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Journal articles on the topic 'Auspicious meaning'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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1

Zhang, Xinyi, and Yanjun Dong. "Research on the graphic reconstruction of traditional auspicious patterns in contemporary art design." Highlights in Art and Design 2, no. 2 (2023): 73–79. http://dx.doi.org/10.54097/hiaad.v2i2.6797.

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The "auspicious pattern" refers to the pattern of "auspiciousness" and "peace" as the expression of the concept of auspiciousness, which has evolved and become more and more diversified. "Reconstruction" is to break up the original objective structural form and construct a new objective structural form according to the design and concept of the new form, and to make a new extension of its structural meaning. Nowadays, technology has gradually broken the limitations of traditional auspicious patterns in terms of art form and symbolic language, and many excellent designers have redesigned them.
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2

Lu, Chang. "Packaging Design of Wuqiang New Year Pictures." Highlights in Art and Design 2, no. 2 (2023): 70–72. http://dx.doi.org/10.54097/hiaad.v2i2.6796.

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Through in-depth exploration of the twelve zodiac paintings in Wuqiang New Year paintings, this paper draws on the respective images and characteristics of the zodiac in Wuqiang New Year paintings, and combines them with traditional Chinese auspicious patterns to form a beautiful new pattern that can express wishes and auspiciousness, which is applied to packaging. Use the beautiful meaning of auspicious patterns to endow Wuqiang Zodiac New Year pictures with beautiful meanings, give better consumption positioning to Zodiac New Year pictures, seize the traditional custom that people need to ex
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Du, Xiaoxiao. "THE CULTURAL CONNOTATION OF PRAYERS AND INNOVATIVE FORMS OF FOLK PILLOW TOP." Cultural Communication and Socialization Journal 2, no. 1 (2021): 05–08. http://dx.doi.org/10.26480/ccsj.01.2021.05.08.

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As a kind of folk art, pillow top has rich cultural connotation and innovative vitality of expressions. By analyzing the auspicious symbolic elements of pillow top art and emotional expressions such as praying for wealth and fame, beauty and love, blessing and longevity, good fortune, and reproductive worship, this paper extracts the pattern and color matching elements suitable for innovative design to show the forms of expression. The theme of pillow top pattern is mostly auspicious symbols representing auspicious meaning, which is reflected in people’s daily life, that is, the emotional expr
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Rudolph, Susanne Hoeber. "Susanne Hoeber Rudolph: Remarks on Receiving the “Grain of Sand” Award." PS: Political Science & Politics 43, no. 02 (2010): 369–70. http://dx.doi.org/10.1017/s1049096510000521.

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I'm happy to be the recipient of an award recognizing the work of scholars who deploy literary and experiential resources in pursuit of meaning. And I am delighted that there is a conference-related group institutionalizing this honor. On this auspicious occasion, I thought I would offer a few remarks about my current work.
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Chen, Xiao Mei, Qing Dong, and Xiao Yang Liu. "Graphic Reconstructing and Application Research of Traditional Auspicious Pattern in the Customization for Haute Couture." Advanced Materials Research 1048 (October 2014): 341–44. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.341.

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Costume pattern carries massive traditional culture and national spirit. It has important significance on people’s life and records the historical process of a nation. The topic of the paper starts from Chinese traditional auspicious pattern, summarizes the combination, layout and implied meaning of pattern through the analysis on the special shape and formal beauty; analyzes and research the cultural spirit and plastic art of traditional auspicious pattern. It makes analysis on the graphic language of traditional pattern and formal language under modern design thinking, finds new graphic lang
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Tang, Jun. "From "Six Contract Spring" to "Six Harmonies Tower": The Auspicious Significance of the Number "Six" in Traditional Chinese Culture." International Journal of Education and Humanities 17, no. 3 (2024): 62–65. https://doi.org/10.54097/r4c3ex65.

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This article explores the cultural symbolic meaning of the number "six" in the idioms "Six Contracts for Spring" and "Liuhe Tower", as well as its profound connotations in traditional Chinese culture. Firstly, by analyzing the idiom "Six Contracts for Spring", its literal and symbolic meanings are explained, emphasizing that "Liuhe" represents the six directions between heaven and earth, symbolizing the harmony and prosperity of the universe, while "Tongchun" symbolizes the revival of all things and the universal vitality. Secondly, this article analyzes the symbolic significance of Hangzhou's
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Loewe, Michael. "The Term K'an-yü and the Choice of the Moment." Early China 9, no. 1 (1985): 204–17. http://dx.doi.org/10.1017/s0362502800006362.

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The term k'an-yü, which is seen in various texts from the Huai-nan-tzu (completed by 139 B.C.) onwards, has been subject to various attempts at explanation, and it is possible that its original meaning may have become forgotten at a comparatively early stage. It will be noted below that fromnthe third or fourth century commentators were explaining k'an-yü as referring to heaven and earth, but apparently without a clear comprehension of the term. In much more recent times, k'an-yü-chia has been used as a synonym for feng-shui-chia, meaning, specifically, experts in geomancy whose aim lay in ens
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Chongwen, Qu. "Application of Chinese Traditional Edge Pattern in Modern Design." Journal of Higher Education Teaching 2, no. 2 (2025): 216–20. https://doi.org/10.62517/jhet.202515231.

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Chinese traditional edge decoration pattern is an important part of decorative art, bearing rich aesthetic value and cultural connotation. The form characteristics of traditional edge decoration patterns and the auspicious meaning characteristics contained in different periods are studied, the application carrier of traditional edge decoration patterns is analyzed, and the design key points of traditional edge ornaments in modern design are summarized, so as to achieve the integration of traditional edge decoration elements and modern design and realize the inheritance and development of tradi
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9

Ou, Chun. "Symbolic Meaning and Sociocultural Characteristics of Auspicious Patterns in Chinese Designs after the Chinese Economic Reform." Korean Association for Visual Culture 38 (June 30, 2021): 135–60. http://dx.doi.org/10.21299/jovc.2021.38.6.

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10

Keightley, David N. "Reports from the Shang: A Corroboration and Some Speculation." Early China 9, no. 1 (1985): 20–54. http://dx.doi.org/10.1017/s0362502800006283.

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Scholars trained in Taiwan tend to read the oracle-bone crack notation as shang chi, “highly auspicious”; scholars in the People's Republic read the same graphs as erh kao,“two reports.” In the first part of this article, a reexamination of the evidence, which was significantly assisted by Ho Hou-hsüan's presence at Berkeley, leads me to conclude that, contrary to what I wrote in Sources of Shang History, erh kao is the correct reading. The second part of the article considers the possible meaning of various kao crack notations, how certain strategic period II inscriptions might be punctuated
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11

Fan, Yunlin, and Lijun Wang. "Research on the application of zodiac culture in cultural and creative design." SHS Web of Conferences 162 (2023): 01016. http://dx.doi.org/10.1051/shsconf/202316201016.

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As an excellent traditional culture of our country, the twelve zodiac signs have been constantly updated and changed by many skilled craftsmen since ancient times. Today, the zodiac culture still occupies an important position in the design field. This time, we will sort out the changes in the graphical representation of the zodiac from ancient times to the present, and explore new and interesting and unique representations by comparing the graphical representations of the zodiac from ancient to modern times, and add the meaning of the year of the zodiac and auspicious idioms to assist in the
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12

Sun, Jingze. "A re-examination of the meaning of six horses in Du Fus Raising the Banner." Advances in Humanities Research 12, no. 4 (2025): 1–6. https://doi.org/10.54254/2753-7080/2025.24974.

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This paper re-examines the intended meaning of the term six horses (liuma) in Du Fus poem Raising the Banner (Yangqi). Through an analysis of both its symbolic imagery and literal description, and in light of Du Fus political thought, Tang dynasty conceptions of six horses, and the flag policy of military governors during the Guangde era, the paper argues that the term does not refer to the metaphorical six-horse imperial chariot, the image of six horses raising their heads for feed, or the misreading of five horses and one dapple-gray horse as suggested by earlier scholars. Instead, the six h
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13

Zheng, Guo Xi, and Qiao Min. "Research on Modeling Moral and Practices of Huaiyang Clay Dogs." Advanced Materials Research 271-273 (July 2011): 469–73. http://dx.doi.org/10.4028/www.scientific.net/amr.271-273.469.

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This article first elaborates Huaiyang Clay Dogs through their historical and cultural background as well as species classification, analyzing their modeling concepts: with reproduction worship as the main line, warding off evil and ensuring peace for the assistance, and auspicious for the embellishment. On this basis, the article makes further analysis of Huaiyang Clay Dog’s modeling techniques such as common image and structure, complex proliferation, overstated shape-changing, ideographic symbol, combination of painting and sculpture, interpreting the modeling implied meaning of Huaiyang Cl
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14

Lu, Lu. "Did Wu Zetian Name “卍” as “Wanzi”? A Historical Reassessment". Religions 15, № 11 (2024): 1349. http://dx.doi.org/10.3390/rel15111349.

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While scholarly works often attribute the pronunciation of “卍” as “wan” to Empress Wu Zetian in 693, associating it with the meaning “auspicious myriad virtues”, a closer examination of the history of “卍” in Chinese Buddhist translations suggests otherwise. The more accurate transliterations and translations of svastika emerged much later than the term “Wanzi” and had very limited influence. The connection between “卍” and “Wanzi” more likely appeared during the early transmission of Buddhism to China, when people used the accepted cursive form of “萬” to approximate the shape of the svastika sy
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Li, Yiwen. "Navigating Voyages in Real and Religious Life: The Big-Dipper Belief and Shipbuilding in Premodern China." Religions 11, no. 8 (2020): 398. http://dx.doi.org/10.3390/rel11080398.

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Sailors in premodern China performed various types of rituals to pray for safe voyages. This article investigates a unique seven-dot image discovered from shipwrecks dated to thirteenth- and fourteenth-century China. Comparing the seven-dot image with the Big-Dipper image in premodern navigation maps, this article demonstrates that the seven-dot image represents the Big Dipper. The Big Dipper in premodern China was both an essential, practical guidance in maritime voyages and a religious symbol that the faithful believed could prolong the human’s lifespan and command the element of water. The
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16

Caneva, G., A. Altieri, A. Kumbaric, and F. Bartoli. "Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome." Rendiconti Lincei. Scienze Fisiche e Naturali 31, no. 4 (2020): 1011–26. http://dx.doi.org/10.1007/s12210-020-00946-2.

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Abstract The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic c
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17

Puda-Blokesz, Magdalena. "Hades nie zawsze funeralny – szkic o fortunności nazw podmiotów gospodarczych." ANNALES UNIVERSITATIS PAEDAGOGICAE CRACOVIENSIS. STUDIA LINGUISTICA, no. 15 (December 11, 2020): 179–96. http://dx.doi.org/10.24917/20831765.15.15.

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The article falls within the chrematonomastic research strand in which a proper name is understood to be a utilitarian message with a pragmatic potential, one that ensues from both statutory requirements and marketing rules. The focus is on the topic of auspicious economic entity names and especially their constituents – lexical units that are supposed to make the name and entity stand out in the market, yet should not be misleading as to what the company’s scope of activity is. The names of firms and premises with the mythological firmonym Hades from various sectors (147 items) from all over
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Puda-Blokesz, Magdalena. "Hades nie zawsze funeralny – szkic o fortunności nazw podmiotów gospodarczych." ANNALES UNIVERSITATIS PAEDAGOGICAE CRACOVIENSIS. STUDIA LINGUISTICA, no. 15 (December 11, 2020): 179–96. http://dx.doi.org/10.24917/20831765.15.15.

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The article falls within the chrematonomastic research strand in which a proper name is understood to be a utilitarian message with a pragmatic potential, one that ensues from both statutory requirements and marketing rules. The focus is on the topic of auspicious economic entity names and especially their constituents – lexical units that are supposed to make the name and entity stand out in the market, yet should not be misleading as to what the company’s scope of activity is. The names of firms and premises with the mythological firmonym Hades from various sectors (147 items) from all over
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19

Dobrescu, Caius. "„Multiplicitățile interbelice” și piața reinvenției de sine." ROMANIAN STUDIES TODAY 8, no. 1/2024 (2024): 115–34. https://doi.org/10.62229/rst/8.1/7.

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The study starts from a concept of ‘multiplicities’ that sheds light on the dispersive imaginaries, commitments, projects of the Romanian interbellum political-cultural life. The concept was devised by Sorin Alexandrescu, a prominent literary scholar who reconnected to Romanian academe after a decades-long exile in Holland through a trilogy dedicated to cultural and intellectual modernization in our part of the world. His vision runs against the grain of an external and domestic scientific discourse, which tends to construe the Romanian civilizational process of the decisive third and fourth d
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20

Chang, Yaliang. "Exploring Application Modes of Visual Arts: Naga Images of Thailand." Asian Journal of Arts and Culture 22, no. 2 (2022): 257772. http://dx.doi.org/10.48048/ajac.2022.257772.

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Naga, the guardian of Triratna, rules over the waters, and is an important cultural image of Thailand, as well as an auspicious symbol in daily life. In Thailand, there is a large and subtle Naga cultural heritage that includes folk literature and festivals. Whether it is an old tradition or a new cultural creation, many cultural heritages based on the Naga theme merge in contemporary visual art, and spread the images and beliefs of Naga through the Internet, sculptures, murals, emoticons, animations, festivals, amulets, fabrics, and artworks. This article aims to use Naga images for analyzing
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21

Lama, Kumari. "Damphu: The Symbol of Tamang Cultural Identity." Mindscape: A Journal of English & Cultural Studies 2, no. 1 (2023): 95–102. http://dx.doi.org/10.3126/mjecs.v2i1.61685.

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Damphu, a musical instrument, embodies specific meaning in Tamang community. Since damphu is compulsorily played on the auspicious occasions, marriage, cultural ceremony and festivals, it always remains at the center of Tamang cultural values. There is an interesting story of the creation of Damphu. Tamba (Spokesperson of Tamang community) narrates the story of Pengdorje (Tamang ancestor), who created the musical instrument collecting different materials from the forests of high hill, mountain and madesh, through his song. Damphu is an important symbol of Tamang cultural identity, which is als
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22

Manokaran, Komalata, and Shyi Nian Ong. "A Semantic Analysis of Blends in Promotional Advertisements During the 2021 Chinese New Year in Malaysia." Malaysian Journal of Qualitative Research 09, no. 01 (2023): 17–36. http://dx.doi.org/10.61211/mjqr090102.

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This paper presents the word-formation of blending in promotional advertisements, specifically for Chinese New Year celebrations in Malaysia. Blending is a process that combines two or three parts of source words (SWs) which either one has shortened infuse and/or where there is a phonological or graphic overlap of source words (e.g., moo-tastic  moo + fantastic, and Ox-picious  Ox + auspicious). These kinds of words describe a new invention or phenomenon that combines the definitions of the attribute of the two existing things. This study, which applied qualitative methods, examines the mean
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Manan, Abdul, Ramadha Lianda, and Aslam Nur. "The Tradition of Seeing Hari Bulan in Starting A Life Cycle Ritual in The North Kluet Community, South Aceh, Indonesia." Islamika Inside: Jurnal Keislaman dan Humaniora 10, no. 2 (2024): 155–76. https://doi.org/10.35719/islamikainside.v10i2.274.

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Abstract: The implementation of the life cycle rituals of the Kluet community often begins with seeing Hari Bulan so that nothing undesirable happens. This research aims to find out the origin of Hari Bulan, the meaning of Hari Bulan, the determination of Hari Bulan, and the preservation of Hari Bulan. This is qualitative research conducted in North Kluet District, South Aceh. The data source was obtained from local traditional leaders who know well about Hari Bulan. Data collection techniques were carried out using interviews, observation, and documentation. Data analysis uses the Miles and H
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Suwanto Suwanto. "Makna Dibalik Perilaku Umat Buddha Dalam Mengoleksi Amulet (Studi Kasus: Umat Buddha Di Vihāra Jakarta Dhammacakka Jaya dan Umat Buddha Di Vihāra Buddha Metta Arama)." Dhammavicaya : Jurnal Pengkajian Dhamma 7, no. 1 (2023): 39–47. http://dx.doi.org/10.47861/dhammavicaya.v6i1.371.

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The author looks at the habits of Buddhists at the Jakarta Dhammacakka Jaya Vihara and Metta Arama Buddhist Viharas who wear necklaces in the form of pendants, bracelets so that the authors can formulate research problems in this thesis, namely: 1). What is the meaning behind the behavior of Buddhists in collecting amulets? In writing this thesis, the researcher uses the research method used is a qualitative method. The results of this study are (1) that amulets are objects with various shapes, which can be in the form of pendants, bracelets, rings, which have different functions, purposes and
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Yan, TuXue, and Xiong Xuan. "Research on Innovative Design Centered on the Decorative Art of Paper-Cut Style Ridge Beasts." International Journal of Research and Innovation in Social Science IX, no. VI (2025): 2610–25. https://doi.org/10.47772/ijriss.2025.906000195.

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In the innovative design based on the elements of traditional architectural roof ridge ornaments, this paper aims to deepen the contemporary expression of the auspicious symbolism of the roof ridge ornaments, to explore the integration path of traditional Chinese plastic arts and traditional techniques, and to further activate the contemporary value of the excellent traditional Chinese culture. This study takes the roof ridge decoration of the Hall of Supreme Harmony of the Forbidden City as a prototype, emphasizes its symbolic meaning and artistic characteristics, innovatively introduces pape
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Okeke, Remi Chukwudi. "Post-Military Politics and ‘Emi Lokan’ Democracy in Nigeria." Polish Political Science Yearbook 54, no. 2 (2025): 127–37. https://doi.org/10.15804/ppsy202522.

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This paper interrogated post-military politics and ‘Emi Lokan’ democracy in Nigeria. It is a significant contribution to the ongoing academic focus on consolidating democracy in the country. According to the research hypothesis, post-military politics in the country still contain some unnecessary military-governance propensities that have not been fully identified for invalidation. The study examined the meaning of ‘Emi Lokan’ democracy. It investigated its democratic implications. The work was based on a qualitative research design, embedding the consultation of secondary sources of non-numer
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Rojalin, Swain. "Karma A Concept or A Precept." International Journal of Trend in Scientific Research and Development 2, no. 5 (2018): 1569–73. https://doi.org/10.31142/ijtsrd17093.

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Really! Lord's creation is amazing. Isn't it The creations includes both Jivas and Ajivas . Jivas are those living beings which have Pr a inherently present in them. Ajivas are those beings which have no Pr a. Jivas are classified as animals, insects, bees, birds etc. But out of them Humans is the most auspicious creation of God. All others Jivas are backed by instincts except humans. For example sometimes we see in road, sheep are gathered in one place, but if one of them goes one side, all other sheep shall follow them. They have no thinking capacity. But Man is guided by reason. He
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BELLINI, CHIARA. "Surrounding the Sacred Space: Two Painted Scrolls from the Collection of Namgyal Monastery in Mustang, Nepal." Journal of the Royal Asiatic Society 30, no. 4 (2020): 635–78. http://dx.doi.org/10.1017/s1356186320000413.

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AbstractThe Collection of Namgyal Monastery (Mustang, Nepal) preserves two long and narrow scrolls painted on both sides, of exquisite artistic quality. This article describes and investigates the iconographic and symbolic meaning of the paintings and the use of these objects. One of the scrolls shows the Eight Auspicious Symbols and deities that personify diverse group of offerings painted in an elegant Newari style. The other scroll features an intriguing representation of the Eight Charnel Grounds in a continuous landscape. Full of delicate and charming details, it illustrates the Mahasiddh
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Das, Chhandita, and Priyanka Tripathi. "Experiencing the Riverscape: An Eco-Spiritual Decoding of Gangetic ‘Triveni-Sangam’ in select writings of Neelum Saran Gour." Open Cultural Studies 4, no. 1 (2020): 96–106. http://dx.doi.org/10.1515/culture-2020-0009.

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AbstractContemporary times have triggered for an interdisciplinary cusp between disciplines that were conventionally read in a hinged academic encore. The Gangetic ‘Triveni-Sangam’ near Allahabad city where three holy rivers Ganga, Yamuna and Saraswati converge, is believed to be the holiest riverscape as one drop of amrit (nectar) during ocean churning by Gods and demons fell into its water and therefore, bathing and dipping in this sangam or confluence is considered auspicious. It is not that people only experience such spiritual values, rather internalize the same, even sometimes beyond rel
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Anwar, Syifa Fauziah, Amanda Putri Rahayu, and Trie Utari Dewi. "Analysis of Balinese Cultural Values in a Perfect Fit Film (Roland Barthes Semiotics Studies)." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 7, no. 1 (2023): 1–9. http://dx.doi.org/10.30998/jh.v7i1.1247.

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Matters related to human reason and mind can be understood as a culture. Every culture has different values. Film is one of the media that can be used to introduce culture. This study aims to determine the Balinese cultural values contained in the film a Perfect Fit directed by Hadrah Daeng Ratu. The researcher uses descriptive qualitative method, with Roland Barthes' semiotic study which explains the idea of significance seen through two stages, namely connotation and denotation. The results obtained from this study are the Balinese cultural values contained in the film a Perfect Fit, among o
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Yadav, Prabhu Ray. "Lord Shiva’s Temple at CNAS: A Divine Light in Academia." International Journal of Social Sciences, Language and Linguistics 04, no. 12 (2024): 07–12. https://doi.org/10.55640/ijsll-04-12-02.

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This paper, written on the auspicious day of the inauguration of the Lord Shiva’s temple within the premises of the Center for Nepal and Asian Studies (CNAS), Tribhuvan University (T.U.), Kirtipur, Kathmandu, focuses on the role of the CNAS in the promotion of literature and cultures, and highlights the academic importance of CNAS for T.U. It is centered on the festival of Shiva Raatri. Culturally, Lord Shiva is revered as the Lord God of Gods and Goddesses (Devo Ka Dev Adidev and Kalo Ke Kal Mahakal). Shiva’s philosophy guides human intellect, wisdom, and knowledge in the search of the essent
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He, Cao. "«DRAGON, LOTUS, PHOENIX» AS SPECIAL SYMBOLS OF CHINA CULTURE." Russian Studies in Culture and Society 7, no. 2 (2023): 78–89. http://dx.doi.org/10.12731/2576-9782-2023-2-78-89.

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At present, the urgent task is to preserve and broadcast the cultural values of different peoples. From this point of view, symbols of Chinese benevolent culture can be seen as an important form of cultural communication. Three symbols of good wishes were chosen as the objects of the study: dragon, lotus and phoenix. Despite the prevalence of these images, there are practically no works in the literature that comprehensively, from different points of view, would describe the semantics of each of them. Thus, the goal is to reveal the history of these symbols, their meaning and traditions of use
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Petrović, Jelena. "The role of media in psychological warfare." Bastina, no. 53 (2021): 283–97. http://dx.doi.org/10.5937/bastina31-30695.

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The Gulf War represents a turning point in understanding of psychological warfare, so as the way of presenting development of war in the media. The basic means are not propagandas' messages and leaflets, anymore. The chosen reporters, the chosen journalists and the chosen TV stations have primacy. The development of technique and technology and appearance of social network services and applications creates posibillity for avoiding of war in classical meaning. The classic armed conflict creates huge economic consequences and political crysis with long-term effects. Because of it, the basic mean
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Yuxin, Wang, and Wang Pohsun. "Research on the residential buildings forms of kaiping diaolou and villages in guangdong province." South Florida Journal of Development 4, no. 1 (2023): 551–66. http://dx.doi.org/10.46932/sfjdv4n1-040.

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Looking at the residential buildings of Kaiping Diaolou and Villages in Guangdong province, they show a strong cultural exchange between Western and Chinese architectural styles. In order to understand the characteristics of the residential buildings of Kaiping Diaolou and Villages in Guangdong province in the forms and decorative patterns, to explore the characteristics of the spatial layouts and decorative patterns, this study takes the residential buildings of Kaiping Diaolou and Villages in Guangdong province as the objects of study, respectively, to explore the architectural style, spatia
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Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.

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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of
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Liu, Yang, Jie Zhang, Shiwei Shen, and Kaixiang Lu. "More Information, Greater Appreciation: The Correlation between Background Information and Aesthetic Judgment of Tourist Crafts." Behavioral Sciences 12, no. 7 (2022): 217. http://dx.doi.org/10.3390/bs12070217.

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More information is often correlated with greater appreciation. Drawing on the model of aesthetic appreciation and aesthetic judgment in art psychology, this study aims to investigate changes in tourists’ aesthetic judgments of tourist crafts when provided with different background information. Blue calico, an art form created through white pulp dyeing and printing, is an intangible cultural heritage of China. The photographs used in this study illustrate typical examples of blue calicos that are commonly sold in tourist gift shops in Wuzhen, China. Data from a sample of 133 participants (49 w
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Dyakonova, E. M. "The Symbolism of Fish and Fishing in Japanese Culture. Whales, Dolphins, and Fantastic Sea Creatures in Legends and Ideas." Yearbook Japan 53 (December 10, 2024): 227–42. https://doi.org/10.55105/2687-1440-2024-53-227-242.

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In Japan, there are many regional legends and traditions associated with water, fish, and fantastic creatures inhabiting the sea. These legends go back many centuries; the first mentions of large fish are found already in the first Japanese poetic anthology Manyōshū (8th century) and in the mythological and chronicle text Nihon Shoki (720). In different provinces, legends and traditions vary, some motifs are interpreted differently by folklorists, however, apparently, we can talk about a single body of related texts, united not only by plots where the main characters are whales, dolphins, etc.
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Uma, B. "The Structural Compression of Kāvyprakāsa and Taṇṭiyalaṅkāra". Shanlax International Journal of Arts, Science and Humanities 7, № 4 (2020): 84–90. http://dx.doi.org/10.34293/sijash.v7i4.2318.

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Tolkāppiyam, the first extant work of Tamil grammar covers the descriptions on the ‘Rhetoric Grammar’ (aṇiyilakkaṇam; figures of language) under the chapter simile. Later on, In ‘Vīracōḻiyam’ which is one of the five grammatical thoughts of Tamil, (Eḻuttu, Col, Poruḷ, Yāppu, Aṇi) the rhetoric aspects of the language was described as following Sanskrit work ‘kāviyātarca’. Subsequently, more works such as Taṇṭiyalaṅkāra, Māṟāṉalaṅkāram, Toṉṉūl Viḷakkam, Muttuvīriyam were written based on the Sanskrit rhetorical conventions. Though the rhetoric works in Tamil were written on the basis of Sanskrit
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Lee, Haiju. "The Context and Implication of the Rabbit Figure Supporting the Celadon Incense Burner with Openwork Auspicious-character Design Lid in the National Museum of Korea: Focusing on the Symbolism of the Rabbit and the Atlas Motif." Paek-San Society 127 (December 31, 2023): 211–41. http://dx.doi.org/10.52557/tpsh.2023.127.211.

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This study discusses the symbolism of the rabbit statue on the base of a celadon incense burner with an openwork auspicious-character design lid in the National Museum of Korea. Chapter II analyzes the overall design of the incense burner, pointing out that although the rabbit statue is small in size, it is a three-dimensional figure with detailed carving of each part of the body and inlaid techniques used to express the eyes, making it an important component that embodies artistry beyond a simple base. Chapter III explores the spectrum of perceptions of the rabbit by examining rabbit sculptur
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Zavidovskaia, Ekaterina A. "Illustrated Editions and Popular Woodblock Prints nianhua Featuring Short Stories by Pu Songling." Oriental Studies 19, no. 4 (2020): 94–107. http://dx.doi.org/10.25205/1818-7919-2020-19-4-94-107.

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The paper studies connections between the illustrated lithographic edition of Pu Songling’s 蒲松齡 (1640–1715) “Strange Stories from a Chinese Studio with annotations, poems, and illustrations” (詳註聊齋誌異圖詠Xiangzhu liaozhai zhiyi tuyong, 1886), a collection of illustrations by Shanghai publishing house Tongwenshuju 同文書局 and several popular woodblock prints 年畫 nianhua found in Russian collections (Peter the Great Museum of Ethnography and Anthropology of the Russian Academy of Sciences, State Hermitage, Geographic Society) in order to learn how Pu Songling’s stories circulated in the society of late
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Srivastava, Monika. "NEW EXPERIMENTS IN CLASSICAL DANCES." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3479.

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The feeling of unification with God is the creativity of classical dances. It is an expression of feeling, but emotion - of eternal, eternal values, of Satyam Shivam and beauty. Truth, beauty is born from the eternal realization of Siva. The body and mind bind with beauty, and this door is made with the beauty of art. Suष्टुu became beautiful with Nara: meaning sun. With this, the expressions of sad, gentle, pleasant, delightful, charu, shobhan, rachir and auspicious. Beauty is a toxic form. This concept is the legislation of Indian aesthetics and the Western aestheticians interpret its form i
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ZHANG, CHI. "Common Features of the Sea Waves and Cliffs Pattern on Ming and Qing Porcelain and Textiles." Культура и искусство, no. 3 (March 2025): 106–16. https://doi.org/10.7256/2454-0625.2025.3.73355.

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The object of this study is the "sea waves and cliffs" (海水江崖纹) pattern. The subject of the study is its application on porcelain and textiles of the Ming and Qing dynasties. The main attention is paid to the origin of the pattern and the process of its intermedia dissemination, with an emphasis on a comparative analysis of the compositional structure, color scheme and technical methods of execution. Not only the symbolic significance, but also the transformation of the artistic qualities of the pattern are revealed. The study analyzes how
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Syarbini, Imam. "Persepsi Masyarakat terhadap Tajdid al-Nikah (Pembaharuan Nikah)." Al-Adillah: Jurnal Hukum Islam 2, no. 2 (2022): 75–85. http://dx.doi.org/10.61595/aladillah.v2i2.445.

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Tajdid Nikah is renewing the marriage, with the meaning that there has been a valid marriage contract according to the syara', then with the intention of being Ihtiyath (be careful) and making the heart comfortable, the marriage contract is carried out one more time or more. If we classify the occurrence of tajdid Nikah in the hamlet of Dawuhan Suco Lor, there are two kinds, first the newlyweds, this part is divided into two more, namely; (1) based on auspicious days (according to Javanese calculations), for example when registering, KUA determines the date of August 15, 2022, while according
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Du, Bingbing, and Kailun Feng. "Research and Application of Chinese Auspicious Animal Images in Contemporary Clothing Design—Take “The Classic of Mountains and Seas” as Research Example." International Journal of Literature and Arts 12, no. 6 (2024): 149–55. http://dx.doi.org/10.11648/j.ijla.20241206.11.

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This thesis aims to investigate the auspicious animal images in “The Classic of Mountains and Seas”, exploring the profiling features and evolution of the auspicious animal patterns through cross verification of images, literature and cultural relics, and based on the research, the images are applied on the China-Chic clothing design. Ancient Chinese took the auspicious animals as things of blessing, which were endowed with many beautiful meanings to express our ancestors’ longing for a better life. Based on the concept of innovative design derived from the traditional culture, this thesis tak
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Cao, Yue. "An Initial Exploration of Auspicious Patterns in Traditional Chinese Sculpture." International Journal of Social Sciences and Public Administration 7, no. 1 (2025): 54–58. https://doi.org/10.62051/ijsspa.v7n1.06.

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Nowadays, the forms of auspicious patterns in traditional sculpture vary widely, rich in connotation and profound in significance, embodying the thought-provoking traditional cultural connotations. The emergence of auspicious patterns is an important outcome of the millennia-long accumulation of historical and folk culture of the Chinese nation. As a unique cultural and artistic phenomenon, it not only encapsulates the wisdom of the ancient Chinese but also contains deep philosophical thoughts of humanity, further enriching humanistic ideas and carrying profound cultural significance. Based on
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Cao, Yue, and Jianlan Zeng. "An Initial Exploration of Auspicious Patterns in Traditional Chinese Sculpture." International Journal of Education and Humanities 19, no. 3 (2025): 224–26. https://doi.org/10.54097/kkyqt991.

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Nowadays, the forms of auspicious patterns in traditional sculpture vary widely, rich in connotation and profound in significance, embodying the thought-provoking traditional cultural connotations. The emergence of auspicious patterns is an important outcome of the millennia-long accumulation of historical and folk culture of the Chinese nation. As a unique cultural and artistic phenomenon, it not only encapsulates the wisdom of the ancient Chinese but also contains deep philosophical thoughts of humanity, further enriching humanistic ideas and carrying profound cultural significance. Based on
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Ghritlahre, Neha, Mukta Bariha, Sonia singh, et al. "Explore the mode of action of Swarnaprashana in Varnya(complexion)." Journal of Ravishankar University (PART-B) 38, no. 1 (2025): 143–54. https://doi.org/10.52228/jrub.2025-38-1-9.

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In Ayurveda Varna, is considered as marker of good health. The Varna is a parameter useful for healthy and glowing skin. It is influenced by a several circumstances before and after birth. In Ayurveda classics Acharyas mentioned about various factors like Panchmahabhuta, Dosha, Dhatu, Ahara, Agni, genes, are responsible for different varna. The effective and unique concept about beauty in Ayurveda has steered to the exposure of Ayur-cosmaceuticals. The concept of prabha, varna, chhaya described in Ayurveda are inborn being of beauty. A Sanskrit term varna meaning outer appearance, shape, figur
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Ghritlahre, Neha, Mukta Bariha, Sonia singh, et al. "Explore the mode of action of Swarnaprashana in Varnya (complexion)." Journal of Ravishankar University (PART-B) 38, no. 1 (2025): 67–79. https://doi.org/10.52228/jrub.2025-38-1-5.

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In Ayurveda Varna, is considered as marker of good health. The Varna is a parameter useful for healthy and glowing skin. It is influenced by a several circumstances before and after birth. In Ayurveda classics Acharyas mentioned about various factors like Panchmahabhuta, Dosha, Dhatu, Ahara, Agni, genes, are responsible for different varna. The effective and unique concept about beauty in Ayurveda has steered to the exposure of Ayur-cosmaceuticals. The concept of prabha,varna, chhaya described in Ayurveda are inborn being of beauty. A Sanskrit term varna meaning outer appearance, shape, figure
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49

Jing, Sun, Arba’iyah Ab. Aziz, and Asliza Aris. "Exploring the Element of Form Based on Traditional Chinese Auspicious Patterns." International Journal of Art and Design 8, no. 2 (2024): 132–42. http://dx.doi.org/10.24191/ijad.v8i2.3311.

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Chinese traditional auspicious patterns, which date back more than 5,000 years, are a vital component of national art and traditional culture. These patterns have special meanings and are often associated with good wishes and blessings. Their development reached its peak in the Ming and Qing Dynasties. This research on auspicious patterns focuses mainly on the creation method and classification, with few forms. It seeks to ascertain the features of the traditional auspicious pattern form in China. This study adopts qualitative analysis, specifically in analyzing patterns by observation. Based
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Sumniengngam, Somchai. "Change in the Selection of Auspicious Personal Names in Thai Society." MANUSYA 7, no. 1 (2004): 110–20. http://dx.doi.org/10.1163/26659077-00701005.

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This article aims to study the change in the selection of auspicious personal names in Thai society by comparing the first names of people of two age groups, over 81 years old and under 20 years old, at different periods of time: before 1921 and 1981-2000. The result of the study shows that the first names of the young generation reflect a stronger belief in auspicious letters as practised in the traditional naming textbook "Tamrataksa" than those of the older generations. There are a few differences in the selection of names with favorable meanings of the old and young generations due to chan
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