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Journal articles on the topic 'Narrative painting'
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Purwita, Dewa Gede. "Pengaruh Narasi pada Seni Lukis Tradisi Bali: Studi Bahasa Rupa Lukisan Wayang Kamasan dan I Ketut Gede Singaraja." Humanis 25, no. 4 (November 11, 2021): 504. http://dx.doi.org/10.24843/jh.2021.v25.i04.p10.
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Traditional Balinese painting elements contain narrative, illustrative, figurative, functional, these formed the structure of Balinese art which is closely related to the existence of the text as the background of its creation. This study aims to read the influence caused by narrative as things that affect the “wimba” and the “cara wimba” in traditional Balinese painting which is focused on Sutasoma's painting in the Kamasan painting style in Bale Kambang Kerta Gosa, Klungkung and the painting of Prabu Salya by I Ketut Gede Singaraja. This research method uses a qualitative art research with analytical descriptive, the theory used as an analysis is the system namely Ruang-Waktu-Datar from the theory of Bahasa Rupa. The results of the analysis show that the narrative forms a system of procedures for depicting traditional Balinese paintings which can be seen from the way the perspective is applied from various sides, the pattern of depiction of figures that replace facial expressions with gestures, as well as the presence of a symbolic time dimension. Through reading with the Ruang-Waktu-Datar, it is found that traditional Balinese paintings are influenced by narratives that are very strongly reflected in their language of appearance.
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Foskolou, Vicky A. "Telling stories with pictures: narrative in middle and late Byzantine monumental painting." Byzantine and Modern Greek Studies 43, no. 2 (September 10, 2019): 194–218. http://dx.doi.org/10.1017/byz.2019.16.
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This article explores the narrative strategies employed in the monumental painting of the middle and late Byzantine period and considers whether the different methods of narration and the degree of narrativity can reveal anything about the function of the work, its creators, its audience and finally its period; in other words whether a narratological approach to visual representation could be a tool for analysing a work of art in socio-historical terms. This is determined firstly by identifying similar narrative structures in contemporary literature and secondly by looking for information on how contemporary viewers ‘read’ the ‘story’ in monumental narrative paintings.
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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.
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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Chelkowski, Peter. "Narrative Painting and Painting Recitation in Qajar Iran." Muqarnas 6 (1989): 98. http://dx.doi.org/10.2307/1602284.
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Chelkowski, Peter. "NARRATIVE PAINTING AND PAINTING RECITATION IN QAJAR IRAN." Muqarnas Online 6, no. 1 (1988): 98–111. http://dx.doi.org/10.1163/22118993-90000238.
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Yang, Dongge. "Narrative Expression of Light in Contemporary Oil Paintings." Scientific and Social Research 3, no. 4 (October 26, 2021): 63–69. http://dx.doi.org/10.36922/ssr.v3i4.1229.
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In modern and contemporary times, under the background that artists enjoy full freedom of choice, the use of light gets rid of the traditional role, takes light as the main form of expression to express the painter’s personal subjective emotion, and makes attempts in various painting styles, which makes the appearance of today’s paintings diverse. This paper studies the contemporary oil paintings of the development and innovation of light and the content expression of new forms, analyzes and summarizes the characteristics of the narrative expression of light with the word “narrative of light” combined with the works of contemporary art master Heimer Xiuyi, and discusses the significance of the narrative expression of light in Contemporary oil paintings.
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Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20–31. http://dx.doi.org/10.18432/a.r.i..v2i1.25655.
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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20. http://dx.doi.org/10.18432/r2h05h.
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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1994): 18. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00349.x.
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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1995): 18. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00349.x.
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Lauge Hansen, Hans. "Una ciudad dilatada por la luz." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 46, no. 1 (June 27, 2011): 105–26. http://dx.doi.org/10.1075/rro.46.1.05lau.
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The purpose of this article is to analyze the function of art in the narrative of Antonio Muñoz Molina. Through the interpretation of the narrative function of paintings by renowned artists like Cézanne, Rembrandt, Velázquez and Mark Rothko in four works, The Winter in Lisbon, The Polish Rider, Sefarad and The Windows of Manhattan, I will pursue the hypothesis that the works of art play the role of identity giving metaphors for the characters. At the same time the painting play the role of “entelechies” in the narrative structure, as well for the characters as for the reader, because it is only through the interpretation of the paintings that each narrative obtains coherence and plenitude.
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WHITE, JAMES. "A Sign of the End Time: ‘The Monastery’, Topkapı Sarayı Müzesi H.2153 f.131b." Journal of the Royal Asiatic Society of Great Britain & Ireland 27, no. 1 (October 3, 2016): 1–30. http://dx.doi.org/10.1017/s1356186316000444.
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AbstractStudies of visual culture in the Persian-speaking world of the fourteenth and fifteenth centuries frequently discuss the literary contexts in which painting was often produced, yet scant attention has been paid to understanding how the visual can engage with the verbal beyond representing a sequential narrative. Arguing that paintings and literary texts are autonomous, yet can engage with similar ideas, this article focuses on a painting in the album TSMK H.2153 that is generally perceived to lie outside the frameworks of narrative poetry: ‘The Monastery’ (f.131b). The article investigates how the painting employs techniques of representation similar to those used in lyric and panegyric poetry, to connect individual motifs and thereby explore ideas. An engagement with the continuities between literary and visual cultures reveals a chronogram, giving the year in which ‘The Monastery’ was produced, and allows us to understand how it constructs a vision of unorthodox kingship.
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Άνθης, Μιχάλης Κ. "ΜΙΧΑΛΗΣ Κ. ΑΝΘΗΣ, Κώδικες έμφυλης αναπαράστασης στο εικαστικό έργο του Νίκου Εγγονόπουλου. Διακειμενική προσέγγιση." Σύγκριση 31 (December 28, 2022): 51–62. http://dx.doi.org/10.12681/comparison.31273.
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Decoding gender representations in some paintings of Nikos Engonopoulos. An intertextual approach This paper approaches the narrative codes Nikos Engonopoulos used to present, in some of his paintings, the theme of gender representation with the conflicting extensions at an ideological and social level. His surrealist view is potentially a form of denouncement and subversion of dominant stereotypes and traditional meanings of the gender roles of his heroes or heroines. The paintings, which are selectively presented in this paper, reveal Engonopoulos's consistency towards the ethical, ideological, and social principles and ideals of surrealism as well as his sensitivity toward issues related to gender relations. A starting point originating from ancient Greek mythology that stimulates his imagination is the concept of metamorphosis which is dominant in Greek myths. From the cycle of Ovid's Metamorphoses, Engonopoulos selects two myths and creates his surrealistic narrative. The first painting is entitled “Io” (1942) and the second is “Nestor” (1958). Ηorned “Io” (Selene) in Engonopoulos's painting, through its Ovidian origins, incorporates amatory, social (gender violence), aesthetic and psychoanalytic symbolism. Engonopoulos also chooses and paints in the second painting the figure of Nestor mediated, however, by the poetic writing of Ovid. In reality, Eggonopoulos tells the story of Caeneus, originally a woman named Caenis, which has all the characteristics of paradox, and irrationality, and is the story of the transformation of a woman into a man. The visual narrative through which Engonopoulos deconstructs gender stereotypes is analyzed in two more of his works. The first bears the misleading title “Chalkis” (1955). In this painting, Engonopoulos depicts Lykophron, a poet from Chalkis but in reality, he is talking about his work entitled “Alexandra” (Kassandra), a poem with cryptic references. Based on relevant allusions to the latest Greek literature, the codes of gender representation are finally identified in Engonopoulos's work entitled “La fanciulla di Zante” (1952), which is a reference to the lyrical poem “He Pharmakomeni” by Dionysios Solomos. Conclusively, the paintings analyzed in this paper, in addition to the scope of Engonopoulos's reading literacy, also reveal his multi-layered visual discourse.
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Gascoigne, David. "Georges Perec's La Vie mode d'emploi; or, How to Take on Painting and Win." Nottingham French Studies 51, no. 3 (December 2012): 286–97. http://dx.doi.org/10.3366/nfs.2012.0028.
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Notes by Perec on his reaction to paintings and on his collaboration with painters suggest a complex, but potentially conflictual relationship. In his fictional masterpiece La Vie mode d'emploi (1978) he pursues an elaborate confrontation on many levels with paintings and painters, whose prestige he recognizes as a rival to writing, which is thus challenged to reassert its primacy. Intradiegetically, the narrative turns centrally on accounts of failed projects related to painting. Extradiegetically, ‘Old Master’ paintings are dismantled to provide details for insertion into quite alien contexts in Perec's textual construction, and the aspect of framing central to traditional canvas painting is consistently challenged. Strategically, Perec's whole project in this work can be read as a calculated invasion, by the writer, of the domain of spatial representation seen since Lessing as proper to painting, and as an assertion of the supremacy of the textual.
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Forrester, Shannon. "Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice." Art/Research International: A Transdisciplinary Journal 5, no. 1 (February 28, 2020): 116–47. http://dx.doi.org/10.18432/ari29486.
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Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through diverse reparative practices in painting. Painting from the Other Side included an open call for paintings that engage with reparative content by artists whose identities are in some way outside of the minority power position of the Western canon of painting by straight white male artists. It included intensive studio visits and culminated in an exhibition. This paper proposes a theoretical framework of reparative painting and practice, tracing the many paths research-participant artists followed towards a reparative turn in painting.
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Wang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.
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The field of Leonardo da Vinci Studies has seen rapid advancement in recent years. Multiple research projects have been conducted on Leonardo’s observation of the natural world in relation to his inventions and painting techniques. Nonetheless, there lacks a consensus on how nature has impacted Leonardo’s interpretation of religious icons, such as the Virgin and the Christ Child. Therefore, this paper emphasizes Leonardo’s recreation of visual narrative using symbolism and natural setting within his series of icon paintings. The study opens with an inspection of the preceding Byzantine style and late-Medieval icon painting as a comparative reference, then discusses early experimentations that introduce symbolic themes in conjunction with natural elements. This is followed by visual analyses of the Paris Virgin of the Rocks and The Virgin and Child with Saint Anne. Evaluations will be performed on the two paintings’ intentions in remodeling theological narratives with compositional symbolism, technical enrichment, and geological presentations. The study reveals Leonardo’s use of a recreated natural environment as a manifestation of divinity, which functions in concert with his humanized divinity to realize a personalized view of sacred iconography. This aesthetic privatization ultimately transforms icon painting from a collectivized liturgical tool to an individualized interpretation of godhood.
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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (October 1, 1994): 149–66. http://dx.doi.org/10.2307/25011012.
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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are (also) copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings (both extant and lost) of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons.
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CELINSKA, DOROTA. "Painting a portrayal of narrators with learning disabilities from two narrative perspectives." Applied Psycholinguistics 35, no. 4 (December 7, 2012): 649–75. http://dx.doi.org/10.1017/s0142716412000537.
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ABSTRACTTwo narrative perspectives, high point analysis and episodic analysis, were used to compare the ability of narrators with and without learning disabilities to fulfill the referential and evaluative narrative functions. The participants were 82 students with learning disabilities and their typically achieving peers matched on age, grade, gender, and ethnicity. The participants (48 Caucasian, 34 African American) attended urban and suburban schools (Grades 4–7). Narratives were collected within the context of a naturalistic conversation. The findings across the two narrative perspectives showed areas of incongruence in specific narrative competencies. While these findings expand the portrayal of narrators with learning disabilities, they also imply the impact of using specific narrative analyses and genres for the narrative assessment and intervention outcomes.
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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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Hawaldar, Asmita. "Manmath Pooja." Integrated Journal for Research in Arts and Humanities 3, no. 1 (February 3, 2023): 101–5. http://dx.doi.org/10.55544/ijrah.3.1.17.
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Lepakshi is a small town1 situated in Hindupur taluka of Anantpur district, Andhra Pradesh. Veerbhadra temple located in Lepakshi is famous for monumental temple architecture of Vijaynagar Empire period. The extensive mural paintings executed on the walls and temple ceilings are world famous. One of the painting ‘Girija Kalyanam’ depicts story of marriage of Shiv and Parvati. It is a narrative panel. It starts with the painting famously known as ‘Parvati’s toilet’. In this paper, I have tried to prove that it is not ‘Parvati’s toilet’ but ‘Manmath Pooja’.
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Hetmański, Marek. "Visual metaphor and its narrative function." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 141–67. http://dx.doi.org/10.1075/cogls.00052.het.
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Abstract The paper aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create possible and alternative courses of events. Based on the analysis of R. Arnheim’s concept of openness of fine art works, J. Bruner’s theory of narrative mind, storytelling and possible worlds, and Ch. Forceville’s analyses of visual metaphors, the paper will attempt to answer the following two philosophical and epistemological questions: (1) how universal themes are depicted, perceived, conveyed, and comprehended in metaphorical paintings; and (2) what is the difference between the structures of the visual metaphors characteristic for these paintings and merely literary parabolic means. Both conceptual metaphors and blending theories are used in the analyses of selected symbolic and metaphoric paintings by Malczewski to explain in what scope his painting methods and their narrative structures are entangled in Polish national-cultural history, and how important they are in cognitive studies as well as in the history and theory of fine arts.
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Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.
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In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.
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Partridge, Loren, and Jack M. Greenstein. "Mantegna and Painting as Historical Narrative." American Historical Review 98, no. 4 (October 1993): 1282. http://dx.doi.org/10.2307/2166727.
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Kostner, Anna. "Painting as Drama. Staging Dialogue in Anselm Kiefer." Analele Universității de Vest. Seria Științe Filologice 61, no. 1 (December 10, 2023): 175–91. http://dx.doi.org/10.35923/autfil.61-1.12.
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It has frequently been pointed out that Paul Celan’s poems have a dialogic impulse. In this respect, Anselm Kiefer’s paintings can be considered the pictorial extension of Celan’s poetic structures. I will argue that with the inscriptions on his paintings, Kiefer exhibits dialogic moments, relating different perspectives to one another, thereby attempting to understand painting as drama; that is, to create a place for visual experience where no epic narrative is told, but an ongoing and dramatic conflict is acted out. This will be illustrated by a closer look of two of Kiefer’s paintings: The Sand from the Urns (for Ingeborg Bachmann, for , 1997) and The Sand from the Urns (for Paul Celan, 2009).
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Ünal, Mevlüt, and Ahmet Dalkıran. "Grotesque Approaches in Contemporary Turkish Painting." Bilim, Eğitim, Sanat ve Teknoloji Dergisi (BEST Dergi) 8, no. 1 (February 21, 2024): 66–80. http://dx.doi.org/10.46328/bestdergi.105.
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The Republican period witnessed significant changes in Turkish art and the art of painting was reshaped in this process. By addressing the grotesque elements in paintings depicting mythological themes, the study aims to understand the reasons why artists use these images and the social, cultural, and political contexts of these images. The study analyzes the depiction of figures in Turkish painting in a grotesque context during the Republican period and how artists integrated the influences of Western culture as well as traditional Turkish culture. Additionally, it is examined whether the use of grotesque images emerged as a reaction of the artists to the political and social atmosphere of the period or as a different narrative strategy. In this context, it offers an understanding of how grotesque images in Turkish painting reflect the artists' individual expressions, social criticism and cultural identities.
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Zhang, Xinyi. "The Indigenization Strategies of Catholic Painting in Early 20th Century China." Religions 15, no. 6 (May 30, 2024): 681. http://dx.doi.org/10.3390/rel15060681.
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The spread of Christianity to China initiated a process of indigenization, particularly evident in Christian art. This study explores the indigenization of early 20th-century Chinese Christian paintings through literature reviews, case studies, and comparative research. The analysis covers four forms of primary research. First, it explores the indigenization of Christian concepts, tracing their development from the introduction of Nestorian Christianity in the Tang dynasty through the establishment of Fu Jen Catholic University in the Republican era. Matteo Ricci’s implementation of the “Ricci Rule” during the late Ming dynasty, subsequently expanded by Celso Costantini, played a crucial role in the indigenous adaptation of Christian painting in China. The second facet focuses on the Beijing Catholic School of Painting, led by Chen Yuandu, a group that innovated Chinese Christian art by integrating local artistic expressions with traditional depictions of saints, assimilating symbols from Chinese literati painting, and preserving time-honored Chinese painting techniques. The third facet examines the strategy behind Christian painting methods. Fourth, this study discusses how the Fu Jen School faced varied reception and evaluations from domestic and international audiences under the complex social currents of the Republic of China and how the artists reflected the national spirit and artistic responsibility in their narrative paintings. Fundamentally, the practice of Christian painting at the early 20th-century Catholic School is not only an innovative artistic endeavor but also a significant case of cultural exchange between East and West and religious localization.
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Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature." Religions 11, no. 9 (September 14, 2020): 467. http://dx.doi.org/10.3390/rel11090467.
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What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in Buddhist texts one begins to find a growing regard for the possibilities of re-ordering and transvaluing sense experience. After suggesting the possibility of this on the basis of a preliminary consideration of some figures of speech invoking painting, this essay turns to the reconstruction of what I call aesthetic stances to make sense of the idea of new possibilities in sense experience. I derive the concept of “aesthetic stances” on the basis of a close reading of a pivotal moment in one Buddhist narrative, the defeat of Māra in The Legend of Aśoka.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Carlson, David Lee. "Embodying Narrative: Diffractive Readings of Ethical Relationality in Qualitative Inquiry." Qualitative Inquiry 26, no. 10 (July 22, 2020): 1147–50. http://dx.doi.org/10.1177/1077800420939205.
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This introduction provides an inquisition into the role of narrative inquiry in the field of qualitative inquiry. Drawing on Michel Foucault’s works on painting, this introduction discusses the philosophical tensions within narrative inquiry as a methodology to situate narrative in a broader context of research methodologies and to raise some questions about the very specific role of the human and anthropomorphism in narrative inquiry. The authors in this special issue were tasked with thinking through narratives with unexplored theories or theoretical perspective. The purpose of the special issue is to invite readers to consider these various tensions.
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Lima, Denise Noronha. "José Saramago “escrepintor” / José Saramago “escrepintor”." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 15. http://dx.doi.org/10.17851/2359-0076.39.62.15-30.
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Resumo: Manual de pintura e caligrafia, de 1977, é o segundo romance publicado por José Saramago, três décadas após sua estreia na literatura. Considerando o valor transicional e formativo dessa obra, visto que ela antecede imediatamente a fase madura do autor, iniciada com Levantado do Chão, de 1980, este estudo busca examinar a forma como aquele movimento de transição se transfigura na narrativa, pela relação entre a pintura e escrita autobiográfica do protagonista. Procede-se à análise de diversos aspectos do diálogo entre literatura e pintura estabelecido no romance a partir da palavra “escrepintor”, com a qual o narrador-personagem se define. Decorre da discussão desses aspectos a conclusão de que o Manual de pintura e caligrafia simboliza o nascimento de uma nova forma de narrativa de Saramago, cuja consolidação se efetivará na fase seguinte do escritor.Palavras-chave: Saramago; pintura; romance.Abstract: Manual of painting and calligraphy, 1977, is the second novel published by José Saramago, three decades after his debut in the literature. Considering the transitional and formative value of this work, since it immediately precedes the author’s mature phase, which began with Raised from the ground, in 1980, this study aims to examine how that transitional movement is transformed in the narrative by the relationship between painting and autobiographical writing of the protagonist. It proceeds to the analysis of various aspects of the dialogue between literature and painting established in the novel from the word “escrepintor”, with which the character storyteller defines himself. From the discussion of these aspects the conclusion is that the Manual of painting and calligraphy symbolizes the birth of a new form of Saramago’s narrative, whose consolidation will take place in the next phase of the writer.Keywords: Saramago; painting; novel.
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Wulandari, Anak Agung Ayu. "The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style." Humaniora 7, no. 4 (October 30, 2016): 463. http://dx.doi.org/10.21512/humaniora.v7i4.3599.
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The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this research was to compare the artistic transformation before Pita Maha and after Pita Maha. It was done by analyzing examples of Kamasan styled painting and works of Lempad through the qualitative method with a case study approach. The analyses show the differences between both styles regarding themes, iconographies, human figures proportions and composition, presentation of narrative stories, decorative elements and availability of artists’ signature in the paintings. It shows the artistic transformation of Balinese art. Through Pita Maha, Balinese starts to adopt western painting techniques, while preserving the cultural inheritance and symbolic value of traditional art in addition to their economic value.
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Rebello, Ivana Ferrante, and Osmar Pereira Oliva. "Grande sertão: veredas em luz e sombra." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 3 (December 21, 2018): 249–66. http://dx.doi.org/10.17851/2358-9787.27.3.249-266.
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Resumo: Este estudo lê o romance Grande sertão: veredas e as influências da arte pictórica na composição de sua narrativa. A partir dos registros do autor encontrados no material arquivado no Instituto de Estudos Brasileiros, e da apreciação de Guimarães Rosa pela pintura, apresentamos relações entre a narrativa de primeira pessoa e as variações de cor no romance. Esses jogos de luz e sombras nos ajudaram a ler a intricada dubiedade que rege a vida, a violência e a sexualidade de Riobaldo.Palavras-chave: Grande sertão: veredas; luz e sombra; pintura; dúvida.Abstract: This study reads the novel Grande Sertão: Veredas and the influences of the pictorial art in the composition of its narrative. From the author’s records, found in the material filed in the Instituto de Estudos Brasileiros (Institute of Brazilian Studies) and in Guimarães Rosa’s appreciation for painting, we present the relations between first-person narrative and color variations in the novel. Those plays on light and shadows helped us to read the intricate dubiousness that rules the life, violence and sexuality of Riobaldo.Keywords: Grande Sertão: Veredas; light and shadow; painting; doubt.
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Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.
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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypted codes precisely corresponding to the characters of their studio names, or ho 號 (Ch. hao). Yuan’s Shiwu Qinggong 石屋淸珙 (1272~1352), who officially conferred the dharma to Goryeo’s Taego Bou 太古普愚 (1301~1382), proposed “a single thatched hut in the depth of the retreats,” or yi an shenyin 一菴深隱, as exemplary of Chan Buddhist paintings. The written records of the monks’ handscroll paintings suggest that the monks of the late Goryeo and early Joseon painted landscapes by combining the motifs of a thatched hut and of the depth of the retreat with depictions of natural features that signified their studio names. While the monk’s studio name was the central theme of the painting, each character of his name was also rendered pictorially. The records further testify that Goryeo monks played a critical role in introducing to Korea the styles of the Liu Daoquan 劉道權 and Li-Guo 李郭 schools, which gained tremendous traction in the early Joseon art scene, as the literati regarded highly of ink paintings by monks. It has been widely noted that early Joseon paintings contributed to the development of the paintings of a scholar’s studio in Muromachi Japan. The monks’ poempaintings themed on their studio names further attest to the significant impact that early Joseon paintings made over not just the style but also subjects, form, and content of Japanese paintings. Even if many works of premodern Korean painting are now lost, written records about them still survive. Close examinations of such textual sources can help illuminate the historical trajectory of Korean poem-painting scrolls in the context of East Asian art history.
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Li, Kening. "The Application of Geometry in Leonardo’s Works: Take the Annunciation for Example." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 92–97. http://dx.doi.org/10.54097/ehss.v21i.13041.
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There is a close connection between geometry and art. Since mathematicians discovered the Golden Ratio, it has been widely used in painting, design, architecture, and other fields. In the development of perspective, the mathematical principles explored by geometry played a very important role. This research uses observation and literature research methods to analyze Leonardo Da Vinci's Annunciation. The research proves that Leonardo's Annunciation used the Golden Ratio in composition and perspective in completing the narrative of the painting. In the end, the study demonstrates the impact of the application of geometry to art during the Renaissance. For paintings, the application of the Golden Ratio and perspective can produce a sense of time and space, showing the environment and process of events. For geometry, geometry application shows the geometry of the achievements in art, expanding the application field of geometry. In addition, the application of geometry also makes painting a special existence that is different from words.
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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals." European Journal for Philosophy of Religion 13, no. 1 (March 2, 2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3858.
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As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth.
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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals." European Journal for Philosophy of Religion 13, no. 1 (March 2, 2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3696.
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As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth.
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Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.
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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect American pictographic language and demonstrate the influence of Mexican painting on the literature of the Spanish golden age. Descriptions of paintings in the Persiles ultimately provide a metafictional critique of European paradigms of graphic representation and challenge the authority of European colonial rationalizations of power dynamics in the New World. (EB)
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Hunt, Andrew. "Matthew Higgs interviewed by Andrew Hunt." Journal of Contemporary Painting 8, no. 1 (April 6, 2023): 59–71. http://dx.doi.org/10.1386/jcp_00039_7.
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This interview considers Matthew Higgs’s role in programming work by self-taught artists and those with developmental disabilities within the context of White Columns, a non-profit artist-run space located in Chelsea, New York City. The conversation describes the active support of work before any critical or institutional consensus emerges around it and explores how painting by self-taught artists and those with developmental disabilities can provide a productive counterpoint to self-reflexive work or art more critical of the narrative of painting as a medium. The term ‘outsider’ is also scrutinized as a useful generalization for painting that operates outside of conventional forms of education and existing foundational narratives in culture. Also discussed is the impact of exemplary historical curators and dealers in the United States and Germany who serve to act as model ‘maverick iconoclasts’.
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Kalashnikova, Olga L. "REALITY THROUGH THE PRISM OF PAINTING: SIMULACRES BY MICHEL HOUELLEBECQ." Alfred Nobel University Journal of Philology 1, no. 25 (May 30, 2023): 115–30. http://dx.doi.org/10.32342/2523-4463-2023-1-25-9.
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The article examines the code of painting and the media codes of other sign systems that are inseparable from it, forming a peculiar picture of the modern information world as a world of simulacra in M. Houellebecq’s novel “La carte et le territoire” (“The Map and the Territory” in English translation). The purpose of the work is to reveal the role and functions of the painting code and related to it media codes of photography, video art, architecture, advertising, and the Internet in the author of “The Map and the Territory” narrative strategy, that permits to identify some general laws of, typical for postmodern art, intermedial thinking and to clarify the concept of intermediality itself. We have applied intertextual, intermedial, hermeneutic, historical and literary research methods to conduct the research. The simulation, real world depiction imitation, which is replaced in the novel by its numerous “copies of copies”, begins with the first appellative structure of the text, the title itself – “The Map and the Territory”. The title announces the principle of replacing reality (territory) with its conventional image (map), which makes an emphasis on the intermedial prism as a decisive idea of world reproduction in the novel. Painting, as one of the most expressive forms of world depiction, is presented in the novel as a product of the simulacra multiplication technology, which is the leading one for the modern information society, where secondary modeling systems occupy an increasingly significant place. Painting, as a kind of litmus test, allows Houellebecq to show how various media zones, that create a distorted picture of the real world, interact and influence a modern person. Painting as “The Map and the Territory” central hero’s profession underpins the intermedial discourse of the novel, being in the focus of characters’ philosophical discussions and revealing its dominant role in the plastic accuracy of Jed’s paintings and photographs description. In the novel the literary text is consistently synchronized with the works of painters Koons and Hirst, whose images are depicted in the painting “Damien Hirst and Jeff Koons divide the art market” which opens “The Map and the Territory”. There is a verification of the painting by a word and vice versa. Multimedia spaces are superimposed on each other, giving birth to an intermedial, whimsical image of the modern world, which is successively destroyed by man, giving it to secondary sign systems. The idea of the simulacrum as a marker of modern culture determines both the form and the content of Houellebecq’s novel which carried out a “realist-postmodern synthesis” through an intermedial narrative strategy. Conclusion. The principle of simulacrum thinking, as a leading in modern art, was born by the world of simulacra in which modern man lives. The narrative strategy chosen by Houellebecq to demonstrate the secondary nature of modern ways of representing the world should prove to the reader, not only through the content but also through the intermedial narrative form itself, that it is necessary to wake up in order not to perish in the artificial world created by man as a “second nature”: a culture that, thanks to technological progress, erases a person from the planet’s map, leaving a free area covered with vegetation waves, where there are no people and cannot be. The pictorial code is dominant in Houellebecq’s narrative, through the prism of which the real world is shown in the novel. It demonstrates the modeling principle toxicity in the artworks based not on a mimetic mechanism but on the technique of simulation, simulacrum.
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Pop-Curşeu, Ioan. "The Witch’s Body as a Narrative and Symbolic Tool." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (March 30, 2023): 15–41. http://dx.doi.org/10.24193/subbdrama.2023.1.01.
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"This paper aims to propose an exploration of the corporeality of witches insofar as it has been used as a medium or nexus for narratives, or as a symbolic sign in various artistic forms and arrangements. The starting point is the highlighting of an antithesis, which is permanently nuanced and overcome in the long evolution of culture, namely between the beauty of young witches and the ugliness of old ones. A first section of the article focuses on painting, looking at works by Baldung Grien, Salvator Rosa, Frans Francken, Luis Ricardo Falero. A second section looks at the corporeal duality that characterizes witchcraft and its resolution in synthesis in Vasile Voiculescu’s short story Magical Love. The last section is devoted to cinematographic works and how they have incorporated in their complex visual and textual narratives an ancient representational and iconographic tradition with roots in Renaissance and Baroque painting and in the literature of Greco-Latin Antiquity. Keywords: witches, body, narration, symbolic, visual arts, literature, cinema. "
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Fadeyeva, Liudmila V. "VOTIVE PAINTING AS A NARRATIVE ABOUT A MIRACLE." Folklore: structure, typology, semiotics 5, no. 1 (2022): 104–25. http://dx.doi.org/10.28995/2658-5294-2022-5-1-104-125.
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The article deals with votive paintings of the Alpine region. These attractive works of folk art (and the religious culture of the Catholic South of Europe as well) are observed from the point of view of their functional aims as testimonies of a miracle that happened in human life. Votive paintings are interesting first of all as visualized stories, therefore it’s worthy of representing the perspective of the comparison between their narrative strategies and the narrative strategy of folklore legends. The author notes that the inclusion of a special inscription in the first person is optional for the picture. Moreover, Italian masters often use only formal inscriptions; they try to translate their customer’s stories into a drawing completely. However, the examination of some examples which show a parallel transmission of the event via words and images demonstrates remarkable differences in narrative strategies. It is significant that the visualization of a miracle as a divine intervention into the circumstances of a person’s life is mostly a result of the traditional iconography scheme followed by the painter; while the words of the person participating in the event are primarily focused on the reality and tiny details of what happened.
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Armstrong, Frank, Trixie James, Hermina Conradie, and Shane Parker. "Males in Enabling: Painting a portrait through narrative." Student Success 9, no. 1 (February 3, 2018): 9–22. http://dx.doi.org/10.5204/ssj.v9i1.429.
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The number of males entering higher education via an enabling pathway is slowly increasing; yet, males still battle with the anti-intellectual attitude that is prevalent in regional areas of Australia. Previous research undertaken by the authors began exploring the factors that inhibited or enhanced the male experience within an enabling course. This paper expands upon this research with a deeper focus on the male experience through personalised accounts derived from individual interviews. Using qualitative methodology and narrative inquiry, the findings provide a deeper understanding of the issues that males of different ages face when creating a new identity as a university student. This paper shares insights into what motivated the male students to enter university via an enabling pathway; the actual personal experiences both positive and negative during this time; and the effect that this commitment to study had on them personally and the people around them. The lens of transformative theory underpins this research through exploring frames of reference that align with the students’ experiences. Portraiture prose shares the individual stories which are analysed and the key findings extrapolated.
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Ann Achin, Imelda, and Addley Bromeo Bianus. "FORMALISTIC AND NARRATIVE IN PROJECTION MAPPING PAINTING: HABITAT." PEOPLE: International Journal of Social Sciences 1, no. 1 (May 30, 2017): 829–41. http://dx.doi.org/10.20319/pijss.2015.s21.829841.
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Martin, John, and Patricia Fortini Brown. "Venetian Narrative Painting in the Age of Carpaccio." American Historical Review 95, no. 4 (October 1990): 1238. http://dx.doi.org/10.2307/2163616.
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Зауст, С. К. "Actualization of the Narrative Functions of the Costume in Works of Fine Art (On the Example of Paintings by Viktor Vasnetsov)." Nasledie Vekov, no. 2(30) (June 30, 2022): 47–56. http://dx.doi.org/10.36343/sb.2022.30.2.003.
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Статья посвящена выявлению и описанию нарративной функции костюма и его деталей в четырех сказочных сюжетных полотнах В. М. Васнецова. Картины рассмотрены в качестве примеров удачных визуальных нарративов, соответствующих нарративу устному (сказке). Охарактеризованы сюжетные и композиционные особенности полотен, подробно описаны костюмы изображенных персонажей. Значительное внимание уделено элементам одежды, раскрыто их внутреннее смысловое содержание в контексте изображенных сюжетов. Установлено, что актуализация нарративной функции костюма позволила выдающемуся русскому художнику обеспечить динамку живописного изображения, более рельефно выразить конфликт, лежащий в основе сюжета, способствовать погружению зрителя в столь характерное для русских волшебных сказок состояние «саспенса» – неопределенности, напряжения и тревожности перед встречей с таинственным. In the article, on the example of four paintings by Viktor Vasnetsov, the author reveals the range of artistic tasks that can be solved by the artist through the actualization of the narrative function of the clothes of the depicted characters and costume details. The sources for the study were the paintings themselves, as well as the results of related research undertaken by art historians and culturologists. The methodology is based on the approaches inherent in structuralism and post-structuralism (Yuri Lotman, Roland Barthes) and allowing one to perceive a work of art as a coded message accessible for analysis and as a kind of a structure, whose elements are interconnected and interdependent. Canvases based on fairy tales written by Vasnetsov are considered as examples of successful visual narratives that correspond to an oral narrative (a fairy tale). The author shows how the details of the costume, which Vasnetsov depicted, intervened in the composition, changing the original idea of the painting Alyonushka(1881). The author states that the plot of this tale, which tells about a sister looking for her lost brother, was expressed in the painting using not quite ordinary images and techniques. The author notes that, in the monumental composition of the panel Three Princesses of the Underworld (1884), the artist was able to tell the story only through the description of things – the details of the heroines’ costumes. These details form the basis of the visual narrative, and consideration of the static figures of the three princesses in their luxurious outfits is the only way for the audience to read the fairy tale “Underground Kingdoms”, encrypted in the picture. The author emphasizes that the narrative function of the ancient Russian male costume, which Ivan Tsarevich, the character of the painting The Flying Carpet (1880), is wearing, expands the viewer’s understanding of the fairy tale and its hero as a concrete, living person. The author analyzes Vasnetsov’s large-scale illustration Ivan Tsarevich on the Gray Wolf (1889) and determines that the dynamic manner of depicting the costume details creates a potential expectation of the continuation of the depicted action, which is formed in the mind of the viewer perceiving the picture. The author concludes that the actualization of the narrative function of the costume allowed Vasnetsov to ensure the dynamism of the pictorial image, to express the conflict underlying the plot more clearly, to help immerse the viewer in the state of “suspense” – uncertainty, tension and anxiety before meeting with the mysterious – so characteristic of Russian fairy tales.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/jbn.vol3.no2.2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (March 31, 2020): 20–27. http://dx.doi.org/10.35784/teka.2414.
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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.
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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative." Études Ricoeuriennes / Ricoeur Studies 9, no. 1 (September 4, 2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.
Full textAbstract:
The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration.
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Frankiv, Roman, and Khrystyna Boyko. "Idyllic story in the creation of modern nations narratives, on the example of German, Jewish and Ukrainian painting." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 159–64. http://dx.doi.org/10.32461/2226-3209.2.2021.239998.
Full textAbstract:
The purpose of the article is to identify the features of idyllic artistic plots related to German, Jewish and Ukrainian national narrative. Try to evaluate their motivating mechanism. The methodology is the use of ideological and plot analysis, methods of comparison and generalization. The scientific novelty is to expand the understanding of the plot content of some works of German, Jewish and Ukrainian art, in the context of their nation - creative motivation. Conclusions. The period of creation of modern nations became a great challenge for art. An important motivating role belongs to the creation of the image of the "ideal being", the mandate to which the new community promised. Thus, the nation-creative plot is, in one way or another, connected with sacralization sentiments. German painting in the Romantic era operated with paintings of idyll, which, however, contains memories of the Middle Ages as an era of even greater perfection. Thus arose the motivating potential of "return" to the epic of the past. Jewish art culture is characterized by a tradition of associating the ideal being with the holy city of Jerusalem, a "return" to which also has motivating potential. In Ukrainian art, there are also plots of natural idyll, but the situation of "ideal existence" is connected with the inner state of man - the warrior "Cossack Mamaу", who gains personal freedom for creativity. As a result of the study, it was found that idyllic plots associated with the creation of modern national narratives in German, Jewish and Ukrainian painting have a number of common and distinctive features. Common features include the presence of sacred content and solidarity of the surrounding community. Distinctive features are different vector of orientation of the motivating plot. In art related to the German narrative of ideal nation existence, vector can be described as epoch-centric, with the Jewish narrative as city-centric, and with Ukrainian as anthropocentric.