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Folk art is defined as creation that does not belong to the classical or modern arts but is generally included in traditional or domestic handcraft production. Works of folk art are generally of anonymous origin; their producers have not graduated from aesthetic or artistic studies in the narrowest sense. The discovery of the phenomenon of folk art as a valuable part of culture is due to the development of the science of art history at the end of the 19th century. From the aesthetic and historical point of view, it occurred in parallel with the gradual disappearance of this phenomenon in the European societies that were in the process of industrialization. At the end of the 19th century, with the gradual disappearance of handicraft traditions in Central and Western Europe and later in Eastern Europe, folk art lost its original foundation. Due to theories of primitivism, popular art was given special attention during this period by - and thanks to -artists of the modernist trend. During this period, folk clothes and clothing motifs were seen frequently. In particular, various pictures, colors, symbols, lines and images representing flowers were used quite often. What the grounds for all these people are, their importance, their depth, why they are repeated and how they are repetitive patterns are hidden in these clothes and works. Preservation of the national culture and the local folklore is very important and we think, first and foremost, that we should understand the significance of these symbols and colors that represent our heritage. The aim of this study is to analyze colors and symbols in Romanian and Turkish Folk Art with an analogical approach. In this study, examples of colors and symbols in Romanian and Turkish Folk Art were examined from areas such as clothing, weaving and ceramics and the use of symbols, the meanings of colors were conveyed and supported by patterns and it was concluded that there were similarities as well as regional differences between the two countries.

In the absence of general culture books, the people of the Middle Ages in Europe took superstitions for granted, and incredible things were easily accepted as undisputed truths. Today, everyone knows what a dog or a bee is, but in those days fabulous stories were considered non-fiction. In the Middle Ages, stories beautified boring times and people valued them. At that time, people especially liked stories about animals and as they had no other sources of information, the most sought after were the \"bestiaries\", ie those books that described the animals and the environment in which they lived. In the research on the symbols used by human beings in daily life, it will be seen that colors have an important place in the semiotic sense. In this sense, colors have an important place both in the establishment of communication and interaction as symbols and in the formation of the human image. While it is known that a series of historical and mythical events can often affect the formation of symbolic color meanings, it has been seen that the meanings formed can sometimes gain a nominalist character. On the other hand, these symbols are not only a representative of the story on which they are based, but also a carrier of the story. The formation process of symbols and the meanings attributed to symbols by social actors significantly reveal the historicity of a society. This historicity serves not only for societies to develop certain organizations through certain stories, but also to create certain meaning maps. Individuals, who communicate with each other through a common consciousness through the meaning maps in question, bring their minds, which cannot come together mechanically, through a common image and meaning.

The historical, cultural and political structure of each period also shapes the style of works of art. Works belonging to disciplines such as fashion, painting, sculpture and architecture are produced under the influence of the period. In this context, the Gothic style, which paved the way for the Renaissance in art history, influenced societies and shaped many areas from architecture to clothing. Gothic can be defined as a cultural and artistic phenomenon that affects a wide spectrum from architecture to literature, from youth culture to music and even to the big screen. Today, as a style that affects many designers and artists, Gothic art has also been a source of inspiration for many fashion designers and fashion brands. There seems to be a resurgence in fashion today in a fascination for all things Gothic throughout the fashion landscape. In this context, many new permutations and hybrid designs have emerged, from haute couture to street style. This study revealed that aspects of the Gothic style, from its origins in the early 18th century, reflect its continuing flexibility and adaptability throughout history and contemporary society. Over the next centuries, these adaptations reinforced the essence of Gothic, but at the same time remained true to their origins. By examining street style, haute couture, traditional Gothic style themes and new representations of Gothic influences in contemporary fashion, this study explores how the emergence of Gothic themes has shaped and inspired fashion creators and designers in contemporary society.

Canonically defined, the theme of the icon, as well as its symbolism, is not within the competence of the artist. Unlike profane art, the icon spontaneously reveals the mystery it represents. Moreover, she lives from this reality and can only be perceived from within. In sacred painting its basic features are provided by the canons. Thus, the position of the body, the attire of the characters, the gestures and other details are invariable. According to the requirements of the Church of the East, icon painters must conform to a set of canons, guides, which guarantee continuity and doctrinal unity. In profane art, valuable work reflects the personality of the artist. It is, in a way, an attempt to materialize his thinking and vision of the world. Audience recognition involves new creations, and the artist's effort constantly tends towards innovation and overcoming. The iconographer, however, feeds his art from the Tradition and the teaching of the Church. His personality must be eclipsed in front of the represented character. Despite this fidelity to Tradition, it is amazing to find that there can be counted dozens of iconographic schools, in which we do not find two identical icons. But, also in this context, we notice that the icon with a certain subject is immediately recognized by everyone. The topic of this paper is the liturgical textile representations that we can see in Byzantine Art, the meanings of the colors and symbols that enrich them.

The participation in the operations of the First World War exploits of Romanian soldiers on the battlefield and sacrifice the entire Romanian people for the Great Union from December 1th , 1918 represented, as in the case of the Independence War, a strong inspiration for the artists of that age. One of the most sensitive Romanian artists at the horrors and crimes’ war was Nicolae Tonitza. The artist sensitivity to human problems had felt since the time of the Uprising from 1907, when he bemoaning the living martyr of the peasant, condemning those who exploit him. Answering to the recruitment’s order, Tonitza went to the Infantry Regiment 84 and between 20th and 25th August 1916 he took part in the battles that led to the final destruction of his regiment, the artist was taken prisoner and led, together with his comrades in camp from Turtucaia. Located in captivity, the painter Tonitza expresses his feelings to the facts and things that surrounded him through his sketchbook, using as inspiration grounds surrounding nature, fellow-sufferers, or scenes of camp.

We are surrounded by color, light, images and to transpose these things we have today modern and sophisticated graphic designers, illustrators and painters. Going down the steps of history, however, we will find a possible starting point for graphic design, in what are called illuminated manuscripts. An illuminated (Catalogue of Illuminated manuscripts, online source) manuscript is a manuscript in which the text is completed with decorations such as initials, margins (marginalia) and miniature illustrations. In the strictest definition, the term refers only to manuscripts decorated with either gold or silver; but both in common usage and in modern teaching, the term refers to any manuscript decorated or illustrated in Western traditions. Comparable works from the Far East and Mesoamerican are described as painted. Islamic manuscripts can be called illuminated, illustrated or painted, using essentially the same techniques as Western works. The oldest illuminated manuscripts are considered to be from the period 400-600 A.D., produced in Western Europe, the Kingdom of the Ostrogoths but also in the Eastern Roman Empire. Their importance lies not only in their inherent artistic and historical value, but also in maintaining a literacy link provided by unenlightened texts. Were it not for the monastic scholars of late antiquity, most of the literature in Greece and Rome would have perished. Indeed, models of textual survival have been shaped by their usefulness to the group of severely literate Christians. The illumination of manuscripts, as a way of enlarging ancient documents, helped to preserve and inform their value in an era when the new ruling classes were no longer literate, at least in the language used in manuscripts.

The symbol of the KNIGHT GOD could be found all over Greek-Roman world, mainly to Dacian people and their descendants. Thus, Kernbach mentions the deities known as The Thracian Knight, The Danubian Knights and Mircea Eliade shows that, acording to Herodotus, a few centuries later, monuments of the so-called ”knight heroes” tend to grow within the Balkan area . The Thracian knight shone upon Pontus Euxinius (the Black Sea), a upon the cities Histria, Callatis, Odessus. Moreover, we can also find him at Romula, in Dacia, where he is not actually associated to Cybele. In Constantza, the Knight God with his spear is portrayed with wings like a genius of death resulting in fact, that the Thracian Hero also had funeral attributions. Stela de la Svistov, dedicated to deceased Heroni portrays the god facing up a sort of huge dragon that has nothing in common with the rescueing snake solidary with The Tree of Life, on the contrary he embodies death.

Ecaterina Teodoroiu, dubbed the Heroine Of The Jiu, began her activities during World War I working as a nurse at the hospital in Târgu Jiu. She was part of Mr. Tudor scouts cohort, led by Liviu Teiuşanu. On August 15, 1916, the day Romania entered the war, scouts from across the country were called in army support services, among them being alsp Ecaterina, who cared for the wounded brought in Târgu Jiu, first as scout, then as a nurse. Coming on the front to avenge her brother's death, Ecaterina Teodoroiu was to become \"tomorrow's Jiu heroine ... an ornament example, a living icon of heroism and \"sacrifice for the country\".

The participation of our country in the operations of the First World War, the deeds of bravery of the Romanian soldiers on the battlefield as well as the sacrifice of the entire Romanian people for the Great Union of December 1st, 1918 represented, just like in the case of the Independence War, a strong source of inspiration for the artists of the time. Although the preference for war scenes met a significant decrease over time, during the armed conflict and in the following years this preference increased significantly. Sculptors’ work during the war, especially of those who had been mobilized, was characterized by the objective and careful observation of the battlefield, the faithful representation of reality in plastic works as well as by the sympathy for the fate of the ordinary man. Among the Romanian sculptors who strongly evoked the horrors of war in their work, the emotions and the tense atmosphere of the battlefield, two artists, who have left behind works of art of special significance for the Romanian fine arts, stand out for their great workload as well as for the aesthetic quality of their art: Ion Jalea and Corneliu Medrea.