Beeldvergelyking in Greedy Hippo en Crouching Tiger, Hidden Dragon
Literator
| Field | Value | |
| Title | Beeldvergelyking in Greedy Hippo en Crouching Tiger, Hidden Dragon Comparing imagery in The Greedy Hippo and Crouching Tiger, Hidden Dragon | |
| Creator | Botha, John R. | |
| Description | Hierdie artikel neem as vertrekpunt die Ngano-sangstorie getiteld die Greedy Hippo (Die Hebsugtige Seekoei) soos ontwikkel deur Christiaan van der Westhuizen en gebaseer op die Tambani borduurprojek. Die tekenfilm as interpretasie van die Greedy Hippo word aangewend om interdissiplinêre navorsing as doelstelling te verwesenlik, deur die fantasiebeelding in hierdie tekenfilm te vergelyk met dié in die Sjinese. Jungiaanse argetipes word gebruik vir die analise van visuele beelde, met spesifieke verwysing na die noodsaaklikheid vir ‘n esoteriese en verbeeldingryke interpretasie van die fantasiebeelding in die gekose kunswerke. Daar word na die dominante rol van realisme as stylneiging binne Westerse kuns verwys, in kontras met ’n meer esoteriese, simboliese en selfs fantasie-gerigte beeldgebruik in die kuns van ander kulture, met klem op Sjina. Die landskapkuns en selfs poësie van Sjina word bondig met betrekking tot die gekose kunswerke gekontekstualiseer. Ten slotte word die verskillende karakters binne beide kunswerke in samehang met hul simboliese betekenisse en in konteks van Jungiaanse argetipes ontleed. Dit word gedoen met spesifieke verwysing na hul uitbeelding in tonele waar hulle deur die lug sweef, soos verklaar word deur verwysing na die Wu Xia-styl van gevegskunsrolprente. This article used as point of departure the Ngano song-story entitled The Greedy Hippo as developed by Christiaan van der Westhuizen and based on the Tambani embroidery project. This animated interpretation of The Greedy Hippo is used to further the aims of interdisciplinary research as stated by the original project by comparing its fantasy imagery with that of the Chinese film Crouching Tiger, Hidden Dragon by director Ang Lee. The analysis of the images in both works of art has been based on Jungian archetypes, with specific reference to the need for an esoteric and imaginative reading of fantasy in the chosen works of art. Reference was made to the dominant role of realism as style in Western art as opposed to the more esoteric, symbolic, and fantasy imagery of the art of other cultures, with emphasis on China. Chinese landscape painting and even poetry has been briefly contextualised with regards to the chosen works of art. Finally, the different characters of both works of art were analysed within the contexts of their symbolic meanings as based on Jungian archetypes, with particular reference to the scenes where the characters are depicted as flying through the air, which were explained within the contexts of Wu Xia martial arts style films.s. | |
| Publisher | AOSIS | |
| Date | 2012-11-14 | |
| Identifier | 10.4102/lit.v33i1.21 | |
| Source | Literator; Vol 33, No 1 (2012); 9 pages Literator; Vol 33, No 1 (2012); 9 pages 2219-8237 0258-2279 | |
| Language | eng | |
| Relation |
The following web links (URLs) may trigger a file download or direct you to an alternative webpage to gain access to a publication file format of the published article:
https://literator.org.za/index.php/literator/article/view/21/438
https://literator.org.za/index.php/literator/article/view/21/440
https://literator.org.za/index.php/literator/article/view/21/439
https://literator.org.za/index.php/literator/article/view/21/437
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