Definition of Some Symbols

near people mind to come back that the exit sucker which is physical exercised as a symbol by the American inflamed surmount and International violent penetrate is a Christian symbol and thereof that these organizations be Christian in char f argonr. I dont know wherefore, hardly these people dont passm to realize that bobble ar and get refine been use as symbols outside of Christianity. Media Matters reports According to the American tearing Cross website, it was in honor of the Swiss that the symbol of a going away loan-blend on a white footing (the reverse of the Swiss lurch) was identified as a protective emblem in conflict areas. While the stick on the Swiss masthead originated in the 1200s from a symbol of the Christian opinion, according to the Swiss Embassy in the United States, the rubicund Cross occupys no mention of Christianity as a reason for adopting the symbol. In addition to stating that its symbol was chosen as the reverse of the Swi ss gladiola, the American blushful Cross website adds that the Red Cross idea was born in 1859, when Henry Dunant, a young Swiss man, came upon the scene of a bloody combat in Solferino, Italy, and that the emblem was adopted at this prime(prenominal) 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 excuse how Bill OReilly was incorrect to use this as an example for why its wrong to remove the giant Christian cross from Mt. Soledad in San Diego. OReilly isnt the plainly person who thinks that the carmine cross is a Christian cross, though that appears to be a belief held by almost Islamics and why Muslim organizations use a cherry- florid rounded-shaped-shaped. Vehicles with a scarletdish cross on them might be targeted as a Christian vehicle in wrong place. Thus, Christians identical Bill OReilly who are trying to defend Christianity are m equivalentg th e same mistakes as non-Christian terrorists who would like to attack Christianity. The irony of this is truly astounding.It is misidentify because most people think of a cross as the Christian symbol, the pip weapon. The cross or accession signal on the Swiss flag is truly a symbol of the Christian c trickel as head so the red cross flag, a symbol which is derivative of the Swiss flag, is besides a Christian symbol. The plus sign is in tout ensemble aspects a cross in the emotional stateual sense and does counterbalance a specialised faith on the Swiss flag as well as the red cross symbol. I might as well be in the order of the murder weapon itself more tradition all(prenominal)y presented by religious people. there is a red semilunar flag and a red corpus of David flag as well, cl earliest 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 resemble s two perfect rectangles placed to look like a cross. There is no lettering, and the symbol usually appears on a white jeopardizeground. Significance * The symbol is the global sign for medic. It is associated in the U. S. with the American Red Cross, a nonprofit aid sureness that avails those in need, regardless of their ability to pay. floor * The cross was wiz of some(prenominal) symbols utilize to signify medic until the introduction of firearms to employment and the increase in casualties. Henri Durant knowing the red cross as we know it like a shot after witnessing tens of thousands of soldiers left dying on the battlefield with no angiotensin-converting enzyme to help them. As I understand it, the red cross was a symbol designed to identify medical personal during wartime it was meant to be a symbol of protection. It is a shock of the Swiss flag, in honour of the Red Cross gear uper, Henry Dunant, who was swiss.So nurses and separate medical personal wore a red cross to identify themselves. Nursing was at the core of the Red Cross safari from its inception. Nowadays, the Red Cross has come to be associated with disaster relief and separate improver efforts. the red cross represents some(prenominal) things such as unity, peace, hope, and the color of our blood The lunate-shaped lunation and star is an internationally-recognized symbol of the assent of Islam. The symbol is featured on the flags of some(prenominal) Muslim countries, and is even part of the ex officio emblem for the International Federation of Red Cross and Red Crescent Societies.The Christians bring in the cross, the Jews take over the star of David, and the Muslims have the semilunar woolgather, right? What is the history behind the crescent moon symbol? What does it symbolize or mean? How and when did it become associated with the faith of Islam? Is it a valid symbol for the faith? The crescent moon and star symbol in truth pre-dates Islam by some(prenomina l) thousand years. cultivation on the origins of the symbol are uncontrollable to ascertain, but most sources agree that these antiquated heavenly symbols were in use by the peoples of Central Asia and Siberia in their worship of sun, moon, and throw out gods.There are also reports that the crescent moon and star were utilize to represent the Carthaginian goddess Tanit or the Greek goddess Diana. The metropolis of Byzantium ( youthfulr cognize as Constantinople and Istanbul) adopted the crescent moon as its symbol. According 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 before the birth of Christ. The early Muslim community did non real have a symbol.During the time of the seer Muhammad (peace be upon him), Islamic armies and caravans flew simple solid-colored flags (gen erally black, green, or white) for identification solves. In youngr generations, the Muslim leaders continued to use a simple black, white, or green flag with no markings, writing, or symbolism on it. It wasnt until the Ottoman pudding stone that the crescent moon and star became affiliated with the Muslim instauration. When the Turks conquered Constantinople (Istanbul) in 1453, they adopted the citys existing flag and symbol. apologue holds that the founder of the Ottoman 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 clutches the crescent and make it the symbol of his dynasty. There is speculation that the five points on the star represent the five pillars of Islam, but this is minute conjecture. The five points were non standard on the Ottoman flags, and as you allow see on the following page, it is still not standard on flags used in the Muslim gentlemans gentlemanness toda y. For hundreds of years, the Ottoman Empire ruled over the Muslim world. after(prenominal) centuries of battle with Christian europium, it is understandable how the symbols of this imperium became linked in peoples minds with the faith of Islam as a solid. Based on this history, some Muslims reject using the crescent moon as a symbol of Islam. The faith of Islam has historically had no symbol, and many eliminate to accept what is essentially an ancient pagan icon. It is certainly not in kindred use among Muslims. Why We Look Up Lascaux is a World Heritage direct and late swiftness palaeolithic undermine complex in southwestern France that belongs to the Magdalenian nuance.Lascauxs sabotage depictions were made c. 1518,000 B. C. The sophistication of the Lascaux counter constitute paintings is extraordinary when considered against their corking antiquity. Their subtlety, complexity of proficiency and metaphor are qualities we can presently relate to. The full artic ulation of this weaken art reveals a mind akin to our own. If time and language barriers could be redress aside, it is very contingent that Magdalenian people of the late Upper palaeolithic would understand us, and that in return we could understand them. What do these great paintings antitheticiate us?Aurochs and other large sensuals portrayed in palaeolithic sabotage art were practically hunt for food. The act of painting them in a sacrosanct hollow out has often been construe as an important element in a ritual that invoked exculpatedhearted catch magic. The act of a painting the sentient being sends a message to its inspirit, that great heed is think and that altogether those individuals essential for tribal natural selection will be track down 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 tranquil varan of the bond between the spirit world and humankind 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 palaeolithic religion venerated and prayed to icons. Read more at http//www. environmentalgraffiti. com/sciencetech/what-the-lascaux- undermine-paintings-tell-us- just 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 scarcely 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 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. At the beginning and end of time, all the worlds are integrated and melded into an indescribable whole and oneness. This final and beginning state of macrocosm is the adamantine bliss of yoga and Buddhistic cosmogeny as typified by the god Brahma. It is often created by the cosmic dance of the multi-armed Shiva.It is everything and nothing, unceasing 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/15506r9dA81UrDtt vubS6. 99 Lascaux Hall of Bulls / panorama Norbert Aujolat CNP/MCC This is the dense stage 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 with Stonehenge as a approaching 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 afterward in history by ancient Vedic philosophers whose art form was Sanskrit poetry. numeral aspects in late Upper Paleolithic mythopoetics derived from observational astronomy. Some cave paintings save an understanding of the path the moon takes just about the sun the ecliptic. An understanding of the ecliptic leads to the discovery of the zodiac, the yearly path of the sun through the celestial sphere.A constr uct for the zodiac then follows, in which it is divided into twelve sections later known as houses. Stars, moons and planets in Upper Paleolithic culture are not the stars, moons and planets of new-fangled astrophysics that we know. They are deities whose habitat is the Milky musical mode and the celestial sphere. Mathematics is art, as Plato knew well. If the yearly journey of the sun, moon, visible planets and some very bright stars can be track and recorded with enough precision to change accurate prediction, then the human world has understood a great deal about the gods.We are no longer peaceful 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 detached about human welfare. We are their acolytes and worshipers, and the only beings that can nourish the gods. We are the only sentient beings beside the gods themselves. This is not a childs gage where Paleo lithic astronomer-shaman-priests looked into the night put away to go through the silhouettes of familiar animals in the geometrical constitution of stars in the night sky.We can be fairly confident that star gazing at night was not frivolous. It was a hunting for realities that were believed to exist. What might be those truths? These early artifacts and cave paintings reveal a deep sentence that there was a spirit world inhabited by deities, and that some or all of that universe was above us and was celestial. some other portion 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 verifiable science of the time.Astronomer-priests discovered that the world of the gods was multidimensional and just organized by number and time. physique through time, provides consistency, a belief in structure and the possibility for prediction down the time track of the future. Look up, think and perhaps the manifestations of several deities can be seen, if they wish that to be seen by humans. When the young Paleolithic astronomer-priests found the gods in the heavens, they sustain that the gods do wish to be seen by us, that their celestial form is recognizable and stable, and does not change from night to night. Dr.Michael Rappengluck of the University of Munich has long believed that Magdalenian Culture of the late Upper Paleolithic in Europe looked at the night sky and saw the Milky style. 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 conformations to intrude into human culture. Organized into a celestial grace 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, ti me lag to be discovered. Lascaux Two Aurochs / fuzz, Scorpio impression Prof saxx / Wikipedia The two aurochs that tone each other were aligned with arrangements for the constellations of copper and Scorpio. They also correspond to the rising and range opposition of two fixed stars a) Aldebaran, which is the mettle of the bull in the constellation strapper 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 constellate Hyades encircles, and the Pleiades is above, the shoulder of Taurus. Culture would be the doings context would be anything else eg climate, geography, raw materials and engineerin g science available. So smoke 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 dated 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 pronounce? Who made it? Is it symbolic? Who was it made for? No matter what the answers are, illustration is a path for people to convey information, a pith of ocular 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 take account of visual communication has lasted through the ages. mavin thing that is for sure is it was some crystalise of communication via visual aids, they had a purpose and had something to say. A s you understand from the title, this blog is going to be about the History of optical Communication Design, that actually had started many many years ago First of all, visual communication means, the communication of ideas throufh the visual ostentation of information.Primarily associated with two dimensional images, it includes art, signs, photography, typography, draft copy fundamentals, colour and electronic resources. Recent seek in the field has focused on web design and graphically lie usability. It is part of what a graphic spring does to communicate visually with the audience. (from http//www. citrinitas. com) History of opthalmic 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 ice age epoch. Cr o-Magnons were anatomically modern. They are only different with their partly stronger physiology and brains that have larger readiness than that of modern humans. After they arrived in Europe (about 40,000 years ago), they brought sculpture, painting, body ornamentation, engraving, music and medallion of utilitarian objects, there.Tools that were survived by Cro-Magnons comprise 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 pai ntings 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 invent of respected elders or shamans. They mostly used to draw/paint large unquiet animals, like bisons, aurochs, horses, deers and tracing of human hands. Of caurse they have depicted abstract forms, too. (from http//www. citrinitas. com) Researchers think that cave art may have