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1
Cooney, Jessica Behrman. "The child in the cave : the contribution of non-adults to the creation of cave art and community in the Upper Palaeolithic." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708066.
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Mauran, Guilhem. "Rock paintings and microorganisms: a new insight on Escoural cave." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20606.
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European cave art is of tremendous importance to understand the cultural traditions of the Upper Palaeolithic (35 000 – 10 000 BP) populations. Indeed, Prehistoric communities performed numerous cave paintings all over Western Europe. Understanding these artworks should provide a better knowledge of these early cultural aspects. Although numerous studies have been carried out to analyse the materials used by those communities, nothing has been done on the techniques’ palette of Escoural Cave’s representations. The present work aims at providing the very first data about the techniques and materials used by the Prehistoric to perform the cave paintings of Escoural (Alentejo, Portugal), and the microorganisms possibly endangering this unique parietal art. In situ observations coupled with an extensive micro-sampling and micro-destructive analyses allowed to characterize the coloured material and the way they were applied on the walls of the cave. Both red and black pigments present major composition’s disparities among the different paintings and drawings, supporting a more complex occupations’ chronology than what was earlier thought. The Palaeolithic paintings have suffered deterioration from environmental conditions and include chemical, mechanical and aesthetic alterations, possibly as a result of fungal activity. The standard techniques for biological assessments used in these contexts provided important insights on the diversity of the microbial population, though they have accuracy limitations. To understand the extent and viability of the existing microbiota, DNA quantification and biomarkers analyses, such as desidrogenase activity were performed and correlated with ergosterol amounts; RESUMO: A Arte Rupestre Europeia é de grande importância para compreender as tradições culturais da população do Paleolítico Superior (35 000 - 10 000 BP). De fato, as comunidades Pré-históricas realizaram inúmeras pinturas rupestres em toda a Europa Ocidental, sendo crucial compreender estas obras de forma a proporcionar um melhor conhecimento destes ancestrais aspectos culturais. Embora vários estudos tenham sido realizados para analisar os materiais utilizados por estas comunidades, nada foi efetuado sobre a técnica de execução das representações presentes na Gruta do Escoural. O presente trabalho visa fornecer os primeiros dados sobre as técnicas e materiais utilizados na Pré-História para executar as pinturas rupestres de Escoural (Alentejo, Portugal) bem como caracterização dos microorganismos possivelmente associados aos danos deste bem único. Observações in situ, juntamente com uma extensa micro-amostragem e análises micro-destrutivas permitiu caracterizar os pigmentos utilizados e a forma como eles foram aplicados nas paredes da caverna. Tanto os pigmentos vermelhos como os pretos apresentam composição distinta nas diversas pinturas e desenhos aí representados, apoiando a presença de diferentes ocupações contrariamente ao que se pensava até então. As pinturas Paleolíticas têm sofrido deterioração, devido às condições ambientais, nomeadamente alterações químicas, mecânicas e, possivelmente como resultado da atividade fúngica. As técnicas usualmente utilizadas para a avaliação de contaminação biológica fornecem informação importante sobre a diversidade da população microbiana, embora apresentem algumas limitações. Para entender a extensão e a viabilidade da microbiota existente, a quantificação de DNA e análise de biomarcadores como actividade de desidrogenases foram realizadas e correlacionadas com o conteúdo em ergosterol.
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Yen, Chih-hung. "Bhaiṣajyaguru at Dunhuang." London : University of London, 1997. http://catalog.hathitrust.org/api/volumes/oclc/68914537.html.
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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.
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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.
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Tonner, Philip. "The dwelling perspective : Heidegger, archaeology, and the Palaeolithic origins of human mortality." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1970f1dc-201d-4f49-adc0-9ffdd4010127.
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This interdisciplinary thesis is about dwelling, both as a method in archaeology and as a mode of existence. My thesis has two principal aims. Firstly, to explore the 'dwelling perspective' as this has been outlined in recent archaeological theory. This will involve discussion of phenomenological philosophy and the figure of Martin Heidegger. The term 'dwelling' is a technical one originating in Heidegger's philosophy of being. Phenomenology has been making inroads into archaeological theory as a consequence of the interpretive turn of the 1980s. The theoretical commitment of this thesis is that phenomenological inquiry is a useful project in archaeological research. Reflexive archaeological research in the present might articulate and confirm certain phenomenological dimensions of present experience so as to inform and enhance our understanding of the past. Secondly, I discuss the notion of dwelling in the existential sense as a mode of existence in terms that might allow us to deploy this concept in Palaeolithic archaeology, with specific reference to mortuary practice and "art". I propose two case studies in order to explore this. Firstly, mortuary practice and existential awareness of death will be explored with reference to the site of the Sima de los Huesos. Secondly, Heidegger's notion of artistic production as a world-opening event will be explored in relation to Upper Palaeolithic art in caves. The focus on mortuary practice and art is not arbitrary: both are central planks of Heidegger's account of dwelling and both are linked by 'heterotopic' space. Heidegger presented a novel account of human existence as 'Dasein'. Dasein is being-in-the-world and being-in-the-world is unified by what Heidegger called 'care' (Sorge). Heidegger's account of Dasein remains anthropocentric: I argue that we should move away from Heidegger's own anthropocentric view of being-in-the-world, dwelling or care toward a phenomenological archaeology that goes 'beyond the human'. I argue that care or dwelling is evidenced by the archaeological record of human becoming and that our ancestors 'cared for' or 'dwelled with' their dead. Care is evidenced by appropriating the world and by looking after compatriots within the world, and I argue that such an existential state had been reached before the advent of the Upper Palaeolithic. I argue that Upper Palaeolithic "art" opened up a hunter-gatherer world that enabled others, including animal others, and objects, to become meaningful to groups of Daseins, and so to become part of particular "dwelling places". Heidegger remains the key theorist of dwelling but his anthropocentrism should be abandoned. Suitably revised, Heidegger's account of dwelling will provoke us to look at Palaeolithic archaeology from a fresh perspective.
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Olofsson, Max. "Painting in the twenty-tens;where to now? : (You can’t touch this!)." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-212.
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The essay is a manifesto-like personal take on painting, and a redefinition of painting in the digital age. Careless usage of the term ”painting” has led to a diluted descriptive function and a waning categorizing capacity; almost anything can be called painting, which in turn puts actual painting in an awkward position – where it, apart from being itself, could be almost anything. The term “painthing” is introduced to distinguish painting from works that beside its two-dimensional visual information also makes a point of its specific materiality. It brings up cave paintings and links to video-games, suggesting that video-games have gone through the reversed evolution of the history of painting – from abstraction to representation. It speaks of the problems of documentation – the translation of visual information (or re-flattening of a flat surface) – and the cultural equalization of information and images on the internet through the common denominator the pixel. It also describes “information painting”, which in short is digital painting where there is no physical object to be translated to a documentation of itself, but rather a painting that is original in its documentation form (its digital form), painting that strives to be nothing but the utopia of an image – the untouchable/unreachable visual information.
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Goodall, Rosemary A. "Non-destructive techniques for the analysis of pigments from an archaeological site." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36948/1/36948_Goodall_1997.pdf.
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The detennination of trade routes and social interactions has previously been undertaken using cultural records and archaeological trends. In many regions this infonnation is sparse or inconclusive. By provenancing materials such as the pigments used by Aboriginal artists the movement of materials in the past can be directly investigated.
This study is an attempt to characterise and provenance the excavated pigments from Fem Cave, Chillagoe, Southeast Cape York Peninsula. Two techniques, Fourier transform infrared -photoacoustic spectroscopy and proton induced X-ray and gamma-ray emission spectroscopy, have been used to examine the mineralogy and elemental composition of earth pigments. Both these techniques are suited to the examination of solid samples, requiring only very small samples (
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Greenwald, Diana Seave. "Painting by numbers : case studies in the economic history of nineteenth-century landscape and rural genre painting." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:3e1941c3-3c7e-48ee-9c62-2d2fa9c2c3fc.
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Industrialization altered the socioeconomic landscapes of France and the United States in the nineteenth century; meanwhile, the content and style of art produced in both countries also changed. In particular, landscape and rural genre painting became more prominent. Scholars have argued that the socioeconomic changes caused the artistic ones. This thesis, 'Painting by Numbers: Case Studies in the Economic History of Nineteenth-Century Landscape and Rural Genre Painting', uses methods from the social sciences to conduct case studies that examine these causal links. In addressing this topic, this project engages with the work of T.J. Clark, Alan Wallach and other founding social historians of art. With the creation of two databases containing information about 410,000 artworks exhibited in nineteenth-century France and the U.S., this thesis applies statistical methods to a much larger sample of artistic data. Exploiting this data source provides a socioeconomic history of the average experience of participants in the art world rather than detailed examinations of the experiences of a handful of still-famous artists, which have been more typical of the field. The first two chapters of the thesis provide an introduction, literature review, and description of the French dataset. Chapters 3 and 4 address research questions in the history and historiography of images of nature in nineteenth-century French art. Chapter 3 employs econometrics to examine systematic relationships exist between the quantities of images of nature exhibited in nineteenth-century France and the pace of industrialization. Statistically, the element of modernization that most affected the output of images of nature in the artistic data examined was the founding of artists' colonies near new rail lines connecting Paris to the countryside. Chapter 4 analyzes the artist Jean François Millet's letters, excerpts of which scholars used to form assump- tions about how artists' anti-urban attitudes inspired their depictions of nature. The chapter demonstrates that Millet was an active user of industrial modes of transport who often traveled to Paris. Chapter 5 introduces the American dataset, and the remaining chapters present three case studies about art in the U.S. during the nineteenth century. Chapter 6 examines the much-cited inventory The Art Treasures in America, showing it overstates the amount of European art in American collections during the nineteenth century. Chapter 7 analyzes how art collectors' socioeconomic backgrounds influenced their acquisitions; it demonstrates that socioeconomic markers are generally poor predictors of collecting patterns. Chapter 8 investigates the relationship between the growth of the railroad in the U.S. and landscape painting. Mapping the frequency of depiction of natural sites alongside the growth of railroads shows that visual culture is often a byproduct of rail lines built for other purposes rather than a catalyst for building new lines. My thesis refines current understanding of how socioeconomic change affected art in the nineteenth century in two ways. First: it shows sample bias can compromise existing socioeconomic histories of art, and the use of data can help combat this bias. Second: it provides examples of how industrialization most affected artistic output by removing structural constraints on the geographic movement of artists, collectors and artworks themselves. More broadly, this project demonstrates that scholars can use digital tools in conjunction with economic methods to document and analyze phenomena in the art history that would be neglected in purely qualitative analyses.
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Heber, Ashley Dawn. "Resting cake face." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1623.
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My most recent series of paintings places specific focus on the societal struggles young women face with an emphasis on the need to constantly be viewed as attractive. I am interested in cultural taboos of women's sexuality, and body image anxiety. Layered imagery of anonymous groups of young women paired with grotesque representations of food mimic the internet bombardment so inescapable for young women today. Painted stereotypes of beauty further show the imbalance of male / female gender roles and holographic glitter as well as day glow color push the drama further. In spending time with my drawings and paintings the viewer will, ideally, begin to question the cultural expectations for women, and contemplate possibilities for change.
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Brown, Paul David. "Painting a Portrait of Mathematics: A Case Study of Secondary Students' Assessment Portfolios." Thesis, Curtin University, 2003. http://hdl.handle.net/20.500.11937/1547.
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This study analyses the effect of introducing student portfolios as a means of assessing the learning of mathematics. It examines the intended and the unforeseen outcomes in terms of the students, the caregivers, and the teachers involved, using quantitative data to match classroom environments with the response to the innovation. A major focus of the qualitative aspect of the study is the decisionmaking process that was associated with the implementation of change. For this study, all the junior students in a New Zealand secondary school were asked to compile portfolios of their mathematical work. The portfolios were graded by the teachers, the marks contributing to the students' assessments for the year's work. At the outset, the plan was to survey the 510 students involved to determine their attitude towards mathematics, survey them again once the innovation was in place to quantify the classroom environment, then repeat the first survey. Analysis was expected to reveal whether classroom environments that approximated a "portfolio culture" (Duschl & Gitomer, 1991) contributed to an improved attitude towards mathematics. This quantitative approach was supplemented with taped interviews of students and teachers, ongoing records of less formal interactions, review of examination marks and school reports, and questionnaires mailed to the homes of a sample of the students. As the study progressed, it emerged that the major impact was on the teachers, and the focus shifted to them. For four years, follow-up surveys were conducted with teachers, including those who had transferred to other schools. The study found that all students can benefit from portfolios, both in terms of skills and attitude towards mathematics.Portfolios legitimated the involvement of caregivers, a positive change that provided greater links between classroom activity and the world of employment. The professional practice of teachers was affected by portfolios, prompting development of new classroom resources and techniques, increased collegial cooperation, and well-informed reflection on teaching and assessment. Teachers maintain great influence on classroom culture, and for many of those involved in the study, portfolios prompted a renewed interest in the process undertaken by students as they develop mathematical ideas, and a change in the relationship between teacher and students. The "portfolio culture" resulted in students improving in their appreciation of mathematics, and a changed role for the student within the social environment of the classroom.
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Nibbs, Simone E. "Binding Ochre to Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/122.
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Widely found throughout the archaeological and artistic records in capacities ranging from burial contexts to early evidence of artistic expression, red ochre has been studied in archaeological and art conservationist communities for decades. Despite this, literature discussing binders is disparate and often absent from accessible arenas. Red ochre is important historically because its use can be used to help further the understanding of early humans, their predecessors, and their cognitive capabilities. However, there is not much written speculation on the processes involved in binder selection, collection, and processing. Based on the idea of these three activities associated with binders, I propose a schema for what the use of already prepared and obtained items doubling as binders might look like in the archaeological record. Using an experiment in which I used red ochre mixed with various binders to paint standardized shapes on a rock surface, I propose ways in which more experiments could be done in this vein. I suggest ways in which scales of desirability can be created based on different traits painters might have found important in the binder selection process, such as ease of paint reconstitution, texture of the paint, and the appearance of the paint mixture once on the stone. This research is one small step in the direction of expanding and diversifying the literature on binders in prehistoric paintings, and opening new avenues of conversation about the choices and motivations of early painters.
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Lewy, Patricia L. "Painting history in mid-century America : a case study of Friedel Dzubas's mature style." Thesis, University of Essex, 2018. http://repository.essex.ac.uk/22893/.
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My thesis, “Painting History in Mid-Century America: A Case Study of Friedel Dzubas’s Mature Style (1970s)” examines why Friedel Dzubas—an American artist of German descent whose friends and supporters included the powerful critic Clement Greenberg and the artists in his circle, among them Morris Louis, Jules Olitski, Helen Frankenthaler, and Kenneth Noland—disappeared from the canon of artists associated with Post Painterly Abstraction (Color Field Painting) as it evolved from the later 1950s into the 1970s. My work offers an account of the genesis of Dzubas’s mature style based on a formalist approach to the artist’s work. Chapter One presents Dzubas’s early biography, excavated for the first time from documents in the Friedel Dzubas Estate Archive to which I have been given sole access. Until now, the published critical writings on Dzubas’s works, including those of Clement Greenberg and Michael Fried, have tended to consider Dzubas’s painting in the 1970s anomalous with regard to Post Painterly Abstraction, and even more damaging, to be a nearly failed effort in the simulation of that modernist problematic. While not challenging that reception, I present clear evidence from letters and interviews of Dzubas’s more immediate interests, despite the continued grouping of his work with Post Painterly (Color Field) painters. By the 1970s, these interests showed themselves in abstract symbols of religious import and atmospheric aerial landscape painting. Rather than foregrounding the characteristics that distinguished painting qua painting in modernist theorizations—the canvas’s two-dimensional facticity, the relationship between paint-images and their framing edges, and the releasing of hue in open fields across the surface—Dzubas’s paintings highlight compositional strategies and traditional approaches to the canvas that at the time were considered anachronistic when judged against aesthetic values of material integrity, spontaneous production, color expression, and autonomy. Dzubas’s gessoed grounds, suspended images in shallow space, and allusive, tactile associations challenged modernist precepts at that time. The theory behind this attitude is explored in Chapter Two. Chapter Three presents a close reading of Dzubas’s critical reception, focusing on reviews that while vaunting his color sense and dramatic, roiling surfaces marginalized his production by linking it to his German background and the influence of the great Romantic painters. In Chapter Four, I propose that rather than merely carrying over gestural abstraction from the 1940s and 1950s in America into his own production, Dzubas was more profoundly influenced by the “touch” in historic painting, the colorito in the tradition of the Venetians dating from late Titian to the grand frescoed tableaux of Giambattista Tiepolo, whose vast expanses further inspired Dzubas to create his own religious tableau, his magnum opus, Apocalypsis cum Figuras/Crossing, A.D. 1975, 1975. My case study suggests that for his grand realization, Dzubas had reached back to his early training in decorative wall painting and to specific characteristics of Tiepolo’s vast panoramas whose figuration was grounded in affective gestures of 18th-century opera seria. Dzubas’s turn toward Tiepolo affirms his commitment to the theatrical as well as to the pictorial structures of religious depictions of the Day of Judgment.
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Brown, Paul David. "Painting a Portrait of Mathematics: A Case Study of Secondary Students' Assessment Portfolios." Curtin University of Technology, Science and Mathematics Education Centre, 2003. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=14413.
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This study analyses the effect of introducing student portfolios as a means of assessing the learning of mathematics. It examines the intended and the unforeseen outcomes in terms of the students, the caregivers, and the teachers involved, using quantitative data to match classroom environments with the response to the innovation. A major focus of the qualitative aspect of the study is the decisionmaking process that was associated with the implementation of change. For this study, all the junior students in a New Zealand secondary school were asked to compile portfolios of their mathematical work. The portfolios were graded by the teachers, the marks contributing to the students' assessments for the year's work. At the outset, the plan was to survey the 510 students involved to determine their attitude towards mathematics, survey them again once the innovation was in place to quantify the classroom environment, then repeat the first survey. Analysis was expected to reveal whether classroom environments that approximated a "portfolio culture" (Duschl & Gitomer, 1991) contributed to an improved attitude towards mathematics. This quantitative approach was supplemented with taped interviews of students and teachers, ongoing records of less formal interactions, review of examination marks and school reports, and questionnaires mailed to the homes of a sample of the students. As the study progressed, it emerged that the major impact was on the teachers, and the focus shifted to them. For four years, follow-up surveys were conducted with teachers, including those who had transferred to other schools. The study found that all students can benefit from portfolios, both in terms of skills and attitude towards mathematics.Portfolios legitimated the involvement of caregivers, a positive change that provided greater links between classroom activity and the world of employment. The professional practice of teachers was affected by portfolios, prompting development of new classroom resources and techniques, increased collegial cooperation, and well-informed reflection on teaching and assessment. Teachers maintain great influence on classroom culture, and for many of those involved in the study, portfolios prompted a renewed interest in the process undertaken by students as they develop mathematical ideas, and a change in the relationship between teacher and students. The "portfolio culture" resulted in students improving in their appreciation of mathematics, and a changed role for the student within the social environment of the classroom.
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Cortes, Laura Camila. "Case Studies of the Influence of Painting on the Cinematographer´s Work." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263332.
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Morris, David Roger Neacalbann Mcintyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of the Western Cape, 2002. http://hdl.handle.net/11394/1597.
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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.Magister Artium - MA (Anthropology/Sociology)
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Morris, David Roger Neacalbánn McIntyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of Westen Cape, 2002. http://hdl.handle.net/11394/151.
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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.
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Obioha, Tatiana. "Painting the City Red: A Close Look at the Homicide Trends of New Orleans." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/41.
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New Orleans has had a consistently high homicide rate for around twenty years, but limited research has committed to discovering a successful solution to the pre- and post-Katrina crime problem. Prior research has been conducted to analyze whether the Southern “culture of violence,” poverty, income inequality, unemployment, gun ownership and legislation, gangs, and residential segregation affect homicide, but no study applies these factors to New Orleans. Using a case study analysis that applies these variables studied in prior research to New Orleans and information acquired from the 2010 U.S. Census Bureau, American Community Survey, and the Federal Bureau of Investigation’s Uniform Crime Reports, correlations are made between homicide in New Orleans and poverty, income inequality, and residential segregation. Implications show that homicide is affected by multiple factors. All of these factors should be analyzed when homicide is the focus of the research because homicide is not a result of one or two variables.
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Marontate, Janet Lee Ann. "Synthetic media and modern painting, a case study in the sociology of innovation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ26696.pdf.
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Green, Julian Jay. "Frames of reference : three late-modernist case studies in music composed after painting." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55799/.
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Music composed 'after' painting has featured prominently in the repertory of Western art music, yet it has received little scholarly attention as an aesthetic phenomenon. Despite certain commonalities with programme music on the one hand and forms of musical multimedia on the other, music after painting (MaP) differs crucially from these manifestations, in that the non-musical component - the painting - is conspicuous by its absence, hence its more usual treatment as a feature incidental to the music, a mere citational allusion. But what happens when the painting is treated as integral to the aesthetic experience In what ways can music reach towards this other experiential domain, and how might the seeming incommensurability of music and painting - as 'temporal' and 'spatial' media - be transcended Drawing on, among other sources, the philosophy of Adorno, the phenomenology of Husserl and Clifton, the literary theory of Iser and recent theories of metaphor (Scruton and Guck), this thesis argues that the experience of music is never phenomenally 'self-present', that it is always supplemented by an element of 'ideation' (Iser), the evocation of non-existent or absent objects. Moreover, theories of multi-sensory perception challenge the idea of a musical experience that is purely auditory, demonstrating, rather, its susceptibility to a crossed modality in which one domain of experience either invokes or proves to be dependent on the memory or excitement of another. A dynamic response theory is therefore put forward to account for the painting as a frame of reference which directs, selects and contextualises this embodied experience. These possibilities of cross-domain mapping are then explored in three case studies - Morton Feldman's Rothko Chapel (1971) Henri Dutilleux's Timbre, Espace, Mouvement: ou La nuit etoilee (1978) and Tan Dun's Death and Fire: Dialogue with Paul Klee (1992) - each of which highlights a different aspect of the music-painting conjunction while suggesting reasons for the resilience of MaP within aesthetic modernism.
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Akyol, Ali Akin. "Material Characterization Of Ancient Mural Paintings And Related Base Materials: A Case Study Of Zeugma Archaeological Area." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611185/index.pdf.
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In this study, two sample sets from Zeugma Archaeological Area had been
examined. The sample Set I includes 7 sediment, 18 stone, 4 brick/roof tile, 9 mortar,
4 plaster samples and the sample Set II consists of 24 mural painting samples.
Samples were examined to get their raw material characteristics, mineralogical and
chemical compositions, and microstructural properties using various analytical
techniques such as Optical Microscopy, XRD, FTIR, PED-XRF, SEM-EDX and
Raman Spectroscopy. In addition, mikroclimatic monitorings for temperature and
relative humidity were also performed in that area.
Sediments were calcereous soils of Eocene. Rock types of stones were mainly
limestone which had 3 subgroups: micritic, biomicritic and recrytallised micritic
limestones. The source of the limestones should be from the local formation.
The firing temperature of brick/roof tile samples were estimated as 800-850°C. Binder of mortar samples were mainly lime. Aggregate materials of brick/roof tiles, mortars, plasters and mural paintings may come from the river deposites of Euphrates. Mural painting samples have one intonaco layer, and single or double arriccio layers. The mural painting technique was fresco technique. Calcite was common mineral identified for all pigments. The sources of white, black and green coloured pigments were found as vaterite, graphite and malachite respectively. The sources of yellow coloured pigments were identified as ankerite, siderite and goethite. The red colours were identified as hematite, jasper and red earth/ochre. Jasper and vaterite, jasper and calcite, red earth/ochre and calcite, and hematite were the colour forming minerals of pink coloured pigments.
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TOREM, ANA CLAUDIA DE PAULA. "THE INTERIOR DESIGN OF THE VALE DO PARAÍBA FARMS: THE MURAL PAINTINGS AND TROMPE L`OEIL CASE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8123@1.
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Esta pesquisa pretende fazer o inventário dos mais
significativos exemplos
de pintura mural decorativa da tradição oitocentista das
fazendas do Vale do
Paraíba. A partir do material obtido, o objetivo principal
do trabalho é analisar e
classificar tipologicamente os diferentes murais
encontrados através de pesquisa
teórica, observações e análise gráfica do objeto em
questão, assim como a
compreensão do contexto social e cultural em que surgiu
este tipo de decoração
no século XIX e que ainda hoje é produzido tanto no
interior quanto na cidade
do Rio de Janeiro. Partindo de observações que evidenciam
a recorrência da
decoração mural européia, uma mesma linguagem visual e a
questão simbólica
das temáticas representadas, o trabalho busca mostrar a
existência de uma
tradição do que diz respeito à utilização de pinturas
murais decorativas nos
interiores domésticos das casas rurais da região do Vale
do Paraíba. Esta
pesquisa pretende também ressaltar a importância destes
murais enquanto
documentos iconográficos, portanto memória de uma época
significativa,
indispensável na preservação dos elementos simbólicos que
conferem identidade
regional e nacional.This work deals with the assessment of the most significant examples of the decorative mural paintings carried out during the 19th century in the Vale do Paraíba coffee farms. The aim of the study is to analyze and classify the typology of the murals found in different sites based on a theoretical fundamental approach, observations and analysis of the several paintings, considering the social and cultural context in which this particular kind of decoration arose in that century and is still considered as an important form of art appearance in the city of Rio de Janeiro and its surroundings. Starting from the observations of the farm paintings, one may suggest that they are deeply connected with the European painting heritage, which means they present the same visual language and symbolism, depicting so, the importance of such cultural expression in the interior of farmer`s houses or constructions in the Vale do Paraíba region. Finally, this research points out the importance of the mural paintings as iconographic references, and so, part of a remembrance of an important period of the Brazilian history in the course of its representative elements that give regional and national distinctiveness.
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Lishiko, Billiard Berbbingtone. "The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.
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SHENG, Hung. "The art of Irene Chou (Zhou Luyun, 1924-2011) : a case study of ink painting." Digital Commons @ Lingnan University, 2013. https://commons.ln.edu.hk/vs_etd/4.
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Ink Painting was first initiated by Lui Shou Kwan (1919 - 1975) in the 1960s and it had a significant and remarkable influence on Hong Kong painters. It aimed to revitalize Chinese painting as a reaction largely triggered by the dominant trend of imitative practice of the Lingnan School in Hong Kong at the time. Lui stressed the importance of gen (根 root) and shi (適 adaption) and signaled many possibilities of ink painting as a new category. Gradually, a group of artists pursuing the same goal gathered and made the Ink Painting Movement possible. Irene Chou was one of the prominent and dedicated artists involved in the Ink Painting Movement. She demonstrated a lifelong exploration of art and the expression of her inner self to art.
This study attempts to analyze how Chou’s art manifested the core values and concepts of Ink Painting. Born in Shanghai, Chou moved to Hong Kong in 1949. She did not commence painting until her mid-thirties when she studied with the second generation of the Lingnan School master Zhao Shaoang (1905 - 1998). Her artistic career began with imitation. However, after she met and was inspired by Lui in the mid 1960s she soon realized art was about self expression. Her art evolved from representation to abstraction and eventually developed into her own style which is very distinct from other Ink painters. After her stroke in 1991, she immigrated to Australia. Despite the unfamiliar environment and poor health, Chou did not surrender herself to these physical challenges. In contrast, her spirit elevated and she continued the exploration of self through her creations. By using Chou as a case study, the research aims not only a scrutiny of Chou’s artistic pursuits and innovation, but also a juxtaposition of her pursuits among a few link painters of her time in order to have a better understanding of some crucial and complex concepts of Ink Painting.
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Siu, Fun-kee. "The case of Wang Yiting (1867-1938) : a unique figure in early twentieth century Chinese art history /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21415274.
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Stanley-Baker, Joan. "Toward an integrated methodology : morphological analyses in the identification of prime objects and the sequence of image-change through historical accretions : Wu Zhen (1280-1354), a case study." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:895704f6-8f4f-4c96-a329-51ab4b275c34.
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The thesis is a demonstration of an integrated methodology in the investigation of Chinese paintings. Section I outlines methods of analysis used by specialists in China, Japan and the West, and proposes their integration. Section II implements the Integrated Methodology in the identification of prime objects in a group of works attributed to Wu Zhen now in the National Palace Museum, Taipei. Section III presents a systematic method of investigating the non-genuine works, and charts their respective relationships to the prime objects and/or to each other. The findings clarify fundamental issues regarding period styles in the fourteenth and fifteenth centuries and challenge, by implication, long held assumptions of authenticity of a great many works labelled with Yuan dates. They invite a reconsideration of our methodology as well as our basic assumptions of style-images associated with particular masters.
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Zanasi, Roberta <1973>. "Victorian letter writing and its representation in literature and painting: the case study of love letters." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10384/1/Roberta%20Zanasi%20-%20PhD%20Thesis%20-%20Final%20Version.pdf.
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One of the main features of nineteenth-century fiction is the quasi-total disappearance of the epistolary novel that had had its heydays in the previous century. For this reason, some scholars have declared the “death” of the letter in literature after the transitional romantic period. However, Victorian novels overflow with letters that are embedded, quoted in part or described and commented on by narrators or characters. Even when its content is not revealed to the reader, the letter becomes a signifier loaded with meanings, also and particularly so, when it is burnt, torn, hidden, found or buried. The Postal Reform of 1839-40 caused the number of letters sent every year in Britain to grow from 75 to 410 million in only 14 years, and the mediatic campaign that supported it drew the attention of the population to the material aspects concerning this means of communication. Newspapers became more affordable too and they promoted a taste for sensationalism that often involved the “spectacularization” of private correspondence. Starting from an excursus on the history of the letter aimed at identifying the key aspects of the genre, this work deals with some real love correspondences from people belonging to different classes in the period from 1840 to the 1870s, to then analyse their fictional and pictorial counterparts. The general picture that emerges from this analysis is that of a Victorian society where letters were able to break down the boundaries between high and low forms of cultural expressions and where, more than ever, letters were present in people’s everyday lives as well as in the art and literature they enjoyed.
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Karlsson, Fredrik. "Painting stripes on a horse does not make it a zebra : The present and potential future of the International Court of Justice." Thesis, Jönköping University, JIBS, Political Science, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-9372.
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Upon a closer examination of the role and performance of the International Court of Justice, we find that it does primarily fulfil its role and obligation as far as the UN charter and the Courts stature are concerned. It is upon the application of Kjell Goldmann’s Internationalists Programme that we find ourselves wanting more from the Court.
If we assume the development of international institutions, exchange, communication and the like to be desirable and necessary for the continued development of international peace and security, the ICJ can be shown to have had historical opportunities to affect the development to such an effect, but lacks the formal means to do so.
With the subscription to the internationalists programme, we find that there are plenty of potential improvements that could reasonably be made. These are primarily about the official influence of the Court, with regards to cases relevant to it and its jurisdiction, which is severely crippled by current regulatory framework. This is a condition shared with plenty of other international courts in their various forms.
Essentially, the current state of the ICJ lacks the desirable attributes and possibilities to influence the development of international law to any meaningful extent. If we indeed were to look for an international court with the means to build international legal institutions and seek to further enforce international peace and security, the ICJ is not what we are looking for.
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Sinclair, Nicola. "Nineteenth-century British perspectives on early German paintings : the case of the Krüger collection at the National Gallery and beyond." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13471/.
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This study examines the British reception of early German painting in the nineteenth century through the case study of the Krüger acquisition for the National Gallery in 1854. It provides new information about why this collection of predominantly religious fifteenth- and sixteenth-century paintings from Cologne and Westphalia was acquired and how it was evaluated, displayed and distributed in British public and private collections, against a backdrop of midcentury developments in British public displays of art, art-historical literature, private collecting and the art market. In light of long-held perceptions that the acquisition was a mistake and that the paintings were inferior to early works from Italy and the Netherlands, this study offers an alternative perspective that it was an enterprising attempt to implement new models of historical display in national collections, and to rationalise how supposedly inferior paintings could have value in public and private collections. By looking at the way these rediscovered German paintings were evaluated, this study advances understanding of how Romantic, scholarly and formal models for reexamining early paintings overlapped, conflicted and changed in the nineteenth century. The Krüger acquisition and distribution successfully established a place for early German painting in the core collections of the National Galleries in London, Dublin and Edinburgh at early stages in their development, but it did little to redress established prejudice against the school in Britain. Decisions taken about how these pictures were presented to the public shed new light on the significance of key individuals for shaping long-term perceptions of early German paintings in Britain. Beyond the question of German art, those decisions reveal how practical and tactical considerations could be just as important as art-historical ones in choosing what belonged in a national collection of paintings.
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Gabriel, Alexandra Grace. "Self care is covering yourself in leaves and then running off to join the goblins and the tree people." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6736.
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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
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chia, shu-yu, and 賈蜀瑜. "Wall Paintings Of The Yulin Cave 25 In Dunhuang." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/mq3gsp.
Full textAbstract:
碩士淡江大學
中國文學系碩士在職專班
106
The development of Chinese wall paintings has a long history. The Dunhuang Grottoes presented the content of the Buddhist scriptures in the form of wall paintings. It not only demonstrated the spirit of the Buddhism but also integrate into the humanistic ideas of Chinese culture,therefore, it represented a grand scene and rich content. The works from the Wei, Jin and the Southern and Northern Dynasties to the Yuan Dynasty have been rich and colorful for more than a thousand years. The study of Dunhuang culture has now been listed as an international manifestation. The Yulin Cave belongs to the Dunhuang Grottoes and has a beautiful environment. They have the geographical conditions for the artistic conception of the pottery, and among them, the frescoes of the Yulin Cave 25 are just like other Dunhuang Grottoes, the purpose of construction is to flaunt and promote religious beliefs. However, compared to other caves, its uniqueness lies in the fact that its fresco style is quite mature, and it has departed from the category of decorative patterns. Xie Zhiliu described this cave, “panted in the Tianbao years of Tang Dynasty, is well-preserved and beautiful among more than four hundred Dunhuang Mogao Grottoes.It’s the origin of the 36th Cave of the Mogao Grottoes in the late Tang Dynasty”This is what Duan Wenjie praised as "a treasure of Chinese Buddhist art." It shows that the work is extremely exquisite, attracting the eyes of Dunhuang scholars, and also creating great masters of the artistic circles. Even though I have little talent and less learning,only know a little about the process of drawing the wall paintings, but I still admire and cherish the beautiful paintings and excellent artistic skills. This led me to study and explore the motives of the frescoes in the Yulin Cave 25, and expect that the study of wall paintings will enhance the understanding of the meaning of Chinese cultural aesthetics. Wall paintings of the Yulin cave 25 in Dunhuang are not only examples of the immortality of the art of paintings, they are even more valuable in all aspects of Chinese society and culture. Therefore, at the beginning of building, perhaps purely aimed to promote Dharma, but the work so stunning were not merely for the simple function of worship, “Only when some man-made material object has recourse tothe human body in its form, that is, when the physical formbecomes the aesthetic object, the artworks appear and existrealistically.” I believe that there is an ideal of beauty in the paintings and unique art, so it should be probe into the spirit, creative features and internal core nature from the aesthetic point of view. In summary, the main issues to be addressed in this paper are the following three points: What are the basic meanings of the wall paintings of the Yulin cave 25 and the possible cultural features and religious beliefs? How does Chinese painting style affect the work? What is the artistic connotation and aesthetic quality? Regarding the structure of this paper, I will first discuss and explain the location of the the Yulin cave 25, the historical and cultural backgrounds, and the development of Buddhism. Then further discuss the origins and meanings of the configurations within the cave and the origins of the Buddhist scriptures. The religious doctrines; followed by the artistic expression of the 25 cave is divided into character images, line colors, structural composition and spatial layout of the four parts of the analysis. Through the combing and sorting of documents, the cultural aesthetic significance and value of the 25 caves in Yulin were constructed. I am so grateful to teacher Tsui for instruction on the structure of the dissertation and the contents of the amendments. Together with the guidance of the oral test committee members professor Chou Yi-Chun and Yin shan-pei, my paper can be more complete.Also thank my family for their care and understanding during writing and have gived me an endless source of energy.
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Villeneuve, Suzanne Natascha. "Looking at caves from the bottom-up: a visual and contextual analysis of four Paleolithic painted caves in southwest France (Dordogne)." Thesis, 2008. http://hdl.handle.net/1828/2875.
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A century of hypotheses concerning Paleotlithic cave use has focused either on individual activities (such as vision quests or shamanistic visits) or group activities such as initiations. This thesis proposes and tests systematic criteria for assessing whether painted caves were locations of group or individual ritual activity in four caves in the Dordogne Region of Southwest France (Bernifal, Font-de-Gaume, Combarelles, and Villars). Resolving this issue provides an important foundation for examining more complex questions such as the exclusivity/inclusivity of groups using caves and their possible roles in the development and maintenance of inequalities in the Upper Paleolithic. Models for the emergence of socioeconomic complexity among hunters and gatherers have increasingly stressed the importance of ritual and ideology in understanding how inequality emerged. Addressing the issue of group dynamics and rituals associated with cave use may provide critical insight in our quest to understand Upper Paleolithic culture.
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DUŠKOVÁ, Lenka. "Návraty k přírodě." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-52494.
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Returns to the nature In the theoretical part the work is focused on a short presentation of some important prehistoric monuments, and the visual impression which the artworks of our ancestors leave on a present man. It endeavour to do exoteric confrontation between prehistoric art and modern art. The image part of this work is based on "a game" individually-up to dated subjects and a hidden notation placed in the scenes, which are inspirated by our ancestors who were materialized in absolutely different conditions surroundings than we are.
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Liu, Su-Ju, and 劉淑如. "Multiple Case Study of Senior Citizen Paintings and Their Characteristics and Self-Awareness:Based on New Taipei City Tu-Chen Area Senior’s Painting Class." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/54p49u.
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碩士臺北市立大學
視覺藝術學系碩士在職專班
103
Abstract Keywords: Life Tree Drawing, Old adults Art, Autonomous Learning, Lifelong Learning As Professor Su Jen-Ming says, "An art teacher should be considered a support worker who assists art learners in self-fulfillment, instead of a dictator who clings to teacher-centeredteachingmethods."Indeed,the widely used teacher-centeredapproaches ofart programs for seniors, ignoring seniors' creativity, have led to a lack of self-achievement of senior learners. This study aims to establish student-centered teaching methods to make senior leaners indulged into art programs and address art-learning requirements of such an aging society. Subjects of this study included 1 male senior and 3 female seniors of a painting class in Tucheng District, who were guided into one-to-one programs on three topics. The purpose of this study is three-fold: (1) to research the characteristics of paintings by intellectual and non-intellectual senior learners; (2) to analyze the procedure for formingsenior learners' self-awareness of; (3) to propose references, through the findings of this study, for senior learners and their teachers. Regarding literature, field study, guide to creation, and expert analysis, three conclusions could be drawn: (1) As types of creators could be generally classified into realism and naive art, teachers should teach them in accordance with their various attitudes and thoughts of creation. (2) Teachers of senior learners should keep learning from professionals, reviewing related articles, and reflecting on their teaching methods during the teaching process to effectively help each student remove obstacles of learning and cultivate the self-creation ability. (3) The teaching objective for senior learners should improve them self-understanding and promote their spiritual values after the teaching program.
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Yueh, Ling Ling, and 岳羚羚. "Painting : Research on self care in the process-oriented painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/a7rwwn.
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碩士臺北市立教育大學
藝術治療碩士學位學程
101
This paper is an art-based research, it grounds on the 32 separate creations of process-oriented painting in 8 months during the writer’s study as a full-time intern in art therapy graduate school, and the outcome was presented as one exhibition. It is to discuss the creative meanings to spirit during art creations, and for the self care in the training courses to be a professional counseling psychologist. The conclusions of this research are: 1.The connections between art creations and intern courses experience are divided into 3 parts: (1)Emotions and pressures are released in separate creations of process-oriented painting. The pressure happened due to adjustment between full-time intern and student, and difficulties of schoolwork and life, the pressure were relaxed through the variation in mixed media. (2)The connections between art creations and intern courses experience are the paths from self-awareness to self-identification; the dialogue made to the picture helps in self-integration and self-acceptance, and leading to the balance in body, mind and spirit. (3)The picture was covered up and deformed for 31 times, each transition was an experience of letting-go, and each cover increased the depth and meaning of the picture. In this way of self-looking, self-knowing and self-accepting, the depressed feelings were relaxed, the physical fatigue was dissolved, in the end the writer is able to love herself by feeling the beauty in the picture. This is distillation, this is purification, and this is transformation. 2.The self care in process-oriented painting are divided into 2 parts: (1)In the 8 months of creation, the writer became conscious to the moment via painting, underwent personal transformation, and the experience of creation accumulated self-identification and self-acceptance. (2)Through the dialogues to the pictures, the emotions and expression were better revealed, and the self-acceptance and self-understanding were advanced. Base on the research finding and conclusions, reviews and suggestions for the future are proposed, respectively. Keywords: separate creations of process-oriented painting, self care, art creation, dialogues to the pictures, art-based research
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Ling-Chun, Su, and 蘇玲君. "The Dyeing of Traditional Painting Restoration---a case study of Chinese ink painting “Orchids” ---." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/46859613810229707596.
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碩士國立臺南藝術大學
古物維護研究所
94
Mounting is a necessary step in the conservation of a traditional painting piece. Proper mounting not only ensures the longevity of the piece, it enhances the aesthetic aspect as well. Old paintings are often plagued by water stain, dirt, pest, breakage, partial loss or other forms of damages. When such damages are discovered, it is necessary to perform conservation treatments to restore the painting and its mountings. A guiding conservation principle is to restore the original colorings of the painting. This paper explores the subjects of properly choosing conservation materials and the subsequent dyeing procedures for conservation of original colors. To repair the damages and to restore the original grandeur, in addition to repair the painting itself, one must also consider the appropriate mounting materials and mounting forms that will best suit the painting. The dyeing of conservation materials is an important step in the overall conservation procedure. These materials include: patch paper, first lining paper, and silk. For patching the painting itself, one usually chooses a patch that is made of same materials or has similar patterns and texture as the original painting. After dyeing, the patch can be applied to the painting and subsequent inpainting can proceed. The first lining paper is the layer behind the actual painting. In addition to choosing the proper fiber strength, one must also consider the effect the first lining paper would have on the painting. The colors of the first lining paper may affect the resulting piece, after the painting is mounted onto the first lining paper. Careful trials and dyeing of the lining paper is essential for proper restoration treatment. This paper uses an early Taiwan painting – Lin Shun’s Lily Flower – as an example to explore the colors issues surrounding restoration tasks. We discuss the issues and considerations that go into the selection of appropriate patch, first lining paper, and silk material for this particular piece. In addition, we discuss the selection of dyeing materials and dyeing procedures, and also focus on the stability and suitability of the various choices and the overall assessment, then finally the actual application of these materials and procedures to the actual piece, and the final results.
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Chen, Shih-yin, and 陳思穎. "The Research on Conservation of Colored Drawing and Painting Collections at Peikang Chaotien Temple— A Case Study of Chen Yu-feng''s 21 Paintings of Water-And-Land Service." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/92471743969632351035.
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碩士雲林科技大學
文化資產維護系碩士班
96
ABSTRACT The traditional temple colored drawing and painting has glorious historical and artistic performance, also has unique national characteristics. The research is discussing how to detailed works and recording visits the preserved condition about the traditional temple colored drawing and painting professional Chen Yu-feng and Chen Shou-yi at Peikang Chaotien Temple for a systematic introduction. And then penetrates Peikang Chaotien Temple''s collection of Chen Yu-feng''s 21 Paintings of Water-And-Land Service, its will get cultural conception transforms the concrete conservation of cultural relic inheritance, lets the people by means of this collection display to reknow the traditional temple colored drawing and painting''s multi-cultural, and return to traditional temple colored drawing and painting professional of the implication and symbol originally, understand the traditional culture of inheritance difficulty and the cultural relic of precious value. Pass through this research discover and diagnosis, its found the difficulty of temple colored drawing and painting and collection preservation and conservation and the difficulty of inheritance comes from to: 1. Traditional temples colored drawing and painting''s culture declining and the fault with cultivate the talented person of dropping variance. 2. Cultural relics conservation establishment and the cognition difference, will cause the difficulty of cultural relic conservation in the future. 3. Government and cultural institution ''s communication needs to achieve the mutual recognition for a long time, can effective preserving cultural relics with the historical site, and registers the maintenance and management of the cultural relic properly.
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Ya-Chuan, Lin, and 林雅娟. "The cognitive study on the quality degradation of painting-A case of painting in Taiwan temples." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/40579627947657715814.
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碩士國立高雄師範大學
工業設計學系-文化創意學程
103
The painting is the major and essential decorative arts in Taiwan temples. The painting not only beautifies the temple, but also has the capability to educate the masses when they made a tour around the temple. However, as the time goes by, the air population caused by fume usually has been recognized on the paintings and the material of paintings gradually degraded. Thus, the main focus of this study is to explore the variation of the masses visual preference and the conservation cognition for the paintings prior to and post the pollution and degradation. According to the studying results, the influencing factors with respect to the masses visual preference and the conservation cognition comprises three aspects: the image feeling, image quality, and image meaning. Among the three aspects, the image feeling has the most contribution to the masses visual preference and conservation cognition of paintings. Comparing the results coming from “Kano model” and “linear regression analysis”, the influencing factors exist linear and non-linear cognition differences between the masses visual preference and the conservation cognition. The outcomes of the SNK (Student-Newman-Keuls) indicate the masses visual preference is proportional to the inverse of image damaging and polluting areas; and, the conservation cognition is proportional to the image damaging and polluting areas. The Pearson correlation analysis demonstrates that the masses visual preference is proportional to the inverse of the conservation cognition Eventually, “Quantitative theory type I” is used to explore the relationship between the masses visual preference and the conservation cognition. The analyzing results exhibit that the masses could tolerate the painting has slight pollution and few damages, but the masses identify that the painting should be repaired when the damaging areas occur in the head of the portrait or in the central area of the painting with the middle or serious damaging degrees.
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Su, Wang-Yu, and 蘇王佑. "A Study of Consumers’ Channel Decision: the Case of Artistic Paintings." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/39555986424053820870.
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碩士淡江大學
管理科學研究所企業經營碩士在職專班
97
Hirschman (1983) is of the view that the difference between works of art and general commercial products is the abstraction-oriented, subjective experience, non-functionality, uniqueness and integration in works of art. Especially, the “uniqueness” is one of the most important value in art work, which is similar to the concept of “differentiation” in marketing so that the marketing channel of works of art should be different from those of general commercial products. The purpose of this study is to examine the degree of acceptance for the consumers on works of art under different marketing channels between traditional gallery and modern complex store arising in recent years. In addition, this study will investigate further if there is any obvious effect on consumer’s behaviors. This study uses the degree of involvement, reliability, purchase intention, re-purchase intention as its hypothetical criteria of research. The conclusions of this study are listed below: 1.The degree of involvement in art works for consumers who purchase the paintings at galleries is higher than those who purchase them at modern complex stores. 2.The reliability on paintings sold in galleries is higher than that on those paintings sold in modern complex stores for consumers who prefer to purchase paintings in galleries. 3.The purchase intention of consumers who prefer to purchase paintings at galleries is higher than those who prefer to purchase it at modern complex stores. 4.The re-purchase intention of consumers who prefer to purchase paintings at galleries is higher than those who prefer to purchase it at modern complex stores. We eventually found in this study that to display and sell the works of art at modern complex stores is acceptable for consumers. We may hereby recommend that the managers of works of art may explore other new and diversified channels to increase sales revenues. Furthermore, to provide kinds of diversified marketing ideas for related management of works of art, that is, to setup different marketing strategies in accordance with the characteristics of different consumers. By doing this, it will not only deeply seize the customers resources of different groups, but also create the optimal sales economic scales for the whole art industry.
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Chiang, Chao-Nien, and 蔣兆年. "A Case Study on Web Artist Bimay’s Digital Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/27223772379079842032.
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碩士國立臺灣師範大學
美術學系
104
This is a case study research based on a graphic-art blogger named “Bimay”. The research includes in-depth interview with the case and all the digital doodle created by her. By collecting interview data and all the doodles, this research tries to figure out her life story and art creating footprint, and to realize environment influences her in terms of motivation and creation. Besides, this research tries to reveal her identity as a public figure, the role she plays in the social media, and the positive impacts she has caused. In the digital web era, every creator can easily upload their own works to any web spaces for public review, which has brought aboutthe emergence of a new type of creators, amateur creators, on a wide range of websites. The case this research tries to study, Bimay, is one of these amateur creators. Whilst she got limited amount of training in art in a cram school. In her childhood, she didn’t receiveprofessional art education in the formal school system. As a non-expert of art, the efforts she paid and the natural talent for art have brought her the outstanding achievements of creating on the Internet. This research departs from discussion on issues of digital art era, naïve art and graphic-art blogger. Based on the above-mentioned references and the data collected from Bimay, I then attemptto analyze how her education background and family life influence her, and to figure out the ideology hidden in her artwork. At the end of this dissertation, I propose some advice for further research in three directions: advice on further research of this case, on research on amateur web creators, and on social art education. This research also encourages rethinking of the definition of naïve art in the hope that there will be further research dedicated to this issue. It is also expected that art education will truly be a part of our daily life one day.
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Ning, Qiang. "Art, religion and politics Dunhuang Cave 220 /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/38535268.html.
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Ling, Hui-Ai, and 林惠愛. "A Bipolar Patient’s Painting Style Changing Process:An Art Therapy Case." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/47546851386803457064.
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碩士國立交通大學
教育研究所
103
This five-year longitudinal study aimed to explore how a bipolar disorder inpatient developed his painting styles process in his five-period of hospital admission, and the relationship between his changes of painting styles and periods of hospitalizations. This research found the main changes of painting styles between each admission and discharge. (1) During the first period of 42 weeks：he completed 39 pictures. His painting style started from Archaic Linear Style, anti-clockwisely developed the Traditional Linear Style, Traditional Massive Style, to Archaic Massive Style. Before discharge his painting style reverted clockwise to Traditional Massive Style. The patient maintained living in the community for 11 months after discharge. (2) During the second period of 6 weeks, he completed 10 pictures. The painting style started with Archaic Linear Style, clock-wisely developed the Archaic Massive Style, to the Traditional Massive Style. The patient maintained 6 months of living at home after discharge. (3) During the third period of 11 weeks, he completed 11 paintings. The painting style began with Traditional Linear Style, reverted anti-clockwisely to Traditional Massive Style, Archaic Massive Style, to Archaic Linear Style. The patient was re-admitted 2 months later. (4) During the fourth period of 30 weeks, he created 40 drawings. The painting style started with the Archaic Linear Style, to the main painting style proceeded with Traditional Linear Style. After several switch-backs with opposite and similar styles, the main paintings style ended with Traditional Massive Style at the time of discharge. The patient maintained 10 months of communal living afterwards. (5) During the fifth period of 16 weeks, he completed 18 paintings. His painting style began with Archaic Linear Style, then proceeded clock-wisely and finished with Traditional Massive Style. This research findings are as follows. First, when the main painting style started with the Archaic Linear Style, developed either clock-wise, anticlockwise, or totally in opposite direction to Traditional Massive Style, other than when the main painting style developed from Traditional Linear Style anti-clockwisely to Archaic Linear Style, he remained longer period of being discharged. This indicates that the patient is able to remain longer discharge time if his unconscious with sensuous state of internal and external conflicts, they could be integrated into reality through intellectual and emotional transformation. Second, throughout the 5-period of art therapy process, the patient was able to balance the Archaic and Traditional categories and integrated with reality, thus developed inner strength for recovery. Third, in a safe, trusting, containing space and therapeutic relationship, it promoted the patient’s insight to be aware of the connection between inner aggressive conflicting emotions and the original family's negative interaction and attachment. The art therapy process empowered the patient to develop his intrinsic value of the middle ground.
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HUANG, HUI CHENG, and 黃譓丞. "A Case Study of Visual Arts Paintings of a Student with Multiple Disabilities." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/w93f35.
Full textAbstract:
碩士國立臺中教育大學
美術學系碩士在職專班
104
The study aims to probe into a case of a high school student with multiple disabilities and to integrate the relevant definition of multiple disabilities, the causes and symptoms of the disabilities, teaching strategies and their design examples into the curriculum to assist the student with multiple disabilities in learning and to help his thinking and creation in the diverse fields of art to enhance his art creativity concepts and competence in his works of daily life. Based on the reaction of the student with multiple disabilities to teaching materials, the study divided his works into six periods and analyzed and recorded these paintings and images. To probe into the research purpose regarding the process of the teaching program which elevates the student's skill in visual arts paintings, the researcher researched, developed and designed learning sheets for the teaching program for the student with multiple disabilities to comprehend the growth and transformation of the researcher during the research process and to discuss the difficulties of and solutions to the teaching program for the student with multiple disabilities. Through the records of the student's learning process, feedback, his works, interviews with his parents, and teaching records, the researcher analyzed approximately 400 paintings of the learner with multiple disabilities. The chief instruction of the study lasted three years and four months, and the study divided the creations of the student into six periods and analyzed them. The six periods include: (1) early painting period (before March 2012), (2) figure creation period (March 2012~September 2013), (3) figure, animal and plant painting period (September 2013~November 2013), (4) comprehensive creation period (November 2013~May 2014), (5) creation combination period (March 2014~April 2015); (6) dreamland creation period (April 2015~June 2015). The study analyzed and summarized the manifestation of the visual arts paintings of the student with multiple disabilities and found the following four conclusions: (1) the student was prolific, and his topics were diverse and creative, (2) his paintings made remarkable progress in the early, middle and recent stages, (3) his teacher's encouragement and parents' support were of great help to his learning and growth; (4) making the best use of cooperation and guidance could solve the problem of the student with multiple disabilities in learning painting. Last but not the least, the study proposes suggestions based on its various findings to serve as references for future related researches.
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WakakoKAMEI and 龜井和歌子. "Research on SHI Sung's paintings, A case study of "Ten Pictures of Time"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/83179687849845071179.
Full textAbstract:
碩士國立成功大學
藝術研究所
98
This article deals with “Ten paintings of time” by SHI Sung, trying to make clear their signification and position. At first glance, SHI Sung’s paintings seem to be very simple. But looking more closely brings to light the more abundant meaning. The start point of this research is my experience of looking at these paintings. At that time these paintings strongly attracted me. I will analyze these paintings from aesthetic point of view, making clear the appeal of the paintings and give deep consideration to them. SHI Sung says he himself is not a professional painter, but a craftsman. When he was in the National Academy of Arts, he participated in the group of avant-garde art movement. In 1971, he published a novel, and went to France to study metal print. Since coming back to Taiwan, from 1975 to 2000, He continued to take part in editing of magazine. He also painted illustrations and made woodblock prints for the magazine. In 1985, the death of his mother was a major turning point for him. He began to make line drawings of the Kannon. Then he started to paint still life in watercolor. In 1993, He began to use oil color paint and make”The garden of time”. And then, in 1995, “Ten paintings of time” was born. In the same year, he start to make paintings of the legend of Buddha, and still continues to create woodblock print, line drawing of the Kannon, still life paintings in oil and the paintings of legend of Buddha in oil. The materials, by which he paints, vary according to the periods. Besides he says he is not a professional painter. So some people are afraid that this kind of research has no sense. But in my opinion, his way of life, his career, and his works of art, they are all very thought-provoking. They suggest new ideas of “artist” and “creation of work of art”. After “Ten paintings of time”, SHI Sung also published a lot of still life paintings. He has never been at a standstill. “Ten paintings of time” was a point of departure. “Ten paintings of time” differs from his other paintings at present in many respects. But in my view, “Ten paintings of time” already involved the subsequent developments.
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MING-FEN, SHEN, and 沈明芬. "The Treatment of Darkening Lead White --A Case Study of two Chinese Paintings--." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/78670448766426940842.
Full textAbstract:
碩士臺南藝術學院
古物維護研究所
92
Developed with 5 chapters, this research aims at proper conservations of lead white darkening by exampling two problematic oriental paintings that has lead white darkening on it. This study contains recovery process, causal analysis and appropriate conservation. Besides theoretical discussion, the thesis presents an actual case as a technique exercise. Before we explore the issue, first of all we ought to establish a basic knowledge over lead white, in a word, the historical review, including: the history of lead white, lead white utilities in the East and West, lead white chemistry and causal analysis of lead white darkening made by modern conservationists. The recovery of lead white darkening is discussed by competitive studies of ancient / modern conservationists'''' handling and lessons from current major conservation institutes. As for the applied substances and recovery & cleansing, this research adopts viewpoints from Esthetics and Ethical Principles, along with scientific experiments and preservation procedures, in order to formulate the optimal material and treatment. In this study, traditional portraying is replaced by digital images modification, we see every possibility before and after varied recovering methods. Chemical reactions upon lead white darkening actually belong to preservation science. Limited within my field base, I collect literatures and outcomes from domestic and foreign scientific research as references. Finally the conservation project was achieved with minimized harm for the object. Hopefully this thesis would contribute to the lead white darkening management in the future.
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Wu, Ching-tai, and 吳慶泰. "Restoration and preservation of Gouache painting for KUO HSUEH HU-a case study of gouache painting in silk “ancestor’s ruin”." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/29600588534958944214.
Full textAbstract:
碩士國立臺南藝術大學
古物維護研究所
94
Taiwanese Gouache Painting is an art form that originally came from Japan. Traditionally it has also been referred as Dong Yang Painting or Wan Zhi Painting. Through the official Japanese government sponsored art exhibits in Taiwan, this unique art form had gradually gained wider acceptance in Taiwan. Over time it had developed into its own unique style. In classifying the style, Taiwanese Gouache Painting is a form of Chinese Heavy Color, which uses animal glue to paint on various materials. Typically Chinese Heavy Colors are mounted in the hanging scroll form, while Taiwan Gouache Paintings are flat framed instead. The reason for this difference can be attributed to the fact that in Chinese Heavy Color, the artist would purposely select pigments and materials to facilitate the later scrolling. Hsueh Kuo Kuo’s Gouache Painting’s style is a fusion of Chinese, Japanese, and Western styles. He incorporates oil painting’s pigment layering, which added richness and variety, but also increases the difficulty in preservation and conservation efforts. This paper records the preservation and conservation effort for one of Kuo’s piece, titled “Ancestor’s Ruin”. From the signature of the artist on the painting, one can only estimate the date of this painting to be around 1932 to 1943. The piece is heavy color on silk, rich in color and variety. The techniques are a combination of diffusion, painting on backside, and pigment layering. This piece is in critical condition due to the lack of preservation. The problems include pigment glue loss and silk loss. Foxing and brittleness symptoms are also particularly serious, and suggesting that this piece is in critical needs of conservation efforts. Through the careful recording and analysis of conservation efforts of four other Kuo’s pieces that were already completed, and the one piece that we focus on in this paper, we hope to contribute to the knowledge of conservation treatments and examinations, and particularly the issues specific to the Taiwanese Gouache Painting.
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Shih, Hung-ju, and 施宏儒. "Gaze and Power of Visual Expression--A Case of Western Painting." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/w2gdey.
Full textAbstract:
碩士南華大學
美學與藝術管理研究所
95
The sex has been constrained by social control which inhibits human desire all the time. But people find a way to express sex rightful in the art. Art is a part of social culture; it can’t separate from social order. Thereupon, the expression of sex develops among the relation of code、aesthetics and the desire in art, and the operation of power appear on the ’’gaze’’ of artists、models in painting and audience. In the advance of the art, the relation of power makes a distinction between wealth、sex and knowledge. Until now, the particular ’’gaze’ still has the distinction in art. Additionally, in the expression of sex, the relation between the social code、rightfulness and desire work diffusely in the mass media.The desire is human nature, and the regulations hold the operation of the society. We can’t get out of power, but if we have a clear look at it, we would have much opportunity of approaching freedom.
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Sun, Ping-Len, and 孫碧蓮. "Inner Self-Emotional Processing - A case study of Author’s Painting works." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/qznzt3.
Full textAbstract:
碩士東方設計學院
文化創意設計研究所
104
Each individual life is unique, and the one’s existence is only to prove oneself. Personal experiences and memories are accumulated by the growing environments, educational modes, life experiences and cultural backgrounds which also form various and individual personal perceptual experience. To tranlate those life emotions and living expericence and present them into creative arts formats, is also to record the events and the context in the certain moments that related personal emotional reactions, inner feeling and tranformations of personal internal thoughts. To transfer and sort out personal emotional expericences by using painting formats is aiming to wake personal inner self-conscious; look at the ingnored childhood and clear up perosnal eariler momries, and to peace wavy emontions. This works are based on tracking author’s earlier memories and the transforming personal current events and moods. Those creative works are “Gem Rain”, “Plants Empire”, and “Sea of Life” three series. Those works present artist’s virous emontional tranfoming which incule the surface feeling, deeper inner awareness and internal undiscoverd parts. The emomtional tranformating in each starges is continously exporing inner self, and descovering personal subconscious and structure of personality which is unknew even by the artist-slef. Those could develop the power that is behined natures of personality.
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Yeh, Chia-Min, and 葉加敏. "The Effects of Painting on The Wellbeing of Day-care Elderly." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/27381189897651243857.
Full textAbstract:
碩士國立暨南國際大學
輔導與諮商研究所
97
The purpose of this research is to understand the effects of painting on the feeling, the life, and the well-being of the day-care elderly. This research adopts the in-depth interview methods of the qualitative research. Three participants are invited to interview their experience of painting. The researchable information is collected through depth interviews by researcher. The results are found and summarized as follows: 1. The feelings of the day-care elderly who participants the painting changed. in the beginning of painting, they feel worried, the they feel surprised that they can drawing so well. Finally, they can feel the freedom of the soul while painting. 2. The influence of life to the participant in painting is like the process of successful-aging, which can be seemed from the relationship of oneself and of others. 3. The effects of painting on the well-being of the day-care elderly can be seemed from positive subject-feeling, promotion of life-satisfaction, and obtainment of social-support. The result of this research will be further analyzed, and its result may offer a suggestion and reference for the professional helping workers, community counseling, and the follow-up studies. Key word: day-care elderly, well-being, painting