scholarly journals Roses in the park compositions of “Sofiyivka”

2021 ◽  
pp. 73-76
Author(s):  
I. L. Denysko ◽  
G. I. Muzyka
Keyword(s):  
Symbolic Meaning ◽  
History Of

The study of the possibilities of using roses in park compositions «Sofiyivka» is based on the analysis of literary and archival sources. The study of the factual material makes it possible to assert that roses were represented in the park compositions of «Sofiyivka» throughout the history of its development. Currently, most of the compositions with roses are located in the new part of the park, beyond its historical core. At once, the function of compositions with the involvement of roses changed from decorative with a certain symbolic meaning, which is characteristic of sentimental and romantic parks, to exhibitional and decorative in combination with recreational, research and educational functions in our time.

Unvailing the Symbolic Meaning of Terracotta Plaques From Pilak Monastery, Tripura, India

2020 ◽  
pp. 61-83
Author(s):  
Ruma Karmakar
Keyword(s):  
The State ◽  
Symbolic Meaning ◽  
Outer World ◽  
The People ◽  
History Of

Tripura, one of the smallest states of India, is very famous to the people of India because of its own hidden treasures and the atmospheric beauty of nature. Various temple architecture, stone and metal sculptures which have been scattered all over the state made her historically significant, but due to proper expose it still remains in darkness. Globalization and emergence of technology nowadays vastly helps tour lovers to choose their destinations. Observing the present scenario, in this chapter the researcher explores and introduces the richness and the hidden wealth of history of Tripura through a bird's eye view of the Pilak Monastery to the outer world.

scholarly journals Traces of the History of South Cisarua Plantation: Archives and Inscription of the Dutch Tomb in Kebon Jahe Cisarua-Bogor, Jawa Barat

2018 ◽  
Vol 14 (1) ◽  
pp. 63
Author(s):  
Lia Nuralia
Keyword(s):  
Historical Data ◽  
Historical Record ◽  
Symbolic Meaning ◽  
Archaeological Data ◽  
The Past ◽  
Physical Evidence ◽  
Colonial Archives ◽  
Colonial Archive ◽  
History Of ◽  
Important Evidence

Makam Belanda (kerkhof) dengan inkripsi (prasasti) di Kebon Jahe merupakan sumber data arkeologis, menjadi petunjuk awal untuk penelusuran arsip kolonial sebagi sumber data sejarah. Sumber data sejarah dan arkeologis menjadi satu kolaborasi data yang saling melengkapi, yang dapat menjelaskan keberadaan perkebunan zaman Belanda yang sekarang sudah tidak ada. Apa dan bagaimana kedua sumber data tersebut menjadi bukti penting tentang keberadaan Perkebunan Cisarua Selatan di masa lalu, menjadi permasalahan dalam tulisan ini. Dengan demikian, tulisan ini bertujuan mengungkap jejak sejarah Perkebunan Cisarua Selatan berdasarkan arsip kolonial dan prasasti makam Belanda. Metode yang digunakan adalah metode penelitian arkeologi dengan pendekatan sejarah dan symbolic meaning, yang menerangkan tentang keberadaan Perkebunan Cisarua Selatan di masa lalu, melalui arti inskripsi dan ragam hias makam, serta identitas orang yang dimakamkan melalui sumber arsip Belanda. Hasil yang diperoleh adalah kepastian tentang keberadaan Perkebunan Cisarua Selatan di daerah Cisarua Bogor, dengan bukti fisik berupa tujuh Makam Belanda di Kampung Kebon Jahe, serta dokumen tertulis (rekaman sejarah) dalam Arsip Kolonial Indische Navorsher 1934 dan Staatsblad van Nederlandsch-Indie 1920 No. 72.The Dutch tomb (kerkhof) with the inscription in Kebon Jahe is the source of archaeological data, becoming the initial guidance for searching colonial archives as a source of historical data. The source of historical and archaeological data becomes a collaboration of complementary data, which could explain the existence of a now-defunct Dutch plantation. What and how these two sources of data become important evidence of the existence of South Cisarua Plantation in the past, is a problem in this paper. Thus, this paper aims to reveal traces of the history of South Cisarua Plantation based on colonial archives and inscription of the Dutch tomb. The method used archaeological research with historical approach and symbolic meaning, which explains about the existence of South Cisarua Plantation in the past, through the meaning of inscriptions and decorative graves of the tomb, as well as the identity of people buried through the source of the Dutch archives. The results obtained certainty about the existence of South Cisarua Plantation in Cisarua Bogor area, with physical evidence in the form of seven Dutch Tombs in Kampung Kebon Jahe, as well as written documents as historical record in Colonial Archive of Indische Navorsher 1934 and Staatsblad van Nederlandsch-Indie 1920 No. 72.

scholarly journals Qual comparação em História das Religiões segundo Lévis-Strauss?

2011 ◽  
Vol 11 (1) ◽  
pp. 165
Author(s):  
Nicola Maria Gasbarro
Keyword(s):  
Historical Consciousness ◽  
Comparative Perspective ◽  
Symbolic Meaning ◽  
Comparative History ◽  
History Of Religions ◽  
History Of ◽  
The Subject ◽  
And Function ◽  
Meaning And Function

Esta contribuição analisa a perspectiva atual do comparativismo a partir de pressupostos metodológicos (Pettazzoni) e das conclusões (Sabbatucci) da História das Religiões Italiana. A consciência histórica e crítica da dissolução da noção universal de “religião” interroga-se sobre as possibilidades metodológicas dadas pela Antropologia Estrutural, para repensar o objeto intelectual da comparação histórico-religiosa. A noção de “ordem das ordens” pode nos ajudar a compreender as “religiões” dos outros por conta de seu sentido simbólico e de sua função como conduta prática e existencial. A História das Religiões pode levar a uma História Comparada das Civilizações; portanto, a necessidade civil é evidente. Palavras-chave: História das religiões, Antropologia, História Comparada Abstract This paper analyzes the current comparative perspective based upon methodological presuppositions (Pettazzoni) and points of arrival (Sabbatucci) in the History of Religions in Italy. Critical and historical consciousness of the dissolution of the universal notion of “religion” reflects on the methodological possibilities provided by Structural Anthropology in order to think the subject of intellectual historic-religious comparison over. The notion of “order of orders” may help our understanding of the “religions” of others through their symbolic meaning and function of practical and existential conduct. The History of Religions may thus lead to a Comparative History of Civilizations; therefore, the need for preparedness is evident. Keywords: History of Religions; Anthropology; Comparative History.

scholarly journals Historia jednego motywu – rzecz o związkach biżuterii z architekturą

2017 ◽  
pp. 221-249
Author(s):  
Małgorzata Wrześniak
Keyword(s):  
Mass Production ◽  
Symbolic Meaning ◽  
European Culture ◽  
History Of ◽  
Place Of Origin ◽  
The Subject ◽  
The Relationship ◽  
The City ◽  
The Temple ◽  
Marital Union

The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

scholarly journals SURGICAL MASK AS A SYMBOL OF LIFE TRANSFORMATION

Bioethics ◽  
2021 ◽  
Vol 27 (1) ◽  
pp. 36-38
Author(s):  
N.L. Wiegel ◽  
◽  
G.N. Shapoval ◽  
E.A. Kartashova ◽  
◽  
...  
Keyword(s):  
Environmental Crisis ◽  
Symbolic Meaning ◽  
Self Awareness ◽  
Main Function ◽  
Surgical Masks ◽  
The Face ◽  
History Of ◽  
New Form ◽  
Life Transformation ◽  
Familiar Form

The article examines the history of the emergence and use of surgical masks. Despite such a significant variety of masks types,the meaning and main function of them are the same in any case: to cover the face, not to let you see emotions, experience, feelings that are always reflected on the face. Hiding the face from others, translated from the language of symbols, means the symbolic "death of the person". The person who puts on the mask "dies", ceases to exist in the familiar form for others and is "reborn" in a new form. Such self-transformation affects not only a different perception for others, but also self-awareness. The surgical mask, updated during the coronavirus pandemic, is becoming a part of people's lives instead of a medical attribute. Today there is a whole world behind these masks: human health, environmental crisis, identity crisis, protest symbol, and surgical masks exacerbate alienation and create an external standardization and template. We would like this symbolic meaning of confusion and fear, loneliness and isolation, uncertainty about the future to turn into a sign of care and a gesture of community of people.

scholarly journals Tetela amulets: Re-interpreting a medical anthropology collection as a fashion benchmark

2019 ◽  
Vol 6 (2) ◽  
pp. 163-180
Author(s):  
Heather Marie Akou
Keyword(s):  
Medical Anthropology ◽  
The Body ◽  
Symbolic Meaning ◽  
Fashion Industry ◽  
Indiana University ◽  
Change Over Time ◽  
Equatorial Africa ◽  
Minority Cultures ◽  
History Of ◽  
Over Time

In the 1920s and 1930s, missionaries and colonial officials in equatorial Africa collected thousands of amulets – devices worn on the body that were made locally for protection and healing (spiritual and/or physical). One of these collections – assembled in the 1920s by an American pseudo-missionary, Major John White – is now held at the Mathers Museum of World Cultures at Indiana University, which accepted the amulets and other artefacts used by the Tetela people as an example of ‘medical anthropology’. Although they were not made as ‘fashion’ (or even as art), I argue that they can be viewed as a style of dress specific to a time and place and thus as fashion. Like fashions in clothing, individual amulets can be shown to have similarities in their form and symbolic meaning, which can be expected to change over time. I propose looking at this collection of amulets as a ‘fashion benchmark’ in the history of Tetela dress, calling for further research and seeking to push the boundaries on our conception of fashion, making it less focused on the ‘fashion industry’ and more inclusive of slower-changing styles of dress, minority cultures, and non-western cultures.

scholarly journals VISUALISASI TIGA DIMENSIONAL MOTIF BATIK PADA MEDIA KAYU

2020 ◽  
Vol 12 (1) ◽  
pp. 80-87
Author(s):  
Rahayu Adi Prabowo ◽  
Sri Marwati
Keyword(s):  
Visual Culture ◽  
Social Relationship ◽  
Social Norm ◽  
Three Dimensional ◽  
Symbolic Meaning ◽  
Human Relationships ◽  
The Social ◽  
Diverse Application ◽  
History Of ◽  
Wood Carving

ABSTRACT The beauty of batik as one form of visual culture in Indonesia is one of the priceless inheritance which has a philosophical symbolic meaning that regulates the social relationship between human and the human relationships with the God. The history of batik never revealed when batik began to exist and who created it. Batik in Indonesia has been known since the era of the Majapahit Kingdom and continues to grow until the emergence of the next kingdoms. Exploration of visual culture in Indonesia becomes a challenge in its learning and its realization. The reason is that every culture has its own social norm / custom that is very strong and influences the people's lives.The diverse application of batik motifs on various products greatly influences the strength of the existence of batik as one form of art in Indonesia which, of course, can also move the economic side of the creation of creativity that always emerges and develops in society. This artistic research of batik motifs richness that is applied into a wood carving motif is proposed to support the development of batik. This research uses a method of motifs exploration by bringing up traditional batik motifs that are packaged in a semi relief wood carving by applying a new motif patterned in accordance to the wood carving techniques. This method conveys traditional batik motifs with a three-dimensional style and in different  size in order to bring up the three-dimensional style. Keywords: Exploration, Batik Motifs, Wood Carving. ABSTRAK Keindahan batik sebagai salah satu wujud budaya rupa di Indonesia adalah merupakan salah satu warisan tak ternilai harganya, yang mempunyai kandungan makna simbolis filsafati yang mengatur hubungan sosial antar manusia serta hubungan manusia dengan Dzat Yang Maha Agung. Dalam kesejarahan tentang keberadaan batik tidak pernah diungkap kapan kali pertama muncul dan siapa yang menciptakannya. Namun batik di Indonesia telah dikenal sejak zaman Kerajaan Majapahit dan terus berkembang hingga munculnya kerajaan-kerajaan berikutnya. Ekplorasi sebuah kekayaan budaya rupa di Indonesia merupakan sebuah tantangan dalam hal pembelajaran dan perwujudannya. Hal tersebut dikarenakan setiap kekayaan budaya diiringi sebuah norma/adat sosial yang sangat kuat dan berpengaruh dalam sendi kehidupan masyarakat. Aplikasi motif batik yang beragam pada berbagai produk ini sangat mempengaruhi kekuatan keberadaan batik sebagai salah satu wujud seni rupa di Indonesia, yang tentunya juga dapat mengerakkan sisi ekonomi dari terciptanya kreativitas yang selalu muncul dan berkembang di masyarakat. Sebagai salah satu dukungan dalam perkembangan wujud seni batik ini, maka diusulkan sebuah penelitian kekaryaan (artistik) tentang kekayaan motif batik yang mengaplikasikan ke dalam sebuah motif ukir kayu yang selama ini belum pernah dilakukan. Sajian penelitian ini menggunakan metode eksplorasi motif, yaitu memunculkan motif-motif batik tradisi yang dikemas dalam tampilan ukir kayu semi relief dengan mengaplikasikan pola motif garapan baru sesuai dengan ranah teknik ukir kayu. Metode ini menuangkan motif batik tradisi namun dengan gaya tiga dimensi yang terdapat sedikit gubahan ukuran sebagai upaya memunculkan kekuatan tiga dimensionalnya. Kata Kunci : Ekplorasi, Motif Batik, Ukir Kayu.

scholarly journals TRADISI PEMENTASAN TARI GANDRUNG TELAGA SAKTI DI DESA PAKRAMAN LIMO KECAMATAN NUSA PENIDA KABUPATEN KLUNGKUNG (KAJIAN BENTUK, FUNGSI, MAKNA)

2018 ◽  
Vol 2 (1) ◽  
pp. 409
Author(s):  
Ni Pande Made Widiasih ◽  
Ni Wayan Sumertini ◽  
. Poniman
Keyword(s):  
Selection Process ◽  
Cultural Preservation ◽  
Symbolic Meaning ◽  
Dance Movement ◽  
Dance Performance ◽  
Religious Ceremony ◽  
The People ◽  
History Of ◽  
Performance Conditions ◽  
Ritual Process

<p><em>T</em><em>h</em><em>e Tradition of Gandrung Telaga Sakti Dance Performance in Pakraman Limo  village  Nusa  Penida   Sub-district  Klungkung  Regency  is  a  hereditary tradition recognized by the people of Pakraman  Limo village as a sacred tradition to complement the religious ceremony. The uniqueness of Gandrung Telaga Sakti Dance is when this dance will be staged performed a ritual process, such as the selection  process   of  dancers,   place  and  time  of  staging  and  the  series  of ceremonies  performed before the staging  of Gandrung  Telaga  Sakti Dance. The results of this study are as follows: 1). Shape Gandrung  Telaga Sakti Dance   including;   History   of  Gandrung   Telaga   Sakti  Dance   Performance, Conditions to Become Dancer  Gandrung  Telaga Sakti Dance, Gandrung  Telaga Sakti Dance Movement, Gandrung  Telaga Sakti Dance Performance,  Dance Performance   Gandrung   Telaga  Sakti,  Gandrung   Telaga  Sakti  Dance  Stage, Upakara  Gandrung Telaga Sakti Dance, and Supporting Equipment Gandrung Telaga  Sakti Dance. 2). The function of Gandrung  Telaga  Sakti dance performances  include art  function and  cultural  preservation,  religious  function and social function. 3). The meaning of staging of Gandrung  Telaga Sakti Dance is symbolic meaning, meaning of aesthetics and meaning of harmony and balance.</em></p>

scholarly journals The Story of One Theme – on the Relationship Between Jewellery and Archi

2019 ◽  
Vol ENGLISH EDITION (1) ◽  
pp. 379-404
Author(s):  
Małgorzata Wrześniak
Keyword(s):  
Mass Production ◽  
Symbolic Meaning ◽  
European Culture ◽  
History Of ◽  
Place Of Origin ◽  
The Subject ◽  
The Relationship ◽  
The City ◽  
The Temple ◽  
Marital Union

The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

scholarly journals “The Holder of Forty Spears” in the list of Däftär-i Čingiz-nāmä: definition meaning, symbol

2021 ◽  
pp. 92-114
Author(s):  
О. M. Аgatay
Keyword(s):  
Military History ◽  
Military Culture ◽  
Symbolic Meaning ◽  
Late Medieval ◽  
Word Combination ◽  
Historical Figures ◽  
The Status ◽  
History Of ◽  
The Military ◽  
Commander In Chief

The article explains the meaning of the term “the Holder of Forty Spears” (“қырық сүңгілі”) in a separate list of the Turko-Tatar Chronicles Däftär-i Čingiz-nāmä at the end of the XVII century. Besides, a trial of identifying some characters was done from the mentioned source as “the Holder of Forty Spears” – Bolat bahadur” and his son “Bek bey” with real historical figures (beks, tribal chiefs) of the Golden Horde at the time of Janibek Khan. In the military history of the ancient settlers of Eurasia and late medieval Turko-Mongol nomadic tribes, spears and lances were one of the main types of weapons of the close combat and their importance was mentioned more than once in the writings. In addition to the basic, functional, combat assignment, spears and lances in the military culture and traditions of the Turko-Mongol nomads of the Great Steppe had a symbolic meaning. A spear, as a means of armament, used in a ram attack and a close combat, evolved into the symbol of statehood in the form of banners, flags, and possessing them equaled the status of “a commander-in-chief” or “a major warlord”. In this regard, by analyzing and taking into consideration continual several century-long military traditions of the steppe nomads, the article implies the word combination “the Holder of Forty Spears” (“қырық сүңгілі”) in Däftär-i Čingiz-nāmä is equal to “Commander-in- Chief Army”, in other words, in our opinion, in this source spear-lance is represented as an abstracted textual symbol indicating “an army”, “a huge troop” and its Holder as “a commander-in-chief”, “major warlord”.

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