in the first half of the twentieth century until before the free poetry and afterwards, and it was examined by poets such as Omar Abu Risha, Khalil Mardam, Muhammad al-Bazm, Omar Abu Qus and others. The research revealed the Qur’anic symbols that these poets used artistically, taking advantage of the semantic loads that refer to them. Prior to that, the research had drawn attention to the necessity of separating the Qur’anic symbols from the mythical symbols that tend to fiction rather than reality. Some researchers used to say that there are legends in the Qur’an and described some of its stories as myths, so it was necessary to point out the danger of this link that contradicts Islam and the Qur’an, which falsehood cannot approach it from before it or from behind it.

Design identity and heritage revival

The history of human civilization informs us of many examples and examples of our artistic heritage, which is an expression of civilization and the tongue of the state of society, but the tangible heritage remains represented in the artistic symbol, and the material industry testifies to what the state of civilizations was, and thus it helps us in reaching knowledge of the secrets of these Civilizations and the amount of what they have achieved in the scientific, economic, military, artistic and other fields. The Arab and Islamic world has drifted behind modernization and beautification that stripped it of its identity and civilization and pushed it into the abyss of thought, in light of the pursuit of what is known as pseudo urbanism, so the Islamic world has become in dire need to express its identity, its ancient civilization and its various arts by reviving the Islamic heritage that represents He has a creative image with a footprint in all areas of daily life. He is able to rebuild Arab society and work to raise cultural awareness through the Islamic heritage. The Arab and Islamic region has been distinguished by its distinctive architectural and artistic heritage, which is fertile for the designer to draw from it in its modern designs, which called for the endeavor to revive the Arab-Islamic heritage, and the research focuses on reviving the Islamic cultural and intellectual heritage and linking it to the culture of architecture and contemporary arts and the use of Islamic architectural elements based on the philosophies and intellectual beliefs of the Islamic religion And applied in the design of contemporary products. But if we look at the Islamic arts, we find that there is a general unity that brings them together so that any piece produced under the Islamic civilization in any country of the Islamic world can be distinguished from others, and perhaps this secret is one of the secrets of the superiority of Islamic civilization and its superior ability to dye artistic products in all countries with one color. However, this unity did not prevent the existence of Islamic styles that were characteristic of the different Islamic countries during their artistic development eras. So the search for Islamic and Arab identity and its independence from modernization and beautification and a return to Islamic principles, in order to build the Arab-Islamic future requires reviving the heritage and establishing it for the identity, and an affirmation of the civilized Arab self with its roots for thousands of years.

The Martyr of Copte Art - From the “Chapel of the Exodus” (Philosophical-Social Aspects, Artistic Symbols)

Abstract In the current situation, when the majority of the planet is urged to tolerate and accept, to promote peace and respect for other people and theyr choices, and culture, our fellow men in Egypt, Coptic Christians are fighting an unprecedented struggle against oppressors who demolish their churches and try to destroy their faith. Although we are far away physically, we cannot remain indifferent to what is happening to the cultural heritage they are trying to keep alive. This article reminds us of the wonderful artistic treasures found in Coptic culture.

Boats Representation in the Byzantine Art

For thousands of years ago, people have been using boats and ships to navigate the sea, which had attracted them to discover it’s secretes. People sailed for the sake of discovery as a type of adventure, settlement, trade, and conquest. In Egypt, the Nile River was the most significant catalyst that helped in flourishing the different watercraft’s industry. Since the Pre-dynastic period, they started to make their first primitive watercraft, representing it on rocks, pottery and walls, and their interest with the boats reached its burial. The boats importance had increased, and its industry became more skillful, passing through the different dynastic periods of the ancient Egyptian civilization, Ptolemaic, Greek, and Roman periods, till reaching the Byzantine Period in which the boat’s representation had gained more symbolism aligned with the new Christian religion. This research aims to focus light on the boats and its uses from the Pre-dynastic till the Byzantine Periods, to analyze different scenes representing boats through this period, to trace the development of the scenes representing boats from ancient egyptt till the Byzantine period, and to determine the boat’s symbolism in Coptic art.

The Symbolist Conception of Illustration and Tyra Kleen’s Nevermore

The Symbolist Conception of Illustration and Tyra Kleen’s <i>Nevermore</i>

Jewish branch of cultural text of the Crimean ethnic ornament

The subject of this research is the continuum of ethnic symbols of the ornament of the Crimean Jews. The object is the traditional decorative and applied art of the peoples of Crimea following Judaism: Ashkenazi Jews, Karaite and Krymchaks. The symbolism of ethnic art is viewed based on the analysis of traditional decor. The article employs the methods of comparative analysis, analysis of previous research, method of synthesis in conclusions pertinent to connotations of symbols. The author explores the morphology and semantics of visual symbols in decorative and applied art of the aforementioned people, as well as connotations of symbols. Special attention is given to aspects that characterize polyethnic cultural landscape of Crimea in the context of phylogenesis. The main conclusions are as follows: &amp;nbsp; 1. Crimea is a polyethnic region with various cultural processes &amp;ndash; from reception to inculturation and integration of ethnoses, which ultimately formed the Crimean cultural landscape. Its peculiarities are represented by ethnic ornament, such as decorated household items and ritual attributes &amp;nbsp; 2. Symbolism of the elements of traditional art of Ashkenazi Crimean Jews, Karaite and Krymchaks has common connotations due to the Torah that underlies the religious confession of all three ethnoses, as well as similar morphology. The art of Karaite and Krymchaks are more identical to each other than to Jewish. The author&amp;rsquo;s special contribution lies in systematization of the morphology of visual symbols in the art of the three ethnoses. The scientific novelty consists in carrying out a comparative analysis of the art of three Crimean ethnoses, revealing foundations of the genesis and continuum of its elements, their similarities and differences.

SADOIY VA G‘OZIY DEVONLARIDA ALISHER NAVOIY AN'ANALARI(HAMD, NA'T, MUNOJOT VA MANQABAT MAVZULARIDAGI G‘AZALLAR MISOLIDA)

Literary continuity is a unique cultural, high-level literary phenomenon in which the concepts of creative inspiration, imitation and the continuation of great talent are one of the most important features of Eastern classical literature. Regardless of which branch of art is formed in this cultural and literary process, it becomes clear that the main goal is to "renew", learning "from the past" and developing their ideas and artistic abilities. The article examines the issues of tradition and originality of poems by Mirhasan Sadoi and Muhammad Gazi, who grew up in the workshop of Alisher Navoi. The poet's poems analyze the artistic perfection of the Salaf traditions on this topic from an ideological and artistic point of view.Key words: devan, theme, idea, artistic symbol, art, tradition and originality.

Courtly Motives In The Art Of The High Middle Ages

Purpose of the article. The article presents a study of courtly motives in the art of the high Middle Ages and the foundations of the ideological and figurative-symbolic representation of courtly images in various artistic forms of this era. Methodology. The study of the content of courtly motives and images, the definition of the ideological foundations of their figurative and symbolic representation was carried out through the use of historical, analytical, symbolic, and allegorical methods. Scientific novelty. The article examines courtly motives and courtly images presented in the art of the High Middle Ages, identifies the ideological foundations of their figurative and symbolic representation in various artistic forms of this era. Conclusions. The visual images of medieval masters create the world of courtly, filling the courtly universe with numerous subjects that reflect the image and lifestyle of both knights and their Beautiful ladies. And thus they help to understand the norms and prescriptions of courtesy, the models of the participants' behavior in the courteous action, the corresponding rituals and etiquette norms of courteous relations, their attributes, and stylistics. In order to do this, the artists used various techniques - bright colors, saturation with symbols, heraldry, outfits, etc. Especially popular was the use of the rose image, which became the quintessence of Gothic art, its courtly and religious symbol, the embodiment of the ideal of chivalry to the Beautiful Lady, and a kind of reflection of the Christian image of the Virgin Mary.

Family tamga as a sociocultural graphic symbol

This article explores the problems of the poorly studied sociocultural practices of spiritual-educational fund of ethnic cultures, among which of particular importance is the study of historical and aesthetic specificity of graphic symbolism. The author reviews the ideographic image of the family symbol of ownership &amp;ldquo;tamga&amp;rdquo; from the perspective of mutual influence of ethnocultural practices of different people that manifests through the system of symbols. Analysis is conducted on the interaction of ethnic graphic symbols in the evolutionary processes of sociocultural activity of the ethnoses. Symbolic ideographic images have always played a significant role in the evolutionary processes of sociocultural activity of the society. Symbols prompted the emergence of writing system, art, education and upbringing, and up to now are associated with the modern worldview. In the course of research, the author determines the characteristic artistic features socially meaningful forms of ethnic culture. Existing as a the visual forms of control over the processes of spiritual development, the symbolic forms infiltrate from one creative system into another, exerting a direct influence upon the artistic-aesthetic content and cultural meaning of the new image. These graphic codes, depending on the semantic generality, define cultural significance of the symbol in folk art. The relatively small number of publications dedicated to the research of graphic image of the social symbol (tamga) allows summarizing the results acquired by the Russian and foreign scholars in this field.

Notes sur le ciel bleu par temps de confinement

Referring to Senancour’s Oberman, Hölderlin’s Hyperion and Carl David Friedrich’s painting Wanderer above the Mists, this paper attempts to figure out the romantic approach to sky and clouds as cultural, artistic, and philosophical symbols. Considered as an unlimited space, the sky is an endless matter of meditation regarding human finitude. In several European countries, the recent experience of lockdown has revived this meditation in new terms: notable changes in the sky’s appearance suggest that our environment cannot only be regarded as our property, of which we are the guardians; it requests a poetic attention that helps us face the limitless world.

Egyptian Acculturation in Achaemenid Persia: The Iconographic Evidence

This short paper looks at the impact of Egyptian iconography (specifically royal and divine symbols) in Achaemenid palatial art. Art in the ancient Near and Middle East became a vehicle with which foreign ideas were exchanged and repurposed to

ПРОЕКТНО-ОБРАЗНІ ХАРАКТЕРИСТИКИ КОСТЮМА ЕПОХИ «ДИКОГО ЗАХОДУ» ТА ЙОГО ВПЛИВ НА СУЧАСНІ МОДНІ ТЕНДЕНЦІЇ

Purpose. Identification patterns of evolution of the design image of the cowboy in the crisis of masculinity in popular culture during the twentieth century and its impact on modern fashion trends. Methodology. Literary-analytical and comparative methods of research of the original source are used to determine the aesthetic, design and artistic characteristics of the image; stylistic and compositional analysis of modern fashion trends based on the adaptation of the design characteristics of the image of a cowboy in the design of the suit is committed. Results.It is established that the image and symbol of the cowboy in world culture has a significant impact on the trends of men's and women's fashion both during the twentieth century and today. This influence is due to a number of social, economic and environmental factors, the coherence of which creates an aesthetic and figurative need to return the image of the cowboy as a role model in society and as a symbol in culture, art and design. The principles of introduction of artistic and compositional components of the image of a cowboy in modern collections of a suit in a segment of mass fashion are characterized. The means of spreading the idea of smart consumerism and renovation of textiles in the design of fashionable clothes are determined. Based on the pre-project analysis, the figurative and artistic interest in the adaptation of the properties of clothing in the style of "western" to the formation of the individual wardrobe of the consumer is determined. The design concept is formed and the structure of the corresponding collection for wide layers of consumers of clothes as a product of fashion is developed. The scientific novelty. Identification of the main design and artistic characteristics of the historical costume of the Wild West and their transformation in the development of image-compositional structure of the costume in modern fashion. The elements of sign-information stylistics of this project image are revealed and their influence on modern fashion tendencies in both men's and women's fashion is determined. Approaches to the design and artistic modeling of women's clothing as a fashion product based on the renovation of textile products are identified. The practical value. The significance is due to the possibility of using the results of research in the design of clothing for men and women in retro and eco-style "western", taking into account current fashion trends, as well as the ability to predict the further development of the cowboy image in mass culture and its influence on fashion trends

An Analogical Approach to Colors and Symbolism in Romanian and Turkish Folk Art

Folk art is defined as creation that does not belong to the classical or modern arts but is generally included in traditional or domestic handcraft production. Works of folk art are generally of anonymous origin; their producers have not graduated from aesthetic or artistic studies in the narrowest sense. The discovery of the phenomenon of folk art as a valuable part of culture is due to the development of the science of art history at the end of the 19th century. From the aesthetic and historical point of view, it occurred in parallel with the gradual disappearance of this phenomenon in the European societies that were in the process of industrialization. At the end of the 19th century, with the gradual disappearance of handicraft traditions in Central and Western Europe and later in Eastern Europe, folk art lost its original foundation. Due to theories of primitivism, popular art was given special attention during this period by - and thanks to -artists of the modernist trend. During this period, folk clothes and clothing motifs were seen frequently. In particular, various pictures, colors, symbols, lines and images representing flowers were used quite often. What the grounds for all these people are, their importance, their depth, why they are repeated and how they are repetitive patterns are hidden in these clothes and works. Preservation of the national culture and the local folklore is very important and we think, first and foremost, that we should understand the significance of these symbols and colors that represent our heritage. The aim of this study is to analyze colors and symbols in Romanian and Turkish Folk Art with an analogical approach. In this study, examples of colors and symbols in Romanian and Turkish Folk Art were examined from areas such as clothing, weaving and ceramics and the use of symbols, the meanings of colors were conveyed and supported by patterns and it was concluded that there were similarities as well as regional differences between the two countries.

The Application of Yangliuqing Woodcut New Year Paintings Based on Image Extraction Technology in Clothing Design

As a traditional Chinese folk art, Yangliuqing Woodcut New Year (YWNY) paintings with unique artistic symbols and rich artistic values have formed varied artistic styles since century. The purpose of this study is to explore the innovative application of traditional folk art combined with other technologies in the field of fashion and art design. Through literature research and object investigation methods, this paper analyses the subject and artistic characteristics of YWNY paintings, classifies the paintings and creates an image bank. Using the image extraction technology, we extract the characteristic elements with cultural symbols and representative colours and construct the corresponding elements resource libraries. Based on the modern design aesthetic and clothing craft design means, YWNY paintings are flexibly applied to fashion design and other design fields. Fashion trends in combination with the elements in YWNY paintings create works that have regional characteristics, which achieve the creative transformation of Tianjin folk art in fashion clothing design.

THE IDEOLOGICAL DIRECTION AND MAIN ARTISTIC IMAGES OF DASTANS “KHUSRAV AND SHIRIN” AND “FARHOD AND SHIRIN”

This article is devoted to a comparative analysis of the image of Shirin in Nizami Ganjavi’s “Khusrav and Shirin” and Alisher Navoi’s “Farhod and Shirin”. The main ideological and artistic direction of the epics is highlighted, highlighting the importance of artistic symbols in the development of the work. The epics “Khusrav and Shirin” and “Farhod and Shirin” have been studied as one of the most amazing masterpieces of the art of speech, focusing on the interpretation of the world of unique artistic symbols