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The Magpie (French: La Pie) is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet ...
Kkachi horangi (까치호랑이) is a prominent genre of minhwa that depicts magpies and tigers. In kkachi horangi paintings, the tiger, which is intentionally given a ridiculous and stupid appearance (hence its nickname "idiot tiger" 바보호랑이), represents authority and the aristocratic yangban, while the dignified magpie represents the common man.
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...
Various folk cultures and traditions assign symbolic meanings to plants. Although these are no longer commonly understood by populations that are increasingly divorced from their rural traditions, some meanings survive. In addition, these meanings are alluded to in older pictures, songs and writings.
The magpie is a common subject in Chinese paintings. It is also often found in traditional Chinese poetry and couplets. In addition, in Chinese folklore, all the magpies of the Qixi Festival every year will fly to the Milky Way and form a bridge, where the separated Cowherd and Weaver Girl will meet.
In the 19th century book, A Guide to the Scientific Knowledge of Things Familiar, a proverb concerning magpies is recited: "A single magpie in spring, foul weather will bring". The book further explains that this superstition arises from the habits of pairs of magpies to forage together only when the weather is fine.
Illustration from Floral Poetry and the Language of Flowers (1877). According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople [1] and an obsession it held with tulips during the first half of the 18th century.
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