Academic literature on the topic 'Painting Reinterpretation'

Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting—those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong's poem and inscription, inform us of the emperor's views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong's understanding of the painting, highlights the emperor's cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.

The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

The object of this research is the artistic heritage of Slovenian painter and teacher of painting Anton Ažbe (1862-1905) and its interpretation in the works of art historians and testimonies of his students and contemporaries. The subject of this research is the graphic and painting works of Anton Ažbe. The goal consists in reconsideration of the existing within modern art history understanding of the vector of creative path of the painter. Particular attention is given to his painting “The Black Girl” and clarification of the date of its creation. In the course of writing this article, the author applied the method of formal-stylistic analysis for meeting the precise purpose of the article. The scientific novelty of this study consists in reinterpretation of creative development of the Slovenian painter and teacher of painting Anton Ažbe based on the new information of the date of creation of one of his signature paintings – “The Black Girl”. The main conclusion lies in characteristics of the evolutionary stages of creative development of Anton Ažbe.

The article discusses Pier Paolo Pasolini’s reinterpretation of the myth of Medea in his 1969 fi lm by placing it in a range of artistic contexts, primarily painting. It fi rst recounts the history of mythological sorceress from ancient Kolchida, known from Greek myths and Eurypides’s play. A number of artistic works dedicated to Medea are referred to, including Seneca’s tragedy, Lars von Trier’s movie, Christa Wolf’s novel, Victor Mottez’s and Thomas Satterwhite Noble’s paintings. The methodological framework is based on the work of critics such as Alicja Helman, Kinga Anna Gajda, Piotr Kletowski and Janusz Kossak.

This article is devoted to the attribution of the Madonna and Child painting from the collection of the Sverdlovsk Regional Museum of Local Lore (Yekaterinburg), corresponding to the image of Madonna del Libro distributed in Italy in the sixteenth century. Referring to works of Italian researchers, the author reveals the original source that served as the basis for creating the iconographic work, i.e. a work of Perino del Vaga, an Italian artist. Further research helps establish the fact that the Ural canvas is a copy of an original painting of the Spanish artist Pedro de Rubiales who worked in Italy in the 1640s–1660s and reinterpreted P. del Vaga’s work. However, a technological analysis of the Ural canvas demonstrates that it was created much later, between the second quarter and the mid-nineteenth century. The unknown author of the picture studied in the article made attempts to reconstruct the technology of the original, but the discrepancies between them and the materials and methods of the Italian painting from between the sixteenth and seventeenth centuries revealed in the analysis of the canvas, ground, the stratigraphy of the paint layer, and paint binder make it possible to speak about the author’s insufficient awareness of the principles of painting of the era and region he referred to in his reinterpretation. Thus, the work in question demonstrates the peculiarities of creating imitations of sixteenth-century works at a later time. The article also proposes a version on the place and time of restoration of the painting, formulated on the basis of comparing data on the use of duplication technology, the design of the subframe, the presence of a signature on the subframe, and the correlation of said features with records from the catalogue of the Nizhny Tagil collection of paintings by D. P. Shorin. They suggest that work to improve the preservation of the painting was performed in the workshops of the imperial Hermitage by restorer N. A. Sidorov.

This article examines the representation mode painting like a change parallel to the profound transformation of the technical or theoretical knowledge, and also parallel to changes in the Balinese society values due to the physical evolution and the evolution of the system of values. In fact, within one century of painting it has been like moving from the classical, traditional, standard, homogeneous, local, and collectively turned into a painting that has been varied, heterogeneous, individual, and internationally with a modern twist. These waves of change occurred in the span of time through several stages, and most striking result from cash capitalistic economy and culture, especially tourism. In pre-colonial time the painting is a narrative religious functions until the time of breath commercialism modernist touches to always make innovations or changes. From the sacred space of temples and palaces to moving objects souvenirs, hotel interiors, fash- ion and even interior and exterior car. Developments of painting through innovation should not be inter- preted as a discontinuity (rapture) or discontinuity of the local context, but on the contrary, to appreciate again the classical values (pastiche), not by road of preserving it rigidly, but the process of reinterpretation and re-contextualization.

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

The Chinese novelist and playwright Li Yu 李漁 (1610~1680) enjoyed great fame in Japan since the 1690s when he was introduced to Japanese readers of the Tokugawa period. Particularly important in the reception history of Li Yu in Japan was Jieziyuan huazhuan, the Mustard Seed Garden Manual of Painting. The reproduction and reinterpretation of Jieziyuan huazhuan in Tokugawa Japan shaped Li Yu’s reputation as a literatus ideal among his Japanese readers in spite of his obscure reputation among his Chinese contemporaries. Through a wide range of primary materials, this article examines the idolization of Li Yu in the middle and late Tokugawa period and argues that it was a result of the misrepresentation of Li Yu as a literati painting master, as well as a hermit fiction writer. The close connection established between him and Jieziyuan huazhuan led to the recognition of him in Tokugawa Japan as one of the greatest literati painting artists. Meanwhile, the imagination of him as a hermit further established his image as the ideal of literati spirit among his Japanese admirers. Such idolization in turn contributed to his reputation in early modern China when his works were re-introduced to Chinese readers in the 1930s.

The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa through their visual presentations. The work of Siopis and Skotnes reflectects an interest in Postcoloniality. Furthernore, their visual imagery addresses questions of culture and power in South African visual representation. Works such as those created by Siopis and Skotnes can be seen as uncovering some of the contradictions within the process of decolonization. Nederveen, Pieterse and Parekh (1995 ) describe decolonization in the following way: 'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and state. (Nederveen, Pieterse and Parekh 1995: 11)' The focus in this dissertation is on the works of Siopis and Skotnes and their use of specific deconstructive methods to undermine prejudicial historical imagery and question established perceptions within South African history. In other words, the visual presentation of these two artists explores the boundaries or margins of established history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective art works. In the first chapter selected works from Siopis's 'History Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.

碩士
國立臺中教育大學
美術學系碩士班
102
The inspiration of the floral artworks came from the insecurity hidden within the creator herself, the insecurity coming from the challenges in her life. The creator takes the close-up observation of flowers and the detailed description of flower grains as the concrete way to express her insecurity as if studying her subtle nuance of emotion under a magnifying glass. The creator has searched into the relation between the painter, the artwork and the surroundings based on the eastern and western floral painting artworks, through the triple aspect to have a further study of the ways to upgrade the floral description by scenery arrangement, to animate the blooming flowers and to present the creator’s inmost thoughts by a metaphorical and cryptic way. The creator has an advanced introduction of the eastern and western floral artworks resting on reference and the other advanced introduction of the hidden insecurity within people nowadays resting on psychology. The flowers have been closely connected to our lives since the ancient times, such as during worship, festivals and so on. From the eastern floral artwork collections, the creator has done a further studying about the bird-and-flower painting at its zenith in Song Dynasty. The artists in Song Dynasty were influenced by the Song-Confucians and they pursued the goal in realism with accurately depiction in shape and manner with their internal emotions, for instance, artist Zhao Chang(趙昌) in Northern Song Dynasty and artist Li Di(李迪) in Southern Song Dynasty. The western floral artwork collections are featured by colors and figures. As for colors, the creator takes Vincent Van Gogh as an example, studying his floral artworks and his inmost corresponding relations; about figures, the creator chooses Georgia O'Keeffe as an example for figure discussion. Moreover, the creator tries to explore the insecurity within her standing on psychology, having a mutual study from individual to surroundings. From studying references, the creator expects to understand her own inmost thoughts; meanwhile, the watchers may indirectly receive the messages from the creator’s mind through the curl of the flowers to express her insecurity. From the way of the flowers are may help the watchers to get to know themselves better as if seen themselves in a mirror.

Many of the most significant studies devoted to Ambrogio Spinola have focused on one particular aspect of his life: his successful military career. This volume, through its interdisciplinary and cultural approach, breaks open this all too narrow perspective and expands our understanding of Spinola and his world. As a great military strategist and Catholic knight, entrepreneur in the international finance market, courtier and diplomat, Spinola was certainly a Genoese, but he was also a member of the transnational Iberian elite, to which he linked his fate and that of his children. His life's journey between Italy, Flanders and Spain, and the reinterpretations of his life by his contemporaries in art, literature and the press, give us the opportunity to reflect on the multiple identities and the physical and mental wanderings of many Europeans of the Early Modern Age. Ambrogio Spinola offers an example of humanity that is impossible to capture in a single reading and is much more contemporary than we can imagine. Ambrogio Spinola between Genoa, Flanders, and Spain allows the reader to better understand not only his military activities, but also (and above all) the family, social and political foundations of his successful career, as well as the various forms of art and communication (literature, architecture, paintings, sculptures, engravings, newspapers, etc.), which were used to celebrate him both during his life and beyond.

One of the contemporary challenges for research and practice in design and materials is the ability to associate technical information on properties and processing of materials with creative activities and applications. Currently, there is a return to artisanal practices and processes, in which there is a continuous dialogue between the designer, the material, and the project. This study demonstrates the relevance of practice-oriented design processes in the construction of knowledge. In an experience facilitated through post-consumer paper recycling workshops with students from the Bachelor of Design course at the State University of Pará (Brazil), ways of producing recycled paper tiles were investigated and the effects of this activity were discussed. The context of the activity is based on theoretical studies in materials and design, with a methodological approach focused on practical experiments in a research and teaching scenario.The research is classified as exploratory. The methodology adopted is based on the experimental method, considering the testing of new compositions and the response of materials to the processes. The recycling process consists of preparing post-consumer paper waste, producing cellulose pulp, and making paper tiles for subsequent painting. The tile alternative was inspired by the architecture of Belém (Pará - Brazil), bringing affective memories and a reinterpretation. In the methodological approach, the residue has its sensory and physical characteristics experienced after paper shredding. The homogeneity of the pulp is crucial for a good surface finish after drying. In the pulp molding step, after tests and research in the literature, silicone was selected as the most suitable material for the mold, also the possibility to form reliefs on the tile surface. During the workshops, each participant had the opportunity to interact with the material, from which the sensory analyzes are verbalized and discussed in the group, looking for alternatives for applications. In the course of the creation of the tiles, the participants expressed their feelings, references, and interests through painting. Different colors and textures worked during the activity give the artifact the characteristic of those who manipulate it. The activity provided a network of contacts and meetings in which students had the opportunity to reflect on waste disposal. One of the contributions to education in materials design is the possibility of dealing with awareness and critical concepts. Participants shared their experiences and stories related to the themes presented, as well as perspectives on sustainability. The workshop enabled the construction of new meanings and experiences with the production of products through the playful aspects of handcrafting, in addition to exemplifying the need to involve the understanding of sensory qualities in the design process. At the end of the activity, pieces with potential for indoor environments were obtained and a permanent art installation was designed at the State University of Pará. Through contemplation, the audience used touch to interact with the pieces, enhance the aesthetics and investigate the individuality of paper tiles. The installation transformed the space into a reference point, a place for meetings and interactions.

The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky, Trubeckoi, Evdokimov etc.). Finally, she explains the signs of the figurativeness of the mystical semantics of the table in three contemporary paintings (Jakabčic, Podhorský). These include, for example, Christian allusions, visual minimalism, white colour, contemplative immobility, mysterious to paradoxical imaginations, or the expressive-symbolic use of red and blue.