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According to the Turkmenistan state news agency, "A white yurt is a symbol of an age-old, distinctive historical-cultural legacy, a sign of preservation of our roots and origins." This three-story structure includes a café, offices, and VIP apartments ,as well as a large auditorium with 3,000 seats.
Some yurts in the steppe, 1921 Inside a yurt Yurts in the steppe Temple at the Dashichoiling monastery. The yurt, traditional dwelling of Mongolian nomads, is a circular structure supported by a collapsible wooden frame and covered with wool felt. In Mongolian, a yurt is known as a ger (гэр).
One of main symbols of Tengrism. A symbol used by many Tengrists, representing the runic spelling of god Tengri and "shangrak" (an equilateral cross in a circle), depicting the roof opening of a yurt, and a shaman's drum. Many world-pictures and symbols are attributed to folk religions of Central Asia and Russian Siberia.
Yurts in the Mongolian Countryside. The ger (yurts) is part of the Mongolian national identity. The Secret History of the Mongols mentions Genghis Khan as the leader of all people who live in felt tents, called gers, and even today a large share of Mongolia's population lives in ger, even in Ulaanbaatar.
Ceremonial Gilt Bronze Finial Depicting a Standing Horse - Saka Culture, Tulpar Symbolism. The horse occupies a special place in the oral literature of the Kazakh people. Tulpar is a winged horse, one of the main motifs of Kazakh folklore. In the minds of the Turks, the cosmos was inhabited by mythical creatures, one of which was Tulpar.
The emblem is an image of a shanyrak (Kazakh: Шаңырақ, Şañyraq; more often seen in the Russian transcription, Шанырак, shanyrak), the upper dome-like portion of a yurt, against a sky blue background which irradiates (in the form of sun rays) uyks (supports) set off by wings of mythical horses, inspired by Tulpar, which represent bravery. [3]
The term is often employed by people who consider non-western style homes in tropical and sub-tropical areas to be crude or primitive, but often the designs are based on traditions of local craftsmanship using sophisticated architectural techniques.
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 ...