Journal articles: 'Landscape in art'

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Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art." Journal of Musicology 33, no. 1 (January 1, 2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.

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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.

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Benedict, Jessieca Joseph, Mohd Fazli Othman, Syed Zamzur Akasah Syed Ahmed Jalaluddin, and Rafeah Legino. "The Spirituality of Papar Landscape." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 75–79. http://dx.doi.org/10.21834/ebpj.v7isi9.3941.

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Art's function has allowed artists to express themselves for centuries. Art was once created solely for religious reasons, especially with the rise of the Catholic Church. The Industrial Revolution and the church's declining influence in the 19th century opened people's eyes to emotion and imagination, which Romanticists later portrayed artistically. This led to nature mysticism and landscape paintings. Similarly, St. Ignatius' Ignatian Spirituality corresponds to the divine yearning in nature. Spirituality and art can go hand in hand, say Jesuit priest-artists. Mystical landscapes reveal humanity's spiritual connection to nature. Artists explore emotion and spirituality through monochromatic art because it can provoke deeply personal experiences My art explores landscape's spirituality. I like how it evokes spirituality, longing, and comfort. Keywords: Spirituality; Papar Landscape eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3941

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Джанджугазова, Елена, and Elena Dzhandzhugazova. "Area of Russian landscape." Service & Tourism: Current Challenges 8, no. 1 (March 31, 2014): 83–88. http://dx.doi.org/10.12737/3411.

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The article considers evaluation of esthetic characteristics of landscape on the basis of the best examples of Russian landscape pictorial art. The author offers readers to analyse and evaluate landscape scenes representing story line of popular Polenov´s landscapes.

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Balm, Roger, and Malcolm Andrews. "Landscape and Western Art." Geographical Review 90, no. 4 (October 2000): 649. http://dx.doi.org/10.2307/3250790.

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Crawford, Alistair. "Landscape photography as art." Landscape Research 17, no. 1 (March 1992): 2–8. http://dx.doi.org/10.1080/01426399208706351.

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Moignard, Elizabeth. "LANDSCAPE IN GREEK ART." Classical Review 53, no. 2 (October 2003): 452–54. http://dx.doi.org/10.1093/cr/53.2.452.

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F. Nunes, Israel, and Lucia Maria S. A. Costa. "Paisagem Experimental:." Revista Prumo 4, no. 7 (November 15, 2019): 152–65. http://dx.doi.org/10.24168/revistaprumo.v4i7.1127.

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The links among public space, landscape, and contemporary art are the central theme of this paper. In shaping a landscape design essay for a public park on a silted waterfront in the city of Ilhéus - BA, Brazil, dynamic alter-natives are introduced for the renovation of the public space, based upon the diversification of common uses. The purpose is to build a connection between landscape and art through the re-signification of the natural and cultural processes of the specific site, which may promote a new collective sense of place. The work presents as its theoretical support studies that look at the landscape from its active aspect and discuss the extended field of contemporary art. The paper concludes stressing the importance of the active role of landscape architecture in urban places reconfiguration. Key-Words: Landscape architecture, Urban park, Contemporary Art

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Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art." Философия и культура, no. 10 (October 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.

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The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.

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ERDOĞAN, Reyhan, Yazar Adı Yazar Soyadı, Rıfat OLGUN, Oğuzhan ÖZÇATALBAŞ, and Faik ŞAVKLI. "PENJING IN THE CHINESE LANDSCAPE ART (MINIATURE LANDSCAPE)." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 5 (August 30, 2015): 98. http://dx.doi.org/10.17365/tmd.2015511329.

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Chen, Linze, Junhan Liu, and Yang Zhao. "Innovation and Development: An Analysis of Landscape Construction Factors in Quanzhou Maritime Silkroad Art Park." Sustainability 15, no. 4 (February 9, 2023): 3157. http://dx.doi.org/10.3390/su15043157.

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From the perspective of tourists, this paper takes Quanzhou Maritime Silkroad Art Park as the research object to study the botanical landscape factors concerned with tourists in the theme park. Through a questionnaire survey, and combined with interviews, the collected results were scientifically analysed using the data. According to the statistical results, the factors of plant landscape construction in the theme park concerned with tourists were summarised, extracted, and named, which were “plant landscape healing”, “plant landscape culture”, “plant landscape continuity”, “plant landscape spatial sense”, and “plant landscape aesthetic sense”. Through an in-depth analysis of the five common factors of the construction of modern theme park plant landscapes, this study creatively centred on the construction of theme park landscapes and established a scientific evaluation system, combined with the development and construction of the park, and put forward innovative and constructive suggestions based on the summary and analysis results. It provides a scientific reference for plant landscape construction in other theme parks.

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Lipský, Zdeněk, and Dušan Romportl. "Landscape typology in Czechia and abroad: State of the art, methods and theoretical basis." Geografie 112, no. 1 (2007): 61–83. http://dx.doi.org/10.37040/geografie2007112010061.

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The main goal of this paper is to introduce the importance of landscape typology in present times when many landscapes are exposed to dynamic human impacts such as land use changes, urbanization, intensive agriculture, forestry or industrialization. Different approaches to landscape typology in Czechia and other European countries as well as relations of landscape typology to landscape character assessment and the European Landscape Convention are discussed. A requirement of a new exact and applicable landscape typology is a great challenge for Czech geographers.

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Наталія Дігтяр and Олександр Тарасенко. "COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT." Problems of Modern Teacher Training, no. 2(22) (October 1, 2021): 49–55. http://dx.doi.org/10.31499/2307-4914.2(22).2020.219394.

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The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape composition. It is emphasized that in the course of future teachers' of fine arts professional training should be acquainted with the basic laws of the construction of landscape composition on the plane, the means of applying the method of golden intersection in landscapes, methods of reaching the depth of space in the image of the surrounding nature in different compositional formats and compositional generalization; step-by-step work from compositional searches to detailing and completion of a complete artistic landscape image. Art educators argue that all the details in the landscape should be well connected and helped to express the overall idea of the composition. To do this, students need to focus on more area characteristic features, select the most typical landscape objects. It is revealed that the landscape is not just a copy of nature from nature, but also the expression of the artist's attitude to nature, the transfer of the artist's own mood, their experiences and emotions. The author emphasizes the importance of studying the соmpositional techniques in the landscape should be applied not formally, but in order to best express the main idea of the artist. The author agrees with the opinion of artist-educators, who argue that students should be given the opportunity to independently set certain compositional tasks and perform them independently in the creation of a landscape.

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Misni, Alamah Misni, and Anwar Suran. "AN INTEGRATED PUBLIC ART IN PUTRAJAYA URBAN LANDSCAPE." Built Environment Journal 15, no. 2 (July 30, 2018): 48. http://dx.doi.org/10.24191/bej.v15i2.9708.

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The art found in public space represents a local social and cultural situation, as well as the artistic and aesthetic tendencies. There is a close relationship between the public art and the city landscape. Public art is part of the broader visual environment of buildings, landscapes, and infrastructure. It can promote a sense of place, contribute to legibility or wayfinding, and support efforts to quality urban design. It can be in the form of sculpture, street furniture, mural, and even fountain structure. This research focuses on the user's perception and appreciation of integrated public art in the Putrajaya urban landscape. Data was collected using qualitative and quantitative methods. The case study data collections were conducted through a survey, observation, and distribution of questionnaires. The case study was carried out in the Putrajaya urban landscape. Putrajaya was selected as a case study because it is the new administrative capital of Malaysia that has seen the need to be distinctively outstanding in both its characteristics and development. Putrajaya has revealed the influence of public art in enforcing and strengthening the identity of the city. Subsequently, the recommendation has been made to enhance the planning process and management system by the local authority in the Putrajaya urban landscape. Therefore, this research will help to generate the social awareness and understanding of the effort of integrating public art into the Malaysian urban landscape. Keywords: Putrajaya, planning, public art, sense of place, urban landscape

14

França, Ana Marcela. "Paisagem e natureza na arte contemporânea: ressignificação do espaço e experiência da obra." Revista Prumo 5, no. 8 (April 23, 2020): 110–21. http://dx.doi.org/10.24168/revistaprumo.v0i8.1245.

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This paper aims to discuss the installations made in the 1970s to the present day, which dialogue directly with the “natural” landscape, extending the significance of the artistic object to the reconfiguration of the space. In particular, works that have action in the biophysical space will be discussed, in which elements of the environment become devices of artistic manifestation. It will be seen that these performances transform the landscape and the notion of a work of art, creating tensions in what we understand as nature and culture.

15

Milani (book author), Raffaele, Corrado Federici (book translator), and Elena C. Napolitano (review author). "The Art of the Landscape." Quaderni d'italianistica 30, no. 2 (June 1, 2009): 189–91. http://dx.doi.org/10.33137/q.i..v30i2.11925.

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Porshnev, V. P. "Landscape art in Ptolemy Egypt." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 26–29. http://dx.doi.org/10.30725/2619-0303-2017-2-26-29.

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Jorge Camacho, Cristina. "Land Art vs Landscape Architecture." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 4 (May 1, 2016): 117–29. http://dx.doi.org/10.31921/constelaciones.n4a8.

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La descripción de los fenómenos atmosféricos según los grados de intensidad –vientos escala Beaufort 0, 1, 2,…– y su representación mediante diagramas sirven para medir futuras contribuciones energéticas y prevenir sequías e inundaciones a través de programas de simulación meteorológica como Real Flow o Flow Design en el entorno BIM. Como antecedente en el control de estos parámetros, determinados videos de obras de Land Art muestran cómo la acción del viento, la lluvia o los relámpagos potencian los efectos del tiempo sobre dichas obras como Air Art. Actualmente estas mediciones se utilizan en sistemas cerrados como las instalaciones domésticas Interior Weather de Philippe Rahm o Rain de Junya Ishigami o en sistemas abiertos como las redes de instalaciones Infraestructural Urbanism de Stan Allen o Landscape Urbanism de James Corner.

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Haldane, John. "Transforming Nature: Art and Landscape." Art Book 10, no. 3 (June 2003): 10–12. http://dx.doi.org/10.1111/1467-8357.00342.

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Cartes, I. "Art in the urban landscape." Urban Design International 2, no. 4 (December 1, 1997): 189–98. http://dx.doi.org/10.1080/135753197350588.

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Crawford, Alistair, and Peter Howard. "Editorial: landscape, photography and art." Landscape Research 17, no. 1 (March 1992): 1. http://dx.doi.org/10.1080/01426399208706350.

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Sorvig, Kim. "The Art of Landscape Detail." Landscape and Urban Planning 49, no. 1-2 (May 2000): 87–88. http://dx.doi.org/10.1016/s0169-2046(00)00049-9.

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Cartes, I. "Art in the urban landscape." URBAN DESIGN International 2, no. 4 (December 1997): 189–98. http://dx.doi.org/10.1057/udi.1997.31.

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Merriman, Peter, and Catrin Webster. "Travel projects: landscape, art, movement." cultural geographies 16, no. 4 (October 2009): 525–35. http://dx.doi.org/10.1177/1474474009340120.

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.

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Cao, Yulu, and Zonghan Li. "Research on Dynamic Simulation Technology of Urban 3D Art Landscape Based on VR-Platform." Mathematical Problems in Engineering 2022 (April 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/3252040.

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With the rise of some concepts such as “Digital Earth” and “digital city,” how to realize the three-dimensional reconstruction and visualization of the urban art landscape is becoming a current research hotspot. This study takes the VR-Platform as the development platform and combines it with 3dsMax technology to study the dynamic simulation technology of urban 3D art landscapes. Additionally, this study combines the dynamic simulation technology of urban three-dimensional artistic landscape, designs the urban three-dimensional artistic landscape dynamic simulation system from the aspects of landscape modeling, texture mapping, drive integration, and so on, and finally realizes the basic functions such as roaming interaction, map navigation, information measurement, and visual display of the urban three-dimensional artistic landscape dynamic simulation system, which has a certain practical application value.

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Hoffos, David, and Margo Henry. "Art." Public 31, no. 62 (December 1, 2020): 240. http://dx.doi.org/10.1386/public_00053_5.

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The interview with curator and guest editor Wayne Baerwaldt and artist, Zachari Logan pertains to questions about the nature of Logan’s visual art practice in relation to gender, sexuality and intersecting issues of queer embodiment and landscape.

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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.

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Balmori, Diana. "Cranbrook: The Invisible Landscape." Journal of the Society of Architectural Historians 53, no. 1 (March 1, 1994): 30–60. http://dx.doi.org/10.2307/990808.

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As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular attention to the landscape ideas of the Arts and Crafts movement, as this was the last major aesthetic movement to value the art of landscape. Influenced by the principles of this movement, publisher George C. Booth founded Cranbrook in 1925, envisioning a combination school, studio, and art colony, where artists together could develop an integrated design practice. Under the influence of Arts and Crafts, landscape had a very early, critical role at Cranbrook and was part of the vision for the institution. But the later history of Cranbrook shows the decline of landscape as an art, a loss of scope and vision, especially as the Arts and Crafts aesthetic waned and that of the modern movement emerged. The study gives attention to this decline; the observation of how this happened at Cranbrook provides some clues as to the overall diminution of landscape in the twentieth century, a decline heretofore noted, but not explained. The essay begins with the recollection of a personal experience that is critical to the author's interest in the Cranbrook site and to an understanding of the exploration of our connections to landscape. Visits to the site and the use of the resources of the Cranbrook Archives (the papers of George Booth, designs, plans, photographs, and writings by the Cranbrook landscape practitioners) have made it possible to give visibility to the Cranbrook landscape and to allow an assessment of the landscape's relationship to the larger institution.

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Wilkoszewska, Krystyna. "Landscape and the environment." Polish Journal of Landscape Studies 2, no. 4-5 (July 31, 2019): 5–12. http://dx.doi.org/10.14746/pls.2019.4.5.1.

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The paper analyzes the concept of landscape and its various embodiments in art and nature. On the one hand, one can claim that our understanding of the landscape is constituted by conceptual oppositions like human/non-human, artifactual/natural, culture/nature; on the other, one may notice that landscapes occur in the space “between” these oppositions. Furthering this observation, I lodge an objection to the approach of certain exponents of environmental aesthetics who opt for replacing the notion of landscape by that of environment because I would argue that the former is still informative.

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Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (April 1, 1990): 83–84. http://dx.doi.org/10.2307/3983863.

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Akhmedova, Zaripat Abdullaevna. "GENRE OF LANDSCAPE IN THE WORK OF M. M. SHABANOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 94–100. http://dx.doi.org/10.31029/vestiyali26/14.

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The article deals with the genre of landscape in the work of the People's Artist Magomed Magomedovich Sha-banov. The author gives a brief art history analysis of many works of the landscape genre. Comes to the con-clusion that the artist's landscapes changed depending on the era, time of creation.

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Porshnev, Valerij P. "Landscape gardening art of the Hellenistic states of Asia Minor." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 112–20. http://dx.doi.org/10.30725/2619-0303-2021-1-112-120.

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The article continues a cycle of publications of the author on Hellenustic landscape gardening art. The cultural region, which already in the most ancient times was a contact zone between the Greek world and the East is considered. The historical heritage of the Phrygian and Lydian kingdoms and the Persian Empire, which bequeathed to governors the Hellenistic era sacred groves, hunting reserves paradises and terrace parks with regular planning is traced. Special attention is devoted to parks of the Pontic kingdom of time of Mithridates VI Eupator’s government and parks of Pergamon. The country residence of Mithridates VI in Kabeira is interesting as a sample of the landscape park, the first in the history of the European landscape gardening art, at which there are motives characteristic for parks of time of Romanticism. Besides, parks in Kabeira and in Pergamon had unique collections poisonous and the herbs gathered by Mithridates VI and Attalus III. According to the author of article, these collections, besides utilitarian appointment, being raw materials for preparation of poisons and drugs, had aesthetic value, enriching park landscapes, and their natural qualities were intricately connected with mythology and religion of Greeks. Base of a research are the landscapes of the Black Sea coast of Turkey, the rich archaeological material saving up in one and a half centuries of excavations in Pergamon, and written sources, compositions of antique authors, among which are the works of poet and scientist 2nd century BC Nicander of Colophon not yet translated to Russian.

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Panwar, Apeksha, and Archana Rani. "CONTEMPORARY LANDSCAPE IN TRADITIONAL GOND ART." International Journal of Research -GRANTHAALAYAH 9, no. 1 (February 2, 2021): 169–75. http://dx.doi.org/10.29121/granthaalayah.v9.i1.2021.3047.

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English: Indian Folk art mainly depicts social and cultural aspects of trible society. Gond Painting is developed by Gond Community which is a large trible community in India and hence named after the same. “This art is quite famous in central India. Traditionally Gond Art were painted on walls and floors during weddings and on auspicious occasions. With time the art witnessed developments and now it is seen on textile, canvas, clothes, articles and valuable artifacts. Last decade witnessed a boom in the popularity of Gond Art. Jangan Singh Shyam who is called the father of Gond Art is one such artist who introduced Gond art at world platform. The presented research paper highlights the initial and contemporary changes which were introduced by Jangan Singh and his descendants Mayank Shyam (Son) and Japani Shyam (Daughter) and famous gond artist Vanket Raman Singh Shyam in their Gond Paintings under the effects of the surroundings with Time. Hindi: भारतीय लोक कलाएँ मुख्यतः आदिवासी समाज के सामाजिक और सांस्कृतिक स्वरूप को दर्शाती है। गोंड चित्रकला भारत के विशाल जनजातीय गोंड समुदाय द्वारा विकसित की गयी है। अतः इस कला को यह नाम गोंड जनजाति से मिला। यह कला मध्य भारत की एक विख्यात कला है। अपने परम्परागत रूप में गोंड चित्र दीवारों और धरातल पर शादी-विवाह और अन्य शुभ अवसरों पर सृजित किये जाते थे। अब समय के साथ उनके माध्यम में परिवर्तन दिखाई देने लगा और ये कैनवास, पेपर, कपड़े, उपयोगी एवं सजावटी वस्तुओं पर भी बनायी जाने लगी है। पिछले एक दशक में इस कला को अत्यधिक प्रसिद्धि प्राप्त हुई है। गोंड कला के पितामह कहे जाने वाले जनगण सिंह श्याम एक ऐसे पहले कलाकार है जिन्होनेगोंड कला को विश्व स्तर पर परिचित कराया। प्रस्तुत शोध पत्र में गोंड कला के प्रणेता श्री जनगण सिंह श्याम और उनकी कला की संरक्षक पीढी पुत्र मयंक श्याम व पुत्री जापानी श्याम तथा प्रसिद्ध चित्रकार वेंकेटरमन सिंह श्याम के चित्रों में पारम्परिक और समसामयिक परिवेश के अनुरूप आये बदलाव के संदर्भ से प्रस्तुत करने का प्रयास किया है।

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Krog, Steven R. "ART AND THE LANDSCAPE: A SYMPOSIUM." Landscape Journal 12, no. 1 (1993): 85–87. http://dx.doi.org/10.3368/lj.12.1.85.

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McGirr, Patricia. "BETWEEN LANDSCAPE ARCHITECTURE AND LAND ART." Landscape Journal 16, no. 1 (1997): 121–22. http://dx.doi.org/10.3368/lj.16.1.121.

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Grezl, Karel, and John Cameron Rodger. "Landscape Reclamation: Science, Art or Business?" International Journal of Science in Society 1, no. 1 (2009): 13–30. http://dx.doi.org/10.18848/1836-6236/cgp/v01i01/51234.

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Tyutyunnik, Yulian G. "ART LANDSCAPE SCIENCE IN GEOGRAPHICAL DESCRIPTION." Географический вестник = Geographical bulletin, no. 3(58) (2021): 6–20. http://dx.doi.org/10.17072/2079-7877-2021-3-6-20.

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The paper deals with the history, current state and prospects of using the descriptive method in geographical science. We identify the goals, classify the methods, analyze the conditions of the application of literary techniques in geographical description; the transformations of these techniques, both occurring today and possible in the future, are also analyzed. The subject of geographical description is characterized, its distinctive features are specified. Based on the ideas of Gilles Deleuze, we offer a classification of the methods of obtaining geographical images using the techniques of fiction (image-picture, image-movement, image-crystal). Specific examples show the philosophical and theoretical potential of geographical description. The paper argues that geographical description, using literary techniques, not only has not outlived its usefulness but also has the prerequisites for further development as one of the methods of geographical science.

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Lally, Róisín. "Digital Art: The New Cultural Landscape." Heidegger Circle Proceedings 51 (2017): 166–78. http://dx.doi.org/10.5840/heideggercircle20175113.

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Seglie, Dario. "Prehistoric art: meta-language and landscape." Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 12, no. 2 (2010): 109–16. http://dx.doi.org/10.3406/valah.2010.1068.

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Berleant, Arnold. "The Art in Knowing a Landscape." Diogenes 59, no. 1-2 (February 2012): 52–62. http://dx.doi.org/10.1177/0392192112469320.

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Howard, Peter. "Landscape and the art referent system." Landscape Research 17, no. 1 (March 1992): 28–33. http://dx.doi.org/10.1080/01426399208706354.

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Harrison, Charles. "Art & Language Paints a Landscape." Critical Inquiry 21, no. 3 (April 1995): 611–39. http://dx.doi.org/10.1086/448766.

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Hirsch, Eric. "Landscape as Art and as Persons." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 93–98. http://dx.doi.org/10.18290/rkult22134.13.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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Van den Ancker, Hanneke, John Vermetten, and Nienke Korthof. "Using drawings and art works to communicate landscape structure and history." Schriftenreihe der Deutschen Gesellschaft für Geowissenschaften 66 (May 28, 2010): 94. http://dx.doi.org/10.1127/sdgg/66/2010/94.

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SHIMOMURA, Yasushi, and Hisae SATOU. "Landscape art and interbasin communication -On Lake Amawaka Art Project." Journal of The Japanese Institute of Landscape Architecture 75, no. 5 (2012): 655–60. http://dx.doi.org/10.5632/jila.75.655.

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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

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Gutareva, Julia. "New Forms of Korean Landscape Painting: Barcoded Landscape by Oh Hyun-Yong." Oriental Courier, no. 3 (2022): 188. http://dx.doi.org/10.18254/s268684310023762-6.

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The article focuses on the landscape art of the South Korean artist Oh Hyun-yong (b. 1949) proposing an original approach to adapting the artistic traditions of Korean landscape painting sansuhwa (“mountain-water”) by using the technology of our time — the visual symbol of the bar code. The purpose of the article is to study the distinctive features of the master’s creative method, in which, while using new expressive means, one can observe the preservation of high spiritual ideality inherent in the traditional Korean landscape, which undoubtedly constitutes the most important specific feature of Korean sansuhwa painting — increased attention to the philosophical and aesthetic aspect of landscape art which was considered as an integral and largely determining part of the artistic process. The research is based on the principle of an integrated approach to the problem stated in the theme of the report. In addition to a systematic analysis, an art history approach is used which combines elements of typological comparisons of various discoveries of Oh Hyun-yong with stylistic and comparative analysis of selected landscape paintings of famous Korean artists of the past era, such as Jeong Seon (1676–1759), Kim Hongdo (1745–1806?), Kim Gyujin (1868–1933) and others. Analyzing Oh Hyun-yong’s landscape works, called “bar-coded landscape” by South Korean critics, which represent a creative reinterpretation of artistic traditions while following the innovations of our time, their role and significance in the contemporary art of the Republic of Korea is determined. The author makes a conclusion about the originality of Oh Hyun-yong’s landscape art that represents the aspiration to technology and the reflection of the problems of the modern world, based on the artistic principles inherent in the traditional painting of sansuhwa which contributes to the revival of the aesthetics of the Korean landscape in the new art forms of modernity.

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Jerin Shibu, E. M., Renga nathan, M. Ramachandran, Chinnasamy Sathiyaraj, and Prasanth Vidhya. "Exploring Various Landscape Design and its Characteristics." Sustainable Architecture and Building Materials 1, no. 1 (April 1, 2022): 32–42. http://dx.doi.org/10.46632/sabm/1/1/5.

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Landscape layout is an unbiased professional and layout and art tradition practiced by panorama designers incorporating panorama and way of life. In cutting-edge practice, panorama design bridges the space between panorama architecture and lawn layout. Landscape design focuses on each the integrated primary landscape planning of an asset and the herbal elements of the plant life and the specific lawn design. Practical, aesthetic, horticultural and environmental sustainability are factors of landscape layout that are often divided into hard cape design and soft cape layout. Landscape designers often collaborate with related fields such as architecture, civil engineering, surveying, panorama contracting and craftsmanship. Design tasks contain two unique professional roles: panorama layout and panorama architecture. Landscape design usually consists of art form and craftsmanship, horticultural technique and expertise, and emphasizes great website online involvement from conceptual levels to final production. Landscape structure represents contractors after completing city planning, urban and nearby parks, civic and company landscapes, massive-scale intermediate tasks and designs. Depending at the understanding, license and enjoy of the expert, the mixture of capabilities and capabilities among the two roles can be significantly correlated. Both landscape architects and panorama architects practice panorama design

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Snyder, Christopher A. "Tolkien’s Intellectual Landscape by E.L. Risden." Arthuriana 26, no. 1 (2016): 205–6. http://dx.doi.org/10.1353/art.2016.0005.

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Newby, Zahra. "The Aesthetics of Violence: Myth and Danger in Roman Domestic Landscapes." Classical Antiquity 31, no. 2 (October 1, 2012): 349–89. http://dx.doi.org/10.1525/ca.2012.31.2.349.

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This paper explores the use of art to recreate violent mythological landscapes in Roman domestic ensembles. Focusing on the Niobids found in two imperial horti it argues that the combination of sculpture and landscape exerted a powerful imaginative effect over ancient viewers, drawing them into the recreated mythological world. Mythological landscape paintings also offered a view out onto a mythological realm, fostering the illusion of direct access to the spaces of myth. However, these fantasy landscapes need to be seen in the light of the associations which natural landscapes held in the Roman imagination. Recreations of mythological landscapes in domestic art express the desire to incorporate the natural world into the domestic sphere but through the presence of violent events they also highlight the inherent powers of those landscapes and the gods who frequent them. They speak to a yearning to immerse oneself in myth and the natural realm, yet also warn of the perils of such a desire.

Journal articles on the topic 'Landscape in art'

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