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Journal articles on the topic 'Paintings'
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1
Nie, Yujie. "The Understanding of Bad Pictorialism from the Perspective of Origin and Development." BCP Social Sciences & Humanities 20 (October 18, 2022): 417–21. http://dx.doi.org/10.54691/bcpssh.v20i.2350.
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Since the emergence of "bad" painting doctrine in the 1970s, "bad" paintings have always been on the cusp of public opinion.According to the standards of classicism or modernism, "bad" paintings are characterized by ugly, clumsy brushwork., Quirky images, dull colors, incompatible with mainstream art.But this kind of ugliness never affects the expression of spirit and thought.This article aims to explore the origin of "bad" paintingism, explore the practical meaning of the word "bad", and analyze the trend of "bad" painting in contemporary China.
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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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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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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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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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Kader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed, and Ahmed Abo-El Yamin. "Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt." Budapest International Research in Exact Sciences (BirEx) Journal 1, no. 3 (July 25, 2019): 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.
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The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.
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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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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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Li, Lingjing, and Yu Tian. "Aesthetic Preference and Time: Preferred Painting Dilates Time Perception." SAGE Open 10, no. 3 (July 2020): 215824402093990. http://dx.doi.org/10.1177/2158244020939905.
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In the domain of aesthetic preference, previous studies focused primarily on exploring the factors that influence aesthetic preference while neglecting to investigate whether aesthetic preference affects other psychological activities. This study sought to expand our understanding of time perception by examining whether aesthetic preference in viewing paintings influenced its perceived duration. Participants who preferred Chinese paintings ( n = 20) and participants who preferred western paintings ( n = 21) were recruited to complete a temporal reproduction task that measured their time perception of Chinese paintings and of western paintings. The results showed that participants who preferred Chinese paintings exhibited longer time perceptions for Chinese paintings than for western paintings, while the participants who preferred western paintings exhibited longer time perceptions for western paintings than for Chinese paintings. These results suggested that aesthetic preference could modulate our perceived duration of painting presentation. Specifically, individuals perceive longer painting presentation durations when exposed to the stimuli matching their aesthetic preferences.
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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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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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Zhao, Shuhong, and Sheng Gui. "The research on door guardian painting’s function and implication." Chinese Sociological Dialogue 2, no. 1-2 (June 2017): 52–66. http://dx.doi.org/10.1177/2397200917711464.
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Door guardian painting is one of the greatest treasures of Chinese art, bearing the weight of the simple feelings and the life awareness of Chinese people. As a specific cultural symbol, door guardian paintings symbolize a kind of popular folkloric culture which has experienced changes under the influence of a changing society. Through door guardian paintings, people’s attitudes and understandings can be observed in their unremitting dreams of a better life. This article begins with the door guardian painting’s tardy development, then discusses its functions and implications in Chinese society. Based on empirical research, this article explores the deep emotional experience expressed in daily life. The uniqueness of the article is that the authors take the function and implication of door guardian paintings as the entry point to explore the development of the rational cognition and mental change of the public in China, and by this to explore the change in people’s daily life so as to inherit and carry forward Chinese culture in the new era.
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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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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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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.
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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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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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Hu, Zhen-jiang. "Analysis of the Impact of Artificial Intelligence Technology-Assisted Environmental Protection on the Integrity of Chinese Painting." Journal of Environmental and Public Health 2022 (August 27, 2022): 1–8. http://dx.doi.org/10.1155/2022/3245947.
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Han painting is an important art display form in Chinese history; it has a history of hundreds of years. It is the embodiment of a higher level of Chinese painting. Han paintings can also show the development of China’s political economy and culture. However, with the continuous progress of time, the patterns of Han paintings and the color characteristics of Han paintings will be greatly damaged. This limits people’s research on the civilization displayed by Han paintings. At the same time, changes in the environment also have a great relationship with the integrity of Chinese painting. Therefore, the study of the impact of environmental protection on the integrity of Han paintings is crucial to the study of Chinese civilization. It is difficult for traditional research methods to discover the quantitative relationship between environmental protection and the integrity of Han paintings. In this study, the atrous convolutional neural network (ACNN) in the artificial intelligence method and the GRU method were used to explore the relationship between environmental protection and the patterns, colors, and shapes of Chinese paintings. The research results show that the ACNN method and the GRU method can better predict the patterns, shapes, and color characteristics of Chinese paintings. Through research, it can also be found that the color and pattern features of Chinese paintings contain obvious time characteristics, which requires the GRU method for feature extraction. The prediction errors of ACNN and GRU in predicting the integrity of Chinese paintings are all within 2.5%, and the largest prediction error is only 2.45%.
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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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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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Ruvalcaba-Sil, José Luis, Malinalli Wong-Rueda, Maria Angelica Garcia-Bucio, Edgar Casanova-Gonzalez, Mayra Dafne Manrique-Ortega, Valentina Aguilar-Melo, Pieterjan Claes, and Dulce Maria Aguilar-Tellez. "Study of Mexican Colonial Mural Paintings: An In-situ Non-Invasive Approach." MRS Proceedings 1656 (January 13, 2015): 75–93. http://dx.doi.org/10.1557/opl.2015.1.
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ABSTRACTColonial mural painting developed in Mexico in XVI century after the conquest of the pre-Hispanic cultures following the evangelization process little information exists about the chronology of the paintings and workshops, the painters, the pictorial techniques or the materiality of this art work.In this work, we present the non-invasive methodology of study of the pigments and other components of nine mural paintings in three colonial Augustinian ex-convents located in Epazoyucan, Actopan and Ixmiquilpan, in the state of Hidalgo, central Mexico. These places were selected not only because of the inherent value and iconographic characteristics of the paintings, which date to the XVI and XVII century, but also because they are in the same region and are well preserved and in good condition. Then it is possible to compare their materiality and get new information to answer to some of questions related to these paintings.X-ray Fluorescence (XRF) and Raman spectroscopy were conducted using portable equipment on scaffolds after a global examination under ultraviolet light. We were able to distinguish between different pigments used for different colors such as vermillion, orpiment, and a copper pigment, for the bright red, gold yellow, and green, respectively. These pigments are characteristic of the known Mexican Colonial color palette. Apart from this, we also found the presence of indigo in the blues, minium, and cochineal. A first comparison among the mural paintings of the three sites indicates different palettes and painting periods.
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Li, Qiao. "Research on the applicability of regional folk art Fengyang Phoenix Painting from the perspective of humanistic ecology." Highlights in Art and Design 1, no. 3 (November 22, 2022): 68–71. http://dx.doi.org/10.54097/hiaad.v1i3.2963.
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The core values of socialism contain a very important content is civilization and harmony, the image of the dragon and phoenix is the mythical totem image of the Chinese nation for thousands of years, is an indispensable spiritual symbol in Chinese civilization, and is also the spiritual carrier of Chinese national cultural self-confidence and national self-confidence. The "Essentials of Chinese Painting" records that there are three stops and nine resemblances in painting dragons, and the drawing methods of phoenix birds in Fengyang phoenix paintings also have many elaborates, and the physical composition of phoenix birds is a synthesis of various beautiful objects. Through the interpretation of Fengyang Phoenix Paintings with different themes, different expression techniques and different decorative effects, this study discusses the adaptation of Fengyang Phoenix Paintings to natural ecology and the practical significance of ecological development trends, emphasizes the importance of inheriting and continuing Fengyang Phoenix Paintings and generating a sense of cultural identity, in order to achieve the goal of building a sustainable development activation route for Fengyang Phoenix Paintings, and introduces the important impact of the culture composed of phoenix birds in the cultural category of Fengyang Phoenix Paintings on the humanistic ecology of Fengyang Phoenix Paintings. In-depth study of the future of Fengyang phoenix painting from the perspective of humanistic ecology, so as to provide universal theoretical support for the development of Fengyang phoenix painting in real situations.
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Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (January 1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.
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This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the paintings were accompanied by matching music. A main effect for music style (Wilks' lambda = .718, p < .01) showed participants thought all paintings were less active and more beautiful when accompanied by the impressionist music. There were no significant effects for gender.
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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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Yu, Lan, and Yukari Nagai. "An Analysis of Characteristics of Children’s Growth through Practical Art." Healthcare 8, no. 2 (April 24, 2020): 109. http://dx.doi.org/10.3390/healthcare8020109.
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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (July 11, 2021): 883. http://dx.doi.org/10.3390/e23070883.
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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Ruta, I. Made, I. Made Saryana, Ni Wayan Masyuni Sujayanthi, Ni Made Purnami Utami, I. Made Saryana, and Gede Yoga Kharisma Pradana. "The Rwa Bhineda Painting Principles: The Art of I Dewa Nyoman Batuan." Randwick International of Social Science Journal 4, no. 1 (January 31, 2023): 150–59. http://dx.doi.org/10.47175/rissj.v4i1.591.
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Rwa Bhineda are two distinct characteristics that exist in this life. The goal of this article is to reveal the principle of rwa bhineda in I Dewa Nyoman Batuan's mandala paintings. The mandala paintings by I Nyoman Batuan are very distinctive and have inspired many other artists' paintings. However, there has been no study that discusses the principle of rwa bhineda, which makes mandala paintings by I Dewa Nyoman Batuan look distinctive. This article discusses the principle of rwa bhineda in a painting by I Dewa Nyoman Batuan and the meaning of rwa bhineda in a mandala painting by I Dewa Nyoman Batuan. This study uses a qualitative method. The data sources for this study were mandala paintings by I Dewa Nyoman Batuan himself, mandala painters, cultural observers, and people observing mandala paintings selected based on purposive sampling and snowball techniques. All data obtained through observation, interviews, and literature studies were analyzed qualitatively and interpretatively using aesthetic theory and deconstruction theory. The results of the research show that the principle of rwa bhineda in the mandala painting by I Dewa Nyoman Batuan is made in the form of a circle, which is beautified by the duality motif. The principle of rwa bhineda in mandala paintings by I Dewa Nyoman Batuan has an aesthetic meaning, a cultural meaning, and a counter-destruction meaning.
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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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Markovic, Dragan, and Slobodan Markovic. "Judgments of paintings." Psihologija 37, no. 4 (2004): 527–47. http://dx.doi.org/10.2298/psi0404527m.
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In this study, the structure of the judgements of paintings was investigated. In the preliminary study, the subjects were asked to describe their subjective experience of paintings producing a list of attributes. The set of 76 most frequent attributes was selected and transformed into a bipolar 7-step scale (e.g. beautiful-ugly, strong-weak, interesting-boring etc). In the central part of the study, 200 subjects judged paintings on 76 scales. The paintings were grouped into two subgroups, A (200 paintings) and B (200 paintings). This part of the study was conducted in two steps. In the first step, 200 subjects judged one of the 200 paintings from the subgroup A (each painting was judged only by one subject), whereas in the second step the same 200 subjects judged 200 paintings from the subgroup B (each painting was judged only by one subject).. Two simple data matrices, A and B, and one complex matrix A + B (string out matrix: matrix B is continued under the matrix A) were obtained. The factor analyses (Promax and Orthoblique rotation) have shown the consistency of a four factor extraction for three matrices (A, B i A+B) using both rotation methods: Evaluation (clever, balanced, interesting, etc.), Potency (rich, dense, relaxing etc.), Cognitive factor (clear, ordinary, stimulative, etc.) and Dynamics (provoking, tense, creative).
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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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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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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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Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (July 29, 2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.
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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aesthetic concepts, and national customs. Therefore, different ways of paintings would also have differences in the spatial consciousness of the paintings.
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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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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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Martindale, Colin, Michael Ross, and Ivan Miller. "Measurement of Primary Process Content in Paintings." Empirical Studies of the Arts 3, no. 2 (July 1985): 171–77. http://dx.doi.org/10.2190/64at-5b46-9hy4-hlq4.
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In order to investigate whether rating scales could be used to measure primary process content in paintings, a study of responses to a series of nine nineteenth- and twentieth-century paintings was conducted. One group of subjects rated these paintings on several ratings scales. A second group of subjects wrote stories in response to each of the paintings. The stories were scored for primary process content employing procedures used in previous studies of stylistic evolution in poetry. There were high negative correlations between amount of primary process content in texts elicited by a painting and ratings on naturalistic, representational, meaningful, and photographic dimensions. Amount of primary process content in stories elicited by a painting increased as a function of artist's birthdate.
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Camenzind, Magdalena, Aleksandra K. Eberhard-Moscicka, Dario Cazzoli, and René M. Müri. "Hyperzographia in Neglect Exposing a Spatial Dissociation between Painting and Writing—A Case Study." Reports 5, no. 3 (August 8, 2022): 32. http://dx.doi.org/10.3390/reports5030032.
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The paper depicts and describes the observation of a remarkable post-stroke production of paintings made by a 54-year-old, right-handed man who suffered an acute right hemispheric stroke. The patient’s post-stroke productivity and the spatial distribution of text and drawings were assessed by means of structural analysis of the paintings, as well as neuropsychological and creativity testing. Compared to the age-matched healthy control group, the patient did not only produce more valid answers in the verbal creativity task, but he also drew more images in the figural creativity task. Most strikingly, the painted images were located on the right side in 70% of the paintings, while the text was aligned to the left side in 42% of the paintings. This dissociation between writing and painting behavior was further mirrored in the patient’s neuropsychological performance in a reading test and in a design fluency task. This observation of an increased post-stroke production of paintings may coin a new term, i.e., “hyperzographia”, in analogy to hypergraphia. Additionally, the puzzling dissociation of the writing and painting behavior highlights an important new clinical aspect concerning a differential influence of hemispatial neglect on writing and painting.
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Im, Mi-Hyun. "In Contemplation of Hyewon Sin Yun-bok’s Hyewonhawcheop(蕙園畫帖)." Korea Association of World History and Culture 68 (September 30, 2023): 5–31. http://dx.doi.org/10.32961/jwhc.2023.09.68.5.
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Hyewonhawcheop(蕙園畫帖) by Hyewon Sin Yun-bok(申潤福, 1758?-1817 or later) is a collection of paintings in a literary artist’s style mainly focusing on landscape painting with figures. This collection of paintings contains two pages of HaengSeo(a semi-cursive style of writing) and six pages of paintings with a variety of genres, including letters, Sagunja(Four Gracious Plant Painting), landscape painting with figures, and paintings of Taoist immortals and Buddhist Saints and Arhats. These works of art help enhance insight also on his preference for literary arts that had not received much attention due to genre paintings.
As Hyewonhawcheop carries a government seal recording “Hyewon, lunar July of the year Mu Jin” and other variety of seals, including “yu-eo-yeah”, “sin-ga-gwon-in”, it can be inferred that this was produced when Sin Yun-bok was 50 years old. Since his other works’ production dates are unknown, this can be a reference work for timepoint. This paper focuses on this significance, analyzing and contemplating on each work in Hyewonhawcheop to understand Sin Yun-bok and his works.
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Martynenko, Andrii, Andriy Tevyashev, Nonna Kulishova, and Boris Moroz. "The problem of automatic classification of pictures using an intelligent decision-making system based on the knowledge graph and fine-grained image analysis." System research and information technologies, no. 4 (December 27, 2022): 58–67. http://dx.doi.org/10.20535/srit.2308-8893.2022.4.05.
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In order to prevent the illegal export of paintings abroad, a museum examination using various methods for studying a work of art is carried out. At the same time, an analysis is also made of historical, art history, financial and other information and documents confirming the painting’s authenticity — provenance. Automation of such examination is hampered by the need to take into account numerical values of visual features, quality indicators, and verbal descriptions from provenance. In this paper, we consider the problem of automatic multi-task classification of paintings for museum expertise. A system architecture is proposed that checks provenance, implements a fine-grained image analysis (FGIA) of visual image features, and automatically classifies a painting by authorship, genre, and time of creation. Provenance is contained in a knowledge graph; for its vectorization, it is proposed to use a graph2vec type encoder with an attention mechanism. Fine-grained image analysis is proposed to be performed using searching discriminative regions (SDR) and learning discriminative regions (LDR) allocated by convolutional neural networks. To train the classifier, a generalized loss function is proposed. A data set is also proposed, including provenance and images of paintings by European and Ukrainian artists.
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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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Liu, Yi. "Material Exploration and Emotional Expression of Integrated Painting." Communications in Humanities Research 9, no. 1 (October 31, 2023): 161–65. http://dx.doi.org/10.54254/2753-7064/9/20231164.
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Integrated paintings are paintings that distinguish themselves from non-traditional materials. It is the use of newspapers, and magazines to make collages and paper cutouts which are not normal painting works of art. The main feature of integrated painting is the variety of materials chosen and the mix and match of multiple materials used. In contemporary art, the use of materials has been reflected in a variety of paintings. In addition to natural materials, the materials created by modern technology also bring more possibilities for the creation of paintings. The different materials and their multiple uses together are a test of the artists expressive use of materials. Several artists also use unique materials so that the emotions they express in their works are expressed in the materials through materialization. This paper focuses on the diversity of mixed media and how it can bring more versatility and emotional expression to artworks. And it also analyzes the role and influence of mixed media as paintings by examining Pablo Picassos Still-Life with Chair Caning and Marcel Duchamps The Bicycle Wheel to analyze the role and impact of mixed media as a painting. Through analysis, it is also argued that the use of mixed media brings more emotional responses to the paintings and that the artists emotions can be understood and felt through the materials.
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Volyk, Yu P., and O. N. Razumovskaya. "PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM." National Association of Scientists 4, no. 26(53) (2020): 7–25. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.178.
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In the first third of XIX century, the interiors of St. Petersburg buildings were often adorned with decorative paintings on plafonds and cambers. Polychrome painting and grisaille painting, which imitates plasterwork, were usually made with distemper colors. The focus of attention in the era of classicism was antiquity, mythological subjects and heroes. The article discusses the paintings in Kamennoostrovsky Palace, the General Staff building on the Palace square, the Laval's mansion. Decorative interior painting in St. Petersburg was created by artists of Italian origin, the most famous of them being D. B. Scotti. The time and environmental conditions affected these paintings, and their restoration takes a long time and very hard work. The article describes all the difficulties involved in restoration; one of the most important conditions is the use of natural materials. The article also has photos showing the paintings before restoration, in the process of restoration and after its completion
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Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.
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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypted codes precisely corresponding to the characters of their studio names, or ho 號 (Ch. hao). Yuan’s Shiwu Qinggong 石屋淸珙 (1272~1352), who officially conferred the dharma to Goryeo’s Taego Bou 太古普愚 (1301~1382), proposed “a single thatched hut in the depth of the retreats,” or yi an shenyin 一菴深隱, as exemplary of Chan Buddhist paintings. The written records of the monks’ handscroll paintings suggest that the monks of the late Goryeo and early Joseon painted landscapes by combining the motifs of a thatched hut and of the depth of the retreat with depictions of natural features that signified their studio names. While the monk’s studio name was the central theme of the painting, each character of his name was also rendered pictorially. The records further testify that Goryeo monks played a critical role in introducing to Korea the styles of the Liu Daoquan 劉道權 and Li-Guo 李郭 schools, which gained tremendous traction in the early Joseon art scene, as the literati regarded highly of ink paintings by monks. It has been widely noted that early Joseon paintings contributed to the development of the paintings of a scholar’s studio in Muromachi Japan. The monks’ poempaintings themed on their studio names further attest to the significant impact that early Joseon paintings made over not just the style but also subjects, form, and content of Japanese paintings. Even if many works of premodern Korean painting are now lost, written records about them still survive. Close examinations of such textual sources can help illuminate the historical trajectory of Korean poem-painting scrolls in the context of East Asian art history.
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Parrott, A. C. "Aesthetic Responses to a Series of Paintings by Paul Klee." Perceptual and Motor Skills 69, no. 1 (August 1989): 339–48. http://dx.doi.org/10.2466/pms.1989.69.1.339.
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The effects of exposure to a series of colour slides of paintings by Paul Klee were assessed with 69 nonexpert subjects. All subjects viewed the same 2 paintings by Klee while the other 10 paintings were varied between groups. The control group viewed paintings by 10 different artists (da Vinci, Picasso, Rubens, Dali). The first experimental group viewed 10 different paintings by Klee while the second experimental group saw 3 Klees in close detail. Differences in response to the 2 Klees seen by every group comprised the empirical data. The experimental groups produced higher ratings on questions of painting style; it was judged significantly more ‘clear’ and ‘representational’ in comparison with control group scores. Emotional expression was also significantly affected, but ratings of liking the painting were not generally changed. The effects of familiarity depend upon the nature of the aesthetic response being evaluated. Familiarity breeds understanding and perhaps comfort, but not increased interest.
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Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (July 1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.
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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parameters of the sunlight typical for the region of a given culture; quite a definite “color triad” is inherent to each national school, dominating the majority of its paintings. These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.
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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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Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.
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In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.
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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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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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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.
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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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Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (January 1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.
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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discriminated the less balanced from the more balanced versions of the black-and-white paintings with a single glance at each. They were also able to discern differences in balance among the color stimuli in the single fixation condition, but not the subtle differences in balance between the two versions of each painting. Subjects' assessment of a composition's balance based on stimulus information encoded with one fixation did not significantly change when exposure duration permitted multiple fixations of that composition. Data are consistent with the view that the induced structural organization resulting from the balanced configuration of a painting's element is detected spontaneously by the eye “at first glance.”