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Death in art --- Dance of death --- Death --- Symbolic aspects

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"From the common household cat to horses that can fly, a surprisingly wide range of animals feature in religions both ancient and modern and in mythologies all across the world. The same animal can take on different roles depending upon the sacred tradition. For example, the raven can be a symbol of evil, a harbinger of death, a wise messenger, or a shape-changing trickster. In Norse mythology, Odin's magical ravens Huginn (thought) and Muninn (memory) come to perch on his shoulders and bring him news. This informative and entertaining compendium draws upon religious texts and myths to explore the different ways that sacred traditions incorporate animal images, themes, and associations into rituals, ceremonies, texts, myths, literature, and folklore from across the world. Sections are organized by the main animal classifications such as mammals, birds, reptiles, fish, amphibians, and insects. Within each section, each chapter covers one significant grouping such as dogs, cats, and horses. Each chapter first describes the animal scientifically and details the general mythological attributes. Then the chapter provides numerous examples, citing the text or myth. A final section provides additional coverage of references to animal hybrids, animal monsters, and mythical animals. An appendix about "animals in the sky" covers stars, constellations and Zodiac symbols named after animals. Another appendix lists and describes basic details of the religions and mythologies covered in the book. A glossary defines uncommon religious terms and offers explanations of scientific animal names."--

Animals --- Animals, Mythical. --- Religious aspects. --- Mythology. --- Symbolic aspects.

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De l’Amérique du Sud à l’Europe, du Maghreb et Proche-Orient à l’Extrême-Orient, les contributeurs de ce volume s’interrogent sur le concept de jardin et sur sa vocation depuis les origines mythiques du lieu jusqu’aux projections de la science-fiction. En effet, le jardin est un concept que l’on retrouve dans la plupart des grandes civilisations et dont l’usage est présent chez les sédentaires comme chez les nomades. Espace clos, protégé, il se singularise par l’ordre que les hommes y ont introduit, domestiquant les espèces, organisant l’espace et en y contrôlant l’élément clef sur lequel repose sa prospérité : la maîtrise de l’eau. Lieu privilégié, symbole de beauté, d’harmonie dont la vocation est la satisfaction de tous les sens, il est au cœur des imaginaires et favorise rêverie, poésie et aspiration à entrevoir la transcendance. Certes, les Orients du jardin nous rappellent que si l’Éden fut à l’origine de tous les rêves de jardin dans les monothéismes particulièrement, ce jardin idéal, perdu par l’imperfection humaine, est au cœur de toutes les utopies paysagères qui tentent de le recréer inlassablement pour assurer la survie de l’humanité

Gardens in literature --- Gardens --- Gardens --- Gardens in art --- Religious aspects --- Symbolic aspects

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Domestiqué sept ou huit millénaires avant notre ère, le taureau est resté le plus sauvage des animaux domestiques. Il se dégage de lui une impression de puissance, de vitalité et de fécondité, qui en a fait un dieu pour de nombreux peuples de l'Antiquité. Le christianisme à ses débuts est parti en guerre contre les cultes qui lui étaient rendus et lui a substitué le bœuf, animal pacifique, paisible et travailleur. D'où une certaine éclipse du taureau dans la culture européenne pendant plusieurs siècles : il se limite alors à la vie des campagnes et à la fécondation des vaches. Toutefois, à partir du XVIe siècle, puis surtout du XIXe, la réapparition des jeux et spectacles tauromachiques le remettent sur le devant de la scène et suscitent des polémiques qui se sont accentuées au cours des dernières décennies.

Taureaux --- Bulls --- Animaux et civilisation --- Animals and civilization --- Aspect religieux --- Histoire. --- Religious aspects --- History. --- Aspect symbolique --- Symbolic aspects --- Dans la culture populaire --- In popular culture --- Social representations --- Dans les représentations sociales --- Bulls in art. --- Religious aspects. --- Symbolic aspects.

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In 1702, the second emperor of the Qing dynasty ordered construction of a new summer palace in Rehe (now Chengde, Hebei) to support his annual tours north among the court's Inner Mongolian allies. The Mountain Estate to Escape the Heat (Bishu Shanzhuang) was strategically located at the node of mountain "veins" through which the Qing empire's geomantic energy was said to flow. At this site, from late spring through early autumn, the Kangxi emperor presided over rituals of intimacy and exchange that celebrated his rule: garden tours, banquets, entertainments, and gift giving. Stephen Whiteman draws on resources and methods from art and architectural history, garden and landscape history, early modern global history, and historical geography to reconstruct the Mountain Estate as it evolved under Kangxi, illustrating the importance of landscape as a medium for ideological expression during the early Qing and in the early modern world more broadly. Examination of paintings, prints, historical maps, newly created maps informed by GIS-based research, and personal accounts reveals the significance of geographic space and its representation in the negotiation of Qing imperial ideology. The first monograph in any language to focus solely on the art and architecture of the Kangxi court, 'Where Dragon Veins Meet' illuminates the court's production and deployment of landscape as a reflection of contemporary concerns and offers new insight into the sources and forms of Qing power through material expressions.

Palaces --- Bi shu shan zhuang (Chengde, China) --- Chengde Shi (China) --- Art, Chinese --- Landscapes --- Symbolic aspects --- Kangxi, --- Art patronage.