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Journal articles on the topic 'Art and Paintings'
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1
Liu, Shengnan. "Intertextuality and Shielding of Poetic painting: A Case Study of Qiao Zhongchang’s “The Sequel to the Ode to the Red Cliff Scroll”." Studies in Linguistics and Literature 8, no. 3 (2024): p86. http://dx.doi.org/10.22158/sll.v8n3p86.
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As an art form combining poetry and painting, poetic painting usually presents the emotion and mood of the source poem in a positive and favorable way. However, due to the limitations of painting’s ideograms, poetic painting has limitations in presenting the connotations and extensions of poetry. Qiao Zhongchang’s The Sequel to the Ode to the Red Cliff Scroll of the Northern Song Dynasty is one of the typical models of ancient poetic paintings. From the perspective of the relationship between poetry and painting, the writer analyze the intertextual and shielding phenomena therein, with a view to better understanding the constituent elements of the poetic paintings of the ancient literati and the role they played in the interpenetration of literature and art.
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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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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Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.
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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (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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Wilson, Sarah Kate. "Painting’s liveness." Journal of Contemporary Painting 9, no. 2 (2023): 267–85. http://dx.doi.org/10.1386/jcp_00059_1.
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Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin’s speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit’s declaration that the medium of painting is live and ‘On Air’ is drawn into her argument for painting’s liveness, whilst Catherine Wood’s curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text.
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Bai, Haochen. "Painting in Situ: Su Shi’s Mural Practices and Its Impact on Song Paintings." Studies in Art and Architecture 4, no. 2 (2025): 28–36. https://doi.org/10.56397/saa.2025.04.04.
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Su Shi and his circle have long been credited as originators of the Chinese literati painting tradition and with the inception of distinct literati art practices, including painting on silk, paper, and walls. Literati mural painting, due to its fragility, exists only in Song accounts, colophons, and poems. Building on the pioneering research of Maggie Bickford, Susan Bush, and others, this paper synthesizes their interpretations, elucidates the distinctness of literati mural practices, and sheds new light on cross-medium connections in literati paintings. The paper opens by focusing on the concept, “transmediality,” to study the parallel developments between two art practices in different mediums and the appropriation of medium-specificity, which is built on Richard Barnhart’s, Martin Powers’, and Richard Vinograd’s various reflections on “citation” within Chinese art. Then the paper argues that the beginning of literati paintings in Su Shi’s time grew out of the mutual influence between mural paintings and other art mediums. It thus extends James Cahill’s analysis of “spontaneity” in Song mural paintings to a broader picture of Song literati painting. The paper also complicates Susan Bush’s and other scholars’ reflections on the social attributes of Song literati art and suggests that literati mural paintings became surrogates for other mediums in different social settings.
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Zhang, Biyun. "Art on Chinese Xuan Paper." European Scientific e-Journal 1, no. 1 (2020): 67–91. https://doi.org/10.47451/art2020-09-001.
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The formal beauty of Chinese paintings mainly lies in the peculiar material, the special brush and ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter. The author reveals the features of ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter of beauty of Chinese paintings through making contact with Chinese Xuan paper and ink because Chinese ink painting, boasting a history of more than a thousand years, represents the wisdom and talents of Chinese people. The author concludes that Chinese painting culture has a long history and boasts extensive and profound features. While it faces various problems in inheritance and dissemination in the new era.
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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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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.
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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Wang, Yunlong, Mohd Fuad Md Arif, Wenyi Cheng, and Shanshan Zhao. "Metamorphosis of Tradition: Dong Arts from Folk Dong Painting to Contemporary Expressions." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 8 (2024): e002900. http://dx.doi.org/10.47405/mjssh.v9i8.2900.
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The Dong ethnic minority in southwest China possesses a distinctive cultural heritage. Dong's painting emerges as a unique and diverse form within Dong's artistic endeavors, capturing the essence of daily life among the Dong people. Regrettably, Dong paintings often endure neglect compared to the more recognized Dong architectural art. To revive appreciation for Dong culture, this study delves into traditional Dong folk paintings, aiming to discern various painting types and explore the impact of these traditional forms on contemporary Dong paintings. The similarities and differences between traditional Dong folk painting and contemporary Dong painting are obtained through the investigation and artistic practice of the Dong nationality. It mainly focuses on literature analysis, case studies, and art practice-based research. This investigation reveals that contemporary Dong paintings continue incorporating and reinterpreting symbols, architectural motifs, and dress patterns from traditional Dong folk art. This continuity in artistic expression contributes significantly to preserving and disseminating Dong culture in evolving artistic forms.
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Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.
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Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.
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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.
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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.
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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.
15
Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.
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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
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Assoc., Prof. Bui Van Hung, Ha An Nguyen, and Thanh Tran Cong. "Factors Affecting the Development of Vietnam Lacquer Paints." INTERNATIONAL JOURNAL OF LAW, MEDIA AND SOCIAL SCIENCES Volume 2, Issue 3 (2022): 27–40. https://doi.org/10.5281/zenodo.7244154.
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The goal of the study is to identify the characteristics and quintessence of Vietnamese lacquer art, highlight the characteristics and quintessence, and see the difference with foreign lacquer paintings. On the basis of understanding the origin, materials, techniques, art, development, achievements ... to find out the characteristics and artistic essence of Vietnam's unique painting form - Lacquer painting (limited to fine art and visual paintings). On the basis of researching the development of materials, the exploration and experimentation of artisans and artists, understanding Vietnamese lacquer paintings in the current cultural context: exchange, integration, culture contributes to the sustainable development of Culture - Society (in which is also the potential of Tourism). The article has highlighted the role of Vietnamese lacquer paintings in honoring Vietnamese art and Vietnamese culture; contributing to the enrichment of regional and world culture. Finally, the article has emerged that the development of Vietnamese lacquer paintings is not only a matter of developing and preserving works but also a problem related to crafts, craft villages, artisans making materials, training of craftsmen and artists
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He, Xing, and Eun-Jun Park. "Hair Art with Traditional Chinese Flower-and-Bird Painting as Motives." Korean Society of Beauty and Art 24, no. 1 (2023): 151–62. http://dx.doi.org/10.18693/jksba.2023.24.1.151.
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This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and ‘A Painting of Valley Breeze and Comfort’ were designed for fall. It is anticipated hairstyles created with traditional Chinese flower-and-bird paintings as motives are valuable enough to be displayed as an art genre and that they would make a contribution to the growth and development of hair art.
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Ni Ketut Wiriani Merta, I Putu Sudana, and Yohanes Kristianto. "Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism." Jurnal Multidisiplin Madani 3, no. 9 (2023): 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.
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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sutasoma, and the lives of the Gods.Then the teachings of Hinduism as inspiration for the creation of traditional Balinese painting works (Wayan Agus Gunada). Painting is part of the art of Kamasan puppet art has unique cash characteristics such as natural forms, folklore, mythology and Hindhu religious teachings, which are manifested in the forms of symbols in it that are thick with spiritual value. Painting is not only as a display material but also as a material for forming human characters. Because in puppets there are good teachings and bad teachings. In puppets there are ways of behaving, ways of thinking, ways of dealing with life are all contained in puppet stories. Positive characters bring peace while negative characters bring misery. For example, Ravana, a puppet character who has a great lust that cannot hold back his ego, then makes all people miserable, Korawa who loba makes the entire palace miserable. Likewise, the wise character of Rama, the wise admiral character can be used as an example in behaving in everyday life. The reason for this research is to preserve traditional art assets as one of the wealth of the Indonesian nation (Bali). To introduce Indonesia in international especially tourism. While the uniqueness of painting is: 1 as the meaning of life / philosophical learning. 2 Wayang paintings have survived until now not extinct 3, puppet paintings as an economic breakthrough of the community, 4 Puppet paintings of ancestral assets, 5 Wayang paintings as friends of tourism to come to Indonesia.Almost all corners in the Sangging Kamasan Klungkung Bali banjar, there are puppet painting galleries that are ready to welcome tourisms visiting Indonesia, especially Bali. Great services of classical puppet painting or Balinese Traditional Paintings as a loyal friend of tourism, so that Indonesia can get acquainted with international countries because of the contribution of this classic puppet painting service (Balinese Traditional Paintings)
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Ruta, I. Made, I. Made Saryana, Ni Wayan Masyuni Sujayanthi, Ni Made Purnami Utami, I. Made Saryana, and Gede Yoga Kharisma Pradana. "The Rwa Bhineda Painting Principles: The Art of I Dewa Nyoman Batuan." Randwick International of Social Science Journal 4, no. 1 (2023): 150–59. http://dx.doi.org/10.47175/rissj.v4i1.591.
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Rwa Bhineda are two distinct characteristics that exist in this life. The goal of this article is to reveal the principle of rwa bhineda in I Dewa Nyoman Batuan's mandala paintings. The mandala paintings by I Nyoman Batuan are very distinctive and have inspired many other artists' paintings. However, there has been no study that discusses the principle of rwa bhineda, which makes mandala paintings by I Dewa Nyoman Batuan look distinctive. This article discusses the principle of rwa bhineda in a painting by I Dewa Nyoman Batuan and the meaning of rwa bhineda in a mandala painting by I Dewa Nyoman Batuan. This study uses a qualitative method. The data sources for this study were mandala paintings by I Dewa Nyoman Batuan himself, mandala painters, cultural observers, and people observing mandala paintings selected based on purposive sampling and snowball techniques. All data obtained through observation, interviews, and literature studies were analyzed qualitatively and interpretatively using aesthetic theory and deconstruction theory. The results of the research show that the principle of rwa bhineda in the mandala painting by I Dewa Nyoman Batuan is made in the form of a circle, which is beautified by the duality motif. The principle of rwa bhineda in mandala paintings by I Dewa Nyoman Batuan has an aesthetic meaning, a cultural meaning, and a counter-destruction meaning.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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Jin, Lian, and Kexin Wang. "A Study of Chu Teh-Chun’s Abstract Paintings from the Perspective of East-West Integration." Region - Educational Research and Reviews 6, no. 4 (2024): 122. http://dx.doi.org/10.32629/rerr.v6i4.2079.
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Chu Teh-chun is an outstanding abstract artist of the twentieth century and the first member of the Académie française of Chinese descent since the establishment of the academy. His abstract paintings are full of brilliant colors and beautiful melodies, and are filled with a poetic aura, and his works show a kind of oriental imagery that transcends the objective world, which is regarded as a "perfect fusion of the subtlety of oriental art with the richness of western painting". He has been described as "a perfect blend of the subtlety of oriental art and the richness of western painting". He travelled to Paris in 1955, when Western modernist art was in full bloom, and through continuous exploration, his painting style changed from figurative to abstract. Later on, in the process of exploring abstract painting, he incorporated the cultural spirit of the East and created abstract paintings with oriental connotations. His abstract paintings use the compositional forms of Western modern painting and the colour techniques of oil painting, blended with the charm of traditional Chinese painting, to create a painting space with changing colors, powerful brush strokes, and a sense of rhythm and light. His abstract paintings are the result of a high degree of fusion of Chinese and Western artistic spirit.
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Koo, Lina Shinhwa. "Export Paintings as Art and Agency." Athanor 39 (November 22, 2022): 95–110. http://dx.doi.org/10.33009/fsu_athanor131145.
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Export paintings that depict local images of one’s country with the purpose of being sold to foreign customers emerged in China and Korea in the late eighteenth and late nineteenth centuries, respectively, when the countries opened their ports to Europe and America. Given this historical context, the conventional understanding of export paintings of the two countries has been twofold at large: 1) commodities that reflect Euro-American customers’ tastes for exotic imageries and 2) ethnographic resources that exhibit unique characteristics of each country’s culture. While these interpretations have a valid ground, they often undermine the artistic qualities of the painting genre, separating it from the existing painting traditions. To broaden this perspective, my paper aims to suggest plural ways of discerning export paintings through cross-cultural comparisons. In doing so, this study highlights the integral roles of export painters in responding to changing social, political, and economic circumstances, posing a critical question for investigation: whether export paintings are images of self-objectification with the instillation of Orientalist ideologies or creative outcomes with an artistic agency. While these two stances are not mutually exclusive nor contradictory to each other, this core question allows one to challenge the linear understanding of the history of “non-western” art.
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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.
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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Im, Mi-Hyun. "Study on Hyewon Sin Yun-bok’s Landscape Paintings with Focus on Kansong Art Museum Collection." Korea Association of World History and Culture 73 (December 31, 2024): 5–34. https://doi.org/10.32961/jwhc.2024.12.73.05.
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Hyewon(蕙園) Sin Yun-bok(申潤福, 1758?-1817 or later) was a painter who exhibited excellent skills not only in his well-known genre paintings, but also in portraits, paintings of flowers, birds and furry animals, and landscape paintings. In particular, his landscape paintings, albeit the number of works which display his unique and innovative style, have not been comprehensively studied to date due to the popularity of his genre paintings or landscaping paintings by other artists of the same era. As such, this study was designed to closely analyze, examine, and re-evaluate his landscape paintings with a focus on the collection at Kansong Art Museum. Among Sin Yun-Bok’s landscape paintings, the Kansong collection was deemed appropriate for this study since it is highly likely that the works are his originals and the artistic quality is higher compared to his other landscape paintings. In terms of subjects and materials, these works are based on the classical Southern-school style literati landscape paintings, while in terms of structure, screen composition, mountain-drawing technique, and coloring, he was influenced by senior painters such as Jeong Seon, Sim Sa-jeong, Lee In-mun, and Kim Hong-do. Consequently, Sin Yun-bok’s landscape paintings embrace both the Southern-School style literati landscape paintings and the true-view style, intensively representing the landscape painting world of the late Joseon Dynasty. Under the influence of his senior painters, Sin Yun-bok established a unique and original landscape painting style that is characterized by simple brush strokes, bold omissions, and watercolor-style coloring. This became a constant inspiration to his contemporary and junior painters including Yun Je-hong, Kim Su-cheol, and Kim Chang-soo, serving as a stepping stone in the landscape painting world between the late to the end of the Joseon Dynasty and as a foundation for creating another unique painting style.
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Pham, Hung Cuong. "The Expression of Vietnamese Folk Art in the Painting Series “Technique du Peuple Annamite”." Russian Journal of Vietnamese Studies 8, no. 1 (2024): 94–109. http://dx.doi.org/10.54631/vs.2024.81-629444.
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Vietnamese folk painting art, a traditional art form, is the quintessence of the nation's cultural heritage and historical significance, expressing rustic beauty but containing a Vietnamese culturally conscious mind. In order to preserve the typical beauty in the daily life of ancient Vietnamese people, a genre of folk painting rich in visual art and meaning appeared in the early 20th century. That expression is a set of paintings in an ethnographic research work by Henri Oger, a French scholar. The "Technique du peuple Annamite" series of paintings was produced in large quantities by Vietnamese artisans and reflects the daily life of the Vietnamese people in the capital Hanoi and the Red River Delta. This research was conducted to clarify the elements that create the folk character of the painting from the perspective of visual arts. The results of this study show that the paintings, from themes to forms of expression, all reflect the quintessence of Vietnamese folk art.
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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.
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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>
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Mafredas, Thomas, Eleni Kouloumpi, and Stamatis C. Boyatzis. "Did Dionysius of Fourna Follow the Material Recipes Described in His Own Treatise? A First Analytical Investigation of Four of His Panel Paintings." Heritage 4, no. 4 (2021): 3770–89. http://dx.doi.org/10.3390/heritage4040207.
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A research protocol based on imaging techniques and physicochemical analyses was designed and carried out in order to investigate the construction technology of four panel paintings produced by a very important 18th century artist, hieromonk Dionysius from Fourna. Dionysius was the first painter of the post-Byzantine period who wrote an artists’ manual for the Eastern Orthodox painting art: he recorded and described in his treatise ‘Hermeneia of Art Painting’ the materials and construction techniques of the 18th century Christian painting. The contribution of Dionysius and his ‘Hermeneia of the Painting Art’ is decisive because it gathers all the previously scattered advice and guidelines about the construction of panel paintings and the information quoted by him is probably the only official recorded source of Eastern Orthodox art technology. In this context, four panel paintings signed by Dionysius were selected for scientific research: it is the first time that an effort is made to analytically characterize the materials used by the hieromonk, to recognize the construction technology, and examine whether it follows the recipes included in his manuscript or not.
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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.
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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.
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Minglu, Yang, Ahmad Albattat, and Norhidayah Azman. "Investigate the Impact of the Current Watercolour Painting Market Situation on the Development of the Watercolour Painting Market in China. Market Environment as a Mediator." International Journal of Professional Business Review 8, no. 8 (2023): e02992. http://dx.doi.org/10.26668/businessreview/2023.v8i8.2992.
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Purpose: The purpose of this study is to investigate the impact of the current watercolour painting market situation in China on the development of the watercolour painting market in China. In addition, this study investigates the role of the watercolour painting market environment in China as a moderating variable in the relationship between the current state of the watercolour painting market in China and its future development. Theoretical framework: Contemporary Chinese art and culture exist in a society that is open and pluralistic. Through the efforts of several generations, they have created not only a magnitude but also a vast market. In a technologically based society, technologically based painting is on the verge of extinction. The construction of cultural artistic conception and character is a novel topic in the art education and instruction of contemporary Chinese watercolour painting. Design/Methodology/Approach: A total of 495 respondents participated in the survey comprised of 110 watercolour artist collectors, 220 watercolour paintings and 165 lectors and business intermediaries 165. This study was a cross-sectional study where the data collection period is from August to October 2021. A survey with a closed-ended and self-administered format was conducted in order to collect data. The questionnaire is divided into two sections, Smart PLS was used to analyse the data and identify any significant relationships between the variables. There was a correlation between being a colour artist and collecting watercolour paintings. Findings: This study focuses on watercolour painters, watercolour collectors, and commercial intermediaries., according to the findings. This suggests that artists are more likely than non-artists to collect watercolour paintings. In addition, the study revealed that business intermediaries play a crucial role in facilitating the sale of these paintings. The study revealed that watercolour painting is a popular art form among both artists and collectors. Watercolour paintings have been a popular art form for centuries, and this study confirms that their popularity remains strong among both artists and collectors. The delicate beauty of watercolours, with their translucent washes of colour and soft edges, is particularly appealing to those who appreciate the subtleties of art. Research, practical & social implications: This study found that watercolour paintings are highly valued by business intermediaries, who recognize their potential as investments. In fact, many galleries and auction houses specialize in selling watercolours, and the market for these works continues to grow. Originality/Value: it is important to note that not all watercolour paintings are created equal - some are more highly prized than others based on factors such as the artist's reputation, the quality of the materials used, and the subject matter depicted. Overall, this study underscores the enduring appeal of watercolour paintings and their continued relevance in today's art world. This research provides valuable insights into the relationship between colour artists, collections of watercolour paintings, and art industry intermediaries.
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ABOKEDE, Olugbenga Oladeji, Jumoke Aderemi AYENI, and Moses Akintunde AKINTONDE. "Stained Glass Paintings in Some Selected Churches in Osogbo and Its Neighbourhood." International Journal of Progressive Sciences and Technologies 46, no. 2 (2024): 590. https://doi.org/10.52155/ijpsat.v47.1.6614.
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Stained glass painting, is a distinctive assessory in the interior repertoire of Christian ecclesiastic spaces [1]. It is a form of painting executed on a glass surface, which permit penetration of natural light and illumination through it into the sanctuary [2]. It is a common phenomenon in orthodox churches such as Catholic, Anglican and Methodist among others. Stained glass paintings spread across several church denominations in Òsun State, Nigeria. Catholic, Methodist and Anglican denominations in Òsun State Nigeria and specifically in Òsogbo the capital city adopts usage of stained glass, a form of painting in their Churches. The practice of stained glass painting in Òsogbo, Nigeria and its environs is deep. Yet, the art forms have not attracted scholars’ interest overtime. Except for few pictures of stained glass of some churches in Òsogbo, schorlarly publication on the subject is scanty. Few available information on stained glass in Òsogbo is grossly scanty to justify the practice of the art forms. These art forms may depreciate in value overtime or lost due to church renovation or perhaps natural disasters. This makes the study of stained glass art in these churches highly imperative. Hence, focus of the study is on the usage of stained glass paintings in Methodist church, Ìsàlè-Àró, Òsogbo and selected Anglican Churches in Ode-Òmu, Ifón-Òsun, Ìddó- Òsun, Ìlobú, Ilé-Ifè and Òke-Fía, Òsogbo. The study examines the origin, history, theme, form, style, techniques and attempts comparative analysis of the art works. Nevertheless, rationale for limiting the study to selected Anglican and Methodist churches is because Jimoh Buraimoh, the famous bead painter of Òsogbo art center, produced all the paintings. Moreover, Jimoh Buraimoh’s stained glass paintings unlike other works like bead paintings have not been studied in any appreciable measure as his other art types [3]. The study therefore analyzes stained glass paintings of Jimoh Buraimoh in the selected Anglican and Methodist Churches in Òsun State, Nigeria. Specifically, the research identifies stained glass paintings in some churches in Òsun State, Nigeria; discusses and describes the stained glass, analyzes the form, style, theme and techniques of the stained glass in each of the churches; comparatively analyzes the stained glass paintings of the two selected church denominations. All stained glass paintings in different denominational Church sanctuaries in Òsun State, Nigeria constituted sample frame for this research. Total population is fourteen (14). Stained glass paintings in Church sanctuaries executed by Jimoh Buraimoh, a famous painter of Òsogbo art centre constitute fifty percent (50%) of the fourteen (14) stain glass paintings in Òsun State, Nigeria. Hence, these seven (07) stained glass works constituted sample size for the study. Data collection instrument for the study were visual and audio-visual equipment such as camera, tape recorder, and video gadgets. Digital camera was used to record photographs of the stained glass in each of the Churches for formal analysis. Primary and secondary sources of information were used for the study. Sources of data collection includes oral interview and participant observation. Related textbooks, journal articles and theses were also consulted. ‘The Good Shephered’ and ‘Ascension’ are the two themes of the paintings. Statistical analysis indicates that a theme ‘The Good Shephered’ are six (06) with percentage distribution of eighty-five point seven one percent (85.71%) while ‘Ascension’ is only one (01) with a percentage distribution of fourteen point two nine percent (14.29%). The artist used imported materials and adopted western techniques and style in executing the paintings. The paintings serves as a medium of pictorial and spiritual dialogue.
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Hua, Jianing. "Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example." Communications in Humanities Research 8, no. 1 (2023): 76–82. http://dx.doi.org/10.54254/2753-7064/8/20230972.
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The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society towards foreign painting. Furthermore, the study conducts the visual comparison methodology to identify the elements of Western painting that were incorporated into Chinese painting during this period, centering on the works of artist Wu Bin (1550-1643) and employing specific information as corroborative substantiation. The results of the study indicate that late Ming society did not exhibit overt animosity towards Western art and that Wu Bins paintings contain discernible Western painting inspirations. Yet, these factors did not impede the prevalence of indigenous artistic and aesthetic inclinations in his oeuvre.
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Pal, Saptamita, and Azad Kalam Mir. "Modernization of Tribal Wall Paintings: A Study on the Santhal Community of Dhatkidih Village of Galudih, Purba-Singbhum, Jharkhand." NDC E-BIOS 3, no. 1 (2023): 61–71. https://doi.org/10.5281/zenodo.11165765.
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<em>Painting has been one of the oldest forms of expression for many different tribal populations. Wall painting is one of the many types of visual art. In recent times, tribal wall paintings have been modernized. The present study aimed to understand the modernization of wall painting among the tribal population of Jharkhand. The observation was done on a Santhal population residing in Dhatkidih village in East Singhbhum district of Jharkhand, approximately one and a half kilometers from Galudih railway station. The village consists of seventy-five households with a population of 350, distributed among several Santhal clans and Ho tribal populations. The observation includes the paintings made outside each tribal household's wall, reflecting several artistic styles. it was observed that modernization affected the tools and techniques used in wall paintings. New styles were incorporated into paintings instead of traditional art for wall paintings. Interviews reveal the main reasons for the change were the cost efficiency and durability of modern tools and colours. During the interviews, it was revealed that migration to urban areas for wage earning and the use of modern smartphones have led to changes in traditional paintings. It should be noted that the study's conclusion may be limited due to the unavailability of traditional wall paintings.</em>
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Chen, Guo. "Analysis of Color and Artistic Conception in Painting Art." Journal of Contemporary Educational Research 8, no. 8 (2024): 283–89. http://dx.doi.org/10.26689/jcer.v8i8.8108.
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The charm of painting, as a bright pearl in the treasure house of culture, lies in its visual language constructed through colors and lines, which conveys the artist’s unique perception of life and profound emotions. Color, as the most intuitive and expressive language in painting, is not only a simple reproduction of material colors but also a projection of the artist’s inner world. Artistic conception, as a core concept in traditional Chinese painting theory, refers to the emotional atmosphere and spiritual mood embedded in paintings. The purpose of this paper is to discuss the interaction between color and mood in painting art, to analyze the techniques of using color in different painting styles and their influence on the creation of mood, and to provide new perspectives and methods for the creation of paintings.
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Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.
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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parameters of the sunlight typical for the region of a given culture; quite a definite “color triad” is inherent to each national school, dominating the majority of its paintings. These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.
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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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Minglu, Yang, Ahmad Albattat, and Azman Norhidayah. "Historical Factors Influencing Water Colour Painting Market Environment and Development in China Market Supervisor as a Moderator." International Journal of Professional Business Review 8, no. 8 (2023): e02991. http://dx.doi.org/10.26668/businessreview/2023.v8i8.2991.
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Purpose: China has a long history of art, including watercolour painting, which has garnered international acclaim. China can gain recognition for its artistic accomplishments and contribute to the global art community by preserving and promoting the practise of watercolour painting both domestically and internationally. Theoretical framework: The tale of the development of Chinese watercolour painting is intricate and multidimensional, reflecting the impact of several historical events (Li, 2023; Yin,2022). These elements have all contributed to the creation of this stunning and lasting art form, from the rich philosophical and cultural traditions of China to the impact of aesthetic trends and technical advancements. Design/Methodology/Approach: A total of 495 respondents participated in the survey comprised of 110 watercolour artist collectors, 220 watercolour paintings and 165lectors and business intermediaries 165. This study was a cross-sectional study where the data collection period is from August to October 2021. Using Smart PLS, the collected data is analysed. Findings: The study revealed that watercolour painting is a popular art form among both artists and collectors. Watercolour paintings have been a popular art form for centuries, and this study confirms that their popularity remains strong among both artists and collectors. The delicate beauty of watercolours, with their translucent washes of colour and soft edges, is particularly appealing to those who appreciate the subtleties of art. Research, practical & social implications: This study found that watercolour paintings are highly valued by business intermediaries, who recognize their potential as investments. In fact, many galleries and auction houses specialize in selling watercolours, and the market for these works continues to grow. Originality/Value: It is important to note that not all watercolour paintings are created equal - some are more highly prized than others based on factors such as the artist's reputation, the quality of the materials used, and the subject matter depicted. Overall, this study underscores the enduring appeal of watercolour paintings and their continued relevance in today's art world.
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Li, Qiao. "Research on the applicability of regional folk art Fengyang Phoenix Painting from the perspective of humanistic ecology." Highlights in Art and Design 1, no. 3 (2022): 68–71. http://dx.doi.org/10.54097/hiaad.v1i3.2963.
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The core values of socialism contain a very important content is civilization and harmony, the image of the dragon and phoenix is the mythical totem image of the Chinese nation for thousands of years, is an indispensable spiritual symbol in Chinese civilization, and is also the spiritual carrier of Chinese national cultural self-confidence and national self-confidence. The "Essentials of Chinese Painting" records that there are three stops and nine resemblances in painting dragons, and the drawing methods of phoenix birds in Fengyang phoenix paintings also have many elaborates, and the physical composition of phoenix birds is a synthesis of various beautiful objects. Through the interpretation of Fengyang Phoenix Paintings with different themes, different expression techniques and different decorative effects, this study discusses the adaptation of Fengyang Phoenix Paintings to natural ecology and the practical significance of ecological development trends, emphasizes the importance of inheriting and continuing Fengyang Phoenix Paintings and generating a sense of cultural identity, in order to achieve the goal of building a sustainable development activation route for Fengyang Phoenix Paintings, and introduces the important impact of the culture composed of phoenix birds in the cultural category of Fengyang Phoenix Paintings on the humanistic ecology of Fengyang Phoenix Paintings. In-depth study of the future of Fengyang phoenix painting from the perspective of humanistic ecology, so as to provide universal theoretical support for the development of Fengyang phoenix painting in real situations.
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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.
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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric art. It provides the basis for entering into the changing aspects of the living arts of man.
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.
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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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S. VIMALA. "ANALYSIS OF THE TANJORE MARATHAS' PAINTINGS." International Journal of Educational Review, Law And Social Sciences (IJERLAS) 3, no. 5 (2023): 1409–15. http://dx.doi.org/10.54443/ijerlas.v3i5.1007.
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Tanjore, Tamil Nadu's rice bowl, is also home to the arts. The kings' paintings are excellent examples of their Maratha painting abilities. During their rule in the Tanjore Maratha era. These are pieces of art that will not deteriorate with the passage of time. Tanjore style of painting is a style that flourished in Tamil Nadu from 16th to 18th century. It was influenced by the Andhra style of the Nayaks, Maratha and Mughal style and English Manatee style. Tanjore paintings adorned the interiors of the palaces. These style paintings were created by them as a clan profession. The Tanjore Brihadisvara Temple is the only temple in the world with a thousand-year-old artwork as well as a range of subsequent works. The art that grew up in this temple eventually gave birth to a new painting style known as Tanjore style painting. That is the current depiction of Tanjore artwork.
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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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Abd Razak, Haslinda. "Identifying the Concept of Space in Paintings with Malay Ornament Design." International Journal of Art and Design 6, no. 2 (2022): 71–78. http://dx.doi.org/10.24191/ijad.v6i2.1149.
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Space provides an essential quality in visual art, as it encompasses the arrangement of basic principles of art with other elements of design that transform the idea into creative aesthetic values. Misinterpreted decorative painting composition as flat space has created a misunderstanding of the depth approach in utilizing motifs and patterns. This study was conducted to examine comprehensively the concept of space that emphasized Malay ornament design as well as techniques and approaches. Twenty-eight decorative paintings from National Art Gallery, Malaysia permanent collections have been selected as sampling. Observation and tracing methods were used to further investigate the types of space that were explored in these paintings. As a result, three types of space were identified and shallow space was frequently present in these decorative paintings. Subsequently, this study will increase the understanding and diminish misjudgment of space with decorative painting composition, especially through the application of Malay ornament design.
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Martynenko, Andrii, Andriy Tevyashev, Nonna Kulishova, and Boris Moroz. "The problem of automatic classification of pictures using an intelligent decision-making system based on the knowledge graph and fine-grained image analysis." System research and information technologies, no. 4 (December 27, 2022): 58–67. http://dx.doi.org/10.20535/srit.2308-8893.2022.4.05.
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In order to prevent the illegal export of paintings abroad, a museum examination using various methods for studying a work of art is carried out. At the same time, an analysis is also made of historical, art history, financial and other information and documents confirming the painting’s authenticity — provenance. Automation of such examination is hampered by the need to take into account numerical values of visual features, quality indicators, and verbal descriptions from provenance. In this paper, we consider the problem of automatic multi-task classification of paintings for museum expertise. A system architecture is proposed that checks provenance, implements a fine-grained image analysis (FGIA) of visual image features, and automatically classifies a painting by authorship, genre, and time of creation. Provenance is contained in a knowledge graph; for its vectorization, it is proposed to use a graph2vec type encoder with an attention mechanism. Fine-grained image analysis is proposed to be performed using searching discriminative regions (SDR) and learning discriminative regions (LDR) allocated by convolutional neural networks. To train the classifier, a generalized loss function is proposed. A data set is also proposed, including provenance and images of paintings by European and Ukrainian artists.
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Lin, Fen, and Mike Yao. "The Impact of Accompanying Text on Visual Processing and Hedonic Evaluation of Art." Empirical Studies of the Arts 36, no. 2 (2017): 180–98. http://dx.doi.org/10.1177/0276237417719637.
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This study explores how accompanying text affects the way an individual views and interprets a painting. We randomly assigned participants to view 20 paintings from the classical era with factual information, contextualized background information, or no information displayed next to them. We then recorded their visual gaze using an eye-tracking device and asked them to evaluate the paintings. The results show that how people view a painting and how they evaluate a painting are two distinct cognitive processes. The contextual information serves to orient the viewing process. The accompanying text influences the visual attention and gaze pattern but has limited impact on the hedonic evaluation of paintings. Instead, hedonic evaluation is more of a taste acquired through education and socialization. This study offers an empirical footnote to discussions on the cognitive assumptions in sociological studies of art and cultural phenomena.
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Zhang, Muhan. "Impact Of “Rise of Burgher Class” On Art: Italian Renaissance Painting." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 303–11. http://dx.doi.org/10.54097/y50tnp05.
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With the further development of Europe's overall economy, the seeds of capitalism began to appear, and cities also emerged. At the same time, the burgher class, the predecessor of the bourgeoisie, began to step onto the stage of history and began to transform society according to the needs of this class. The changes in the art of painting during the Italian Renaissance are closely related to the rise of the burgher class. The values advocated by the burgher class profoundly affected the painting art of this period, and the paintings also became the carrier of the new ideas of the Renaissance, then they further affected every member of society and embodied the social function of art. This article uses document analysis and work analysis methods to collect relevant historical materials and paintings, and conducts analysis based on the social background of the time, exploring the impact of the "rise of the burgher class " on art, and taking "Italian Renaissance painting art" for an example to explores the relationship between the two and clarifies that the class values advocated by the burgher class after the rise played a role in promoting the changes in the themes and connotations of paintings during this period.
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Jeon, Youn Sug. "A Study on the Design of Nail Art by Converging Vincent van Gogh's Expression Techniques." Korean Society of Culture and Convergence 45, no. 10 (2023): 947–57. http://dx.doi.org/10.33645/cnc.2023.10.45.10.947.
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The purpose of this study is to derive unique nail art designs through the convergence of famous paintings and beauty design. Accordingly, theoretical and empirical studies were conducted at the same time. As a theoretical studies examined the expression techniques that appeared in Vincent van Gogh's paintings. For an empirical study, Vincent van Gogh's expression technique and nail art design were combined to derive designs on actual nail tips, and nail art designs according to line drawing, color techniques, and impasto techniques were derived. Through the use of repetitive lines, the shape was expressed using yellow, blue, green, and grayish brown Gogh's colors, and expressed as nail art designs using repeated colors and embossed gel by gel hand painting techniques. The convergence of famous paintings and nail art can be used as a way to improve artistic value and promote new design development.
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Zhong, Tian. "Research on Marketing Strategy of Chinese Painting and Calligraphy Art Based on Wireless Communication Network Resources." Security and Communication Networks 2022 (February 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/7788645.
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China has a thousand years of cultural heritage, and its famous paintings and calligraphy works are all representatives of the works of art. Calligraphy and painting have changed from works of art to commodities. This is undoubtedly caused by the changes of the times and society. Calligraphy and painting have gradually formed in this process. The most basic feature that distinguishes the market from other markets is the difference in marketing strategies. Aiming at the current problems in the online marketing of Chinese paintings and calligraphy works, a marketing strategy for Chinese paintings and calligraphy works based on wireless communication network resources is proposed. In view of the lack of accurate analysis of the current Chinese painting and calligraphy and artwork marketing and the uneven quality of the artwork, the above-mentioned problems can be improved through the allocation of wireless communication network resources. The experimental results show that the scope of dissemination of Chinese paintings and calligraphy works using this marketing strategy is wider, and the marketing transaction rate and profit are greater.
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Dulal, Lok Nath. "Wall Painting of Pujari Math of Bhaktapur: An Exploration." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 2 (2023): 124–43. http://dx.doi.org/10.3126/craiaj.v6i2.60252.
Full textAbstract:
Historical evidences prove that painting is considered as the mother of all other forms of art and crafts. While artists start to sculpture the icon and any art objects, very first, they sketch the drawing of concerning deities and specimens, therefore, a painting is said to be the mother of all other sculpture arts. Therefore, the history of creation of painting is older than other forms of arts. On the basis of creating materials, mediums, instruments, technologies, and nature, painting can be classified into three different forms such as fresco, miniature and painted scroll. This article has analyzed the fresco painting of Pujari Math of Bhaktapur. This is an example of polychrome painting which displays an excellent craftsmanship of the artist. Through the perspectives of religion, culture, social values, art skill and technology this art object is known as the representative fresco paintings of Nepal which reveals the fine handiworks of the artists of the medieval period. In painting where people can observe several secular and religious figures of deities and social events associated with the myths of religious scriptures especially Ramayan and Mahabharata the great epics of Hindu. Despite all its amusing qualities, unfortunately, this painting is still not properly considering as the subject of research and study. It is its academic problem and research gaps as well. Thus, raising the research questions such as what types of paintings are painted on the walls and beams of Pujari Math? Why the painting of Pujari Math is considered wonderful work of art? And what are the major features of the painting of Pujari Math? Likewise, this paper fulfills the certain specific objectives such as to examine the paintings of Pujari Math; to explore the significance of the work of art and to analyze the major features of the fresco paintings. It is qualitative research based on primary data and secondary information. Primary data have been obtained from the field using observation and interview method whereas the required secondary information has been collected from different reliable literatures such as journals, documents, books, published and unpublished relevant reports. Thus, for fulfilling the research gaps and problems this paper has been prepared.
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Hoon, Kweon. "A World Tour of Dental Paintings." Journal of The Korean Dental Association 61, no. 3 (2023): 192–209. http://dx.doi.org/10.22974/jkda.2023.61.3.003.
Full textAbstract:
‘A picture is worth a thousand words.' In this short adage, the goal and desire achieved through this article focusing on the history of dentistry through paintings is contained. Past experience, whether direct or indirect, is an invaluable asset for dentists. In essence, the past teaches us vicariously, has historical lessons, and is a compass for the future. One of the attractions of art is that it helps people empathize. This is especially true of the power of painting. Even without words or explanations, paintings connect people from the past to modern times. Moreover, if you listen to an explanation of the historical significance of a particular painting, you discover a deeper understand-ing and connection to the events depicted. In this study, famous dental paintings in art museums from around the world will be introduced. In addition, the dental paintings will be considered and discussed as evidence of the life and times of famous painters of the past, and as related to dentistry in particular. We conclude the tour as experts of dental history paintings.
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CAO, Xi. "Su Shi’s Artistic Legacy as a Man of Letters: Insights into Song Dynasty Paintings." Research On Frontiers, no. 1 (January 28, 2024): 46–53. http://dx.doi.org/10.62978/2401cx4653.
Full textAbstract:
As a man of letters, Su Shi’s poetic art spirit energized the Song paintings. As for painting, Su Shi advocated the idea of “unconscious of the boundary between oneself and the external world”, “unity of poetry and painting”, and “perfection of form and spirit” in creation and aesthetics. That is to say, he pursued not only the Naturalness but also humanistic and poetic connotations. His art spirit contributed to the formation of the concept of “literati painting”. Through exchanges with other artists, Su Shi’s poetic spirit spread both inside and outside the imperial court, shaping the overall style of the Song paintings by osmosis.