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Journal articles on the topic 'Symbolism of the circle'
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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.
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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Valenti, Nicole L., and Charles E. Schaefer. "Symbolism of Basic Geometrical Shapes." Perceptual and Motor Skills 85, no. 1 (August 1997): 321–22. http://dx.doi.org/10.2466/pms.1997.85.1.321.
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This study indicated that a sample of undergraduates (87 women and 36 men) when presented the stimuli of a square, a triangle, and a circle were significantly more likely to associate their fathers with the square and themselves with the circle than otherwise.
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Pinos, Jaume Castan. "Identity Challenges Affecting the Spanish Enclaves of Ceuta and Melilla." Nordlit 13, no. 1 (March 1, 2009): 65. http://dx.doi.org/10.7557/13.1468.
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This article will examine the border and identity challenges for the Spanish (semi)enclaves of Ceuta and Melilla, which are surrounded by the Moroccan state. This issue is obviously related to the study of territorial boundaries and more specifically to the EU's relationship with the underdeveloped economic sphere to its south. Indeed, Ceuta and Melilla highlight the double standards of the EU, which was founded to build bridges across borders but at the same time has built barriers (in Ceuta and Melilla actual physical barriers) at its southern border which have underpinned the idea of fortress Europe. Thus, the anomalous geographical location of both Spanish cities exposes them to border and identity challenges as well as to a complex situation of interdependent concentric circles which involves the enclaves (first circle), Spain, Morocco (second circle) and the EU (third circle). The aim of this article is to analyse the three concentric circles, paying special attention to the implications of having African enclaves for an EU state. Finally, the article scrutinises the importance of symbolism and its pivotal role in creating lines of division and political conflict at the local and national level.
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Rychkov, A. L. "Alexander Blok between Vl. Solovyev and E.V. Anichkov: A. Blok’s drama “The Rose and the Cross” and the legacy of Western esotericism." Solov’evskie issledovaniya, no. 1 (March 31, 2021): 95–111. http://dx.doi.org/10.17588/2076-9210.2021.1.095-111.
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In the third article of the series publications on the topic “A. Blok and Vl. Solovyov”, the author considers the representation of the heritage of Western esoterism in Blok’s drama “The Rose and the Cross” on the example of the poet's appeal to the themes of Joachimism and Catharism, including the neo-mythological connection of the Cathars with the legend of the Holy Grail. The author analyzes the influence of V.V. Solovyov's historiosophy and E.V. Anichkov's aesthetics on the symbolism of the drama from the perspective of rethinking these themes. It is shown that the drama of Blok is deeply intertwined with the neo-mythological concepts of the "French school" of Western esotericism, which were widely discussed in the circle of Russian symbolists, for example, in connection with the work of Sar Peladan. The conclusion is made about the influence on the symbolism of the drama of the works of V. Solovyov and the beliefs of E. V. Anichkov associated with medieval mysticism. An extensive bibliography is provided.
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Gallop, Annabel Teh. "The Genealogical Seal of the Mughal Emperors of India." Journal of the Royal Asiatic Society 9, no. 1 (April 1999): 77–140. http://dx.doi.org/10.1017/s1356186300015935.
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The genealogical seal of the Mughal emperors of India was one of the most potent symbols of Mughal imperial authority. The distinctive design of the seal - a central circle containing the name of the ruling emperor, surrounded by a series of smaller circles, like satellites in orbit, containing the names of his ancestors up to Timūr (1336–1405) each preceded by the filiative ibn - was a self-evident masterpiece of imperial symbolism, in which the authority of the ruling emperor was both legitimised and enhanced by the deliberate reference to his illustrious ancestors. The inscription was designed to be read starting with the ruling emperor's name in the middle, then moving into the outer circle to the name of his immediate predecessor (at 1 o'clock) and, continuing clockwise, finishing up at Timur, who always had pride of place at the top of the seal. In this way, each ruler was expressed as the son of his predecessor, while at the same time, from his central position abutting all the smaller circles, the ruling emperor could be read symbolically as the “son” of each of his ancestors.
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정영식. "The Meaning of Circle Symbol (圓相) in Zen Buddhism and Symbolism." Study of Culture & Art 7, no. ll (June 2016): 67–88. http://dx.doi.org/10.35413/culart.2016.7..003.
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Ron, Zvi. "The Origin and Development of the Custom for the Bride to Circle the Groom Three or Seven Times." Zutot 17, no. 1 (May 27, 2019): 1–14. http://dx.doi.org/10.1163/18750214-12171084.
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Abstract This article traces the origin and development of the by now ubiquitous Ashkenazic custom for the bride to circle the groom under the chuppa. The custom began as circling three times, and various reasons were given for this particular practice. Due to kabbalistic influence, the custom shifted from three circuits to seven, the common custom today. The reasons given also changed over time, reflecting changing attitudes to the symbolism of the wedding ceremony.
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Priego, Natalia. "Symbolism, solitude and modernity: science and scientists in porfirian Mexico." História, Ciências, Saúde-Manguinhos 15, no. 2 (June 2008): 473–85. http://dx.doi.org/10.1590/s0104-59702008000200016.
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The quest of Mexico for a distinctive national identity throughout the 19th century reached a climax during the period known as the Porfiriato, one of the principal features of which was the deep desire of Porfirio Díaz and his circle to turn Mexico into a 'modern' country perhaps without a clear definition of the meaning of this concept. The debate about national identity had addressed such issues as the rejection of indigenous cultures, blind passion for French culture, and how to go about criating a modern nation by means of industrialization and scientific modernization. The concept of nation in Mexico is definitively linked with the search for a national 'I', and with the struggle to overcome the solitude identified by Octavio Paz. Paradoxically, this very quest forms a part of this identity, and it seems to remain inconclusive.
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Berggren, Kristina. "Spindle Whorls: their Symbolism in the Villanovan Cemetery of Quattro Fontanili, Veii." Current Swedish Archaeology 1, no. 1 (December 28, 1993): 7–24. http://dx.doi.org/10.37718/csa.1993.01.
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The hypothesis presented in this paper is that the apparently insignificant pottery spindle whorl is a symbol of transformation of death into new life by analogy with mankind's oldest abstract image, the circle, and with the important inventions of pottery making and spinning. This funerary symbolism, which earlier was dominated by the feminine principle, in the Villanovan culture receives the male figure. The Villanovan culture, in Central Italy, is a transition between the old, inward-looking, immobile village and the new expanding Etruscan city-state. During this transition the spindle whorl begins, as an abstract image, to symbolize the feminine principle in the hieros gamos, later represented as the intercourse between the goddess and the god.
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Jung, Ok-Im. "Symbolism of Circle, Square and Triangle Inherent in the Prototype Drafting Method for Traditional Hanbok." Journal of the Korean Home Economics Association 49, no. 4 (May 30, 2011): 93–104. http://dx.doi.org/10.6115/khea.2011.49.4.093.
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Kozhukhovskaia, Iuliia. "Reflection of Solar Symbolism in the Burial Rite of the Kemi Oba Culture: Case Study of the Grave Cist Painting from Koyash Village." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (October 2020): 300–314. http://dx.doi.org/10.15688/jvolsu4.2020.4.20.
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Introduction. The article focuses on the analysis of solar elements in the burial rite of the Kemi Oba culture of the Early Bronze Age. Methods and materials. The material draws attention to the painting of the grave cist from Koyash (Vodnoye) village that presents a set of mythopoetic schemes and plots, their interpretation proceeds from the processes of comprehension of the outside world. Analysis. The paper identifies the ideograms on the basis of the painting of the grave cist under study: the circle with a dot in its center, the concentric circle, the triangle. The burial rite of the Kemi Oba culture focuses on the conceptualization of the afterlife in terms of observations of the solar nature, which is consistent with the prevailing Indo-European concepts of the Bronze Age. The sign of the concentric circle in the Kemi Oba culture appears as a solar symbol based on the analogies in the Indo-European mythology. The ideogram is part of the plot with dynamic character, and participates in the mythopoetic scheme based on the dichotomies: up – down, this life – afterlife in the context of the Axis Mundi idea. Four suns as part of the plot of the painted cist demonstrate the non-static solar nature, its four states, and, consequently, suggests the solar myth that has a spatio-temporal realization. Results. The cosmological picture of the world of the Kemi-Oba people includes the processes of categorization of the environment objectified through the fragmentation of the path of the sun, i.e. duality and quaternary.
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FONTENOT, MICHAEL J. "SYMBOLISM IN PERSUASION: THE INFLUENCE OF THE MEREZHKOVSKII CIRCLE ON THE RHETORIC OF ALEKSANDR FEDOROVICH KERENSKII 1." Canadian-American Slavic Studies 26, no. 4 (1992): 241–65. http://dx.doi.org/10.1163/221023992x00118.
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N.M., Syromlia. "EXPLICATION OF THE IMAGE OF FIRE IN THE LYRICS OF A. BELY (1890–1910)." South archive (philological sciences), no. 85 (April 12, 2021): 48–51. http://dx.doi.org/10.32999/ksu2663-2691/2021-85-7.
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Purpose. The article is dedicated to a linguistic approach to analysis of symbolic meanings of the element of Fire in the poetry of Russian symbolist A. Bely.Methods. Symbolism of the element of Fire is studied from linguistic and linguoculturological points of view. The descriptive method was used to select and describe citation material, linguistic and statistical analysis allowed to determine the most frequent constructions, comparative analysis of symbolism of fire was used to identify the author's symbolic meanings on the background of traditional ones.Results. On the one hand the subject of the studying is traditional symbolism of the element of fire conditioned by German-Scandinavian mythology and by binary archetypical oppositions. On the other hand, we defined new author’s symbolism conditioned by the author’s poetic worldview.Archetypes are represented with binary oppositions actualizing the semantics of vertical direction, ambivalence, animism and anthropomorphism. The main traditional meanings of the culturological symbol “Fire” are as follows: a living, mobile element, a symbol of divine energy, the myth world of divine essences, a substitute for God on Earth, characterized by the properties of ambivalence – a symbol of creation and destruction, life and death, also a symbol of fertility, a symbol of passion, strong feelings and desires, a symbol of transformation, rebirth, interaction of the elements, a symbol of purification and healing, light, masculinity, a symbol of creativity, inspiration. The author’s symbolic meanings are expressed according to his rethinking of the myths and archetypes and explication of the meaning in the nearest surrounding of the concept Fire in the texts. So, A. Bely’s individual semantics of the element of fire is: symbol «Fire» is interpreted as a retribution, a challenge, correlates with the symbolist visionary “experience”, fabric, celestial phenomena – “dawns” and “sunsets” as the embodiment of information of a subtle world, the human body and his mental world, artifacts, precious stones on the basis of shades of red and yellow colours and the properties of transparency, “earthly” fire symbolizes physical-vital experiences, “heavenly” fire – “the ignition of a spiritual man”.Conclusions. Thus, the use of the mythologeme Thor, the author’s understanding of archetypal oppositions in the semantic circle of the image of fire led to the expression of traditional and individual-author interpretations of the symbolism of fire in the lyrics of A. Bely.Key words: Russian symbolism, poetry, element of Fire, A. Bely, traditional and author’s semantics. Мета статті – дослідити експлікацію символічних значень образу вогню в поезії російського символіста А. Бєлого.Методи дослідження. В даній студії символізм стихії вогню вивчається з лінгвістичної та лінгвокультурологічної точок зору. За допомогою прийомів описового методу відібраний та описаний цитатний матеріал, лінгвостатистичний аналіз дав змогу визначити найбільш частотні конструкції, порівняльно-зіставний аналіз символіки стихій використовувся для виявлення авторських символічних значень стихії вогню на тлі традиційних, які були знайдені у культурологічних словниках, енциклопедіях.Результати дослідження. Виявлені та описані механізми, що дозволяють експлікувати традиційні та індивідуально-авторські символічні значення образу вогню в ліриці А. Бєлого: це є взаємодія міфологем та архетипів, виявлених у най-ближчому оточенні образу, експлікованого лексемою «вогонь». З одного боку, предметом вивчення є традиційна символіка стихії вогню, зумовлена німецько-скандинавською міфологією та бінарними архетипічними опозиціями, визначеними у поетичному мовленні автора. З іншого боку, проаналізовано індивідуально-авторську символіку, зумовлену поетичним світогля-дом поета-символіста. Архетипи представлені бінарними опозиціями, що актуалізують семантику вертикального напрямку, амбівалентності, анімізму та антропоморфізму. Основні традиційні значення культурологічного символу «Вогонь» пред-ставлені у словниках та енциклопедіях символів, міфологій: живий, рухливий елемент, символ божественної енергії, світ божественних сутностей, субститут Бога на Землі, що характеризується властивостями амбівалентності – символ створення і руйнування, життя і смерті, символ родючості, символ пристрасті, сильних почуттів і бажань, символ перетворення, від-родження, взаємодії стихій, символ очищення і зцілення, світла, мужності, символ творчості, натхнення. Індивідуально-авторські символічні значення формуються відповідно до його переосмислення міфів та архетипів. Отже, індивідуально-авторські символічні значення стихії вогню А. Бєлого такі: символ «Вогонь» трактується як відплата, виклик, він корелює із символістичним візіонерським «переживанням», тканиною, небесними явищами – «світанками» та «заходами сонця» як втілення інформації тонкого світу, людського тіла та його психічного світу, артефактів, дорогоцінних каменів на основі від-тінків червоного та жовтого кольорів та властивостей прозорості, «земний» вогонь символізує фізично-життєві переживання, «небесний» – «займання духовної людини».Висновки. Таким чином, використання міфологеми Тор, авторське осмислення архетипних опозицій у семантичному колі образу вогню зумовило вираження традиційних і індивідуально-авторських інтерпретацій символіки вогню в ліриці А. Бєлого досліджуваного періоду.Ключові слова: російський символізм, поезія, стихія вогню, А. Бєлий, традиційна та авторська символіка.
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Søvsø, Mette Højmark, and Christian Vrængmose Jensen. "Workshop production of brooches with religious symbolism around the year 1100 in Denmark." Danish Journal of Archaeology 9 (March 25, 2020): 1–31. http://dx.doi.org/10.7146/dja.v9i0.115489.
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Small brooches with Christian motifs from the period of c. AD 1050–1150 occur frequently amongst metal-detector finds in Denmark. Those known as Urnes brooches, bird-shaped brooches and circular animal brooches are especially common finds over most of the country. In order to understand what lies behind the distribution and significance of these brooches, the issues of where they were made and who was responsible for production are key questions. The large number of finds must reflect a serial form of production, but up to a few years ago secure evidence of any workshop has been almost effectively absent. Presented in this paper are two recent finds of workshops in which the manufacture of these types of brooches took place, in Ribe and Aalborg respectively. On the basis of the archaeological contexts of the workshops and the finds, it is proposed that this production is to be seen as primarily an urban phenomenon, with the Church as initiator and key agent, directed at a broad circle of customers. This may have been part of an evangelizing thrust with wider popular appeal in which these small but highly meaningful artefacts played an important symbolic role.
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Berkieta, Aleksandra. "Between practice and theory – the case of the Russian avant-garde." Tekstualia 2, no. 49 (June 5, 2017): 113–27. http://dx.doi.org/10.5604/01.3001.0013.3104.
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The article is concerned with Russian avant-garde literature and modern literary theory in its „heroic” period between World War I and the Russian Revolution of 1917. It analyzes selected works by and biographies of the Russian Futurists and the literary theorists who sympathized with them, i.e. the founders of the so-called Russian formalist school gathered in OPOYAZ („Society for the Study of Poetic Language”) in St. Petersburg and Moscow Linguistic Circle in Moscow. The article shows that the revolution in art which they proclaimed and the resulting negation of the academic and literary tradition (especially the rejection of Russian symbolism) was rather superfi cial. It was a consequence of a generational change on the Russian literary scene as well as in the modernist literary studies.
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Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.
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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).
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McPherson, Robert. "Circles, Trees, and Bears: Symbols of Power of the Weenuche Ute." American Indian Culture and Research Journal 36, no. 2 (January 1, 2012): 103–30. http://dx.doi.org/10.17953/aicr.36.2.w280374p4142140q.
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The Ute community of White Mesa, comprised of approximately 315 people, sits in the corner of southeastern Utah, eleven miles outside of Blanding. The residents, primarily of Weenuche Ute and Paiute ancestry, enjoy a cultural heritage that embraces elements from plains, mountain, and desert/Great Basin Indian culture. Among their religious practices are the Worship Dance, Ghost Dance, Sun Dance, and Bear Dance. Although each ceremony is unique, and performed for a variety of reasons, the common ground among them cannot be missed. Healing the sick, renewing necessities for survival, connecting spiritually with ancestors, communicating with the Land Beyond, establishing patterns for life, and sharing symbols that unify religious expression—such as the circle, tree, and bear—are elements that characterize the faith of these people as expressed in these ceremonies. Their origin sheds light on the relevance of these practices as they blend traditions from the past with contemporary usage. As symbols imbued with religious relevance, they make the intangible visible while continuing to teach and protect that which is important in Ute cultural survival. This article looks at these shared elements while offering new information about the origin and symbolism of the Ghost Dance as practiced in the Worship Dance. Circles, trees, bears, and other emblems provide not only themes from past teaching but empower the Ute universe today.
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Namono, Catherine. "Dumbbells and circles: Symbolism of Pygmy rock art of Uganda." Journal of Social Archaeology 12, no. 3 (October 2012): 404–25. http://dx.doi.org/10.1177/1469605312455761.
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Dulina, Anna Viktorovna. "In the center of a circle: poetics of space in Dante’s “Divine Comedy” and H. Melville’s novel “Moby-Dick, or The Whale”." Litera, no. 8 (August 2020): 29–41. http://dx.doi.org/10.25136/2409-8698.2020.8.33584.
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This article is dedicated to the analysis of peculiarities of space arrangement in the “Divine Comedy” by Alighieri and the novel Moby-Dick, or The Whale” by Herman Melville. On the examples of structural mythologemes “journey inside yourself” and “path towards the center of a circle”, present in both works, the author notes the impact of Dante upon Melville and determines the differences in their poetics of space. Structural, semantic and comparative-historical analysis of the texts in question allows speaking of the transformation of symbolism of the images of circle and its center, circular, vertical and horizontal movement, as well as reconsideration of meaning of the category of chaos and order, opposition “internal-external” from Dante’s works to worldview of the authors of the era of Romanticism. The novelty of this work consists in simultaneous analysis of the impact of Dante’s poetry upon Melville and comparison of peculiarities of the poetics of space of both authors for determining fundamental changes in representations of the structure of world space and space of the inner world of a person. In artistic realm of H. Melville, symbolic point of the center of a circle – “center of the world” –is no longer static, it becomes unreliable, depicting heads of madman characters and the images of the objects, which semantics does not resemble the concept of emptiness. The motif of the loss of structuredness along with the motif of mutual reciprocity of spatial dimensions and characteristics distinguish Melville’s poetics of space, delineated in the dialogue with distinct features of space arrangement in Dante’s works.
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Meaden, G. Terence. "Drombeg Stone Circle, Ireland, analyzed with respect to sunrises and lithic shadow-casting for the eight traditional agricultural festival dates and further validated by photography." Journal of Lithic Studies 4, no. 3 (November 15, 2017): 5–37. http://dx.doi.org/10.2218/jls.v0i0.1919.
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A new survey of Drombeg Stone Circle and accurate analysis of shadow effects beginning at particular sunrises of the calendar year has led to a breakthrough in the understanding of lithic symbolism and the intentions behind the construction of this and other Irish monuments including Knowth and Newgrange that also have astronomical alignments. At Drombeg specific standing stones play critical roles at sunrise for all eight of the festival dates as known traditionally and historically for agricultural communities and as now inferred for prehistoric times following the present observation-based analysis.Crucial for Drombeg in the summer half of the year is the positioning of a tall straight-sided portal stone such that its shadow at midsummer sunrise encounters an engraving on the recumbent stone diametrically opposite. During subsequent minutes the shadow moves away allowing the light of the sun to fall on the carved symbol. It is the same for sunrises at Beltane (May Day), Lughnasadh (Lammas), and the equinoxes when shadows from other perimeter stones achieve the same coupling with the same image, each time soon replaced by sunlight. For the winter half of the year which includes dates for Samhain, the winter solstice and Imbolc, the target stone for shadow reception at sunrise is a huge lozenge-shaped megalith, artificially trimmed. Moreover, for 22 March and 21 September there is notable dramatic action by shadow and light between a precisely positioned narrow pillar stone and the lozenge stone.As a result, at sunrise at Drombeg eight calendrical shadow events have been witnessed and photographed. This attests to the precision of Neolithic planning that determined the stone positions, and demonstrates the antiquity of the calendar dates for these traditional agricultural festivals. Discussion is held as to what the concept of shadow casting between shaped or engraved stones at the time of sunrise may have meant in terms of lithic symbolism for the planners and builders. This leads to a possible explanation in terms of the ancient worldview known as the hieros gamos or the Marriage of the Gods between Sky and Earth.
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Ortega Cabrera, Verónica, and Gloria Dolores Torres Rodríguez. "Presencia y valor de los círculos rojos en murales teotihuacanos / Presence and value of red circles in teotihuacan murals." Revista Trace, no. 79 (January 29, 2021): 66. http://dx.doi.org/10.22134/trace.79.2021.724.
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En la pintura mural prehispánica se plasmaron símbolos, escenas reales y ficticias, que nos permiten penetrar el universo ideológico de sus creadores. En Teotihuacán, durante los siglos XIX y XX se recuperó una gran cantidad de vestigios de pintura mural cuyo registro forma parte de la memoria arqueológica de la ciudad. Este trabajo hace un breve recuento de los hallazgos de pintura mural en la urbe del Clásico, hasta los albores del siglo XXI. Gracias al registro detallado, visualizamos la presencia constante de una forma geométrica que podría portar un simbolismo particular: el círculo rojo. Se presenta entonces un recorrido por la arquitectura que ostentó este diseño, para lograr un primer acercamiento al patrón visual que los artistas teotihuacanos alcanzaron con esta forma y al posible valor iconográfico de los círculos rojos en el discurso mural de la ciudad. Abstract: In Teotihuacan during the XIX and XX century many remains of wall paintings were recovered from the inside of houses and public buildings. The goal of this research paper is to give a brief account of the mural paintings discovered at the ancient city till the beginning of the XXI century, we have implemented a systematic registration project, which in the end will constititute one of the most complete memories of this artistic expression. Thanks to the detailed surveys, we have been able to recognize the constant presence of geometric shapes that could carry a particular symbolism: the Red Circle. There is then a tour of the architecture that held this design, whit the aim of achieving a first approach to visual pattern that Teotihuacan artists succeeded whit this form, and the possible iconographic value the red circles in the discourse mural in the city. Keywords: Teotihuacan; architecture of Teotihuacan; mural painting; red circles; solar theme. Résumé : À Teotihuacán, au cours des XIXe et XXe siècles, de nombreux vestiges de peintures murales ont été retrouvés, dont l'archivage fait partie de la mémoire archéologique de la ville. Cet ouvrage retrace brièvement l’évolution des découvertes de la peinture murale dans la période classique de la ville jusqu’a l’aube du XXIe siècle. Grâce à ce registre détaillé, nous visualisons la présence constante d’une forme géométrique pouvant porter un symbolisme particulier: le cercle rouge. Une visite guidée de l’architecture qui a mis en lumière ce dessin est présentée, a fin de réaliser une première approche du motif visuel que les artistes de Teotihuacan ont élaboré avec cette forme et de la valeur iconographique des cercles rouges dans le discours mural de la ville. Mots-clés : Teotihuacan ; architecture Teotihuacan ; peinture murale ; cercles rouges ; thème solaire.
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Zhukova, Olga A. "O.E. Mandelstam’s Works in the Context of Russian Modernist Philosophy and Artistic Practice." Russian Journal of Philosophical Sciences 64, no. 2 (May 23, 2021): 7–20. http://dx.doi.org/10.30727/0235-1188-2021-64-2-7-20.
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The article proposes a philosophical interpretation of the poetic heritage of O.E. Mandelstam. The approach to characterizing the artistic experience of the Russian poet, through the prism of the philosophy of creativity and the philosophy of culture, seems to be significant and productive. This position is substantiated by the fact that in modern scientific literature there are still few works in which Mandelstam’s poetry would be elucidated within the framework of the philosophy of Russian culture and the ontology of creativity. In the article, Mandelstam’s creative phenomenon is shown in connection with the aesthetic program of artistic modernism. The philosophical foundations of Russian modernism are rooted in theissue of the spiritual self-awareness of Russian culture. Since Russian modernism reflects the transformation of artistic and spiritual culture that took place in Russia in the late 19th and early 20th centuries, the author tries to highlight and analyze the leading philosophical and aesthetic principles of Symbolism and Acmeism, discussed by poets of the Russian Silver Age. Special attention is given to Mandelstam’s theoretical works. The cultural-philosophical analysis makes it possible to trace the internal relationships between aesthetic attitudes and the artistic imagination of Russian Symbolists and Acmeists, to determine the specifics of the aesthetic self-awareness of Russian culture, its practices in selecting ideas, symbols, images of national and world artistic culture in the early 20th century. The author describes the logic of the continuity of the artistic ideas of Russian and world literature in the aesthetic concept of Mandelstam. In order to demonstrate the close connection of the philosophical and aesthetic ideas of classical culture with postclassics, the research brings together literary, philosophical and memoir sources in the context of the heritage of Mandelstam and the poets of his circle.
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Batalova, D. A., and S. V. Sapozhkov. "Some of the philosophical sources of N. Minsky’s “meonism” (treatise With the Light of Conscience: thoughts and dreams about the purpose of life)." Science and School, no. 5, 2019 (2019): 20–33. http://dx.doi.org/10.31862/1819-463x-2019-5-20-33.
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The article analyzes some sources of the philosophical concept of the founder of the religious and philosophical course of domestic symbolism – Nikolai M. Minsky (1855/1856–1937), author of the famous treatise „With the light of conscience: thoughts and dreams about the purpose of life” (1890). „Meonism” – so the author himself called his philosophical system, referring this name to Plato as one of the most important sources of his ontology. The problem of the philosophical genesis of „meonism” remained relevant at all stages of the study and comments on „With the light of conscience”. However, so far, the attention of reviewers and commentators has been focused mainly on representatives of European philosophy, A. Schopenhauer and I. Kant, but Plato and other antique philosophers, despite the direct indication of the author of the treatise, remained unstudied. The article fills this gap by introducing into the circle the philosophical sources of the treatise of the Minsky concepts of Plato and Plotin as the most representative for understanding the antique genesis of „meonism”. The article compares the interpretation of Minsky and ancient philosophers of such central categories as „meon”, “single”, „nothingness”, “anamnesis”, etc. Turning to the circle of European philosophy, the authors of the article, as a topical source of „meonism,” highlight a number of maxim philosophical teachings of F. Nietzsche as a figure who in many ways defined the vector of developing philosophy in Russia at the turn of the 19th – 20th centuries. In particular, there is a transformation in the philosophical thinking of Minsky of such category as „love for fate” („amor fati”), which in many ways defined the moral pathos „With the light of conscience”, the ideal of selfless attitude to sufferings and death.
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Nováková, Mgr PhD Lucia, and Mgr Monika Pagáčová. "Dexiosis: a meaningful gesture of the Classical antiquity." ILIRIA International Review 6, no. 1 (July 27, 2016): 209. http://dx.doi.org/10.21113/iir.v6i1.213.
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Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associated with the theme of farewell. The gesture was performed by two people in a dialogical composition, which clearly showed their mutual relationship and the figures were depicted in various compositions regardless of their gender or age. The motif was also used in the Hellenistic and the Roman art.
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Ćwiklak, Kornelia. "Ta „poważna drobnostka”. Nowe wydanie Baśni Johanna Wolfganga Goethego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 309–24. http://dx.doi.org/10.14746/pspsl.2018.34.16.
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In this article, the author discusses and reviews the first Polish critical edition of Johann Wolfgang Goethe’s The Green Snake and the Beautiful Lily (2015). The literary text was preceded by two elaborate scientific descriptions which the author of this article refers to. The primary focus is on the extensive German tradition of interpreting The Green Snake and the Beautiful Lily (Das Märchen, 1795), because the main spur of its development is the difficulty or inability to obtain its unambiguous interpretation due to the high degree of symbolism and the esotericism of this literary work. Both critical texts feature the following interpretation grounds: historic-literary – emphasizing the role of the literary circle of the Weimar Goethe and Schiller; historical – stressing the importance of the events associated with the French Revolution and its impact on the situation in Germany; philosophical – represented by Rudolf Steiner and his anthroposophic reading of this work; and poetological – focusing on the properties and functions of its poetics. Among the existing explication there is a lack of genology of the fairy tales and a lack of the placing the work in a broader context of ideas and works of Goethe, which, if taken into account could help to clarify its meanings.
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Voronina, Natalia, Svetlana Dubrovskaya, Irina Klyueva, and Andrey Sychev. "Musical world of Mikhail Bakhtin as objectivation of the idea of cultural synthesis." SHS Web of Conferences 72 (2019): 03037. http://dx.doi.org/10.1051/shsconf/20197203037.
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Researchers repeatedly noted that M.M. Bakhtin’s works are characterized by integration of musical culture into theoretical discourse, which is expressed in his appeal to the conceptual sphere of musical art and use of musical terminology as an instrument of literary, aesthetic, and cultural analysis. However, when examining Bakhtin’s connection with music, researchers, as a rule, discuss “music in general”, without specifying which music Bakhtin used to listen. The paper discusses the phenomenon of “the musical world of Bakhtin”, including his music experience, personal and creative contacts with musicians. The authors find out musical sources of Bakhtin’s creative intuitions. Based on the study of Bakhtin’s collection of gramophone records (now located in the M. M. Bakhtin Center of the Mordovia State University), published and oral memories of people personally communicating with Bakhtin, and other sources, his individual musical preferences are identified, and the circle of his favorite composers and performers is determined. It is emphasized that the phenomenon of the “Bakhtin’s musical world” is a “marker” of his commitment to the tendency of interaction and synthesis of arts, intermediality, and the objectification of the idea of cultural synthesis, which was one of the prevailing philosophical and cultural intuitions of Russian symbolism.
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Sakhno, Irina. "Kazimir Malevich’s Negative Theology and Mystical Suprematism." Religions 12, no. 7 (July 16, 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 and meanings. Malevich treats his Suprematism as a method of perceiving the ineffability of the Absolute. With the Black Square seen as a face of God, the patterns of negative theology rise to become the philosophical formula of primary importance. Malevich’s Mystical Suprematism series (1920–1922) confirms the presence of complex metaphysical reflection and apophatic thought in his art. Not only does the series contain icon paraphrases and the Christian symbolism of the cross and mandorla, but it also advances the formulas of the apophatic faith of the modern times, since Suprematism presents primary forms as the universals of “the face of the future” and the energy of the non-objective art.
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Yücer, Hür Mahmut. "Vahdet-i Vücûd Nazariyesinin İzahında Nokta Sembolizmi ve Muhyiddin-i Rûmî’nin Temsîl-i Nokta Adlı Eseri / The Symbolism of the Point (Noqtah) to Expound the Doctrine of the Unity of Being and Muhyiddin al-Rumi’s Work "Tamthil Noqtah"." Journal of History Culture and Art Research 6, no. 2 (April 6, 2017): 199. http://dx.doi.org/10.7596/taksad.v6i2.852.
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<p><strong>Abstract</strong></p><p>The real being in the Islamic thought is only one and it is Allah, the Almighty. All other beings have come to existence through the gradational manifestation (tajalli), condescension (tanazzul) and effusion (tafayyud) of the Transcendental Being (Zat Muta'al). A variety of symbols has been utilised to describe the transition of the being from oneness to plurality, from subtlety (latafa) to grossness (kasafa) and from truth (haqiqa) to metaphor (majaz), In this regard some symbolisms prevail such as of reality and shadow, of seed and tree, of point and letter,</p><p>The Point (noqtah) is the beginning of the writing (of the word). A book consists of sentences formed by words made up of letters which originate singly from a point. Thus the point constitutes the start and essence of the word and the source of the knowledge. Furthermore, the point is the commencement of the being as well. In other words, it is the initial source and outlet of the universe. It is eventually identical to human being. As essence it is immanent in all beings in addition to forming the beginning.</p><p>The tradition of defining the being through the symbolism of the point which dates back to Ibn Arabi has been maintained by Ottoman sufi thinkers in the subsequent eras. One of them, Muhyî al-din al-Rumi (d. ca. 946 AH), a sheikh of Khalwatiyya sufi order authored several treatises in which he makes use of abovementioned symbolisms. In the treatise titled Tamthil Noqtah he focuses on the symbolism of the point. In his works he explains the matters by drawing some geometrical shapes such as circles which one in the other, besides speaking of them through prose and poetry.</p><p>This study firstly deals with the symbolism of the point and then provides an examination of the said work of Muhyî, Tamthil Noqtah, followed by a Turkish transliteration of it.</p><p><strong>Öz</strong></p><p>İslam düşüncesine göre gerçek varlık birdir, o da Cenâb-ı Allah’ın kendisidir. Vücûd/varlık, Zât-ı Müteâl’in içerden dışarıya doğru aşama aşama tecelli, tenezzül, tefevvüz etmesi ile oluşmuştur. Varlığın birlikten çokluğa, latiften kesife, hakikatten mecaza geçişini anlatılabilmek için farklı semboller kullanılmıştır. Bu sembollerin başında hakikat ve gölge, tohum ve ağaç, nokta ve harf, hakikat ve ayna, iplik ve halı gibi çeşitli benzetmeler gelmektedir.</p><p>Nokta, yazının (kelâmın) başlangıcıdır. Noktadan, harf, harften kelime ve isim, kelime ve isimlerden cümle, cümleden kitap oluşmuştur. Bu haliyle nokta kelâmın başlangıcı ve özü, bilginin kaynağıdır. Diğer yandan nokta, kelâm ile eş zamanlı olarak varlığın başlangıcıdır. Evrenin ilk kaynağıdır, ilk çıkış yeridir. En nihâyet nokta insanın ʻaynıdır, hüviyetidir. Fakat bu haliyle o zübde/öz olarak bütün varlığın hem başlangıcı hem de onu içkindir.</p><p>Varlığı nokta sembolizmi üzerinden tanımlama geleneği İbn Arabî ile başlamış özellikle Osmanlı sûfi düşünürleri tarafından devam etttirilmiştir. Muhyiddin er-Rûmî (946/1539’den sonra) yukarıda bahsedilen sembolleri kullanarak müstakil risâleler kaleme almıştır. <em>Temsîl-i Nokta</em> risâlesi de bunlardan nokta sembolizmine yoğunlaşmıştır. Fakat o eserlerinde sembolün daha iyi anlaşılabilmesi için nesir ve manzum bir yazım tarzı yanında iç içe geçmiş daireler ve şekiller çizerek konuyu anlatma yolunu tutmuştur.</p>
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Vinokurov, Vladimir, and Marina Vorontsova. "ANTINOMY AND PARADOX IN ST. AUGUSTINE’S “CONFESSIONS” AND THE “SHIMMERING CONCEPT” OF L. WITTGENSTEIN." SWS Journal of SOCIAL SCIENCES AND ART 1, no. 1 (July 23, 2019): 26–34. http://dx.doi.org/10.35603/ssa2019/issue1.03.
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The aim is to show the disintegration of a personality by analyzing the fragment of “Confession” by St Augustine. It allows us to come from the phenomenological description of personality transformation process to means of psychological defense. By solving the questions of love St Augustine uses hidden rhetorical constructions, which reflect his emotional processes in the most adequate way. They should be analyzed and clarified.
The rhetorical aspect of this transformation can be reconstructed from that part of “Confession” where Augustine describes his Carthage impressions. He suffers psychological chaos: he “ran into love”, “loving love”. Augustine finally summarizes these impressions by saying “I loved not yet, yet I loved to love”. Thesis becomes antithesis and that is the circle.
Wittgenstein wrote in “Tractatus Logico-philosophicus” (1922), that “a function cannot be its own argument”.
In “Remarks on the Foundations of Mathematics” (1942) Wittgenstein returns to this topic. For the description of this contradiction Wittgenstein proposes a kind of function:”F (F), where F (ξ) = – ξ (ξ)”. It is “a shimmering concept”.
Contradiction is part of logical symbolism, but topologically, the figures of contradictions, which use Augustine and Wittgenstein, are different. They describe a variety of psychological processes.
The figures of contradictions by St Augustine are the paradox in time. The figures of contradictions by L. Wittgenstein are the antinomy in space.
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Gevorkyan, Armen V. "V. Ya. Bryusov and N.Ya Bryusova on the Pages of the Weekly «Music»." Proceedings of Southern Federal University. Philology 2021, no. 1 (March 30, 2021): 171–79. http://dx.doi.org/10.18522/1995-0640-2021-1-171-179.
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At the end of November 1910 a new musical weekly «Music» was founded, the editor-publisher of which was V.V. Derzhanovsky. He allotted a significant place on the pages of the publication to the creativity of Russian Symbolists: there were published announcements and reviews of the Symbolists published in the publishing houses «Scorpio», “Musaget”, “Grif”, their poetic texts. Of particular interest to the publisher of “Music” was the literary work of V.Ya. Bryusov, as well as the activities of his closest circle, in particular, the poet’s sister, N. Ya. Bryusova.
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Velhartická, Šárka. "Reliefs and Symbols at Göbekli Tepe. Records of Early Neolithic Communication." Acta Musei Nationalis Pragae – Historia 72, no. 1-2 (June 1, 2018): 5–12. http://dx.doi.org/10.1515/amnh-2018-0001.
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Abstract The archaeological site of Göbekli Tepe in southeast Turkey has garnered attention over the last two decades thanks to circles of megalithic T-shaped stone pillars dating to the 10th–9th millennium BCE. These stone pillars, which could be considered as representing figures, reach as far as 5.5 metres in height, weigh between 10 and 15 tons and, in many cases, are covered in animal reliefs or geometric motifs. Both the monumentality of the circular structures and their symbolism raise many questions and bring a whole new insight into the life and rituals of early Neolithic societies.
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Krusanov, А. V., and T. V. Misnikevich. "Sources for Vadim Bayan’s Biography: Letters to Fyodor Sologub and An. N. Chebotarevskaya (Introduction, Editing and Comments by А. V. Krusanov, T. V. Misnikevich)." Russkaya literatura 1 (2020): 161–82. http://dx.doi.org/10.31860/0131-6095-2020-1-161-182.
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The article presents the letters of the poet Vadim Bayan (Vladimir Ivanovich Sidorov; 1888–1966), remembered mostly in connection with the literary biography of V. V. Mayakovsky, to the prominent symbolist writer Fyodor Sologub and his wife An. N. Chebotarevskaya. The letters outline the psychological portrait of a provincial amateur writer, who tries to penetrate the circle of the metropolitan literary elite, as well as document the nuances of the relationships between the various lite rary groups in 1913–1914.
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Cennamo, Claudia, and Concetta Cusano. "The role of geometry on stability of large domes: Roman Pantheon as cultural emblem and constructive reference." Resourceedings 2, no. 3 (November 12, 2019): 12. http://dx.doi.org/10.21625/resourceedings.v2i3.620.
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This paper focuses on large domes’ building techniques and use of geometric rules in the design and construction of religious structures. A quick excursus on the cultural heritage in Italy and abroad highlights how domes have been used almost exclusively in sacred architecture, rather than in civic buildings, for most of history. Born of the need to cover large spaces without facing with the encumbrance of vertical elements, the domed cover, ideal for places of worship crowded by hundreds of faithful, has assumed, over the centuries, a symbolic meaning to every religion. In fact, identifying the shape of a large dome in the urban landscape immediately means to recognize the sacredness of that place. The ancient Romans who believed in the gods, Christians, Hindus and Muslims, all used this very peculiar architectural element in churches or mosques to express a kind of spiritual symbolism and, as mentioned, the fact that the shape of the dome arises from a functional reason, it has over time got pushed aside. Furthermore, the circle is a geometric form that possesses a great symbolic force, generated by the idea that, having no beginning and no end, reflected perfection, the eternal, and also the heavens. In this perspective, drawing a circle both in the horizontal and vertical section, the ultimate paradigm for all monumental domes was the Roman Pantheon which, with its centrally placed "oculus" or “eye of heaven” proved to be a model for all other domes after it, retaining its position as the most ancient and well preserved dome in the world. Therefore, this article concentrates on the study of the Pantheon as an emblem and reference model for all monumental domes. By analyzing the “meaning” of its architectural design and its structural and geometric characteristics, the research dissects a comparison between similar large domes, similar to each other, such as that of St. Francesco di Paola in Naples and the Mosta Dome in Malta. The comprehension of these valuable architectural artifacts lies between the search for their original geometry and the identification of structural models through which their shape was defined, namely the geometric and proportional rules of the past.
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Hall, Michael. "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 78–95. http://dx.doi.org/10.2307/991563.
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In a challenging but little-studied article published in Architectura in 1985, David B. Brownlee argued that the religious concept of the development of doctrine influenced the belief of architects in the Anglican Church in the 1840s that they should attempt to "develop" architecture in a radical new direction. The result was the style we now call "High Victorian." This article takes up Professor Brownlee's argument in two ways. First, it looks at how architects in the 1850s sought to create a progressive style by drawing on ideas and images from contemporary science, specifically geology, for which development was also a key word. Second, it addresses the question of why the idea of development fell so suddenly from favor in avant-garde architectural circles in the 1860s. It argues that as science and religion withdrew into their separate spheres, architects turned instead to an ideal based not on historical development but on the imitation of a stylistic paradigm. This approach was influenced by High Church belief that the sacraments, most importantly the Eucharist, were the material realization of a timeless supernatural reality. Changing attitudes to time and precedent had important consequences for the way architects viewed restoration, archaeology, and the use of historical models.
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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 symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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Eve, Eric. "The Miracles of an Eschatological Prophet." Journal for the Study of the Historical Jesus 13, no. 2-3 (May 5, 2015): 131–49. http://dx.doi.org/10.1163/17455197-01302005.
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While it has not been a central aspect of his work on the historical Jesus, E.P. Sanders has contributed to the understanding of Jesus’ miracles. In Jesus and Judaism, Sanders argued that Jesus was an eschatological prophet and maintains that he certainly healed people in ways that his contemporaries regarded as miraculous, but that his miracles were not signs of the end, and cannot be used to determine what type of figure he was. The fuller treatment of miracles in the later The Historical Figure of Jesus emphasizes the exorcisms and dismisses the nature miracles as having made minimal impact, leading Sanders to conclude that Jesus’ miracles were not as spectacular as the Gospels suggest, and that they probably led his contemporaries to view Jesus as a holy man like Honi the Circle-Drawer, although Jesus himself probably understood his miracles as signs of the imminent arrival of the new age, and his disciples may have come to see them as a defeat of evil powers and as a legitimation of Jesus’ claims. After summarizing Sanders’s arguments this article goes on to suggest how some of their foundations may be secured while also suggesting that the case for associating Jesus’ miracles with his role as an eschatological prophet may be stronger than Sanders allowed. It then concludes by indicating how Sanders’s account of the role of Jesus’ miracles might be further rounded out first by exploring their possible symbolism (as Sanders does with the Temple incident) and second through various social-scientific approaches.
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Giller, Pinchas. "Elliot Wolfson. Circle in the Square: The Use of Gender in Kabbalistic Symbolism. Albany: State University of New York Press, 1995. xiii, 268 pp. - Wolfson. Along the Path: Studies in Kabbalistic Myth, Symbolism and Heremeneutics. Albany: State University of New York Press, 1995. xiii, 283 pp." AJS Review 21, no. 2 (November 1996): 403–6. http://dx.doi.org/10.1017/s0364009400008709.
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Jung Nam Hee and Kim Gab Sook. "Symbolisms of Natural Beings Found in Children's Circle Center Drawings from a Mythical and Religious Standpoint." Korean Journal of Art Therapy 18, no. 1 (February 2011): 3–20. http://dx.doi.org/10.35594/kata.2011.18.1.001.
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Lloyd, Rosemary, Mallarme, and James Kearns. "Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and His Circle." Modern Language Review 86, no. 3 (July 1991): 739. http://dx.doi.org/10.2307/3731087.
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Yelle, Robert. "THE REBIRTH OF MYTH?: NIETZSCHE'S ETERNAL RECURRENCE AND ITS ROMANTIC ANTECEDENTS." Numen 47, no. 2 (2000): 175–202. http://dx.doi.org/10.1163/156852700511496.
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AbstractThere is increasing evidence of the influence of various Romantic thinkers on Nietzsche's early philosophy, especially on The Birth of Tragedy, with its announcement or prediction of a rebirth of myth. The prophetic Thus Spoke Zarathustra, which Nietzsche introduced with the words "tragedy begins," expresses his later philosophy, particularly his central doctrine of the Eternal Recurrence, in symbols, parables, and riddles, suggesting an attempt at mythopoeia. However, the critical, ironic, and parodying elements in Nietzsche's later philosophy have led to its characterization as "antimyth." This essay demonstrates that Nietzsche's idea and symbolism of the Eternal Recurrence as a temporal cycle of opposites represented by various forms of the circle, especially the ouroborus or serpent biting its own tail, and associated with Zoroaster, Heraclitus, and Dionysus, was influenced by the tradition of Romantic mythology. Before the publication of The Birth of Tragedy, Nietzsche encountered the writings of Johann Jakob Bachofen and Friedrich Creuzer, where the cycle of opposites is identified as a specifically mythic idea, which developed later into a philosophy, as metonymically represented in the relationship between the myth-maker Zoroaster and the philosopher Heraclitus. In The Birth of Tragedy, the cycle of opposites became for Nietzsche a symbol of the unity of myth and philosophy, and the rebirth of the former from the self-overcoming of the latter. This symbol continued to serve Nietzsche throughout his career as a model for his own development as a philosopher. The Eternal Recurrence appears to have been his own attempt to unite myth and philosophy, through the transformation of an originally Romantic mythological idea into its opposite, and the adoption of a symbolic and "mythic" style of expression.
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Zubenko, Svitlana. "1910–1920's poetry of P. Antokolsky in the context of O. Block’s creative work." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 37–42. http://dx.doi.org/10.34079/2226-3055-2019-12-21-37-42.
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Pavel Antokolsky’s took his first steps in poetry when literary life in Petersburg and Moscow was raging: new poetic circles were formed and new bright personalities appeared. The poems composed by Alexander Block, an older generation poet, were the object of general admiration. But young talents, almost of the same age as Antokolsky, such as Akhmatova, Pasternak, Mandelstam, Tsvetaeva, Mayakovsky, Yesenin, etc. represented themselves as strong, bright personalities, confident poets and competed on equal terms with the previous literary generation. However, despite his bright talent, the young poet did not consider his early works worth publishing. Many of them remained unknown until 2010 when the book «Daleko eto bylo gde-to…» («It was somewhere far away… ») was published. This book appeared as a result of exploring the poet’s archive by his descendants Andrew Toom, professor at Pernambuco State University (Brazil) and Anna Toom, professor at Touro International University (USA). P. Antokolskiy’s poetry has always been researched in the context of the Soviet poetry and it has been also believed that 1920s was the time when he started his career in literature. The researchers such as L. Anninsky, T. Beck, I. Grinberg, R. Igoshina, T. Letapurs, K. Nikitina, L. Ozerov, D. Reznikov, A. Tarasenkov, etc. also investigated the poetry by P. Antokolskiy in this context. However, the early poems of P. Antokolsky, which were published only in 2010, enable to clarify the periodization of his creative work and to distinguish the period of «apprenticeship» that took place in the 1910s. P. Antokolsky established himself as a poet in the Silver Age of the Russian poetry and at first was fascinated with symbolism, futurism and acmeism. The theme and images of P. Antokolsky's early lyrics are influenced by symbolism and above all, by O. Block's creative work. Referring to the experience of O. Block was due to the crisis of symbolism and many poetic decisions of P. Antokolsky present the imitation, which exploits various means of expression and clichéd images: mysteries, disbelief, disappointment, search for ways, functions of the poet and poetry; poetic images of the cup, blue ships, the Balaganchik and his characters, the Stranger, Her, the Therem, the steady threshold, the blue river, etc. The publication of P. Antokolsky's unknown works is an important step in creating a holistic view of his poetry and its origin, features and evolution of its development and, ultimately, the place of his creative work in the history of literature.
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Stelnik, Evgeny. "Job Versus Hercules: Virtue in the Articles of the Byzantine Suda Dictionary of the 10th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 253–58. http://dx.doi.org/10.15688/jvolsu4.2020.6.20.
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Introduction. In ancient mythology, the image of Hercules is one of the most popular, and his heroic cult is one of the most common. Having emerged from the “conglomerate of folk tales”, the image of Hercules was actively assimilated by the Greek and then Roman literary tradition. Hercules was a very popular hero among Greek tragic and especially comic poets. In Roman times, the final systematization of the image took place. The key role in this process was played by the works of Apollodorus “The Mythological Library” (2nd century BC), “Pictures” by Philostratus the Younger (2nd century BC) and “Description of Hellas” by Pausanias (2nd century BC). Within the framework of the classical tradition, the image of Hercules in Roman times was finally formed and unambiguous. Hercules is a hero, a demigod, the son of Zeus and Alcmene, who possessed amazing strength, who killed his children (and the children of his brother Iphicles) in an act of madness. He performed 12 labours at the request of Eurystheus. Hercules lived with the Lydian queen Omphale dressing in a woman’s dress. He was poisoned by his wife Deianira, burned at the stake on Mount Eta and ascended to Olympus, where he became the spouse of Hebe. Methods. The hermeneutic methodology, which ensured the correct understanding and interpretation of the text of the Suda dictionary and the ancient texts, on which this “antique” dictionary was based, is used in the article. The toolkit of the hermeneutic circle (pre-understanding and understanding of the text, interpretation of the whole based on knowledge of its parts) made it possible to highlight key elements (plots, signs and symbols) of the philosophical image of Hercules in the entries of the dictionary. Results. We can see a kind of “muscular Christianity”, when the strength of the body still corresponds to moral perfection and the withdrawal from the world does not contradict the active entry into the still polis institutions of urban life in Byzantine cities, among which the most important was the hippodrome and sports competitions. Christian authors actively used traditional sports metaphors and images of wrestling, but filled them with new Christian content. In the dictionary of the Suda, there is a kind of replacement of images that embody the samples of virtue. Hercules always loses to Job. It is indicative that the Christian rhetoric, relying on the philosophical symbolism of the apotheosis of Hercules, using the “sports” terminology of struggle, ignores the developed philosophical symbolism of Hercules, and fights against the mythological “fables” about Hercules. Using cynical and stoic terminology, Christian rhetoric opposes the comedic and dramatic image of Hercules, as Herodore of Heracles did in the 5th century BC. That is, the enemy is borrowed from Christian rhetoric along with philosophical symbols and terminology describing a difficult life full of trials as a virtue.
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Dobush, Yu V. "Theoretical conditions for the analysis of the children choir repertoire in its historical retrospective (on the basis of the cantata for children «The Sun Circle» by L. V. Dychko)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 21–38. http://dx.doi.org/10.34064/khnum1-53.02.
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Background. The topicality of the article is defined by the intention to consider the cantata for children by L. Dychko «The Sun Circle» as an example of the neoclassical interpretation of the cyclic type genre form, the semantic invariance of which is based composed on the principle of a singing/praising a certain ideal. The pragmatic angle of the problem concerns an adequate reproduction of the composer’s plan presupposing that in addition to the requirements for the technical competence of the performing, a special attention is needed to be deal to understanding of the conception of the work. The performers perception of the idea of L. Dychko’s cantata requires a special analytical technique: in the general history of musical culture, her work demonstrates, apart from the innovative position regarding classical traditions, gravitation to postmodern tendencies of cultural creativity (in particular, the idealization of national cultural traditions). It was precisely postmodernism that raised the question of updating the principles of musicology analysis, taking into account the changes in the musical chronotopos of the end of the millennium. It made impossible the appeal to certain norms or rules crystallized in certain historical-style contexts and generalized by academic theoretical thought. Moreover, the extreme autonomy of the author’s style, gained in the previous century, compel to search for the meaning of the creative idea in the depths of personal experience of an artist, in a personal spiritual achievements. Hence, understanding the theoretical conditions for the analysis of the children choir repertoire resource in its historical context, which is carried out on the material of the cantata for children by L. Dychko “The SunCircle”, makes it necessary to research the structure foundations of this work, built on a unique individual-stylistic principle of embodiment dramaturgical ideas of cyclization, in the spirit of postmodern discourse of culture. Objectives. “The Sun Circle” by L. Dychko is the composition that is authentic in all respects and indicative in view of the post-modernistic character of stylistic processes, hence, that demands the special approach to understanding its semantic structure in view of the post-modernistic model of style creation. The subject of the study is the dramaturgical peculiarities of the cyclic structural type as a special type of compositional idea, which requires its proper hermeneutic reception by performers. That is the awareness of the structural-semantic invariant of the genre form of the work is one of the basic conditions for its adequate reception. Thus, the purpose and objectives of the study, on the one hand, is an analytical excursion to the problem of the method of interpretation of cyclic structures in general and clarifying the semantic specificity of the cantata genre in particular, which involves consideration of the peculiarities the existence of cyclic type compositional forms in vocal genres; on the other, the investigation of conceptual “carcass” of L. Dychko’s cantata “The Sun Circle” at the level of general dramatic perspective of the compositional plan of the cycle and the figurative and semantic logic of the distribution of dramatic functions between its parts. Methods. The choice of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been realized in view of the holistic approach, in spirit of the world trends. In this regard, the interpretive potential of the concepts “intonational model” and the modus nature of musical themes in the context of thinking by sound images appear methodologically appropriate: the both purposefully focus attention of the recipient on the sound «body» and the intonational «soul» of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. The results, conclusions and prospects of the study. In the context of the typology of dramaturgical constructions of cyclic compositional forms, in the L. Dychko’s cantata “The Sun Circle”, we encounter a rather ambiguous situation: in the semantic field of the cantata there is no place for a “drama problem” with conflicting confrontations (as, for example, in L. Dychko’s cantata “Red viburnum”). The plot principle of cyclization (the linear-developing logic of the correlation of concept segments) also does not work, since the change of the seasons, as well as a passing of existence itself, are constant a priori – regardless of the experience a person – and this knowledge is transmitted as the experience of generations (for example, the archetypal meaning of the rite).“The Sun Circle” declares the axiological (value) verified dimension of the realities of life, for which nobody “no fought”, but they is given for granted. The dramatic method of cyclization in the L. Dychko’s cantata “The Sun Circle” appeals to the myth-poetic sources, within the frames of neoclassical tendencies, according to the mythology of the calendar ritual cycle with its logic of a circle. It follows herefrom the both, the self-sufficiency of the concept segments (Spring, Summer, Autumn, Winter), and the merger of the latter in the entire: they consistently impersonate (according to the macro- and micro-plan) traditional ideas about the passing of the natural processes of being and their worldview sense. Significant factors in the cantata’s semantic identity are the synthesis of the Word and the Music – a musical and poetic unity, where the conceptual and semantic content of the Word itself is enhanced by musical expression, as well as the individual-style qualities of L. Dychko’s artistic thinking – by her mastery of visualization of natural phenomena, a high degree of timbre-intonational individualization of musical themes, in which the images of the poetic text are clearly recognized. The cantata is most generously decorated with metaphors, allegories and all kinds of associative artistic techniques. Moreover, it is they who create the semantic field of meaning integration necessary for the cantata’s genre form – an ordered by tradition understanding of the tide of existential life forms in their inextricable aggregate. Therefore, in the performing aspect, it is necessary to realize that the figuratively bright cantata by L. Dychko “Sun Circle” is based on folklore symbolism and folk poetical ideas about the Universe, a concept that has induced a specific mythological dramatic type of cyclization with its pantheistic origin – according to the natural principle of the circle (the mythologema “God – Sun”). It is that, which provides a clear semantic load of a cyclic form and dramatic modeling of concept segments at the macro- and micro-plan levels: the macro-plan reflects the march of the seasons, and the micro-plan specifies the content of human life and nature’s pictures in a certain time of the year (such a structure is similar to the structure, for example, of a scientific text – by sections and subsections). Thus, the issue of cyclization, cycle building, how it arises in the analysis of the cantata for children by L. Dychko “The Sun Circle”, opens up one of the prospects for the development of the theory of the genre.
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Lovrin, Metka. "Is Jamie Oliver “Easy Peasy” in Slovene?" ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (May 9, 2013): 113–26. http://dx.doi.org/10.4312/elope.10.1.113-126.
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The research aims to identify the idiolectal features in selected cookbooks by Jamie Oliver (The Naked Chef, Happy Days with the Naked Chef and Jamie’s Ministry of Food), and how they were rendered into Slovene by Oliver’s translators. As a theoretical basis, it relies on Koller’s three-stage model for analyzing the original and the translation. The paper also confronts the problems that arise from cultural differences between Slovene and British culture. Lexical items are layered into independent categories in the form of concentric circles to denote quantity, significance and interconnection. Within these layers, I focus on specific analysis of expressions under the influence of word-formation, pop culture, gender specific language, onomatopoeia, phonetic symbolism, deliberate inaccuracy, comparison, informal and colloquial language, and creative instances such as “the icky factor”, “childish intimacy” and “the Peter-Pan-syndrome”. The translator’s subjective point of view was also taken into consideration.
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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 (February 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 “estate topos” in Russian literature. Most of the action in the “Roman-Prince” by Z. N. 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 “autocratic” dictatorship of P. I. Pestel and the Christian democratism of S. I. Muravyov-Apostol) echoed in Gippius’s novel in the form of the opposition between Roman Smentsev and Mikhail Rzhevsky, along with his supporters Florenty and Litta. Gippius’s discovery consists in the fact that she found in the field of “estate topos” a meaning that goes back to the activities of the Decembrists-noble revolutionaries of the first quarter of the 19th century, often large landowners. The “Estate topos” appears in the “Roman-Prince” as the topos of the Russian religious revolution in a number of local variations. The ideological and artistic circulation between its three loci unites the Western European castle, reminiscent of the educationist roots of the Russian “estate culture” with its ideal of a free personality, a noble estate of the Golden age, which brings Russia’s first apostles of religious revolution, and eclectic intelligent-landowner estate of the Silver age, the inhabitants of shich are under the evil power of the Antichrist of the revolution, genetically ascending to Stavrogin of the novel “Demons” by F. M. Dostoevsky. At the same time, they maintain the ability to break the fatal circle outlined by Smentsev thanks to the heterotopic connection with the other two estate projections presented in the novel. So, the scientific novelty of the article is that: here, in the material of the Gippius’s novel is identified and discussed an important modification of the “estate topos” in the literature of Russian symbolism — a landowner’s rural estate as a topos of the religious revolution, and for understanding of its structure a new category — “heterotopia of the estate” — is used.</p>
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McGUINNESS, P. "Review. Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and his Circle. Kearns, James." French Studies 51, no. 4 (October 1, 1997): 494. http://dx.doi.org/10.1093/fs/51.4.494.
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Bartnik, Grażyna. "Literackie wizje ogrodu księżnej Izabeli Czartoryskiej na przykładzie semantyki uczuć — romantyczna percepcja poety wędrowca." Prace Literackie 56 (June 29, 2017): 5–19. http://dx.doi.org/10.19195/0079-4767.56.1.
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Literary visions of Princess Izabela Czartoryska’s garden as exemplified by the semantics of feelings — Romantic perception of a wandering poetIn the article the author attempts to capture the first signs of the Romantic turn, using as her example the semantics of feelings of a poet in a garden. She analyses fragments of poems describing Princess Izabela Czartoryska’s park, including Puławy by Julian Ursyn Niemcewicz and Erinnerungen an Pulawy by Eugen von Gutschmidt. She points to those signs of the Enlightenment-Romanticism turn that were associated with poetic perception and emerged as a result of observations of nature during lonely wanderings. In addition, the author focuses on the role of the wanderer, who not only sees nature through the senses receiving external stimuli, but who also makes the surrounding reality the object of his observations. She tries to demonstrate that on the threshold of Romanticism the poet pays attention to the movement, light, sound and colours of the garden scenery surrounding him. In her view the poets praising the Puławy gardens recognised the nature of the layout and Czartoryska’s concept according to which certain meanings and associations were to be read on the basis of the symbolism of the garden word. The Puławy gardens seen through the eyes of strollers appeared as a series of signs and components that were to be decoded and interpreted. The author concludes that the oeuvre of poets from the Puławy circle gave rise to changes in the thinking about and interpreting of the surrounding reality and that the whole cycle of transformations is also a result of psychological processes occurring in the wanderer’s mind. Their interpretation makes it possible to say that an attempt to capture the signs of the new era is a long-term processes. The changes were not rapid; they resulted not only from observations of nature but also from the loss of national independence.
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Sergeeva-Klyatis, Anna Yu. "“The Loneliness of the Incomprehensible Content”: Sergey Bobrov about Boris Pasternak." Studia Litterarum 5, no. 4 (2020): 358–73. http://dx.doi.org/10.22455/2500-4247-2020-5-4-358-373.
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This is a publication of letters from Sergey Bobrov (1889–1971) to Eugeny and Elena Pasternak. The letters were written in the mid-1960s, shortly after the death of Boris Pasternak. They reflect Bobrov’s attempts to parse his archive as well as his reaction to the book entitled Pasternak by a French Slavist Jacqueline de Proyart published in 1964 by Gallimard. Exposing what he calls the myths created by the researcher, in his memoirs he discusses the youth of Boris Pasternak, talks about the probability of his baptism, his first steps in the field of poetry, and moves on to the discussion of his relationship with the “Centrifuge” group and the symbolist circle in general. Bobrov’s letters partly repeat what one might find in his published correspondence with Pasternak’s sisters but partly present an original contribution to the 20th century history of Russian culture.
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Volkov, Alexander V. "Crisis of Ideas in Moscow Society of Religion and Philosophy in Memory of Vladimir Solovyov in 1907–1910." Voprosy Filosofii, no. 3 (2021): 128–34. http://dx.doi.org/10.21146/0042-8744-2021-3-128-134.
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The article provides an overview of the main development stages of the Moscow Society of Religion and Philosophy in Memory of Vladimir Solovyov (hereinafter, MRFO – Moskovskoye religiosno-filosofskoye obschestvo). The focus is on the second stage of MRFO’s activity, from October 1907 till April 1910. The articles studies the reasons for the expulsion of one of its most active members of the first period, Valentin Sventsitsky, and why the communication with him where broken thereafter. The article also explores the decline of Bulgakov’s political activity towards the end of the revolution and his increased engagement with the problems of Christian history, spurred, among other factors, by the influence of the Circle of Seekers of Christian Illumination. Another issue is the departure of Vladimir Ern from social and ecclesial issues and his transition to classical philosophical topics. The author also specifically focuses on the evolution of Berdyaev’s philosophic views – from socio-religious issues close to those explored by the New Religious Consciousness group, to ecclesial issues and the phenomenon of historical Christianity. The articles also describes the features of the formation of the philosophical ideas of Symbolists observed in their presentations made at MRFO meetings in 1907–1908. Some of the presentations discussed are those of Andrey Bely and Vyacheslav Ivanov. The author also analyzes the main reasons for the MRFO crisis of 1907–1910 and discusses the presentations of Dmitry Merezhkovsky at MRFO meetings. In addition, the article seeks to give an overview of how the ideas of St Petersburg and Moscow circles of religious and philosophical thinkers developed in subsequent periods.
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Shrimplin, Valerie. "Michelangelo, Copernicus and the Sistine chapel." Proceedings of the International Astronomical Union 5, S260 (January 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, positioned in the centre of a dramatic circular design rather than at the top of a layered format. This appears to relate to the traditional Christian analogy between the deity and the astronomical feature of the sun, the neoplatonic cult of Sun-symbolism and sources in Dante. More importantly, the influence of the Copernican theory of heliocentricity is argued, since interest in such ideas in papal circles is demonstrated at exactly the time of the commission of the painting (1533). This provides important evidence of papal support for Copernican heliocentricity as early as the 1530s.