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Journal articles on the topic 'Christian art and symbolism Harp in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА". Humanities journal, № 3 (22 грудня 2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.

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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly

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Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.

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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping s

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description

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OVADIAH, Asher. "Symbolism in Jewish and Christian Works of Art in Late Antiquity." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 38 (January 11, 1999): 55. http://dx.doi.org/10.12681/dchae.1192.

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Pozdnyakova, D. Y. "Coptic Christian Symbolism in Art as a Problem of Cultural Studies." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.

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In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus

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Pozdnyakov, E. V. "Philosophical and Aesthetic Components of the Art of the Baroque Style." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.

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In this paper considers the impact of the historical process of the formation of the Counter- Reformation in the philosophical views of aesthetic expression, symbolism and personification of the Christian temple art of the Baroque

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Beskov, Andrey. "Russian rock music: “Orthodox art”, new religion or “lovely paganism”?" Культура и искусство, no. 6 (June 2020): 10–28. http://dx.doi.org/10.7256/2454-0625.2020.6.31675.

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This article is dedicated to examination of the art of several famous Russian rock bands, which leaders have repeatedly declared their religiosity and to some extent are engaged in missionary activity of the Russian Orthodox Church. The author covers the questions whether it is appropriate to attribute the art of such rock bands to the genre of &ldquo;Christian rock&rdquo;, and do the rock musicians contribute to popularization of Orthodox doctrine and churching of their fans, or rather to desecration of religious values and ideals. For solution of the set tasks, the author analyzed so

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Bugaev, Vasily Ivanovich. "V.S. Solovyov’s characters of Christian ideal in the humanization process of Russian artistic education." Samara Journal of Science 5, no. 2 (2016): 146–49. http://dx.doi.org/10.17816/snv20162302.

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The article explores the development of Russian culture and education symbolism at the end of ХІХ in a question about Filioque. The prominent Russian thinker V. Solovyov considered that the unity of spirituality of Christian ideal faith was carried out in the unity of catholic and orthodox Christian churches. He doubted the question of division of Character of Vera perception. V. Solovyov notified the ideal of iconographic art, which was fundamental conception of development of Russian artistic culture and education. Semantic Christian character-kernel is an interpretation of our Hail Mary for

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Trzcińska, Izabela. "Esoteric Themes in the Artistic Works of Janina Kraupe." Nova Religio 19, no. 4 (2016): 80–101. http://dx.doi.org/10.1525/nr.2016.19.4.80.

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The purpose of this article is to present the character and art of Janina Kraupe, a renowned Polish painter influenced by esoteric thought. While Theosophical concepts constitute one of the most important inspirations in her life, she borrows the concept of universal evolution from Anthroposophy, and her artistic experiments with geometric forms and the symbolism of color are influenced by astrology, Kabbalah, and Christian mysticism. Kraupe searches for a common ground in all these traditions, and her art is a synthesis of religious themes.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 2 (2017): 204–7. http://dx.doi.org/10.1017/s0017383517000122.

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Visitors to modern Istanbul struggle to imagine how the city as created by Constantine appeared. But the elongated promenade now usually indicated as Sultan Ahmet Parki, but also known as the At-meidam (‘Horse-Square’), is vaguely conceivable as the ancient Hippodrome, the centre of public life in imperial Constantinople; and of the numerous monuments that once adorned this area, a trio persists along the site of the ‘spine’ of the ancient racetrack. Two obelisks are still conspicuous; between them lurks the ‘Serpent Column’, which was already a piece of antiquity when Constantine had it remov

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Gudzenko-Aleksandruk, Olena. "Mythic-symbolic interpretation of spiritual reality in Christian tradition and moral growth of personality of believer." Ukrainian Religious Studies, no. 73 (January 13, 2015): 279–84. http://dx.doi.org/10.32420/2015.73.535.

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In this article the main stress is on the fact that symbol and myth are the means of the formation of personality and the realization of person’s spirituality in Christianity. It is also observed that sacred symbolism and art represent people’s attitude to God and provide psyche of the faithful with cathartic emotional processes.

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Titarenko, Svetlana Dmitriyevna. "VYACHESLAV IVANOV AND JAKOB BÖHME (RELIGIOUS SYMBOLISM THEORY AND ACTUALIZATION OF THE GERMAN MYSTIC’S HERITAGE)." Russkaya literatura 2 (2021): 173–83. http://dx.doi.org/10.31860/0131-6095-2021-2-173-183.

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The article outlines the insuffi ciently studied issue «Vyacheslav Ivanov and Jakob Böhme». The goal of the research is to defi ne the sources that infl uenced Vyach. Ivanov’s theory of religious realistic symbolism. The philosophy of Vyach. Ivanov’s art is analyzed, and the contingencies between his theory and the mystic learning of Böhme and his followers concerning symbolic correspondences are highlighted. It is shown that, postulating his principles of religious symbolism, Ivanov relied on Böhme’s principles of symbolic nature of reality, that were connected to the traditions of the Mediev

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Gockel, Matthias. "Redemption and Transformation." Religion and the Arts 20, no. 4 (2016): 419–41. http://dx.doi.org/10.1163/15685292-02004001.

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The article discusses Richard Wagner’s last music-drama, which today is the traditional Good Friday “opera” in New York, Vienna, and other venues around the globe. I argue that Parsifal utilizes traditional Christian symbols and thereby transforms them, in order to help transform the world of the audience. The first part of the article summarizes the dramatic conflict and analyzes how the work appropriates the Christian symbolism of the Lord’s Supper. I also look at Wagner’s essay “Religion and Art,” which was written during the composition of Parsifal and presents an ethical critique of Chris

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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.

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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is agains

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Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.

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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Las

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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ". Art and Design, № 2 (11 серпня 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.

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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indic

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Carile, Maria Cristina. "The Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches by Nicholas N. Patricio." Catholic Historical Review 101, no. 3 (2015): 599–600. http://dx.doi.org/10.1353/cat.2015.0117.

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19

Cotter, James Finn. "The Book within the Book in Mediaeval Illumination." Florilegium 12, no. 1 (1993): 107–40. http://dx.doi.org/10.3138/flor.12.008.

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From early Christian times up to the sixteenth century, books occur so often in mediaeval illumination that a study of the book as it appears within the book would involve a survey of the whole course of Western miniature painting. Despite its ubiquity, however, little has been written on the subject of the symbolism of the book in art. In The Idea of the Book in the Middle Ages, Jesse M. Gellrich takes a semiotic approach rather than the viewpoint of art history. Ernst Curtius has a chapter on “The Book as a Symbol” in his classic European Literature and the Latin Middle Ages, but he does not

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Lazorevich, Irina. "SACRALITY IN THE DIVERSITY OF MODERN LITERATURE: HUMANISM OR VALUE DESTRUCTIVENESS?" Sophia. Human and Religious Studies Bulletin 16, no. 2 (2020): 28–33. http://dx.doi.org/10.17721/sophia.2020.16.6.

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In a secularized society, on the base of the rapid development of technologization and globalization, we also observe an intensive "return" of the sacred. It "returns" with the growth of nostalgia for the personalism of social relationships. And this return is reflected, in particular, through the phenomena of contemporary art – some of them are filled with appropriate symbolism and emotional atmosphere. Undoubtedly, there is no historical period, which would be characterized by complete secularization and the absence of any sacredness. However, in the modern era, the uniqueness of the sacred

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Dergacheva, Irina. "PRECEDENTIAL INTERTEXT IN THE POEM “THE GRAND INQUISITOR”." Проблемы исторической поэтики 19, no. 2 (2021): 125–40. http://dx.doi.org/10.15393/j9.art.2021.9622.

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The poem "The Grand Inquisitor" is part of the novel "The Brothers Karamazov," written by Ivan Karamazov about Christian freedom of will and told by him to his brother Alyosha, who rightly perceived it as an Orthodox theodicy. The article presents an intertextual analysis of the precedent texts used by F. M. Dostoevsky in the poem "The Grand Inquisitor". In particular, the meanings of direct quotations from the New Testament, especially its last book, the Revelation of John the Theologian, and the translated apocrypha "The Walking of the Virgin in Torment" are interpreted; medieval Western Eur

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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.

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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические пери

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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (2019): 3. http://dx.doi.org/10.3390/arts9010003.

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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medie

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Sakhno, Irina. "Kazimir Malevich’s Negative Theology and Mystical Suprematism." Religions 12, no. 7 (2021): 542. http://dx.doi.org/10.3390/rel12070542.

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This article examines Kazimir Malevich’s Suprematist art in the context of negative (apophatic) theology, as a crucial tool in analyzing both the artist’s theoretical conclusions and his new visual optics. Our analysis rests on the point that the artist intuitively moved towards recognizing the ineffability of the multidimensional universe and perceiving God as the Spiritual Absolute. In his attempt to see the invisible in the formulas of Emptiness and Nothingness, Malevich turned to the primary forms of geometric abstraction—the square, circle and cross—which he endows with symbolic concepts

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Marković, Ivica. "Ideal-real beauty in the theurgical creativity: Themes and concepts of visual art aesthetics of the silver age of Russian culture." Artefact 6, no. 1 (2020): 15–32. http://dx.doi.org/10.5937/artefact6-27763.

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The paper explores the Christian-intoned philosophical aesthetics of the figurative arts during the silver age of Russian culture. In this period, which covers the second half of the nineteenth and the first two decades of the twentieth century, Russia's speculative thought, based on the Orthodox patristic and philosophical idealism, promoted the original religious philosophy, which highly valorized the importance of comprehensive gnoseology and ontology of "total-unity", true knowledge sought only through the absolute - an ideal which in itself synthesizes a real beauty, truth and goodness. T

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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography." Religion and the Arts 20, no. 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.

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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens we

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Avdykovych, Roksolana. "The Artistic Symbolism of the Chapel’s Lost Interior of the Greek-Catholic Theological Academy in Lviv." Text and Image: Essential Problems in Art History, no. 2 (2019): 99–115. http://dx.doi.org/10.17721/2519-4801.2019.2.06.

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This paper looks at the artistic design of the chapel of the Greek Catholic Seminary in Lviv that was created after the earlier church was destructed in the military events of 1918. Articles in press written after the ceremony of the consecration, the records of greeting speeches of the church leaders who attended the ceremony, and the essays of art critics provide an important insight into the iconographical programme of the chapel and its functioning as the scared space. Rare photographs of iconostasis and photo-fixations of different stages of the interior decoration supplement the narrativ

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Shrimplin, Valerie. "Michelangelo, Copernicus and the Sistine chapel." Proceedings of the International Astronomical Union 5, S260 (2009): 333–39. http://dx.doi.org/10.1017/s1743921311002493.

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AbstractIt is argued that Copernican astronomy is a key theme in Michelangelo's fresco of the Last Judgment in the Sistine Chapel, and was incorporated with the knowledge, consent and approval of the Popes concerned. In Christian art, the iconography of the Last Judgment (depicting the three parts of the universe: heaven, Earth and hell) was traditionally based on a layered structure relating to perceptions of the flat Earth covered by the dome of heaven according to biblical cosmology. In Michelangelo's revolutionary work, Christ is significantly depicted as a beardless Apollonian Sun-god, po

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Mitrofan, Ionuț. "Simboluri și sculptură. Porțile maramureșene vechi." Teologie și educație la "Dunărea de Jos" 17 (June 12, 2019): 244–50. http://dx.doi.org/10.35219/teologie.2019.09.

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The cult of globalization from these days could be easily resisted or even forgotten once you find the carved wooden portals on the lands of Maramureș. There, the cultural tradition of the picturesque villages from our country’s distant past remains immaculate and at the same time conveys freshness to the Romanian art history and sculpture. From the beauty and artistry of these ornate gates, one could get the impression that the carved symbols were created for esthetic purposes only, if their significance were unclear. Nevertheless, like the painted churches in Bukovina where one could view or

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Abdullina, D. A. "Images of «educated children» in the Russian children’s portrait of the second quarter of the XIX century." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 152–58. http://dx.doi.org/10.30725/2619-0303-2020-4-152-158.

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In the field of Russian portraiture in the second quarter of the 19th century, a new «type» of children’s portrait images emerged, which the author conventionally calls «exemplary children». According to him, young models were portrayed as educational models for both the portrayed themselves and their peers and potential descendants. This «type» was formed at the junction of romantic ideas about the virtue of childhood, Christian ideals and, at the same time, growing realistic trends in art. It became widespread among both metropolitan and provincial portrait painters, which testifies to its c

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Bogdanova, Olga A. "“The Heterotopia of Estate” in the Novel by Z. N. Gippius “Roman-Tsarevich” (1913)." Проблемы исторической поэтики 27, no. 1 (2020): 294–314. http://dx.doi.org/10.15393/j9.art.2020.7542.

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<p>The article studies the space-semiotic organization of one of the central symbolist novels of the Silver age, associated with the &ldquo;estate topos&rdquo; in Russian literature. Most of the action in the &ldquo;Roman-Prince&rdquo; by Z.&nbsp;N.&nbsp;Gippius takes place in the 1910s on the territory of country estates in different parts of Russia, as well as in the Western European castle near the Pyrenees, where Russian revolutionaries live. The duality of the Russian revolution manifested as late as in Decembrist movement (the &ldquo;autocratic&rdquo

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Polizoes, Elias. "Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO." Forum Italicum: A Journal of Italian Studies 43, no. 2 (2009): 405–17. http://dx.doi.org/10.1177/001458580904300205.

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This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, ho

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Titarenko, E. M. "Reign and ritual: crowning of the tsaraesthetics in the interpretation of N.F. Fyodorov." Solov’evskie issledovaniya, no. 2 (June 30, 2020): 178–90. http://dx.doi.org/10.17588/2076-9210.2020.2.178-190.

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The article is dedicated to the semiosis of the tsar’s crowning ritual in Nikolay Fyodorovich Fyodorov’s «Philosophy of the Common Task». This problem has never been an object of a special research but it helps to get closer to the understanding of ontology of Fyodorov’s aesthetic supramoralism project. His philosophical works «Monarchy», «Aesthetic Supramoralism», «Easter in the Kremlin with Coronation», «About the Kremlin Walls Paintings», «About the Monument to Alexander III…», «For the Forthcoming Coronation» are analyzed in the article. The interpretation particularities of the coronation

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Palazón Botella, María Dolores, and José Antonio Molina Gómez. "Estudio iconográfico del panteón de las familias Erades-Navarro en el cementerio Nuestro Padre Jesús de Murcia." Revista Murciana de Antropología, no. 26 (December 23, 2019): 77–94. http://dx.doi.org/10.6018/rmu/368581.

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La simbología de la muerte escribiría una destacada página en el panteón que las familias Erades-Navarro elevarían en el cementerio de Nuestro Padre Jesús de Murcia, a través de un complejo escultórico realizado por la saga Ibáñez. En su configuración los elementos iconográficos conjugarían repertorios clásicos de la muerte con otros propios de la religión cristiana. El presente trabajo indaga en la composición e interpretación de los mismos a través de un estudio iconográfico que focaliza la atención en el valor de los signos y su exegesis. A partir del cual se demuestra que la finalidad del

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Shishka, E. A. "MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES." History: facts and symbols, no. 3 (September 14, 2021): 119–29. http://dx.doi.org/10.24888/2410-4205-2021-28-3-119-129.

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The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what w

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Dorofeyeva, L. G. "Visuality in Robert Louis Stevenson’s Novella “Strange Case of Dr. Jekyll and Mr. Hyde”." Observatory of Culture, no. 3 (June 28, 2015): 79–84. http://dx.doi.org/10.25281/2072-3156-2015-0-3-79-84.

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Visuality in Robert Louis Stevenson’s Novella “Strange Case of Dr. Jekyll and Mr. Hyde” (by Ludmila Dorofeyeva) analyzes some visual images connected with the author’s way of writing, the picture of the world created by him, spatial organization of the text, and content of the characters’ images. According to the levels of art space, we can see two basic types of visual images. The world of “visible”, real actuality is accompanied by some visual images generated by an “outward” sight, which are traditional to a realistic prose. Their main function is a characterological one. Visuality of the s

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Tkachenko, Viktor. "HISTORIOGRAPHIC STUDIES FROM REGIONAL AND ORNAMENTAL FEATURES OF EASTER EGGS PAINTING." Journal of Ukrainian History, no. 40 (2019): 61–68. http://dx.doi.org/10.17721/2522-4611.2019.40.8.

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The article deals with the national historiography in which problems of regional-ornamental peculiarities of easter eggs painting are highlighted. The purpose of the proposed research is the analysis of the existing sources related to the historiography of regional ornamental peculiarities of easter eggs painting as a type of decorative and applied art in general. The main task: to find out the current state and degree of study of the problem. The methodological basis is the general scientific principles and methods of research. Among them - problem-chronological, search, analysis and synthesi

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Endoltseva, E. Yu. "The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying." Observatory of Culture 15, no. 3 (2018): 298–308. http://dx.doi.org/10.25281/2072-3156-2018-15-3-298-308.

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The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skil

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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between co

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Schibille, Nadine. "The sacred architecture of Byzantium. Art, liturgy and symbolism in early Christian churches. By Nicholas N. Patricios. (Library of Classical Studies, 4.) Pp. xvii + 446 incl. colour frontispiece and 1,120 ills + 20 colour plates. London–New York: I. B. Tauris, 2014. £45. 978 1 78076 291 3." Journal of Ecclesiastical History 66, no. 2 (2015): 393–95. http://dx.doi.org/10.1017/s0022046914002620.

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Adriansen, Inge. "Grundtvigs bidrag til udvikling af danske nationale symboler." Grundtvig-Studier 57, no. 1 (2006): 67–98. http://dx.doi.org/10.7146/grs.v57i1.16493.

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Grundtvigs bidrag til udviklingen a f danske nationale symboler[Grundtvig ’s contribution to the development of Danish national symbols]By Inge AdriansenBroadly speaking, all Danish national symbols, both official and unofficial, are to be found in Grundtvig’s authorship. However, it is difficult to specify in what way and to what degree Grundtvig inspired the dissemination of the various symbols. The most important routes of dissemination were through Den Danske Salmebog [The Danish Hymnal] and Folkehøjskolens Sangbog [The Folk-highschool Songbookl. since the corrmosition of songs weighs heav

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Cioancă, Costel. "Semiotica dreptului de a visa: dimensiuni mitice ale timpului din basmul fantastic românesc." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 151–70. http://dx.doi.org/10.47802/amet.2020.34.08.

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"Semiotics of The Right To Dream: Mythical Dimensions of Time From The Romanian Fantastic Fairy Tale A fundamental concept of human existence as a species, Time has always been a defining landmark of the depth of thought of homo sapiens. With religious or scientific character, the ensemble of myths, beliefs, ideas, ideologies, representations and significances given to this concept led, …in time, to the birth of a rich, distinct and complex symbolic imaginary. Both a physical continuum (space-time in which biological, chemical, physical and mechanical processes occur that cause changes in Natu

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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French

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Kukil, Lidiia. "Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 301–16. http://dx.doi.org/10.37131/2524-0943-2019-39-21.

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Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author'

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Serdiuk, Oleksandr. "Karol Szymanowski and multiculturalism." Aspects of Historical Musicology 19, no. 19 (2020): 206–29. http://dx.doi.org/10.34064/khnum2-19.12.

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Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russ

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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.

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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev

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Elsner, John. "Early Christian art and architecture. An introduction. By Guntrum Koch. (Trans, by John Bowden of Fruhchristliche Kunst: eine Einfiihrung, Stuttgart-Berlin-Cologne: W. Kohlhammer, 1995.) Pp. vii+184 incl. 52 ills + 32 plates.London: SCM Press, 1996. £12.95 (Paper). 0 334 02632 6 - God, cosmos and humankind. The world of early Christian symbolism By Gerhard B. Ladner. (Trans, by Thomas Dunlap of Handbuch der früchristlichen Symbolik: Gott, Kosmos, Mensch, Stuttgart-Zurich: Besler AG für Verlagsgeschäfte & Co., 1992.) Pp. vii + 334 incl. 130 black and white plates + 8 colour plates.Berkeley-Los Angeles-London: University of California Press, 1996. £37.50 ($45). 0 520 08549 3 - Typos and Antitypos in der frühchristlichen Kunst. Jahrbuch für Antike und Christentum, Ergäanzungsband 21–1995 By Sabine Schrenk. Pp. 217 + 45 plates.plates. Münster Westfalen: Aschendorff, 1996. DM 98. 3 402 08105 9." Journal of Ecclesiastical History 48, no. 2 (1997): 318–20. http://dx.doi.org/10.1017/s0022046900019473.

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Rakićević, Tihon M. "ПРАВНИ ОСНОВ ЗА ИШЧЕЗАВАЊЕ СИМВОЛИЗМА У САКРАЛНОЈ УМЕТНОСТИ (укидање уредби које нису добре [Јез. 20, 25])". TEME, 26 січня 2018, 1057. http://dx.doi.org/10.22190/teme1704057r.

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Symbolism is a characteristic of the ancient Christian art. Symbolic and character representations did not seek realism and credibility. Its sacral meaning considered as consecrated was wrapped in esoteric language, but behind simple images, reality lies deep within. Symbolic language expanded and developed easily. However, clear art relieved old symbols and all elements hiding its content. The Quinisext council rule gives first more specific shape of art theory and foundation for the further art growth. In the previous period symbolism was dominant but it was temporary in nature. Symbolism wa

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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri

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Waardenburg, Jacques. "Menneskelig indsigt ved studiet af religion." Religionsvidenskabeligt Tidsskrift, no. 15 (December 1, 1989). http://dx.doi.org/10.7146/rt.v0i15.5367.

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It is suggested that there are at least four kinds of insight which can be obtained in the course of the study of religion. To start with, we can obtain insight into the very different motivations and intentions with which people, including ourselves, can set out to study religion.Secondly, in the course of our work we can arrive at a better insight into the complexity of the scholarly study of religion and in particular the very different approaches which are possible within this field of research. A distinction is made between the strictly empirical approaches of the various disciplines on t

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