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Journal articles on the topic 'Subconsciousness. Symbolism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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2

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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Yueqin, Chen. "Research on the Application of Art Therapy into College Art Teaching in the Context of COVID-19 Prevention and Control." Journal of Education and Culture Studies 4, no. 2 (2020): p97. http://dx.doi.org/10.22158/jecs.v4n2p97.

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Art therapy employ art symbols to externalize an individual’s psychology, emotion, personality and subconsciousness. Thus, it is widely applied in psychological consultation and treatment as well as clinical treatment of physical and mental diseases, whereas the study of integrating art therapy into art teaching among colleges and universities is rarely seen. To this end, this study, aimed at the psychological behavior and problems of college students who are prone to worry, dysphoria, fear, melancholy and irritability after the outbreak of COVID-19 in spring 2020, carries out the application

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4

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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5

AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING." International Journal of Social Humanities Sciences Research (JSHSR) 4, no. 10 (2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.

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6

Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism." Optometry and Vision Science 77, no. 1 (2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.

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7

Simon, R. M. "The symbolism of style: art as therapy." Child Language Teaching and Therapy 8, no. 2 (1992): 224–25. http://dx.doi.org/10.1177/026565909200800216.

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8

Willard, Christopher. "Color and meaning: Art, science, and symbolism." Color Research & Application 25, no. 5 (2000): 382–84. http://dx.doi.org/10.1002/1520-6378(200010)25:5<382::aid-col12>3.0.co;2-s.

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9

Arnheim, rudolf. "The symbolism of style: Art as therapy." Arts in Psychotherapy 20, no. 4 (1993): 347–48. http://dx.doi.org/10.1016/0197-4556(93)90069-e.

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10

El Weshahy, Mofida, and Radwa Omar. "Snake's symbolism in Coptic and Islamic Art." Journal of Association of Arab Universities for Tourism and Hospitality 19, no. 3 (2020): 291–316. http://dx.doi.org/10.21608/jaauth.2021.64221.1141.

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11

Meisel, Martin. "Seeing It Feelingly: Victorian Symbolism and Narrative Art." Huntington Library Quarterly 49, no. 1 (1986): 67–92. http://dx.doi.org/10.2307/3817192.

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12

Zlatkova, Lуuba. "RHYTHM AND SYMBOLISM IN THE FOLK MUSIC ART." Education and Technologies Journal 10, no. 2 (2019): 244–50. http://dx.doi.org/10.26883/2010.192.1709.

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13

Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 137. http://dx.doi.org/10.25038/am.v0i20.333.

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MONEY – a unit of account, a deposit of value, and a medium of exchange – formally evolved from grain, precious metal, cheap paper, to state-of-the-art digital accounting records managed by artificial intelligence. Although the economists of the 19th century believed in its neutrality, money is an ambiguous socio-economic phenomenon which serves as a political tool and a measure of value even if its own value is volatile. The stamp of authority marked the symbolization of money as a cultural artifact: the character of a ruler, a symbol, or an inscription on the coin came to be a signifier of v

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14

Balter, M. "ORIGINS: On the Origin of Art and Symbolism." Science 323, no. 5915 (2009): 709–11. http://dx.doi.org/10.1126/science.323.5915.709.

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15

Wyckoff, Don G. "Images on shell: Spiro symbolism and ceremonial art." Reviews in Anthropology 12, no. 4 (1985): 329–37. http://dx.doi.org/10.1080/00988157.1985.9977748.

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16

MalborgKim. "Art Nouveau Style Symbolism in Loie Fuller's Dance." Korean Journal of Dance Studies 36, no. 36 (2012): 1–18. http://dx.doi.org/10.16877/kjds.36.36.201205.1.

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17

Morkoç, Selen. "ART HISTORY AND ARCHITECTURAL SYMBOLISM: A Hermeneutical Critique." Architectural Theory Review 8, no. 2 (2003): 124–33. http://dx.doi.org/10.1080/13264820309478489.

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18

Petrova, Stefka, and Marian Petrov. "Phytonymic Symbolism in Bulgarian and Russian Folk Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 125–29. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_013.

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The report examines the anthropologized and other semantic and connotative loads of the names of some plants (wormwood and oregano) in Bulgarian and Russian folk art. The topic is related to the comparative study of a cultural heritage of the two nations. In recent years, linguistics in the Bulgarian and Russian languages has increased research in this direction. An example of developments in both languages is the recent research by Anna Angelova. Keywords: folk art, phytonymic symbolism, linguistics, Bulgarian, Russian

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19

Stoian, S. P. "THE SYMBOLISM OF THE VISUAL IMAGE IN THE PHILOSOPHICAL CONCEPTIONS OF E. CASSIRER AND C. LANGER: THE CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 52–55. http://dx.doi.org/10.17721/ucs.2017.1.11.

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It’s mentioned that the European atmosphere of increased interest in the problems of symbol and symbolism in the cultural space, giving rise in the second half of the XIX century to the registration of symbolism in art direction also contributes to a number of philosophical studies to the rethinking of the functioning of the cultural sphere, as well asthe whole of human existence from the standpoint of symbolism.A powerful concept that gives us an understanding of the global symbolic basis of culture is the theory of E. Cassirer, which he outlines in his work "The Philosophy of symbolic forms"

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Stoian, S. P. "EUROPEAN CODES OF CONTEMPORARY UKRAINIAN SYMBOLISM." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 94–98. http://dx.doi.org/10.17721/ucs.2020.1(6).18.

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The article analyzes the specifics of contemporary Ukrainian symbolism in visual art in the context of a relationship with the European tradition. By drawing parallels between contemporary works by Ukrainian authors and symbolic images created in different historical periods of European culture from ancient times to nowadays, their deep kinship in their motives and meanings is demonstrated. This indicates that modern Ukrainian symbolism, on the one hand, is organically included in the European tradition, and on the other hand, contains unique, authentic features inherent in Ukrainian culture.

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21

Khachatryan, Armine. "Sound Symbolism and Onomatopoeia." Armenian Folia Anglistika 11, no. 1 (13) (2015): 58–64. http://dx.doi.org/10.46991/afa/2015.11.1.058.

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The function, realization and the role of sound-symbolic phenomenon can vary in some languages. The study of sound symbolism and onomatopoeia in Armenian, Russian and English showed that highly expressive forms of language occur not only in daily conversation, advertising, newspapers and magazines, but also in creative literature: children’s poems, stories and great works of art. As a powerful stylistic device they realize an impact upon the reader or listener and evoke certain emotional expressively evaluative reactions. The comparative analysis of this phenomenon demonstrates that the word i

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22

Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.

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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the ana

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23

Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture." ICONI, no. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.

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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series a

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24

Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also d

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25

Namono, Catherine. "Pongo symbolism in the geometric rock art of Uganda." Antiquity 85, no. 330 (2011): 1209–24. http://dx.doi.org/10.1017/s0003598x00062013.

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In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people. Pongo is the bark cloth used to make the distinctive loin cloths of men and aprons of women. Pongo are probably depicted in the rock art to evoke the fecundity of ndura, linking the real and supernatural within the Pygmy cosmos.

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26

Tanner, Jeremy J. "Art as Expressive Symbolism: Civic Portraits in Classical Athens." Cambridge Archaeological Journal 2, no. 02 (1992): 167. http://dx.doi.org/10.1017/s0959774300000573.

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27

Lu, Jingqi, and Hyung-Gi Kim. "Symbolism and Metaphors of Art-focusing on Video Works." TECHART: Journal of Arts and Imaging Science 5, no. 2 (2018): 17–20. http://dx.doi.org/10.15323/techart.2018.05.5.2.17.

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28

GAIDAMAVICIUTE, Ona. "BIRD SYMBOLISM IN LITHUANIAN (BALTIC) FOLKLORE AND FOLK ART." Ethnology Notebooks 151, no. 1 (2020): 109–16. http://dx.doi.org/10.15407/nz2020.01.109.

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29

Avner, Uzi, Liora Kolska Horwitz, and Wayne Horowitz. "Symbolism of the ibex motif in Negev rock art." Journal of Arid Environments 143 (August 2017): 35–43. http://dx.doi.org/10.1016/j.jaridenv.2016.11.009.

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30

Bagno, Vsevolod E., and Tatiana V. Misnikevich. "Rivals in Symbolism." Literary Fact, no. 19 (2021): 253–67. http://dx.doi.org/10.22455/2541-8297-2021-19-253-267.

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The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the a

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31

Whitley, David S. "Shamanism and Rock Art in Far Western North America." Cambridge Archaeological Journal 2, no. 1 (1992): 89–113. http://dx.doi.org/10.1017/s0959774300000494.

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Ethnographic data on the production of rock art in far western North America - the historic hunter-gatherer cultures of California and the Great Basin - are reviewed and analyzed to identify widespread patterns in the origin and, in certain cases, symbolism of the late prehistoric/historical parietal art of this region. These data, collected in the first few decades of this century by a variety of ethnographers, suggest only two origins for the art: production by shamans; and production by initiates in ritual cults. In both instances, the artists were apparently depicting the culturally-condit

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32

Duran, Jane. "The Nagaraja: Symbol and Symbolism in Hindu Art and Iconography." Journal of Aesthetic Education 24, no. 2 (1990): 37. http://dx.doi.org/10.2307/3332783.

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33

Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.

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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the

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34

Gudimova, Svetlana. "The symbolism of the temple art of the Kievan Rus." Herald of Culturology, no. 2 (2019): 48–77. http://dx.doi.org/10.31249/hoc/2019.02.01.

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35

Kuznetsova, O. "The problem of understanding meanings in the art of symbolism." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 19, no. 4 (2019): 66–70. http://dx.doi.org/10.14529/ssh190409.

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36

Namono, Catherine. "Dumbbells and circles: Symbolism of Pygmy rock art of Uganda." Journal of Social Archaeology 12, no. 3 (2012): 404–25. http://dx.doi.org/10.1177/1469605312455761.

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37

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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38

Hodne, Lasse. "Light Symbolism in Gentile da Fabriano’s Vatican Annunciation." Eikon / Imago 3, no. 2 (2014): 33–50. http://dx.doi.org/10.5209/eiko.73395.

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Gentile da Fabriano’s Annunciation in the Vatican Pinacoteca is one of the clearest and most interesting visualizations of a famous metaphor from Medieval hymn literature that compares Mary’s hymen to the glass of a window. The painting uniquely combines three elements: rays of light, a Gothic tracery window, and the shape of the window impressed on the Virgin’s body. Gentile’s painting is the culmination of a development in Tuscan art that can be traced back at least until about 1370. This makes it part of an Italian tradition of visualizing the so-called ut vitrum metaphor that must antedate

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39

Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works

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40

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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41

Mankovskaya, Nadezda Borisovna. "Narcissus in a mirror image. Aesthetics of André Gide’s symbolism." Культура и искусство, no. 4 (April 2020): 71–84. http://dx.doi.org/10.7256/2454-0625.2020.4.31968.

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The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of Andr&eacute; Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is inte

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42

Oleg, Astakhov. "Cultural and creative ideas of Symbolism Art in Vyacheslav Ivanov’s philosophy." Ideas and Ideals 1, no. 2 (2016): 102–9. http://dx.doi.org/10.17212/2075-0862-2016-2.1-102-109.

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PENG, Lingling, and Yang GENG. "Time Symbolism in Gourd Representations used in Chinese Culture and Art." Cultura 14, no. 1 (2017): 59–70. http://dx.doi.org/10.3726/cul.2017.01.06.

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44

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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45

Holbrook, Morris B. "Consumption Symbolism and Meaning in Works of Art: A Paradigmatic Case." European Journal of Marketing 22, no. 7 (1988): 19–36. http://dx.doi.org/10.1108/eum0000000005290.

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46

Tromble, Meredith. "The advent of chemical symbolism in the art of Sonya Rapoport." Foundations of Chemistry 11, no. 1 (2008): 51–60. http://dx.doi.org/10.1007/s10698-008-9058-1.

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47

Ottevanger, Alied. "Symbolism and Early Abstract Art from the Gerard van Wezel Collection." Rijksmuseum Bulletin 67, no. 3 (2019): 234–45. http://dx.doi.org/10.52476/trb.9732.

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48

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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49

Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.

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Yussupova, Akmaral Ardasher, Liu Songfu, Ardasher Namazbay, Farzad Pour Rahimian, and Ahad Nejad Ebrahim. "ORNAMENTAL ART AND SYMBOLISM: ACTIVATORS OF HISTORICAL REGENERATION FOR KAZAKHSTAN’S LANDSCAPE ARCHITECTURE." International Journal of Architectural Research: ArchNet-IJAR 11, no. 3 (2017): 193. http://dx.doi.org/10.26687/archnet-ijar.v11i3.1358.

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The use of symbolism in contemporary architecture is increasingly gaining momentum, especially so in the Eastern countries currently undergoing rapid economic development. Sociologically, this phenomenon can be related to a desire to manifest a vast wealth of national art and respond to the globalisation and unification of world culture. Taking this tendency as a prompt, this study explores different ways of implementing symbolic ornaments in landscape architecture. Traditionally architecture has been defined through and judged against culturally acceptable criteria that set the norm for appro

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