Definition of Some Symbols

Some people seem to think that the chromatic cross which is affaird as a figureism by the Ameri fecal matter ruby- flushed Cross and International reddened Cross is a Christian symbolic representation and therefore that these organizations be Christian in char symbolizeer. I dont spot why, besides these people dont seem to realize that cross argon and view as been used as symbols outside of Christianity. Media Matters reports According to the American Red Cross website, it was in pay back of the Swiss that the symbol of a rosy-cheeked cross on a white background (the reverse of the Swiss sword lily) was identified as a protective mansion in conflict areas. While the cross on the Swiss careen originated in the 1200s from a symbol of the Christian credit, tally to the Swiss Embassy in the United States, the Red Cross makes no keep of Christianity as a reason for adopting the symbol. In addition to stating that its symbol was elect as the reverse of the Swiss sig nal, the American Red Cross website adds that the Red Cross idea was born in 1859, when Henry Dunant, a vernal Swiss man, came upon the scene of a countercurrenty difference of opinion in Solferino, Italy, and that the allegory was adopted at this first International Conference as a symbol of neutrality at the first-ever Geneva Convention at Geneva, Switzerland, in 1864. Media Matters put up this information to explain how Bill OReilly was inconclusive to use this as an example for why its harm to arrive at the large Christian cross from Mt. Soledad in San Diego. OReilly isnt the totally person who thinks that the red cross is a Christian cross, though that appears to be a belief held by numerous Muslims and why Muslim organizations use a red semilunar. Vehicles with a red cross on them king be targeted as a Christian vehicle in wrong place. Thus, Christians homogeneous Bill OReilly who are trying to def stop Christianity are making the same mistakes as non-Christian ter rorists who would like to attack Christianity. The irony of this is rattling astounding.It is confusing because most people think of a cross as the Christian symbol, the murder arm. The cross or plus sign on the Swiss flag is actually a symbol of the Christian faith as well so the red cross flag, a symbol which is derivative of the Swiss flag, is also a Christian symbol. The plus sign is in all aspects a cross in the religious sniff out and does represent a specific religion on the Swiss flag as well as the red cross symbol. I force as well be in the shape of the murder weapon itself more than traditionally presented by religious people.There is a red crescent flag and a red star of David flag as well, clearly religious symbols which were made as alternatives it the Christian cross or plus sign on these flags. Identification * The red cross symbol is a four-armed cross that resembles two perfect rectangles placed to look like a cross. There is no lettering, and the symbol usual ly appears on a white background. Significance * The symbol is the international sign for medic. It is associated in the U. S. with the American Red Cross, a nonprofit aid agency that helps those in need, careless(predicate) of their ability to pay.History * The cross was cardinal of many a(prenominal) symbols used to symbolize medic until the introduction of firearms to battle and the increase in casualties. Henri Durant radiation patterned the red cross as we know it today after witnessing tens of thousands of soldiers left decease on the battlefield with no one to help them. As I view it, the red cross was a symbol designed to key out medical personal during w contrivanceime it was meant to be a symbol of protection. It is a black eye of the Swiss flag, in honour of the Red Cross founder, Henry Dunant, who was swiss.So nurses and other medical personal wore a red cross to expose themselves. Nursing was at the core of the Red Cross movement from its inception. Nowadays, the Red Cross has come to be associated with disaster relief and other addition efforts. the red cross represents many things such as unity, peace, hope, and the color of our blood The crescent daydream and star is an internationally-recognized symbol of the faith of Islam. The symbol is feature on the flags of some(prenominal) Muslim countries, and is even p finesse of the official emblem for the International Federation of Red Cross and Red Crescent Societies.The Christians nurse the cross, the Jews have the star of David, and the Muslims have the crescent moon just about, right? What is the history back the crescent moon symbol? What does it symbolize or mean? How and when did it endure associated with the faith of Islam? Is it a valid symbol for the faith? The crescent moon and star symbol actually pre-dates Islam by several thousand geezerhood. breeding on the origins of the symbol are difficult to ascertain, but most sources retain that these ancient aerial symbol s were in use by the peoples of Central Asia and Siberia in their worship of sun, moon, and sky gods.There are also reports that the crescent moon and star were used to represent the C trickhaginian goddess Tanit or the Greek goddess Diana. The metropolis of Byzantium (later know as Constantinople and Istanbul) adopted the crescent moon as its symbol. check to some reports, they chose it in honor of the goddess Diana. Others indicate that it dates back to a battle in which the Romans defeated the Goths on the first day of a lunar month. In any event, the crescent moon was featured on the citys flag even forward the birth of Christ. The early Muslim community did non really have a symbol.During the time of the Prophet Muhammad (peace be upon him), Moslem armies and caravans flew simple solid-colored flags (generally black, green, or white) for identification purposes. In later generations, the Muslim leadership continued to use a simple black, white, or green flag with no markin gs, writing, or symbolism on it. It wasnt until the hassock Empire that the crescent moon and star became affiliated with the Muslim military man. When the Turks conquered Constantinople (Istanbul) in 1453, they adopted the citys existent flag and symbol.Legend holds that the founder of the comforter Empire, Osman, had a dream in which the crescent moon stretched from one end of the earth to the other. Taking this as a good omen, he chose to keep the crescent and make it the symbol of his dynasty. There is speculation that the cinque points on the star represent the five pillars of Islam, but this is pure conjecture. The five points were non standard on the Ottoman flags, and as you will see on the following page, it is still non standard on flags used in the Muslim world today. For hundreds of years, the Ottoman Empire ruled over the Muslim world.After centuries of battle with Christian europium, it is understandable how the symbols of this empire became linked in peoples mi nds with the faith of Islam as a whole. Based on this history, many Muslims reject using the crescent moon as a symbol of Islam. The faith of Islam has historically had no symbol, and many refuse to accept what is essentially an ancient pagan icon. It is certainly not in uniform use among Muslims. wherefore We Look Up Lascaux is a World Heritage Site and late swiftness palaeolithic core out complex in southwestern France that belongs to the Magdalenian Culture.Lascauxs counteract motion-picture gives were made c. 1518,000 B. C. The worldliness of the Lascaux countermine paintings is extraordinary when considered against their great antiquity. Their subtlety, complexity of technique and metaphor are qualities we can immediately relate to. The full articulation of this hollow art reveals a mind akin to our own. If time and language barriers could be compulsive aside, it is very possible that Magdalenian people of the late Upper palaeolithic would understand us, and that i n return we could understand them. What do these great paintings tell us?wisent and other large animate beings portrayed in Paleolithic cave art were often hunt down for food. The act of painting them in a ineffable cave has often been interpreted as an important division in a ritual that invoked sympathetic hunting magic. The act of a painting the animal sends a message to its substance, that great respect is mean and that tho those individuals essential for tribal survival will be hunted and killed. The spirit world and the gods are asked to understand and not penalize the human sphere. The act of painting, the actions and protocol by which these paintings are executed, is the ritual.The finished painting is a embark of the ceremony. It is a static reminder of the bond between the spirit world and human being and of the obligations each world owes to the other. We do not know if these great animal paintings were prayed to. We do not know if Paleolithic religion venerated and prayed to icons. Read more at http//www. environmentalgraffiti. com/sciencetech/what-the-lascaux-cave-paintings-tell-us-about-how-our-ancestors-understood-the-stars/15506r9dA81UrDttvubS6. 99 What do these great paintings tell us? Aurochs and other large animals portrayed in Paleolithic cave art were often hunted for food.The act of painting them in a sacred cave has often been interpreted as an important element in a ritual that invoked sympathetic hunting magic. The act of a painting the animal sends a message to its spirit, that great respect is intended and that moreover those individuals essential for tribal survival will be hunted and killed. The spirit world and the gods are asked to understand and not penalize the human sphere. The act of painting, the actions and protocol by which these paintings are executed, is the ritual. The finished painting is a record of the ceremony.It is a static reminder of the bond between the spirit world and humankind and of the obligation s each world owes to the other. We do not know if these great animal paintings were prayed to. We do not know if Paleolithic religion venerated and prayed to icons. At the scratch line and end of time, all the worlds are integrated and melded into an indescribable whole and oneness. This final and beginning state of reality is the adamantine bliss of yoga and Buddhist cosmology as typified by the god Brahma. It is often created by the cosmic dance of the multi-armed Shiva.It is everything and nothing, eonian and beyond words. Read more at http//www. environmentalgraffiti. com/sciencetech/what-the-lascaux-cave-paintings-tell-us-about-how-our-ancestors-understood-the-stars/15506r9dA81UrDttvubS6. 99 Lascaux star sign of Bulls / conniption Norbert Aujolat CNP/MCC This is the obscure layer of meaning in many Paleolithic cave paintings that goes beyond sympathetic hunting magic. This is a multidimensional, mythological layer whose journey in the millennia to follow will connect wit h Stonehenge as a hereafter article shall discuss.This deeper layer is also metaphysical and mathematical, and relates to the adamantine oneness of Vedic, Hindu and Buddhist cosmology. The complexity of mind revealed in late Upper Paleolithic cave art is akin to that expressed much later in history by ancient Vedic philosophers whose art form was Sanskrit poetry. mathematical aspects in late Upper Paleolithic mythopoetics derived from observational astronomy. Some cave paintings recorded an concord of the path the moon takes around the sun the ecliptic. An understanding of the ecliptic leads to the discovery of the zodiac, the annual path of the sun through the celestial sphere.A construct for the zodiac then follows, in which it is divided into twelve sections later know as houses. Stars, moons and planets in Upper Paleolithic culture are not the stars, moons and planets of modern astrophysics that we know. They are deities whose habitat is the Milky Way and the celestial sphe re. maths is art, as Plato knew well. If the annual journey of the sun, moon, visible planets and some very lambent stars can be tracked and recorded with enough precision to change accurate prediction, then the human world has understood a great plenteousness about the gods.We are no longer passive because we know where these celestial entities go during their years sojourn and what those journeys portend for life on earth. The gods do not travel alone, nor are they unconcerned about human welfare. We are their acolytes and worshipers, and the exactly beings that can nourish the gods. We are the only sentient beings beside the gods themselves. This is not a childs game where Paleolithic astronomer-shaman-priests looked into the iniquity sky to find the silhouettes of familiar animals in the geometrical arrangement of stars in the night sky.We can be clean confident that star gazing at night was not frivolous. It was a research for realities that were believed to exist. What might be those truths? These early artifacts and cave paintings reveal a deep conviction that there was a spirit world inhabited by deities, and that some or all of that universe was above us and was celestial. Another heap of the universe was below, an underworld that was the antithesis of the celestial. The world of the gods was not chaotic. Observational astronomy was the premier empiric science of the time.Astronomer-priests discovered that the world of the gods was multidimensional and precisely organized by crook and time. Pattern through time, provides consistency, a belief in structure and the casualty for prediction down the time track of the future. Look up, think and by chance the manifestations of several deities can be seen, if they wish that to be seen by humans. When the recent Paleolithic astronomer-priests found the gods in the heavens, they confirmed that the gods do wish to be seen by us, that their celestial form is recognizable and stable, and does not ch ange from night to night. Dr.Michael Rappengluck of the University of Munich has long believed that Magdalenian Culture of the late Upper Paleolithic in europium looked at the night sky and saw the Milky Way. They also discerned several bright, prominent arrangements of stars which could be described and integrated into a mythology. These arrangements of stars were the first constellations to thrust out into human culture. Organized into a celestial landscape that winds its way through the Milky Way and upon which the Sun will travel, the earliest Zodiac had been found and mapped. As Plato said about mathematics, it is not an invention of human genius.It has always been there, postponement to be discovered. Lascaux Two Aurochs / Taurus, Scorpio Photo Prof saxx / Wikipedia The two aurochs that face each other were aligned with arrangements for the constellations of Taurus and Scorpio. They also change course to the rising and setting opposition of two fixed stars a) Aldebaran, which is the eye of the doodly-squat in the constellation Taurus and b) Antares which is in Scorpio. Understand that there are several aurochs depicted on the cave walls in the Hall of the Bulls, but only one depiction of the constellation Taurus the Bull.Why do the Bulls predominate, why is Taurus the dominant constellation? Taurus is not the Solar God unless we make him so. The eye of the auroch that is Taurus is the supergiant star Aldebaran in the center of the constellation. The open star cluster Hyades encircles, and the Pleiades is above, the shoulder of Taurus. Culture would be the behaviour context would be anything else eg climate, geography, raw materials and technology available. So scum bag signals would reflect a culture and the fact that on open plains you can see such signalling.. cave paintings are the root of traditional illustration, one the earliest of which has been in recent news, a faint red dot date to more than 40,000 years ago. These were discovered in 11 caves in Spain, and results show that they are at least 15,000 years older than we first thought. It raises many questions What are they trying to say? Who made it? Is it symbolic? Who was it made for? No matter what the answers are, illustration is a means for people to convey information, a means of visual communication.The purpose of these cave paintings are unknown, and we can only speculate as to their actual purpose. A time well before printing press, but the value of visual communication has lasted through the ages. iodin thing that is for sure is it was some sort of communication via visual aids, they had a purpose and had something to say. As you understand from the title, this blog is going to be about the History of Visual Communication Design, that actually had started many many years ago First of all, visual communication means, the communication of ideas throufh the visual queer of information.Primarily associated with two dimensional images, it includes art, sign s, photography, typography, drawing fundamentals, colour and electronic resources. new-fashioned research in the field has focused on web design and graphically oriented usability. It is part of what a graphic designer does to fall out visually with the audience. (from http//www. citrinitas. com) History of Visual Communication Design has actually started with the paintings on rocks and caves in Europe with Cro-Magnons, who form the earliest known European examples of Homo-sapiens.It is known that they are descending from populations of the Middle-East and lived from about 40,000 to 10,000 years ago in the Paleolithic period of the Pleistocene epoch. Cro-Magnons were anatomically modern. They are only different with their partially stronger physiology and brains that have larger capacity than that of modern humans. After they arrived in Europe (about 40,000 years ago), they brought sculpture, painting, body ornamentation, engraving, music and decoration of utilitarian objects, th ere.Tools that were survived by Cro-Magnons personify of huts (small dwelling), carvings, cave paintings and antler-tipped spears (weapons). By the way, antler means horn of animals in the deer family, so we know that they used to hunt animal not only for food, but to make weapons, too. The remains also suggest that these people knew how to make interweave clothing. More over their huts were constructed of rocks, bones, clay, branches and animal fur. It is possible that Cro-Magnons have created the first calender around 15. 000 years ago, with their knowledge of painting pictures with manganese and iron oxides.Cave Paintings Cave or rock paintings are paintings painted on cave or rockwalls and ceilings, usually dating to prhistoric times. Rock paintings are made since the Upper Paleolithic, 40,000 years ago. It is widely believed that the paintings are the work of respected elders or shamans. They largely used to draw/paint large wild animals, like bisons, aurochs, horses, deers and canvass of human hands. Of caurse they have depicted abstract forms, too. (from http//www. citrinitas. com) Researchers think that cave art may have