Artykuły w czasopismach na temat „Painting (Fine art)”
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1
Shavkatovich, Khalilov Ruslan. "PENCIL IN FINE ART THE PLACE OF COMPOSITION". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, nr 04 (1.04.2022): 67–72. http://dx.doi.org/10.37547/pedagogics-crjp-03-04-15.
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The article is devoted to the theoretical analysis of academic painting and the basics of graphic drawing in the practical studies of fine art as well as the methodology of teaching the role of drawing in painting.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts". Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, nr 3 (12.11.2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Barron, Irving R., i Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings". Electronic Imaging 2020, nr 4 (26.01.2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.
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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Doluda, A. О., O. S. Puklich, T. S. Romanenko i O. S. Drobysheva. "FORENSIC FINE ART RESEARCH OF PAINTINGS". Theory and Practice of Forensic Science and Criminalistics 18 (26.12.2018): 534–42. http://dx.doi.org/10.32353/khrife.2018.62.
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The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.
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Chen, Bingquan. "Classification of Artistic Styles of Chinese Art Paintings Based on the CNN Model". Computational Intelligence and Neuroscience 2022 (30.08.2022): 1–7. http://dx.doi.org/10.1155/2022/4520913.
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People’s appreciation needs of Chinese paintings have gradually increased. The research on automatic classification and recognition of Chinese painting artistic style and its authors have great practical value. This study presents a Chinese painting classification algorithm with higher classification accuracy and better robustness. Using a convolutional neural network (CNN) to extract the features of Chinese painting, the image features of Chinese painting are extracted by fine-tuning the pretrained VGG-F model. The mutual information theory is introduced into embedded machine learning, so that the embedded principle is affected by feature selection and feature importance. An embedded classification algorithm based on mutual information is proposed, and Chinese painting is classified.
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Karabalayeva, B. R., S. Pelshe i N. L. Seitakhmetova. "MODERNIZATION PROCESSES IN THE MODERN FINE ART". BULLETIN 5, nr 387 (15.10.2020): 281–87. http://dx.doi.org/10.32014/2020.2518-1467.170.
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Today, in the visual arts of Kazakhstan, the actual art is developing dynamically. Although the popularity of new technologies has been observed only in the last decade, there are selected, unique works in the actual art of Kazakhstan. The artists received the core of actual art they were interested in from the conceptual art of Russia. It began to expand, because in General, within the framework of conceptual art, social and basic ideas were very well developed. This affected not only the spiritual process, but also people's thoughts. The main search for contemporary art can be observed in the creation of mythological images. The attempt of brush masters to abstract originates from bold fantasies that smoothly pass to iconic images, along with various ways of image; there are attempts to convey the idea of compositional works. In the article, the authors review the space of historical development of the art of Kazakh painting. In addition, the modern art of painting in Portugal is offered as an analysis of the set themes and positions of modern art of painting, comparative analyses are provided. Today’s visual art landmarks will be used to analyze the predictive and critical point of view of the past and future.
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Ceaușu, Felicia. "Fine Arts: 6. The Healing Power of Art-Therapy". Review of Artistic Education 16, nr 1 (1.03.2018): 203–11. http://dx.doi.org/10.2478/rae-2018-0022.
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Abstract In Europe, since the middle of the 19th century, physicians realized that by plastic creation an improvement of the mental state of many patients can be achieved. Painting, household chores or gardening were meant to eliminate boredom and to take the patients out of isolation. Various activities of today’s art-therapy. At the beginning of the 20th century, various authors showed interest for the paintings and drawings of mental patients. The interest attracted by the psycho-pathological art allowed the organization of international exhibits with the artistic works of the mental patients. The scientific approach of these ways of pathoplastic expression determined the emergence of institutions, studies, periodicals and international reunions concerning this topic.
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Linrothe, Rob. "Hidden in Plain Sight". Archives of Asian Art 70, nr 2 (1.10.2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.
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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
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Nepriiatel, Iulia. "Symbolism and Semantics of Animalistic Images in Russia's People's Paintings: Yesterday, Today, Tomorrow". Proceedings of Altai State Academy of Culture and Arts, nr 2 (2022): 32–39. http://dx.doi.org/10.32340/2414-9101-2022-2-32-39.
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The author briefly describes genesis and meaning of imaginative systems of traditional painting of Russian and Altaians (in particular, Mezen, group of Severodvinsk, and Uymon paintings) backed by results of studies got by fine art experts and art historians. The paper shows a relation between age of various types of decorative paintings and a level of their complexity and semantic richness. Theoretic approaches to understanding of cultural senses of typical animalistic images, that produce freestanding semiotic composition are arranged. Also, the author analyzes zoomorphic motifs in ornamental systems as well; it stressed out that such systems pass sign information in a language of people's painting besides an aesthetic message.
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Wang, Liming. "Discussion on the Teaching Strategy of Oil Painting in Colleges under the Background of Multiple Art Culture Development". Lifelong Education 9, nr 6 (28.09.2020): 136. http://dx.doi.org/10.18282/le.v9i6.1323.
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The development of multiculturalism is the inheritance of human civilization and the result of the further deepening of globalization. The diversified development of fine art culture is one of the main situations of fine art development. The art creation theories, conceptual methods, and painting skills, etc., all exhibit diverse characteristics. Based on this background, college oil painting teaching also needs to grasp this multicultural situation, carry out curriculum teaching reform and innovation, and promote the diversified development of fine arts education. This article introduces the development trend of multiple arts culture and its impact on domestic oil painting, analyzes the current status of oil painting teaching in colleges and universities, and explores effective countermeasures for oil painting teaching in colleges and universities in the context of multiple art culture.
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Wang, Huijing. "Edge Cloud and Mobile Auxiliary Equipment of Fine Art Painting Course Teaching Auxiliary System Design". Advances in Multimedia 2022 (3.06.2022): 1–9. http://dx.doi.org/10.1155/2022/5407035.
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Due to the development of information technology, the new type of smart campus integrates teaching, scientific research, office services, and many other applications, and online education information resources show a blowout growth. Art and painting teaching courses in the cloud era also face a series of digital challenges. In view of the development of digital teaching mode, art and painting course is different from other courses and has higher requirements for the transmission of audio and video. How to transmit the audio and video generated during interactive teaching efficiently and with low latency is a challenge. In order to realize the needs of art painting course teaching, based on the characteristics of edge cloud and mobile auxiliary equipment, build the “double cloud” mode of art painting teaching auxiliary system, through the cloud edge deployed different layers and design adaptive code switching mechanism, realize the art painting teaching and remote teaching video flow, help to realize the teaching interaction between teachers and students and instant feedback, and help to improve the art painting course teaching effect.
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Jackson, M. K. "Color Management in 3D Fine-Art Painting Reproduction". Color and Imaging Conference 2018, nr 1 (12.11.2018): 396–401. http://dx.doi.org/10.2352/issn.2169-2629.2018.26.396.
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Fang, Xi, Qian Xu, Cheng Zeng i Xiao Li. "Application of nanopigment watercolour fine art in painting". International Journal of Nanotechnology 17, nr 2/3/4/5/6 (2020): 357. http://dx.doi.org/10.1504/ijnt.2020.110723.
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Collomosse, J. P., i P. M. Hall. "Video Paintbox: The fine art of video painting". Computers & Graphics 29, nr 6 (grudzień 2005): 862–70. http://dx.doi.org/10.1016/j.cag.2005.09.003.
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Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting". Linguistics and Culture Review 5, S2 (31.07.2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.
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The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.
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Chiu, Ling-Ting. "A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun". Translocal Chinese: East Asian Perspectives 15, nr 1 (1.07.2021): 93–130. http://dx.doi.org/10.1163/24522015-15010006.
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Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.
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Guo, Kan. "Study on Digital Painting Art Based on Computer Virtual Technology". Mobile Information Systems 2022 (13.08.2022): 1–7. http://dx.doi.org/10.1155/2022/5687835.
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To improve the comprehensive level of artificial intelligence robot painting art creation, the software and hardware of the robot are designed from the perspective of robot copying painting. In this study, a more refined 6-axis robot is used to cooperate with the 2-axis slider connecting rod platform for performing painting operation. Its hardware uses a 6-axis robot system grafted on the 2-axis screw slider platform, and its software uses machine learning artificial intelligence algorithms. These algorithms include multi-layer spatial convolution neural network and multi-column fuzzy neural network. It is found that the subjective evaluation results and market transaction value of the robot copying paintings completed by the system are equivalent to the creative level of senior undergraduate and graduate students majoring in fine arts. It is far higher than the high-precision inkjet system that has completed market transformation. Finally, it is considered that the robot copying painting system has basically met the requirements of the robot art creation system and is separated from the technical category of the picture printer.
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Aliyev, E. V. "Art Process in Digital Painting". Art & Culture Studies, nr 2 (czerwiec 2021): 406–19. http://dx.doi.org/10.51678/2226-0072-2021-2-406-419.
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Article is devoted to the research of art process features in digital painting. The retrospective analysis of art process in digital painting is reviewed. By means of the Venn diagram the basic properties of creative process in digital and non-digital painting are compared. It is shown that the art product of digital painting is coded into the computer. The big advantage of digital painting is that realizing an art plan, the artist can put new strokes, keeping thus each variant as the separate original. Besides, art process is realized, mainly, not on a stretcher but on a virtual plane — the computer monitor. It is established that the modern fine arts and technologies develop in the conditions of interference and interdependence.
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Lyu, Chao, i Tatiana Alexandrovna Kemerova. "The influence of Western ideas of women's Enlightenment on women's painting in the Republic of China". Культура и искусство, nr 5 (maj 2022): 60–73. http://dx.doi.org/10.7256/2454-0625.2022.5.37747.
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During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformation of traditional Chinese fine art and contribution to the development of new women's painting. The paper examines the formation of a new women's painting in the Republic of China from the standpoint of culture, sociology and education. Studying the background of the appearance of new women's paintings in the Republic of China, the artistic value and historical significance of new women's paintings in the Republic of China were discovered. It is demonstrated how new masters were born and developed in the clash of Chinese and Western art, new and traditional ideas and concepts. They freed themselves from the shackles of feudal female ideas and pursued an independent personality, rights and freedom. In art, he promotes the modern transformation of traditional painting with its unique emotional expression and fusion of Chinese and Western styles.
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Sarwari, Abdul Qadir. "A Study of Contemporary (Modern) Painting in Herat. Case Study (Faculty of Fine Arts, Herat University)". Shanlax International Journal of Arts, Science and Humanities 10, nr 2 (1.10.2022): 8–15. http://dx.doi.org/10.34293/sijash.v10i2.5082.
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Painting in Herat in the last two decades has achieved new achievements and approaches to the past traditions. These achievements were mostly in terms of form, color and technique, first influenced by modern Western painting, but then painters and students presented works with a combination of Eastern and Western painting based on the culture and traditional patterns of our society.The purpose of this study was to examine the contemporary (modern) painting within the framework of Herat College of Fine Arts, which can be important for students, artists and art lovers. In this research, two methods of library method and field method have been used. Authentic books and articles have been used in background. In field method, the data collection was based on observations and interviews with several professors of the Faculty of Fine Arts and pioneers of contemporary painting in Herat, which the result is summarized as follows. Contemporary painting was introduced to the audience academically for the first time by presenting the works of two painters from the Faculty of Fine Arts of Herat in an exhibition entitled Gardoun. By observing the pictures and interviews that were conducted, in the early days of its formation, contemporary painting was influenced by the Cubism style, but in recent years, contemporary painters have presented works with a new look and a combination of Eastern and Western art based on culture and civilization and indigenous environmental patterns of our country, which some unique methods can be seen in the works of a number of masters.Contemporary painting in the Faculty of Fine Arts of Herat began academically in 2009 and went through good stages and in the last decade found its place among students, but unfortunately by the change of government, some restrictions arose on the art of painting and establishing exhibitions which caused the lack of motivation of artists and students to art, and this process caused a number of artists and students to go abroad. What will be the future of art and the artist is a question that will be answered in the future.
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Qadir Sarwari, Abdul. "A Study of the Art of Painting in Kabul". Shanlax International Journal of Arts, Science and Humanities 8, nr 2 (1.10.2020): 16–26. http://dx.doi.org/10.34293/sijash.v8i2.3422.
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Today, in most countries, painting has made great progress, along with science and technology. Recently, relative attention have been paid in the scientific, cultural, and social fields in Afghanistan, especially in Kabul, but little progress in the field of painting. In this research, an attempt was made to study the art of painting in Kabul, which its result would be important for those who are interested in the art of painting.Both library and field research methods have been used for collecting data. In the background section, some authoritative books, articles, and magazines have been used. In the field research method, some observations and interviews were used to collect data. The aim of the study was to study the art of painting in Kabul from the perspective of experts, professors of the Kabul College of Fine Arts, and directors of painting galleries in Kabul. It is summarized as follows:Painting in Kabul is relatively stagnant due to insecurity, war, religious prejudice, the irresponsibility of the Ministry of Information and Culture, and the lack of public awareness. Only from a specialist, slight changes can be seen in the works of painters. These changes have taken place in the field of painting since 2002, due to the movement of artists abroad, and have opened up new perspectives. Some of the painters’ works represent their efforts in search of having a unique and new method. However, most of the paintings are portraying the same method and repetitive subjects as in the past.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century". Contemporary problems of social work 6, nr 2 (29.06.2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Zinchenko, V. P. "The importance of outdoor lessons for students". E3S Web of Conferences 273 (2021): 12126. http://dx.doi.org/10.1051/e3sconf/202127312126.
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In the article, we consider the problems of teaching painting to students of art specialties in plein air practice. Based on a historical study of the stages of development and formation of landscape as an independent genre in the fine arts, the specifics, and features of teaching the art of painting in the open air are determined. The definition of the concept “Motif in the fine arts” is being clarified. The dependence of the format of practical tasks and stages of work on a pictorial etude on the goals and objectives of teaching painting in the plein air is established. Research methods: analysis of literature on the research problem (art history, theory, and methods of teaching fine arts, etc.); student work performed in plein air practice; works of famous artists; survey of students and teachers. The results of the research can be used in the process of teaching painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture.
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Shawin, Mohammad Ferdous Khan. "Rural Life of Bangladesh Reflected in Hashem Khan’s Painting". Idealogy Journal 6, nr 2 (1.09.2021): 28–34. http://dx.doi.org/10.24191/idealogy.v6i2.290.
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Hashem Khan is considered as one of the key figures in Bangladesh art scenario. Born in Chandpur, Hashem Khan was graduated from the Faculty of Fine Art, Dhaka University in 1961. He was a Professor at the Faculty of Fine Art, University of Dhaka with 44-year experience and retired in the year 2007. He has achieved Ekushey Padak and Independence Day Award (The highest civilian award in Bangladesh) for his significant contributions in art and culture. Rural lifestyle is very unique in Bangladesh. Many poets, musicians, visual artists have taken inspiration from rural culture and life style of Bangladesh. His works reproduce the natural beauty of the village, rural life, and plenty of other things. He has used traditional folk colours like yellow, orange and green in his paintings and used folk motifs. Hashem Khan has done semi-realistic style of narration to communicate to the common people and also used vibrant colours in his paintings. The researcher here has selected the works of the artist for discussion and analysis from the exhibitions which were held from 1980 to 2018 in different art galleries in Dhaka, the capital of Bangladesh and also from two catalogues, which articulate 143 plates. The researcher has analysed his contents of the paintings. Besides the researcher also closely analysed the colours, composition and forms of the painting.
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Kumari, Kanchan. "Fine arts and folk culture included in Indian painting". International Journal of Research -GRANTHAALAYAH 5, nr 12 (29.06.2020): 141–46. http://dx.doi.org/10.29121/granthaalayah.v5.i12.2017.483.
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India is an ancient cultural country. Art is a product of human culture. Its rise is reflective of the beauty of man. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various rituals. Folk art can be seen in various forms in different provinces like India. Which is known by various names.Although these useful items of daily life were not made with the goal of fine arts, yet the end of the art of collective life is visible to us and it is not wrong to call them artistic objects. Along with the development of civilization, man did not leave a useful notion in his manufactured goods, but by his fluidity his fluidity made him beautiful product for fine arts in some quantity.
भारत एक प्राचीन सांस्कृतिक देश है। कला मानव संस्कृति की उपज है। इसका उदय मानव की सौन्दर्य भावना का परिचायक है। यहाँ की कला एवं संस्कृति में लोककला का अनूठा समन्वय दिखाई देता है। अनेक विद्वानों ने समय-समय पर लोककला के महत्त्व को बताया है। लोककलाऐं हमारे देश में लोक परम्पराओं संस्कृति का दर्पण है। जो विभिन्न रीति रिवाज उत्सव में देखे जा सकते है। भारत जैसें देश में विभिन्न प्रान्तों में विविध रूपों में लोककला देखी जा सकती है। जो विभिन्न नामों से जानी जाती है।दैनिक जीवन की इन उपयोगी वस्तुओं का निर्माण यद्यपि ललित कला के लक्ष्य से नहीं हुआ, तथापि सामूहिक जीवन की कलाप्रियता का अंष हमें इसमें दृष्टिगोचर होता है और इन्हें कलात्मक वस्तुएँ कहे तो गलत नहीं होगा। सभ्यता के विकास के साथ-साथ मानव ने अपनी निर्मित वस्तुओं में उपयोगी धारणा को नहीं छोड़ा परन्तु उसकी कलाप्रियता ने अपनी प्रवाहशीलता द्वारा कुछ मात्रा में उन्हें ललित कला के लिये सुन्दर उपादान बना दिया।
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Liu, Xiaoxi. "Design of Educational Art Activities for Preschoolers". Lifelong Education 9, nr 3 (4.04.2020): 57. http://dx.doi.org/10.18282/le.v9i3.853.
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<p>With the constantly development of social economy, fine art has received more and more attention in people's learning progress. Meanwhile, art, as an important part of fine art education, plays an irreplaceable role. Early childhood is the vital stage for the study of fine arts and promoting toddlers to develop good art capability, which is quite important for preschooler's development. Children's painting should not only be understood correctly and objectively but also need to be given correct guidance. The key to art education for preschoolers is to create a good painting environment for them. Besides, teacher's reasonable and effective teaching method is also a key link in cultivating children's art capability.</p>
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Tomashevskiy, V. V. "USING MUSIC IN LESSONS FINE ARTS IN PRIMARY SCHOOL". Educational Dimension 1 (19.05.2022): 65–72. http://dx.doi.org/10.31812/educdim.5011.
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Article is dedicated to the questions of the practical work with the music on the lessons of painting art in the beginning forms of the school. She is about the problem of the development of emotional side in the childish creativity and the role o f music, which is foundation of the formation of emotions and creating of art active the atmosphere.
This experimental method was approbated in one of schools of the town of Kryvyi Rih and he is introduced our in this article. In the text, there's thematic planning for the first form of the school in the learning of the founds of painting art, which is given for the practical work to the teachers of the beginning school.
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Sharifjon O'gli, Sharipov Javlon. "INTERPRETATION OF THE WORK OF RAKHIM AKHMEDOV IN THE ART OF PAINTING OF UZBEKISTAN". European International Journal of Multidisciplinary Research and Management Studies 02, nr 04 (1.04.2022): 38–41. http://dx.doi.org/10.55640/eijmrms-02-04-09.
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Currently, a lot of attention is paid to the wide use of samples of our culture, values, National Art, samples of fine art created by our ancestors and famous all over the world in the education of young people. The reflection of the image of our great compatriots and great scientists living in the past in the works of Fine Art also imposes responsible duties on the people of creativity. Famous artist Rahim Akhmedov is a people's artist who left a bright mark in the fine art of Uzbekistan. His works are distinguished by their own fertility, compositional solution. In this article, opinions and comments will be made about the scientific interpretation of the creativity of Rakhim Akhmedov in the art of painting of Uzbekistan.
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Irmawati, Ofi, Hariyanto Hariyanto i Abdurahman Prasetyo. "Penciptaan Seni Lukis Naturalistik Wayang Topeng Jatiduwur". INVENSI 7, nr 2 (16.12.2022): 115–29. http://dx.doi.org/10.24821/invensi.v7i2.6330.
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Wayang Topeng Jatiduwur merupakan seni pertunjukan dari Kabupaten Jombang. Wayang Topeng Jatiduwur merupakan seni pertunjukan yang menampilkan seni tari, seni musik, seni rupa, dan seni teater. Masyarakat Jombang mempergelarkan kesenian tersebut sebagai bagian dari ritual nazar. Kesenian ini merupakan kekayaan budaya asli Jombang yang kehilangan eksistensinya. Tujuan dari penciptaan karya lukis ini menghasilkan enam karya lukisan yang mempresentasikan gerakan-gerakan tarian Klana sebagai bentuk ekspresi keprihatinan dan kepedulian terhadap kesenian Wayang Topeng Jatiduwur. Metode penciptaan menggunakan model penciptaan dari L.H. Chapman. Karya lukis yang dihasilkan berjumlah enam, mempresentasikan beberapa gerakan Prabu Klana Jaka dalam tarian Klana sebagai tari pembuka pada kesenian Wayang Topeng Jatiduwur. Media yang digunakan adalah cat akrilik di atas kanvas. The Creation of Naturalistic Painting of Jatiduwur Mask Puppet ABSTRACT Jatiduwur Mask Puppet is a performing art from Jombang Regency.Jatiduwur Mask Puppet is a performing art showing dance, music, fine arts and theater. The people of Jombang held this art as part of of the community's promise. This art is the original culture of Jombang which has lost its existence. The purpose of making this painting that produces six paintings isto present the Klana dance moves. as a form of expression of sadness and concern for the Jatiduwur Wayang Topeng art. This painting method uses the creation model of L.H. Chapman. The resulting painting consists of six paintings which represent some of Prabu Klana Jaka's movements in the Klana dance as the opening dance in the Jatiduwur mask puppet art.The media used is acrylic paint on canvas.
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Demenev, Denis Nikolaevich. "Unity of the process of creating a fine art painting: ideal and material". Философская мысль, nr 3 (marzec 2021): 1–41. http://dx.doi.org/10.25136/2409-8728.2021.3.32491.
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The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.
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Umar Kizi, Kholmatova Feruza Muhammad. "METHODOLOGY OF TEACHING STUDENTS TO ARTISTIC PERCEPTION OF PAINTING WORKS IN FINE ARTS CLASSES". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, nr 02 (1.02.2022): 125–35. http://dx.doi.org/10.37547/pedagogics-crjp-03-02-21.
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Startsev, Anton Vladimirovich. "Features of the Composition in the Iconography of the Crucifixion on the example of the works of Old Russian iconography of the late XV - early XVI centuries". Культура и искусство, nr 4 (kwiecień 2022): 112–40. http://dx.doi.org/10.7256/2454-0625.2022.4.37849.
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The concentration of research attention on the construction of an artistic form is a necessary part of the study of monuments of fine art. This article is devoted to the artistic analysis of the iconography of the Crucifixion by the example of considering several monuments of ancient Russian painting of the late XV - early XVI centuries. The studied paintings are the reference works of the heyday of Russian icon painting art. They are distinguished by the good preservation of the author's pictorial layer, which allows to fully analyze the art form. The fundamentals of the methodology in this study are the historical approach, formal-stylistic and comparative analyses. The article draws attention to the distinctive properties of the composition of the paintings, searches for an iconographic source, analyzes the relationship between changes in composition and semantic content of the painting. Focusing on a certain iconography allows to reveal the character of a particular image, to reveal its artistic uniqueness. With such an integrated approach, it becomes possible to present the interpretation of the plot and the history of the creation of the icon image. Author compares the iconography created within one decade to another, one artistic tradition or school to another. As a result of the research, a specific feature of ancient Russian painting is revealed - following a narrow iconographic tradition or artistic school does not limit the artistic interpretation and independence.
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Zhong, Sheng-hua, Xingsheng Huang i Zhijiao Xiao. "Fine-art painting classification via two-channel dual path networks". International Journal of Machine Learning and Cybernetics 11, nr 1 (18.05.2019): 137–52. http://dx.doi.org/10.1007/s13042-019-00963-0.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, nr 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, nr 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Pilshchikov, Igor. "“More than Just a Poet”: Konstantin Batiushkov as an Art Critic, Art Manager, and Art Brut Painter". Arts 11, nr 6 (14.12.2022): 126. http://dx.doi.org/10.3390/arts11060126.
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This paper focuses on the Russian Golden Age author Konstantin Batiushkov’s involvement with fine arts. He is recognized as an exquisite elegist, an immediate predecessor of Alexander Pushkin in poetry, and “a pioneer of Russian Italomania.” Much less known is that Batiushkov was always deeply involved with painting, drawing, and sculpture—not only as a poet but as Russia’s first art critic, an ad-lib art manager, who worked on behalf of the President of the Russian Academy of Arts Aleksei Olenin, and an amateur artist. The paper offers addenda to the commentary on his essay devoted to the 1814 academic exhibition, commonly referred to as the earliest significant example of Russian art criticism. Many of Batiushkov’s extant paintings and drawings belong to the time when he was mentally insane. Since he was a self-taught artist, his visual works of this period can be categorized as early examples of art brut.
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Tarasova, Maria, i Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА". Social Anthropology of Siberia 2, nr 1 (31.03.2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.
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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Ștefănescu, Mirela. "Fine Arts: 5. The Iaşi School of Painting – Between Myth and Reality". Review of Artistic Education 16, nr 1 (1.03.2018): 196–202. http://dx.doi.org/10.2478/rae-2018-0021.
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Abstract This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters.
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Klisińska-Kopacz, Anna, Piotr Frączek, Michał Obarzanowski i Janusz Czop. "Non-Invasive Study of Pigment Palette Used by Olga Boznańska Investigated with Analytical Imaging, XRF, and FTIR Spectroscopy". Heritage 6, nr 2 (31.01.2023): 1429–43. http://dx.doi.org/10.3390/heritage6020078.
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The scientific examination and comparative investigation of pigments are fundamental for further understanding and analysis of historic and artistic works, and particularly useful for conservators. In fine art authentication, investigations are strongly focused on the identification of the painting materials used by the author. This study is focused on the use of non-invasive analytical techniques to increase the knowledge of the painting technique of Olga Boznańska. The aim of this study was to assess the technology, painting technique, and materials used by Olga Boznańska. The pallets, tubes with the paints, and several oil paintings were studied. For each painting, a series of images were recorded using various ranges of electromagnetic radiation, including near-infrared, visible light, ultraviolet, and X-rays. In order to characterize the pigments present in the paint layer, measurements of the elemental composition by X-ray fluorescence spectroscopy (XRF) were carried out. The ground layers and paints were measured with infrared spectroscopy (FTIR). This allowed us to identify the artist’s painting technique and determine how she executed her painting, how she applied the paints, and what pigments she used.
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Pylypenko, Ivan. "THE HISTORY OF ART WORKSHOP AND TEMPLE CULTURE OF THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE". Research and methodological works of the National Academy of Visual Arts and Architecture, nr 28 (15.12.2019): 136–41. http://dx.doi.org/10.33838/naoma.28.2019.136-141.
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This article is dedicated to the studio of fine arts and temple culture in the context of the history of the National Academy of Fine Arts and Architecture. Analyzed was the educational program of the studio’s founder,M. Storozhenko. Discovered were the methodological analogies between the studio of monumental painting and templar culture of NAFAA, M. Boychuck’s art workshop and the icon-painting studio of the Kyiv Pechersk Lavra. It was proved that an analysis of historical experience can be useful in the educational process and in the upbringing of the modern painters of sacred (religious) art.
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Gurska, L. V. "Cult music of Ancient Rus". Ukrainian Religious Studies, nr 16 (5.12.2000): 65–71. http://dx.doi.org/10.32420/2000.16.1115.
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Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.
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Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema". Journal of Flm Arts and Film Studies 3, nr 2 (15.05.2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.
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Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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Bourached, Anthony, George H. Cann, Ryan-Rhys Griffths i David G. Stork. "Recovery of underdrawings and ghost-paintings via style transfer by deep convolutional neural networks: A digital tool for art scholars". Electronic Imaging 2021, nr 14 (18.01.2021): 42–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-042.
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We describe the application of convolutional neural network style transfer to the problem of improved visualization of underdrawings and ghost-paintings in fine art oil paintings. Such underdrawings and hidden paintings are typically revealed by x-ray or infrared techniques which yield images that are grayscale, and thus devoid of color and full style information. Past methods for inferring color in underdrawings have been based on physical x-ray uorescence spectral imaging of pigments in ghost-paintings and are thus expensive, time consuming, and require equipment not available in most conservation studios. Our algorithmic methods do not need such expensive physical imaging devices. Our proof-ofconcept system, applied to works by Pablo Picasso and Leonardo, reveal colors and designs that respect the natural segmentation in the ghost-painting. We believe the computed images provide insight into the artist and associated oeuvre not available by other means. Our results strongly suggest that future applications based on larger corpora of paintings for training will display color schemes and designs that even more closely resemble works of the artist. For these reasons refinements to our methods should find wide use in art conservation, connoisseurship, and art analysis.
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Dobrolyubov, Petr. "Painting as a prayer of the spirit". Scientific and analytical journal Burganov House. The space of culture 16, nr 4 (10.12.2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.
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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.
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Tanieva, Guldona M., i Anvar G. Tadzhiev. "ART OF MINIATURE IN CENTRAL ASIA AND ITS HISTORICAL DEVELOPMENT". JOURNAL OF LOOK TO THE PAST 4, nr 8 (30.08.2021): 66–73. http://dx.doi.org/10.26739/2181-9599-2021-8-9.
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In present research is said about the steps of development of one of the kind of arts such as miniature in Central Asia, its specific aspects Forming of the Central Asian schools of miniature, about the role of the masters of Amir Timur's times and times of his descendantsand their influence on the school of miniatures of such countries as Turkey, Iran, Azerbaydjan in the 16-19 centuries.The article also provides information on students from the famous artists of their time and their works created in their art schools and their own paintings (miniature).Index Terms:Central Asia, fine arts, east, miniature, school, artist, Movaraunnahr, Herat, Samarkand, tradition, painting
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Gollapalli, Sujatha Das, See-Kiong Ng, Ying Kiat Tham, Shan Shan Chow, Jia Min Wong i Kevin Lim. "PaintTeR: Automatic Extraction of Text Spans for Generating Art-Centered Questions". Proceedings of the AAAI Conference on Artificial Intelligence 36, nr 11 (28.06.2022): 12503–9. http://dx.doi.org/10.1609/aaai.v36i11.21519.
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We propose PaintTeR, our Paintings TextRank algorithm for extracting art-related text spans from passages on paintings. PaintTeR combines a lexicon of painting words curated automatically through distant supervision with random walks on a large-scale word co-occurrence graph for ranking passage spans for artistic characteristics. The spans extracted with PaintTeR are used in state-of-the-art Question Generation and Reading Comprehension models for designing an interactive aid that enables gallery and museum visitors focus on the artistic elements of paintings. We provide experiments on two datasets of expert-written passages on paintings to showcase the effectiveness of PaintTeR. Evaluations by both gallery experts as well as crowdworkers indicate that our proposed algorithm can be used to select relevant and interesting art-centered questions. To the best of our knowledge, ours is the first work to effectively fine-tune question generation models using minimal supervision for a low-resource, specialized context such as gallery visits.
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Kuziv, Mykhailo, i Iryna Tiutiunnyk. "Artist of «troubled silence.» Mykola Bezdilny". National Academy of Managerial Staff of Culture and Arts Herald, nr 2 (17.09.2021): 133–38. http://dx.doi.org/10.32461/2226-3209.2.2021.239991.
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The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.
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Pomorov, Sergey B., Sergey A. Prokhorov, Alexander V. Shadurin i Nikita S. Prokhorov. "ARCHITECTURE AND DESIGN: SUBSTITUTION IN ART TRANING OF DECORATIVE DISCIPLINES IN PROJECT FIELD". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 42 (2021): 204–13. http://dx.doi.org/10.17223/22220836/42/17.
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The purpose of our exploration is to investigate the computer technology impact on the development of art component in the modern design and engineering education. This is a case in the first instance of traditional arts such as Drawing, Painting and Sculpture. The thematic justification there is to analyse transformation trends of art image creation in a changing development context in the design area. The evolving methodological modern concept requires preservation and development the evolution way of things from its realistic perception (image) to its usage in the capacity of artistic tools and modern information technology tools. It would be instructive to examine the painting methodology of such authors as Nikolai Beschastnov, Vadim Kulakov, Irina Stor, Yuriy Avdeev, Gusein Guseinov, Victor Dyminskiy, Aleksey Sheboldaev (Painting), Yuriy Kirtser (Drawing and painting) as well as the legacy of classic and modern painters. In process of training painting and decorative transformations, information technology adaptation and appliance aim to educate high-level designers and architects. Careful study of nature combine with information technology art tools – this is a key stone of student training of Fine Arts departure of Institute of Architecture and Design Altay State Technical University. Perfect art skills together with technical achievements provides an opportunity to expand and enrich creative potential in carrying out tasks of any kind of complexity importing an art component in the modern design culture. Interest in information technology in a class-room environment Drawing-Painting-Sculpture is no doubt. It’s fascinatingly for students. New methodologies of Institute of Architecture and Design test and endorse in several subjects: Painting and Coloristics, Drawing, Colour transformations in design culture. Based on methodological experiments developed in Fine Arts departure of Institute of Architecture and Design Altay State Technical University and other Russian universities authors suppose that the modern information technology impact on new art architect training methodologies, student abilities for abstract creative reasoning, preserving art component legacy in architect education.
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Joshi, Anita. "POETRY AND CARTOGRAPHY". International Journal of Research -GRANTHAALAYAH 7, nr 11 (30.11.2019): 207–15. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3739.
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Art and poetry complement each other. The incorporation of poetry into fine arts and fine arts into poetry has given both poetry and art a plushness and fascination. The paper presented explains this interrelationship of poetry and painting, in which the similarity of painting and poetry, contribution to the creation of poetic images and expression in poetry painting have been embodied.
कला एवं काव्य एक-दूसरे के पूरक हैं। ललित कलाओं में काव्य और काव्य में ललित कलाओं के समावेश ने काव्य एवं कला दोनों को ही सरसता एवं मोहकता प्रदान की है। प्रस्तुत शोधपत्र काव्य एवं चित्रकला के इसी अंतःसंबंध की व्याख्या करता है, जिसमें चित्रकला एवं काव्य की समानता, चित्रों का काव्य सृजन में योगदान एवं काव्यानुभूतियों की चित्रकला में अभिव्यक्ति को मूर्त रूप दिया गया है।
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Bozhko, E. M., i M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE". Regional problems of architecture and urban planning, nr 14 (29.12.2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.