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Artykuły w czasopismach na temat „Sacred colors”

Autor: Grafiati

Data publikacji: 2 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

Yang, Gang. "Buddhism’s Knotted Thread (結縷法): Indian Origins and Chinese Adaptations". Religions 15, № 8 (2024): 906. http://dx.doi.org/10.3390/rel15080906.

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The Buddhist “Knotted Thread” originates from the ancient Indian practice of venerating sacred threads. In Indian culture, sacred threads symbolize identity and status and possess functions such as exorcism, healing, disaster prevention, blessing, protection, and divination. Initially, Buddhism opposed the use of sacred threads by its followers. However, as Buddhism evolved, it began to adopt this and other practices. Buddhist threads could be monochromatic or multicolored, with five-colored threads (五色縷) having significant cultural connections to China. In Buddhism, the five colors typically

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Tomás García, Jorge. "Léxico, usos y espacios de las imágenes de culto en las leyes sagradas griegas = Lexicon, uses and spaces of the cult images in the Greek sacred laws." ARYS. Antigüedad: Religiones y Sociedades, no. 17 (November 20, 2019): 13. http://dx.doi.org/10.20318/arys.2019.4603.

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Resumen: El léxico griego ofrece una enorme variedad de conceptos para definir el uso y la presencia de las imágenes en el contexto religioso y ritual. Tomando como campo de estudio las leyes sagradas griegas y sus corpora epigráfica, nos proponemos en este trabajo definir la presencia de άγαλμα y εἰκών en estas “fuentes directas”, y los usos más significativos de los colores y las vestimentas de los actores rituales en el espacio de estas imágenes.Abstract: The Greek lexicon offers a huge variety of concepts to define the use and presence of images in the religious and ritual context. Taking

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Liu, Jing, Yuetong Yu, Gangqiang Dong, Chenyang Hao, Yan Liu, and Sha Chen. "Identification and quantification of flavonoids in 207 cultivated lotus (Nelumbo nucifera) and their contribution to different colors." PeerJ Analytical Chemistry 4 (August 15, 2022): e22. http://dx.doi.org/10.7717/peerj-achem.22.

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Sacred lotus (Nelumbo nucifera) is a large economic crop, which is also cultivated as a horticultural crop. This study performed a systematic qualitative and quantitative determination of five anthocyanins and 18 non-anthocyanin flavonoids from the petals of 207 lotus cultivars. Among the compounds identified in this study, quercetin 3-O-pentose-glucuronide, quercetin 7-O-glucoside, laricitrin 3-O-hexose, and laricitrin 3-O-glucuronide were discovered for the first time in sacred lotus. The relationships between these pigments and petals colors were also evaluated. A decrease in the total cont

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Bozhedonova, Alla E. "Functional Characteristic of the Designation of the Equine Coat Color in Epic Texts in a Comparative Aspect." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2022): 230. http://dx.doi.org/10.31857/s086919080016064-7.

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The article is dedicated to the functions of the designation of the horse colors in the epic texts of related Turkic peoples – the Yakuts, the Khakass and the Altaians. The relevance of the study is due to the fact that until now in the Yakut language the lexical layer denoting the names of the horse colors has not become the subject of a comprehensive study. The purpose of the article is to study the semantics of designation of equine coat colors in the epic texts of mentioned Turkic peoples and to identify the commonality and specificity of its functioning. It was found that in the texts of

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Yueling, Wu. "SPECIFICITY OF POLYCHROMY OF ANCIENT FRESCO WALL PAINTING OF CHINA." Spatial development, no. 10 (November 29, 2024): 196–204. https://doi.org/10.32347/2786-7269.2024.10.196-204.

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The topic of the research is related to the peculiarities of the coloring of Chinese wall paintings in ancient tombs. The specific role of colors in the scenes of frescoes of ancient burials and their symbolic meaning are analyzed. On the example of an ancient funerary wall painting, changes in colors, the symbolic role of colors in the depiction of sacred figures, mythical creatures, and secular subjects are traced. Thus, it is argued that in the ritual fresco wall painting, specific coloristics were used along with specific figurative means and composition. The analysis of ritual and secular

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Ehlers, Lynne L. "Beyond the Alchemical Black, White, (Yellow) and Red: Journey toward Wholeness via the Sacred Marriage." Journal of Sandplay Therapy 33, no. 1 (2024): 101–18. http://dx.doi.org/10.61711/jst.2024.33.1.264.

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C. G. Jung contended that the work of the ancient alchemists was a metaphor for the process of individuation, and that the four colors, black, white, yellow and red that the alchemists reported seeing in their vessels±—termed after their Latin alchemical equivalents, nigredo, albedo, citrinitas and rubedo, respectively—represented stages of psychological development. The psychological meaning of these four colors is explored in depth, with emphasis on the final stage—the coniunctio or Sacred Marriage of the white and the red as complementary pair. Corroboration for this pair is found worldwide

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WU, Yuelin, Hong LIU, Shiru WANG, et al. "SYMBOLIC AND AESTHETIC ROLE OF POLYCHROMY IN TRADITIONAL ARCHITECTURE AND SACRED ART OF CHINA." International Journal of Conservation Science 16, Special Issue (2025): 701–20. https://doi.org/10.36868/ijcs.2025.si.23.

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An important role in forming the national image of traditional Chinese architecture was played by a specific polychromy, based on a combination of saturated contrasting colors, each of which was used on certain elements and could have a certain sacred meaning. The authors studied the colouristic solution of ancient architectural objects and works of art and identified the most typical examples of the use of colours. Differences in the use of colour in architecture and ancient fresco paintings of China in different periods were traced.

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Bogdan, Zadorozhny. "THE ART OF MODERN STAINED GLASS IN THE ARCHITECTURE OF CHURCHES OF UKRAINE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (2022): 47–53. http://dx.doi.org/10.23939/sa2022.01.047.

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An important place in modern art culture is occupied by the stained glass art of modern temples. Particular attention is drawn to the stained glass compositions of sacred buildings, which impress with their aesthetics, composition, colors, and artistic expression. Ukraine has formed its own special traditions of stained glass work in the decoration of temples. The use of stained glass, made by modern various technologies by artistic processing of glass in combination with other types of decorative finishes create a special emotional worldview in a modern church. In the process of studying mode

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Kuhareva, E. V. "THE SYMBOLISM OF COLORS IN THE ETHNIC PICTURE OF THE WORLD OF THE ARABS." Title in english 17, no. 1 (2019): 97–107. http://dx.doi.org/10.24833/2410-2423-2019-1-17-97-107.

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Te article studies symbolic meanings of colors in the Arab on the material of Arabic sacred, literary texts, dictionary editions, and folklore. Tere is considered the place of each element of the color palette in the Arab ethnic picture of the world, which expresses moral and ethical values and worldview of the Arab ethnic group, and the importance and inﬂuence of colors on the Arab mentality. Te analysis reveals the similarities and diﬀerences in the perception of colors and their symbolic meanings in the Arab and Russian languages. Arabs’ perception of a particular color is based on their fg

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Ehlers, Lynne L. "The Alchemical Sacred Marriage: A Woman's Sandplay Journey to Wholeness." Journal of Sandplay Therapy 33, no. 2 (2024): 25–47. http://dx.doi.org/10.61711/jst.2024.33.2.559.

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C. G. Jung contended that the work of the ancient Western alchemists was a metaphor for the process of individuation, and that the three colors, black, white, and red that the alchemists reported seeing in their vessels—termed after their Latin alchemical equivalents, nigredo, albedo, and rubedo, respectively—represented stages of psychological development. This contention was empirically tested and corroborated in the author's 1992 dissertation on the colors in her dreams over a 14-year period, and further corroborated in the sandplay clinical material of a woman whose off-and-on therapy span

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MacLean, Hope. "Sacred Colors and Shamanic Vision among the Huichol Indians of Mexico." Journal of Anthropological Research 57, no. 3 (2001): 305–23. http://dx.doi.org/10.1086/jar.57.3.3631425.

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Chandel, Ekta. "Mathematical and Scriptural Analysis of Yagya Mandap Construction: Dvar, Toran, Dhvaja, and Pataka." Interdisciplinary Journal of Yagya Research 8, no. 1 (2025): 11–18. https://doi.org/10.36018/ijyr.v8i1.137.

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According to Indian scriptures, the sacred process of Yagya is conducted within a Mandap, defined as a platform constructed with specific proportions. Among its eight components, Dvar, Toran, Dhvaja, and Pataka are associated with specific deities and serve as energy conduits for the fulfillment of the Yagya. The Toran, placed one hast away from the Dvar, varies by direction and tree species, each symbolizing a guardian deity. These are adorned with symbolic emblems like Shankh, Chakra, Gada, and Padma in Vishnu Yagya, or Trishul in Shiva Yagya, with mountain symbols enhancing their protective

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Dr. Sadia Arshad, Dr. Wardah Naeem Bukhari, and Dr. Muhammad Sarwar. "Art and the Writing of Sacred Words." Al-Qamar 4, no. 03 (2021): 123–38. https://doi.org/10.53762/vf922m94.

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This article is intended to define the artistic caliber of three calligraphists in Pakistan, Arif Khan, Tahir Mughal (Bin Qullander) and Shiblee Muneer. Their devotion to the sacred words of Holy Quran and their ability to combine the two genres; the art of painting and the art of writing (calligraphy), very lucratively and that make them exceptional. They believe the shape of letters and words from the Holy Quran are divinely intended and ordained and its elaboration in the form of calligraphic expressions endowed by the artistic language would be adequate to bring a believer into contact wit

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Wang, Yanjie, Yeqing Chen, Man Yuan, Zeyun Xue, Qijiang Jin, and Yingchun Xu. "Flower Color Diversity Revealed by Differential Expression of Flavonoid Biosynthetic Genes in Sacred Lotus." Journal of the American Society for Horticultural Science 141, no. 6 (2016): 573–82. http://dx.doi.org/10.21273/jashs03848-16.

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Sacred lotus (Nelumbo nucifera) is an important aquatic ornamental plant which contains several diverse flower colors, but the underlying mechanisms of its flower coloration remain unclear. In this study, seven complementary DNA (cDNA) clones of genes involved in flavonoid biosynthesis, including chalcone synthase (CHS), chalcone isomerase (CHI), flavanone 3-hydroxylase (F3H), flavonoid 3′-hydroxylase (F3′H), flavonoid 3′,5′-hydroxylase (F3′5′H), dihydroflavonol 4-reductase (DFR), and anthocyanidin synthase (ANS), were isolated and characterized. Moreover, expression patterns of these seven ge

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Woszczenko, Katarzyna. "Green Color of the Facades of Orthodox Churches of the Podlaskie Voivodeship in the Context of Sacred Architecture and Theology." Rocznik Filozoficzny Ignatianum 29, no. 3 (2023): 131–50. http://dx.doi.org/10.35765/rfi.2023.2903.9.

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The purpose of this article is to present interdisciplinarily the connection between architecture and theology. The research was conducted using manuscript sources (inventory cards of architectural and construction monuments from the collections of the Provincial Monument Protection Office in Białystok), printed materials, as well as subject literature and internet sources. Photographic inventories of the sacred objects were carried out, as well as conversations with clergymen. The aim of the research was to verify the hypothesis that theology has a significant impact on shaping the architectu

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Seufert, Günter. "The Sacred Aura of the Turkish Flag." New Perspectives on Turkey 16 (1997): 53–61. http://dx.doi.org/10.1017/s0896634600002636.

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During the last few years the Turkish Flag has gained incessant public attention and visibility. Events in both foreign and domestic Turkish politics are often discussed in relation to the honor of the ay yıldız, the ‘Star and Crescent’, and sometimes the banner itself is to be found in the very center of ongoing events. Among recent examples from the realm of foreign policy, one could refer to the crisis of January 1996 between Turkey and Greece over an uninhabited cliff in the Aegean Sea, which culminated in a commando operation to plant the Turkish flag on the cliff; or to the latest incide

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Plechko, Antonina. "ATTRIBUTIVE CHARACTERISTICS OF CELESTIAL BODIES IN THE MIDDLE POLISIAN BELIEFS." Philological Review, no. 1 (May 31, 2021): 104–10. http://dx.doi.org/10.31499/2415-8828.1.2021.232707.

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The article analyzes the attributive characteristics of celestial bodies: the sun, the moon and the stars in the Middle Polisian beliefs on the basis of dialect texts, which are valuable authentic material for the reconstruction of traditional spiritual culture. The research material was the texts of field research on inanimate objects collected in the territory of the Middle Polissia of Ukraine in 55 settlements of Zhytomyr and Rivne regions during 2010–2019 years. The purpose of our research is to describe tokens that are means of reflecting the attributive characteristics of the nomin

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Zharkikh, T. V. "Musical Stained-glasses by Olivier Messian." Aspects of Historical Musicology 14, no. 14 (2018): 23–35. http://dx.doi.org/10.34064/khnum2-14.02.

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Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to

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Kosicka-Pajewska, Aleksandra. "Dramatyczność kolorów historii." Przestrzenie Teorii, no. 36 (December 15, 2021): 55–69. http://dx.doi.org/10.14746/pt.2021.36.3.

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The drama of Katyń. The theory of colors, Julia Holewińska based on Józef Czapski’s Old Bielsko Memories, although largely processed. The protagonist of the play is Józef Czapski, a painter-capist, writer, intellectual, prisoner of Starobielsk, Pawliszczew Boru, Griazowiec, who builds his paintings in the performance with colors. The setting for these events is Kozielsk, where the artist was not held, which proves that this is not Czapski’s biography, nor is it a documentary account of camp life. The playwright, on the basis of a harsh and humiliating reality, showed human sensitivity. In Hole

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Childs, S. Terry, and Dorothy Hosler. "The Sounds and Colors of Power: The Sacred Metallurgical Technology of Ancient West Mexico." Technology and Culture 38, no. 2 (1997): 503. http://dx.doi.org/10.2307/3107139.

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Hirth, Kenneth, and Dorothy Hosler. "The Sounds and Colors of Power: The Sacred Metallurgical Technology of Ancient West Mexico." Ethnohistory 44, no. 1 (1997): 178. http://dx.doi.org/10.2307/482923.

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Januszewski, Wojciech Stanisław. "The Colors of the Ineffable—Jerzy Nowosielski’s Monumental Works as a Contemporary Search for Sacred Space." Arts 10, no. 4 (2021): 68. http://dx.doi.org/10.3390/arts10040068.

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The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aim

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Suprayitno, Suprayitno, and Inda Ariesta. "Makna Simbolik Dibalik Kain Lurik Solo - Yogyakarta." Humaniora 5, no. 2 (2014): 842. http://dx.doi.org/10.21512/humaniora.v5i2.3150.

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As with another woven in the archipelago, woven Lurik has philosophy values and are also loaded with symbolic meaning. Woven Lurik can not be removed from the people’s belief as well as various religious and customs rituals. The purpose of this study is to redescribe the symbolic meaning of the woven Lurik, with a qualitative method approach through the study of literature and interview stages. Philosophy and symbolic meaning of a piece of Lurik normally reflected in the motifs and colors. Woven Lurik with its various pattern is considered to have sacred values that give good luck, advice, gui

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Childs, S. Terry. "The Sounds and Colors of Power: The Sacred Metallurgical Technology of Ancient West Mexico by Dorothy Hosler." Technology and Culture 38, no. 2 (1997): 503–5. http://dx.doi.org/10.1353/tech.1997.0119.

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Kykta, Roman. "Peculiarities of the interpretation of the sacred theme in the "plastic-associative" works of Mykhailo Dzyndra." Bulletin of Lviv National Academy of Arts, no. 52 (July 11, 2024): 54–65. http://dx.doi.org/10.37131/2524-0943-2024-52-5.

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Based on the application of the principles of a systematic approach, comparative-historical, formal-stylistic, semiotic, and hermeneutic methods of analysis, the artistic features of the interpretation of the sacred theme in the work of Mykhailo Dzyndra during the period of “plastic associations” and in later reminiscences of “plastic-associative” form creation in the artist’s work are analyzed in the current study. The essence of the master's “plastic-associative” method is revealed. It is established that creations of sacred content occupy a prominent place in his “plastic and associative” w

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Uribe Villegas, María Alicia. "Mujeres, calabazos, brillo y tumbaga. Símbolos de vida y transformación en la orfebrería Quimbaya Temprana." Boletín de Antropología 19, no. 36 (2010): 61–93. http://dx.doi.org/10.17533/udea.boan.6916.

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Resumen. La orfebrería Quimbaya Clásica o Quimbaya Temprana de Antioquia y el Cauca medio en épocas prehispánicas se distingue por las formas realistas y escultóricas de mujeres con rasgos femeninos exagerados y de frutos de calabazos, calabazas y totumas; el brillo intenso y color rojizo de las superficies, y el uso de la tumbaga. El texto indaga acerca del significado subyacente a estos símbolos asociados a los grupos de poder, a partir del análisis iconográfico de la orfebrería y de la cerámica Marrón Inciso con la cual se asocia; de fuentes etnológicas y etnohistóricas, y de los estudios d

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Khalid, Siti Asmah, Abdul Razak Abdul Kadir, and Nurul Azhar Ahmad. "KNOWLEDGE ON MENSTRUAL AND ISTIHADHAH AMONG ISLAMIC TEACHERS FROM SELECTED ISLAMIC SCHOOL IN SARAWAK." International Journal of Education, Psychology and Counseling 7, no. 46 (2022): 452–78. http://dx.doi.org/10.35631/ijepc.746035.

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Studies related to menstrual blood and istihadhah are the most difficult and often questioned debates by women. To date, many are confused in understanding it. Although this issue is often presented in various symposia, workshops and talks, there are still many Muslim women who do not understand the methods and ways to identify differences in terms of features, colors, time periods and various issues related to it. If this problem is not resolved then it leads to prolonged confusion. This study was conducted among Islamic Teachers (GI) in SK (A) Datuk Hj Abdul Kadir Hassan, Kuching Sarawak. In

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Masyhur, Laila Sari. "Reinterpretasi Jilbab dan Aurat Perempuan dalam Al-Qur’an Menurut Perspektif Ulama Kontemporer." Journal of International Multidisciplinary Research 2, no. 2 (2024): 37–46. http://dx.doi.org/10.62504/jimr292.

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This article examines the views of classical and modern scholars on what is related to jilbab. It's a matter of culture. That's more of a moral expression. Nevertheless, this expression invites other meanings that need to be associated according to necessity. This need may be hard to guess, so whatever it means is hidden behind the text. (the hidden texts). Thus, it is perfectly logical that the jellyfish are categorized in the sphere of culture. However, not a few scholars have viewed the figs in the colors of the sacrament, and these sacred values have been regulated according to normative p

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Yatsiv, Myroslav. "LIGHT IN THE SACRED SPACE OF THE MODERN GREEK CATHOLIC CHURCHS." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (2022): 193–99. http://dx.doi.org/10.23939/sa2022.01.193.

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Based on domestic and foreign experience, an analysis of the natural light filling of the sacred space of Modern Greek Catholic churches in Ukraine and abroad. Similarities and differences in the formation of the light environment of the modern church, compared with the traditional one, have been establish. The architecture of Modern Greek Catholic churches in Ukraine significantly influenced by the traditions of architectural formation of other branches of Christianity. This influence manifested primarily in the organization of their lighting environment. In Modern Greek Catholic churches, th

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Tan, Qiu, and Chufeng Yuan. "The Philosophical Symbolism and Spiritual Communication System of Daoist Attire—A Three-Dimensional Interpretive Framework Based on the Concept of “Dao Following Nature”." Religions 16, no. 6 (2025): 688. https://doi.org/10.3390/rel16060688.

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This paper examines the philosophy of “Dao follows nature” (道法自然) and investigates how Daoist clothing transforms abstract cosmological concepts into a “wearable interface for spiritual practice” through the use of materials, colors, and patterns. By integrating symbol system analysis, material culture theory, and the philosophy of body practice, this study uncovers three layers of symbolic mechanisms inherent in Daoist attire. First, the materials embody the tension between “nature and humanity”, with the intentional imperfections in craftsmanship serving as a critique of technological aliena

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Cerly Sudarta Martsidaun. "Makna Simbolis Topeng Malangan Lembu Suro Dalam Perspektif Semiotika Visual." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 16, no. 2 (2025): 156–67. https://doi.org/10.33153/brikolase.v16i2.6603.

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The Lembu Suro Mask in the Topeng Malangan tradition is a cultural heritage that contains complex symbolism and deep mythological narratives. This research aims to explore the cultural meanings contained in the visual elements of the mask through Roland Barthes' visual semiotics approach. The analysis was conducted on the denotation and connotation aspects of elements such as color, shape, motif, and expression, and was linked to the Lembu Suro myth in the local tradition of the Malang community. Data were obtained through the observation of mask artifacts, performance art documentation, and i

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Russo, Gilda, Emanuela Ceccaroni, Aida Maria Conte, Laura Medeghini, Caterina De Vito, and Silvano Mignardi. "Archaeometric Study on Roman Painted Terracottas from the Sanctuary of Hercules in Alba Fucens (Abruzzo, Italy)." Minerals 12, no. 3 (2022): 346. http://dx.doi.org/10.3390/min12030346.

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In a period spanning from the 7th to the 1st century BC, the exterior surfaces of civil and sacred buildings in Italy were mainly decorated with terracottas. The aim of this study is to determine the skills and technological level reached by ancient manufacturers of painted ceramics from the sanctuary of Hercules in the archaeological site of Alba Fucens (Abruzzo, Central Italy). A multi-analytical approach including X-ray Powder Diffraction (XRPD), µ-Raman and portable X-ray fluorescence (pXRF) was applied to determine the mineralogical composition of terracotta samples and to identify the pi

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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.

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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "

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Hughes, Jennifer Scheper, James Kyung-Jin Lee, Amanda Lucia, and S. Romi Mukherjee. "Take it Outside." Boom 5, no. 4 (2015): 54–63. http://dx.doi.org/10.1525/boom.2015.5.4.54.

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California is experiencing a proliferation of public religious celebrations like never before. The authors focus on four public celebrations: the throwing of colors during Holi, an annual pilgrimage to Manzanar, the Peruvian celebration of El Señor de Los Milagros, and Noche de Altares. Even as these and many other similar festivals simultaneously represent the irruption and interruption of the sacred in the public sphere, these festivals reflect the multi-religious character of immigration. These public rituals say something about the pursuit of belonging in California and in the United State

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Rahmasari, Shafira, and Zasqia Damai Aulia Shakti. "Linguistic Construction and Cultural Meaning of Sinjang and Semekan: An Anthropological Linguistic Study." HUMANIKA 31, no. 2 (2024): 222–36. https://doi.org/10.14710/humanika.v31i2.67741.

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Labuhan Hajad Dalem is an essential ritual in Yogyakarta’s tradition; its primary purpose is to represent prayer and to perform a spiritual cleansing by placing and leaving out some offerings in particular sacred places. Sinjang and Semakan are some of the components of the offering in the form of long fabric to cover a body part. Each Sinjang and Semekan has a different name to illustrate a distinct Javanese cultural value. The naming process is influenced by cultural background, which is Javanese culture, and the name composition is also affected by Javanese linguistic structure. Therefore,

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Yenilmez, Fatma. "Peafowl Production." Turkish Journal of Agriculture - Food Science and Technology 8, no. 4 (2020): 945–48. http://dx.doi.org/10.24925/turjaf.v8i4.945-948.3198.

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Peafowl is a common name of three species of the Phasianidae family. It is known as a sacred bird in many Asian countries and India that is the homeland of the peafowl. They live in groups and prefer cultivated areas and forests where they can find more food in nature. They feed on cereal grains, insects, fruits, leaves, seeds. It has a strong structure and adapts very well to different climates. Because of this feature can be produced anywhere in the world. There are commonly known three different types of peafowl. Blue (Indian) Peafowl (Pavo cristatus), Green Peafowl (Pavo muticus) and Congo

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Ahmed, Ayman Mohamed. "Imitation of the Lotus Flower in Architecture: its Use in the Decoration of Walls and Ceilings of Palaces, Houses, and Tombs in Ancient Egypt." Res Mobilis 11, no. 14 (2022): 1–20. http://dx.doi.org/10.17811/rm.11.14.2022.1-20.

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Plant motifs were of great importance in the arts of ancient Egypt. It was very interested in decorative units and its aesthetic forms. The lotus flower is one of the most well-known plants in ancient Egyptian civilization due to its association with the religious and daily life of the ancient Egyptians. This fragrant flower in its colors white, blue, red, and as a sacred symbol in the life of the ancient Egyptian was not only an aesthetic decorative component that was depicted by the ancient Egyptians on walls of temples, or used in the manufacture of perfumes and cosmetics, but also used it

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Efendi, Muhsin, Viana Safrida Harahap, and Hasan Basri. "SYMBOLIC MESSAGES OF KERAWANG GAYO’S TRADITIONAL PATTERNS." Makna: Jurnal Kajian Komunikasi, Bahasa, dan Budaya 10, no. 1 (2022): 1–8. http://dx.doi.org/10.33558/makna.v10i1.3022.

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The present study aimed to analyze the meaning of symbolic messages found in the Kerawang Gayo's traditional patterns and their applications into Gayo’s traditional clothing. The present study also discusses efforts needed to preserve Kerawang Gayo. The present research applied a historical and ethnographic approach. Data was collected through the processes of documentation, observations and interviews. The results of present study show 14 Kerawang Gayo’s patterns; (1) Tapak Sleman (Footprint of Sulaiman), (2) Tali Puter Tige (Rope Twisted Third Times) (3) Mata ni Lao (sun), (4) Pucuk ni Tuis

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Ćirić, Jasmina S. "THE SYMBOLS IN THE BRICK: THE MEANING BEHIND THE APSE OF ST. DEMETRIOS CHURCH (MARK’S MONASTERY) IN MARKOVA SUŠICA NEAR SKOPJE." Lipar 83 (2024): 9–23. http://dx.doi.org/10.46793/lipar83.009c.

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The apse of St. Demetrios Church in Markova Sušica stands as a profound testament to the intricate interplay of symbolism within the 14th century Serbian architecture. The analysis delves into the specific brickwork patterns, decoding their symbolic meaning. Drawing from the Christian symbolism and theological insights from St. Gregory of Nyssa and St. Basil the Great, the article explores the use of geometric patterns to elevate the mind toward divine contemplation. The article also integrates these symbols into the broader theological context,referencing the Еconomy of Salvation and iconogra

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Permai, Drama, and Sutarki Sutisna. "KAJIAN RUANG SAKRAL BAGI MILENIAL DI DALAM KREMATORIUM." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (2020): 1487. http://dx.doi.org/10.24912/stupa.v1i2.4326.

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A very thick culture in Indonesian society is increasingly fading away by the milenial generation over time. One culture that is taken as an example is the culture of ancestral prayer, fading due to the absence of mediators to study the culture. The learning of ancestral prayer culture can be practiced directly in one of the sacred buildings, namely the crematorium and the columbarium. The purpose of this study was to examine the typology of crematorium spaces that match the behavior of the milenial generation and how to process the spatial atmosphere elements in the crematorium building. The

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Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other." Society and Culture in South Asia 6, no. 2 (2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.

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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts w

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Zirpolo, Lilian. "(De)Constructing the Madonna’s Cloth of Honor." Explorations in Renaissance Culture 47, no. 2 (2021): 196–232. http://dx.doi.org/10.1163/23526963-04702002.

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Abstract The present study centers on pieced textiles included in Marian paintings of the Proto-Renaissance era rendered in Tuscany. The complex geometric patterns of these cloths mimic those found in the Islamic textiles that were then being imported into Europe, consumed by the aristocracy, and later imitated by Italian cloth makers. On a basic level, their colors and patterning reference the virtues of the Virgin, her mission to bring about the Incarnation of Christ, her selflessness, virtuous character, and majesty. They also contribute to her humanization since these are material objects

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Galaicu, Violina. "Improvisation in religious music of Byzantine tradition." Arta 33, no. 2 (2024): 7–12. https://doi.org/10.52603/arta.2024.33-2.01.

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The sources that fueled Byzantine sacred music, mostly oriental, as well as the multi-secular orality of its circulation, made this art possess a vast and rich spectrum of improvisational forms. The improvisational spirit manifests itself especially in the solo intonation and the more evolved melodic idioms, i.e. in the stihiraric and papadic singing, but also the irmologic singing leaves the psalmists a margin for individual contribution and invention. In all traditional musical cultures - and even more so in Byzantine music - improvisation starts from established patterns, predetermined laws

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Ulčar, Milena. "ČUDOTVORNOST I IDENTITET: ODNOS SUBJEKTA I OBJEKTA U BOKI KOTORSKOJ XVII VIJEKA." Limes-plus 18 (October 18, 2021): 155–72. http://dx.doi.org/10.69899/limes-plus211823155u.

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In the year of 1672 several members of Pavlićević family in Prčanj witnessed miraculous transformation of the Madonna icon inside their household. Sacred image produced loud sounds, changed colors of the skin and grow a pair of legs which helped her moving away from the usual place that it inhabited. This behavioral animism of the artifact produced a very specific biological and ritual response in the observers. The clear line between humans with nonhuman features and nonhuman agency was blurred, allowing the analysis of tripartite relational structure of subject-object interactions. Convertib

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Aziz, M. Rafli Lutful, and Yulia Ambarsih Ekawardhani. "WEST KALIMANTAN DAYAK TATTOO AS A CULTURAL IDENTITY IN INDONESIA." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 7 (July 2, 2024): 925–34. http://dx.doi.org/10.34010/icobest.v7i.604.

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Indonesia, as a country with diverse ethnic groups and cultures, has certainly passed on many cultures to the next generation to preserve their existence. However, in modern times, many cultures have begun to shift or lose their meaning. One of them is the Dayak tattoo art, which was previously considered sacred by society, but is now only seen as ordinary art. This research was conducted to find out how to maintain Dayak's tattoo art in the modern era. Tattoos in the Dayak tribe of West Kalimantan are the object of this research. The research was conducted using qualitative methods through in

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Altan-Uul, Taogete. "About a long -song “Ariuntenger” (sacred heaven) of the Uzimchin ethnic group (A respect state and ceremonial song)." Mongolian Journal of Arts and Culture 25, no. 49 (2024): 153–61. https://doi.org/10.69561/mjac.v25i49.3838.

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A long-song of the proper ethnic groups which bears a valuable cultural heritage of the Mongolian language and culture, forming the different colors of the Mongolian nationalities is not still revealed on the research level. It is right that the Mongols today live in the globalization era, getting in step with the rapid world technological development. But there is a rick to forget and loose the traditional culture and custom, including a unique cultural heritage of a proper ethnic group. The uzimchins face the risk to forget and loose the traditional culture, no people who sing the state, cer

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Maizuls, Mikhail R. "THE RHYTHMS OF EVIL IN THE 14TH CENTURY ENGLISH PSALTER." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2023): 29–54. http://dx.doi.org/10.28995/2686-7249-2023-4-29-54.

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In medieval iconography, one of the main properties of evil is its multiplicity and changeability. As we know from the works on medieval demonology published by Alexander Makhov, such fluidity of forms was often equated with disorder and contrasted with an orderly hierarchy of the sacred. The author demonstrates that this applied not only to demons, but also to figures of non-Christians, primarily Jews and Romans in scenes of the Passion of Christ. The author of the present article takes the case of the Fitzwarin Psalter, one of the most extraordinary manuscripts illuminated in England in the

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Novikova, O. "Qing monochrome porcelain from the Collection of the Bohdan and Varvara Khanenko National Museum of Arts." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 168–77. http://dx.doi.org/10.33838/naoma.27.2018.168-177.

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The article analyzes Qing monochrome products of Chinese porcelain and studies the complex technology of their manufacture. This publication is also devoted to the main identification problems of Chinese monochrome thin-walled ceramics and its terminology. When dating and attributing Chinese monochrome porcelain causes the most difficult problem. Thin-walled monochrome glaze ceramic products manufactured at different times are often distinguished only by barely noticeable changes in parts and other proportions of products. Furthermore, the plagiarism was uncharacteristic of Chinese, and the im

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Subowo, Adhika Tri. "Membangun Spiritualitas Digital bagi Generasi Z." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 5, no. 2 (2021): 379–95. http://dx.doi.org/10.30648/dun.v5i2.464.

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Abstract. Generation Z is a generation that is close to digital technology, so the use of digital space as a teaching tool is important for churches to do. The dichotomy of sacred and profane often colors the perception of the church in seeing the digital space, so that digital space has not been fully utilized. This research was intended propose the suitable digital spirituality for generation Z. This study was conducted by literature study. Through this study it could be concluded that cyberspace has become part of the generation Z spirituality, although the interactions and conversations in

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Pranoto, Iwan, Nur Iksan, and Ika Yuliati. "Denotation and Connotation of Mandau, A Weapon of Kanayatn Dayak Tribe in West Kalimantan." Terob : Jurnal Pengkajian dan Penciptaan Seni 13, no. 2 (2023): 53–62. http://dx.doi.org/10.20111/terob.v13i2.43.

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The culture and the cultural product itself that develop in today’s society cannot be separated from the recognition and agreement of some community groups, the philosophical values, or the natural signs that are embedded in everyday life, or usually called myths. One of them is Mandau, a weapon of the Kanayatn Dayak tribe, in Sebetuk village, Ngabang sub-district, Landak district, West Kalimantan. The Mandau is a weapon owned by the Kanayatn Dayak people and is often used for many purposes such as cutting the grass, chopping the wood, cutting the meat from hunted animals, protecting themselve

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