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Journal articles on the topic 'Painting'
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1
Liu, Shengnan. "Intertextuality and Shielding of Poetic painting: A Case Study of Qiao Zhongchang’s “The Sequel to the Ode to the Red Cliff Scroll”." Studies in Linguistics and Literature 8, no. 3 (July 26, 2024): p86. http://dx.doi.org/10.22158/sll.v8n3p86.
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As an art form combining poetry and painting, poetic painting usually presents the emotion and mood of the source poem in a positive and favorable way. However, due to the limitations of painting’s ideograms, poetic painting has limitations in presenting the connotations and extensions of poetry. Qiao Zhongchang’s The Sequel to the Ode to the Red Cliff Scroll of the Northern Song Dynasty is one of the typical models of ancient poetic paintings. From the perspective of the relationship between poetry and painting, the writer analyze the intertextual and shielding phenomena therein, with a view to better understanding the constituent elements of the poetic paintings of the ancient literati and the role they played in the interpenetration of literature and art.
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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (September 4, 2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.
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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.
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A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or ancient figures with stories behind them, if the artist's intended code cannot be read, the title given by others will only describe the materials used in the painting. A painting depicting the story of “The Conversation of three old men” from Dongpozhilin volume 2, written by the famous Song dynasty writer Su Shi, would be titled differently in Joseon as “Three immortal asked their age” or “Three old men asked their age”, “Three people asked their age”, or “Three immortal watching the waves”. In China, the same painting is called “Three Old Men” or “Adding computing rods to ocean house”. By comparing and contrasting the similarities and differences between Joseon and Chinese paintings on the theme of “The Conversation of three old men”, this study aims to shed light on the process of transmission and transformation of this painting.
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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.
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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Wilson, Sarah Kate. "Painting’s liveness." Journal of Contemporary Painting 9, no. 2 (October 1, 2023): 267–85. http://dx.doi.org/10.1386/jcp_00059_1.
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Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin’s speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit’s declaration that the medium of painting is live and ‘On Air’ is drawn into her argument for painting’s liveness, whilst Catherine Wood’s curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (January 26, 2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.
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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.
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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.
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Xu, Yixuan. "Color Expression and Mood Creation in Imagery Oil Painting." Journal of Contemporary Educational Research 8, no. 1 (January 18, 2024): 7–12. http://dx.doi.org/10.26689/jcer.v8i1.5934.
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Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper analyzes the color expression characteristics of imagery oil painting and explores the color expression techniques in imagery oil painting and mood creation of imagery oil painting from several aspects.
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.
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This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
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Casey, Edward S. "Place in Painting." Research in Phenomenology 54, no. 1 (March 27, 2024): 1–12. http://dx.doi.org/10.1163/15691640-12341535.
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Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a continuation on how we experience places in the context of the lived world. Included are analyses of three placially oriented paintings of my own as well as one by de Kooning – all in an effort to show the multivalence of place in painting.
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Zeng, Xi. "Research on Cross-Contrast Neural Network Based Intelligent Painting: Taking Oil Painting Language Classification as an Example." Computational Intelligence and Neuroscience 2022 (June 6, 2022): 1–10. http://dx.doi.org/10.1155/2022/7827587.
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With the continuous fermentation of the thought of intelligence, artificial intelligence has extended its tentacles into the field of artistic creation and has begun to try intelligent creation. Painting creation based on artificial intelligence is called “intelligent painting.” For oil paintings, the computational language is a relatively complicated description. How to correctly identify the computational language of oil paintings is essential for establishing a large oil painting database. This paper constructs a meaningful learning similarity measure and multiclassification model based on the CCNN model to realize the classification of oil painting language. A cropped CNN model is used to extract language features, and on this basis, oil painting works are cross-compared and multiclassified. This method realizes the classification of oil painting language and the corresponding painter and achieves superior accuracy. This paper constructs a data classification method based on small samples, measures similarity through cross-comparison, and provides a measuring approach for classifying the language of oil paintings. The CCNN model proposed combines the best classification results of oil painting language, which improves the accuracy of oil painting language classification. Moreover, it further enriches the methods of oil painting language classification and image recognition under computational intelligence.
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Lin, Jun. "Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision." Security and Communication Networks 2021 (March 5, 2021): 1–6. http://dx.doi.org/10.1155/2021/5511252.
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In order to solve the problem of poor visual communication effect of impressionist painting colors and low accuracy of painting color enhancement by existing methods, this thesis proposes a research on the performance of impressionist painting color visual communication based on machine vision under the background of wireless network. This method can improve the vision, speed, and efficiency of communication, through the analysis of the characteristics of impressionist paintings, and determine the visual communication objects of impressionist painting colors. The process of visual communication is analyzed, and the color matching of impressionist painting is completed with the help of BP neural network algorithm. On this basis, the histogram method is used to process the image brightness of impressionist paintings, the image interpolation method is used to process the image brightness of impressionist paintings, and the image is corrected by gamma correction to complete the image performance research. The color vision communication of impressionist painting needs to correct the gray scale error of impressionist painting and enhance the color of impressionist painting. The experimental results show that the accuracy of this method for the color matching of impressionist painting images is about 98%, which has a certain degree of credibility.
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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.
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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.
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Lee, Taemin, and Sanghyun Seo. "Painting-Emotion Matching Technology Learning System through Repetition." Sustainability 11, no. 16 (August 20, 2019): 4507. http://dx.doi.org/10.3390/su11164507.
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People’s interest in paintings has increased as artists have easier access to an audience. However, at times, laypersons may not understand the significance of a painting. With the development of computer science, it has become possible to analyze paintings using machines, but some limitations remain. In this paper, we present a learning tool to help analyze the sensitivity of a given painting. To this end, the proposed system provides users with the ability to predict the emotions expressed by a painting through repeated learning of a matched painting. Using this learning tool, users can improve their ability to understand paintings.
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Ni Ketut Wiriani Merta, I Putu Sudana, and Yohanes Kristianto. "Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism." Jurnal Multidisiplin Madani 3, no. 9 (September 29, 2023): 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.
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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sutasoma, and the lives of the Gods.Then the teachings of Hinduism as inspiration for the creation of traditional Balinese painting works (Wayan Agus Gunada). Painting is part of the art of Kamasan puppet art has unique cash characteristics such as natural forms, folklore, mythology and Hindhu religious teachings, which are manifested in the forms of symbols in it that are thick with spiritual value. Painting is not only as a display material but also as a material for forming human characters. Because in puppets there are good teachings and bad teachings. In puppets there are ways of behaving, ways of thinking, ways of dealing with life are all contained in puppet stories. Positive characters bring peace while negative characters bring misery. For example, Ravana, a puppet character who has a great lust that cannot hold back his ego, then makes all people miserable, Korawa who loba makes the entire palace miserable. Likewise, the wise character of Rama, the wise admiral character can be used as an example in behaving in everyday life. The reason for this research is to preserve traditional art assets as one of the wealth of the Indonesian nation (Bali). To introduce Indonesia in international especially tourism. While the uniqueness of painting is: 1 as the meaning of life / philosophical learning. 2 Wayang paintings have survived until now not extinct 3, puppet paintings as an economic breakthrough of the community, 4 Puppet paintings of ancestral assets, 5 Wayang paintings as friends of tourism to come to Indonesia.Almost all corners in the Sangging Kamasan Klungkung Bali banjar, there are puppet painting galleries that are ready to welcome tourisms visiting Indonesia, especially Bali. Great services of classical puppet painting or Balinese Traditional Paintings as a loyal friend of tourism, so that Indonesia can get acquainted with international countries because of the contribution of this classic puppet painting service (Balinese Traditional Paintings)
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Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (August 28, 2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.
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Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color theory and creative techniques. Impressionism emphasized the intuitive observation and real performance of the painting object. Since then, painting is no longer limited to the spiritual transmission of the author, and "what you paint is what you see" has gradually become one of the creation principles of Western oil painting. This paper analyzes the paintings of famous Impressionist painters with examples, sums up how Impressionist paintings skillfully use light, shadow and color to create, and discusses its referential significance for modern illustration.
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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (September 1, 2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.
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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Fan, Wenwei. "Analysis of the Artistic Characteristics of Literati Paintings." International Journal of Education and Humanities 11, no. 1 (October 19, 2023): 170–74. http://dx.doi.org/10.54097/ijeh.v11i1.13092.
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As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings will promote the development and innovation of Chinese painting and contribute more wonderful works and ideas to the art world. This article through to the literati painting origin, the main style characteristic and the creation theme thorough analysis, demonstrated the literati painting in the Chinese traditional painting unique status and the importance.
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Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (July 1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.
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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
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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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Daneyko, Olga, Natale Stucchi, and Daniele Zavagno. "The Poggendorff illusion in Ruben's Descent from the Cross in Antwerp: Does the illusion even matter?" i-Perception 13, no. 5 (September 2022): 204166952211258. http://dx.doi.org/10.1177/20416695221125879.
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Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.
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Wei, Ping. "Emotional Cognitive Expression in Lacquer Colors Based on Prior Knowledge." Journal of Environmental and Public Health 2022 (August 30, 2022): 1–10. http://dx.doi.org/10.1155/2022/1151676.
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Since lacquer painting first appeared in the world of art, research into it has grown steadily. People have developed a keen interest in modern lacquer painting as a result of the extensive study of lacquer culture in both domestic and international academic circles. Many artists and art enthusiasts have contributed significantly to the study and research of lacquer painting and have made helpful attempts at modern lacquer painting. But it is challenging to describe the emotion that a lacquer painting’s color conveys. This paper presents a decision-making framework for emotional cognitive learning based on the theory of emotional cognitive evaluation because there are relatively few researchers who have specifically studied the relationship between the creation of lacquer paintings and emotions and because there are also few research materials and documents for reference. The assessment of an emotional state is the central component of this framework. The observation module in the model framework is used to gather the emotional data that the lacquer painting expresses. The issue of emotional expression in lacquer painting is resolved by the emotional evaluation system, which combines the preprocessed information with prior knowledge to evaluate. The importance of affective cognitive expression in lacquer painting and the necessity of affective computing in the fields of machine learning and decision control is obtained on the basis of discussing the research status and content of affective cognition and affective computing. The efficiency of expression was increased by 1.3 percent as a result.
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Rahim, Muhamad Ali, Wawan Suryana, and Abdusyukur Budiarvin Septiadi. "Eksplorasi Penggambaran pada Material Bergambar sebagai Lukis Alternatif." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 10, no. 2 (May 31, 2024): 385. http://dx.doi.org/10.32884/ideas.v10i2.1562.
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The discourse on shifting artistic idioms which allows for the opening up of diversity in the visual creation of paintings is the background for this applied research. The aim is to offer alternative materials for paintings that add novelty to the idea of creation. The method used is based on practice and experimentation through the use of used pictorial media as a field for painting. This research produces alternative works of painting with visual uniqueness due to the overlapping images as a differentiator. Apart from marking a paradigm shift in the discourse and idiom of painting, it also strengthens the findings regarding the transfer of the basic material context of painting. This creation is quite important because the exploration of unconventional painting presents uniqueness that can trigger newness in painting in the future.
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.
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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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Feng, Jiarui. "The Spirit of Freehand Brushwork in Chinese Oil Painting." Pacific International Journal 6, no. 1 (March 31, 2023): 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.
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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is deeply rooted in the Chinese idea of the 'unity of heaven and man' and 'respect for individuals'. The paper presents a critical analysis of the aesthetic and expressive features of Freehand Brushwork oil paintings, shedding light on the unique artistic characteristics of Chinese oil painting that distinguishes it from other painting styles. This paper contributes to the understanding and appreciation of Freehand Brushwork oil paintings and serves as a guide for artists seeking to master the Freehand Brushwork techniques in their artistic creations.
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Kim, Yeonjoo. "Pursuing the Aesthetics of ‘non-vulgarization’: Focusing on Shanshuichunquanji by Han Zhuo." Institute of Humanities at Soonchunhyang University 42, no. 3 (September 30, 2023): 163–94. http://dx.doi.org/10.35222/ihsu.2023.42.3.163.
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This study aims to examine the aesthetic value of ‘non-vulgarization(不 俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅 俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to proceed to Tao in painting. Han Zhuo expressed not only the cultivation of learning but also the replacement of poetry with a painting’s implied meaning and the proficiency of brushing, Furthermore, he emphasized “learning” in order to have a sophisticated aesthetic with the Confucian method. Despite the fact that the literary men at the time considered that the character of the painting was congenital and could not be learned as a manifestation of personality due to social status, Han Zhuo believed that the aesthetics of “non-vulgarization” for landscape painting could be achieved by learning, learning the method of painting, and seeking learning.
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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (June 16, 2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.
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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>
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Salama, Kholod K., Said M. El-Sheikh, and Mona F. Ali. "Using Ca(OH)2 as Alternative Support for an Egyptian Coptic Fresco Painting." Journal of Nano Research 60 (November 2019): 174–80. http://dx.doi.org/10.4028/www.scientific.net/jnanor.60.174.
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Many mural paintings stored in museums suffer from the heavy loaded added gypsum layers to the background. Currently anew way will be used for support the back ground of mural painting using the nanocalcium hydroxide which added to the background of it. This nanomaterial is smoothly penetrate inside the mural painting structure then it combines with CO2 producing CaCO3 the original binder in all mural paintings especially fresco paintings, The mechanical characteristics were tested to determine the change in properties of the interior structure of the treated Coptic fresco painting
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Yu, Lan, and Yukari Nagai. "Painting Practical Support: A Study about the Usage of Painting Materials in Children’s Painting Works." Social Sciences 9, no. 4 (March 26, 2020): 33. http://dx.doi.org/10.3390/socsci9040033.
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Painting materials are one of the mediums that help painters to show the effects of paintings. The use of different painting materials can help the painter to display different painting styles and artistic conception. Six hundred sixty-seven children aged 7 to 13 participated in the study. This study is mainly about the impact of the use of different painting materials on children’s painting creation. The questionnaire survey was conducted based on primary school fine arts education to study the influence of painting materials on children’s painting ability. The content of the questionnaire survey was to investigate children’s usage of different painting materials in painting works and the grasp of painting materials knowledge. This research also provided some painting materials training methods for primary school fine arts teachers to guide children to use different painting materials for painting creation based on the study results.
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Xu, Yuwei. "Immensity in Trivialness, Integrity in Brokenness --To View The Bapo Painting from The Dimension of Time and Space." Communications in Humanities Research 3, no. 1 (May 17, 2023): 56–63. http://dx.doi.org/10.54254/2753-7064/3/20220145.
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The Bapo Painting is a traditional form of art in China. Painters form the pictures by depicting the fragments of cultural relics. In recent years, with the increasing academic interest in "debris" and "ruins", Bapo Painting has also attracted more and more attention from Chinese and foreign scholars. However, as "intentionally-created" fragments, the richness in time and space embodied by Bapo Paintings has rarely been explored. Therefore, this paper will research the temporal and spatial value of the Bapo Painting. On the dimension of time, the Bapo Painting aggregates the past, present, and future. First, the life of the Bapo Painting begins before creation because its subjects are all antiques. Second, the selection and description techniques of fragments in the paintings disclose the social background at the time of creation. Lastly, the fragments on the paintings can trigger people's thoughts about the future destiny of things and their own lives. On the dimension of space, the fragments in Bapo Paintings constitute integrity, showing the dialectical relationship between incompleteness and completeness. From the creator's perspective, the spatial concept reflects a cultural blend of East and West. From the viewer's perspective, the fragments in Bapo Paintings can not only arouse reflection on the overall composition and connotation, but also initiate attempts to reconstruct the noumenon of fragments. Through the integrated perspective of time and space, Bapo Paintings embody the harmony between man and nature as well as the "aesthetics of ruins" that permeates China's cultural genes. Although the Bapo Painting is excluded from the mainstream, it represents the core spirits of traditional Chinese culture.
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Butnariu, Ioan. "Restaurarea unei picturi pe carton." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 293–301. http://dx.doi.org/10.47802/amet.2016.30.16.
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The work that is subject to the restoration interventions presented in this article is a painting done in oil colors on cardboard. The subject of this painting is represented by a landscape with an isolated castle on a lake island, surrounded by mountains. The painting’s degradations cumulated multiple cracks and gap areas affecting the painting and the primer layers, together with areas of damage due to the painting’s exposure to excessive heat. The restoration operations (consolidation of the painting layers, the cleaning of the surface, filling the gaps in the primer and the chromatic integration of painting lacunae) have rendered the painting its original image.
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Abadi, Angga Cahya, Reichan Muhammad Maulana, and Rizky Septiana Abdul Razak. "Implementation of the Hybrid Mobile Application in The Street Artist Painting Auction Application “Strauction”." International Journal of Research and Applied Technology 3, no. 1 (June 1, 2023): 179–88. http://dx.doi.org/10.34010/injuratech.v3i1.10124.
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The works of street artists' paintings tend to have minimal interest in Indonesia. This is caused by many factors, one of which is the limited scope of painting marketing. Therefore, the author seeks to provide a means of marketing in the form of an online painting auction application. The purpose of this research is to create an application as a means of connecting painting artists with painting enthusiasts. The research method used is descriptive analysis method with a quantitative approach. While in the development process, this application adopts the Hybrid Mobile Application method which has many advantages over the Native Android and IOS methods. The advantages of this hybrid method are in terms of coding effectiveness and efficiency of time and resources used. By applying this method, the application can be accessed from various circulating smartphone operating systems such as Android and IOS so that it can make it easier for the application to be accessed by potential users. The main concept of this application is to implement an auction system in the sale of paintings. This application also has several core features such as painting auctions, homepage, explore, bidding, payments and other supporting features that are expected to facilitate the painting auction transaction process. In the end, this application is intended for painting artists and painting lovers so that it can be easier to make transactions for buying and selling paintings online.
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Wang, Feng, and Haozhang Sun. "The Texture and Color Matching of Oil Painting Materials Based on Multimedia Visual Communication." Advances in Materials Science and Engineering 2022 (July 18, 2022): 1–12. http://dx.doi.org/10.1155/2022/7792008.
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The obvious tendency of modern artists to change the concept of painting is to pay more and more attention to personal feelings and spiritual expression. In modern oil paintings, there are more and more oil paintings that convey emotions and the emotional expression methods of the colors of the works are becoming more and more abundant. This article aims to study the application of multimedia visual communication in the texture and color matching of oil painting creation materials and to put forward the viewpoint of applying more multimedia visual communication to oil painting creation. This article first gives a detailed introduction to oil painting creation materials and their texture, oil painting color matching, and so on. In addition, experiments were conducted on the application of multimedia visual communication in the texture and color matching of oil painting creation materials. The experimental results show that the texture and color matching of oil painting creation materials based on multimedia visual communication are more popular with the public, and oil painters are also satisfied with this method. And, the expressiveness of oil painting texture has been improved by 10%. This shows that the texture and color matching scheme of the oil painting material in this study is effective.
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Holmwood, Sigrid. "The peasant paints: Minor painting and peasant cosmopolitics." Journal of Contemporary Painting 8, no. 1 (April 6, 2023): 73–96. http://dx.doi.org/10.1386/jcp_00040_1.
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This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.
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Cui, Jiaxuan. "The Annunciation in Art: Revealing the Irreplaceability of Art in the Age of Artificial Intelligence." Communications in Humanities Research 29, no. 1 (April 19, 2024): 231–37. http://dx.doi.org/10.54254/2753-7064/29/20230754.
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Artificial Intelligence painting suddenly became popular at the beginning of the year, and many different artificial intelligence painting websites appeared on the Internet. Just like when photography emerged in the nineteenth century, it aroused the concern of the painting industry whether human painting would be replaced. This paper will mainly explain 7 paintings from painters like Fra Angelico and Jan Van Eyck with the same theme, the Annunciation, in different time periods, so as to analyze the uniqueness and irreplaceability of human painting. At the same time, this paper also points out a direction for the future development of artificial intelligence painting, that is, with its high efficiency and high technology to assist human painting, as a tool to refine painting, leading painting into a new era.
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He, Xing, and Eun-Jun Park. "Hair Art with Traditional Chinese Flower-and-Bird Painting as Motives." Korean Society of Beauty and Art 24, no. 1 (March 20, 2023): 151–62. http://dx.doi.org/10.18693/jksba.2023.24.1.151.
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This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and ‘A Painting of Valley Breeze and Comfort’ were designed for fall. It is anticipated hairstyles created with traditional Chinese flower-and-bird paintings as motives are valuable enough to be displayed as an art genre and that they would make a contribution to the growth and development of hair art.
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Schweidler, Walter. "Time and Trace: The Mirror of Time." Kronoscope 14, no. 2 (August 26, 2014): 150–62. http://dx.doi.org/10.1163/15685241-12341302.
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Diego Velázquez’s Las Meninas is certainly one of the philosophically most interesting, most ambitious and most discussed paintings of all times. It contains a philosophical thesis or insight that can be interpreted in several ways but that also forces the interpreter to come to a precise decision concerning the concrete scenery that is reproduced in this painting. The content of this decision can be characterized quite concretely by the question of the painting’s mirror, which is constitutive for that scenery. The question is if this constitutive mirror is the one that we see in the painting, that is, the visible mirror showing the appearance (or the portrait) of the Spanish royal couple, or if it is an invisible mirror that has disappeared in the painting as we see it now. If the second interpretation is right, then the whole painting is essentially covering the tracks of what is going on in the picture. But what is going on in it? This question has an answer that is widely shared by philosophical interpreters: Las Meninas is a “painting of painting” or a “picture of picture,” that is, a monument of self-referentiality. When we accept this widely shared view and if we apply to it the second interpretation (the hypothesis of the hidden mirror), then the result is that what is at the same time shown and hidden in this picture is the time in which it has been painted. It is—like perhaps every picture or painting—in its essence a transformation of succession into simultaneity; but it is—unlike perhaps any other painting—a presentation not of the result of this transformation but of the process in which it is going on. It presents the time of its creation as a trace covered up by itself.
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Hua, Jianing. "Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example." Communications in Humanities Research 8, no. 1 (October 31, 2023): 76–82. http://dx.doi.org/10.54254/2753-7064/8/20230972.
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The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society towards foreign painting. Furthermore, the study conducts the visual comparison methodology to identify the elements of Western painting that were incorporated into Chinese painting during this period, centering on the works of artist Wu Bin (1550-1643) and employing specific information as corroborative substantiation. The results of the study indicate that late Ming society did not exhibit overt animosity towards Western art and that Wu Bins paintings contain discernible Western painting inspirations. Yet, these factors did not impede the prevalence of indigenous artistic and aesthetic inclinations in his oeuvre.
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Bardik, Maryna. "Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 128–32. http://dx.doi.org/10.32461/2226-3209.2.2021.239989.
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The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.
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Mahobia, Usha. "COLOR COMBINATION IN MUGHAL PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3667.
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The history of Indian painting has been very rich and detailed since ancient times. Prior to Muslim aggression, Jain, Buddhist and Hindus donated their yoga in the field of painting. Ajanta painting is famous in the world, and these paintings were made in the Gupta period on which naturally made colors have been used.Significant changes took place in painting in the medieval period, Iranian influence is seen in the painting of the Sultanate period. Vibrant colors were used in paintings of courtly paintings, veena, sitar, dress, ornaments etc. With which the pictures appear to be lively, lively. And blue, green, and golden colors have been used beautifully in these paintings.
प्राचीन समय से ही भारतीय चित्रकला का इतिहास बहुत समृद्ध विषाल एवं विस्तृत रहा है। मुस्लिम आक्र्रमण से पूर्व जैन, बौद्ध एवं हिन्दुओ ने चित्रकला के क्षंेत्र में अपना योग दान दिया। अजंता चित्रकला विष्व में प्रसिद्ध है, और इन चित्रो का निर्माण गुप्त काल मेे हुआ जिन पर प्राकृतिक रूप से बने रंगो का प्रयोग किया गया है।मध्यकाल मे चित्रकला मै महात्वपूर्ण परिवर्तन आये, सल्तनत काल की चित्रकला मै ईरानी प्रभाव देखने को मिलता है। दरबारी चित्र, वीणा, सितार, वेषभूषा, आभूषण आदि के चित्रो में सजीव रंगो का प्रयोग किया गया । जिनसे चित्र सजीव, जीवंत प्रतीत होते हैै। और इन चित्रो में नीले, हरे, और सुनहरे रंगो का प्रयोग बंेहद खूबसूरती से किया गया है।
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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (December 31, 2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.
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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.
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Tizzoni, Marco, and Costanza Cucini. "A Blast Furnace Painting by Jan Brueghel the Elder (1568-1625): a New Interpretation." METALLA 27, no. 1 (June 30, 2023): 81–94. http://dx.doi.org/10.46586/metalla.v27.2023.i1.81-94.
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A small painting by Jan Brueghel the Elder, portraying a blast furnace, is to be found at Galleria Doria - Pamphilj in Rome. The authors discuss this painting while considering the contemporary Flemish paintings of ironworks. From the peculiarity of this painting, from the scene it portrayed and from news about Jan Brueghel´s stay in Italy, the authors conclude that this painting may represent a Bergamasque blast furnace built in Latium.
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Dulal, Lok Nath. "Wall Painting of Pujari Math of Bhaktapur: An Exploration." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 2 (December 5, 2023): 124–43. http://dx.doi.org/10.3126/craiaj.v6i2.60252.
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Historical evidences prove that painting is considered as the mother of all other forms of art and crafts. While artists start to sculpture the icon and any art objects, very first, they sketch the drawing of concerning deities and specimens, therefore, a painting is said to be the mother of all other sculpture arts. Therefore, the history of creation of painting is older than other forms of arts. On the basis of creating materials, mediums, instruments, technologies, and nature, painting can be classified into three different forms such as fresco, miniature and painted scroll. This article has analyzed the fresco painting of Pujari Math of Bhaktapur. This is an example of polychrome painting which displays an excellent craftsmanship of the artist. Through the perspectives of religion, culture, social values, art skill and technology this art object is known as the representative fresco paintings of Nepal which reveals the fine handiworks of the artists of the medieval period. In painting where people can observe several secular and religious figures of deities and social events associated with the myths of religious scriptures especially Ramayan and Mahabharata the great epics of Hindu. Despite all its amusing qualities, unfortunately, this painting is still not properly considering as the subject of research and study. It is its academic problem and research gaps as well. Thus, raising the research questions such as what types of paintings are painted on the walls and beams of Pujari Math? Why the painting of Pujari Math is considered wonderful work of art? And what are the major features of the painting of Pujari Math? Likewise, this paper fulfills the certain specific objectives such as to examine the paintings of Pujari Math; to explore the significance of the work of art and to analyze the major features of the fresco paintings. It is qualitative research based on primary data and secondary information. Primary data have been obtained from the field using observation and interview method whereas the required secondary information has been collected from different reliable literatures such as journals, documents, books, published and unpublished relevant reports. Thus, for fulfilling the research gaps and problems this paper has been prepared.
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Utomo, M. Indra Bayu, I. Wayan Setem, and I. Made Bendi Yudha. "Nusantara’s Ornaments as a Source of Inspiration for Creating Paintings on Silk Fabrics." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 39–42. http://dx.doi.org/10.59997/citakara.v2i2.1839.
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In writing this final report, the author raised the theme of ornament as a source of inspiration for creating paintings on silk. Silk painting is a type of craft product originating from China and India since the 2nd century AD. Silk painting entered Indonesia about 200 years later because of the trade relations between Indonesia and China and India. Although the art of silk painting has long been known in Indonesia, the art of silk painting is still not developed like other types of craft products that have been widely developed in Indonesia. Because when the influence of silk painting entered Indonesia, Indonesia had already developed the batik industry. The art of silk painting itself is more or less influenced by batik techniques. The author develops archipelago ornaments in the creation of paintings on fabrics, especially silk, the techniques studied are very interesting for the development of painting techniques. Therefore, the author makes 6 beautiful works that have their own ornamental style, besides that the author also develops the creation of archipelago ornaments by creating new ornaments on both denim and silk fabrics with different methods and techniques
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Codling, Rosamunde. "Further notes about the Antarctic paintings of Edward Seago." Polar Record 37, no. 201 (April 2001): 153–54. http://dx.doi.org/10.1017/s003224740002698x.
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AbstractThe author has located an Antarctic painting that was not listed in the previously published article ‘The Antarctic paintings of Edward Seago (1910–1974).’ This painting, entitled ‘Antarctic dusk,’ is held by the Royal Geographical Society. An anomaly regarding one of the paintings discussed in the original article is mentioned and clarified.
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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.
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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.
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Lee, Sang Hwa, and Jung-Yoon Kim. "Classification of the Era Emotion Reflected on the Image Using Characteristics of Color and Color-Based Classification Method." International Journal of Software Engineering and Knowledge Engineering 29, no. 08 (August 2019): 1103–23. http://dx.doi.org/10.1142/s0218194019400114.
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Paintings convey the composition and characteristics of artists; therefore, it is possible to feel the intended style of painting and emotion of each artist through their paintings. In general, basic elements that constitute traditional paintings are color, texture, and composition (formative elements constituting the paintings are color and shape); however, color is the most crucial element expressing the emotion of a painting. In particular, traditional colors manifest the color containing historicity of the era, so the color shown in painting images is considered a representative color of the culture to which the painting belongs. This study constructed a color emotional system by analyzing colors and rearranged color emotion adjectives based on color combination techniques and clustering algorithm proposed by Kobayashi as well as I.R.I HUE & TONE 120 System. Based on the embodied color emotion system, this study confirmed classified emotions of images by extracting and classifying emotions from traditional Korean painted images, focusing on traditional painted images of the late Joseon Dynasty. Moreover, it was possible to verify the cultural traits of the era through the classified emotion images.
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S. VIMALA. "ANALYSIS OF THE TANJORE MARATHAS' PAINTINGS." International Journal of Educational Review, Law And Social Sciences (IJERLAS) 3, no. 5 (June 28, 2023): 1409–15. http://dx.doi.org/10.54443/ijerlas.v3i5.1007.
Full textAbstract:
Tanjore, Tamil Nadu's rice bowl, is also home to the arts. The kings' paintings are excellent examples of their Maratha painting abilities. During their rule in the Tanjore Maratha era. These are pieces of art that will not deteriorate with the passage of time. Tanjore style of painting is a style that flourished in Tamil Nadu from 16th to 18th century. It was influenced by the Andhra style of the Nayaks, Maratha and Mughal style and English Manatee style. Tanjore paintings adorned the interiors of the palaces. These style paintings were created by them as a clan profession. The Tanjore Brihadisvara Temple is the only temple in the world with a thousand-year-old artwork as well as a range of subsequent works. The art that grew up in this temple eventually gave birth to a new painting style known as Tanjore style painting. That is the current depiction of Tanjore artwork.
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Bivens, Becky. "An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband." Arts 13, no. 3 (June 8, 2024): 106. http://dx.doi.org/10.3390/arts13030106.
Full textAbstract:
In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.