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especially the photographer as semiotics-the practice of making enormousthe volume of canonized characters in your object. At the same time the selection of aother reading exercises and the context of situation-the raised hand maybe read not only as a gesture to monument, but also to be an indication thattight sleeve. "The traditional understanding of the role of the monument canonize thisby the way, a certain value of the depicted characteristic gesture" (P. 108). A. G. Tires introduces also such a purely semiotic principlethe randomness of the clothes and the situation: the human is consideredas something characteristic, not fancy. Artistpreparirovanie and the expression on the face of the model to make itdefinitely understandable. A hint of a third type of sign is the fact that has no realrelationships (what is a characteristic sign) and has certainconventional values (which is a characteristic of the word). Examplehint can serve as a cloud-Laden sky that hints at a disturbingthe status of the person depicted. A. G. Tires defines the hintthe object or the part of it that bear impressionally color. What's the difference between an attribute and a hint? The hint is associated with the transfersome content portrait from one layer to another. For example, fromexternal in the internal, it is like a repetition, but on a different level. The same symptomlocated in one layer, on one level, there is this transition. Anotherthe difference is that the "hint has more freedom in choosinglayer of personality to which he may specify" (P. 114-115). Hintfundamentally shaped, while the signs and words can beneobratimo. The whole is determined by the context: "the value of eacha separate portrait of mark reveals to us only in the contextthe contemplation of the portrait as a holistic unity" (p. 116). A. G. Tires also considering the possibility of metaphor in painting andsculpture. In the case of painting instead of naming a single object by nameother we are talking about "sobrannosti one subject in the guise ofthe other" (p. 122). Metaphor in painting, he interprets as metafora in thought,because there is no conventionality of the word mark. Plasticthe metaphor never loses the individual in favor of the abstract.
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