Logic symbols of facial emotions and relations of people.
Information of this page can be useful not only for people who are interested in physiognomy of a human face and concepts of the Chinese canon of changes I-Ching, and not only for psychotherapists and psychoanalysts, but also for theatrical directors and actors, or film artist and acting faces of motion pictures, or television presenters and showmen, because the shown physiognomic symbols of human emotions are comparable to physiognomies of puppets or scenic masks in theaters or other dramatic arts.
Gallery of human relations.
This gallery considers facial expressions or emotional displays which arise in mutual relations of people and mean psychological ratios or mental attitudes of human personality with a society.
Symbolical meanings of physiognomic images in gallery.
Facial expressions of social relationships.
Eyebrows symbolize own reason in correlation with corporative mentality.
Open - individual mind corresponds with public consciousness.
Joyful - individual mind predominates over public consciousness.
Sad - individual mind subordinates to public consciousness.
Quiet - individual mind does not depend on public consciousness.
Eyes symbolize own wishes in correlation with corporative will.
Open - personal volition corresponds with collective will .
Joyful - personal volition predominates over collective will.
Sad - personal volition subordinates to collective will.
Quiet - personal volition does not depend on collective will.
Mouth symbolizes own wants in correlation with corporative demands.
Open - private needs correspond with requirements of society.
Joyful - private needs predominate over social requirements.
Sad - private needs subordinate to social requirements.
Quiet - private needs are indifferent to requirements of society.
Facial expressions of personal relations.
Eyebrows symbolize intellectual sphere of interrelations.
Open - mutual understanding and-or consent with companions.
Joyful - associates are compelled to understand person, and-or personage inspires ideas to associates.
Sad - person is compelled to understand opponents, and-or opponents inspire ideas to personage.
Quiet - misunderstanding or unwillingness to understand each other.
Eyes symbolize intimate aspects of interrelations.
Open - presence of personage among companions is admissible.
Joyful - person aspires to associates, and-or associates are compelled to be at presence of personage.
Sad - opponents leave from person, and-or personage is compelled to be present among opponents.
Quiet - person has not rights to be at presence of accomplices, or personage is in loneliness.
Mouth symbolizes verbal interrelations or communication.
Open - person has possibility of dialogue and companions communicate with personage.
Joyful - associates perceive assertions of person, and-or assertions of personage are expedient.
Sad - opponents do not perceive assertions of person, and-or assertions of personage are inexpedient.
Quiet - absence of dialogue or denying of communication.
Facial expressions of mental attitudes.
Eyebrows symbolize notions and opinions.
Open - notion of the person is equivalent to opinion of people.
Joyful - notion of the person determines opinion of people.
Sad - notion of the person is predetermined by opinion of people.
Quiet - notion of the person is neutral to opinion of people.
Eyes symbolize view points and sights.
Open - view point of the person is equivalent to sights of people.
Joyful - view point of the person determines sights of people.
Sad - view point of the person is predetermined by sights of people.
Quiet - view point of the person is neutral to sights of people.
Mouth symbolizes words.
Open - statements of the person are equivalent to assertions of people.
Joyful - statements of the person determine assertions of people.
Sad - statements of the person are predetermined to assertions of people.
Quiet - statements of the person are neutral to assertions of people.
In gallery relations for everyone hexagram of the canon of changes I-Ching
there correspond two physiognomic images which have insignificant
graphical distinctions, namely different outlines of a mouth and
eyebrows, and also different shapes of eyes, that can be visually
perceived as pretence arising in mutual relations of people. But however
commenting texts in gallery correspond to sincere facial expressions or
displays of emotions. Namely according to graphical distinctions it
seems that the shown physiognomies imitate each other or insincerely
express emotions, but however commenting texts are descriptions or
logical linguistic formulas which mean sincere emotional displays.
Graphic distinctions of two physiognomic images can be considered as nuances or shades of emotional displays, or as facial emotions which are expressed with different degrees of intensity, that in some cases corresponds to not equivalent changes of mimic motions in faces of people.
In essence different graphical outlines of physiognomic images show the fact that human emotions can have identical values and correspond to one hexagram I-Ching, but can have different degrees of intensity and can be expressed with insignificant distinctions of mimic motions, that is necessary to mean during observation and identification of facial expressions and emotional displays in faces of real people.
Commenting texts in gallery of relations consist of logical linguistic formulas which allow to interpret emotions arising in mutual relationships of one person with separate subjects of a society, or otherwise to tell private attitudes of people. And also logical formulas in gallery allow to estimate emotions which are shown in facial features of one person in relation to a society as a whole, or otherwise to tell caused by interrelations and interaction with collective of people. Understanding of personal and public attitudes allows to realize emotional psychological processes according to which each person estimates and compares itself to separate subjects of a society, or compares personal interests and purposes with public needs and collective requirements of people.
By means of physiognomic images and logical linguistic formulas in gallery of relations it is possible to see semantic meanings of facial expressions and values of psychological processes according to which it is possible to correct emotional attitude of a person to people, and accordingly to change attitude of people to a person.
For example, the known puppet character Punch has always widely open or joyful eyes, and also joyful or open rounded eyebrows, that according to semantic meanings of emotions and values of facial expressions in logical formulas of gallery can be considered as prevalence of a person and individual ideas over collective will and public consciousness. Or can be considered as personality and individual thinking which are identified with collective will and public consciousness.
The mouth of puppet character Punch too can be only joyful or open, that means individual requirements which prevail of collective needs or are identified with social needs of people.
The Punch is an exhibition show puppet which in olden time had using for entertainment of public and theater representations at fairs, and consequently emotions in facial features of this marionette always open or joyful.
The puppet character Punch or Punchinello has prototypes such as Italian Pulcinella or French Polichinelle or Russian Petrushka, but faces or facial masks or otherwise to tell masked physiognomies of these marionettes have only open or joyful emotional expressions in any case.
Therefore Punch is pleasant to people as his emotions and facial expressions mean that individual ideas are coordinated with public opinion and collective consciousness of people, and also personal feelings and words are clear to public. Namely facial expressions of Punch activate or actuate pleasure in emotional displays of spectators of puppet shows.
Or known puppet character Pierrot has always sad or sometimes quiet facial features, that means emotional displays of a person which is subordinated to influence of society and depended on public will of people. But however sad emotions in the face of Pierrot are pleasant for spectators of puppet shows, because he submits to public will and depends on desires of people.
Contrast of Pierrot is the puppet character of Harlequin who mock or sneers at Pierrot and possesses always joyful facial features.
Or the known puppet characters are Pinocchio or Russian Buratino whose emotional images of facial features or lineaments are more complex and similar to emotions of human faces, rather than physiognomies of Pierrot and Harlequin. Because mimic motions of Pinocchio are more multiple-valued. Namely the puppet character of Pinocchio can be sad if he is compelled to subordinate personal desires to public interests, or can be joyful if individual aspirations prevail over interests of society. And in the end of fairy tale about Pinocchio this puppet character finds ability to correlate personal desires with interests of society, and consequently mimic range of his emotions finds open facial expressions. Namely ethical sense of this fairy tale consists that Pinocchio in fluctuations between public interests and personal desires has learned to understand other fiction personages or puppet characters, and he has got friends.
In essence fiction personage or puppet character of Pinocchio unites emotional images of Harlequin and Pierrot whose physiognomies personify joyful and sad emotions. And also in the end of fairy tale about Pinocchio he is identified with emotional image of Malvina who possesses always open emotions of her puppet face. But however physiognomy of Pinocchio never have quiet emotional expressions, namely emotions of his face never can be concealed, and according his puppet personality never can be indifferent to world around. Namely Pinocchio is very alive fiction character of fairy tale or puppet show in comparison with Pierrot and Harlequin, and also in comparison with Malvina, but however he is a theatrical marionette which never can exist irrespective of people.
Images of Harlequin and Pierrot are theatrical characters or acting faces and personages of Italian Commedia dell'Arte which has other name as "Theatre of Masks or Masked Types". But in Russia these theatrical characters are more known as fiction personages in the fairy tale "Golden Key or Adventures of Buratino" which is written by Aleksey Tolstoy.
Images of Harlequin and Pierrot, and also facial expressions of Buratino in the fairy tale of Aleksey Tolstoy quite correspond with the Italian prototypes of Commedia dell'Arte, and also with fiction characters in the novel "Adventures of Pinocchio" of Carlo Collodi. These two fairy tales have various plots but characters have common features.
Image of Malvina appears in the fairy tale of Aleksey Tolstoy and absent in the novel of Carlo Collodi, but Malvina too has theatrical prototype in the Italian Commedia dell'Arte, namely she corresponds to Columbine or Colombina.
All these characters form complex emotional construction of theatrical facial features or fictional physiognomies. Namely Harlequin and Pierrot personify joyful and sad emotions, and Malvina or Columbine is personification of open emotions. And in aggregate Buratino or Pinocchio symbolizes complex combination of three variants for facial expressions which are sufficient for puppet theaters, as theatrical marionettes or masks are focused on perception of spectators and cannot express quiet (concealed) emotional displays or manifestations.
Puppet theaters of marionettes and theatrical comedies of masks are phenomena of culture and dramatic arts, or otherwise to tell intellectual phenomena which exist from the beginning of human civilization. Scenic masks of antique Greek theatre or artistic make-up and masked types of classical Japanese musical drama Noh or Nogaku, or ritual facial veils of shamans have common cultural sense, namely are visual attributes by means of which various emotional images are appropriated to mythological and fiction characters, or to personages of theatrical plays and performances. It allows to allocate psychological characteristics of personages by recognizable emotional potentials.
Therefore physiognomic images and logical linguistic formulas in gallery can be used not only for analyses of emotional facial expressions which result from human relations, and not only for correction of behavior in associations of people, but also for classification of mythological characters or fiction personages of theatrical plots. Namely gallery of relations can be interesting for artists and students of theatrical drama schools or actors studios, as the shown physiognomic images allow to analyze emotional expressions and to realize logical system of facial mimic motions which are compared with hexagrams of the canon of changes I-Ching which allows to express universal diapason of human emotions. And in essence physiognomic images in gallery allow to display basic emotional aspects of human experiences and feelings, that is important in dramatic arts because theatrical actors should show most obvious emotions which are similar to physiognomies of Italian Commedia dell'Arte, or similar to artistic make-up and facial masks at traditional Japanese theatres.
And also physiognomic images in gallery can be used by theatrical directors for explanations of facial expressions and psychological characteristics of play personages to actors. Namely directors can specify physiognomic images and actors can understand emotions of personages in theatrical plays by means of evident visual images. But directors should remember that human personalities considerably differ from theatrical puppets and fiction characters, because human face possesses more significant complex of emotions, and people are potentially capable to express full range of 64 emotional images, that differs from facial potentials of Pinocchio, Harlequin, Pierrot, Columbine.
Besides physiognomic images and logical formulas in gallery of relations can be applied to analyses and predictions of human mutual associations. For this purpose you can use the following table.
|This table shows classical scheme of human
relations or triangle in which three persons can appear.
First face or I are you.
Draw in the empty facial stencil first physiognomic symbol which corresponds to your emotional image.
Second face or He is a male subject of relations.
Draw in the empty facial stencil second physiognomic symbol which corresponds to emotional expression of a man who appears in your mutual relations.
Third face or She is a female subject of relations.
Draw in the empty facial stencil third physiognomic image which corresponds to emotions of a woman who appears in your mutual relations.
Then find corresponding physiognomic images in gallery and copy texts of linguistic formulas in empty fields which are near to each subject of relations. After that you can compare linguistic formulas to predict emotional behavior of people.
For analyses and predictions of various variants of behavior it is possible to consider not only linguistic formulas in gallery, but also positions of physiognomic images in circular charts in which you can see geometrical or spatial aspects of human emotions, that is described on pages of this website in other section which has the name: emotional types.
In essence by means of the shown table it is possible to compare real
human faces to physiognomic images and to predict facial expressions of
people during mutual relations. Or it is possible to predict
physiognomic images by means of mantic face-reading when emotions of
people are not known. For example, if it is necessary to learn features
of mutual relations with a person whose face is not visible to you,
namely if you do not know another's facial expressions, then it is
possible to carry out prediction or mantic face-reading and to learn
physiognomic image which will show emotions of this person. And also you
can learn physiognomic image for own emotions by means of
fortune-telling or mantic
face-reading, then it is possible to predict future process and results
of mutual relations.
If to consider that physiognomic images are compared with hexagrams of the canon of changes I-Ching which correspond with universal logic system of any possible mimic motions and variants of human emotions then as a result of predictions or mantic face-readings you can receive all answers which are connected with questions of personal and public relations between people.
If objective or otherwise to tell authentic prediction or mantic face-reading will be carried out then stages of human relations can be clear. And also authentic mantic face-reading can allow to analyze reasons and consequences which can result from various variants of facial expressions in human relations.
Besides physiognomic images and commenting texts in gallery of relations can be applied to forecasting human mutual relations, namely it is possible to compare real human faces to physiognomic images and to predict emotional behavior of people, or it is possible to guess physiognomic images by means of fortune-telling face-readings and to predict emotional behavior of people when emotions of people are not known. For example, if it is necessary to learn features of mutual relations with the man whose face you do not see and do not know the emotional image then it is possible to carry out a fortune-telling and to learn the physiognomic image which will show emotions of this man. And also by means of a fortune-telling face-reading it is possible to find the physiognomic image for own emotions then it is possible to predict the future process of dialogue and results of dialogue.
If to consider that physiognomic images are compared with hexagrams in the canon of changes I-Ching and form logic system in which all combinations of human emotions are systematized then as a result of fortune-telling face-reading there can be physiognomic images which can give all possible answers connected with questions of mutual relations between people.
If the objective (authentic) fortune-telling will be carried out then it is possible to understand stages and reasons of mutual relations, and also consequences which can result from various variants of development of mutual relations.
Following page results information on values of facial expressions and meanings of human emotions in galleries which are named as emotional conditions and perception of times, namely about facial physiognomy or face reading of altered states of consciousness and perception of temporal processes.
Also in this section of web resource it is possible to find data about behavior of people and mimic motions, displays of a human face and physiognomy of facial parameters, psychological processes of physiognomic reactions and fortunetelling cards with hexagram I-Ching, philosophical concept of emotional expressions as logical structure of Chinese numerology.