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1
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.
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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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de Andrade, Diogo, Nuno Fachada, Carlos M. Fernandes, and Agostinho C. Rosa. "Generative Art with Swarm Landscapes." Entropy 22, no. 11 (November 12, 2020): 1284. http://dx.doi.org/10.3390/e22111284.
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We present a generative swarm art project that creates 3D animations by running a Particle Swarm Optimization algorithm over synthetic landscapes produced by an objective function. Different kinds of functions are explored, including mathematical expressions, Perlin noise-based terrain, and several image-based procedures. A method for displaying the particle swarm exploring the search space in aesthetically pleasing ways is described. Several experiments are detailed and analyzed and a number of interesting visual artifacts are highlighted.
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Musgrave, F. K., and B. B. Mandelbrot. "The art of fractal landscapes." IBM Journal of Research and Development 35, no. 4 (July 1991): 535–40. http://dx.doi.org/10.1147/rd.354.0535.
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Büttner, Nils. "Rubens’ landscapes and the Dutch Republic." Oud Holland – Journal for Art of the Low Countries 136, no. 2-3 (September 6, 2023): 89–102. http://dx.doi.org/10.1163/18750176-1360203003.
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Peter Paul Rubens (1577-1640) is generally regarded as the painter of the Counter-Reformation and the embodiment of Flemish Baroque. Since the founding of the Belgian state in 1830, he and his art have been increasingly appropriated as a point of reference for the cultural identity of Flanders. Art was also appropriated in the formation of the national identity of the Kingdom of the Netherlands – in particular the depiction of nature and landscape that had become a speciality of many painters in the northern provinces. But Rubens too was admired by his contemporaries for his landscapes, and in the Dutch Republic they were held in high esteem. For his part, Rubens can be shown to have followed closely developments in landscape painting on the Northern side of the border. Despite the difficult political situation, there was also an ongoing exchange between North and South, even during the Eighty Years’ War. Rubens bought and owned Dutch pictures, and added human and animal figures to landscapes of his Dutch colleagues. He took a general interest in such pictures as an incentive to paint landscapes himself, which, reproduced in prints, became well-known in the Dutch Republic. In terms of landscape art, not only can a lively exchange of images and ideas be demonstrated, but it can also be shown that the existing differences were not understood as an expression of different political or religious contexts. The example of Rubens and his landscapes shows the value of a change of perspective to focus not on the differences between Flemish and Dutch art, but on cultural cross-border connections.
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Zhang, Yuanhang. "The Application of Earth Art in the Landscape Design of Public Space." Highlights in Art and Design 2, no. 1 (February 20, 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i1.5324.
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The modern landscape design trend that emerged in the background of the times is a product of the continuous development of social politics, economy and As one of the more unusual ideas in modern landscape design, Earth Art was born in the wilderness in the early stages of its development and was subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earth. subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earthy landscape environment gradually took Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing the relationship between people and the environment, and in some ways it has become an approach that can be drawn upon to develop a new language for the This thesis takes the geodesic landscape as the object of study and establishes an aesthetic paradigm for the landscape based on the study consists of three levels of the aesthetic paradigm for the landscape: the first level of the aesthetic nature of the geodesic art landscape (the first level of the aesthetic nature of the landscape) and the first level of the aesthetic nature of the landscape. the first level of the aesthetic nature of the geodesic art landscape (value theory), the second level of the aesthetic scope of the geodesic art landscape (methodology), and the third level of the third level of the aesthetic form of the geodesic art landscape (design approach). Through the study of the aesthetic thought of geodesic landscapes, a deeper understanding of geodesic landscapes will be enhanced and a reference By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better integration of modern western landscape design thinking with China's local environment and provide a theoretical basis for China's urban landscape The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, aesthetic categories and aesthetic forms of earth art landscapes.
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Byrnes, Corey. "Chinese Landscapes of Desolation." Representations 147, no. 1 (2019): 124–60. http://dx.doi.org/10.1525/rep.2019.147.1.124.
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This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.
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Ferguson, Nicholas. "Migrating Landscapes." Transfers 12, no. 2 (June 1, 2022): 8–23. http://dx.doi.org/10.3167/trans.2022.120203.
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Abstract This article, one element in a multifaceted art research project, explores the agency of the aircraft landing gear compartment (wheel bay) in global transfer. It takes as its beginning histories of human and other-than-human actors falling from aircraft wheel bays as aircraft descend into London Heathrow and asks what art research can bring to the problem of their political and ethical framing. Its theoretical touchstones include John Ruskin on dust and the object-oriented philosophies of new materialism. These are brought into conversation with an account of the process of modeling and exhibiting a wheel bay, as well as extracts from a microstratigraphic survey conducted on the original. The article ultimately contends that the wheel bay gives shape to otherwise intangible aeromobilities, knowledge of which is integral to a nuanced understanding of the political geography of airspace at London Heathrow.
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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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Kugusheva, Alexandra Yu. "Saved art: Simferopol Art Gallery in evacuation (1941–1944)." Issues of Museology 13, no. 1 (2022): 57–64. http://dx.doi.org/10.21638/spbu27.2022.104.
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The article is devoted to the evacuation of Crimean museum collections in October, 1941. The fate of the lost pre-war collection of the Simferopol Art Gallery, which did not have time to leave the Crimea and was destroyed by fire in Kerch port, is well known. At the same time, a temporary exhibition made up of the works of the Simferopol Gallery was evacuated from Feodosiya Art Gallery along with the masterpieces of the great marine painter Ivan Aivazovsky. Prominent museum figures Nikolay S.Barsamov and Jan P.Birzgal managed to send the exhibits to Novorossiysk, then to Krasnodar. Contrary to the plans of the Committee for the Arts to take these exhibits to Stalingrad, both Crimean galleries were sent to Yerevan. At the end of 1941, Birzgal compiled a list of 50 salvaged exhibits of the Simferopol Art Gallery. Soviet art of the 1920s–1930s is represented by the works of Igor E.Grabar, Mitrofan B.Grekov, Vladimir A.Eyfert, Peter P.Konchalovsky. The Russian landscape is represented by Vasiliy V.Baksheev, Pavel A.Radimov, Vasiliy V.Rozhdestvensky. From creative trips to Central Asia, Altai and Pamir, new works are brought by Peter I.Kotov and Peter N.Staronosov, Nikolay G.Kotov, Peter D.Pokarzhevsky, Sergei I.Pichugin. The work of Barsamov, the author of the portrait of the artist Bogaevsky (1940), is connected with Crimea. Among the rescued works are the works of Konstantin F.Bogaevsky himself, several of his industrial landscapes, and sketches for the panel Crimea (1921); Bakhchisarai landscapes by Alexander V.Kuprin, Sudak view by Alexander F.Gaush. In the postwar period, the museum workers established the affiliation of works by Ilya E.Repin, Joseph I.Oleshkevich, and Henri-Francois Riesener to the pre-war collection.
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Sobrinho, Maryella Gonçalves. "Critical Landscapes: art, space and politics." Revista VIS: Revista do Programa de Pós-Graduação em Arte 18, no. 1 (February 4, 2019): 165–68. http://dx.doi.org/10.26512/vis.v18i1.22623.
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Ainda sem tradução para o português, a obra reúne um conjunto de reflexões que problematizam proposições artísticas que discutem o uso político da paisagem. Esta, é abordada como o resultado das complexas relações sociais e econômicas contemporâneas. Os projetos e textos catalogados (alguns escritos pelos próprios artistas) partem do ponto de vista norte americano; porém, também incorporam referências teóricas e análises de práticas que ocorrem ao redor do mundo, em âmbito local ou regional.
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O’Donoghue, Dónal. "Illuminating New Landscapes in Art Education." Studies in Art Education 62, no. 1 (January 2, 2021): 3–9. http://dx.doi.org/10.1080/00393541.2020.1871573.
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Wall, Gina, and Alex Hale. "Art & Archaeology: Uncomfortable Archival Landscapes." International Journal of Art & Design Education 39, no. 4 (October 5, 2020): 770–87. http://dx.doi.org/10.1111/jade.12316.
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Chambers, Iain, Claudio Calabritto, Monica Carmen, Raffaele Esposito, Mario Festa, Rosita Izzo, and Orlando Lanza. "Landscapes, Art, Parks and Cultural Change." Third Text 21, no. 3 (May 2007): 315–26. http://dx.doi.org/10.1080/09528820701362431.
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Haas, Jonathan, and Winifred Creamer. "The Ancient Americas: Art from Sacred Landscapes at the Art Institute of Chicago.:The Ancient Americas: Art from Sacred Landscapes." Museum Anthropology 17, no. 2 (June 1993): 80–85. http://dx.doi.org/10.1525/mua.1993.17.2.80.
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Zhou, Weihua. "The Application and Development of Mural Art in Urban Public Environment Landscape Design." Journal of Environmental and Public Health 2022 (October 11, 2022): 1–9. http://dx.doi.org/10.1155/2022/3346648.
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With the gradual improvement of social and economic levels, cities not only meet people’s basic living needs, but also have an artistic expression to a certain extent, and the public pays more attention to the beauty of the external environment. Landscapes in cities are settlement landscapes characterized by man-made landscapes, which are not only a cultural resource but also an ecological environment resource. Murals are also the first works of art of mankind. According to records, murals are the largest number of artworks in China. It is a popular work of art, representing social functions with historical value, aesthetic value, political significance, and educational function. Due to the great influence of the latest technology and emerging technology on urban art concepts, murals are widely used in urban public landscapes in Europe and America. Its grand and strong space coverage, not wasting too much space, and its imperceptible influence on vision make it the main element of urban public art. Therefore, the mural design in the urban public environment can improve China’s current urban atmosphere and enhance urban characteristics. Bring the citizens a historical and cultural understanding of the urban environment they live in and enjoy art. According to the interrelationship between the city and the public environment and the human mural art, based on the relevant theoretical knowledge of urban planning and design, urban public art management, and based on the basic characteristics of human mural art, this study combines a large number of domestic and foreign cases, starting from the characteristics of the natural environment and human urban environment. This article studies the relationship between mural design and architectural design concepts and concepts in urban public environment landscape design.
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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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Ankyiah, Francis, and Appiah Salomey Darkoa. "The Disconnection of Identity and Place in Drawing: Superficial Exploration of Cultural Landscapes." American Journal of Arts and Human Science 3, no. 1 (March 13, 2024): 45–51. http://dx.doi.org/10.54536/ajahs.v3i1.2487.
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This art-based research explores the disconnect between personal identity and sense of place when representing cultural landscapes through superficial drawing practices. Existing solely as visual representations focused on formal qualities of form and colour, drawings of cultural landscapes often fail to deeply engage with the lived experiences, histories, and meanings embedded within those places. Through a series of plein-air drawings created in three distinct cultural landscapes-a rural farming community, an urban park, and a historical heritage site-this research examines how superficial approaches to landscape drawing can distance the artist from genuinely understanding and connecting to the places depicted. Drawings were analysed using contemplative art criticism to evaluate how effectively they conveyed embedded cultural meanings and perspectives beyond mere visual documentation. The findings suggest that without contextual research into the landscapes’ social and cultural significance and reflective practices connecting the artist’s identity and experiences to the place, the drawings became detached representations lacking depth of meaning. This superficial approach resulted in a disconnection between the artist’s sense of identity and place in the depicted landscapes. To more authentically connect representation to meaning, the researcher proposes an alternative model for cultural landscape drawing that emphasizes experience-based practices and reflective inquiry into the intersections between artist, place, and community identities. Such an approach holds potential to bridge divisions between external visualization and internal comprehension of what cultural landscapes signify on deeper levels.
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Jeanneret, Ph, S. Aviron, A. Alignier, C. Lavigne, J. Helfenstein, F. Herzog, S. Kay, and S. Petit. "Agroecology landscapes." Landscape Ecology 36, no. 8 (June 26, 2021): 2235–57. http://dx.doi.org/10.1007/s10980-021-01248-0.
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Abstract Context Agroecology combines agronomic and ecological concepts. It relies on the enhancement of biodiversity and related ecosystem services to support agricultural production. It is dependent on biological interactions for the design and management of agricultural systems in agricultural landscapes. Objectives We review the role of landscape ecology to understand and promote biodiversity, pest regulation and crop pollination for the designing of “agroecology landscapes”. We illustrate the use of landscape ecological methods for supporting agroforestry systems as an example of agroecological development, and we propose pathways to implement agroecology at landscape scale. Methods The state of the art of how landscape ecology contributes to agroecology development is summarized based on a literature review. Results Agroecology requires thinking beyond the field scale to consider the positioning, quality and connectivity of fields and semi-natural habitats at larger spatial scales. The spatial and temporal organisation of semi-natural elements and the crop mosaic interact. Understanding this interaction is the pre-requisite for promoting patterns and mechanisms that foster biodiversity and ecosystem service provision. Promoting agroecological practices beyond individual farm borders can be rooted in a bottom-up approach from agroecological lighthouse farms to farm networks to amplify agroecology adoption at the landscape scale. Conclusions Achieving agricultural landscapes composed of fields and farms following agroecological management requires understanding of biodiversity patterns, biological interactions and mechanisms that determine and boost ecosystem functioning to improve services at landscape scale, involving farmers in a bottom-up and context-specific approach.
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Yang, Fangchao. "Urban Inspirations: The Influence of 19th Century Parisian Cityscapes on Impressionist Art." International Journal of Education and Humanities 12, no. 1 (January 15, 2024): 212–15. http://dx.doi.org/10.54097/ew8w6a12.
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The development and planning of Parisian cities in the 19th century provided inspiration for the Impressionists, who responded to the changes of the times with their unique painting techniques and concepts. From their own special point of view, the painters chose the boundaries of their vision in their paintings. The change in the combination of figures and landscapes meant a new shift in the way painters looked at modern life in the city. More and more man-made landscapes were included in the Impressionists' landscapes, and the integration of the countryside and the city made the suburbs the subject of the painters' depictions, which not only reconstructed the visual culture of the city, but also presented a picture of modern life in Paris. The experience of life in the context of urban landscapes provided Impressionist painters with a constant source of creative materials, and they thought about the development of urbanised landscapes and industrialised civilisations, and formed their artistic thoughts and tried to integrate them into their own paintings, presenting a portrait of modern life in Paris. This study aims to explore how the urban landscape of 19th-century Paris influenced the creation of the Impressionists, especially how they expressed the experience of urban life and social changes at that time through their art. By reviewing the history of urban development in nineteenth-century Paris, combined with in-depth analyses of representative works of the Impressionists, this study reveals the influence of the urban landscape on the artists' perspectives and the content of their creations. At the same time, the artistic reflection of the impact of the urbanisation process and industrialisation in Impressionist paintings is examined. The study finds that Impressionist painters not only made technical and stylistic innovations, but also transformed the way they represented modern urban life. They gradually added urban elements to their works, such as streets, buildings and urban people, while also reflecting the fusion of the countryside and the city. In addition, the painters reflected their thoughts on the process of urbanisation and industrialisation through their works. Through their works, the Impressionist artists reflected the changes in the urban landscape of nineteenth-century Paris, which not only influenced their themes and styles, but also profoundly revealed the social and cultural transformations of the time. These findings are important for understanding the importance of Impressionism in art history and its close connection to the era in which it was created.
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Kirksey, S. Eben, Nicholas Shapiro, and Maria Brodine. "Hope in blasted landscapes." Social Science Information 52, no. 2 (May 14, 2013): 228–56. http://dx.doi.org/10.1177/0539018413479468.
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Insights about biocultural hope emerged at the Multispecies Salon, an art exhibit in New Orleans. In a landscape blasted by Hurricane Katrina and flooded by oil following BP’s Deepwater Horizon explosion, the exhibit grounded hopes in actual organisms – like goats, fish and hermit crabs – living in the aftermath of multiple disasters. At the Salon, art catalyzed discussions about catastrophes amongst plankton biologists, chemical oceanographers, microbiologists, activists and anthropologists. Departing from these discussions, we adapted the tactics of multi-sited ethnography of ‘following the thing’, to ‘follow the species’ from the art gallery into the environs of New Orleans and beyond. Against the backdrop of bleak landscapes, people engaged in intimate acts of interspecies care. Uneasy alchemy transformed toxic specters into figures of hope. Signs of advancing disaster, depictions of animals in peril and blighted parcels of land began to fuel mass mobilizations and tactical interventions. Collective hopes moved like oil in water, coalescing around specific figures only to dance away – to alight on new events, objects and lively agents.
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Shik, I. A. "Landscape in Leningrad Porcelain Art of the “Thaw” Period." Secreta Artis 6, no. 1 (September 20, 2023): 49–61. http://dx.doi.org/10.51236/2618-7140-2023-6-1-49-61.
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Landscape became one of the dominant genres of Leningrad porcelain art of the “Thaw” era, reflecting the peculiarities of Soviet culture in the second half of the 1950s – 1960s with its characteristic desire to explore new spaces, changes in the appearance of cities, as well as mass construction. Thus, it is not coincidental that such well-known Leningrad porcelain artists as Vladimir Gorodetsky, Nina Slavina, Antonina Semenova, Larisa Grigoryeva, Tamara Bezpalova-Mikhaleva, Lidia Lebedinskaya among others created landscape compositions. When interpreting landscapes in a “modern style”, they often strived to convey the “overall impression of the depicted” through the use of iconic motifs, allowing the viewer’s imagination to independently complete the image. Landscapes could be of a stylized, graphic nature or, on the contrary, could be characterized by a picturesque freeness. In some cases, landscape came closer to abstraction, symbolically conveying the image of a particular season. Artists often used a tiered type of composition in their interpretation of urban and suburban landscapes, combining the conciseness of a linear drawing and bright, expressive color, or, by contrast, making it almost monochrome. The image of Leningrad was transformed in the porcelain art of the “Thaw” period in accordance with the principles of the “modern style”: strict classical style was combined with modernist generalization and stylization. The theme of new construction was attractive for the artists as well: they depicted graphic images of houses under construction, cranes, and industrial structures. Landscape compositions were distinguished by a harmonious combination of shape and design. Artists often sought to emphasize the features of the form, arranging the composition accordingly while placing special visual accents. Porcelain artists often left most of the surface of objects unpainted, accentuating the beauty and sonorous whiteness of porcelain as a material or using it as an element of an artistic image. At the same time, artists actively applied the technique of colored overglaze, often supplemented by line painting or cleaning, and also experimented with unpredictable effects from the spreading of paints, similar to experiments with colored glazes in “Thaw” ceramics. The coloristic solution of the paintwork was extremely laconic: usually no more than two or three colors were used.
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Carbonell, Prospero. "el Whispering Clouds, Echoing Mountains: A Cross-Cultural Analysis of Gonzalo Ariza’s Lyrical Landscapes." H-ART. Revista de historia, teoría y crítica de arte, no. 16 (April 18, 2024): 121–49. http://dx.doi.org/10.25025/hart16.2024.05.
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This essay reevaluates the art of Gonzalo Ariza, a twentieth-century Colombian painter renowned for landscapes that merge Eastern and Western traditions. Challenging simplistic categorizations of his oeuvre as an “appropriated Japanese style,” my research argues that Ariza’s vision of landscape transformed into a contemplative attitude towards local Andean highlands after his return from Japan in 1938. It contextualizes the challenges Ariza faced when drawing inspiration from East Asian art amidst mid-twentieth-century modernist currents and political circumstances, shedding light on the critical narratives that marginalized his work and unraveling the complexities of Colombian modernism within a global art discourse. Building upon Warburg's concept of dynamograms to describe “pathos formula” in landscapes, this study argues that Ariza’s work transcends cultural boundaries, which links both traditions through the subtle emotions evoked by cloud-shrouded mountains, eliciting a universal appreciation for nature’s mystical splendor. Through cross-cultural comparison and an ecocritical lens, my essay delves into the interplay of transcultural exchange, nationalist identity, andrepresentations of nature in Ariza’s artworks, revealing his nostalgic proto-environmental consciousness. In doing so, it raises raising questions about the transformative power of landscape art to reflect and influence societal values and perspectives on nature within contemporary dialogues on environmental stewardship and the negotiation of cultural identity through art.
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Wang, Peng, Wenjuan Yang, Dengju Wang, and Youjun He. "Insights into Public Visual Behaviors through Eye-Tracking Tests: A Study Based on National Park System Pilot Area Landscapes." Land 10, no. 5 (May 7, 2021): 497. http://dx.doi.org/10.3390/land10050497.
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National parks are important natural reserves of high ecological value, and the visual perception of national park landscapes is closely tied to the degree of protection that the natural resources within national parks receive. Visual cognition has a direct impact on public consciousness and plays an increasingly important role in national park management. Most techniques and methods previously used to study visual behaviors are subjective and qualitative; objective and quantitative studies are rare. Here, we used the eye-tracking method to study the visual behaviors of individuals viewing landscapes within the Qianjiangyuan National Park System Pilot Area to assess the visual and psychological mechanisms underlying public perception of different landscapes. The effect of landscape type on visual behaviors was greater than that of color diversity and degree of spatial confinement and was mainly related to the characteristics of landscape elements. The public preferred recreational and forest landscapes with high ornamental value, whereas rural and wetland landscapes tended to be neglected given that perception of these landscapes required additional information to facilitate interpretation. When landscape colors were uniform and landscape spaces were more confined, the fixation duration was longer, and instant attractiveness was stronger. The effects of subject background on behavioral preferences were examined. Females were more interested in the whole landscape, whereas males focused more on the parts of the landscapes with prominent humanistic architectural features, complex colors, and open space. Art students generally preferred landscapes with strong humanistic attributes, whereas students majoring in forestry preferred landscapes with strong natural attributes.
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Ehrmann, Lauren Elizabeth. "On the Edge of a New Perception: The Art of Moran and Watkins." IU Journal of Undergraduate Research 3, no. 1 (September 5, 2017): 18–23. http://dx.doi.org/10.14434/iujur.v3i1.23324.
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This essay examines the ways in which views about documentation and representation were shifting in mid-nineteenth-century America, using Thomas Moran’s The Grand Canyon of the Yellowstone (1872) and Carleton Watkins’s Grizzly Giant (1861) as case studies. The work of Moran and Watkins demonstrates an interest in utilizing and uniting concepts of the sublime and the scientific with economic concerns. The goal of the paper is to demonstrate that the advent of photography caused landscape artists and photographers to reexamine the ways in which they chose to portray landscapes, specifically the landscapes of the American West.
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Ingoldsby, Joseph Emmanuel. "Vanishing Landscapes: The Atlantic Salt Marsh." Leonardo 42, no. 2 (April 2009): 124–31. http://dx.doi.org/10.1162/leon.2009.42.2.124.
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The author, trained in art and landscape architecture, utilizes observation of nature and culture as a central focus in his art. The work involves research, scientific collaboration and examination, documentation, analysis and synthesis using art, science and technology for environmental advocacy. The focus for these works has been on the coastal landscape of New England, the imprint of humans on land and sea, and the impact of climate change on the marine landscape and fisheries of New England.
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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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Risser, Rita Elizabeth. "Civil landscapes." Architectural Research Quarterly 26, no. 4 (December 2022): 345–56. http://dx.doi.org/10.1017/s1359135522000549.
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Drawing on philosophical writings ranging from the Enlightenment and the Romantics through to the contemporary world - including, among others, Rousseau, Hegel, and Thoreau - I explore the civil dimensions of Cornelia Hahn Oberlander’s gardens and landscape designs. I argue that Oberlander’s landscapes are not merely visual delights; they are civil, humanist works. I survey a selection of her designs, from collaborations with Arthur Erickson and Renzo Piano to her public housing projects and the playgrounds that she designed in-and-around her home of Vancouver, Canada. A secondary argument I make is that Oberlander’s gardens and landscapes are not merely aesthetic objects, but artworks, and they do the work of art as Hegel describes it: showing us something of our human spirit, and specifically our creative and political geist.
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Prysiazhniuk, Oleksii. "„Royal Commission on Monuments and Landscapes” as a guarantor of the cultural heritage of Belgium." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (337) (2020): 54–63. http://dx.doi.org/10.12958/2227-2844-2020-6(337)-54-63.
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The „Royal Commission on Monuments and Landscapes” of Belgium was one of the first European institutions to emerge in the 19th century and lay the foundations for the systematic protection of cultural heritage. In fact, it was created by decree of King Leopold I on January 7, 1835. The Royal Commission was set up a few years before the adoption of municipal and provincial laws, which became the backbone of the Belgian democratic and decentralized regime. In 1860, the structure of the Royal Commission changed – committees were established at the provincial level under the chairmanship of the governors. The committees were tasked with gathering information on the ground and overseeing the preservation of monuments or works of art. The Royal Commission was commissioned to make a general inventory of artifacts of art and antiquity belonging to public institutions, the preservation of which is important for the history of art and national archeology. Following the enactment of the Landscape Beauty Act of 1911, a section of landscapes appeared in the Royal Commission, approved by a royal decree of May 29, 1912. Since then, it has received its current name, the Royal Commission on Monuments and Landscapes. Members of the Royal Commission have developed an internal classification of monuments, as well as landscapes and places of most interest to the Kingdom. This practice led to the gradual adoption of the concept of classification, which was first approved in the Law of 7 August 1931 on the Preservation of Monuments and Landscapes. The law of 1931 was the culmination of almost a century of efforts by the Royal Commission. Thanks to him, Belgium has acquired a modern legal arsenal that allows for a real policy on heritage protection. Since then, the Commission has become the most important body for dealing with requests for work with classified objects and the official source of requests for classification proposals.
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Kharitonov, A. N. "Research of desuction in landscapes." Resources and Technology, no. 5 (2005): 121–22. http://dx.doi.org/10.15393/j2.art.2005.2001.
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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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Carter, Curtis L. "Philosophy and Art: Changing Landscapes for Aesthetics." Diogenes 59, no. 1-2 (February 2012): 84–100. http://dx.doi.org/10.1177/0392192112469322.
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Buffington, Melanie L., Elizabeth P. Cramer, Kate Agnelli, and Jessica Norris. "Food Landscapes: A Socially Engaged Art Project." Art Education 68, no. 5 (September 2015): 40–45. http://dx.doi.org/10.1080/00043125.2015.11519338.
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Krippner, Stanley. "Ecstatic Landscapes: The Manifestation of Psychedelic Art." Journal of Humanistic Psychology 57, no. 4 (October 20, 2016): 415–35. http://dx.doi.org/10.1177/0022167816671579.
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"Psychedelic art" can be defined as artwork manifested in the context of the ingestion of LSD-type drugs and related substances. There is a long history of such work dating back to ancient times (picturing mushrooms and other plants with psychedelic effects) as well as more recent anecdotal first-person accounts and various collections of psychological data resulting from experiments and interviews. One such collection includes the studies by Krippner of over 200 artists, writers, and musicians who referred to their artistic productions as “psychedelic” because they had some connection with their occasional or frequent use of these substances. Although there were no commonalities characterizing all of their paintings, films, poems, novels, songs, or other works, several frequent themes were noted following content analysis of the interview reports. The results of this group of studies, as well as those of more structured explorations, attests to the importance of this topic for humanistic psychology with its emphasis upon creativity, human potential, and exploring the wide range of human experience.
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Wagner-Pacifici, Robin. "Book Review: Landscapes: John Berger on Art." Cultural Sociology 11, no. 2 (May 31, 2017): 259–61. http://dx.doi.org/10.1177/1749975517701864c.
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Phillips, Ian. "Pointillist landscapes: the art of Paul Signac." Lancet 357, no. 9269 (May 2001): 1715–16. http://dx.doi.org/10.1016/s0140-6736(00)04808-x.
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Cohen, Irun R. "Informational Landscapes in Art, Science, and Evolution." Bulletin of Mathematical Biology 68, no. 5 (June 8, 2006): 1213–29. http://dx.doi.org/10.1007/s11538-006-9118-4.
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Motoyama, Yui, and Kazunori Hanyu. "Does public art enrich landscapes? The effect of public art on visual properties and affective appraisals of landscapes." Journal of Environmental Psychology 40 (December 2014): 14–25. http://dx.doi.org/10.1016/j.jenvp.2014.04.008.
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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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Mulk, Inga-Maria, and Tim Bayliss-Smith. "Liminality, Rock Art and the Sami Sacred Landscape." Journal of Northern Studies 1, no. 1-2 (September 18, 2007): 95–122. http://dx.doi.org/10.36368/jns.v1i1-2.513.
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The paper suggests that cultural landscapes were permeated by religious meanings in all pre-modern societies, including Sami societies before c. AD 1600. We suggest that knowledge of this sacred landscape was not restricted to an elite or to shamans, but was widely shared. For the Sami, religious rituals and associated images (e.g. rock art) involved all levels within a social hierarchy that linked the individual adult or child, the family, the band or sijdda, and the association of family groups or vuobme. We can decode the sacred landscapes of such societies if we can reconstruct sites of perceived anomaly and liminality in the landscape. This is discussed in the article with reference to Proto-Uralic cosmology in general and the Sami world-view in particular. The concepts of anomaly and liminality enable us to interpret the Badjelánnda rock art site in Laponia, northern Sweden, as not only a place of resource procurement (asbestos, soapstone) but also a sacred site. We suggest that the Badjelánnda site should be seen as a gateway to the Underworld, and therefore visits for quarrying, human burials at the site, or wild reindeer hunting in the vicinity were marked by ritual acts, directed perhaps towards the Sami female deity Máttaráhkká. The rock art should therefore be interpreted as an aspect of religious ritual, and in a context where anomalous topography signified that the Badjelánnda site was necessarily a liminal place.
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Cifani, Gabriele. "Notes on the rural landscape of central Tyrrhenian Italy in the 6th-5th c. b.c. and its social significance." Journal of Roman Archaeology 15 (2002): 247–60. http://dx.doi.org/10.1017/s1047759400013933.
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During the last few decades most landscape archaeologists have noted the diffusion and the demographic importance of the rural landscapes of Archaic Etruscan communities and have tried to define their significance within Etruscan society in the same way as others have attempted to evaluate the political significance of the Greek rural landscape. Recent research on Italian landscapes has led to a great increase in the available data regarding the different paths of development for the various communities, allowing them to be outlined and compared.The growing dichotomy between the studies of field archaeologists and historians or art-historians may appear to be a problem. Landscape studies in Italy have been dominated since the 1950s by an Anglocentric tradition of economic and environmental archaeology, with important work focusing on long-term phenomena. Historians and art-historians, on the other hand, have tried to define an interdisciplinary approach involving the use of several sources of evidence (art-historical, epigraphic, literary) and focusing on historical events and medium-or short-term phenomena. Yet field and historical archaeology are simply two sides of the same coin, and should be viewed as complementary rather than incompatible approaches to understanding the comolex evidence of the Dre-Roman cultures.
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Ruban, Luidmila. "LANDSCAPE DIVERSITY OF THE NATIONAL DENDROLOGICAL PARK "SOFIYIVKA" OF THE NATIONAL ACADEMY OF SCIENCES OF UKRAINE." Current problems of architecture and urban planning, no. 63 (April 14, 2022): 87–99. http://dx.doi.org/10.32347/2077-3455.2022.63.87-99.
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The article reveals the landscape diversity of the historical garden and park landscape – the National Dendrological Park "Sofiyivka" of the National Academy of Sciences of Ukraine in the city of Uman, Cherkasy region, founded in 1796-1800. In the classification of landscape gardening landscapes, developed by the Ukrainian landscape architect, doctor of biological sciences Rubtsov L.I., 6 types of landscapes are distinguished. The landscape of the NDP "Sofiyivka", as an object of landscape gardening art, belongs to the group of anthropogenic landscapes and is classified as a cultural, recreational, slightly modified landscape (historical core of the park) and modified landscape (Grekova and Lesnaya beams). On the territory of the arboretum, all types of landscape gardening landscapes are presented: forest, park, meadow, garden, regular, alpine landscapes. Most of the historical core of the park is occupied by the park landscape; the forest landscape has been preserved closer to the boundaries of the arboretum. The meadow landscape exists both at the bottom of the beams and in elevated places, such as on the Fungus lawn. The garden type of landscape is presented in the English Park, created in 1890 91 by Pashkevich V.V. and in a series of new monocultural gardens (of lilacs, magnolias, maples, chrysanthemums, dahlias, daylilies, hosts, etc.). The Kamyanka River is an alpine (or mountainous) type of garden and park landscape due to natural granite outcrops and shifted boulders. Examples of the regular landscape are the amphitheater, alleys, greenery protection strips, as well as the regularly planned area of the new entrance to the arboretum from the street Kyivskaya with a fountain and a rosary. These garden and park landscapes of the arboretum "Sofiyivka" are the most valuable natural ecosystem formations within the arboretum, which must be preserved and maintained accordance with the strategic principles of ecological unity and reproduction of natural resources.
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Romanova, E. O. "The Artist and His Circle. Russian Emigre Artist Eugene Klimoff." Art & Culture Studies, no. 2 (June 2023): 92–155. http://dx.doi.org/10.51678/2226-0072-2023-2-92-155.
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The article is devoted to the artist of the Russian emigre artistic circle Eugene E. Klimoff (1901–1990). A committed realist, as a painter and graphic artist, Klimoff worked in the field of landscape and portrait. The artist’s creative heritage includes many portraits of representatives of Russian artistic emigre circles, cultural and scientific figures, as well as landscapes of those places in which he happened to live during his life. These landscapes are autobiographical and belong to the category of historical evidence, acquiring special value after a hundred of years. A significant part of the landscapes is executed in the technique of lithography, and the attention of this article is focused on them. At the same time, the landscapes by Klimoff are analysed not only from the point of view of a modern art critic but also from that of his contemporaries. This perspective became possible due to Klimoff’s extensive correspondence with many famous Russian artists in exile, including Alexandre Benois, Zinaida Serebryakova, Mstislav Dobuzhinsky, and others. Klimoff’s activities in various fields of art pursued a specific goal — the promotion of Russian art in its entirety in those cities and countries where he happened to stay. He became one of the founders of the cultural and educational society “Akropol” in Latvia, and in 1932 became its executive secretary; in 1940, he headed the Russian Department at the Riga Art Museum. In different countries of the world, Klimoff painted churches and restored church murals; he also gave public lectures on ancient Russian icon painting, subsequently expanding a variety of lecture topics and including Russian fine art of the 18th, 19th, and 20th centuries, including the work of his Russian contemporaries. At the same time, Klimoff’s activities as an educator began to spread in another direction — towards homeland, for which he carefully preserved not only his and his circle artists’ works but also memories of them in a form of correspondence with famous Russian culture and art personalities.
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Hadjinicolaou, Yannis. "A raptor’s-eye view in the early modern Netherlands." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 138–63. http://dx.doi.org/10.1163/22145966-07301007.
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Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast, flat, and shapeable landscape through evoking the very etymology of land-schap in Dutch, here embodied by a ‘raptor’s eye’. Notably, an artist has to act like a falcon, sharply monitoring an area, if he or she wants to produce fine landscapes according to art theoretical works of the time. Studying the epistemic imagery of falconry can teach us much about the merging of art and nature together with their respective political implications through visual representations.
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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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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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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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Liu, Mingxuan. "The Image of a City in Chinese Landscape Painting a Scientific Discourse in Chinese Historiography." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 117–29. http://dx.doi.org/10.33625/visnik2022.01.117.
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The article analyzes the phenomenon of the urban landscape, which is a notable phenomenon in modern Chinese art history. In this direction, the researchers consider not only the genre originality of the urban landscape, but also artistic models of the representation of the city image in painting. The urban landscape acquires independent forms within the framework of Chinese art through comparative practices of matching and comparison with Western artistic genesis. Already in the early 2000s, Chinese art historians were actively looking for new models for presentation of traditional art. At the same time, their desire to preserve traditional artistic achievements necessitated the identification of innovative and modern forms of Chinese art, which became notable artistic phenomena during the second half of the twentieth century. In Chinese “urban” painting, one of the central themes is the issue of modernization, which develops from two perspectives: a) urbanistic, which is aimed at the artistic generalization of various forms of urban life and landscape; b) in the direction of retro, which expresses a steady interest in the images of “old” China — urban landscapes and pictures of urban life, representing the aesthetics of the disappearance of traditional “small” China towns. For the current stage of development of fine arts in China, the image of the city in the context of regionalism and ethnic specificity is of great importance. The images of the city are directly related to the characteristic models of visual representation of the regions of China. Regions differ both in ways and norms of life (for example, small towns and conglomerate metropolitan areas) and in the variety of landscapes (for example, sea-side, mountain and plain). This factor is the cause of additional difficulties in defining the urban landscape as a genre of art. Certain features are analyzed on the example of the works of such outstanding masters of Chinese fine arts Yan Wanliang and Dai Shihe.
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Feruza Kabilova and Turayeva Khurshida Tokhirovna. "English translation of abdullah qadiri's novel "days gone by" and its reflection skills." International Journal on Integrated Education 3, no. 10 (October 24, 2020): 304–6. http://dx.doi.org/10.31149/ijie.v3i10.763.
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The depiction of natural landscapes given in works of art is one of the factors that demonstrate the creative artistic skill. Because in the depiction of natural landscapes, the artist's attitude to the space he captures, how much he knows the place, how deeply he feels the world of heroes and the environment in which they live. Therefore, the depiction of natural landscapes is an integral part of the work of art.
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Liao, Ziting. "Spiritual Travel in Chinese Landscapes ---- Travelers Among Mountains and Streams and Murals from Yulin Caves." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 391–99. http://dx.doi.org/10.54097/ehss.v23i.12924.
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Chinese landscape painting is a non-negligible category in Chinese art history. Unfortunately, the intrinsic fragility of silk results in an obscure provenance of numerous existing silk landscape paintings from ancient Chinese art. Murals in Yulin Caves, located in the northwestern province of Gansu, China, emerge as an invaluable repository that complements these delicate silk paintings. This paper selects The Illustration of Samantabhadra from Caves 29 and 3 of Yulin Caves, both illustrations in caves were created after the Song Dynasty (960-1279 CE), to compare Travelers Among Mountains and Streams (Travelers) painted in the 10th to early 11th century by Fan Kuan (c. 950-1032). The visual comparison involves the panoramic view and the travel theme. The comparison based on the different mediums will discuss the elimination of physical constraints through painted landscapes with the contextualization of murals in situ. Natural light will also be considered as one external factor that influences the artwork viewing experiences of audiences. Comparisons involved in this paper aim to examine the underlying relationships between Song landscape paintings and the subsequent landscape murals, extend the conventional concept of travelers in Song landscape paintings by identifying mountains in murals, and explore how landscapes in silk paintings and murals encourage audiences to experience spiritual travel.