development of some nonverbal expressions in visual arts

of research into Nonverbal Expression in Ancient Art by Jurate Macnoriute

After analyzing of ten art styles we can summarize the main ideas in the paper into characterization of change and development of some nonverbal expressions most frequently met in visual arts as follows:

Body stand

Main feature of Egyptian poses' firstly striking the eye is strange torsions of body: face shown in profile, shoulders and breast from the front, legs and feet in profile again. If Egyptian masculine and feminine heroes were thin, strong and manlike, Indian ones pleasingly plump, with especially fat femur part. Chinese stand poses often express submission and humility. Japanese stand pose usually in movement, head turned to one side, torso is not erect straightly upright, arms in various positions often lifted up. Roman stand poses more static than Grecian. They contain sublimity, grace and beauty. Baroque stand of personages unconstrained, unembarrassed. Naturalism combined with idealization characteristic for Neoclassic bodies.

Facial beauty

The most characteristic feature of Egyptian face is its display in profile, eye from the front. Indian facial beauty contains properties like fatness, wrinkleless, full lips, large eyes, youthful. Chinese personages' facial beauty is defined by Eastern Asian ethnic features--narrow eyes, high eyebrows, wide enough and short nose, wide cheekbones, not wide mouth. Japanese facial beauty is defined by fashions of artiste masks expressing several psychological states. Laconically drawn Grecian vase figures characterized by liveliness, joie de vivre. Sketchy faces with large eyes look to us a bit naive and in astonishment. Roman faces keep these same qualities as Grecian: large eyes, straight nose, narrow mouth, but large enough jaw. Golden or yellow haloes surrounded heads of God and blessed people in the Middle Ages, exact proportions of haloes, heads and parts of faces were applied. Besides showing individual appearance of portrayed persons Renaissance artists made an effort to plug into their feelings and fragile spirit. Italians believed in wisdom and beauty. Idealization of human body and together face was one of main features of greatest representatives of rebirth epoch. Liveliness and joy characteristic for faces of Baroque personages. In Neoclassicism Greek and Roman properties were exploited.

Facial expression smile

Lips of Egyptian personages show signs of smile what corresponds to vision of eternal happiness in kingdom of the dead. Full open smile is not characteristic for Indian personages, but often the corners of the mouth curve upward showing joy and swimming in pleasures of life. Light mood of meditation accompanies Chinese paintings, quiet smile smartens faces of personages drowned in themselves. In Japanese prints often we met smile similar to theatre mask's. In later periods of Greek art development seriousness changes archaic smile. Roman personage seriousness and heroism let not them laugh, smile, cry, tongue show, or do some other flighty actions. Fear of God let not personages of the Middle Ages laugh, smile, or show other flighty emotions. Revival personages kept sublime decency going from demure Greeks and Romans. Baroque personages can laugh boisterously, smile, cry, and show other contorted facial expressions. Neoclassic moderate unflinching faces lightly smiles, eyes look sprightly with interest.

Posture arm cross

Egyptian posture arm cross is met not often and has its specific touches: the cross is not deep, only wrists are crossed; hands hold the symbols of power. Arm cross posture was not popular in Indian art. Posture arm cross is too static for Japanese print heroes and it appears only by chance. Posture arm cross popular in revival Christian art. Sooner we can designate it with a term hand cross, because most frequently personages women cross wrists praying in very graceful manner. Revival men cross arms not fully. From the Renaissance posture arm cross came to Baroque, these same qualities remained, it used also in secular pictures. In Neoclassicism arm cross was used in secular pictures too, portraits and it obtained form of full arm cross with function of giving gracefulness to figure.

Posture hands on hips

Hands on hips did not noticed in Egyptian tomb painting. In Indian art hands on hips used for show aggressive creatures. For Chinese and Japanese that posture is not characteristic. Grecian hands on hips used for showing aggression and related with war or not related with any aggression. Hands on hips are not characteristic for heroes of Pompeian frescos, for Medieval art. This posture's applying in the Renaissance corresponds to its contemporary interpretation as aggression. In Baroque version that posture expresses wish to seem more noble. Neoclassic hands on hips seem especially aggressive and militantly.

Posture sit

In Egyptian painting posture sit depends on person status: gods, pharaohs, nobility sit strictly under the canon, commonalty like craftsmen freely, some sit postures allude to yoga's. In Indian art we find various cases of sit: lotus, half lotus, straddling legs on the ground, in position of primates. Chinese sit posture similar to Indian lotus, but more free, often sit details invisible under clothing, Chinese do not sit on chair, but on little carpet. Sit posture in various manners: on feet, sit position of primates, freely on higher basis like Europeans. Greek art was influenced by ancient Egyptians highly, and a relic of that influence body's torsion in sit pose eminently similar to Egyptian, with exception of head turned to reverse side -- torsion like spiral goes to one direction, when in Egyptian variant the torsion touches only torso, head and legs evenly point forwards. In other examples sit posture is usual on chair. Roman sit posture on the low chair comfortable, elaborate, graceful. Medieval God sits on rainbow or onto celestial sphere -- knees broadly, feet close, arms on sides. Revival sit posture beautiful, graceful. Baroque sit posture on high chair -- one leg can be lifted onto another or legs broadly. Neoclassic sit posture direct copy of Roman sit posture.

Posture bow

Bow is not characteristic for Egyptian art, because the display shoulders from the front makes bow posture too inconvenient. But sometimes when persons from lower classes are represented in feeling of profound love and admiration, and their shoulders seen not from the front, the effect of bow appears. Manifestation of posture bow is frequent in Indian erotic and courtship scenes. Japanese posture bow can express some kind of forcible submission. In Greek painting bow is not expressed clearly. For Roman art bow is not characteristic. Sometimes bow posture is noticed in cases with curved back angels holding Madonna. In the Renaissance posture bow is met in scenes of torment of Christ and other saints. In reclined Baroque figure we can notice posture bow, also it happens in scenes with drinkers or prayers. Bow posture seen in Neoclassic love scene showing soft subtle feelings.

Posture body bend

Egyptian body bend has no signs of disagreement, disliking, but it represents some working, shyness, or prayer. In India posture body bend is met commonly in erotic art. In Chinese art body bend is quite infrequent. Body bend in Japanese prints is found as expression of few states: intimidation, weeping, observation something beneath or working. Posture body bend is met in love scenes of Greek vases painting. Posture body bend receives graceful manner and expression of sadness. Medieval body bend used for observation something beneath or working. In the Renaissance body bent used in fight scenes for showing winner or upset. Body bend used in Baroque for some working in regale or terror scenes. Neoclassic posture body bend expresses tedium when figures' elbows resting onto props.

Gesture hand behind head

In Egyptian tomb painting hand behind head has no place. In Indian interpretation softening of negative feelings in an erotic manner is noticed. In Chinese painting hand behind head is not met. Sometimes gesture hand behind head is met in Japanese prints, but sooner it has no sense of uncertainty, conflict, disagreement, frustration, anger, or disliking. Japanese artists liked various hand gestures, and hand behind head could compose by itself through chance. Gesture hand behind head is met in Greek fight scenes. Gesture (or posture) hand behind head is met in fancied by Romans sit posture holding elbow onto high back of chair. Medieval gesture hand behind head seen in arm swing of fight scene. Using gesture hand behind head Michelangelo expressed hard state of dying man or severe Christ judging sinners. Gesture (or posture) hand behind head was used for sleep state. Gesture or posture hand behind head received refined gracefulness in Neoclassic art, sometimes this gesture applied for expression of drunken state.

Gesture point

Point is not characteristic for Egyptian tomb painting. In Indian art sometimes point upwards is met. Point sometimes used to indicate the presence or location of objects in Chinese painting. Point gives to Japanese print high clearness of understanding and expression, also memorization. Greek gesture point usually is done not by extending an index finger, but all four fingers. Medieval point gesture often applied to indicate the presence of objects. To indicate the presence or location of objects and forces, to direct attention of other personages and spectator to something were functions of that gesture in the Renaissance. In Baroque gesture point used to indicate the presence or location of objects and forces, other its characteristic -- it became a playful gesture of drunken company with doubtful function of indication. Neoclassic point is characterized by palm with all fingers spread out indicating object or by extending an index finger with uncertainty of indication object.

Display arm show

Display arm show is frequent in Egypt, but it has nothing in common with sexuality or competition like it describes in contemporary psychology or with vanity. Without any doubts arm show related with hot Egyptian climate. Arm show takes place often in scenes of dance or postures that sprung up from motions related with dances. Arm show is not characteristic for Chinese. Like for Chinese for Japanese arm show is not characteristic, sometimes depicted arm show is met partly dressed. Grecian arm show can be related with hot climate. In Roman frescos display arm show is frequent and it has such functions as determination of one's own fate or course of action without compulsion or interest. Display arm show is not characteristic for medieval art, because severe Christian teaching let show only faces, hands, and feet without clothing. Exception was Christ on cross or some other martyred saints. Benedictory fingers' sign 'V' was characteristic and frequent for Christian era. Display arm show frequent in the Renaissance art for Revival striving to show beautiful human body, but Revival arm show has no sexual function. In Baroque display arm show frequent, because it helps to express freedom and defection. It can be related with sexual appeal or competition, but mostly its function is interest and beauty. Besides arm show legs show represented too. In Neoclassicism arm show similar to Baroque, often arms not very undressed, but Neoclassic arm show more graceful and refined.

Body movement precision grip

In Egyptian art precision grip is met sometimes in scenes of working. In Indian art precision grip is expressed, for example, by woman pulling out splinter from her tread. Precision grip Chinese use for taking cup of tea or flower. In Japan prints precision grip is infrequent. Roman precision grip examples: curing injuries and carrying a plate with meal. Revival precision grip expressed in very subtle manner, for example, holding little thing between two fingers of one hand or gracefully holding larger thing with fingers of both hands. Baroque precision grip though subtle, but less refined than in the Renaissance.

Body movement decision grip

In Egyptian art decision grip is met sometimes in scenes of working. In Indian art decision grip is expressed, for example, by man holding a sheet or embracing two women. An example of Chinese decision grip can be horseman holding the reins. Japanese decision grip can be expressed by holding some thing of house wares, banner or breaking branch. Roman decision grip performed by preparing meal. Subtlety is felt in revival show of decision grip too -- fingers grip things in graceful manner. Medieval decision grip can be connected with eye contact what gives to that action seriousness and sanctity. Baroque decision grip in comparison with revival seems as if unhealthy. Neoclassic grip is met as something intermediate between decision and power grips.

Body movement power grip

Power grip one of most rude from body movements is not characteristic for Chinese painting, but it is met in some scenes of punishment. Japanese woman in such rude movement depicted with elegancy and grace. Grecian power grip is free from impression of strong power, but more elegant and playful. Roman power grip's object can be woman. Medieval power grip related with great fear. In the Renaissance power grip related with swagger walk. Neoclassic power grip is met mostly in fight scenes.

Body movement intention cue

Poetic Greek vase painters sometimes used scenes with clearly expressed intention cue. They showed not a moment of action, but before that. Intention cue is met in some Baroque kids play scenes. In Neoclassicism intent hero prepared himself in any moment for fight -- intention cue can be called one of main Neoclassic cues.

Tactile sign self touch

Self touch was not used in Egyptian tomb painting. In Indian art self touch mostly characteristic for sit poses, lotus posture contains self touch. Chinese self touch frequently has form of keeping hand on hand. Self touch in Japanese prints met frequently in various forms. In Greek vase painting self touch very infrequent. In Roman art self touch highly frequent. Medieval self touch -- palms together, hand to face, hand on knee, hands on breast. The most characteristic Revival self touch -- fingertips gracefully touch breast. Baroque self touch similar to Revival, but more simple, less graceful. In Neoclassicism self touch is frequent and it helps to expresses complicated feelings of personages.

Tactile signal touch cue

Touch cue is not frequent in Egyptian tomb painting, but sometimes we meet it in scenes of friendship between two women or in scenes of meeting of dead pharaoh with a goddess. Scene of courtship with touch cue frequent in Indian art. Touch cue is infrequent in Chinese art, it is met in spanking scenes. In Japan touch cue is frequent enough and characteristic mostly to parents and children relations. Roman touch cue in love scene and motherhood. Characteristic Medieval example of touch cue blessing through touching head. Revival touch cue related mostly with motherhood. In Baroque touch cue widely used for figures' coherence. Some horrible touches are characteristic for Baroque like in act of beheading. Touch cue expressed in Neoclassicism shows owner's affirmation that touching object is his/her property.

Equilibrium signal balance cue

Balance cue is not characteristic for Egyptian art that's main property is stability. Balance cue especially noticed in Indian sculptures representing dancers balancing on a foot. Walking blind Chinese man touches ground very airily in what we can envisage balance cue. Japanese body stand position with significant turn can be associated with balance cue. For keeping of balance Greek personage often holds long stick. Venus removing a sandal keeps her balance with help of Cupid can be a beautiful poetic example of Roman balance cue. Syncope is main cause of body fall in art of the Middle Ages. In Revival period good drawing was in great respect, that is why mostly figures of kids seem unstable. Baroque balance cue related with disgust and syncope. Appliance of balance cue in Neoclassicism infrequent, they liked to depict people strong.

Submission status

To status of submission can be ascribed all Egyptian postures and gestures. Even uncomfortable, strained positions of bodies of gods show deities submission to someone superior. Chinese personages' submission features: kneeling, arms together on breast, body tilt forward, body bend. Japanese submission status -- body tilt forward, head tilt back, crooked on walking stick, body bend, arms together for prayer, knees bend. Submission is not characteristic for Greeks. Romans manifest the effects of submission status through bent head, humble kiss or standing in a quiet crowd. In the Middle Ages submission status was manifested through bent body, going on knees, touch of one hand gently other hand for prayer, face and hands up, gaze on sky. Submission status expressed by kneeling, showing hands on breast, gaze up or down, arms crossed, touch of one hand gently other hand for prayer, head tilt back, side, or down. Baroque submission pose is infrequent and it is expressed by kneeling, touch or being touched. In Neoclassicism submission status is represented by suppliants and people of lower range in scenes representing high society in such ways: palms together like praying, body a bit bend, hand to beneath of breast.

Emotion love

Love scenes are not especially characteristic for Egyptian tomb painting, but examples of love of mother to her children are met. Such love are shown by holding children on knees and touching them. Various love scenes free from any idealization were liked in art of India very much, and they are met even in temples. Erotic scenes are met in Japan showing hard sex. Posture body bend and tactile signal touch cue are met in Greek vase love scenes full of play and flirtation, woman often receives active role. Roman love scenes have sublime character, lovers as if fly in space being side by side. In the Middle Ages one kind of love was in highest recognition -- love for God, eyes of Madonna directed upwards, but not to child, God's felicity in her eyes, lips are ready to say grateful words of prayer to God. Revival emotion love represented using arms show, head tilt side, holding in hand some cruet, kiss, embrace, but always loving personages keep decency, for example, by leg cross. We can also accentuate Revival love for kids shown in a lot of images of Madonna. Love emotion shown in Baroque art applying embrace, kiss, and touch. Love emotion gracefully shown by Neoclassic personages by head tilt side, gaze down, arm show, prop, body show, decision grip, gaze to woman's face, enchantment by music, bow, fall of book from hand, touch cue, kiss, or in motion.

Emotion sadness

Unemotional form of Egyptian art has no emotion sadness. Sadness is not characteristic for art of India expressing pleasure and luck. Chinese emotion sadness is met especially in funeral scenes, it expresses with a bit bent body and hands with handkerchief held to face. Japanese sadness is expressed by inclination of head and hand lifting to face. Grecian sadness can be described as inclination of head and hands to face. Roman sadness expressed by the stand with elbow and leg resting onto props, closing face with hand, and long head wear with falling fabric, also it can be body bend posture. Medieval sadness shown by head tilt side, one hand to face. For expression of sadness and sorrow Renaissance artists used very rich gesticulation: fall backwards and down, forceful prevention by other figure, kneeling with lifted clasped hands, point to object of sorrow, head tilt side, mouth open in weeping, clasped hands, hands to sides, palms up, body bent to side, suddenly stoppage after fast run, widely opened mouth. Baroque sadness and sorrow expressed by clasped hands, the touch other figure, kiss, embracing of sorrow object. Neoclassic sadness and sorrow expressed by palm up put on object of sorrow, palm with fingers spread out showing to object of sorrow, body sliding down, hanging arms, face up or head drooped down, head covered with fabric, palms closing view of sorrow object, head tilt side and gaze up, hands to face, leg cross.

Emotion fear

Fear emotion is not characteristic for Egyptian, Indian, Chinese, Greek, Roman arts. Japanese fear emotion expressed through arms stretching, withdrawing upper body part, jaw pushing to breast. Medieval fear expression close to madness -- mouth open, hairs stand, eyes uncanny, hands, body in a squatting position, hands holding something in grasp. Fear expression sometimes takes place in emotionally rich Baroque art and it is achieved by suddenly turned head, widely opened eyes, opened mouth, hiding nakedness under cloth, lifted hand, spanking run, adequate facial expression. In Neoclassicism fear was shown by lifted arm towards danger, staring bulging eyes, open mouth, snuggle to elder persons of family.

Afferent signal pleasure

In Egyptian painting through facial beauty some pleasure cue unfolds (signs of smile). In Indian art personages receive pleasure through love, the corners of the mouth curve upward showing joy and swimming in pleasures of life. Chinese afferent signal pleasure is shown by corners of the mouth curving upward. Japanese pleasure is shown by calm state and corners of the mouth curving upward, the pleasure is received through working, looking into the distance, being on water, plashing water by feet, touching children, food, watch over fighting men, walk. In Greek love scenes we can recognize afferent signal pleasure, pleasure can be ascribed to characteristics of all Greek personages as quite joyful. Severe Roman personages are full of hard thoughts, and only in love scenes we can notice some afferent signal pleasure. In the Middle Ages only pleasure was love for God. Revival love for kids is related with pleasure. We can imagine that Virgin kissing her child kiss feels pleasure. In Baroque pleasure received through smoking and blowing smoke upwards, drinking with merry company and reclining legs keeping very broadly located, or looking at own face's reflection. Neoclassic afferent signal pleasure appears in love scenes.

Sign pain cue

Pain cue is not characteristic for Egyptian and Indian arts. In Chinese spanking scene battered person does not show pain cue. In Japanese prints filled by theatrical expression pain cue met infrequently. For Greek vase painting filled by joy pain cue is not characteristic. In heroic Roman art pain cue is not characteristic. Pain cue is not characteristic for Medieval personages -- depicted martyrs do not feel pain for their religiosity. Pain cue met in religious Revival scenes representing saint martyrs like St. Sebastian -- cramp movement, turn from straight body position, open mouth signify that cue. Pain cue can be detected in some Baroque religious scenes representing saint martyrs or in some secular pictures -- cramp movement, turn from straight body position, spread fingers, open mouth, protruding eyes show pain cue. Pain cue is not characteristic for Neoclassical personages -- heroes die carrying themselves with dignity and strength of mind.

Sign eye contact

Egyptian eye contact applied when figures stand face to face, but their gazes are not concentrated and strained, because Egyptian eyes in profile face are set from the front. Eye contact is not characteristic for Indian art. Chinese eye contact is used sometimes, but it has some poetic dreaming property. In Japanese eye contact often is between two persons one from them being in some higher position in space. Roman eye contact is not straight, gaze slips beside eyes of partner what gives some poetics to image. In Baroque art very interesting eye contact of Caravaggio's Narcissus and his image on surface of water. In Neoclassicism these same features of eye contact as in Roman art are kept.

Ready response fight or flight

Fight or flight is not characteristic for Egyptian tomb art, art of rest and death. Fight or flight is not characteristic for Indian art, art of pleasure and love. Fight or flight is not characteristic for Chinese personages -- any constraint often they accepted as right penalty and suffered stilly. Fight scenes liked in Japan very much, and cases of fight or flight are met expressed by floundered appearance. In Medieval art hero-martyr does not fight or flight in replay to terrorists, but he shows strength of mind saying a prayer, palms put together, that is tactile sign self touch. Revival fight and flight similar to Medieval -- attacked by tormentors Christ does not fight or flight in replay. Baroque ready response fight or flight is expressed by lifted hand with spread fingers and gaze to invaders.. Neoclassic fight or flight state shown by sudden body rising, lifted hand with spread fingers towards attacker, gaze to attacker's eyes.

Broadside display swagger-walk

Showing shoulders and breast from the front, that is torsos canonically aimed in viewers direction, Egyptians gave for figure magnitude and odd beauty what can be related with swagger walk. Swagger walk is a distinguishing quality of Chinese highborn persons, characterized mainly by straight stand. Greek swagger walk characteristic not only for men, but also for women, for Greek man's swagger walk wide step is typical. Swagger walk characteristic for Roman heroes -- larger body sizes, straight stand, free and easy motions of arms and legs, red wear, sometimes it distinguishes also by the state of being without clothing, stick on shoulder. In Medieval art swagger walk is not characteristic, Christ in the last judgment can be described by that term. Revival swagger walk related with power grip, hand on hip, holding long stick, wear with widen shoulders, high head wear. Baroque swagger walk expressed by straight stand, one hand on hip, other's palm up, wear of red and gold colors, crown. Neoclassic swagger walk -- straight stand, a hand on hip, red color in wear, one leg upwards as if put onto something what property is stated by duke.

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