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Journal articles on the topic 'Thangka Art'

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Author: Grafiati

Published: 18 May 2024

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1

Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth. 

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Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.

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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China.

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Li, Hang, Jie Fang, Ying Jia, Liqi Ji, Xin Chen, and Nianyi Wang. "Thangka Sketch Colorization Based on Multi-Level Adaptive-Instance-Normalized Color Fusion and Skip Connection Attention." Electronics 12, no. 7 (April 6, 2023): 1745. http://dx.doi.org/10.3390/electronics12071745.

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Thangka is an important intangible cultural heritage of Tibet. Due to the complexity, and time-consuming nature of the Thangka painting technique, this technique is currently facing the risk of being lost. It is important to preserve the art of Thangka through digital painting methods. Machine learning-based auto-sketch colorization is one of the vital steps for digital Thangka painting. However, existing learning-based sketch colorization methods face two challenges in solving the problem of colorizing Thangka: (1) the extremely rich colors of the Thangka make it difficult to color accurately with existing algorithms, and (2) the line density of the Thangka brings extreme challenges for algorithms to define what semantic information the lines imply. To resolve these problems, we propose a Thangka sketch colorization method based on multi-level adaptive-instance-normalized color fusion (MACF) and skip connection attention (SCA). The proposed method consists of two parts: (1) a multi-level adaptive-instance-normalized color fusion (MACF) to fuse sketch feature and color feature; and (2) a skip connection attention (SCA) mechanism to distinguish the semantic information implied by the sketch lines. Experiments on colorizing Thangka sketches show that our method works well on two small datasets—the Danbooru 2019 dataset and the Thangka dataset. Our approach can generate exquisite Thangka.

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Hu, Wenjin, Lang Qiao, Wendong Kang, and Xinyue Shi. "Thangka Image Captioning Based on Semantic Concept Prompt and Multimodal Feature Optimization." Journal of Imaging 9, no. 8 (August 16, 2023): 162. http://dx.doi.org/10.3390/jimaging9080162.

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Thangka images exhibit a high level of diversity and richness, and the existing deep learning-based image captioning methods generate poor accuracy and richness of Chinese captions for Thangka images. To address this issue, this paper proposes a Semantic Concept Prompt and Multimodal Feature Optimization network (SCAMF-Net). The Semantic Concept Prompt (SCP) module is introduced in the text encoding stage to obtain more semantic information about the Thangka by introducing contextual prompts, thus enhancing the richness of the description content. The Multimodal Feature Optimization (MFO) module is proposed to optimize the correlation between Thangka images and text. This module enhances the correlation between the image features and text features of the Thangka through the Captioner and Filter to more accurately describe the visual concept features of the Thangka. The experimental results demonstrate that our proposed method outperforms baseline models on the Thangka dataset in terms of BLEU-4, METEOR, ROUGE, CIDEr, and SPICE by 8.7%, 7.9%, 8.2%, 76.6%, and 5.7%, respectively. Furthermore, this method also exhibits superior performance compared to the state-of-the-art methods on the public MSCOCO dataset.

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5

Shuang, Wang, and Ren Shuai. "Colour symbolism in the art of Thangka." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (December 1, 2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.

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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.

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6

Wang, Tiejun, and Weilan Wang. "Research on a Thangka Image Classification Method Based on Support Vector Machine." International Journal of Pattern Recognition and Artificial Intelligence 33, no. 12 (November 2019): 1954030. http://dx.doi.org/10.1142/s0218001419540302.

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As an art image, Thangka images have rich themes, various forms of expression, complex picture content and many layers of color representation. This paper mainly constructs a multi-core support vector machine (SVM) based on the information entropy feature-weighted radial basis kernel function. In this paper, the kernel function is optimized, and the feature reduction is performed by using the random forest feature selection algorithm with average accuracy degradation. Finally, the effective classification of the icon image and the mandala image in Thangka is realized. The research results provide support for the follow-up study of Thangka image annotation and retrieval.

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7

Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики." Oriental Studies 14, no. 2 (July 20, 2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (April 15, 2023): 6692. http://dx.doi.org/10.3390/su15086692.

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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese painting datasets as experimental data. Second, we use the training data to train the generator and the discriminator. Then, the TPSF model maps the style of the input image to the target image to fuse the two ethnicities painting styles of Tibetan and Chinese. Finally, to demonstrate the advancement of the proposed method, we add four comparison models to our experiments. At the same time, the Frechet Inception Distance (FID) metric and the questionnaire method were used to evaluate the quality and visual appeal of the generated images, respectively. The experimental results show that the fusion images have excellent quality and great visual appeal.

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9

Nurova, Gerlya V. "К истории cоздания росписей центрального буддийского храма Калмыкии (2016–2019 гг.)." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 179–91. http://dx.doi.org/10.22162/2712-8431-2020-10-2-179-191.

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The article discusses the history of the creation thangka paintings in the Central Buddhist Temple (khurul) of the Republic of Kalmykia which was opened in 2005. The article attempts at giving analysis of the formation of sacral art environment of the Elista Buddhist Temple in the context of the development of Tibetan-Kalmyk Buddhist relationships. The article describes the stages, peculiarities and complexity of the painting process that was done by the Tibetan artists who came from India and are masters of the traditional thangka painting. The author gives the documental facts about the work organization and process that lasted almost three years. The article gives information about thangka painters, well-known nowadays: their biographies, characteristics and the information about their further life. By creation the paintings of the Central Khurul, these painters contributed to the development of the spiritual culture in Kalmykia.

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Асалханова, Екатерина Владимировна. "Some early Buryat Buddhist thangka from the Sukachev Irkutsk Regional Art Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 350–62. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.023.

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В статье рассматриваются некоторые ранние произведения бурятской буддийской живописи из собрания Иркутского областного художественного музея имени В.П. Сукачева с изображением одних из наиболее популярных в народе персонажей пантеона – будды Амитабхи, бодхисаттвы-спасительницы Зеленой Тары, защитника учения Махакалы, божества долголетия Белого Старца. Акцент делается на своеобразии старинной бурятской живописи XVIII в. Иконы-танка этого периода обладают монументальностью, своеобразием колорита, отсутствием лишних деталей. Автор проводит их иконографический, композиционный, типологический, художественный анализ, исследуются особенности колористического решения икон. Подчеркивается уникальность ранней бурятской живописи и возможность развития ее характерных особенностей на пути инноваций в современной буддийской живописи. The author of the article studies some early Buryat Buddhist thangka (painted scrolls) from the Sukachev Irkutsk Regional Art Museum. Of a great number of gods of Buddhist pantheon author researches those, who were especially popular among Buryats. These are Buddha Amitabha, Green Tara, wrathful dharmapala Mahakala, god of longevity White Old Man. Author investigates the system of composition, iconography, colour of Buryat Buddhist icons. The emphasis is on the originality of ancient Buryat painting of the XVIII century. The thangka icons of this period have monumentality, specific features of color, and the absence of unnecessary details.

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11

Shuang, Wang, and Ren Shuai. "A concise analysis of the construction of cultural space in thangka art from the perspective of representational and sign systems." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-1 (April 1, 2023): 94–103. http://dx.doi.org/10.31166/voprosyistorii202304statyi07.

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The question, which in the process of maintaining the continuity and development of thangka painting must be addressed both theoretically and practically, is how a religious pictorial art, existing in a complex and multilayered geographical environment, can both maintain its religious character and build a cultural space capable of attracting masses of viewers.

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Almanda, Hafi Hilmiah, Setya Yuwana, and Setyo Yanuartuti. "Kajian pertunjukan musik “Thungka” dalam masyarakat Bawean Gresik (Tinjauan etnomusikologi)." Imaji 21, no. 1 (April 24, 2023): 30–37. http://dx.doi.org/10.21831/imaji.v21i1.49233.

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Penelitian ini menemukan kajian etnomusikologi pada alat musik thungka, karena peneliti ingin mengetahui segala sesuatu yang terdapat dalam alat musik thangka, baik itu berupa aspek fungsi, musikal, instrumental dan sosial budaya musik tradisional thungka. Dalam penelitian ini metode yang digunakan yaitu metode kualitatif. Fungsi musik Thungka pada dasarnya sebagai alat untuk penumbuk padi dalam acara musim panen disetiap tahun akan tetapi sekarang menjadi sebagai media pertunjukan seni tradisional, acara pernikahan sampai keacara penyambutan tamu turis ke Bawean. Alat musik Thungka ini merupakan alat musik tradisional yang tergolong bertangga nada tetratonik yaitu memiliki empat tangganada. Thungka, bahan dasarnya dari ronjengan sampai Alu’ terdiri dari kayu berjenis Jati. Lirik yang dimainkan dalam pertunjukan Thungka memaparkan tentang kehidupan masyarakat Bawean. Kata kunci: Etnomusikolgi, Musik Thungka, Bawean Study of "Thungka" music performance in Bawean Gresik community(An ethnomusicology review) AbstractThis study found an ethnomusicological study on the thungka musical instrument, because the researcher wanted to know everything contained in the thangka musical instrument, whether it was in the form of functional, musical, instrumental and socio-cultural aspects of thungka traditional music. In this study the method used is a qualitative method. The function of Thungka music is basically as a tool for pounding rice in the harvest season every year but now it has become a medium for traditional art performances, weddings to welcoming tourist guests to Bawean. This Thungka musical instrument is a traditional musical instrument that is classified as a tetratonic scale, which has four scales. Thungka, the basic ingredients from ronjengan to pestle are teak wood. The lyrics played in the Thungka show describe the life of the Bawean people.Keywords: Ethnomusicology, Thungka Music, Bawean

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13

Hu, Qinghua. "Research on the Inheritance and Development of Thangka under the Mode of Art Management." Art and Design Review 09, no. 01 (2021): 74–79. http://dx.doi.org/10.4236/adr.2021.91006.

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14

Given, Brian J. "Tsundu: Becoming a Lama./Mystic Vision, Sacred Art: Tibetan Thangka Painting in Kathmandu Valley:Tsundu: Becoming a Lama." American Anthropologist 101, no. 3 (September 1999): 635–39. http://dx.doi.org/10.1525/aa.1999.101.3.635.

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15

Wang, Shuang. "Language of Color in the Art of Thangka Wang Shuang Chengdu University Academy of Fine Arts and Design." Университетский научный журнал, no. 58 (2020): 89–93. http://dx.doi.org/10.25807/pbh.22225064.2020.58.89.93.

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16

Garri, Irina. "Sumpa Khenpo Yeshe Peljor (1704–1788): Life and work of the Oirat Buddhist scholar." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 198. http://dx.doi.org/10.31857/s086919080029430-0.

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The article analyzes life and work of a famous Oirat Buddhist scholar Sumpa-kenpo Yeshe Peljor (1704–1788). He was born in 1704 in Amdo, south of Lake Kokonor, in a family of Oirat Mongols. At the age of 7, he was recognized as a reincarnation of the abbot of Gonglung Monastery. In 1723 he went to study in Central Tibet at the Gomang-datsan of the Drepung Monastery. While studying in the dastan, he urged monks of the Lhasa monasteries not to join the army during the civil war of 1727-1728 between the provinces of U and Tsang. In gratitude for the service, the ruler of Tibet, Polhane, appointed him the abbot (khenpo) of the Dreyu Kyitse monastery, after which he became known as Sumpa-kenpo. In 1731, at the age of 28, he returned in Amdo. In 1735, he went to Beijing, the capital of the Qing Empire, at the invitation of Emperor Qianlong. The collection of works of Sumpa-kenpo comprose eight volumes and 68 compositions. The most among then are the “Pagsam-Jonsang” (Wish-fullfilling tree) and the “History of Kokonor”. His work alsos include numerous texts on philosophy, the art of making statues and thangka, medicine, astrology, poetics, correspondence, etc. From 1771, Sumpa-kenpo began to visit Mongolia. Sumpa-kenpo Yeshe Peljor became a key figure in the cultural renaissance of Amdo in the 18th century and the spread of Buddhism in Inner Mongolia. In 1788, Sumpa-kenpo Yeshe-Peljor died at the age of 85, leaving behind a rich sholarly and spiritual legacy.

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Wang, Hongyang, and Tiejun Wang. "Multi-Scale Residual Aggregation Feature Pyramid Network for Object Detection." Electronics 12, no. 1 (December 26, 2022): 93. http://dx.doi.org/10.3390/electronics12010093.

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The effective use of multi-scale features remains an open problem for object detection tasks. Recently, proposed object detectors have usually used Feature Pyramid Networks (FPN) to fuse multi-scale features. Since Feature Pyramid Networks use a relatively simple feature map fusion approach, it can lead to the loss or misalignment of semantic information in the fusion process. Several works have demonstrated that using a bottom-up structure in a Feature Pyramid Network can shorten the information path between lower layers and the topmost feature, allowing an adequate exchange of semantic information from different layers. We further enhance the bottom-up path by proposing a multi-scale residual aggregation Feature Pyramid Network (MSRA-FPN), which uses a unidirectional cross-layer residual module to aggregate features from multiple layers bottom-up in a triangular structure to the topmost layer. In addition, we introduce a Residual Squeeze and Excitation Module to mitigate the aliasing effects that occur when features from different layers are aggregated. MSRA-FPN enhances the semantic information of the high-level feature maps, mitigates the information decay during feature fusion, and enhances the detection capability of the model for large objects. It is experimentally demonstrated that our proposed MSRA-FPN improves the performance of the three baseline models by 0.5–1.9% on the PASCAL VOC dataset and is also quite competitive with other state-of-the-art FPN methods. On the MS COCO dataset, our proposed method can also improve the performance of the baseline model by 0.8% and the baseline model’s performance for large object detection by 1.8%. To further validate the effectiveness of MSRA-FPN for large object detection, we constructed the Thangka Figure Dataset and conducted comparative experiments. It is experimentally demonstrated that our proposed method improves the performance of the baseline model by 2.9–4.7% on this dataset and can reach up to 71.2%.

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18

Jones, Gayle C. "Jumping Cultures — Is the Baggage All Packed?" Dialogue and Universalism 7, no. 3 (1997): 171–77. http://dx.doi.org/10.5840/du199773/417.

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Western aesthetics attends to its art as a symbohsm-statement created by an artist with a signature-statement. Accompanying every piece is a unique set of informative signs, symbols and techniques which allow for interpretive readings from an individual expression within the Western cultural context. Does an art form from another culture, specifically the Tibetan thanka as selfless art in a selfless culture, retain its aflfectivity and integrity when attended to by Western perusal outside its cultural context? And when the thanka travels (outside its culture), does it come with all its baggage?

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DeVito, Jr., Richard A. "Thanks and Welcome!" American Journal of Recreation Therapy 18, no. 3 (July 1, 2019): 6. http://dx.doi.org/10.5055/ajrt.2019.0196.

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It is with saddened heart that I announce the retirement of Dr. Nancy Richeson, PhD, CTRS, FDRT as Editorin- Chief of the American Journal of Recreation Therapy (AJRT). . .As with many transitions, change can be unsettling. Fortunately for the American Journal of Recreation Therapy and the field, I am pleased to welcome Dr. Allison Wilder, PhD, CTRS/L as our new Editor-in-Chief. Dr. Wilder is Associate Professor and Faculty Fellow at the Center on Aging and Community Living in the Department of Recreation Management and Policy at the University of New Hampshire—College of Health and Human Services.

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Concu, Valentina. "“Face” in retrospective: The use of “thanks” and “to thank” In Old Saxon and Old High German." Lodz Papers in Pragmatics 19, no. 1 (May 1, 2023): 175–98. http://dx.doi.org/10.1515/lpp-2023-0009.

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Abstract Despite being often criticized, the notion of face has recently begun to be applied in diachronic pragmatic investigations on directives, requests, apologies, and terms of address. The present study also uses the notion of face to investigate the use of Dank ‘thanks’, Dankbarkeit ‘thankfulness’, and danken ‘to thank’ in expressions of gratitude in Old Saxon and Old High German, laying the foundations to a better understanding of the speech act of thanking in the history of German. The data suggest that, although the manifestation of gratitude was common, the expressions containing Dank, Dankbarkeit, and danken could mostly be found when the addresser was in a lower social position than the addressee. The same situation was observed when these nouns and verbs were used with the meaning of “to reward” and “to praise.” These findings provide evidence to the claim that the effects of a speech act on the speaker’s or hearer’s face are mostly situational rather than being an intrinsic property. They also suggest that, in strictly hierarchical societies such as the Old Saxon and Old High German ones, addressers would threaten their own negative face only if they were in a lower social position than the addressees.

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McComas, William. "2020 Thank You." American Biology Teacher 83, no. 3 (March 1, 2021): 136–37. http://dx.doi.org/10.1525/abt.2021.83.3.136.

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McComas, William. "2021 Thank You." American Biology Teacher 84, no. 3 (March 1, 2022): 120–21. http://dx.doi.org/10.1525/abt.2022.84.3.120.

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McComas, William. "2022 Thank You." American Biology Teacher 85, no. 3 (March 1, 2023): 134. http://dx.doi.org/10.1525/abt.2023.85.3.134.

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McComas, William. "2023 Thank You." American Biology Teacher 86, no. 3 (March 1, 2024): 129. http://dx.doi.org/10.1525/abt.2024.86.3.129.

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Syrtypova, Surun-Khanda D. "Автопортрет и Будда Ваджрасаттва у Дзанабазара." Oriental Studies 13, no. 4 (December 25, 2020): 1045–77. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1045-1077.

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Introduction. Jebtsundamba Khutuktu Öndör Gegeen Zanabazar was Mongolia’s first ruler to hold both secular and spiritual power. In the late 17th century, the country witnessed dramatic internecine wars, and his overriding goal was to unify the nation and increase the educational level. Virtually all his self-portraits discovered depict Zanabazar as a real priest with iconographic markers of Buddha Vajrasattva. The selected Buddhist symbol is supposed to deliver a deepest nonverbal sermon and mysterious testament of the prominent Buddhist master. Goals. The paper seeks to further reveal, examine, and describe objects of artistic heritage authored by Öndör Gegeen Zanabazar and currently stored in state, public, administrative, and private collections of Mongolia and Russia. Results. The work is a first attempt to examine Zanabazar’s self-portraits — both sculptural and graphic ones (including tiny elements of different thangkas) — in their structural unity in the context of his meditative practices. The descriptions of the pictures compiled with due regard of Buddha Vajrasattva-related tantric texts and facts of Öndör Gegeen’s biography may be viewed as sources for historical and art studies in Vajrayana Buddhism. The analysis of textual and graphic materials attempts to interpret Zanabazar’s unique position as both a spiritual and Buddhist arts master.

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McComas, William F. "Thank You, ABT Reviewers." American Biology Teacher 77, no. 2 (February 1, 2015): 91. http://dx.doi.org/10.1525/abt.2015.77.2.2.

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Leonard, Bill. "Thank You, ABT Reviewers." American Biology Teacher 72, no. 9 (November 1, 2010): 537–39. http://dx.doi.org/10.1525/abt.2010.72.9.3.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 74, no. 1 (January 1, 2012): 7–8. http://dx.doi.org/10.1525/abt.2012.74.1.3.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 75, no. 1 (January 1, 2013): 11–12. http://dx.doi.org/10.1525/abt.2013.75.1.4.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 76, no. 1 (January 1, 2014): 8–10. http://dx.doi.org/10.1525/abt.2014.76.1.3.

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van de Putte, Leo. "Goodbye and thank you." Annals of the Rheumatic Diseases 67, no. 4 (March 18, 2008): 437.1–437. http://dx.doi.org/10.1136/ard.2008.088690.

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Goel, Ina. "Manufacturing “Self” through the Divine—Thangka Paintings of Tibet." Material Religion 16, no. 2 (March 5, 2020): 272–74. http://dx.doi.org/10.1080/17432200.2020.1717833.

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Malcolm, Reed. "Love and Hate in the Land of Thangka." Jung Journal 13, no. 3 (July 3, 2019): 51–53. http://dx.doi.org/10.1080/19342039.2019.1636455.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 78, no. 3 (March 1, 2016): 187–88. http://dx.doi.org/10.1525/abt.2016.78.3.187.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 79, no. 3 (March 1, 2017): 167–68. http://dx.doi.org/10.1525/abt.2017.79.3.167.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 80, no. 3 (March 1, 2018): 165–66. http://dx.doi.org/10.1525/abt.2018.80.3.165.

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Anwar, Muhammad Javaid, Basri Sattar, and Muhammad Naveed Anwar. "Art of Characterization in “Thank You, Ma'am” by Langston Hughes." IJOHMN (International Journal online of Humanities) 5, no. 1 (February 14, 2019): 10. http://dx.doi.org/10.24113/ijohmn.v5i1.82.

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Langston Hughes was an American artist, writer, and dramatist whose African-American subjects made him an essential supporter of the Harlem Renaissance of the 1920s. Langston Hughes was conceived on February 1, 1902, in Joplin, Missouri. He distributed his first lyric in 1921. He went to Columbia University, yet left following one year to travel. He proceeded to compose incalculable works of verse, writing and plays, and in addition a prominent section for the Chicago Defender. He passed away from this world on May 22, 1967. (Editors, 2014) When you were younger, has anyone treated you good or bad according to your behavior? Or do you remember any incident of your life in which you made a mistake and someone offered you a chance for changing your life? Langston Hughes' short story, “Thank You, Ma'am”, distributed in 1958, catches the two circumstances. Langston Hughes was a vital and productive essayist amid the Harlem Renaissance of the mid twentieth century. He expounded on African-American life and experience. Much thanks to You Ma'am is about what happens when a high school kid and a more seasoned working lady crash on a Harlem road. There are three major topics present in “Thank You, Ma'am”: Forgiveness and Empathy, the Power of Love and Trust, and Christian Charity. At the point when Roger first grabs the handbag of Mrs. Luella Bates Washington Jones, she wrestles him and hauls him to her outfitted room at the back of a house. The peak of the story is when Roger does not leave.

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Santoro, Alyce. "Sonic Sails (The Tell-Tail Thangkas)." Leonardo 42, no. 5 (October 2009): 392. http://dx.doi.org/10.1162/leon.2009.42.5.392.

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Delgado, Sarah. "Thanks for the Feedback: The Science and Art of Receiving Feedback Well." Critical Care Nurse 37, no. 3 (June 1, 2017): 84. http://dx.doi.org/10.4037/ccn2017155.

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Tamburini, Diego, Joanne Dyer, Teresa Heady, Alice Derham, Meejung Kim-Marandet, Monique Pullan, Yu-Ping Luk, and Imma Ramos. "Bordering on Asian Paintings: Dye Analysis of Textile Borders and Mount Elements to Complement Research on Asian Pictorial Art." Heritage 4, no. 4 (November 13, 2021): 4344–65. http://dx.doi.org/10.3390/heritage4040240.

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Mount components and textile borders represent important elements of Asian paintings. However, they are often side-lined or not considered an integral part of the original piece, as they may be later additions or may have been replaced during historic conservation or mounting interventions. Nevertheless, evidence is sometimes present that textile borders are contemporaneous to the production of the paintings they frame or, in the case of paintings found in archaeological contexts, to the time of deposition. Even when not contemporaneous with the paintings, the mount textiles are often of significant historic interest in themselves, showing a range of complex textile techniques and materials, and highlighting the re-use of fabrics. In all these cases, the study and reconstruction of the original colours of the borders enable further understanding of the holistic visual impact originally intended for the composition, as well as of the role of colour itself, which was used to emphasise, complement or contrast important pictorial themes or motifs in the paintings. Furthermore, the identification of dyes and dyeing techniques has the potential to support the production date and provenance of the paintings. In this study, the textile borders and some additional mounting elements of six paintings (late 9th–10th century CE) from the Library Cave, Mogao Grottoes, Dunhuang, China, one rare Korean portrait painting dated 1789 CE, and two Tibetan thangkas (18th century) were investigated with the aim to identify the dyes present. Fibre optic reflectance spectroscopy (FORS) was used to obtain information non-invasively and, when sampling was possible, high-performance liquid chromatography-tandem mass spectrometry (HPLC-MS/MS) was used to obtain molecular identification of the dyestuffs employed in their production. Typical Asian dyes, such as gromwell (Lithospermum erythrorhizon), sappanwood (Biancaea sappan), safflower (Carthamus tinctorius), turmeric (Curcuma longa) and pagoda tree flower buds (Sophora japonica), were identified. Some of the dyeing techniques were commensurate with the geographical and temporal provenance assigned to these pieces. Considerations about fading and discolouration of the dyes enabled valuable additional information to be obtained that complements the evidence gleaned from the study of the paintings and informs conservators and curators on best practices in the preservation and display of these precious and delicate artworks.

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Husa, Jaakko. "Human Rights? No Thanks We’re English!" European Journal of Comparative Law and Governance 3, no. 3 (August 28, 2016): 229–53. http://dx.doi.org/10.1163/22134514-00303002.

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Twenty years ago a still ongoing scholarly debate started over the future direction of law in Europe. The lines of battle were drawn between the convergence and non-convergence theories. This paper re-examines and discusses the non-convergence theory and its take on English common law’s legal cultural key elements in the light of the human rights debate. The aim is to highlight human rights tensions within uk public law by applying a culturally oriented comparative law approach. The focus of the analysis is on the Human Rights Act and the way in which it has been adapted to the legal system. It is argued that the legal cultural perspective provides beneficial aspects for understanding the Human Rights Act centred debate without reducing it exclusively to politics. At least partially this debate is catalysed by continental civil law type features that the Human Rights Act transferred into common law.

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Bradley, Suzanne F. "Thank You to a Class Act." Infection Control & Hospital Epidemiology 35, no. 12 (December 2014): 1443. http://dx.doi.org/10.1086/678591.

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Macdonald, Ian W. "Editorial Thanks." Journal of Screenwriting 7, no. 1 (March 1, 2016): 3–4. http://dx.doi.org/10.1386/josc.7.1.3_2.

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Hammoudi, Valentin. "The art of passing unnoticed: pathogenic fungi remain incognito thanks to EWCA effectors." Plant Cell 33, no. 4 (January 25, 2021): 1097–98. http://dx.doi.org/10.1093/plcell/koab017.

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McComas, William. "Thank You to the ABT Production Team and Reviewers." American Biology Teacher 81, no. 4 (April 1, 2019): 219–20. http://dx.doi.org/10.1525/abt.2019.81.4.219.

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McComas, William. "Thank You to the ABT Production Team, Authors, and Reviewers." American Biology Teacher 82, no. 3 (March 1, 2020): 139–40. http://dx.doi.org/10.1525/abt.2020.82.3.139.

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Monem, Reza. "Acknowledgments: thank you to our reviewers." Accounting Research Journal 35, no. 1 (February 8, 2022): 101–5. http://dx.doi.org/10.1108/arj-02-2022-381.

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Furness, P. N. "We can communicate better thanks to the new act." BMJ 340, mar24 3 (March 24, 2010): c1563. http://dx.doi.org/10.1136/bmj.c1563.

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Roncarolo, Franca. "A Woman at the Quirinal? Thanks, But No Thanks." European Journal of Women's Studies 7, no. 1 (February 2000): 103–26. http://dx.doi.org/10.1177/135050680000700113.

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Neveu, Marc J. "Thank You." Journal of Architectural Education 75, no. 2 (July 3, 2021): 155. http://dx.doi.org/10.1080/10464883.2021.1947667.

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