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Journal articles on the topic 'Analysis of painting'
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1
Yu, Lan, and Yukari Nagai. "An Analysis of Characteristics of Children’s Growth through Practical Art." Healthcare 8, no. 2 (2020): 109. http://dx.doi.org/10.3390/healthcare8020109.
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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.
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Wu, Taixia, Guanghua Li, Zehua Yang, et al. "Shortwave Infrared Imaging Spectroscopy for Analysis of Ancient Paintings." Applied Spectroscopy 71, no. 5 (2016): 977–87. http://dx.doi.org/10.1177/0003702816660724.
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Spectral analysis is one of the main non-destructive techniques used to examine cultural relics. Hyperspectral imaging technology, especially on the shortwave infrared (SWIR) band, can clearly extract information from paintings, such as color, pigment composition, damage characteristics, and painting techniques. All of these characteristics have significant scientific and practical value in the study of ancient paintings and other relics and in their protection and restoration. In this study, an ancient painting, numbered Gu-6541, which had been found in the Forbidden City, served as a sample. A ground-based SWIR imaging spectrometer was used to produce hyperspectral images with high spatial and spectral resolution. Results indicated that SWIR imaging spectral data greatly facilitates the extraction of line features used in drafting, even using a single band image. It can be used to identify and classify mineral pigments used in paintings. These images can detect alterations and traces of daub used in painting corrections and, combined with hyperspectral data analysis methods such as band combination or principal component analysis, such information can be extracted to highlight outcomes of interest. In brief, the SWIR imaging spectral technique was found to have a highly favorable effect on the extraction of line features from drawings and on the identification of colors, classification of paintings, and extraction of hidden information.
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Lin, Jun. "Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision." Security and Communication Networks 2021 (March 5, 2021): 1–6. http://dx.doi.org/10.1155/2021/5511252.
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In order to solve the problem of poor visual communication effect of impressionist painting colors and low accuracy of painting color enhancement by existing methods, this thesis proposes a research on the performance of impressionist painting color visual communication based on machine vision under the background of wireless network. This method can improve the vision, speed, and efficiency of communication, through the analysis of the characteristics of impressionist paintings, and determine the visual communication objects of impressionist painting colors. The process of visual communication is analyzed, and the color matching of impressionist painting is completed with the help of BP neural network algorithm. On this basis, the histogram method is used to process the image brightness of impressionist paintings, the image interpolation method is used to process the image brightness of impressionist paintings, and the image is corrected by gamma correction to complete the image performance research. The color vision communication of impressionist painting needs to correct the gray scale error of impressionist painting and enhance the color of impressionist painting. The experimental results show that the accuracy of this method for the color matching of impressionist painting images is about 98%, which has a certain degree of credibility.
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Zhan, L., Z. Wang, X. Zhao, Z. Liu, and G. Liu. "THE MONITORING AND ANALYSIS OF THE CHINESE TRADITIONAL ARCHITECTURE PAINTING DECAY – THE CASE OF JILAN PAVILION IN THE SUMMER PALACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 23, 2017): 737–41. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-737-2017.
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The painting is one of the most decorative elements of ancient Chinese architecture and it is sensitive to the natural environment. The outdoor painting is very easily to be affected by the natural environment and its color is easily to decay. In order to study the relationship between the painting decay and the physical environment, the two paintings on both east and west inner eaves of Jilan Pavilion beside the Kunming Lake in Summer Palace are taken as the research objects, because these two paintings are painted at the same period but their decay degrees are greatly different. Since 2013, the research group regularly monitors the color decay of these two paintings. Meanwhile, the physical environment around these two paintings has been monitored. Based on the analysis of the monitor data, it can be seen that the illumination is the major factor that causes the decay of the painting. Meanwhile, by using the ECOTECT software to stimulate the light environment around the Jilan Pavilion, it can be seen that it is the mirror reflection of the lake that causes the result that the illumination of the west eave (face east) is stronger than that of the east eave (face west).
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Bian, Jianying, and Xiaoying Shen. "Sentiment Analysis of Chinese Paintings Based on Lightweight Convolutional Neural Network." Wireless Communications and Mobile Computing 2021 (August 9, 2021): 1–8. http://dx.doi.org/10.1155/2021/6097295.
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Chinese painting is one of the representatives of our country’s outstanding traditional culture, and it embodies the long history and intellectual wisdom of the Chinese nation. In the paper, we combine the artistic characteristics of Chinese paintings and use an optimized SqueezeNet model to study the sentiment analysis of Chinese paintings. To make full use of the advantages of lightweight convolutional neural networks, we make two optimizations based on SqueezeNet. On the one hand, expand the model width to obtain more effective Chinese painting sentiment features for classification tasks, thereby improving the classification accuracy of the model. On the other hand, introduce the idea of residual network to prevent gradient disappearance and gradient explosion in the training process, thereby enhancing the model’s generalization ability. To verify the effectiveness of the optimized SqueezeNet model used in the sentiment analysis of Chinese paintings, four kinds of sentiment classifications were carried out on the multitheme Chinese paintings downloaded on the Internet. The results of comparative experiments show that the optimized SqueezeNet model used in this paper can improve the accuracy of classification and has better generalization ability. Finally, the research results of this paper can be applied to the protection of traditional culture, the appreciation of traditional Chinese painting, and art education and training, which is conducive to the inheritance and innovation of the national quintessence and promotes the prosperity and development of traditional art and culture.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, et al. "Combined 14C Analysis of Canvas and Organic Binder for Dating a Painting." Radiocarbon 60, no. 1 (2017): 207–18. http://dx.doi.org/10.1017/rdc.2017.107.
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AbstractThe use of accelerator mass spectrometry (AMS) for age determinations of paintings is growing due to decreasing sample size requirements. However, as only the support material is usually dated, the validity of the results may be questioned. This work describes a novel sampling and preparation technique for dating the natural organic binder using radiocarbon (14C) AMS. In the particular case of oil paintings, the natural oil used has a high probability of being representative of the time of creation, hereby circumventing the problem of the originality of the support material. A multi-technique approach was developed for a detailed characterization of all paint components to identify the binder type as well as pigments and additives present in the sample. The technique was showcased on a painting of the 20th century. The results by 14C AMS dating show that both the canvas and binding medium predate the signed date by 4–5 yr. This could be the time span for keeping painting material in the atelier. The method developed provides, especially given the low amounts of material needed for analysis, a superior precision and accuracy in dating and has potential to become a standard method for oil painting dating.
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Burcoff, Amanda, and Lior Shamir. "Computer Analysis of Pablo Picasso's Artistic Style." International Journal of Art, Culture and Design Technologies 6, no. 1 (2017): 1–18. http://dx.doi.org/10.4018/ijacdt.2017010101.
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In the past few years, computational methods have been becoming increasingly more prevalent in art history. Such methods can reveal new knowledge about art, and provide a novel approach to the studying of art history based on quantitative evidence. Here we used computational analysis to study the artistic style of Pablo Picasso and its change throughout time. Experimental results show a strong correlation between the visual content and the time of painting, evidenced by the ability of the computer to estimate the time of creation by analyzing the visual content of the painting. It also showed that some of the paintings were estimated by the algorithm to be artistically related to a different time period than the time period in which they were painted. The most significant numerical image content descriptor for estimating the time of creation is the fractal structure of the painting, which changed during his career in a nearly linear fashion. The software used in the experiment is publicly available, as well as detailed instructions of using the software.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (2021): 883. http://dx.doi.org/10.3390/e23070883.
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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Ke, S. "Figurative oil painting in China: from Mao to Nu." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 221–26. http://dx.doi.org/10.33838/naoma.27.2018.221-226.
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The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.
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Wang, Fang, and Xu Zheng. "Performance analysis of investing in Chinese oil paintings based on a hedonic regression model of price index." China Finance Review International 7, no. 3 (2017): 323–42. http://dx.doi.org/10.1108/cfri-03-2016-0009.
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Purpose The purpose of this paper is to construct a price index for Chinese oil paintings and analyze the financial performance of investing in Chinese oil paintings and its potential for portfolio diversification in Chinese financial markets. Design/methodology/approach A hedonic regression model is applied to construct a semiannual price index for Chinese oil paintings from 2000 to 2014. The CAPM model, downside β and standard portfolio optimization are used for analyzing portfolio diversification. Findings The hedonic regression shows that the majority of hedonic variables, such as dimension, artist’s reputation, living status, medium and auction houses, are statistically significant in estimation. Not only the return from oil painting investments is higher than other equities, but also the β coefficient of the CAPM model and downside β indicate that Chinese oil painting may be a good hedging instrument against stock market risk. Furthermore, the portfolio optimizations under standard assumptions suggest that oil paintings as an alternative investment provide diversification benefit. Originality/value This paper provides a new and comprehensive analysis of characteristics and risks of investing in the Chinese oil paintings.
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Amura, Annamaria, Landi Luisa, Luigi Pisani, Maria Veronica Soro, Giorgia Zantedeschi, and Stefano Pagnotta. "Image analysis applied to the planning of a canvas painting restoration intervention." Ge-conservacion 18, no. 1 (2020): 339–46. http://dx.doi.org/10.37558/gec.v18i1.822.
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This work proposes a methodology of digital analysis of the state of conservation of a canvas painting to solve difficulties related to the pictorial reintegration of paintings that present an excessive number of different lacunae in terms of size and extent. The case study is related to the small-size oil on canvas painting executed by an unknown artist, where the lacunae were challenging to analyze and localize graphically. Therefore, it required a careful evaluation of the approach to be used during the pictorial reintegration intervention. Using an image analysis method, based on the semi-automatic extraction approach, the state of conservation’s graphic relief outlining different virtual operating proposals was obtained.
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Meretskaya, Yulia Sergeevna. "The analysis of artistic heritage of Anton Ažbe in light of the new facts." Человек и культура, no. 1 (January 2020): 149–60. http://dx.doi.org/10.25136/2409-8744.2020.1.29726.
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The object of this research is the artistic heritage of Slovenian painter and teacher of painting Anton Ažbe (1862-1905) and its interpretation in the works of art historians and testimonies of his students and contemporaries. The subject of this research is the graphic and painting works of Anton Ažbe. The goal consists in reconsideration of the existing within modern art history understanding of the vector of creative path of the painter. Particular attention is given to his painting “The Black Girl” and clarification of the date of its creation. In the course of writing this article, the author applied the method of formal-stylistic analysis for meeting the precise purpose of the article. The scientific novelty of this study consists in reinterpretation of creative development of the Slovenian painter and teacher of painting Anton Ažbe based on the new information of the date of creation of one of his signature paintings – “The Black Girl”. The main conclusion lies in characteristics of the evolutionary stages of creative development of Anton Ažbe.
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.
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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.
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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.
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Choi, Taewon, Soonchul Jung, Yoon-Seok Choi, Hyeong-Ju Jeon, and Jin Seo Kim. "Acquisition System Based on Multisensors for Preserving Traditional Korean Painting." Sensors 19, no. 19 (2019): 4292. http://dx.doi.org/10.3390/s19194292.
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Rapid industrialization has significantly influenced people’s lifestyles in the recent decades, and the influence of traditional culture is diminishing. Recently, several studies attempted to simultaneously utilize various sensors to record delicate and sophisticated performances of intangible cultural heritage (ICH). Although painting is one of the most common ICH of human history, few research studies have recorded traditional painting work. In this paper, we aim to lay the groundwork for reviving Korean painting, even if there would be no painters to produce these traditional Korean paintings in the future. We propose a novel multisensor-based acquisition system that records traditional Korean painting work while minimizing interference in the work. The proposed system captures real-time data originating from the painter, brushes, pigments, and canvas, which are the essential components of the painting work. We utilized the proposed system to capture the painting work by two experts, and we visualize the captured data. We showed the various results of statistical analysis, and also discussed the usability.
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Insaurralde Caballero, Mirta, and María Castañeda-Delgado. "At the Core of the Workshop: Novel Aspects of the Use of Blue Smalt in Two Paintings by Cristóbal de Villalpando." Arts 10, no. 2 (2021): 25. http://dx.doi.org/10.3390/arts10020025.
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During the seventeenth century, the use of smalt and indigo became increasingly common among painters’ workshops in New Spain. The unprecedented importance of these two blue pigments in oil painting may be explained by artistic and geopolitical circumstances. This article expands on the use of blue smalt—a byproduct of glass production and a material that lacks in-depth study in viceregal painting—by focusing on the technical analysis of El Triunfo de la Eucaristía and La Asunción painted by Cristóbal de Villalpando (ca. 1649–1714), which are part of the collection of the Museo Regional de Guadalajara (Mexico). The technological and material study of both paintings, situated within the trade and circulation of painting materials at the turn of the eighteenth century, shows how the painter deployed techniques rooted in his predecessors while incorporating particular technical adaptations. The authors examine cross-section samples of Villalpando’s paintings with optical microscopy, Scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), and Fourier-transformed infrared spectroscopy (FT-IR), and were able to identify different qualities of smalt as well to suggest a possible provenance. These analyses evidence novel aspects in the painting tradition of workshops in New Spain that ultimately reverberated in practices of the long eighteenth century.
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Andreoli, Martina. "Mosaics of Frescoes: Digital Photogrammetry, Raster Representation, Pigment Analysis and Metrology of a Flavian Wall Painting on the Caelian Hill (Rome)." Cambridge Archaeological Journal 24, no. 2 (2014): 233–48. http://dx.doi.org/10.1017/s0959774314000420.
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Chronological and stylistic studies of Roman wall paintings and mosaics were based for a long time only on optical direct analysis and current analogue or digital photographic reproduction. The aims of fresco research today remain the same as in the past — i.e. pigment types and sources, painting subjects and styles, application methods, and the relationship between paintings and the function of their locations. Modern technologies, however, have now been developed which can finally improve our knowledge about ancient decorative taste and workshops. New methodologies such as highly accurate colour reproduction of paintings and mosaics, digital reconstruction of fragmentary decorations, or chemical analyses of pigments or plasters are increasingly being used to fill important research gaps. Some of these techniques are illustrated in this article as solutions to obstacles in the archaeological documentation of an unpublished first-century ad painting (Late Flavian period) on the Caelian Hill in Rome. With relation to Fourth Style decorations, the problematic question as to whether there was an intentional ratio between the component parts of the fresco is also discussed, linking for the first time the Vitruvian architectural concept of Commodulatio (meaning ‘with symmetry/proportion’) to wall paintings.
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PEDRAM, POURIA, and G. R. JAFARI. "MONA LISA: THE STOCHASTIC VIEW AND FRACTALITY IN COLOR SPACE." International Journal of Modern Physics C 19, no. 06 (2008): 855–66. http://dx.doi.org/10.1142/s0129183108012558.
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A painting consists of objects which are arranged in specific ways. The art of painting is drawing the objects, which can be considered as known trends, in an expressive manner. Detrended methods are suitable for characterizing the artistic works of the painter by eliminating trends. It means that the study of paintings, regardless of its apparent purpose, as a stochastic process. Multifractal detrended fluctuation analysis is applied to characterize the statistical properties of Mona Lisa, as an instance, to exhibit the fractality of the painting. The results show that Mona Lisa is a long-range correlated and almost behaves similar in various scales.
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Hayakawa, Yasuhiro, Seiji Shirono, Sadatoshi Miura, Tomohide Matsushima, and Tokugo Uchida. "Nondestructive analysis of a painting, a national treasure in Japan." Powder Diffraction 22, no. 2 (2007): 126–29. http://dx.doi.org/10.1154/1.2737467.
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The painting materials and drawing techniques of a pair of two-panel folding screens entitled Red and White Plum Blossoms by Ogata Korin, a national treasure in Japan, were investigated directly and nondestructively by XRF, X-ray radiography, and high resolution digital imaging. Several assumptions were made about the materials used in the red and white plum trees drawn on the right and left screens, respectively, and the river drawn at the center. By the present investigation, the materials used for the paintings were revealed, and some of them contradicted what have been previously believed.
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Nieves, Juan Luis, Juan Ojeda, Luis Gómez-Robledo, and Javier Romero. "Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings." Journal of Imaging 7, no. 4 (2021): 72. http://dx.doi.org/10.3390/jimaging7040072.
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In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show that independent component analysis of the painting images yields directions of colour preference aligned with the relevant colours of these images. Following on from this analysis, the results suggest that hue colour components are efficiently distributed throughout a discrete number of directions and could be relevant instances to a priori describe the most representative colours that make up the colour palette of paintings.
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Rohmansyah, Rohmansyah. "Elasticity of Understanding of M. Syuhudi Ismail on Hadith About the Threats for Painter." ADDIN 13, no. 2 (2019): 271. http://dx.doi.org/10.21043/addin.v13i2.6263.
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Painting or drawing is a penchant for some humans, especially pictures or paintings that are seen as beautiful as images of humans, animals, plants, and others. However, on the other hand it becomes a problem if the painting is worshiped or cultured. This paper seeks to present the elasticity of the understanding of the hadith of M. Syuhudi Islam concerning threats to painters by using library research and descriptive-analysis approaches from the sociological aspects of knowledge and historical-sociological. The findings show the elasticity of M. Syuhudi Ismail in understanding the hadith of painting. Hadith of painting had been understood temporally and locally which occurred when the hadith was delivered by Rasulullah when the new societies came out of idolatry worshiping idols or statues including animate images so that hadiths appeared on the prohibition of painting or drawing because they feared they would do the same again. According to Syuhudi Ismail, the prohibition was seen from <em>‘illah al-hukm</em> (legal cause), namely worshiping and culturing paintings or drawings so that in today's context it is permissible for painters to aim not to be worshiped or cultured but to be used as a field of economic endeavors to fulfill everyday life.
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Huang, Yuanpeng, Galina Alekseeva, and Tingting Qin. "Analysis of the Influence of Tibetan Culture of the Yellow River Basin on Contemporary Chinese Painting." Bulletin of Baikal State University 30, no. 3 (2020): 479–83. http://dx.doi.org/10.17150/2500-2759.2020.30(3).479-483.
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The market economy reform, which began in China in the 1990s, changed people’s lifestyle, brought them freedom and diversity. It inevitably gave an impetus to the development of painting in the country of the new era. Thematic paintings were wide-spread in visual arts, which contributed to renewal of painting. Artists were greatly attracted by the Tibetan regions at the source of the Yellow River and tried to convey the spirit, rituals, and national costumes of its inhabitants. They depicted the sacred beauty of the plateau on their canvas, spread the values typical for the area at the source of the Yellow River throughout the country showing the beauty of the Tibetan people to the whole world.
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Muklisin, Muklisin, and R. Triyanto. "ANALISIS FORMAL LUKISAN ANDI IAN SURYA." Gorga : Jurnal Seni Rupa 9, no. 2 (2020): 292. http://dx.doi.org/10.24114/gr.v9i2.20116.
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AbstrakPenelitian ini bertujuan untuk mendeskripsikan hasil Analisis formal lukisan karya Andi Ian Surya. Analisis formal yakni melanjutkan inventarisasi deskriptif dengan mengumpulkan bukti-bukti untuk mengarahkan penafsiran karya dengan pertimbangan kebaikannya. Lukisan merupakan karya seni yang proses pembuatannya dilakukan dengan memulaskan cat dengan alat lukis.Populasi dalam penelitian ini adalah seluruh lukisan karya Andi Ian Surya yang diciptakan dari tahun 20013 sampai tahun 2018 sebanyak 500 karya. Sampel dalam penelitian sebanyak 6 karya. Adapun metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif Hasil penelitian menunjukkan karakteristik Warna dalam karya lukis dari Andi Ian Surya yaitu menggunakan rentangan warna-warna murni agar kecerahan lukisan tetap terjaga, dengan pemanfaatan warna panas untuk bagian terang dan skema warna dingin untuk bagian gelap. Adapun menggunakan hitam dan putih hanya digunakan saat finishing untuk membuat bagian paling gelap dan terang.Goresan karya lukis karya dari Andi Ian Surya yaitu ekspresif- impresionis dengan goresan yang kasar dan tidak beraturan namun membentuk objek yang digambar. Tekstur dalam karya lukis Andi Ian Surya terdapat pada bagian tekstur nyata karena lukisan tersebut jika diraba maka akan sangat kasar permukaannya. Gelap terang pada lukisan karya Andi Ian Surya dihasilkan dari warna, tekstur dan kontras pada lukisan sehingga menimbulkan gelap-terang.Komposisi pada karya lukisan Andi Ian Surya menggunakan komposisi radial dan asimetris.Kata Kunci: analisis, formal, lukisan.AbstractThis study aims to describe the results of the formal analysis of paintings by Andi Ian Surya. Formal analysis, namely continuing descriptive inventory by gathering evidence to direct the interpretation of the work with consideration of its goodness. Painting is a work of art whose manufacturing process is done by daubing paint with a painting tool. The population in this study are all paintings by Andi Ian Surya, created from 20013 until 2018, totaling 500 works. The sample in this study were 6 works. The method used in this study is a descriptive qualitative method. The results of the study show the characteristics of the colors in the paintings of Andi Ian Surya, namely using a range of pure colors so that the brightness of the painting is maintained, by utilizing hot colors for the bright parts and cold color schemes for the dark parts. . The use of black and white is only used when finishing to make the darkest and brightest parts. Scratches by Andi Ian Surya are expressive-impressionists with rough and irregular strokes but forming drawn objects. The texture in Andi Ian Surya's painting is in the real texture section because if the painting is touched it will be very rough on the surface. The dark light in Andi Ian Surya's paintings is produced from the colors, textures and contrasts in the paintings, giving rise to darkness. The composition in Andi Ian Surya's painting uses formal radial and asymmetric compositions.Keywords: analysis, formal, painting.
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Łuczkiewicz, Magdalena. "Paintings as Objects of Discourse Analysis: Two Case Studies." Respectus Philologicus 21, no. 26 (2012): 181–97. http://dx.doi.org/10.15388/respectus.2012.26.15486.
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This article analyses paintings as texts, and examines two paintings visually from different perspectives in order to understand the messages they provide to the audience. Both paintings were created by the Polish painter Zbigniew Maciej Dowgiałło, and present the time of Martial Law in Poland (1981–1983). The article describes the social and political events that took place in communist Poland before and during the imposition of Martial Law. The intention of setting the historical background is to make the time of Martial Law more realistic to the reader. The analysis is presented in the form of individual case studies of each work of art, making use of certain discourse categories (in particular, with the help of the categories of colour, line, character, disposition, opposition and intertextuality). Each category enriches the process of the reconstruction of the content of the text presented in these paintings. It was determined that colour is symbolic in the analysed pictures, serving to bring out emotional value through a variety of associations. It is expressive in form. It was found that varied types of lines are used, not only to frame shapes but also to express emotions. The characters found in the analysed pictures belong to completely different realities, the unreal world (uncommon animals) and the real world (figures of three men). The reconstruction of the unreal world is based on identifying and decoding the artistic visions of the artist, whose painting inspires the imagination and fascinates the viewer. The reconstruction of the content of the painting The Wujek Mine is dependent on certain historical facts. Without some knowledge of the time of Martial Law, reconstruction would be incomplete. The category of intertextuality proves that some other painters and writers have also dealt with the ideas discussed in the analysed paintings. The titles of both paintings are of an informative character and present the source of inspiration. The article concludes that by regarding paintings as texts, it can be seen that the artist sends numerous ideas and content messages to the audience.
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Simova, Veronika, P. Bezdicka, J. Hradilova, D. Hradil, and T. Grygar. "X-ray powder microdiffraction for routine analysis of paintings." Powder Diffraction 20, no. 3 (2005): 224–29. http://dx.doi.org/10.1154/1.1938983.
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Laboratory powder X-ray microdiffraction with a focusing monocapillary and linear multichannel detector was applied to phase identification in fragments of painting layers of art works, canvas and wall paintings, and polychromes on wood. This method is useful in materials research of painting layers with complex stratigraphy, and it is indispensable in distinguishing inorganic pigments of different natural provenance and revealing degradation products. The advantage of X-ray microdiffraction is its nondestructive nature and no need of sample pretreatment. Samples after microdiffraction can hence be used for other analyses or archived. Another advantage is the possibility to work with samples smaller than 1 mm, which is particularly important in the analysis of artworks where the sample amount or size is a serious limit of using the laboratory techniques of materials research. The X-ray equipment used is more economical and more easily accessible than other microdiffraction techniques and is, hence, suitable for routine analytical work.
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Tsukamoto, Akihiro. "Unfolding the landscape drawing method of Rakuchū Rakugai Zu screen paintings in a GIS environment." International Journal of Humanities and Arts Computing 3, no. 1-2 (2009): 39–60. http://dx.doi.org/10.3366/ijhac.2009.0008.
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In this paper, I propose a new methodology for analysing landscape drawing methods using a GIS. The subject of my analysis is the genre of Japanese screen paintings known as rakuchū rakugai zu, created between the 16th and 18th centuries. Rakuchū rakugai zu provide bird's-eye views of the then-capital city of Kyoto, including buildings, natural features, and human activities. The methodology introduced here uses GIS spatial analysis functions to scan the painting surface onto a survey coordinate grid based on the relative positions of landmarks in the painting. The analytic sequence is as follows: (1) derive coordinate values for landmarks both on the painting and on a survey coordinate grid; (2) generate a link table from these two point-data sets; (3) use the projective transformation and rubber sheeting techniques to project the painting surface onto the survey coordinate grid; and (4) project the areas of the rubber sheet-derived polygons onto the painting. This process gives visual representation to differences between real space and the depicted space. Results show that rakuchū rakugai zu painted in the seventeenth century and later distorted real space more than those painted in the sixteenth century, indicating a decrease in adherence to conventional perspective-based painting.
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Hu, Alice Joan. "Madonna in flower garlands in Flemish painting of the XVII century." Культура и искусство, no. 7 (July 2021): 66–80. http://dx.doi.org/10.7256/2454-0625.2021.7.33907.
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The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of &ldquo;painting in a painting&rdquo;; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.
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Kurikawa, Naoko. "Analysis of understandability of painting." Proceedings of the Annual Convention of the Japanese Psychological Association 83 (September 11, 2019): 3C—051–3C—051. http://dx.doi.org/10.4992/pacjpa.83.0_3c-051.
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Carter, Nigel P. "Cytogenetic analysis by chromosome painting." Cytometry 18, no. 1 (1994): 2–10. http://dx.doi.org/10.1002/cyto.990180103.
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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.
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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.
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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.
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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.
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Zavyalova, Anna E. "Konstantin Somov’s Painting “Non-Existent Porcelain”: Its Conception and Sources." Observatory of Culture 17, no. 4 (2020): 394–402. http://dx.doi.org/10.25281/2072-3156-2020-17-4-394-402.
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The article discusses the history and existence of Konstantin Somov’s painting “Non-Existent Porcelain”: The relevance of the topic is determined by the fact that the “Non-Existent Porcelain” for the first time becomes an object of study as a painting and a collectible. The scientific novelty of the article lies in the fact that it attempts to identify the artistic sources of this work (Titian, engravings from his painting “Venus with a Mirror”) and examines the attitude of K.A. Somov to this master artist. The author uses the method of complex analysis, combining a source analysis of K.A. Somov’s diaries and letters, and a traditional formal analysis of his painting “Non-Existent Porcelain” in comparison with the painting of Titian and engravings from it. The article traces the painting’s creation, identifies the sources from the creative heritage of the artist and European art. There are analyzed the artistic features of the painting, the period when it was in V.N. Gordin’s ownership and in the collection of E.A. Gunst. This study allows to expand the existing ideas about the artist’s visual sources of creativity.The article reveals that Titian’s painting “Venus with a Mirror” served as a source of the figure of a naked bather in the painting “Non-Existent Porcelain”. A hypothesis has also been put forward on the artist’s likely appeal to contre-épreuve reproductions of European masters of the 18th — 19th centuries from this painting, primarily the engravings of Johann Friedrich Leybold. The author concludes that K.A. Somov’s working over the painting “Non-Existent Porcelain” was in line with his working with a variety of sources from the heritage of European art, including his search for sources for depiction of nudity.
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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.
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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.
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Shulgina, O. V., and D. P. Shulgina. "Cartographic motifs, images and symbols in foreign painting." Geodesy and Cartography 972, no. 6 (2021): 55–64. http://dx.doi.org/10.22389/0016-7126-2021-972-6-55-64.
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The purpose of this publication is identifying the main patterns of depicting cartographic motifs, images and symbols in the development of foreign painting. Materials for the study were more than three hundred paintings with cartographic motifs shown on them, belonging to the brush of artists from different countries and eras. Main research methods are visual analysis; comparison of plots; historical and cultural interpretation; identification of general and particular; systematization of data. The following key features image mapping motifs in paintings by European masters were revealed
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Zhao, Wentao, Dalin Zhou, Xinguo Qiu, and Wei Jiang. "How to Represent Paintings: A Painting Classification Using Artistic Comments." Sensors 21, no. 6 (2021): 1940. http://dx.doi.org/10.3390/s21061940.
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The goal of large-scale automatic paintings analysis is to classify and retrieve images using machine learning techniques. The traditional methods use computer vision techniques on paintings to enable computers to represent the art content. In this work, we propose using a graph convolutional network and artistic comments rather than the painting color to classify type, school, timeframe and author of the paintings by implementing natural language processing (NLP) techniques. First, we build a single artistic comment graph based on co-occurrence relations and document word relations and then train an art graph convolutional network (ArtGCN) on the entire corpus. The nodes, which include the words and documents in the topological graph are initialized using a one-hot representation; then, the embeddings are learned jointly for both words and documents, supervised by the known-class training labels of the paintings. Through extensive experiments on different classification tasks using different input sources, we demonstrate that the proposed methods achieve state-of-art performance. In addition, ArtGCN can learn word and painting embeddings, and we find that they have a major role in describing the labels and retrieval paintings, respectively.
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Górecka, Katarzyna, Marek Sklodowski, Piotr Pawłowski, Joanna Szpor, and Henryk Arendarski. "XVIII Century Wooden Stretchers Structure Designed for Large Canvas and an Example of the Assessment Method." Advanced Materials Research 778 (September 2013): 113–18. http://dx.doi.org/10.4028/www.scientific.net/amr.778.113.
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Paper discusses large size canvas paintings stretching methods and deformations and damages specific for large canvas resulting from an incorrect stretching. Analysis of the preservation state of a wooden stretcher construction and its functionality was an important step in development of the program of conservation work. The case study of M. H Loders painting "Adoration of the Magi" (XVIII c.) from the cathedral Saint - Aubain in Namur (Belgium) is presented. The painting is exhibited 5,5 m above the floor and has a unique shape, as the wooden stretcher frame is adjusted to the round apse walls. Thus usual direct inspection was difficult due to poor access to the reverse side of the painting. Preliminary conclusions on the construction and preservation state of the stretcher frame were drawn on the basis of a thorough inspection of the painting surface. Actual shape of the painting and precise stretchers dimensions were measured with a laser scanner. More information concerning the stretcher frame construction was obtained from a simple micro-camera system combined with LED lighting introduced from the canvas reverse side.
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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (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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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.
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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.
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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
 for the owner of the painting is the fact that an artwork which decorates
 the wall of his home has both aesthetic and historical value –
 even without knowing its exact date or the painter.
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Bajda, Justyna. "Image – écrit – traduction." Między Oryginałem a Przekładem 25, no. 45 (2019): 13–32. http://dx.doi.org/10.12797/moap.25.2019.45.01.
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Painting – Text – Translations. Representation of the Colour Blue in Descriptions of Paintings in Art Books
 Colour is a basic category for describing a painting. At the same time, it is one of the most problematic categories for an art historian who describes a real artefact as well as a translator who only works with a description of the artwork.The aim of this article is to present the terms used to refer to the colour blue that appear in descriptions of paintings reproduced in art books. The scope of the analysis was limited to French Impressionist paintings. The collected material was examined in terms of three fundamental issues:1. The functioning of two basic terms for the colour blue in the Polish language,2. The names of pigments used by Impressionist painters, and3. Descriptions of the intensity of the sky-blue colour in the French and Polish languages.
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Echevarria, Ana. "Painting Politics in the Alhambra." Medieval Encounters 14, no. 2-3 (2008): 199–218. http://dx.doi.org/10.1163/157006708x366254.
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AbstractThis article endeavours to shed new light on the meaning of the ten Muslim male figures depicted in the central vault of the Hall of Justice in the Alhambra. First, new chronologies are attempted for the hall and the painting according to historical evidence contained in chronicles and literary sources. The study of the architectural frame of the paintings, interpreted as a madrasa-zawiya, suggests a relationship between the painting and the books intended to be kept below it. Therefore, an analysis of the emir's literary entourage is basic for the interpretation of the ceiling. Finally, the question of armouries and shields to be found in the vault is taken into account to demonstrate that some of this work may have been re-elaborated by Christians after taking possession of the palaces. The shields and the concept of the Order of the Band are too far from Islamic tradition as to belong to the original design of this painting, as critical examination of the Order's internal code shows.
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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.
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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.
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Zacharopoulou, A., E. Zacharopoulou, and G. Batis. "Statistics Analysis Measures Painting of Cooling Tower." International Journal of Corrosion 2013 (2013): 1–9. http://dx.doi.org/10.1155/2013/389159.
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This study refers to the cooling tower of Megalopolis (construction 1975) and protection from corrosive environment. The maintenance of the cooling tower took place in 2008. The cooling tower was badly damaged from corrosion of reinforcement. The parabolic cooling towers (factory of electrical power) are a typical example of construction, which has a special aggressive environment. The protection of cooling towers is usually achieved through organic coatings. Because of the different environmental impacts on the internal and external side of the cooling tower, a different system of paint application is required. The present study refers to the damages caused by corrosion process. The corrosive environments, the application of this painting, the quality control process, the measures and statistics analysis, and the results were discussed in this study. In the process of quality control the following measurements were taken into consideration: (1) examination of the adhesion with the cross-cut test, (2) examination of the film thickness, and (3) controlling of the pull-off resistance for concrete substrates and paintings. Finally, this study refers to the correlations of measurements, analysis of failures in relation to the quality of repair, and rehabilitation of the cooling tower. Also this study made a first attempt to apply the specific corrosion inhibitors in such a large structure.
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Liu, Y., S. Lyu, M. Hou, and Q. Yin. "THE COMPARISON BETWEEN NMF AND ICA IN PIGMENT MIXTURE IDENTIFICATION OF ANCIENT CHINESE PAINTINGS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 1169–72. http://dx.doi.org/10.5194/isprs-archives-xlii-3-1169-2018.
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Since the colour in painting cultural relics observed by our naked eyes or hyperspectral cameras is usually a mixture of several kinds of pigments, the mixed pigments analysis will be an important subject in the field of ancient painting conservation and restoration. This paper aims to find a more effective method to confirm the types of every pure pigment from mixture on the surface of paintings. Firstly, we adopted two kinds of blind source separation algorithms, which are independent component analysis and non-negative matrix factorization, to extract the pure pigment component from mixed spectrum respectively. Moreover, we matched the separated pure spectrum with the pigments spectra library built by our team to determine the pigment type. Furthermore, three kinds of data including simulation data, mixed pigments spectral data measured in laboratory, and the spectral data of an ancient painting were chosen to evaluate the performance of the different algorithms. And the accuracy was compared between the two algorithms. Finally, the experimental results show that non-negative matrix factorization method is more suitable for endmember extraction in the field of ancient painting conservation and restoration.
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Makarevičs, Valērijs. "ART PSYCHOLOGY: A SYMBOLYC PAINTING ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 76. http://dx.doi.org/10.17770/sie2017vol4.2427.
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Painter at all times had interest in that, how an audience perceive their works. This problem touches the questions of aesthetics not only. The picture can not speak the words. But the color, objects and their position in space can convey the meaning of what is consciously or unconsciously, the author wanted to say. There is a method of knowledge the meanings of art. This is a symbolic analysis. We applied this method to the analysis of paintings by Russian artist Repin. Analysis of space objects and the colors of numerous works of the author allowed, as we think, to decipher the true meaning of the work of the author.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 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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Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (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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Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland." Polar Record 50, no. 1 (2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.
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ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more similar characteristics linking the rock paintings and drum symbolism. These recent findings point towards the survival of a nature based sacrificial religion from the Stone Age era in Finland. The source of this was shamanistic in its essence, and is seen portrayed on rock and boulder formations by hunters similarly to how figures were illustrated on drum heads by the Sámi shamans from the nomadic era of the 17th and 18th centuries in Lapland. This more recent recognition strengthens the argument for Sámi involvement in the creation of rock paintings in Finland.
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Nurova, Gerlya V. "К истории cоздания росписей центрального буддийского храма Калмыкии (2016–2019 гг.)". Desertum Magnum: studia historica Великая степь: исторические исследования, № 2 (30 грудня 2020): 179–91. http://dx.doi.org/10.22162/2712-8431-2020-10-2-179-191.
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The article discusses the history of the creation thangka paintings in the Central Buddhist Temple (khurul) of the Republic of Kalmykia which was opened in 2005. The article attempts at giving analysis of the formation of sacral art environment of the Elista Buddhist Temple in the context of the development of Tibetan-Kalmyk Buddhist relationships. The article describes the stages, peculiarities and complexity of the painting process that was done by the Tibetan artists who came from India and are masters of the traditional thangka painting. The author gives the documental facts about the work organization and process that lasted almost three years. The article gives information about thangka painters, well-known nowadays: their biographies, characteristics and the information about their further life. By creation the paintings of the Central Khurul, these painters contributed to the development of the spiritual culture in Kalmykia.