全部 标题 作者
关键词 摘要

OALib Journal期刊
ISSN: 2333-9721
费用:99美元

查看量下载量

相关文章

更多...

Animal Motifs and Mythical Myth: The Myth Association to the Identity of the Ancient People

DOI: 10.4236/adr.2024.122012, PP. 165-190

Keywords: Animal Motifs, Symbol, Mythical Animals, Ancient Civilizations, Intellectual Ideology

Full-Text   Cite this paper   Add to My Lib

Abstract:

The current study aims to uncover the symbolic meanings of animal motifs and analyze the superstitious myth that is generated by the symbols of animals. The descriptive analysis is taken as a method for analyzing the symbols of mythical animals that have been immortalized in many ancient cultures to confirm the aspects of identity, as well as the various cultures of people for revealing self-identity when using such symbolic drawings. From this standpoint, the study seeks to delve into the role of animal motifs and superstitious myths in revealing the identity and intellectual ideology of the ethnic classifications of many ancient societies. The methodology of the current study lies in the descriptive analysis and making comparisons between a number of symbolic animal figures that were found and linked in their places of presence to the identity and cultures of the ancient societies belonging to them, and then they were collected to know the indications and beliefs prevailing at them in an old period and to know the nature of living practices and the way of peoples’ life, intellectual ideology, and religious beliefs. It reveals what other ancient civilizations took from intellectual and mixed civilizations in order to fuse them in other forms and meanings by adding psychological and personal expressions that were independent in their sanctity from the origin of the civilizations that were taken from them. The study proved the existence of a tremendous cultural mixture embodied in the ancient individual’s tendency to instinctively dive into a number of myths, especially those that appeared in the civilizations of the Near and Far East in general, but these symbols were reformulated with all their connotations implicitly in order to take the mold of decorative and symbolic arts.

References

[1]  Abeddoust, H. (2021). A Comparative Study of the Structure of Pre-Islamic Iranian Textual Symbols and the Incantation Symbols of the Islamic Period. Islamic Art Studies, 17, 231-249.
[2]  Afzaltousi, E., & Jalalianfard, N. (2015). Influence of Religion on Symbolic Birds in Islamic Calligraphy. Alzahra University.
[3]  Ahmed, G. M. (2008). The Language of Art between Subjectivity and Objectivity. The Anglo-Egyptian Library.
[4]  Al Dein, H. A. F. E. (2022). Semiotics as an Approach to the Analysis of Symbolism in Islamic Architectural Arts. Architecture and Engineering, 7, 3-19.
https://doi.org/10.23968/2500-0055-2022-7-2-03-19
[5]  Aldiabat, K. M., & Navenec, L. (2011). Philosophical Roots of Classical Grounded Theory: Its Foundations in Symbolic Interactionism. Qualitative Report, 16, 1063-1080.
[6]  Allen, M. L., & Armitage, E. (2017). How Children Learn to Navigate the Symbolic World of Pictures: The Importance of the Artist’s Mind and Differentiating Picture Modalities. Advances in Child Development and Behavior, 52, 153-184.
https://doi.org/10.1016/bs.acdb.2016.10.004
[7]  Barakat, H. (1993). The Arab World: Society, Culture, and State. Univ. of California Press.
https://doi.org/10.1525/9780520914421
[8]  Beatrice, L. (2022). Pre-Islamic Arabia. Smarthistory.
[9]  Blair, S. S., & Bloom, J. M. (2003). The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field. The Art Bulletin, 85, 152-184.
https://doi.org/10.1080/00043079.2003.10787065
[10]  Brend, B. (1991). Islamic Art. Harvard University Press.
[11]  Collon, D. (1995). Ancient near Eastern Art. University of California Press.
[12]  Gardner, H., Howard, V., & Perkins, D. (1974). Symbol Systems: A Philosophical, Psychological, and Educational Investigation. Teachers College Record, 75, 27-55.
https://doi.org/10.1177/016146817407500502
[13]  Gombrich, E. H. (1965). The Use of Art for the Study of Symbols. American Psychologist, 20, 34.
https://doi.org/10.1037/h0021883
[14]  Green, N. (2003). The Religious and Cultural Roles of Dreams and Visions in Islam. Journal of the Royal Asiatic Society, 13, 287-313.
https://doi.org/10.1017/S1356186303003110
[15]  Hammouda, F. Y. (1990). Theories and Values of Architectural Beauty (p. 89). Dar Al Maaref.
[16]  Haywood, J. A. (1960). Arabic Lexicography: Its History, and Its Place in the General History of Lexicography. Brill Archive.
[17]  Hinnells, J. R. (2005). Religion and the Arts. In J. Hinnells (Ed.), The Routledge Companion to the Study of Religion (pp. 521-537). Routledge.
https://doi.org/10.4324/9780203412695-36
[18]  Kienzle, R. (1969). Man and His Symbols. Philosophy and History, 2, 35-36.
https://doi.org/10.5840/philhist19692140
[19]  Kirch, P. V. (1980). The Archaeological Study of Adaptation: Theoretical and Methodological Issues. In M. B. Schiffer (Eds.), Advances in Archaeological Method and Theory (pp. 101-156). Academic Press.
https://doi.org/10.1016/B978-0-12-003103-0.50008-3
[20]  Lorker, M. (2000). A Dictionary of Deities and Symbols in Ancient Egypt. Salah al-Din Ramadan, (Cairo: Madbouly Library, 2000 AD).
[21]  Munro, T. (1963). Evolution in the Arts: And Other Theories of Culture History (Vol. 10, 561 p.). Cleveland Museum of Art.
[22]  Nasr, S. H. (2006). Religious Art, Traditional Art, Sacred Art (pp. 175-185). The Essential Sophia.
[23]  Olderr, S. (2012). Symbolism: A Comprehensive Dictionary. McFarland.
[24]  Saeed, K. M. (2011). Islamic Art and Its Spiritual Message. International Journal of Humanities and Social Science, 1, 227-234.
[25]  Samar, S. A. (2011). The Personal Sacred among the Arabs before Islam. Journal of the College of Education, 1, 107-128.
[26]  Samar, S. A. (2013). Motivations for Human Creation and Its Harm in Ancient Rafidian Thought. Journal of the College of Education, 6, 1-33.
[27]  Samar, S. A., & Jabbar, A. (2017). The Rebellion of the Creatures of the Underworld against the Gods in the Light of the Ancient Myths of Mesopotamia. Journal of the Faculty of Education, 4, 7-30.
[28]  Searight-Martinet, S., & Soleilhavoup, F. (2014). Enigmatic Engraved Images Found in the Pre-Historic Rock Art of the Sahara. Rock Art Research, 31, 187-198.
[29]  Shaw, W. M. (2019). What Is “Islamic” Art? Between Religion and Perception. Cambridge University Press.
https://doi.org/10.1017/9781108622967
[30]  Smith, C. (2014). Encyclopedia of Global Archaeology. Springer Reference.
https://doi.org/10.1007/978-1-4419-0465-2
[31]  Steffler, A. W. (2002). Symbols of the Christian Faith. Wm. B. Eerdmans Publishing.
[32]  Svoboda, J., & Frouz, M. (2007). Symbolic Objects and Items of Decoration. Pavlov Excavations, 2011, 200-206.
[33]  Tabbaa, Y. (2011). The Transformation of Islamic Art during the Sunni Revival. University of Washington Press.
[34]  Thagard, P. (2014). Artistic Genius and Creative Cognition. In The Wiley Handbook of Genius (pp. 120-138). Wiley.
https://doi.org/10.1002/9781118367377.ch7
[35]  Tubb, J. N. (1998). Canaanites (Vol. 2). University of Oklahoma Press.
[36]  Viladesau, R. (1999). Theological Aesthetics: God in Imagination, Beauty, and Art. Oxford University Press.
https://doi.org/10.1093/acprof:oso/9780195126228.001.0001
[37]  Wagoner, B. (2009). Introduction: What Is a Symbol? In Symbolic Transformation (pp. 21-36). Routledge.
https://doi.org/10.4324/9780203856550

Full-Text

Contact Us

service@oalib.com

QQ:3279437679

WhatsApp +8615387084133