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Mandala w sztuce i w terapii

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PL
W artykule krótko ukazana jest bogata historia symboliki koła w kulturze. Przedstawiono definicję mandali w perspektywie koncepcji C. G. Junga. Zaprezentowano także wybrane dzieła kilku współczesnych artystów związanych z filmem oraz sztukami wizualnymi, którzy wykorzystywali motyw koła w swojej twórczości. Na zakończenie opisane zostały mandale wykonane przez pacjentkę w procesie terapii oraz mandala stworzona przez uczestniczkę warsztatów pokonferencyjnych
EN
This paper presents briefly the history of the symbolism of the Circle in culture. The concept of „mandala” has been described from the perspective of C. G. Jung philosophy. A selection of works by several contemporary artists associated with cinematography and the visual arts, who used this motif in their works, has also been discussed. The last part of this paper contains a description of the mandalas made by a patient during her treatment, as well as the mandalas designed by a participant of post-conference workshops.
EN
The article presents the possibility of using mandala during the classes with children studying Polish as a foreign language. Some particular areas of Polonistic education have been dis-cussed here, such areas where using this technique supporting passing the knowledge and developing skills is possible. The functions of educational mandala have been described along with the most important rules of using it. Working with the picture of mandala can help to liberate a child’s creative activity.
EN
The term prāyaścitta covers a number of rites and actions that are held to expiate or repair faults of omission and commission. In fact, many of the expiable offenses that are discussed in Saiddhāntika sources are not exclusively Śaiva but belong also to the realm of smārta traditions for they include such non-criminal and non-transgressive things as states of ritual impurity caused, for example, by life-events such as birth and death. The expiatory procedure for the five great sins vary between Śaiva and smārta systems. Śaiva scriptures prescribe different types of maṇḍalas for these five great sins using five BRAHMA-mantras to expiate along with moon-related fasting of kr̥ cchra, cāndrāyaṇa etc., and initiation (dīkṣā) or an installation of Śiva (pratiṣṭhā). Most of the smr̥ ti nibandhas say that the great sins are not expiable. Here I have focused on these two systems regarding the great sins, mainly taking into consideration the 12th-century Śaiva expiatory manual Prāyaścittasamuccaya of Trilocanaśiva.
Amor Fati
|
2017
|
issue 1(7)
58-77
EN
The mandala symbol, which is a sui generis cultural phenomenon, however not because of its uniqueness, but generality of occurrence, and also a subject of the author's research interests, became the reason for writing this article. Mandala in the Eastern tradition, precisely in Buddhist tradiction, is a symbol of fullness, wholeness, emanation of unity in multiplicity. That is a uni-versal motif, which can be found in a wide range of cultural circles (f.e. in architecture, crafts and rituals). The aim of the article is to prove, that this symbol refers to unity and multiplicity in various ways of interpreting, among others, in Jungian psychology, semiology or Buddhist phi-losophy.
PL
Poniższy artykuł „Wybrane techniki arteterapeutyczne w pracy ze stresem” podejmuje temat wpływu wybranych technik terapii przez sztukę na obniżenie poziomu odczuwalnego stresu u kobiet. Życie człowieka bez względu na płeć w obecnych czasach obfituje w wiele różnych źródeł potencjalnego stresu. W odpowiedzi na patologiczny wpływ stresu na rozwój i zdrowie psychofizyczne człowieka, naukowcy i przedstawiciele dziedzin z zakresu ogólnie pojmowanego zdrowia nieustannie szukają nowych metod jego regulacji. Jedną z dziedzin, która podjęła to wyzwanie, jest arteterapia. Celem publikacji jest przedstawienie czytelnikowi wyników badań, dotyczących wpływu wybranych technik arteterapeutycznych na poziom odczuwalnego stresu przez kobiety. Na podstawie wyników badań można stwierdzić, że systematyczny udział w zajęciach arteterapii obniża poziom odczuwanego przez kobiety stresu, a kobiety biorące udział w arteterapii cechują się istotnie niższym poziomem stresu niż kobiety niebiorące udziału w tego typu zajęciach. Dane uzyskane z metody obserwacji wykazały uniwersalny i wielowymiarowy charakter terapeutyczny wybranych metod arteterapeutycznych jak: plastykoterapia, choreoterapia, muzykoterapia i biblioterapia.
EN
The following article entitled „Techniques in art therapy on working with the stress” touches on the influence of the selected art therapy techniques on the reduction of noticeable stress among women. Human’s everyday life regardless of the sex nowadays abounds with a plenty of different sources of potential stress. In response to the pathological influence of stress on a person’s self-development and mental and physical health, scientists and researchers on the fields of general health are constantly seeking new ways of managing the stress. One of the areas that has undertaken that challenge is art therapy. The aim of this publication is to introduce to the reader the results of the research involving the influence of selected art therapy techniques on a noticeable level of the stress experienced by women. On the basis of the results it can be assumed that a systematic participation in art therapy classes reduces the level of stress experienced by women and that the women involved in art therapy are characterised by a significantly lower stress level than the women not participating in that kind of courses. The data collected by using the method of observation proved a universal and multidimensional therapeutical character of selected art therapy methods like art, choreotherapy, music therapy and bibliotherapy.
EN
The author calls on the concept of the mandala by C. G. Jung as ideogram expressing the content of the mental state in the current stage of the development of the inner man. The interpretation of Wedding as a mandala presents the location of the action as a quadrilateral inscribed in a circle. The analysis reveals the three sequences comprising the film, the fractal triadic structure of the whole work, the metamorphosis of the characters, and its close relationship with changing time and space and the importance of vision scenes. The author discusses the mythic-initiation structures and the rite of passage structure using the interpretative framework of Arnold van Gennep. He analyzes the unity of the visual and audio layers of the film, interpreted in the light of Paul Florensky’s ideas on golden highlighting in Russian orthodox icons. He discusses the colour scheme of the film, which is judged to be a remarkable achievement by Witold Sobociński cinematography. He shows the symbolic meaning of the colours that refer to color semantics in Polish folk culture and their relationship with the symbolism of the mandala form and the metamorphosis of the characters.
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