Artykuły w czasopismach na temat „Narrative painting”
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Purwita, Dewa Gede. "Pengaruh Narasi pada Seni Lukis Tradisi Bali: Studi Bahasa Rupa Lukisan Wayang Kamasan dan I Ketut Gede Singaraja". Humanis 25, nr 4 (11.11.2021): 504. http://dx.doi.org/10.24843/jh.2021.v25.i04.p10.
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Traditional Balinese painting elements contain narrative, illustrative, figurative, functional, these formed the structure of Balinese art which is closely related to the existence of the text as the background of its creation. This study aims to read the influence caused by narrative as things that affect the “wimba” and the “cara wimba” in traditional Balinese painting which is focused on Sutasoma's painting in the Kamasan painting style in Bale Kambang Kerta Gosa, Klungkung and the painting of Prabu Salya by I Ketut Gede Singaraja. This research method uses a qualitative art research with analytical descriptive, the theory used as an analysis is the system namely Ruang-Waktu-Datar from the theory of Bahasa Rupa. The results of the analysis show that the narrative forms a system of procedures for depicting traditional Balinese paintings which can be seen from the way the perspective is applied from various sides, the pattern of depiction of figures that replace facial expressions with gestures, as well as the presence of a symbolic time dimension. Through reading with the Ruang-Waktu-Datar, it is found that traditional Balinese paintings are influenced by narratives that are very strongly reflected in their language of appearance.
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Foskolou, Vicky A. "Telling stories with pictures: narrative in middle and late Byzantine monumental painting". Byzantine and Modern Greek Studies 43, nr 2 (10.09.2019): 194–218. http://dx.doi.org/10.1017/byz.2019.16.
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This article explores the narrative strategies employed in the monumental painting of the middle and late Byzantine period and considers whether the different methods of narration and the degree of narrativity can reveal anything about the function of the work, its creators, its audience and finally its period; in other words whether a narratological approach to visual representation could be a tool for analysing a work of art in socio-historical terms. This is determined firstly by identifying similar narrative structures in contemporary literature and secondly by looking for information on how contemporary viewers ‘read’ the ‘story’ in monumental narrative paintings.
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Sarkar, Asmita, i Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation". Journal of Aesthetic Education 57, nr 1 (1.04.2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.
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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Chelkowski, Peter. "Narrative Painting and Painting Recitation in Qajar Iran". Muqarnas 6 (1989): 98. http://dx.doi.org/10.2307/1602284.
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Chelkowski, Peter. "NARRATIVE PAINTING AND PAINTING RECITATION IN QAJAR IRAN". Muqarnas Online 6, nr 1 (1988): 98–111. http://dx.doi.org/10.1163/22118993-90000238.
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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting". Art Book 2, nr 1 (styczeń 1994): 18. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00349.x.
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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting". Art Book 2, nr 1 (styczeń 1995): 18. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00349.x.
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Yang, Dongge. "Narrative Expression of Light in Contemporary Oil Paintings". Scientific and Social Research 3, nr 4 (26.10.2021): 63–69. http://dx.doi.org/10.36922/ssr.v3i4.1229.
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In modern and contemporary times, under the background that artists enjoy full freedom of choice, the use of light gets rid of the traditional role, takes light as the main form of expression to express the painter’s personal subjective emotion, and makes attempts in various painting styles, which makes the appearance of today’s paintings diverse. This paper studies the contemporary oil paintings of the development and innovation of light and the content expression of new forms, analyzes and summarizes the characteristics of the narrative expression of light with the word “narrative of light” combined with the works of contemporary art master Heimer Xiuyi, and discusses the significance of the narrative expression of light in Contemporary oil paintings.
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Dunagin-Miller, Christine, i Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography". Art/Research International: A Transdisciplinary Journal 2, nr 1 (22.03.2017): 20–31. http://dx.doi.org/10.18432/a.r.i..v2i1.25655.
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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Dunagin-Miller, Christine, i Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography". Art/Research International: A Transdisciplinary Journal 2, nr 1 (22.03.2017): 20. http://dx.doi.org/10.18432/r2h05h.
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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Lauge Hansen, Hans. "Una ciudad dilatada por la luz". Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 46, nr 1 (27.06.2011): 105–26. http://dx.doi.org/10.1075/rro.46.1.05lau.
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The purpose of this article is to analyze the function of art in the narrative of Antonio Muñoz Molina. Through the interpretation of the narrative function of paintings by renowned artists like Cézanne, Rembrandt, Velázquez and Mark Rothko in four works, The Winter in Lisbon, The Polish Rider, Sefarad and The Windows of Manhattan, I will pursue the hypothesis that the works of art play the role of identity giving metaphors for the characters. At the same time the painting play the role of “entelechies” in the narrative structure, as well for the characters as for the reader, because it is only through the interpretation of the paintings that each narrative obtains coherence and plenitude.
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WHITE, JAMES. "A Sign of the End Time: ‘The Monastery’, Topkapı Sarayı Müzesi H.2153 f.131b". Journal of the Royal Asiatic Society of Great Britain & Ireland 27, nr 1 (3.10.2016): 1–30. http://dx.doi.org/10.1017/s1356186316000444.
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AbstractStudies of visual culture in the Persian-speaking world of the fourteenth and fifteenth centuries frequently discuss the literary contexts in which painting was often produced, yet scant attention has been paid to understanding how the visual can engage with the verbal beyond representing a sequential narrative. Arguing that paintings and literary texts are autonomous, yet can engage with similar ideas, this article focuses on a painting in the album TSMK H.2153 that is generally perceived to lie outside the frameworks of narrative poetry: ‘The Monastery’ (f.131b). The article investigates how the painting employs techniques of representation similar to those used in lyric and panegyric poetry, to connect individual motifs and thereby explore ideas. An engagement with the continuities between literary and visual cultures reveals a chronogram, giving the year in which ‘The Monastery’ was produced, and allows us to understand how it constructs a vision of unorthodox kingship.
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Gascoigne, David. "Georges Perec's La Vie mode d'emploi; or, How to Take on Painting and Win". Nottingham French Studies 51, nr 3 (grudzień 2012): 286–97. http://dx.doi.org/10.3366/nfs.2012.0028.
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Notes by Perec on his reaction to paintings and on his collaboration with painters suggest a complex, but potentially conflictual relationship. In his fictional masterpiece La Vie mode d'emploi (1978) he pursues an elaborate confrontation on many levels with paintings and painters, whose prestige he recognizes as a rival to writing, which is thus challenged to reassert its primacy. Intradiegetically, the narrative turns centrally on accounts of failed projects related to painting. Extradiegetically, ‘Old Master’ paintings are dismantled to provide details for insertion into quite alien contexts in Perec's textual construction, and the aspect of framing central to traditional canvas painting is consistently challenged. Strategically, Perec's whole project in this work can be read as a calculated invasion, by the writer, of the domain of spatial representation seen since Lessing as proper to painting, and as an assertion of the supremacy of the textual.
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Forrester, Shannon. "Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice". Art/Research International: A Transdisciplinary Journal 5, nr 1 (28.02.2020): 116–47. http://dx.doi.org/10.18432/ari29486.
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Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through diverse reparative practices in painting. Painting from the Other Side included an open call for paintings that engage with reparative content by artists whose identities are in some way outside of the minority power position of the Western canon of painting by straight white male artists. It included intensive studio visits and culminated in an exhibition. This paper proposes a theoretical framework of reparative painting and practice, tracing the many paths research-participant artists followed towards a reparative turn in painting.
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CELINSKA, DOROTA. "Painting a portrayal of narrators with learning disabilities from two narrative perspectives". Applied Psycholinguistics 35, nr 4 (7.12.2012): 649–75. http://dx.doi.org/10.1017/s0142716412000537.
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ABSTRACTTwo narrative perspectives, high point analysis and episodic analysis, were used to compare the ability of narrators with and without learning disabilities to fulfill the referential and evaluative narrative functions. The participants were 82 students with learning disabilities and their typically achieving peers matched on age, grade, gender, and ethnicity. The participants (48 Caucasian, 34 African American) attended urban and suburban schools (Grades 4–7). Narratives were collected within the context of a naturalistic conversation. The findings across the two narrative perspectives showed areas of incongruence in specific narrative competencies. While these findings expand the portrayal of narrators with learning disabilities, they also imply the impact of using specific narrative analyses and genres for the narrative assessment and intervention outcomes.
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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii". Classical Antiquity 13, nr 2 (1.10.1994): 149–66. http://dx.doi.org/10.2307/25011012.
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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are (also) copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings (both extant and lost) of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons.
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Hetmański, Marek. "Visual metaphor and its narrative function". Cognitive Linguistic Studies 7, nr 1 (19.08.2020): 141–67. http://dx.doi.org/10.1075/cogls.00052.het.
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Abstract The paper aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create possible and alternative courses of events. Based on the analysis of R. Arnheim’s concept of openness of fine art works, J. Bruner’s theory of narrative mind, storytelling and possible worlds, and Ch. Forceville’s analyses of visual metaphors, the paper will attempt to answer the following two philosophical and epistemological questions: (1) how universal themes are depicted, perceived, conveyed, and comprehended in metaphorical paintings; and (2) what is the difference between the structures of the visual metaphors characteristic for these paintings and merely literary parabolic means. Both conceptual metaphors and blending theories are used in the analyses of selected symbolic and metaphoric paintings by Malczewski to explain in what scope his painting methods and their narrative structures are entangled in Polish national-cultural history, and how important they are in cognitive studies as well as in the history and theory of fine arts.
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Partridge, Loren, i Jack M. Greenstein. "Mantegna and Painting as Historical Narrative." American Historical Review 98, nr 4 (październik 1993): 1282. http://dx.doi.org/10.2307/2166727.
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Hawaldar, Asmita. "Manmath Pooja". Integrated Journal for Research in Arts and Humanities 3, nr 1 (3.02.2023): 101–5. http://dx.doi.org/10.55544/ijrah.3.1.17.
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Lepakshi is a small town1 situated in Hindupur taluka of Anantpur district, Andhra Pradesh. Veerbhadra temple located in Lepakshi is famous for monumental temple architecture of Vijaynagar Empire period. The extensive mural paintings executed on the walls and temple ceilings are world famous. One of the painting ‘Girija Kalyanam’ depicts story of marriage of Shiv and Parvati. It is a narrative panel. It starts with the painting famously known as ‘Parvati’s toilet’. In this paper, I have tried to prove that it is not ‘Parvati’s toilet’ but ‘Manmath Pooja’.
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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 (30.09.2022): 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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Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle". Quêtes littéraires, nr 5 (30.12.2015): 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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Carlson, David Lee. "Embodying Narrative: Diffractive Readings of Ethical Relationality in Qualitative Inquiry". Qualitative Inquiry 26, nr 10 (22.07.2020): 1147–50. http://dx.doi.org/10.1177/1077800420939205.
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This introduction provides an inquisition into the role of narrative inquiry in the field of qualitative inquiry. Drawing on Michel Foucault’s works on painting, this introduction discusses the philosophical tensions within narrative inquiry as a methodology to situate narrative in a broader context of research methodologies and to raise some questions about the very specific role of the human and anthropomorphism in narrative inquiry. The authors in this special issue were tasked with thinking through narratives with unexplored theories or theoretical perspective. The purpose of the special issue is to invite readers to consider these various tensions.
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Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature". Religions 11, nr 9 (14.09.2020): 467. http://dx.doi.org/10.3390/rel11090467.
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What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in Buddhist texts one begins to find a growing regard for the possibilities of re-ordering and transvaluing sense experience. After suggesting the possibility of this on the basis of a preliminary consideration of some figures of speech invoking painting, this essay turns to the reconstruction of what I call aesthetic stances to make sense of the idea of new possibilities in sense experience. I derive the concept of “aesthetic stances” on the basis of a close reading of a pivotal moment in one Buddhist narrative, the defeat of Māra in The Legend of Aśoka.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»". Bulletin of Lviv National Academy of Arts, nr 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Lima, Denise Noronha. "José Saramago “escrepintor” / José Saramago “escrepintor”". Revista do Centro de Estudos Portugueses 39, nr 62 (22.01.2020): 15. http://dx.doi.org/10.17851/2359-0076.39.62.15-30.
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Resumo: Manual de pintura e caligrafia, de 1977, é o segundo romance publicado por José Saramago, três décadas após sua estreia na literatura. Considerando o valor transicional e formativo dessa obra, visto que ela antecede imediatamente a fase madura do autor, iniciada com Levantado do Chão, de 1980, este estudo busca examinar a forma como aquele movimento de transição se transfigura na narrativa, pela relação entre a pintura e escrita autobiográfica do protagonista. Procede-se à análise de diversos aspectos do diálogo entre literatura e pintura estabelecido no romance a partir da palavra “escrepintor”, com a qual o narrador-personagem se define. Decorre da discussão desses aspectos a conclusão de que o Manual de pintura e caligrafia simboliza o nascimento de uma nova forma de narrativa de Saramago, cuja consolidação se efetivará na fase seguinte do escritor.Palavras-chave: Saramago; pintura; romance.Abstract: Manual of painting and calligraphy, 1977, is the second novel published by José Saramago, three decades after his debut in the literature. Considering the transitional and formative value of this work, since it immediately precedes the author’s mature phase, which began with Raised from the ground, in 1980, this study aims to examine how that transitional movement is transformed in the narrative by the relationship between painting and autobiographical writing of the protagonist. It proceeds to the analysis of various aspects of the dialogue between literature and painting established in the novel from the word “escrepintor”, with which the character storyteller defines himself. From the discussion of these aspects the conclusion is that the Manual of painting and calligraphy symbolizes the birth of a new form of Saramago’s narrative, whose consolidation will take place in the next phase of the writer.Keywords: Saramago; painting; novel.
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Rebello, Ivana Ferrante, i Osmar Pereira Oliva. "Grande sertão: veredas em luz e sombra". O Eixo e a Roda: Revista de Literatura Brasileira 27, nr 3 (21.12.2018): 249–66. http://dx.doi.org/10.17851/2358-9787.27.3.249-266.
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Resumo: Este estudo lê o romance Grande sertão: veredas e as influências da arte pictórica na composição de sua narrativa. A partir dos registros do autor encontrados no material arquivado no Instituto de Estudos Brasileiros, e da apreciação de Guimarães Rosa pela pintura, apresentamos relações entre a narrativa de primeira pessoa e as variações de cor no romance. Esses jogos de luz e sombras nos ajudaram a ler a intricada dubiedade que rege a vida, a violência e a sexualidade de Riobaldo.Palavras-chave: Grande sertão: veredas; luz e sombra; pintura; dúvida.Abstract: This study reads the novel Grande Sertão: Veredas and the influences of the pictorial art in the composition of its narrative. From the author’s records, found in the material filed in the Instituto de Estudos Brasileiros (Institute of Brazilian Studies) and in Guimarães Rosa’s appreciation for painting, we present the relations between first-person narrative and color variations in the novel. Those plays on light and shadows helped us to read the intricate dubiousness that rules the life, violence and sexuality of Riobaldo.Keywords: Grande Sertão: Veredas; light and shadow; painting; doubt.
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Wulandari, Anak Agung Ayu. "The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style". Humaniora 7, nr 4 (30.10.2016): 463. http://dx.doi.org/10.21512/humaniora.v7i4.3599.
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The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this research was to compare the artistic transformation before Pita Maha and after Pita Maha. It was done by analyzing examples of Kamasan styled painting and works of Lempad through the qualitative method with a case study approach. The analyses show the differences between both styles regarding themes, iconographies, human figures proportions and composition, presentation of narrative stories, decorative elements and availability of artists’ signature in the paintings. It shows the artistic transformation of Balinese art. Through Pita Maha, Balinese starts to adopt western painting techniques, while preserving the cultural inheritance and symbolic value of traditional art in addition to their economic value.
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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 (30.09.2022): 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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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals". European Journal for Philosophy of Religion 13, nr 1 (2.03.2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3858.
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As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth.
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Li Xiaojun. "From Literature to Image: Study on the Literariness of Painting Creation of Books and Periodicals". European Journal for Philosophy of Religion 13, nr 1 (2.03.2021): 200–220. http://dx.doi.org/10.24204/ejpr.2021.3696.
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As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth.
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Fadeyeva, Liudmila V. "VOTIVE PAINTING AS A NARRATIVE ABOUT A MIRACLE". Folklore: structure, typology, semiotics 5, nr 1 (2022): 104–25. http://dx.doi.org/10.28995/2658-5294-2022-5-1-104-125.
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The article deals with votive paintings of the Alpine region. These attractive works of folk art (and the religious culture of the Catholic South of Europe as well) are observed from the point of view of their functional aims as testimonies of a miracle that happened in human life. Votive paintings are interesting first of all as visualized stories, therefore it’s worthy of representing the perspective of the comparison between their narrative strategies and the narrative strategy of folklore legends. The author notes that the inclusion of a special inscription in the first person is optional for the picture. Moreover, Italian masters often use only formal inscriptions; they try to translate their customer’s stories into a drawing completely. However, the examination of some examples which show a parallel transmission of the event via words and images demonstrates remarkable differences in narrative strategies. It is significant that the visualization of a miracle as a divine intervention into the circumstances of a person’s life is mostly a result of the traditional iconography scheme followed by the painter; while the words of the person participating in the event are primarily focused on the reality and tiny details of what happened.
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Armstrong, Frank, Trixie James, Hermina Conradie i Shane Parker. "Males in Enabling: Painting a portrait through narrative". Student Success 9, nr 1 (3.02.2018): 9–22. http://dx.doi.org/10.5204/ssj.v9i1.429.
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The number of males entering higher education via an enabling pathway is slowly increasing; yet, males still battle with the anti-intellectual attitude that is prevalent in regional areas of Australia. Previous research undertaken by the authors began exploring the factors that inhibited or enhanced the male experience within an enabling course. This paper expands upon this research with a deeper focus on the male experience through personalised accounts derived from individual interviews. Using qualitative methodology and narrative inquiry, the findings provide a deeper understanding of the issues that males of different ages face when creating a new identity as a university student. This paper shares insights into what motivated the male students to enter university via an enabling pathway; the actual personal experiences both positive and negative during this time; and the effect that this commitment to study had on them personally and the people around them. The lens of transformative theory underpins this research through exploring frames of reference that align with the students’ experiences. Portraiture prose shares the individual stories which are analysed and the key findings extrapolated.
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Ann Achin, Imelda, i Addley Bromeo Bianus. "FORMALISTIC AND NARRATIVE IN PROJECTION MAPPING PAINTING: HABITAT". PEOPLE: International Journal of Social Sciences 1, nr 1 (30.05.2017): 829–41. http://dx.doi.org/10.20319/pijss.2015.s21.829841.
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Martin, John, i Patricia Fortini Brown. "Venetian Narrative Painting in the Age of Carpaccio." American Historical Review 95, nr 4 (październik 1990): 1238. http://dx.doi.org/10.2307/2163616.
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Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda". PMLA/Publications of the Modern Language Association of America 121, nr 3 (maj 2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.
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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect American pictographic language and demonstrate the influence of Mexican painting on the literature of the Spanish golden age. Descriptions of paintings in the Persiles ultimately provide a metafictional critique of European paradigms of graphic representation and challenge the authority of European colonial rationalizations of power dynamics in the New World. (EB)
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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative". Études Ricoeuriennes / Ricoeur Studies 9, nr 1 (4.09.2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.
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The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration.
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Зауст, С. К. "Actualization of the Narrative Functions of the Costume in Works of Fine Art (On the Example of Paintings by Viktor Vasnetsov)". Nasledie Vekov, nr 2(30) (30.06.2022): 47–56. http://dx.doi.org/10.36343/sb.2022.30.2.003.
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Статья посвящена выявлению и описанию нарративной функции костюма и его деталей в четырех сказочных сюжетных полотнах В. М. Васнецова. Картины рассмотрены в качестве примеров удачных визуальных нарративов, соответствующих нарративу устному (сказке). Охарактеризованы сюжетные и композиционные особенности полотен, подробно описаны костюмы изображенных персонажей. Значительное внимание уделено элементам одежды, раскрыто их внутреннее смысловое содержание в контексте изображенных сюжетов. Установлено, что актуализация нарративной функции костюма позволила выдающемуся русскому художнику обеспечить динамку живописного изображения, более рельефно выразить конфликт, лежащий в основе сюжета, способствовать погружению зрителя в столь характерное для русских волшебных сказок состояние «саспенса» – неопределенности, напряжения и тревожности перед встречей с таинственным. In the article, on the example of four paintings by Viktor Vasnetsov, the author reveals the range of artistic tasks that can be solved by the artist through the actualization of the narrative function of the clothes of the depicted characters and costume details. The sources for the study were the paintings themselves, as well as the results of related research undertaken by art historians and culturologists. The methodology is based on the approaches inherent in structuralism and post-structuralism (Yuri Lotman, Roland Barthes) and allowing one to perceive a work of art as a coded message accessible for analysis and as a kind of a structure, whose elements are interconnected and interdependent. Canvases based on fairy tales written by Vasnetsov are considered as examples of successful visual narratives that correspond to an oral narrative (a fairy tale). The author shows how the details of the costume, which Vasnetsov depicted, intervened in the composition, changing the original idea of the painting Alyonushka(1881). The author states that the plot of this tale, which tells about a sister looking for her lost brother, was expressed in the painting using not quite ordinary images and techniques. The author notes that, in the monumental composition of the panel Three Princesses of the Underworld (1884), the artist was able to tell the story only through the description of things – the details of the heroines’ costumes. These details form the basis of the visual narrative, and consideration of the static figures of the three princesses in their luxurious outfits is the only way for the audience to read the fairy tale “Underground Kingdoms”, encrypted in the picture. The author emphasizes that the narrative function of the ancient Russian male costume, which Ivan Tsarevich, the character of the painting The Flying Carpet (1880), is wearing, expands the viewer’s understanding of the fairy tale and its hero as a concrete, living person. The author analyzes Vasnetsov’s large-scale illustration Ivan Tsarevich on the Gray Wolf (1889) and determines that the dynamic manner of depicting the costume details creates a potential expectation of the continuation of the depicted action, which is formed in the mind of the viewer perceiving the picture. The author concludes that the actualization of the narrative function of the costume allowed Vasnetsov to ensure the dynamism of the pictorial image, to express the conflict underlying the plot more clearly, to help immerse the viewer in the state of “suspense” – uncertainty, tension and anxiety before meeting with the mysterious – so characteristic of Russian fairy tales.
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Ariesa Pandanwangi, Belinda Sukapura Dewi i Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS". Jurnal Budaya Nusantara 3, nr 2 (20.07.2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Gawlak, Agata, Paulina Kowalczyk i Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art". Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, nr 1 (31.03.2020): 20–27. http://dx.doi.org/10.35784/teka.2414.
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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.
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Fallon-Ludwig, Sandra. "Narrative inspiration in Liszt’s symphonic poems: The cases of Hunnenschlacht and Tasso, Lamento e Trionfo". Studia Musicologica 54, nr 4 (1.12.2013): 367–78. http://dx.doi.org/10.1556/smus.54.2013.4.3.
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Although Franz Liszt’s symphonic poems were inspired by works of literature, poetry, and painting, the resulting works are not mere replicas of the inspirational source. Rather, Liszt concentrates on themes of importance gleaned from the sources and uses these ideas to create a musical narrative. In this paper, I explore two distinct musical narratives in Liszt’s symphonic poems: the “conflict and resolution” narrative evident in Hunnenschlacht and the “suffering and redemption” narrative of Tasso, Lamento e Trionfo. Through these examples, I demonstrate that musical narrative is an organizing force in and of itself within Liszt’s symphonic poems; a narrative progression towards apotheosis propels the music forward and suggests Liszt’s programmatic inspiration in each work. Although some seek to fit the musical structure of Liszt’s symphonic poems into a preexisting model, this paper proposes that the program is their integral part, and that only through a combination of programmatic and formal analyses can one gain a deeper understanding of these works as a whole.
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Frankiv, Roman, i Khrystyna Boyko. "Idyllic story in the creation of modern nations narratives, on the example of German, Jewish and Ukrainian painting". National Academy of Managerial Staff of Culture and Arts Herald, nr 2 (17.09.2021): 159–64. http://dx.doi.org/10.32461/2226-3209.2.2021.239998.
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The purpose of the article is to identify the features of idyllic artistic plots related to German, Jewish and Ukrainian national narrative. Try to evaluate their motivating mechanism. The methodology is the use of ideological and plot analysis, methods of comparison and generalization. The scientific novelty is to expand the understanding of the plot content of some works of German, Jewish and Ukrainian art, in the context of their nation - creative motivation. Conclusions. The period of creation of modern nations became a great challenge for art. An important motivating role belongs to the creation of the image of the "ideal being", the mandate to which the new community promised. Thus, the nation-creative plot is, in one way or another, connected with sacralization sentiments. German painting in the Romantic era operated with paintings of idyll, which, however, contains memories of the Middle Ages as an era of even greater perfection. Thus arose the motivating potential of "return" to the epic of the past. Jewish art culture is characterized by a tradition of associating the ideal being with the holy city of Jerusalem, a "return" to which also has motivating potential. In Ukrainian art, there are also plots of natural idyll, but the situation of "ideal existence" is connected with the inner state of man - the warrior "Cossack Mamaу", who gains personal freedom for creativity. As a result of the study, it was found that idyllic plots associated with the creation of modern national narratives in German, Jewish and Ukrainian painting have a number of common and distinctive features. Common features include the presence of sacred content and solidarity of the surrounding community. Distinctive features are different vector of orientation of the motivating plot. In art related to the German narrative of ideal nation existence, vector can be described as epoch-centric, with the Jewish narrative as city-centric, and with Ukrainian as anthropocentric.
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Rapatzikou, Tatiani G. "Language Amplifications and Visualisations in Michael Joyce’s was and Alexandra Grant’s babel". Synthesis: an Anglophone Journal of Comparative Literary Studies, nr 6 (1.05.2014): 36. http://dx.doi.org/10.12681/syn.16175.
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This article focuses on Michael Joyce‘s novel was and Alexandra Grant‘s painting babel in an attempt to explore what changes occur when moving between media, language codes and materials. Grant‘s painting is a response to Joyce‘s print-bound novel. Her work serves as a remediation as well as a reconceptualisation of Joyce‘s textual endeavor. In examining these works, we can locate a dynamic relation across the patterns of visual and verbal communication that they create. Joyce‘s and Grant‘s collaboration breaks new ground not only in terms of understanding how different media function but also by introducing an experiential and participatory form of narrative development. Through their engagement with different media, these works create narratives that are visually, verbally, spatially and conceptually challenging.
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Samperio Jiménez, Daniel. "Emulación pictórica y experiencia ilusoria: pictorialismo en El biombo y los frutos de Jesús Gardea". Acta poética 43, nr 1 (11.12.2021): 93–112. http://dx.doi.org/10.19130/iifl.ap.2022.43.1.458725.
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Belonging to the last stage of Jesús Gardea, El biombo y los frutos is one of his most enigmatic and perplexing novels. This article examines the relationship with painting in this work under the notion of pictorialism as a textual phenomenon that creates pictorial effects in the narrative. In particular, the dialogue between painting and gaze is analyzed, where the narration plays with both the vivid and illusory experience of representation in the story. With this, it sets out to elucidate one of the most suggestive elements of Gardea’s writing, especially manifested in this novel, not without seeking to contribute to a greater understanding of the author’s latest creative stage and aesthetic proposal.
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Chernysheva, Maria A. "The New Historical Narrative in the 19th Century Painting". Actual Problems of Theory and History of Art 8 (2018): 140–48. http://dx.doi.org/10.18688/aa188-1-13.
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Woods-Marsden, Joanna. "Mantegna and Painting as Historical Narrative. Jack M. Greenstein". Journal of Modern History 67, nr 2 (czerwiec 1995): 455–58. http://dx.doi.org/10.1086/245137.
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Benson, J. L. "Human Figures and Narrative in Later Protocorinthian Vase Painting". Hesperia 64, nr 2 (kwiecień 1995): 163. http://dx.doi.org/10.2307/148052.
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Casteras, Susan P. "Victorian Figurative Painting: Domestic Life and the Contemporary Social Scene, and: Victorian Narrative Painting (review)". Victorian Studies 44, nr 3 (2002): 495–99. http://dx.doi.org/10.1353/vic.2002.0052.
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Mulholland, Joseph. "After Peter Doig’s “Music of the Future”". Caribbean Quilt 6, nr 2 (4.02.2022): 128–29. http://dx.doi.org/10.33137/cq.v6i2.37335.
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The poem is loosely inspired by Peter Doig’s painting “Music of the Future” and reimagines the night scene that is depicted in the painting. The poetic voice is rooted in a deep sense of place while simultaneously speaking from the outer edges of that place, creating a liminal space through poetic images and narrative.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies". Religion and the Arts 20, nr 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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Cobuz, Raluca-Georgiana. "The Passion Cycle in the Sanctuaries of the Saxon Fortified Churches in Southern Transylvania". Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (9.11.2021): 43–66. http://dx.doi.org/10.24193/subbhist.2021.spiss.03.
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"This paper aims to reconstitute the pictorial program of some medieval Saxon churches’ sanctuaries, which are Mălâncrav, Curciu, Râşnov and Sibiu, with particular interest on the images regarding the Passion Cycle. The article will try to bring a stylistic and iconographic analysis of the Passion Cycle in the sanctuary, episodes that usually appear on the northern choir wall. Therefore, we aim to highlight the reasons why this Passion narrative was chosen to decorate this part of the sanctuary and what was its role both regarding the place that it occupies, that is near the most sacred place of the church, and also the role it had in the religious services. Given the complexity of the narrative programs and the strong link with the biblical texts, the paintings have a double role, both educational and devotional. Keywords: Passion Cycles, mural painting, fortified churches, iconography "