Letteratura scientifica selezionata sul tema "Japanese Water color painting"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Japanese Water color painting".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Japanese Water color painting"
1
UEMOTO, Seiichiro. "Japanese Painting and Japanese Color". Journal of the Japan Society of Colour Material 75, n. 8 (2002): 401–7. http://dx.doi.org/10.4011/shikizai1937.75.401.
Testo completo
2
Wang, Xingqian. "Principles of color formation in Chinese painting and ceramic painting". Философия и культура, n. 8 (agosto 2023): 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.
Testo completoAbstract (sommario):
The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.
3
Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century". BCP Social Sciences & Humanities 20 (18 ottobre 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
Testo completoAbstract (sommario):
Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
4
Kong, Xiangfeng, e Xiangzhen Meng. "Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation". Journal of Chemistry 2022 (25 agosto 2022): 1–7. http://dx.doi.org/10.1155/2022/7715011.
Testo completoAbstract (sommario):
In order to better sort out the superiority of water-based acrylic in painting art, explore and understand the uniqueness of water-based acrylic painting materials and apply this to art creation. The author proposes a chemical process based on water-based acrylic dipping paint, by discussing the coating and film properties of water-soluble acrylic dip paint, combined with the practical application of a casting tank; summarizing the countermeasures to solve the disadvantages of common paint films; and proving that the paint has a good comprehensive performance by comparing with other dipping paints. Experimental results show that based on the chemical process of water-based acrylic dipping paint, it has waterproof, high gloss, gloss retention, color retention, high weather resistance, and good corrosion resistance in the process of art painting; the physical parameters are better than other dipping paints, such as gloss can reach 70∼80%. Conclusion. In art painting, water-based acrylic dip paint is a kind of comprehensive performance paint with waterproof, high gloss, gloss retention, and color retention.
5
Chandra, Fitri, Onggal Sihite e Mesra Mesra. "Eksperimen Bahan Makanan Sebagai Alternatif Cat Warna Air". Journal of Education, Humaniora and Social Sciences (JEHSS) 3, n. 3 (3 marzo 2021): 904–12. http://dx.doi.org/10.34007/jehss.v3i3.431.
Testo completoAbstract (sommario):
This research aims to describe the process of creating water color paints and the resulting colors made of foodst materials. The making of this water color paint through several stages, such stages are, observation, exploration, experimental, and quality testing. This experiment focused on foodstings as dye paint making materials. The exploration stage is about the materials used as additives, pigments, solvents, and binders in paints. Experimental stages in the form of making groceries into dye paints. The quality test stage is the process of comparing the quality of the experiment's color paint and the factory-made color paint. The concept of making color paint explores ingredients from food namely, kanji flour, baking soda, vinegar, food coloring, and water. And aids like, bowls and spoons, plastic containers, and toothpicks. The paint is realized into the form of a painting using aquarel painting technique.
6
Pasquale, Stefania, Massimo Zimbone, Francesco Ruffino, Giuseppe Stella e Anna Maria Gueli. "Evaluation of the Photocatalytic Activity of Water-Based TiO2 Nanoparticle Dispersions Applied on Historical Painting Surfaces". Heritage 4, n. 3 (17 agosto 2021): 1854–67. http://dx.doi.org/10.3390/heritage4030104.
Testo completoAbstract (sommario):
This paper aims at assessing the use of nanomaterials in painting conservation and in cleaning practices that could be alternative to the traditional ones to overcome the limits of new green materials. Titanium dioxide nanoparticles have been spread and studied on historical painting surfaces with good results. In particular, the properties of TiO2 nanoparticles have been considered useful for self-cleaning and protective purposes against the accumulation of dirt and dust that represents the first phase in deterioration of historical painting surfaces. TiO2 nanoparticles, prepared in distilled water by Pulsed Laser Ablation in Liquids, were applied on painting mock-ups realized in the laboratory according to old recipes and using historical binders and pigments. The surface characteristics of the painting were investigated by contact angle measurement and by Atomic Force Microscopy. The optical and aesthetical compatibility of the colloidal dispersions with the painting was assessed by spectrophotometry, and then the cleaning efficiency was evaluated by discoloration of a dye under ultraviolet irradiation, at fixed time intervals, using colorimetric technique. Because of the high reactivity of nanoparticles, the possibility of degrading the painting surface, together with the chromatic marker, was examined by colorimetric measurements. The evaluation of the color changes is important for all the materials belonging to cultural heritage, especially painting, for which the color modification induced by protective and/or cleaning interventions could irremediably compromise the work of art.
7
Liu, Jin-fang, e Kye-tae Kim. "A Study on the Origin of Modern Heavy Color Painting in Yunnan". Society for Chinese Humanities in Korea 84 (31 agosto 2023): 317–33. http://dx.doi.org/10.35955/jch.2023.08.84.317.
Testo completoAbstract (sommario):
This paper analyzes and summarizes the reasons for the formation of Yunnan modern heavy-color painting, including its social background, regional environment, and ethnic traditions. Among them, traditional national culture plays an important role in Yunnan modern heavy-color painting, providing a profound cultural background for the development of this art form. Additionally, this paper analyzes the current development status of Yunnan modern heavy-color painting and identifies some existing issues. Addressing these problems, the paper summarizes the development experience of Yunnan modern heavy-color painting and discusses its future development path. Yunnan modern heavy-color painting is an innovative and unique art form, but it also faces new challenges in its continuous development. To address these challenges, we need to adopt reasonable strategies to further improve the theoretical system and technical methods of Yunnan modern heavy-color painting and promote its innovation and development. In this process, Yunnan modern heavy-color painting needs to fully leverage the advantages of regional culture, humanistic tradition, and social value.
8
Andreeva, Olga Pimenovna, Svetlana Petrovna Akhmetova e Evelina Valerianovna Mikhailova. "Fine receptions of water coloring painting as a means of realization of creative ideas of future designers". Interactive science, n. 3 (37) (27 marzo 2019): 47–49. http://dx.doi.org/10.21661/r-486225.
Testo completoAbstract (sommario):
This article deals with the task of design education in the training of specialists who are ready to implement creative ideas in the design of environmental objects. It gives a detailed analysis discipline of academic painting. It is reported about the study of pictorial techniques, rules and patterns of academic painting, which are necessary when performing creative tasks. The stages of color design of the project are considered in detail, with the implementation of which various graphic techniques of watercolor painting are used.
9
Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa e Masaki Takata. "Japanese Crystallography in Culture and Art". Acta Crystallographica Section A Foundations and Advances 70, a1 (5 agosto 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.
Testo completoAbstract (sommario):
"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
10
Ebrey, Thomas G. "Implications of the Many Versions of the Early Printings of Kaishien gaden, the Mustard Seed Garden Painting Manual". East Asian Publishing and Society 11, n. 2 (2 settembre 2021): 154–207. http://dx.doi.org/10.1163/22106286-12341356.
Testo completoAbstract (sommario):
Abstract Kaishien gaden was a widely read and influential pair of Japanese books based on the famous Chinese painting manual, Jieziyuan huazhuan. They are among the earliest examples of Japanese color printing. Close examination of many almost identical copies of Series A (1748) and Series B (1753) offers insight into the publishing practices of four different sets of publishers. Even with exemplars printed by the same publisher, there was much variation in the use of seals and color palettes, leading to many different states of each book. Assuming that each print run would be identical in not only the pages printed from the blocks, but also in the use of seals and colors, it can be estimated that there were roughly fifty to eighty print runs of each of these books over their 65–70 year initial history.
Tesi sul tema "Japanese Water color painting"
1
Sheng-Ping, Wang, e 王聖平. "An Imagery Research on Form and Color-Oil Painting and Water-Color Painting Created by Wang Sheng-Ping". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01350321069803733631.
Testo completoAbstract (sommario):
碩士大葉大學
造形藝術學系碩士在職專班
95
ABSTRACT Artistic beauty should have the touching level, should which the humanity pursues is: Richer, is finer, has the connotation art ﹔ Can shock the will of the people in particular the artistic work, should be the author Untold hardships , carefully plans, is not accidentally bumps into or picks.Based on above cognition idea, author in recent years on the one hand study China and the West art history, China and the West esthetics, creation related technique and some master levels drawing courses; On the one hand the person, the matter, the thing which to the week suffers takes the theme, penetrates in the nature the image, with compares the embodiment the drawing technique, inquires into the drawing the shape, the color, so as to seeks that to contain in the nature is purer, constantly, the simpler visual skill picture, as well as in the human nature through ancient times does not move the emotion, to the time entrusts with a work richer connotation, the tensity and the vitality. Portrait 11, still life drawing 8, landscape painting 7, other kind of pictures 7; The paper divides into: The first chapter introduction contains the research motive and the goal, the research content and the scope; The second chapter self- creation esthetics foundation contains the creation the scientific theory or principle foundation cognition, to the artistic cognition and the beautiful cognition, China and the West drawing creation art to me the influence; The third chapter creation account in own words contains the respect art principle the form, the creation ability self- cognition training, the artistic technique ability application and the share and the creation analysis; Fourth chapter work elaboration; Fifth unit elaboration and so on chapter conclusion and forecast. Key word: Still life drawing, landscape painting,portrait
2
Wang, Siying. "Aesthetics of colours in Japanese traditional paintings and woodblock prints in the Edo Period". Thesis, 2016. http://hdl.handle.net/1828/7730.
Testo completoAbstract (sommario):
The aim of this thesis is to examine and study Japanese traditional colours: gold and red for the Kanō school, blue and purple for the ukiyoe, including their symbolic meanings, pigments, how they were applied in art works and how they were related to Japanese aesthetics.
This thesis is comprised of four chapters: the Introduction, Chapter 2, Chapter 3, and Conclusion. The introduction indicates the research purpose, theory, and research method. It also demonstrates the reason why the four colours and the two schools were selected. A combination of western colour theory, represented by Goethe, and Asian colour theory, represented by Five-elements theory and Confucius, is used in the following studies.
In Chapter 2, studies on the colour gold and red for the Kano school are presented. These show that Japanese aesthetics is not a simple concept, but an aggregation of conflicting senses of values.
The thesis then examines the colour blue and purple for the ukiyoe in Chapter 3. The two colours illustrate the concept of Japanese aesthetics, especially wabi-sabi, 侘び寂び, shibui, 渋い, and iki, 粋”.
In the two detailed central chapters, the thesis provides readers with resourceful charts and pictures of paintings that are helpful to understand the statement.
Finally, the thesis concludes the studies on Japanese traditional colours and their relations to Japanese aesthetics. This thesis hopes to not only help scholars in the field of Japanese traditional art and art history, but also offer some inspiration to readers who are doing research on Japanese contemporary design and modern art.Graduate
0377
0357
siyingwang2013@163.com
3
Lin, Chia-Heh, e 林佳禾. "The Deterioration and Restoration of Lin Chih-chu’s Glue Color Painting “Reflection of Water”". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/98517871492184007139.
Testo completoAbstract (sommario):
碩士國立臺南藝術大學
古物維護研究所
96
The history of glue color painting in Taiwan is not very long, many glue color paintings in Taiwan have been damaged due to the following reasons: (1) because the environment included high temperature and humidity, which makes conservation reservation difficult, and (2) poor economic conditions and the lack of the theory of conservation concerned among people in the past. The research was intended to scientifically analyse the extent to which Lin Chih-chu’s Reflection of Water was damaged and used such methods as literate research, field investigations and interviews to form a more complete understanding of Lin Chih-chu’s life, how Reflection of Water was created and the materials and media used, techniques involved, and how and where the work had been storaged, in order to find out reasons for the work’s deterioration. The research covered a thorough discussion, in terms of practice and theory, over an academic theory-based restoration project. The restoration process was registered and a comparison between the “before” and “after” differences was made. Concrete suggestions for the practice of the preservation and conservation of glue color paintings in Taiwan were brought up. Through a theoretical investigation and the practice of conservation, the life of Lin Chih-chu’s Reflection of Water could last and its beauty could continue to be appreciated by future generations. Condition of the work’s deterioration included dust, insect damages, excrement of insects , mould stains, foxing, yellowing, and paint flaking. The main reasons for the deterioration were the poor environment condition to which the work had been exposed, particularly the high humidity and temperature, and the materials used in the painting. The yellowing of the frame could possibly result from the acid substances released from the wood frame itself, the natural aging process of the support, and the cross impact of the environmental factors. The work was purchased at a flea market by Mrs. Lu Chiu-ling, then lined and reserved by Mr. Tsen Te-lin, which has greatly helped to relieve the deterioration. The planned treatment procedures of the work were: cleaning surface → consolidate the material → temporary facing → remove the backing → put the first lining → remove facing → put the second lining → adhering to an acrylic board → refill the preparing silk → fill losses → put the third lining → impainting → put the final lining → frame the piece with an acid-free frame. The restoration has produced excellent results with all stains, insect droppings, and foxing being removed. Although a small amount of the mildew stains could not be successfully removed, they looked much lighter than before the restoration. Serious damage would have result if a strong agent had been used to clean off stains. Holes and tears were all repaired and impainted to reduce the likelihood of the expansion of the holes and an effect of harmony was then obtained. All parts that were considered very likely to flake off were glued for reinforcement. After the old lining was removed, there were four layers of relining. Frame the work with an acid-free frame to provide a sufficient support and protection.
4
Chuang, Chun-Chieh, e 莊竣傑. "The Research and Conservation of Architecture of Gold Powder Color Painting in Japanese ruled period in Taiwan". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/47070391773957161411.
Testo completoAbstract (sommario):
碩士國立臺南藝術大學
博物館學與古物維護研究所
102
Gold Powder Color Painting is using gold powder and gold leaf to draw on black background. It's a unique technology of traditional paintings in Japanese ruled period in Taiwan and it commonly used on decoration of traditional Hakka buildings, however, it's disappear with time because it's more expensive than normal traditional tung oil paintings and artists need more high skills to paint. The study try to find and rebuild Gold Powder Color Painting technology and methods through artists interviews, past literature, and scientific analysis. According the analytical technologies such as Cross-section analysis, black layer of Gold Powder Color Painting have two - three different materials, gilding layer used red, yellow, and transparent binder to stuck gold powder and gold leaf. In addition, didn't find any coating on surface of paint layer under UV-light. By SEM-EDS analysis, the black layers have Carbon that to be made from transparent urushi with carbon black, gilding layer has Plumbum that can aid tung oil to dry to confirm that used tung oil. Using FTIR analyze the black layer and gilding layer, the result is illustrated it's near database of FTIR spectra of urushi and tung oil. Gold Powder Color Painting in Japanese ruled period is appraised as the natural lacquer (urushi). Based on the Gold Powder Color Painting by Yu Zhang Tong of Miaoli for research history and identify the materials. Then, conservation and restoration on the damage condition of the paint. And provided complete report about conservation information for reference.
Libri sul tema "Japanese Water color painting"
1
Hejzlar, Josef. Chinese watercolours. London: Galley Press, 1987.
Cerca il testo completo
2
Hejzlar, Josef. Chinese watercolours: Photographs by B. Forman ; [translated by Till Gottheinerová ; rev. by Natalie Graham and Derek French]. New York: Gallery Books, 1987.
Cerca il testo completo
3
Hyŏphoe, Hanʼguk Suchʻaehwa, a cura di. Hanʼguk suchʻaehwa chakpʻumsŏn, 1987 =: Collection of Korean water color. [Seoul]: Sŏmundang, 1987.
Cerca il testo completo
4
Finley, Carol. Art of Japan: Wood-block color prints. Minneapolis: Lerner Publications Co., 1998.
Cerca il testo completo
5
Edo ukiyoe o yomu. Tōkyō: Chikuma Shobō, 2002.
Cerca il testo completo
6
John, Holden. Watercolours. Ware: Omega, 1987.
Cerca il testo completo
7
Blockley, John. Getting started in watercolor. Cincinnati, Ohio: North Light, 1986.
Cerca il testo completo
8
1935-, Kanazawa Hiroshi, Varley H. Paul, Henshaw Julia P. 1941-, Fogliatti Cynthia Jo, Detroit Institute of Arts, Honolulu Academy of Arts e Japan Bunkachō, a cura di. Of water and ink: Muromachi-period paintings from Japan, 1392-1568. Detroit, Mich: Founders Society, Detroit Institute of Arts, 1986.
Cerca il testo completo
9
Clark, Timothy. Demon of painting: The art of Kawanabe Kyōsai. London: Published for the Trustees of the British Museum by the British Museum Press, 1993.
Cerca il testo completo
10
Yamada, Masaaki. Yamada Masaaki no kaiga: "seibutsu" kara "work"-- soshite "color" e. Tōkyō-to Fuchū-shi: Fuchū-shi Bijutsukan, 2005.
Cerca il testo completoCapitoli di libri sul tema "Japanese Water color painting"
1
Novak, Barbara. "George Caleb Bingham: Missouri Classicism". In American Painting of the Nineteenth Century, 125–36. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0009.
Testo completoAbstract (sommario):
Abstract I had myself called with the four-o’clock watch, mornings, for one cannot see too many summer sunrises on the Mississippi. They are enchanting. First, there is the eloquence of silence; for a deep hush broods everywhere. Next, there is the haunting sense of loneliness, isolation, remoteness from worry and bustle of the world. The dawn creeps in stealthily; the solid walls of black forest soften to gray, and vast stretches of the river open up and reveal them- selves; the water is glass-smooth, gives off spectral little wreaths of white mist, there is not the faintest breath of wind, nor stir of leaf; the tranquillity is profound and infinitely satisfying. When the light has become a little stronger, you have one of the fairest and softest pictures imaginable. You have the intense green of the massed and crowded foliage near by; you see it paling shade by shade in front of you; upon the next projecting cape, a mile off or more, the tint has lightened to the tender young green of spring; the cape beyond that one has almost lost color, and the furthest one, miles away under the horizon, sleeps upon the water a mere dim vapor, and hardly separable from the sky above it and about it. And all this stretch of river is a mirror, and you have the shadowy reflections of the leafage and the curving shores and the receding capes pictured in it.
Atti di convegni sul tema "Japanese Water color painting"
1
Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto e Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products". In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.
Testo completoAbstract (sommario):
There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has been viewed as special, and admired as black with the highest grade. Therefore, the Japanese word “Shikkoku” has been generated, inhere, “Shi” means Urushi, and “Kkoku” means black color. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. It is considered that these characteristics are influenced by skill level of craftspeople. Then this study aims to analyze a difference between expert craftspeople and non-expert craftspeople in the painting process of Urushi. Body and eye motion between expert and non-expert craftspeople were analyzed and compared. As a result, there were differences in the time of painting with brush. And more there were differences in eye movement. It is considered that these differences were due to the difference of skill level, and in turn, the quality of Urushi products has been influenced.
2
Sakata, Tomofumi, Keiichi Watanuki e Kozawa Motohiro. "Influence of History of Art Learning on Understanding of Beauty and Ugliness in Painting". In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003240.
Testo completoAbstract (sommario):
Japanese elementary school teachers can teach art classes to elementary school students without receiving any art education. For this reason, there are no common evaluation criteria for art classes, and teachers create their own evaluation criteria and assign grades. The teachers' own evaluation criteria often include their own interests, suggesting that the students may not be receiving a fair evaluation. It is possible that elementary school students dislike art classes due to unfair evaluation. A dislike of art from an early age can lead to a lack of imagination and creativity. In addition, we are becoming a mature society with a rapidly declining birthrate and an aging population, and it is expected that each individual, as the bearer of a sustainable society, will be nurtured to create new values that will lead to the growth of individuals and society with qualitative enrichment driven by the diversity of the individual. One of the changes in a mature society is the rapid evolution of artificial intelligence. It is claimed that artificial intelligence is starting to think and comprehend knowledge conceptually on its own, and it is predicted that this would significantly alter the nature of employment and the significance of knowledge acquired in schools. At the same time, this leads to a reaffirmation of the fact that no matter how much artificial intelligence evolves and becomes capable of thinking, it is the greatest strength of human beings to provide the purpose of thinking and to judge the goodness, correctness, and beauty of the purpose. School education is required to enable children to actively face various changes, solve problems in collaboration with others, discern various types of information, realize a conceptual understanding of knowledge, reconstruct information and connect it to new values, and reconstruct purposes in complex changing situations. It is also required to be able to reconstruct objectives in the face of complex changes in circumstances. Thus, art education is considered crucial, and it is important to understand what aspects of art are perceived as beautiful or ugly in the process of learning art. Therefore, the purpose of this study was to understand the differences in the sense of beauty and ugliness in paintings between students majoring in art and those who are the same age as the students and have no prior art study experience.We conducted an experiment using paintings from each period of Western art history as the paintings for judging the beauty and ugliness of a painting. By evaluating the beauty and ugliness of art paintings from each period, we selected a variety of paintings from simple to complicated for the purpose of judging the beauty and ugliness of the paintings. We also aimed to quantify the beauty/ugliness points that do not change depending on the age or the complexity of the painting.Fractal analysis was used for the analysis. A fractal is a similarity between the whole and a part of a figure. Fractals are often found in nature and in living organisms, and fractal structures can also be found in works of art. In particular, fractals are seen in the paintings of Abstract Expressionist painters, whether by accident or necessity. It has been reported that fractal dimension and art are closely related. In this study, we consider fractals in color tones as well as in structure.As a result, art majors were able to clearly point out the beauty and ugliness of complicated paintings. Students who did not study fine arts saw the whole complicated painting as beautiful, and were unable to point out clear beauty or ugliness points. For simple paintings with only one person, the art majors were able to point out the beauty and ugliness of the painting in more detail. Students who did not study art pointed out the beauty and ugliness of a simple painting in a large and general way. Fractal analysis showed that the beauty/ugliness points pointed out by the experts maintained a medium fractal dimension. The fractal dimension of the beauty/ugliness points pointed out by students who had not studied art maintained a high fractal dimension, indicating that they perceived beauty/ugliness in more complex areas.The above results indicate that as students learn more about art, they are able to understand the beauty and ugliness of a picture more intricately and perceive beauty and ugliness in areas with a medium fractal dimension.