In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio...In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio,Florence.1 Cosimo I de’Medici,Duke of Tuscany(1519-1574),commissioned Vasari to renovate his apartments in the Palazzo Vecchio.Vasari restructured and painted the ceiling and walls of the Hall of the Elements on the second floor,named for its depicted subjects.The walls were painted using the fresco technique,while the ceiling was executed in oil on panels.The walls depicted the elements of Fire,Earth,and Water,whereas the ceiling illustrated the element of Air,containing the panels of the Chariots.Vasari began his education in classical culture in Arezzo under the Latin grammarian Antonio da Saccone and the ancient historian and literary scholar Giovanni Pollio Lappoli,known as Pollastra(1465-1540).He continued his studies within the Medici household under the humanist and hieroglyphologist Pierio Valeriano(1477-1558).In 1539,he met the Milanese law professor and emblematist Andrea Alciato(1492-1550)in Bologna,from whom he learned about the moral aspects of emblems.Through their historical,philosophical,mythographic,and emblematic symbolism,Vasari skillfully synthesize d knowledge to construct intellectual programs that encompass the concepts of ekphrasis and history paintings in his decorative cycles,as revealed in the Chariots.In depicting the cosmic movement of stars and time in the Chariots,Vasari integrated the idea of the chariot illustrated in Baccio Baldini’s astrological engravings and the mythographic account of Apollo and Diana’s chariots in Vincenzo Cartari’s Le Imagini degli dei degli antichi(1547 and 1571).In the discourse regarding the physical and metaphysical movements of the cosmos,Vasari underscores the influence of Italian Neoplatonism,with particular emphasis on insights derived from Marsilio Ficino’s exploration of alchemical colors in nature,as articulated in Liber de Arte Chemica(Books 14 and 15),while also elucidating the importance of Plato’s Chariot of the Soul or Allegory of the Chariot(Jones,Litt,&Ormerod,1918,p.246).展开更多
Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem languag...Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.展开更多
This research concerns on ＂metropolis and metropolisation＂： what is new with the symbols of city local life and the emblems of global competition？ From New York, Rome, Barcelone, Paris and Bordeaux, the same quest...This research concerns on ＂metropolis and metropolisation＂： what is new with the symbols of city local life and the emblems of global competition？ From New York, Rome, Barcelone, Paris and Bordeaux, the same question demands specific answers： can we live and appreciate urban and metropolitan symbols and emblems together or on their own？ That is the question for towns and the future of their citizens. Confrontation of urban sites and observed places with the plural points of view of their establishment, their designers and urban skills, and their inhabitants and citizens. The combination of these several points of view always make a richer discovery than their disciplinary partition and monopoly.展开更多
This article is a research into the history of our town, several times changing its status on its nearly 80-year record. We trace its gradual evolvement from a backwater town into a 21th century capital to piece the p...This article is a research into the history of our town, several times changing its status on its nearly 80-year record. We trace its gradual evolvement from a backwater town into a 21th century capital to piece the picture of our town together from separate puzzles in names and events. The history of our town with its colonial, soviet and post-soviet periods is impetuously losing its two original contexts. The new city was not built anew, from scratch, but was further constructed, extended and novelized. However the first two periods are effaced and pushed to the background, becoming an apophasis. The questions to puzzle out are： Why the town was renamed so many times into Akmolinsk, Tselinograd, Akmola, and Astana; why it had a few emblems on its record; and from which year starts settlement of the territory this modern city currently takes up. Then comes another moot point： How many times was our town＇s status put to question？ Of special interest is street renaming and monuments＇ relocation and the town＇s demographic constituent is no less a serious subject of research. Our town formed through permanent movement of the rural population to it, which concurred with the governmental campaigns in the epoch in question. Urban environment certainly told on inter-relations, and brought about problems. One of them is the problem of tolerance, inevitably arising in any big city. The problem of misunderstanding between the residents of former Tselinograd and present Astana is generation gap. For permanent population＇s rotation practically no urban life traditions have taken on a definite shape among majority of the residents, paradoxical as it is. The population＇s intent to cast off all the colonial and soviet past ended in the loss of representative opportunities of the ＂old＂ town.展开更多
The multimodal discourse has been playing a significant role in modern society since its springing-up from the 1990s.Based on the theoretical framework of Visual Grammar(VG)put forward by Kress&van Leeuwen(1996),t...The multimodal discourse has been playing a significant role in modern society since its springing-up from the 1990s.Based on the theoretical framework of Visual Grammar(VG)put forward by Kress&van Leeuwen(1996),this study,from the per⁃spective of multimodal discourse analysis,aims at exploring the meaning construction in the emblem of 2019 Beijing International Horticultural Exposition.It is found that an emblem can be interpreted with other modes such as visual image,color and pattern de⁃sign apart from verbal language,which will not only work to participate in the overall meaning construction with mutual interaction,but also analyze how sociocultural background,local customs and humanity spirit are reflected through these forms.展开更多
This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted ...This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.展开更多
Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of im...Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.展开更多
文摘In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio,Florence.1 Cosimo I de’Medici,Duke of Tuscany(1519-1574),commissioned Vasari to renovate his apartments in the Palazzo Vecchio.Vasari restructured and painted the ceiling and walls of the Hall of the Elements on the second floor,named for its depicted subjects.The walls were painted using the fresco technique,while the ceiling was executed in oil on panels.The walls depicted the elements of Fire,Earth,and Water,whereas the ceiling illustrated the element of Air,containing the panels of the Chariots.Vasari began his education in classical culture in Arezzo under the Latin grammarian Antonio da Saccone and the ancient historian and literary scholar Giovanni Pollio Lappoli,known as Pollastra(1465-1540).He continued his studies within the Medici household under the humanist and hieroglyphologist Pierio Valeriano(1477-1558).In 1539,he met the Milanese law professor and emblematist Andrea Alciato(1492-1550)in Bologna,from whom he learned about the moral aspects of emblems.Through their historical,philosophical,mythographic,and emblematic symbolism,Vasari skillfully synthesize d knowledge to construct intellectual programs that encompass the concepts of ekphrasis and history paintings in his decorative cycles,as revealed in the Chariots.In depicting the cosmic movement of stars and time in the Chariots,Vasari integrated the idea of the chariot illustrated in Baccio Baldini’s astrological engravings and the mythographic account of Apollo and Diana’s chariots in Vincenzo Cartari’s Le Imagini degli dei degli antichi(1547 and 1571).In the discourse regarding the physical and metaphysical movements of the cosmos,Vasari underscores the influence of Italian Neoplatonism,with particular emphasis on insights derived from Marsilio Ficino’s exploration of alchemical colors in nature,as articulated in Liber de Arte Chemica(Books 14 and 15),while also elucidating the importance of Plato’s Chariot of the Soul or Allegory of the Chariot(Jones,Litt,&Ormerod,1918,p.246).
文摘Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.
文摘This research concerns on ＂metropolis and metropolisation＂： what is new with the symbols of city local life and the emblems of global competition？ From New York, Rome, Barcelone, Paris and Bordeaux, the same question demands specific answers： can we live and appreciate urban and metropolitan symbols and emblems together or on their own？ That is the question for towns and the future of their citizens. Confrontation of urban sites and observed places with the plural points of view of their establishment, their designers and urban skills, and their inhabitants and citizens. The combination of these several points of view always make a richer discovery than their disciplinary partition and monopoly.
文摘This article is a research into the history of our town, several times changing its status on its nearly 80-year record. We trace its gradual evolvement from a backwater town into a 21th century capital to piece the picture of our town together from separate puzzles in names and events. The history of our town with its colonial, soviet and post-soviet periods is impetuously losing its two original contexts. The new city was not built anew, from scratch, but was further constructed, extended and novelized. However the first two periods are effaced and pushed to the background, becoming an apophasis. The questions to puzzle out are： Why the town was renamed so many times into Akmolinsk, Tselinograd, Akmola, and Astana; why it had a few emblems on its record; and from which year starts settlement of the territory this modern city currently takes up. Then comes another moot point： How many times was our town＇s status put to question？ Of special interest is street renaming and monuments＇ relocation and the town＇s demographic constituent is no less a serious subject of research. Our town formed through permanent movement of the rural population to it, which concurred with the governmental campaigns in the epoch in question. Urban environment certainly told on inter-relations, and brought about problems. One of them is the problem of tolerance, inevitably arising in any big city. The problem of misunderstanding between the residents of former Tselinograd and present Astana is generation gap. For permanent population＇s rotation practically no urban life traditions have taken on a definite shape among majority of the residents, paradoxical as it is. The population＇s intent to cast off all the colonial and soviet past ended in the loss of representative opportunities of the ＂old＂ town.
文摘The multimodal discourse has been playing a significant role in modern society since its springing-up from the 1990s.Based on the theoretical framework of Visual Grammar(VG)put forward by Kress&van Leeuwen(1996),this study,from the per⁃spective of multimodal discourse analysis,aims at exploring the meaning construction in the emblem of 2019 Beijing International Horticultural Exposition.It is found that an emblem can be interpreted with other modes such as visual image,color and pattern de⁃sign apart from verbal language,which will not only work to participate in the overall meaning construction with mutual interaction,but also analyze how sociocultural background,local customs and humanity spirit are reflected through these forms.
文摘This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.
文摘Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.
