The article focuses on the differences between Eastern and Western art, characteristics of the representation of women's images in Eastern and Western art, and aesthetic criteria regarding women's images in Eastern and Western art. The author emphasized the need to understand the image of women in Eastern and Western visual artworks in different cultural and historical contexts and concluded that studying the image of women in visual art can help one better understand regional gender paradigm differences. To understand the representation (...) of women in Eastern and Western cultures, it is necessary to first understand the differences and similarities between these two cultures in order to gain a deeper understanding of how women are portrayed in these cultures. A few of the differences that can be found between East and West include the geographical structure, the ethno-cultural colors, the social outlooks, and the aesthetic ideals of the two regions. In addition to these factors, it is also important to consider how the visual arts of the two regions differ in their methods, materials, and religious, philosophical and philosophical perspectives. Throughout the article, the author discusses these aspects in great detail, showing specific approaches as to how the female image is represented in Eastern and Western visual art traditions. As such, the article provides valuable insight into the cultural divide between East and West and how their respective artistic styles have interacted with each other. (shrink)

In the article, the vocabulary related to the wedding ceremony in the Pamiri languages is discussed. In particular, vocabulary reflecting the wedding ceremony in Ishkashimi language is almost unknown. In the Pamiri languages are still preserved all the traditional wedding ceremonies. The vocabulary associated with them is well-kept in full and is indigenous and sometimes borrowed. For the most, the terminology applied in the ritual is borrowed. Often the term is borrowed from Badakhshan dialect of the Tajik language. At the (...) same time, some Tajik words are used in specific meaning that is typical only to the dialect of Badakhshan and Dari language of Badakhshan in Afghanistan. This is mainly the vocabulary associated with traditional ways and procedures of the wedding ceremony. Some other words, such as sarbьzьrg ’to give respect, attention to mourners’, can be observed only in classical Persian literature. In view of the Islamization of the region the Arab terms are frequently used in rituals; they are associated with official terminology applied during the marriage process and designate its legal aspects. There are also Turkic lexis that was included into the dictionary because of language and cultural contacts in the region. It is significant that in the lexicon predominate metaphorical and descriptive ways of designation of the ceremonies. Remarkable specific vocabulary with original meaning is of particular use in the local minor Iranian languages in comparison with such major written national languages as Tajik language of Tajikistan and Dari Afghanistan. For example, in Ishkashimi language the word dumod is used only in the sense of ‘son-in-law‘, and in the meaning of ‘bridegroom‘ - only Å¡amard. Since the marriage and wedding ceremony has a special place in the spiritual culture of the people, the symbolic function is included into almost all the rites and ritual objects of it. During the ceremony, people wish of fertility, happiness, coming together and family well-being for the whole family and for the newlyweds. Thus, the terminology associated with these rites is preserved for a long time in the language; equally strong are numerous ritual prohibitions related to marriage. (shrink)

This paper analyzes the problem of Western perceptions of one of the most original branches of the Russian Philosophical Renaissance that occurred at the beginning of the 20th century: namely, the so called Russian Religious Philosophy. This problem still possesses contemporary relevance, owing to the fact that Russian philosophy continues to be engaged in a search for self-identification in respect of Western philosophical contexts. The paper shows that “Russian Religious Philosophy” is perceived by Western thinkers not only as “an exotic (...) cultural phenomenon,” but also as an equal partner in a dialogue: it is considered a significant philosophical achievement, meeting all generally accepted criteria of philosophical creativity. The German Catholic philosopher Peter Ehlen’s monograph on the subject of the religious philosophy of Semyon Lyudvigovich Frank will furnish us, here, with an example of just such an approach. The author of the monograph approaches his subject as something which he himself stands in an essential connection to—something which he, as a researcher, is in a peculiar spiritual communion with. A common spiritual experience of the religious perception of reality determines both Ehlen’s interest in Frank and the specific character of the research undertaken by him. The position of researcher, expected to maintain a certain distance from his or her subject matter, is replaced by that of a co-thinker, engaged in co-experiencing and understanding in depth the ideas of the particular philosopher under examination. The result of this approach is a new synthesis created by Ehlen on the basis of Frank’s philosophy. (shrink)