Aesthetic Consciousness

2022 ◽  
pp. 161-190
Author(s):  
Zhirong Zhu
Keyword(s):  
Aesthetic Consciousness

Aesthetic Consciousness of Literati Painting and its Application in Urban Planning

2019 ◽  
Vol 44 (3) ◽  
pp. 92-95
Author(s):  
Hua Wei
Keyword(s):  
Development Process ◽  
Landscape Design ◽  
Chinese Painting ◽  
Landscape Model ◽  
Natural Landscape ◽  
Literati Painting ◽  
Artistic Conception ◽  
Residential Landscape ◽  
Aesthetic Consciousness ◽  
Classical Philosophy

In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

Cultivating a Global Aesthetic Consciousness

2009 ◽  
Vol 11 (6) ◽  
pp. 420-421
Author(s):  
Monte O. Harris
Keyword(s):  
Aesthetic Consciousness

scholarly journals Features of translation into Uigur languageof children's fairy tale "Shuburshun" by A. Karlyukevich

Keruen ◽  
2020 ◽  
Vol 3 (68) ◽  
Author(s):  
A.T. Khamraev ◽  
Keyword(s):  
Fairy Tale ◽  
Literary Translation ◽  
Reverse Effect ◽  
Dominant Feature ◽  
Aesthetic Consciousness ◽  
The Aesthetic

“Shuburshun” is the work of the Belarusian writer A. Karlyukevich and its figuratively and metaphorically is replete with an abundance of tropes with elements of national irony. The text is structurally complex, spiritually rich and elegant. The translator was able to show in translation the national color, spirit and ideal of the fairy tale, he felt the literary world behind the text that inspired the author and sought to recreate it in a holistic way. A significant amount of literary and aesthetic information is encoded in the work as well. Moreover, some words, in particular: “Shuburshun”, “Svisloch’”, etc., appear as the dominant units of the Uighur text. Authors lexemes and glossaries “entered” into the Uyghur text make the work mysterious, because of it they have a reverse effect. The Uygur translation of “Shuburshun” as a new independent aesthetic phenomenon, due to the interpenetration of various contents and forms, is experiencing internal implicit conjugation changes that rigidly interlink textual connections at a new level. This is how the principles of aesthetic interferences work and interact in any literary translation that acts as the dominant feature of bicultural aesthetics. It is about the emergence of a “different”literary and aesthetic reality in translation. In particular, we are witnessing an objective process of “entering” (or “invasion”) of Belarusian words into the Uyghur text, which affect the aesthetic consciousness of the reader.

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