Journal articles on the topic 'Painting – Technique'
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1
Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.
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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter's work lies in the method used and the materials used. So that the authors are interested in further researching the uniqueness of this Jelekong technique. The purpose of this research is to examine the comparison of natural visualization techniques and aspects of Jelekong painting which represent nature in terms of methods and materials. The samples in this study were paintings by Jelekong artists and Western artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong painting. The result of this research is that the superiority of the art technique of Ugong painting is the sponge technique created by one of its residents. This technique can create shadow, middle tone, and highlight in a painting. Jelekong's paintings can become the identity of the community in cultivating the local potential of the region</p>
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Klisińska-Kopacz, Anna, Piotr Frączek, Michał Obarzanowski, and Janusz Czop. "Non-Invasive Study of Pigment Palette Used by Olga Boznańska Investigated with Analytical Imaging, XRF, and FTIR Spectroscopy." Heritage 6, no. 2 (January 31, 2023): 1429–43. http://dx.doi.org/10.3390/heritage6020078.
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The scientific examination and comparative investigation of pigments are fundamental for further understanding and analysis of historic and artistic works, and particularly useful for conservators. In fine art authentication, investigations are strongly focused on the identification of the painting materials used by the author. This study is focused on the use of non-invasive analytical techniques to increase the knowledge of the painting technique of Olga Boznańska. The aim of this study was to assess the technology, painting technique, and materials used by Olga Boznańska. The pallets, tubes with the paints, and several oil paintings were studied. For each painting, a series of images were recorded using various ranges of electromagnetic radiation, including near-infrared, visible light, ultraviolet, and X-rays. In order to characterize the pigments present in the paint layer, measurements of the elemental composition by X-ray fluorescence spectroscopy (XRF) were carried out. The ground layers and paints were measured with infrared spectroscopy (FTIR). This allowed us to identify the artist’s painting technique and determine how she executed her painting, how she applied the paints, and what pigments she used.
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Qian, Wenhua, Dan Xu, Zheng Guan, Kun Yue, and Yuanyuan Pu. "Simulating Chalk Art Style Painting." International Journal of Pattern Recognition and Artificial Intelligence 31, no. 12 (September 17, 2017): 1759026. http://dx.doi.org/10.1142/s0218001417590261.
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Different kinds of illustrations and artistic imagery can be generated or simulated through the nonphotorealistic rendering (NPR) technique. However, designing and simulating new NPR artistic styles remains extremely challenging. Chalk art style is a very famous artistic work all over the world, and few algorithms have been put forward to illustrate this style. This paper presents a novel NPR technique which generates a chalk art drawing from a 2D photograph automatically. We aim at obtaining a set of lines surface with coarse appearance and generating stroke textures of the real chalk painting. Firstly, the edge of the source image is extracted by difference-of-Gaussian filter method. To simulate chalk painting’s lines, image diffusion and enhancement techniques are proposed to produce coarse and rough lines. Secondly, we developed an improved line integral convolution and dilation operation methods to produce the chalk stroke texture. Finally, the edge image, stroke texture image and color image will be mapped to another background image to generate the chalk art drawing. Experimental results are presented to show the effectiveness of our method in producing the color chalk stylistic illustrations, and the methods can simulate the characters of the real chalk art painting. The proposed method of this paper will enlarge the research and application fields of NPR. Meanwhile, it provides a tool for the user to create chalk art paintings via computers even without painting skill.
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Zhou, Zhensheng. "Image Thinking and Modeling of Chinese Painting." Scientific and Social Research 6, no. 3 (March 30, 2024): 242–47. http://dx.doi.org/10.26689/ssr.v6i3.6435.
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As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.
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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.
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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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NI, NI. "A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"." Pacific International Journal 6, no. 1 (March 31, 2023): 33–36. http://dx.doi.org/10.55014/pij.v6i1.300.
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Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting pigments is a unique art form that is primarily passed down orally. However, due to the increasing scarcity of raw materials and the decreasing number of artisan heirs, this art form is facing a challenging dilemma. In light of the current situation of Chinese painting pigment making techniques, this paper proposes several feasible solutions for archival protection. One solution is to use the regional characteristics of Chinese painting pigment making for publicity. This strategy would involve promoting the unique aspects of Chinese painting pigment making in various regions to increase awareness and appreciation of the art form. Another solution is to build an archival talent team for Chinese painting pigment technique. This approach would involve identifying and training a group of experts in Chinese painting pigment making to ensure the continued preservation and development of the art form. Finally, building an online resource for Chinese painting pigment making technique would make the information accessible to a wider audience and facilitate the dissemination of knowledge about this art form.
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Huda, Mutiara Azkiyatunnuril, and Taufan Hidayatullah. "Representation of Ophelia's Painting in the Scene of Melancholia Movie 2011." ARTic 5, no. 2 (June 15, 2023): 527–35. http://dx.doi.org/10.34010/artic.v5i2.10901.
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Sir John Everett's Ophelia is a very famous painting. The object of the painting is the death of Ophelia, a character taken from Shakespeare's Hamlet. This painting has inspired many artists and filmmakers to use its visualization as inspiration. Research on the visualization of Ophelia's death has never been done, especially with the use of the tableau vivant technique in the object of research of Lars Von Trier's 2011 film Melancholia. based on this, the purpose of this study is to determine the role of the tableau vivant technique in the field of cinema. Especially its role in the representation of the painting "Ophelia" by Sir John Everett Millais by director Lars Von Trier in the scene of the 2011 film "Melancholia". Trier with his creativity uses the technique with his specialty. It is important to discuss this as a reference in making cinema works by utilizing paintings that were present before. The analysis is done with the main theory of tableau vivant so that its role as a representation technique is visible. The theory of film cinematic elements (mise en scène and cinematography) to support the main theory, describing how the elements in the film represent the painting. Data collection techniques are carried out by means of observation and literature study related to the object of the movie scene that shows the representation of painting, and the painting it represents. The results of the analysis are how the creative use of tableau vivant technique by Lars Von Trier plays a role in representing Ophelia's painting in the scene of the movie Melancholia in 2011 through its cinematic elements. With this research, filmmakers are able to make Trier's creativity using the tableau vivant technique as a reference in making movie scenes inspired by works of art.
Keywords: Film; Lars Von Trier; Melancholia; Ophelia; Tableau Vivant
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Pham, Hung Cuong. "The Expression of Vietnamese Folk Art in the Painting Series “Technique du Peuple Annamite”." Russian Journal of Vietnamese Studies 8, no. 1 (April 13, 2024): 94–109. http://dx.doi.org/10.54631/vs.2024.81-629444.
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Vietnamese folk painting art, a traditional art form, is the quintessence of the nation's cultural heritage and historical significance, expressing rustic beauty but containing a Vietnamese culturally conscious mind. In order to preserve the typical beauty in the daily life of ancient Vietnamese people, a genre of folk painting rich in visual art and meaning appeared in the early 20th century. That expression is a set of paintings in an ethnographic research work by Henri Oger, a French scholar. The "Technique du peuple Annamite" series of paintings was produced in large quantities by Vietnamese artisans and reflects the daily life of the Vietnamese people in the capital Hanoi and the Red River Delta. This research was conducted to clarify the elements that create the folk character of the painting from the perspective of visual arts. The results of this study show that the paintings, from themes to forms of expression, all reflect the quintessence of Vietnamese folk art.
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Lizun, Damian, and Jarosław Rogóż. "Observations on Selected Aspects of Liu Kang’s Painting Practice." Journal of Conservation Science 38, no. 5 (October 31, 2022): 460–81. http://dx.doi.org/10.12654/jcs.2022.38.5.09.
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This article gathers, for the first time, some intriguing technical features of Liu Kang’s painting practice, which spans seven decades. These features encompass retouching, alteration as well as the painting over of rejected compositions and painting on the reverse sides of earlier artworks. As Liu Kang (1 91 1–2004) did not discuss the technical details of his artistic process, an exploration of these aspects of the artist’s expression helps us understand the motivation behind his unconventional decisions. The paint layers were characterised through imaging methods like visible light (VIS), ultraviolet fluorescence (UVF), near-infrared (NIR), reflectance transformation imaging (RTI), digital optical microscopy (DOM) and X-ray radiography (XRR). The technical analyses were additionally supplemented with archival sources. The results showed that some aspects of the artist’s painting practice may distort the provenance of the paintings, impact dating, visual interpretation of his painting technique and style, as well as future conservation and display decisions. The presented case studies discuss the influence of Liu Kang’s unconventional painting approaches on the perception and interpretation of his artworks. Additionally, some hidden alterations and entirely new compositions were revealed for the first time and presented here, adding to growing knowledge about the artist’s painting technique. Moreover, universal aesthetical and ethical considerations were discussed in the context of the conservation and display approach to the artist’s retouching work and double-sided paintings. Besides, this research promotes a need for obtaining a comprehensive understanding of Liu Kang’s painting practice and coherent guidelines to ensure proper presentation of his artworks and to prevent misinterpretation of his technique and artistic outcomes.
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Lizun, Damian, Teresa Kurkiewicz, and Bogusław Szczupak. "Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique." Heritage 4, no. 2 (May 19, 2021): 828–63. http://dx.doi.org/10.3390/heritage4020046.
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This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.
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Dviniatina, J. R. "Pictorial Pretexts in A. Tarkovsky’s Works." Art & Culture Studies, no. 1 (March 2024): 102–37. http://dx.doi.org/10.51678/2226-0072-2024-1-102-137.
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The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.
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Sari, Tri Rahma Karlina, Sulistiyani Sulistiyani, and Sulastri Sulastri. "Mengembangkan Kemampuan Motorik Halus Anak Usia 4-5 Tahun Melalui Kegiatan Melukis Dengan Jari di TK Nikita PTPN V Bukit Selasih." Jurnal Pendidikan Tuntas 1, no. 4 (December 12, 2023): 557–62. http://dx.doi.org/10.37985/jpt.v1i4.327.
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When these elements perform their respective roles in a positive interaction, meaning that one element is interrelated, mutually supporting, complementary with other elements to achieve a more perfect motor condition. Children with brain disorders appear less skilled in moving their bodies. Finger painting is a painting technique activity without any tools by applying paint to wet paper using the fingers of the hands done by the child to pour his imagination through paintings done by the fingers of the hands by the child. This finger painting technique is a painting technique without the use of tools. This research method uses classroom action research, which is a research method that occurs in the classroom during the interaction between teachers and students. The purpose of this classroom action research is to improve and improve the quality of learning and help empower teachers in solving problems in learning at school, and to improve and improve learning practices at school, as well as to increase the relevance of education, quality of education and efficiency in education management.
Keywords; Finger painting, Fine motor skills, early childhood
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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.
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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.
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Li, Jing, and Yidan Qin. "The Mount Sainte-Victoire: The possible impacts of Cézanne on modern paintings." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 244–50. http://dx.doi.org/10.54097/ehss.v1i.668.
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As the "father of modern painting", Cézanne's creative ideas and techniques have had a profound influence on subsequent generations of artists. To this day, many artists still admire his creative and revolutionary painting theories. The purpose of this paper is to analyze the techniques and ideas of Cézanne's series of paintings around the Mount Sainte-Victoire and to explore his inspiration for subsequent artists to break through the constraints of traditional painting techniques and creatively express their subjective consciousness by using flat shapes, multi-point perspective, and multiple painting types. In this way, we can clarify the position of Cézanne in art history and the inspiration his ideas and works have brought to people. This paper is divided into two parts, the first part is about the analysis of the concept, technique and style of Cézanne's landscapes with the Mount Sainte-Victoire as the theme; the second part is about the specific distinction and explanation of the succession and development of Cézanne's style by modern artists represented by Picasso, Matisse and Klimt.
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Paramita, Divia Indri, and Hayatunnufus Hayatunnufus. "Perbandingan Hasil Face Painting Menggunakan Teknik Manual Dan Teknik Airbrush Pada Makeup Karakter." JURNAL PENDIDIKAN DAN KELUARGA 11, no. 02 (April 30, 2020): 219. http://dx.doi.org/10.24036/jpk/vol11-iss02/648.
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Prias is not only required to enhance the appearance of the face and hair, but also a total appearance complete with supporting appearance that can reinforce one's character. This study aims to determine the results of face painting using manual techniques and airbrush techniques on character makeup and determine the differences in face painting results between manual techniques and airbrush techniques on character makeup. The type of this research is Quasy Experimental. The study population was 45 students with 4 samples. T test test analysis technique. Based on the research results obtained face painting cosmetology using manual techniques that the highest value is found in the aspects of time efficiency and color sharpness of 3.88 has very good criteria and the lowest on flatness with an average of 2.25 good criteria , the results of face painting make-up using airbrush technique flatness aspect average 3.81 on very good criteria, and at an average time efficiency of 3.88 very good criteria, the lowest on color sharpness with an average of 3.44 good criteria and there are differences in the face painting results between the manual technique and the airbrush technique in the aspect of flatness (p <0.05) and there is no difference in the face painting results between the manual technique and the airbrush technique in the aspect of time efficiency. solid or creamy because the results of cosmetics that are applied can be more flat and directly attached.Keywords: face painting, manual techniques, airbrush techniques, clown character makeup
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Iba Harliyana and Ayu Shella. "TEKNIK PELUKISAN TOKOH DALAM NOVEL BULAN KERTAS KARYA ARAFAT NUR." Jurnal Metamorfosa 8, no. 1 (January 31, 2020): 13–26. http://dx.doi.org/10.46244/metamorfosa.v8i1.336.
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The technique of character drawing is divided into two parts, namely the technique of painting a character directly and the technique of painting a character indirectly. This research aims to describe the character painting techniques used by Arafat Nur in his novel BulanKertas. The study was conducted using an objective approach and included in the descriptive analysis research. The collection technique used in this study is the reading collection technique. The results of the research found that Arafat Nur's novel contained the main characters namely Rafa and Naya and additional figures namely Kanafi, Afdal, Askan, Rafa's parents and Naya's parents, and Arafat Nur combines the techniques of direct character painting and indirect painting techniques. in his novel, in the indirect painting technique Arafat Nur uses eight techniques from nine indirect character painting techniques that have been explained by Nurgiyantoro, and each character in this novel has his own character painting technique, there are characters who are depicted using one technique but there are several figures who are depicted by combining several techniques in his painting. One data obtained can be analyzed by several techniques. The conclusion of this research is BulanKertas novel written by Arafat Nur using direct painting techniques and indirect painting techniques in making the self of a character.
Abstrak
Teknik pelukisan tokoh terbagi menjadi dua bagian, yaitu teknik pelukisan tokoh secara langsung dan teknik pelukisan tokoh secara tidak langsung. penetian ini bertujuan untuk mendeskripsikan teknik pelukisan tokoh yang digunakan Arafat Nur dalam novelnya BulanKertas. Penelitian dilakukan dengan menggunakan pendekatan objektif dan termasuk ke dalam penelitian analisis deskriptif. Teknik pengumpulan yang digunakan dalam penelitian ini ialah teknik pengumpulan baca catat. Hasil dari penelitian yang ditemukan yaitu novel Arafat Nur terdapat tokoh utama yaitu Rafa dan Naya dan Tokoh tambahan yaitu Kanafi, Afdal, Askan, orang tua Rafa dan orang tua Naya, dan Arafat Nur menggabungkan antara teknik pelukisan tokoh secara langsung dan teknik pelukisan secara tidak langsung dalam novelnya, dalam teknik pelukisan secara tidak langsung Arafat Nur menggunakan delapan teknik dari sembilan teknik pelukisan tokoh secara tidak langsung yang telah dijelaskan oleh Nurgiyantoro, serta setiap tokoh dalam novel ini memiliki teknik pelukisan tokohnya masing-masing, ada tokoh yang dilukiskan menggunakan satu teknik tetapi ada beberapa tokoh yang dilukiskan dengan menggabungkan beberapa teknik dalam pelukisannya. Satu data yang didapatkan dapat dianalisi beberapa teknik. Simpulan dari penelitian ini ialah novel Bulan Kertas yang dikarang oleh Arafat Nur menggunakan teknik pelukisan langsung dan teknik pelukisan tidak langsung dalam membuat kedirian dari seorang tokoh.
Kata Kunci: Teknik Pelukisan Tokoh, Tokoh
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Wu, Taixia, Guanghua Li, Zehua Yang, Hongming Zhang, Yong Lei, Nan Wang, and Lifu Zhang. "Shortwave Infrared Imaging Spectroscopy for Analysis of Ancient Paintings." Applied Spectroscopy 71, no. 5 (November 24, 2016): 977–87. http://dx.doi.org/10.1177/0003702816660724.
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Spectral analysis is one of the main non-destructive techniques used to examine cultural relics. Hyperspectral imaging technology, especially on the shortwave infrared (SWIR) band, can clearly extract information from paintings, such as color, pigment composition, damage characteristics, and painting techniques. All of these characteristics have significant scientific and practical value in the study of ancient paintings and other relics and in their protection and restoration. In this study, an ancient painting, numbered Gu-6541, which had been found in the Forbidden City, served as a sample. A ground-based SWIR imaging spectrometer was used to produce hyperspectral images with high spatial and spectral resolution. Results indicated that SWIR imaging spectral data greatly facilitates the extraction of line features used in drafting, even using a single band image. It can be used to identify and classify mineral pigments used in paintings. These images can detect alterations and traces of daub used in painting corrections and, combined with hyperspectral data analysis methods such as band combination or principal component analysis, such information can be extracted to highlight outcomes of interest. In brief, the SWIR imaging spectral technique was found to have a highly favorable effect on the extraction of line features from drawings and on the identification of colors, classification of paintings, and extraction of hidden information.
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ZHOU, Zhensheng. "The course teaching of rock color painting technique." Region - Educational Research and Reviews 5, no. 5 (December 15, 2023): 35. http://dx.doi.org/10.32629/rerr.v5i5.1436.
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Rock color painting is a kind of traditional painting in China, which has strong cultural heritage and artistic charm, and has attracted wide attention for its unique charm and artistic expression. The teaching of rock painting techniques is an important part of rock painting education. It aims to inherit and develop traditional Chinese painting skills, cultivate students' understanding of rock painting and creative ability, and guide students to master the basic techniques and expression techniques of rock painting through systematic teaching arrangements and practical operations to make them show individuality and innovation in creation and cultivate their unique sense and understanding of beauty. The purpose of this paper is to explore the teaching methods and strategies of rock painting techniques course, so as to improve students' understanding and application ability of rock painting techniques and promote the inheritance and innovative development of traditional Chinese painting techniques.
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Zhang, Qing Liang. "Research on Key Energy Saving Techniques of Automobile Painting." Applied Mechanics and Materials 716-717 (December 2014): 694–97. http://dx.doi.org/10.4028/www.scientific.net/amm.716-717.694.
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Based on the domestic automobile body coating technique research, key energy saving techniques in 3 aspects, i.e. painting process, painting equipment and painting management were reviewed respectively. Existing energy conservation problems in Chinese automobile body painting lines were analyzed. The key energy saving of automobile body coating was stated. It was pointed out that energy saving technique of electromechanical system is one of the most potential research direction and development prospect.
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Loboda, Anastasia Yu, Igor N. Trunkin, Roman D. Svetogorov, Victor M. Pojidaev, Andrey V. Kamaev, Sergey N. Malakhov, Kirill Yu Pelve, et al. "A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 156–74. http://dx.doi.org/10.37279/2413-189x.2021.26.156-174.
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In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of samples were selected for the study featuring: 1 – white, 2 – yellow, 3 – red, and 4 – green colours. The elemental composition of the colour layer was studied by scanning electron microscopy combined with energy-dispersive X-ray microanalysis (SEM/EDX). The phase constitution of the samples was investigated by X-ray powder diffraction (XRD) method with the use of diffractometers operated in a transmission mode at the Kurchatov synchrotron radiation source. The chemical composition of colour layers was studied by infrared spectroscopy, and the study of cohesive colour materials was carried out by gas chromatography with mass spectrometry (GC/MS). The elemental composition and phase constitution of the white colour indicated the use of lime whitewash. Yellow ochre (goethite) was used as yellow colour. Red colour features the presence of hematite typical for the group of pigments united under the name of red soils. However, the discovery of 1% goethite typical for yellow ochres in the phase constitution of one sample allows the possibility that burnt yellow ochre was used as a red pigment. The green colour was green soil (glauconite and celadonite). It should be noted that none of the examined samples of red pigment contained traces of vermilion, which occurred in ancient paintings in the Crimea and was typical for Byzantine wall-paintings. In all the samples of pigments contained a significant degree of calcite (36-98%), possibly due to the presence of particles of undercolour in the measured samples of wall paintings, or diluting the pigment with lime water for the making of wall-painting featuring fresco technique. The use of the latter technique is also indicated by the presence of white lime colour. The traces of cohesive component in the form of fish glue and protein products from chicken eggs found in the red and green paint samples also suggests the use of the dry painting technique. Therefore, there are reasons to suppose that the painting of the quarter church of Eski-Kermen used two techniques, fresco and dry plaster paintings.
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Neode, Haris Candra, I. Gede Yosef Tjokropramono, and I. Dewa Putu Gede Budiarta. "Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (October 28, 2023): 174–89. http://dx.doi.org/10.59997/ctkr.v3i2.2994.
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The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distinguished through the shape of the face, body shape or abdomen and coils as well as detailed parts of the eyes, eyebrows, nose, mouth, mustache, and other detailed shapes. (I Made Yasana, Menggambar Wayang Klasik Bali 1). Gede Modara who created the Kamasan Wayang style inspired the author to create puppets with a new style through the figures in the Kamasan Classical Puppet. This creation process aims to preserve the Kamasan Classical Puppet and develop it into a modern painting without eliminating the existing packages. The paintings created are expected to be able to become the characteristics of the author.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Markus Küffner, Lukas Wacker, Hans-Arno Synal, and Detlef Günther. "Combined 14C Analysis of Canvas and Organic Binder for Dating a Painting." Radiocarbon 60, no. 1 (December 1, 2017): 207–18. http://dx.doi.org/10.1017/rdc.2017.107.
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AbstractThe use of accelerator mass spectrometry (AMS) for age determinations of paintings is growing due to decreasing sample size requirements. However, as only the support material is usually dated, the validity of the results may be questioned. This work describes a novel sampling and preparation technique for dating the natural organic binder using radiocarbon (14C) AMS. In the particular case of oil paintings, the natural oil used has a high probability of being representative of the time of creation, hereby circumventing the problem of the originality of the support material. A multi-technique approach was developed for a detailed characterization of all paint components to identify the binder type as well as pigments and additives present in the sample. The technique was showcased on a painting of the 20th century. The results by 14C AMS dating show that both the canvas and binding medium predate the signed date by 4–5 yr. This could be the time span for keeping painting material in the atelier. The method developed provides, especially given the low amounts of material needed for analysis, a superior precision and accuracy in dating and has potential to become a standard method for oil painting dating.
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Scalera, Lorenzo, Giona Canever, Stefano Seriani, Alessandro Gasparetto, and Paolo Gallina. "Robotic Sponge and Watercolor Painting Based on Image-Processing and Contour-Filling Algorithms." Actuators 11, no. 2 (February 19, 2022): 62. http://dx.doi.org/10.3390/act11020062.
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In this paper, the implementation of a robotic painting system using a sponge and the watercolor painting technique is presented. A collection of tools for calibration and sponge support operations was designed and built. A contour-filling algorithm was developed, which defines the sponge positions and orientations in order to color the contour of a generic image. Finally, the proposed robotic system was employed to realize a painting combining etching and watercolor techniques. To the best of our knowledge, this is the first example of robotic painting that uses the watercolor technique and a sponge as the painting media.
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Park, Joohyang. "A Study of the Roman de Fauvel, a 14th Century French Manuscript: Focusing on the Satirical Technique of Images in Roman de Fauvel." Korean Society of Culture and Convergence 45, no. 9 (September 30, 2023): 435–49. http://dx.doi.org/10.33645/cnc.2023.09.45.09.435.
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Roman de Fauvel conveys the turbulent politics of France during the reign of Philip IV (1268-1314) through poetry, music and painting. This thesis discusses how such political themes were expressed in paintings in Roman de Fauvel. Before discussing the paintings, a discussion of the two authors of Roman de Fauvel will examine the context in which they were created and their intentions. Because the manuscript was created from the perspective of Roman de Fauvel's alignment with political forces and criticism of his time. Based on this understanding, the painting techniques used in Roman de Fauvel to convey the intent of the work include the choice of colors according to the characters, Fauvel's imitation of the French royal family, and the use of anti-biographical techniques, which expose the fake as a clumsy imitation of the real thing. Through this study, we hope to get closer to the achievements of Roman de Fauvel, who achieved a complete fusion of literature, music, and painting.
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Hung, Chia-Ching. "A study on a content-based image retrieval technique for Chinese paintings." Electronic Library 36, no. 1 (February 5, 2018): 172–88. http://dx.doi.org/10.1108/el-10-2016-0219.
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Purpose The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users. Design/methodology/approach In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique can be applied to retrieval of Chinese painting images. A database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. The authors develop an image-retrieval technique that considers colour distribution, spatial information of colours and texture. Findings In this study, a database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. An image-retrieval technique was developed that considers colour distribution, spatial information of colours and texture. Through adjustment of feature values, this technique is able to process both landscape and portrait images. This technique also addresses liubai (i.e. blank) and text problems in the images. The experimental results confirm high precision rate of the proposed retrieval technique. Originality/value In this paper, a novel Chinese painting image-retrieval technique is proposed. Existing image-retrieval techniques and the features of Chinese painting are used to retrieve Chinese painting images. The proposed technique can exclude less important image information in Chinese painting images for instance liubai and calligraphy while calculating the feature values in them. The experimental results confirm that the proposed technique delivers a retrieval precision rate as high as 92 per cent and does not require a considerable computing power for feature extraction. This technique can be applied to Web page image retrieval or to other mobile applications.
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Gil, Milene, Yigit HELVACI, and Jose Mirao. "Modern Mural Paintings. The Planisphere Painting of Almada Negreiros: Technical and Material Features of Plasters and Painting Technique." International Journal of Conservation Science 14, no. 3 (September 15, 2023): 1265–76. http://dx.doi.org/10.36868/ijcs.2023.03.32.
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This paper presents the results of observations and analysis carried out in the modern mural painting of 54m2, known as Planisphere (or Mapa-mundi), made by Almada Negreiros in 1939 in the city of Lisbon. The painting is Almada’s first monumental painted work at fresco, and it is a striking, colourful composition inspired by early world maps of navigators. The aim is to ascertain how he built up this masterpiece and what artistic sources could have inspired him. The analytical setup comprised in-situ technical photography in the visible (Vis and Vis-Rak) and near infrared radiation (NIR), Vis-handled-Optical microscopy, complemented by laboratorial analysis of microsamples collected from paint layers with OM-Vis-UV and SEM-EDS. The data obtained was compared with the painting compendiums of Paul Bedouin’s La fresque. Sa Technique-ses applications (1914) and of Costin Petresco’s L’art de la fresque (1931), retrieved from the artist studio in 2019. The study reveals the first technical and material features found, such as the painting execution by large giornate, the use of different types of techniques to transfer the drawings to the wall, and the presence of paint layers made with buon and lime fresco. The results also reveal the likely strategies used by Almada to overcome the challenges imposed by a fresco execution, inspired by both eastern and western mural painting traditions.
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Park, Kiyeon. "The Development of Changzhou School and Yun Shouping’s (1633-1690) Flower Paintings." Korean Journal of Art History 316 (December 31, 2022): 135–66. http://dx.doi.org/10.31065/kjah.316.202212.005.
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Yun Shouping 惲壽平 (1633-1690) was one of the Early Qing orthodox masters. He embarked on his artistic career by painting landscapes in the Southern School style, but later gained his reputation for flower paintings in the “boneless” (mogu 沒骨) coloring method, a technique that does not leave traces of outlines on the pictorial surface. Living in the late Ming and early Qing period, Yun trod on an eventful trajectory of life. He was born to a family of literati and exhibited an aptitude for scholarly exercises during his childhood. As a Ming royalist, he was arrested for his activities against the Manchu rule. During his engagement in the resistance, he was accidentally reunited with his father, Yun Richu 惲日初, with whom he returned home together. Changzhou, Yun’s hometown, was a region that was particularly known for paintings of flowers and insects. Active since the Song period (960-1279), the Changzhou school developed a style of painting that achieved a lifelike verisimilitude of ordinary flowers and insects. Against this regional backdrop of the vivid and lifelike painting tradition, Yun applied the boneless coloring method to the genre of flower painting. This boneless coloring method allowed Yun’s flower painting to depart significantly from prior generations of Changzhou flower painters whose work relied on meticulous fine brushwork (gongbi 工筆). Yun began his study of flower painting from 1670s, acquired various techniques and styles of painters active from the Song through the Ming periods, and took the genre of flower painting to a level of literati painting. Prior to Yun, flowers were regarded as a pictorial subject reserved exclusively for academy painters. Yun overturned that perception, charting a new territory of artistic exploration for scholar-painters. His style exerted a far-reaching influence over diverse hosts of painters encompassing not only the Yun clan painters, but also court painters, the Eight Eccentrics of Yangzhou, and even modernists. He also left indelible impacts on the history of Korean flower painting since his work came to be circulated in Chosŏn.
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Mangone, Annarosa, Camilla Colombi, Giacomo Eramo, Italo Maria Muntoni, Tiziana Forleo, and Lorena Carla Giannossa. "Pigments and Techniques of Hellenistic Apulian Tomb Painting." Molecules 28, no. 3 (January 20, 2023): 1055. http://dx.doi.org/10.3390/molecules28031055.
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The wall paintings of five Hellenistic tombs in Apulia were analysed using a multi-technique approach to discern the painting techniques used and contextualise them within the phenomenon of Hellenistic tomb painting in Southern Italy. In particular, the question was asked whether technical knowledge played a role in the reception of Hellenistic artistic models and whether this knowledge was present locally. Raman and IR spectroscopies were used to identify pigments, colourants, and binders; light and electron microscopy were used to determine the structural characteristics of the paint layers and recognise the manufacturing technique. Analyses identified a fresco application for the Tomba dei Cavalieri (Arpi) and a dry application for the Canosian hypogea. The palette—typical for Hellenistic tomb painting in Southern Italy, Etruria and Macedonia—was composed of lime (white), charcoal (black), hematite (red), goethite (yellow), and Egyptian blue (blue). In the Tomba della Nike (Arpi), meanwhile, two particularly refined preparatory layers were observed. The palette was enriched with precious cinnabar and madder lake. The colouring components of the root were mixed with clay and K-alum applied on an additional layer of lime. The use of madder lake and a pink background link the painting to the polychrome Daunian pottery, and the contribution of a local workshop to the decoration of this tomb thus seems plausible.
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Yoon, Yeobeom. "Western painting technique and Colonialism." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 56 (August 30, 2022): 303–23. http://dx.doi.org/10.19078/ea.2022.56.12.
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Tiancheng, Zhang, and Chu Tieyi. "The preliminary study on the application of modern advanced processing technique in non-legacy cultural and creative product design-- Taking Wuhu iron painting as an example." E3S Web of Conferences 179 (2020): 02091. http://dx.doi.org/10.1051/e3sconf/202017902091.
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In order to improve the production efficiency of traditional non-legacy cultural heritages and create non-legacy cultural and creative products in line with modern aesthetics, the paper combines traditional non-legacy cultural heritages manufacturing technique and modern advanced processing technique, which is conducive to improve the design of traditional techniques of Wuhu iron painting. First of all, this paper analyzes the connotation of traditional non-legacy cultural heritage technology, the categories of modern advanced processing technique and the traditional forging technique of Wuhu iron painting, and introduces the strategy and development history of traditional non-legacy cultural heritage manufacturing technique. Taking Baogong cultural and creative product design as an example, this paper innovates the processing technique of iron painting through cutting and processing, and the design theme is fully realized in the innovative iron painting, which to a certain extent realizes the unity of technique and art, and shows the effectiveness and practicability of modern advanced processing technique in non-legacy cultural and creative product design.
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Umataliyev, Mukhtarjon A. "METHODS OF MASTERING THE SKILLS OF VISUAL EXPRESSION OF STUDENTS IN THE PROCESS OF WORKING ON STILL LIFE." American Journal of Social Science and Education Innovations 6, no. 5 (May 1, 2024): 230–37. http://dx.doi.org/10.37547/tajssei/volume06issue05-26.
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The purpose of this article is to introduce students to the genre of still life, to define concepts such as “method”, “painting”, “still life painting”, “painting”, “painting technique”, “technique of working with painting materials” and based on them, the technique of working with painting materials dedicated to clarifying the important methods and ways to master in the example of still life painting.
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Dabadi, Sunita, Rishi Raj Gautam, and Manish Lama. "Tourists’ Attitude towards the Purchase of Thangka Paintings." Nepalese Journal of Hospitality and Tourism Management 2, no. 1 (March 1, 2021): 80–94. http://dx.doi.org/10.3126/njhtm.v2i1.44397.
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Thangka painting is an important handicraft product, which has its importance and features. The root of the painting lies in Buddhism where the painting holds great importance. The current research has explored the factor influencing tourist attitudes towards purchase of thangka paintings. The study used a quantitative research method with a descriptive and explanatory research design. The convenience sampling technique was used where the primary data was collected through a structured questionnaire. The international tourists who purchased thangka paintings in the Thamel and Bouddha area were studied and a total of 156 questionnaires were collected and analysed using a statistical tool such as correlation and regression. The finding revealed that there is a significant and positive relationship between the factors. The result further revealed that product oriented shopping, and process orientation shopping has a significant impact towards the attitude to purchase of thangka.
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Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.
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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of the Muromachi period. The monochrome ink puppy paintings of the Kyoto artist Tawaraya Sōtatsu 俵屋宗達(ca. 1600-1640), however, depict the bodies of their canine protagonists with the same wash-based approach found in Yi Am’s works, and appear to have been catalyzed in some way by an encounter with the Korean artist’s paintings. In the case of Sōtatsu, this approach eventually came to be known as tarashikomi, a signature technique of the Rinpa School, and therefore it is no exaggeration to state that Yi Am’s works played a role in inspiring one of the most recognizable techniques of early modern Japanese painting. Although dog and puppy paintings are traditionally linked to auspicious meanings, Sōtatsu’s puppy paintings appear to have been associated within a Zen Buddhist themes, in particular the koan “A Dog Has No Buddha-Nature.” This Zen Buddhist framework of meaning can be gleaned from inscriptions on his paintings by Zen monks such as Isshi Bunshu 一絲文守(1608-1646) and Tangai Musen 丹崖無染(1693-1763). I would propose that the particular wash-based approach of Yi Am and Sōtatsu to this subject was particularly significant in generating this association. The eighteenth-century painter-poet Yosa Buson 与謝蕪村(1716-1784) also based his puppy paintings upon models derived from Yi Am. In the case of Buson, however, the cultural meaning of these works can be gleaned from his haikai poetry, in particular a poem accompanying a Maruyama Okyo 円山応挙(1733-1795) painting of a puppy that associates its inky body with the interiority of a poetic subject. The final case study examined in this essay is Itō Jakuchū 伊藤若冲(1716-1800). Jakuchū left a number of puppy paintings that embody Zen Buddhist themes in highly sophisticated ways. Because he was close to Tangai Musen, it is likely that he was aware of Sōtatsu’s puppy paintings, and indirectly familiar with those of Yi Am. Thus the case could be made that Yi Am’s wash-based technique opened up a new horizon of interpretive possibility among Japanese painters extending from Sōtatsu to Jakuchū.
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Xie, Hua. "Improving Students' Drawing Skills with Digital Tools: A Case Study from Zhengzhou, China." International Journal of Humanities and Arts Computing 18, no. 1 (March 2024): 148–66. http://dx.doi.org/10.3366/ijhac.2024.0326.
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Computer art has recently become a vital part of the artistic process of creating digital versions of illustrations. Digital painting is an example. It has become a new phenomenon in Chinese art, transforming technique, aesthetics and culture. Thus, this study determines the impact of digital tools on the digital painting skills of students with different painting levels. The study involved 90 students from the Zhengzhou Preschool Education College in China. The study used a quasi-experimental design with a single-group pre-test/post-test design. The research findings indicated that there were improvements in painting skills for the groups with poor and medium achievements. The considered painting skills included composition, colour theory, interpretation and creativity. The resulting data validate the positive impact of digital tools on learning and creating paintings. The research described in this article is valuable for creating and implementing innovative courses in digital painting. Future studies should focus on the design and development of computer-aided painting courses and their impact on art students.
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Naydenov, Hristo. "Mezzotint: The Halftone Effect." Visual Studies 6, no. 2 (December 12, 2022): 185–88. http://dx.doi.org/10.54664/clvn5198.
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Compared to etching and its established visual traditions, some artists use mezzotint as a means of expression for original depiction. One of the reasons is probably that, since the time of its invention, this technique has been used especially for reproducing oil paintings in printed form. The use of tone rather than line as a characteristic means of expression and its remarkable ability to convey texture matched perfectly for its role. In addition, its velvety black and saturated shades of brown correspond to the strong contrast between light and shadow, which is characteristic of 17th-century oil painting, and to a technique that remains characteristic of European painting.
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Wang, Jitai. "Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 4 (April 2020): 1–20. http://dx.doi.org/10.25136/2409-8744.2020.4.32802.
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This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.
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Aguilar-Rodríguez, Pablo, Sandra Zetina, Adrián Mejía-González, and Nuria Esturau-Escofet. "Microanalytical Characterization of an Innovative Modern Mural Painting Technique by SEM-EDS, NMR and Micro-ATR-FTIR among Others." Molecules 28, no. 2 (January 5, 2023): 564. http://dx.doi.org/10.3390/molecules28020564.
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During the 20th century, modern painters experimented with different mediums and painting techniques, one of them was Rafael Coronel in his mural painting, Paisaje Abstracto (Abstract landscape). The painting was created with a peculiar pouring technique and an unknown binding medium; ageing produced fractures and severe conservation problems. Therefore, the characterization of the painting medium became an urgent matter in order to understand the current condition of the painting and to develop a proper treatment. The aim of this research was to characterize the chemical composition and painting technique of Paisaje Abstracto. To approach this goal two microsamples were taken and analyzed by optical microscopy (OM), scanning electron microscopy (SEM) with energy dispersive spectroscopy (EDS), nuclear magnetic resonance (NMR) spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro attenuated total reflection Fourier transform infrared spectroscopy (micro-ATR-FTIR) and gas chromatography/mass spectrometry (GC/MS). The analysis allowed for the identification of cadmium sulfide (CdS) and titanium dioxide (TiO2) as inorganic pigments; aluminosilicate fillers; poly(methyl methacrylate) (pMMA) as a binder; MMA monomer, red organic pigment PR181; benzoyl peroxide, dibutyl phthalate and 1-octadecanol as organic additives. This study presents an innovative painting technique with pMMA, a medium not commonly used by artists, which was probably polymerized onto the painting support.
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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.
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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.
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Udghitasari, Ni Made, I. Dewa Putu Gede Budiarta, and I. Gusti Ngurah Putra. "The Rose as a Symbol of Human Behavior Become a Source of Ideas In Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 1, no. 2 (April 18, 2022): 1–8. http://dx.doi.org/10.59997/citakara.v1i2.1528.
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The purpose of the Final Project of Fine Arts Creation is a requirement for S1 graduation. This makes me want to metaphor the various types, shapes, and colors of roses as ideas for creating paintings in a naive style. Then perform various compositional processing, phenomena in life can be used as ideas in creating a work of painting, ideas or ideas cannot be separated from observations and interactions with surrounding conditions, as well as personal experiences. With the problem of how to express the technique, and the meaning of the various types and colors of roses into a painting. There are supporters in expressing techniques, and meanings, namely the theoretical basis as a reference for realizing paintings. So, my theoretical basis is to use aesthetic theory, semiotic theory to express the meaning of the rose metaphor, and naiveism to enrich the visuals of painting. The results of this creation are in the form of six works of art with the title: Breastfeeding Mother, Fighting Corona Virus, Self-Esteem, Rejecting Love, Relaxing, and Inhaling Taste. Through the writing that has been done, I can express the roses expressed in a naive style. Through this, a work can be created that will have a symbol or meaning.
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Kawabata, Hideaki, and Semir Zeki. "Neural Correlates of Beauty." Journal of Neurophysiology 91, no. 4 (April 2004): 1699–705. http://dx.doi.org/10.1152/jn.00696.2003.
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We have used the technique of functional MRI to address the question of whether there are brain areas that are specifically engaged when subjects view paintings that they consider to be beautiful, regardless of the category of painting (that is whether it is a portrait, a landscape, a still life, or an abstract composition). Prior to scanning, each subject viewed a large number of paintings and classified them into beautiful, neutral, or ugly. They then viewed the same paintings in the scanner. The results show that the perception of different categories of paintings are associated with distinct and specialized visual areas of the brain, that the orbito-frontal cortex is differentially engaged during the perception of beautiful and ugly stimuli, regardless of the category of painting, and that the perception of stimuli as beautiful or ugly mobilizes the motor cortex differentially.
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Mastrotheodoros, Georgios P., Anastasios Asvestas, Theofanis Gerodimos, and Dimitrios F. Anagnostopoulos. "Revealing the Materials, Painting Techniques, and State of Preservation of a Heavily Altered Early 19th Century Greek Icon through MA-XRF." Heritage 6, no. 2 (February 13, 2023): 1903–20. http://dx.doi.org/10.3390/heritage6020102.
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Macroscopic X-ray fluorescence analysis (MA-XRF) is a non-destructive analytical technique that allows for the rapid and thorough investigation of paintings; therefore, it is nowadays increasingly involved in relevant studies. In the present work, a state-of-the-art MA-XRF set-up is utilized to identify the painting materials and techniques and document the state of preservation of an early 19th-century AD Greek religious panel painting (“icon”). The artifact in consideration has received extensive restoration interventions in the past and is considerably decayed; for these reasons, the interpretation of the relevant MA-XRF elemental intensity distribution maps is challenging. In this framework, it is demonstrated how the elemental distribution maps can be explored and interpreted to lead to a thorough investigation of the painting in consideration. In particular, the MA-XRF data interpretation allowed for the identification of the original palette that includes the rather rarely employed–in icon painting-yellow lead-antimonate pigment, led to the spotting of an invisible inscription, to the documentation of the preparation/gesso layer and the preliminary drawing. Additionally, it was possible to discriminate between the original painting and the later interventions, while the collected data revealed that the painting originally had two cross-bars attached to its back. Ultimately, the presented case study can be utilized as a guide for the proper interpretation of MA-XRF data from decayed and altered icons.
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Wirawan, Putu Agus, Ida Bagus Gede Paramita, and Made Novita Dwi Lestari. "STRATEGI PENGEMBANGAN SENI LUKIS WAYANG KACA NAGASEPAHA SEBAGAI DAYA TARIK WISATA BERBASIS EKONOMI KREATIF." Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu 4, no. 2 (October 30, 2023): 143. http://dx.doi.org/10.55115/cultoure.v4i2.3659.
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Nagasepaha glass painting is one of the differentiations owned by Nagasepaha village, because it has a uniqueness of the object. Having a typical painting technique with a decorative style and naturalism also painting in a reverse style. The development era of globalization generate competition for artists to continue to create innovative and adaptive works. However, there are problems from artists with lack of comprehension about digital marketing, sales, to marketing. Until there needs to be a development of Nagasepaha glass puppet painting to be more innovative and adaptive. This study aimed at : 1) To finding out the creative process of Nagasepaha glass painting, (2) To identify potential creative economy-based tourism attractions from Nagasepaha glass painting, (3) To analyze the development strategy of Nagasepaha glass painting based on creative economy. This research uses a qualitative type of research with a case study approach. Data collection through literature study, observation, interviews, and documentation. Using the SWOT analysis method. The result of this research is that the creative process of Nagasepaha glass painting is quite developed, because there are encouraging factors, namely internal and external factors. Until there are potentials contained with the existence of glass paintings starting from the welfare of artists, communities and Nagasepaha village.
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Gabrieli, Francesca, John K. Delaney, Robert G. Erdmann, Victor Gonzalez, Annelies van Loon, Patrick Smulders, Roy Berkeveld, Robert van Langh, and Katrien Keune. "Reflectance Imaging Spectroscopy (RIS) for Operation Night Watch: Challenges and Achievements of Imaging Rembrandt’s Masterpiece in the Glass Chamber at the Rijksmuseum." Sensors 21, no. 20 (October 15, 2021): 6855. http://dx.doi.org/10.3390/s21206855.
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Visible and infrared reflectance imaging spectroscopy is one of the several non-invasive techniques used during Operation Night Watch for the study of Rembrandt’s iconic masterpiece The Night Watch (1642). The goals of this project include the identification and mapping of the artists’ materials, providing information about the painting technique used as well as documenting the painting’s current state and ultimately determining the possible conservation plan. The large size of the painting (3.78 m by 4.53 m) and the diversity of the technical investigations being performed make Operation Night Watch the largest research project ever undertaken at the Rijksmuseum. To construct a complete reflectance image cube at a high spatial resolution (168 µm2) and spectral resolution (2.54 to 6 nm), the painting was imaged with two high-sensitivity line scanning hyperspectral cameras (VNIR 400 to 1000 nm, 2.54 nm, and SWIR 900 to 2500 nm, 6 nm). Given the large size of the painting, a custom computer-controlled 3-D imaging frame was constructed to move each camera, along with lights, across the painting surface. A third axis, normal to the painting, was added along with a distance-sensing system which kept the cameras in focus during the scanning. A total of 200 hyperspectral image swaths were collected, mosaicked and registered to a high-resolution color image to sub-pixel accuracy using a novel registration algorithm. The preliminary analysis of the VNIR and SWIR reflectance images has identified many of the pigments used and their distribution across the painting. The SWIR, in particular, has provided an improved visualization of the preparatory sketches and changes in the painted composition. These data sets, when combined with the results from the other spectral imaging modalities and paint sample analyses, will provide the most complete understanding of the materials and painting techniques used by Rembrandt in The Night Watch.
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Tunstall, Alexandra. "Beyond Categorization: Zhu Kerou’s Tapestry Painting Butterfly and Camellia." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 39–76. http://dx.doi.org/10.1163/26669323-03601003.
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This paper introduces the technique of kesi or tapestry weave in China through one example, Butterfly and Camellia, attributed to Zhu Kerou, a woman artist of the twelfth century. This particular weaving is attributed to a time period when tapestry weavings began to imitate the visual language of painting. The relationship between kesi and painting is explored, examining the early use of kesi as wrappers for paintings. At the same time that the basic technology of kesi weaving is discussed, the gendered nature of weaving as work in Song-dynasty China as well as the techniques of connoisseurship of kesi during the Ming and Qing dynasties are also illuminated. The motives of such connoisseurs are examined, as their writing and collection practices framed this work for all future viewers and scholars. Sources used include inscriptions on works of art, most notably one inscription mounted next to Butterfly and Camellia by the eminent Ming painter, Wen Congjian; painting and textiles catalogues; as well as early writing on kesi weave; and the weavings themselves, which tell us most clearly the artisans' intentions and concerns.
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Lu, Yixin. "Inheritance And Reconstruction of Modern Tempera Painting." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 292–302. http://dx.doi.org/10.54097/6cq6dv23.
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Tempera painting, as a classical Western painting material technique, has experienced more than a thousand years of fluctuation in the long river of painting. Due to the rapid development of the times, social and technological progress, changes in people's aesthetic concepts, and other factors, tempera painting has gradually entered into a new process, more adapted to the development of the new era and people's spiritual needs. This paper uses literature research method, case study method, summary method to systematically sort out the development and evolution of the system of Tanbera painting techniques in painting creation, focusing on the evolution and development of traditional materials and techniques, media, aesthetics and other aspects of modern Tanbera painting under the trend of diversification of art, enriching the Tanbera painting in the modern traditional techniques and the comprehensive use of new materials, and thus laying a foundation for the contemporary inheritance of Tanbera painting. It provides a theoretical background for the contemporary inheritance and innovative practice of tempera painting so that the ancient art of tempera painting can continue to be inherited and developed under the wave of the new era.
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Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)." Nasledie Vekov, no. 2(34) (June 30, 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.
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Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
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Vostrikova, Ekaterina. "The hwajohwa Genre (Bird-and-flower Painting) in Korean Traditional Painting of the Early and Middle Chosŏn Periods (Late 14th – Late 17th Centuries)." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 61–78. http://dx.doi.org/10.36340/2071-6818-2021-17-2-61-78.
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The article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the early and middle Chosŏn periods (late 14th – late 17th centuries). The study identifies the historical and cultural context, the stylistic evolution of the bird-and-flower painting and the main terms for its designation. It presents individual artistic trends, examines the techniques used in Korean traditional painting. Moreover, the author outlines the leading artists who worked in this genre during the indicated period. In the early Chosŏn period (1392 – c. 1550), the hwajohwa genre gained particular relevance in traditional Korean painting, and a high artistic level was achieved in it. Vivid painting in the bird-and-flower genre, made in the academic style of court painting, became the most common and indicative of this historical period. In the process of the formation and strengthening of the positions of the new Yi dynasty, the ruling circles commissioned social paintings. Therefore, the works are characterised by an optimistic mood; the compositions are full of idyll and harmony with the world around them. Artist Yi Am, who laid the foundations for the development of the hwajohwa genre in Korea, was the most prominent representative of this movement. At the same time, scholar painters began to create small landscapes with birds, made only with water and ink. Confucian scholar Kim Jŏng is rightfully considered the founder of this scenic movement. The Middle Joseon period (c. 1550–1700) was characterised by the flourishing of the hwajohwa genre in the technique of monochrome ink painting. Many intellectual artists from the upper strata of Korean society emerged, for whom the bird-and-flower genre became a means of expressing deep personal relationships with nature and the world around them. Korea of the second half of the 16th–17th centuries suffered from numerous foreign invasions; thus, lonely and weary birds, sleeping or resting on the branches of trees, became the main and most popular motif in the hwajohwa genre. Such painting was a direct reflection of the feelings of the educated stratum of Korean society about the fate of their homeland. Paintings by scholar painter Cho Sok and court painter Yi Jin were the most popular works of the bird-and-flower genre of this period.
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Yu, Yeong Gyeong, Bong Goo Jee, Ran Young Oh, and Hwa Soo Lee. "Manufacturing Technique of the Avalokitesvara Bodhisattva Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 38, no. 4 (August 31, 2022): 334–46. http://dx.doi.org/10.12654/jcs.2022.38.4.08.
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The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.
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Jeon, Youn Sug. "A Study on the Design of Nail Art by Converging Vincent van Gogh's Expression Techniques." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 947–57. http://dx.doi.org/10.33645/cnc.2023.10.45.10.947.
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The purpose of this study is to derive unique nail art designs through the convergence of famous paintings and beauty design. Accordingly, theoretical and empirical studies were conducted at the same time. As a theoretical studies examined the expression techniques that appeared in Vincent van Gogh's paintings. For an empirical study, Vincent van Gogh's expression technique and nail art design were combined to derive designs on actual nail tips, and nail art designs according to line drawing, color techniques, and impasto techniques were derived. Through the use of repetitive lines, the shape was expressed using yellow, blue, green, and grayish brown Gogh's colors, and expressed as nail art designs using repeated colors and embossed gel by gel hand painting techniques. The convergence of famous paintings and nail art can be used as a way to improve artistic value and promote new design development.