Abstract: Visual culture is the expression of the norms and social behavior of a society in visual images. A reflection simply shows you how you look when you stand before a mirror, a clear water or stream. The mirror does not alter, improve or distort your original appearance, neither does it show you a caricature of what stands before it, this is the case with visual images created by a tribe or society. The ‘uli’ is hand drawn body design done on Igbo women and speaks of a culture of body adornment which is a practice that is appreciated by that tribe. The use of pattern of the gliding python snake ‘ije eke’ or ‘ijeagwo’ for wall painting speaks of the Igbo culture as one that appreciates wall paintings based on these patterns. Modern life came and brought a lot of change to the Igbo-speaking people of Nigeria. Change cloaked in the garment of Westernization has influenced the culture of the Igbos. This has resulted in a problem which is a break in the cultural practice that has also affected art produced by the Igbos. Before the colonial masters arrived and changed the established culture practiced by the Igbos, visual images were created that retained the culture of this people. To bring this point to limelight, this paper has adopted a historical method. A large number of works produced during pre and post-colonial era which range from sculptural pieces, paintings and other artifacts, just to mention a few, were studied carefully and it was discovered that the visual images hold the culture or aspects of the culture of the Igbos in their renditions and can rightly serve as a mirror of the Igbo visual culture.
Abstract: In the culture of Thailand, the Yak serve as a mediated
icon representing strength, power, and mystical protection not only
for the Buddha, but for population of worshipers. Originating from
the forests of China, the Yak continues to stand guard at the gates of
Buddhist temples. The Yak represents Thai culture in the hearts of
Thai people. This paper presents a qualitative study regarding the
curious mix of media, culture, and religion that projects the Yak of
Thailand as a larger than life message throughout the political,
cultural, and religious spheres. The gate guardians, or gods as they
are sometimes called, appear throughout the religious temples of
Asian cultures. However, the Asian cultures demonstrate differences
in artistic renditions (or presentations) of such sentinels. Thailand
gate guards (the Yak) stand in front of many Buddhist temples, and
these iconic figures display unique features with varied symbolic
significance. The temple (or wat), plays a vital role in every
community; and, for many people, Thailand’s temples are the
country’s most endearing sights. The authors applied folknography as
a methodology to illustrate the importance of the Thai Yak in serving
as meaningful icons that transcend not only time, but the culture,
religion, and mass media. The Yak represents mythical, religious,
artistic, cultural, and militaristic significance for the Thai people.
Data collection included interviews, focus groups, and natural
observations. This paper summarizes the perceptions of the Thai
people concerning their gate sentries and the relationship,
communication, connection, and the enduring respect that Thai
people hold for their guardians of the gates.