scholarly journals The sacred image of “tree-deer” in Northern Russian folk culture

2021 ◽  
Vol 59 ◽  
pp. 77-95
Keyword(s):  
Semantic Relationship ◽  
Folk Culture ◽  
Applied Art ◽  
The World ◽  
Wood Carving ◽  
Russian Dialect ◽  
Traditional Cultures ◽  
Sacred Image

The paper considers the hypothesis that the image of a “tree-deer”, imprinted in the Northern Russian folk culture, was formed on the basis of figurative and semantic identification of a deer / elk and a tree. The analysis of such analogies, traces of which are preserved in folklore and in Russian folk dialects, is carried out taking into account the peculiarities of pagan worldview. Due to the antiquity of the cult of these animals, which developed in the hunting period, its signs have to be searched not only among the few archaisms of Slavic culture that have come down to our days, but also among traditional cultures of the Northern peoples. The fact that these animals, like the “world tree”, were once cosmological symbols explains the origin of the figurative-semantic relationship between a deer / elk and a tree. This is what determines the interchangeability of the image of a deer / elk and the image of a tree observed in folklore. In this context, the Genesis of a number of homonyms and similar words that exist in the Russian dialect lexicon, united by a corresponding theme, also becomes comprehensible. Moreover, the author conducts analysis of a number of images of deer / elk found in Northern Russian decorative and applied art (on embroidery and wood carving) in the context of representations that existed in the Slavic magical protective practice. This allows for understanding why the “tree-deer” image was endowed with sacred properties.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

scholarly journals Features of tailoring women's clothing to the peasants of the Poltava province of the XIX - early XX centuries: as a significant contribution to the study of everyday life

2019 ◽  
pp. 21-24
Author(s):  
К.Б. Галай
Keyword(s):  
Everyday Life ◽  
Significant Contribution ◽  
Cultural Development ◽  
External Influence ◽  
Specific Technique ◽  
Folk Culture ◽  
Traditional System ◽  
Women's Clothing ◽  
Regional Features ◽  
The World

In the process of historical, cultural development in Ukraine, in each region there were characteristic traditions of making women's clothes, kind, cut, ornamental motive, composition, color scale, specific technique of execution. Traditional costume has always been a vivid, visually fixed manifestation of nationality, identity of folk culture and is one of the most significant contributions to the study of everyday life. Over the years, he has changed, perceived the external influence, but despite all the accumulated significant ethno-cultural information, which testifies to the experience of the Ukrainian people, the idea of ​​the world, criteria of behavior, aesthetic tastes, regional features and cultural motives. The article is devoted to the study of the traditional system of Poltava, the manufacture and design of the main rural women's clothing of the Poltava province XIX - early XX century.

Microcosm and Macrocosm

2021 ◽  
pp. 103-124
Author(s):  
Marek Tuszewicki
Keyword(s):  
Nineteenth Century ◽  
Eastern Europe ◽  
Human Body ◽  
Folk Culture ◽  
Beliefs And Practices ◽  
The World

This chapter examines the far-reaching consequences of the persistent conviction in folk culture of the close bonds between the human body (the microcosm) and the world (the macrocosm). This conviction was not only the ground from which 'folk-type medicine' grew, but also key evidence that ancient theories surrounding the origins and functioning of the world, the anatomy and workings of the human body, and even astrology were very much alive in the medicine-related beliefs and practices of the residents of eastern Europe at the turn of the nineteenth century. The chapter contains examples of treatments employing methods inspired by folk mythology and expressed in a language that used an anthropomorphic and cosmological code, and of the consequences of the perception of humans as a reflection of the world around them.

scholarly journals MINARETS AS A VITAL ELEMENT OF INDO-ISLAMIC ARCHITECTURE: EVOLUTION AND MORPHOLOGY

2021 ◽  
Vol 6 (3) ◽  
pp. 203-209
Author(s):  
Mohammad Arif Kamal
Keyword(s):  
Transition State ◽  
Religious Identity ◽  
Islamic Architecture ◽  
Main Building ◽  
Architectural Feature ◽  
Functional Aspects ◽  
The World ◽  
Architecture Evolution ◽  
Traditional Cultures ◽  
Vital Element

The Minarets are a distinctive architectural feature of Islamic Mosques. The Minarets have become an essential and integral part of the mosque in the Indian sub-continent as like anywhere in the world. The Minarets evolved in Islamic Architecture at very early times. Although it was not an essential part of the mosque during the lifetime of the Prophet Muhammad (PBUH) and even for some time after the period after him, There are, however, many conflicting views as to exactly where, when and by whom were the first mina-rets built. The minarets were constructed for monumental purposes but became symbolic and became the permanent features of the mosque buildings. These minarets are being built in varied geographical and cultural environments. The Muslim architects used forms that have been acclimatized in their traditional cultures. The architects did not invent new forms but preferred to refine the existing ones with the highest proportion and integrity to the main building. Therefore, they had gone through a transition state in adapting the minarets form, keeping their cultural richness and transforming them into a religious identity most suited to the Islamic buildings. This paper reviews the mosque architecture in general, the various functional aspects of minarets, its evolution in history, and the forms that the architects in India had used to determine their roots and the process of transformation by which it had been recognized as a vital element in the Islamic buildings, especially the mosques. 

scholarly journals Traditional family rites of the Ukrainians of Podolia: archaic elements of а cultural text

2021 ◽  
Vol 29 ◽  
pp. 78-86
Author(s):  
Inna Gorofyanyuk ◽  
Keyword(s):  
Material Culture ◽  
Traditional Culture ◽  
The Other ◽  
Family Rituals ◽  
Folk Culture ◽  
Traditional Family ◽  
The Family ◽  
The World ◽  
Verbal Component ◽  
The One

Podolia is an ethnographic region of Ukraine, which is known for active interethnic contacts for many centuries, which, on the one hand, have systematically enriched the Podolsk spiritual and material culture, and on the other hand, in various spheres of the traditional culture of the Podolians, there is a preservation of many Slavic archaic elements. The article presents the archaic elements of the traditional culture of the Ukrainians of Podolia in traditional family rituals – birthlore, wedding and funeral on the material of the verbal component of the cultural text. Field records of dialectal texts, made by the author in 2006–2014 in more than 100 villages of Vinnitsa region served as empirical basis of the study. The family rites texts attest the realization of the main semantic oppositions of the Slavic picture of the world: "top" – "bottom", "full" – "empty", "own" – "alien". The motives of the cult of ancestors, deception of death, syncretism of agrarian and family rituals are elements of the archaic, which constitute an essential part of the folk consciousness and beliefs of the Podolians. Several fragments of the folk culture of the Ukrainians of Podolia presented in the article through the prism of the comparative typological analysis, with the involvement of data from other Slavic traditions, signal the preservation of the general archaic fund of the spiritual culture of the Slavs

scholarly journals The State of the Kilis Quilt Art Today

2020 ◽  
Vol 7 (3) ◽  
pp. 730-742
Author(s):  
Semra KILIÇ KARATAY
Keyword(s):  
Field Research ◽  
The State ◽  
Current Status ◽  
Time Varying ◽  
Research Information ◽  
Modern Life ◽  
The People ◽  
The World ◽  
Wood Carving ◽  
Materials Used

Quilt is an art that has existed in the culture of every nation in the world and continues to exist today. The artists, craftsmen and apprentices engaged in this art are also trying to adapt the quilt art to today's modern life. The quilt is a large cover for covering, and the inside is a material that was previously filled with wool and now cotton or fiber and used to protect from the cold. There are handicrafts performed today in Kilis. Our handicrafts such as quilting, yemenism, embroidery, wickerwork, copper making, wire breaking and wood carving are among our arts. Time-varying patterns, composition and materials used are seen as a means of communication used to express people's ideas and thoughts to the environment. The motifs used in Kilis quilts originated from the stylization of objects around people and are today still mentioned by the people of Kilis with these names. With this field research, information about Kilis quilt art, tools and equipment used, patterns and meanings and their current status are collected and it is aimed to share this information as written literature.

scholarly journals "Ko Wai te Ingoa o Tenei Whare?" Architecture and Māori Identity

2021 ◽  
Author(s):  
◽  
Simon Te Ari Prendergast
Keyword(s):  
Cultural History ◽  
Sense Of Belonging ◽  
Arts And Crafts ◽  
Structural Elements ◽  
The World ◽  
Wood Carving ◽  
Cultural Features ◽  
Building Elements

<p>The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.</p>

scholarly journals Zaraza nadchodzi i odchodzi – myślenie o chorobach epidemicznych utrwalone w języku

2021 ◽  
Vol 69 (5 Zeszyt specjalny) ◽  
pp. 117-139
Author(s):  
Marzena Marczewska
Keyword(s):  
Safe Zone ◽  
Word Formation ◽  
Folk Culture ◽  
Cultural Image ◽  
Material Basis ◽  
Textual Data ◽  
The World ◽  
Verbal Data ◽  
The Village ◽  
Living Creature

In this article, I present selected aspects of the linguistic image of the plague (I am especially interested in names and their etymology, the causes of the disease, images of the plague, and remedies). I mainly rely on materials related to Polish folk culture, but I also mention some contemporary contexts to show a certain durability of beliefs related to the plague. I use the notion of a linguistic and cultural image of the world understood as a colloquial interpretation of reality that can be explicated not only using verbal data, but also with non-verbal data preserved in petrified texts of culture. In my considerations, I refer to the so-called cognitive definition. The material basis of the analysis presented (in line with Jerzy Bartmiński’s assumptions) consists of lexical and textual data: names (confirming the “perspective of reality”), information transmitted on an onomasiological basis, revealed in the etymological and word-formation analysis, meanings given in the definitions in Polish and dialectal dictionaries, word-formation derivatives, metaphorical extensions, phraseologisms, collocations (phrases), metaphors, proverbs, healing formulas, etc. In Polish folk culture, the plague was imagined as a living creature (woman) who could roam the land (come and go), come to the village, talk to people, put them to death, or save the ones she chose to live. These images of the plague made peasants try to secure their space and to create a safe zone for themselves and their community by means of various magical procedures.

scholarly journals TEKNIK SCROLL UNTUK PEMBUATAN PRODUK INTERIOR

CORAK ◽  
2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Andono Andono ◽  
Aruman Aruman
Keyword(s):  
Manufacturing Process ◽  
Main Tool ◽  
Work Of Art ◽  
Works Of Art ◽  
The World ◽  
Wood Carving ◽  
Preliminary Research

In the world of crafts, especially wood craft, some techniques have been known to createa work of art such as carving, lathing, scrolling, etc. Scroll technique is the work of wood craftproduction using scrolling tools such as scrollsaw, which is a saw with small ribbon powered byelectricity. The tool has the specifications of cutting perpendicular, oblique, straight, and curvedpositions. This device is usually used as a tool to make holes in the process of wood carving(krawangan), or to cut the carving edge. In addition, scroll saw is usually used to make puzzle(education props / toys), and letters.With its specifications, scrollsaw can be explored further by making it as a major tool in themanufacture of wood craft art, such as interior elements. Our preliminary research proved thatthe tool can be used as the main tool for the manufacture of wood craftsmanship products(decorative masks) that is unique and distinctive. So in this study we try scroll technique for themanufacture of some products for interior elements, such as mirrors, wall clocks, table / walllamps, and the flowerpots. The manufacturing process consists of some stages such asexplorating, designing, embodying, and evaluating. By exploring the scroll technique, planks ofwood that are cut will produce a curved piece and form a small square field. If the blades arearranged with the arrangement that is designed with a particular composition, they will bear acertain distinctive and unique motive form in their field surface. The product of the interiorelements will have distinctiveness, uniqueness, and attractiveness of their own.Scroll technique can be developed for the manufacture of art craft products because thescrollsaw is easy enough to use. Therefore, this scroll technique can be used as a new jobopportunity for people who want to be engaged in it to reduce the number of unemployedpeople. Being creative with the scroll technique can be engaged professionally or just as ahobby for works of art. Keywords: scroll techniques, craft product, interior elements

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