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Dissertations / Theses on the topic 'Figure painting'
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Chou, Pei-Yung. "Striking visual contrasts /." Online version of thesis, 1990. http://hdl.handle.net/1850/10961.
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Johnes, Jonathan R. "Human movement the transition of people through space and time /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/378.
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Pillemer, Mica Yoram. "Vision and contemplation an exploration within the medium /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/298/.
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Morley, Simon. "The Anadyomene Movement : metamorphics of figure-ground." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/354402/.
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‘Figure-ground’ is about the production of meaning based on the perception of contrasts or binary oppositions and segregations. Viewers of my paintings, and of the kind of paintings that interest me, have the impression that the ‘figure’ subsides or slips or fades into ‘ground’, or that the ‘ground’ is more powerful or dominant than the‘figure’, or that the ‘figure’ is insecurely attached, suggesting it is incapable, unwilling, too acquiescent or complicit to fully differentiate itself from the ‘ground’. I address flux, mutation, indistinctness and complementarity within the visual field of painting. I develop and extend the heuristic context for the interpretation of my studio practice and for work of a similar kind, and then feedback this new context into my practice in order to generate new works, also in the process shedding a new light on my interpretative models. Beyond this, I also make a more general argument for the re alignment of the relationship between art theory and practice - one that can better incorporate a sense of in between-ness, indistinctness or liminality. My approach is comparative: I look at East Asian art and ideas and, in particular, deploy the writings of the French Sinologist and philosopher François Jullien, in whose work there is the attempt to expand Western epistemology, ontology, semantics and aesthetics via a discussion of Chinese thought and aesthetics. Jullien proposes a paradigm that draws the ‘in-out’ respiratory rhythm or pulse within the perceptual field towards the centre of a theory of representation, a theory that seeks to account for consciousness from the ‘inside’ rather than the ‘outside’. The consequence of this relocation of agency is an interpretative framework that is firmly grounded in a nondualistic and holistic approach, foregrounding affect and empathetic relationships between artist and work, viewer and work, and self and the world. Traditional East Asian thought begins with similar premises to poststructuralism in the West: the ‘self’ is an illusion and the possibility of knowledge of reality independent of thought is dismissed as untenable because there is no objective reality accessible to us. Everything depends on the bias of the mind, rather than on anything we can identify as an innate attribute of reality itself, thus there is no escape from our lived experience, and we are profoundly limited by the interpretive knowledge of our mind; we are trapped within the ‘prison house of language’. But within the different recursive orientations that characterize ‘East’ and ‘West’ the interpretation and consequences of these insights are understood in quite different ways. I explore why this should be the case and what some of the consequences are, both theoretically through the written text and performatively through my studio work.
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Souza, Borges Raquel. "Human figure as automaton : directing as gesture as painting." Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/69931/.
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Larkin, Pamela Marie. "A universal and personal art through tradition and invention /." Online version of thesis, 1990. http://hdl.handle.net/1850/10883.
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Cecil, Joseph S. "The figure as an exploration of cultural/self identity." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371197.
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The primary objective of this creative project was the exploration of cultural and self identity and the painting techniques used for their creation. The paintings are an attempt to portray through the use of the human figure and symbolic elements to communicate my personal struggle relating to events in my past, present, and future. In these three large paintings I have explored an approach reminiscent to German Expressionism style along with more contemporary motifs which are derived from my research and past experiences in painting at Ball State University. It was very important for me to spend time researching artist involved in the German expressionist movement, because they have been an integral part of reshaping the way I approach art. This body of work required a variety of traditional oil painting techniques including: canvas construction, under painting, stumbling, and glazing.Department of Art
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Talevski, Lubo. "The mind's eye /." Online version of thesis, 1993. http://hdl.handle.net/1850/11774.
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Grace, Mauree Art College of Fine Arts UNSW. "Expression of human emotion as an aspect of timelessness in single figure painting." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43657.
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This MFA project aims to express a particular range of emotions in an attempt to convey a sense of timelessness through a series of single figure paintings done from life. This project derives from an interest in exploring the concept of timelessness. Jean Baptiste Simeon Chardin's Little Girl with Shuttlecock, 1737, gave me the idea to convey timelessness figuratively. The project has employed some of the strategies established by both Chardin and Johannes Vermeer's single figure paintings in relation to composition and design, colour and tone, the brush mark and the narrative. Nevertheless, the expression of stillness is vital in conveying a sense of timelessness.
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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.
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Tosto, Vincent Boele Vincent. "The black-figure pottery signed [Nikosthenesepoiesen]." Amsterdam : A. Pierson Museum, 1999. http://catalogue.bnf.fr/ark:/12148/cb40094984n.
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Li, Tang. "Art for the market commercialism in Ren Yi's (1840-1895) figure painting /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/149.
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Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Robertson, Gillian. "The figure remains : archaeological experience and the development of a painting practice." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496037.
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Wilks, Guntram. "Das Motiv der Rückenfigur und dessen Bedeutungswandlungen in der deutschen und skandinavischen Malerei zwischen 1800 und der Mitte der 1940er Jahre." Marburg Tectum-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2622110&prov=M&dokv̲ar=1&doke̲xt=htm.
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Heaston, Paul Bradford. "Some One." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/heaston/HeastonP0508.pdf.
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In the wake of the emergence of the photographic portrait over the last century, I aim to examine the current relationship between the painted portrait and photography; specifically, the use of the photograph as a tool that can inform and transform the investigation of identity in painting. While a great deal of my interest lies in translating the photographic image into paint, I am more interested in what the nature of my process can reveal about the people I know. I believe my intimacy with the sitter turns the process of transcribing a clinical and often unflattering photographic examination into a more challenging psychological exploration of my relationships with both the subject and the viewer. I force myself to make editorial choices to reconcile the impartial and detached information provided by the camera with what I already know about the sitter.
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Smith, Callie. "Liminal." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619183772384797.
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Urgo, David J. "My student years /." Online version of thesis, 1990. http://hdl.handle.net/1850/11328.
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Ng, Man-Yee Sandy. "Lin Fengmian (1900-1991) : figure painting and hybrid modernity in twentieth century Chinese art." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430075.
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Kopatos, Ferrer Anna-Maria. "The iconography of the so-called Boreads and Eileithyiai in black-figure vase-painting." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408717.
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Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.
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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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Novotná, Daria. "NEJEN MOdŘE." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232347.
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9 paintings, oil on canvas or acrylic on canvas - pictures from the sea, beach, wharf and their surroundings during the tourist season - aspects connected with the tourism at the sea - a little bit of romantic up to the border of the irony and kitch, business - processing of the water surface, their colours and shapes, real or seemingly abstract - shifting of the motif or his fragment through the form and colour reduction to the abstract line
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McNeill, Malcolm L. S. "Narrative agency in thirteenth-fourteenth century Chan figure painting : a study of hagiography-iconography text-image relationships." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24335/.
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This thesis examines the relationships between image and text in paintings of Chan Buddhist figural subjects from thirteenth and fourteenth century China. Its central contention is that the visual qualities of these paintings, and the lexical content of the inscriptions upon them, made complex allusions to narrative prototypes recorded in hagiographies, as part of the pedagogical practice of the Chan tradition. These narrative allusions communicated religious teachings to the viewer, mediating their relationship to the Chan pantheon of exemplars and eccentrics. This thesis' analysis of the connections between painters, inscribers, subjects and viewers of Chan figure paintings addresses an under researched dimension of thirteenth and fourteenth century Chinese visual culture. By focusing on the Chinese context for the creation and reception of Chan figure paintings, the following discussion offers an alternative to the recurrent framing of these works as precursors to Japanese Zen painting. Instead, this thesis focuses on the distinctive agency of narrative in the reception of these works in a thirteenth and fourteenth century Chinese context. This is explored in six chapters, outlined below. Chapter one surveys modern scholarship on Chan figure painting, problematising its frequent conflation with Japanese Zen art. Chapters two, three and four examine three different narrative themes in Chan figure painting: transitions, interactions, and awakenings. These three chapters show how these visual narrative themes respectively reflected and reinforced the legitimacy, authority and efficacy of Chan's lineages and teachings. The fifth chapter explores the role of inscriptions upon paintings in shaping the Song and Yuan ideal of a Chan abbot, through a case study encomia on Chan figure paintings by Yanxi Guanwen (1189-1263). The final chapter examines the idealisation of the preeminent painter of Chan figural subjects, Liang Kai (late 12-early 13th century), distinguishing between the historic receptions of his attributions in Chinese and Japanese collections.
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Johns, Danielle. "What surfaces from one /." Online version of thesis, 2009. http://hdl.handle.net/1850/10979.
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Beaumont, Lesley Anne. "Studies on the iconography of divine and heroic children in Attic red-figure vase-painting of the fifth century." Thesis, Online version, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.366348.
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Yang, Chia-Lin. "New wine in old bottles : the figure painting of Ren Bonian (1840-1895) in the context of nineteenth century Shanghai." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/29677/.
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Ren Yi, self-styled Bonian (1840-1895), is rightly considered as one of the most prolific painters in late nineteenth century Shanghai. Like many of his contemporaries, the life of Ren Bonian was much entangled with social and economic change in the international city where new and old, local and foreign enterprises were assembled at that time. On this account his paintings often present a strong visual effect and delightful mood, as well as novelty, popularity and diversity to attract audience and facilitate commerce. This dissertation poses three broad questions: what was the relationship between the changes in society and artistic directions? What role do Ren Bonian's figure paintings play in the social relations of power, including those of class and gender? How do these help us to understand the artistic trends in Shanghai at that time'.' With equal attention given to history and art history, this dissertation provides a solid biography of Ren Bonian and a survey of the world in which painters such as Ren Bonian and his contemporaries lived in the first two chapters. In the third chapter, we explore the sources of Ren Bonian's learning, the roots of and the inspirations for his artistic language. Taking three types of his figure painting as examples, in the following chapter, our concern includes the popular literature, patronage and sexuality that possibly inspired Ren Bonian's choice of subject matter and visual performance. In the fifth chapter, we discuss the influences of both traditional training and the foreign stimuli on Ren Bonian's portraiture. The sixth chapter focuses on the serious problem of forgeries in relation to the rapid growth of his fame brought by Shen Bao and other media through the reproductions of his painting. A seal index and a chronological list of Ren's figure paintings are provided as appendices.
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Butula, Cichá Marie. "Pro tebe." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232365.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work.
The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.vi, 56 leaves : col. ill. ; 29 cm
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Palencar, Christian L. "Puppet Master." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524495452335687.
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Elgart, Jutta. "Symbolisme et figures mythiques et légendaires : une vision européenne (Stéphane Mallarmé, William Butter Yeats et Stefan George)." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20057/document.
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La figure mythique et légendaire, suggestive, occupe une position centrale dans l’esthétique du symbolisme européen (fin XIXe ̶ début XXe siècle). Cette thèse propose d’en étudier l’émergence et la fonction dans les œuvres de trois éminents représentants : Stéphane Mallarmé (1842–1898 France), William Butler Yeats (1865–1939 Irlande) et Stefan George (1868–1933 Allemagne). Un regard sur la société contemporaine (les arts, les découvertes scientifiques) permet de découvrir la place qui revient au mythe et à la légende. Au-delà des différences, affinités et contacts personnels rapprochent les trois poètes. Deux générations de symbolistes de langue différente se retrouvent dans une même vision de la création poétique. Œuvres poétiques (poésie, prose, théâtre), écrits théoriques, correspondances et entretiens révèlent une approche conjointe de l’image et du mythe : la figure mythique ou légendaire prend forme entre rêve et vision, réminiscence, évocation musicale et symbole littéraire. Du discours sur le mythe se dégage une théorie personnelle. Poésie et drame puisent aux sources hétérogènes des traditions s’enrichissent de philosophie, religion, occultisme, psychologie et vécu intime. La transposition d’art véhicule l’intertexte mythique du sujet pictural ou en sera contaminé, d’où un lien complexe entre texte et peinture (ou sculpture). Explicite dans l’œuvre de jeunesse, la figure mythique ou légendaire subira de multiples métamorphoses : syncrétique, elle fond les versions d’un mythe avec des traditions éloignées, superpose figures et faits mythiques et réels, historiques et contemporains. Implicite, elle est présente sous forme de traces dans l’abstraction du nom commun, pronom, qualificatif ou geste. La richesse des formes d’émergence lui assure son pouvoir d’irradiation. A la flexibilité de forme et contenu correspond la diversité des fonctions : la figure mythique se prête à toute figure stylistique et fonction grammaticale. Elle crée ainsi la cohésion dans l’œuvre et participe intimement à la construction du sens. La contamination atteint l’ensemble de l’œuvre mythopoétique. Autour des figures se forme une constellation d’images qui génère un nouveau mythe anthropocentrique, résumé et dépassement des traditions. D’abord « réservoir d’images » (Yeats) pour des créations futures, l’œuvre des poètes correspond de fait à une tentative bien plus ambitieuse : offrir une réponse à la quête du sens de l’Histoire et de la vie de l’Homme moderne qui ne croit plus en Dieu et dessiner les contours d’une société nouvelle. La figure mythique ou légendaire représente l’élément essentiel de la création poétiqueThe suggestive mythical and legendary figure holds a central position in the aesthetic of European symbolism at the end of 19th and the beginning of 20th century. This doctoral thesis proposes to study its apparition and function in the works of three distinguished representatives: Stéphane Mallarmé (1842–1898, France), William Butler Yeats (1865–1939, Ireland) and Stefan George (1868–1933, Germany). A look on contemporary society (arts, scientific discoveries) will allow discovering the place due to myth and legend. Beyond their differences, affinities and personal contacts bring these poets closer together. Two generations of symbolists, speaking different languages, join in one and the same view on poetical creation. Poetic works (poetry, prose and theatre), theoretical texts, letters and conversations reveal joint approach to image and myth: the mythical and legendary figure takes shape among dreams and vision, reminiscence, musical evocation and literary symbol. A personal theory emerges from speech on myth. Poetry and drama draw from the heterogeneous sources of various traditions, enriching with philosophy, religion, psychology, occultism and private experience. Transposition of art conveys the mythical text of the painted subject or is contaminated by it. Hence a compound link from text to painting (or sculpture). Explicit in the poet’s early work, mythical and legendary figure will go through multiple metamorphosis: synthetic, it melts the different versions of a myth with traditions from far away, it superimposes mythical figures and facts on others taken from history and contemporary reality. Implicit, it will be present as a trace, a common noun, a pronoun, a qualifying adjective, or a gesture. Great diversity of forms provides him power of radiation. Flexibility of form and content matches with diversity of functions: the mythical figure lends itself to every stylistic figure and grammatical function. This way it creates cohesion within the work and contributes intimately to the construction of sense. Contamination affects all the mythopoetic work. Around these figures a constellation of images forms and produces a new anthropocentric myth, summarizing and going beyond traditions. Hoard of images for future creations in the beginning (Yeats), the poet’s work actually comes up to a bid far more ambitious: give an answer to the quest for sense of history and life of modern man who doesn’t believe in God any more, and draw the outline of a new society. Mythical and legendary figure represent the essential element of poetic creation
Die mythische und legendäre Gestalt nimmt in der Ästhetik des europäischen Symbolismus (Ende des 19. – Anfang des 20. Jahrhunderts) eine zentrale Position ein. Diese Doktorarbeit stellt sich zur Aufgabe, ihr Vorkommen und ihre Funktion in den Werken von drei bedeutenden Vertretern zu untersuchen: Stéphane Mallarmé (1842-1898, Frankreich), William Butler Yeats (1865–1939, Irland), Stefan George (1968-1933, Deutschland). Ein Blick auf die zeitgenössische Gesellschaft (Kunst, wissenschaftliche Entdeckungen) ermöglicht es, herauszustellen, welche Stellung Mythos und Legende zufällt. Über alle Unterschiede hinaus sind sich die drei Dichter durch gemeinsame Interessen und persönliche Kontakte nahe. Symbolisten zweier Generationen und aus verschiedenen Sprachbereichen stimmen miteinander in dergleichen Auffassung von dichterischer Schöpfung überein. Dichterische Werke (Lyrik, Prosa, Theater), theoretische Schriften, Briefwechsel und Unterhaltungen lassen eine miteinander verbundene Betrachtungsweise von Bild und Mythos erkennen: die mythische und legendäre Gestalt nimmt Form an zwischen Traum und Vision, Erinnerung, musikalischer Evokation und literarischem Symbol. Aus der Rede über den Mythos geht eine persönliche Theorie hervor. Lyrik und Drama schöpfen aus den Quellen der heterogenen Traditionen, werden durch Philosophie, Religion, Okkultismus, Psychologie und intime Erfahrung bereichert. Die Übertragung bildender Kunst in Dichtung ("transposition d’art") vermittelt den im Gemälde zugrunde liegenden mythischen Text oder wird von ihm kontaminiert. Dadurch entsteht eine komplexe Beziehung zwischen Text und Malerei (oder Skulptur). Die mythische und legendäre Gestalt, in den Jugendwerken eindeutig erkennbar, erfährt später vielfältige Metamorphosen: synkretistisch verschmilzt sie die Varianten eines Mythos mit entfernten Traditionen, überlagert mythische Gestalten und Ereignisse mit reellen, historischen, zeitgenössischen. Implizit ist sie präsent in Form von Spuren, in der Abstraktion von Nomen, Pronomen, Adjektiv oder in einer Geste. Der große Formenreichtum sichert ihre Ausstrahlungskraft. Der Flexibilität von Form und Inhalt entspricht die Vielfalt der Funktionen: die mythische Gestalt passt sich jeder Stilfigur und jeder grammatischen Funktion an. Sie schafft somit die Geschlossenheit eines Werkes und nimmt im Innersten an der Sinnkonstruktion teil. Die Kontamination greift auf das ganze mythopoetische Werk über. Um die Gestalten herum bildet sich eine Konstellation von Bildern, die einen neuen anthropozentischen Mythos hervorbringt, der die Traditionen zusammenfasst und übertrifft. Zunächst „Bilderreservoir“ (Yeats) für zukünftige dichterische Schöpfungen, verfolgt das Werk der Dichter in Wirklichkeit einen viel ambitiöseren Versuch: auf die Frage nach dem Sinn in der Geschichte und im Leben des modernen Menschen, der nicht mehr an Gott glaubt, eine Antwort geben und die Konturen einer neuen Gesellschaft skizzieren. Die mythische oder legendäre Gestalt ist wesentliche Konstituente der Dichtung
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Miller, Emily Frances. "Aftermath." [Johnson City, Tenn. : East Tennessee State University], 2004. https://dc.etsu.edu/etd/880.
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Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0329104-103954. Includes bibliographical references. Also available via Internet at the UMI web site.
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Walker, Lauren L. "Boiotian black figure floral ware : a re-analysis of the Southern style with an introduction to floral groups from Halíartos." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85212.
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Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban.This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.
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Moodie, Meg R. "Drawing the divide : the nature of Athenian identity as reflected in the depiction of the „other‟ in Attic red-figure vase painting in the fifth century BCE." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80201.
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Thesis (MPhil)--Stellenbosch University, 2013.ENGLISH ABSTRACT: During the fifth century BCE there were three defining periods in Athenian history that challenged its society: the Persian Wars (490 – 479 BCE); Periclean Athens (mid-fifth century); and the Peloponnesian War (431 – 404 BCE). As the development of identity is a reactionary process, these three periods had a profound effect on the Athenian identity and led to the redefinition of this self-image along the primordialist models. Two premises are combined in this study. Firstly that comparisons to contrary ethnicities are vital to the development of identity, and secondly that the visual articulation of an identity is essential to the reinforcement and maintenance of this self-image. This can be applied to the development of Athenian identity during the fifth century BCE as reflected in Attic vase painting. Through a study of the "other" imagery produced in this century, with special attention given to Amazons, it is possible to see the development and nature of the Athenian identity during each of the three periods.
AFRIKAANSE OPSOMMING: Tydens die vyfde eeu vC was daar drie omskrywende periodes in Atheense geskiedenis wat hul samelewing uitgedaag het: die Persiese Oorloë (490 – 479 vC); Perikleiese Athene (mid-vyfde eeu); en die Pelopponiese Oorlog (431 – 404 vC). Omdat die ontwikkeling van identiteit 'n reaksionêre proses is, het hierdie drie periodes 'n diepgaande indruk op die Atheense identiteit gehad en het bygedra tot die herdefiniesie van hierdie selfbeeld volgens die primordialis modelle. Twee stellings word gekombineer in hierdie studie. Eerstens dat vergelykings aan teenoorgestelde etnisiteite essensieel is vir die ontwikkeling van identiteit, en tweedens, dat die visuele artikulasie van 'n identiteit noodsaaklik is vir die versterking en onderhoud van die selfbeeld. Dit kan toegepas word by die ontwikkeling van Atheense identiteit gedurend die vyfde eeu vC soos in Attiese vaas versiering uitgebeeld is. Deur middel van 'n studie van die "ander" beelde geskep in die eeu, met spesiale aandag aan Amasone, is dit moontlik om die ontwikkeling en karakter van die Atheense identiteit gedurend elk van die drie periodes te verstaan.
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Deves, Cyril. "Une figure emblématique dans les arts du XIXème siècle en France : Don Quichotte." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20118.
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Le Don Quichotte de Cervantès a inspiré tous les domaines artistiques du XIXème siècle (1789-1914). Le choix de regrouper dans un même corpus les arts graphiques et plastiques, les arts populaires, les arts du spectacle et cinématographiques, permet de voir comment les arts s’influencent, se répondent ou s’opposent. Le Don Quichotte est, comme tout sujet littéraire traité dans les domaines artistiques, confronté à son image littéraire, celle créée par son auteur. Notre volonté est de distinguer comment se profilent puis se figent les caractéristiques physiques des personnages principaux au cours du XIXème siècle et ce, principalement en France.Les artistes sont amenés à interpréter le texte. Ils se détachent de l’image littéraire pour s’intéresser aux possibilités plastiques et iconographiques qu’offre le roman de Cervantès. Au-delà de la traduction plastique d’un texte littéraire, l’enjeu est de comprendre comment les artistes parviennent à s’insérer dans la pensée de leur société, c'est-à-dire comment ils arrivent à influer sur la lecture d’une œuvre littéraire. En comparant l’iconographie de don Quichotte à celle d’autres héros, il s’agit de voir en quoi le personnage créé par Cervantès permet aux artistes de se réapproprier cette silhouette et à quelle fin. Son image est largement exploitée dans les domaines de la publicité et de la caricature. L’étude vise à saisir par quels moyens les deux héros vont se retrouver transposés dans une société pour en faire, tantôt la critique, tantôt l’apologie, au gré des contingences politiques, économiques et sociales, voire oniriques ou fantaisistes, c'est-à-dire sans substrat critique et par pure référence ludiqueThe Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing
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Harris, Wesley. "Behind closed doors : new images of manhood." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1414.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Visual Art
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Ryu-Paganini, Naeyoung. "L'oeuvre de Yun Duseo (1668-1715), peintre-lettré coréen à l'époque "prémoderne"." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAG032/document.
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L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écritureThe work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing
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Perez, Isabelle. "La réception de la figure d’Achille en Italie et à Rome du IVème siècle avant JC au Ier siècle de notre ère." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100202/document.
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De la céramique italiote du IVe siècle av. J.-C., qui reprend et adapte certains épisodes du cycle d’Achille particulièrement liés à l’univers funéraire (Néréides apportant les armes d’Achille, mort de Troïlos, mort de Penthésilée etc…), en insérant dans les scènes figurées des éléments de la culture locale, au mobilier funéraire étrusque (Tombe François, urnes, sarcophages peints et sculptés), en passant par les miroirs et les cistes prénestines des périodes classiques et hellénistiques, l’existence d’une codification et d’une transmission des schémas iconographiques est clairement visible entre les différentes cultures. Au Ier siècle av. J.-C. et au Ier siècle ap. J.-C., certains épisodes du cycle d’Achille continuent à peupler le répertoire figuré, d’autres disparaissent ne correspondant plus aux nouvelles aspirations des commanditaires et d’autres apparaissent, incarnant des valeurs propres à la culture romaine. A Rome, les sources écrites nous informent sur la présence d’Achille dans la sphère publique (temple de Neptune et Saepta Julia). L’usage de la copie et de la diffusion d’un chef-d’œuvre tel le groupe d’Achille et Chiron, s’insèrent dans une volonté d’imiter l’Urbs, centre du monde méditerranéen. Les peintres renouvellent le répertoire iconographique du cycle d’Achille en créant deux épisodes : la Découverte d’Achille à Skyros et Thétis dans les forges d’Héphaïstos. Ces deux épisodes trouvent un grand succès à Rome (Domus Aurea) et sur les parois des demeures pompéiennes et permettent à la figure d’Achille de se détacher du cycle troyen. Ainsi, le héros grec devient grâce aux adaptations stylistiques et techniques des peintres romains le symbole de la paideia tout en conservant son caractère héroïqueThe italiote ceramic the fourth century B. C., which incorporates and adapts some episodes cycle Achilles particularly related to posthumous glorification (Nereids bringing the arms of Achilles, Troïlus death, death of Penthesilea, etc…) by inserting the figurative scenes elements of the local culture, in Etruscan funerary (François Tomb, urns, sarcophagi carved and painted) through mirrors an prenestines cysts, Classical and Hellenistic periods, the existence of a consolidation and a transmission of iconographic patterns with clearly visible between different cultures. The first century B. C., and the first century A. D., some episodes of Achilles cycle continue to populate the figurative repertory, others dissapear no longer corresponded to the new aspirations sleeping partners while others appear embodying specific Roman culture values. In Rome, written sources inform us about the presence of Achilles in the public sphere (Temple of Neptune and Saepta Julia). The use of copy and distribution of a masterpiece such as Achilles and Chiron group, are part of a desire to imitate the Urbs, the center Mediterranean world. Painters renew the iconography of Achilles cycle by creating two episodes: The Discovery of Achilles in Skyros and Thetis in the forges of Hephaestus. These two episodes are a big success in Rome (The Golden House) and on the walls of Pompeian houses and allow the figure of Achilles to detach from the Trojan cyle. Thus the Greek hero becomes through stylistic and technical adaptations of Roman painters symbol paideia while maintaining his heroic character
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Monginot, Pauline. "Artiste ou mpanakanto ? : construction sociale et stylistique de la figure du peintre dans les villes des Hautes Terres malgaches : l'exemple de Tananarive (1880-1972)." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC104.
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Cette thèse propose d’analyser les processus de formation de l’identité de l’artiste peintre dans la société malgache, entre les années 1880 (période d’installation des Européens à Antananarivo) et 1972 (fin de la première République de Madagascar). La peinture est une pratique artistique récente à Madagascar : introduite en 1826 par les Européens, son histoire s’inscrit en parallèle de celle de la colonisation. Pourtant, la peinture devient, pour la société merina, un enjeu de définition des identités et des hiérarchies sociales. Ni artistes coloniaux, ni artisans traditionnels, les peintres malgaches doivent pourtant se conformer aux normes imposées par les politiques culturelles coloniales d’une part et par les usages attribués à l’art dans la société merina d’autre part. Ils naviguent entre la figure de l’artiste occidental et le mpanakanto, le faiseur de beau. Il s’agit donc d’analyser les stratégies établies par ces artistes pour tirer profit des ressources européennes et malgaches afin de faire carrière et d’inventer une identité artistique singulière.L’étude des processus qui conduisent au choix d’une telle carrière révèle les enjeux et besoins auxquels répond la peinture. Ces mêmes processus contribuent à définir les normes et les modèles que la jeune discipline adopte. L’histoire des peintres pose également la question de la place de l’art dans la société malgache, que ce soit sur le plan économique (marché de l’art) ou patrimonial ; le rôle qu’ils occupent leur permet de s’inscrire dans la société. Il s’agit également d’envisager les notions de groupe et d’individualité au sein d’un véritable « monde de l’art » [Becker ; 1988] caractérisé par des circulations régionales et transnationales intenses. Cette approche réticulaire autorise alors à réinscrire l’histoire de l’art malgache dans une perspective plus globaleThis dissertation proposes to analyze the processes at work in the making of the painter identity in the Malagasy society, between the 1880s (when Europeans settle in Antananarivo) and 1972 (end of the first Republic of Madagascar). Painting is a recent activity in Madagascar: introduced in 1826 by Europeans, its history is deeply connected to colonization. However, painting becomes, for the merina society, an issue of defining social hierarchies and identities. Neither colonial artists, nor traditional craftsmen, Malagasy painters need yet to conform themselves to the norms imposed by colonial cultural policies, on the one hand, and by the usages granted to art in the merina society, on the other hand. They proceed between incarnating the figure of the estern artist and being mpanakanto, maker of beauty. It is a matter of analyzing the strategies established by these artists to make the most of the European and Malagasy resources in order to have a career and invent their own artistic identity. The study of the processes leading to the choices of such a career reveals the stakes and needs to which paint answers. These same processes contribute to defining the norms and models that the young discipline adopts. The history of painters questions also the role of art in the Malagasy society, whether it is on an economical (art market) or patrimonial level; the function they serve allows them to fit in society. It is also a question of considering the notions of group and individuality within a genuine “art world” [Becker ; 1988] characterized by intense transnational and regional flows. Thus, this reticular approach authorizes to rethink Malagasy Art History as pertaining to a more global perspective
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WAN, Lai Na. "Portrayals of women in Chen Hongshou’s figure paintings." Digital Commons @ Lingnan University, 2014. https://commons.ln.edu.hk/vs_etd/6.
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Chen Hongshou (1598/1599-1652), a famous artist of late Ming and early Qing China, was particularly well-known for his figure paintings, which exerted a noticeable influence on later generations and has been the subject most commonly discussed by scholars. Among Chen’s figure painting oeuvre, this study is especially concerned with his portrayals of women ranging between the 1630s and 1650s with an intention to explore what their representations, audience and function reveal about the artist. The existing monographs on Chen’s female figures is limited to only few case studies, from which the artist’s depictions of women have not been clearly sorted out, so there is room for further investigation of the relation between female imagery, cultural meanings and the artist’s identity. The contribution of this study is to research on some specific questions in these regards.
The three chapters of this dissertation consider Chen’s depictions of women from different perspectives. It begins by analyzing Chen’s appropriations and innovations revealed in his female figures in terms of iconographic and thematic aspects. The artist’s works demonstrate identifiable features ascribed to the past paintings that indicate his considerable familiarity with the subject established in the broad history. At the same time, they are distinguished by innovative traits which show his awareness of popular trends in his own time and his facility in reinvention. This thesis then proceeds to examine Chen’s attitude towards women by positioning his representations of female figures in relation to the social and cultural context in the seventeenth century. It is found that Chen’s portrayals of women, on the whole, reveal the artist’s ambivalent stance towards women as he on one hand shows positive on female talent, bonding and emotional disclosure, but on the other hand treats women as object of desire. His conflicting attitudes in fact correspond to the complex status of women at that time. The final chapter of this thesis explores the intended audience and functions of Chen’s rendering of women, from which the artist’s dual identities as a literate man and a professional painter in his late life are strongly revealed.
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Costa, Richard Santiago 1985. "O corpo indígena ressignificado : Marabá e O último Tamoio de Rodolfo Amoedo, e a retórica nacionalista do final do Segundo Império." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281782.
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Orientador: Claudia Valladão de MattosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T10:23:25Z (GMT). No. of bitstreams: 1 Costa_RichardSantiago_M.pdf: 19493104 bytes, checksum: 5f25f91acbf60eab43f89b48112b2700 (MD5) Previous issue date: 2013
Resumo: O presente projeto de pesquisa pretende estudar duas obras específicas do pintor brasileiro Rodolfo Amoedo intituladas O último Tamoio (1883) e Marabá (1882). Tais obras serão analisadas dentro do contexto de sua produção na segunda metade do século XIX buscando identificar aspectos formais e programáticos que as aproximam e ao mesmo tempo afastam da política de criação de uma identidade nacional implementada pela Academia Imperial de Belas Artes no decorrer do século XIX. Buscaremos associar essas pinturas, tão importantes no conjunto da obra de Amoedo, ao ambiente sócio-político e cultural do Brasil oitocentista, investigando suas intenções políticas e culturais no contexto artístico do período. Além disso, interrogaremos tais pinturas na tentativa de reconhecer traços do estilo de Amoedo que as ligassem à sua formação artística tanto no Brasil quanto na Europa, trazendo referências diversas nas áreas da literatura e pintura que contribuíram para sua feitura. Será fundamental investigar como Amoedo desmonta o aparato de exaltação do mito do "índio herói nacional", identificando os traços de um indianismo tardio sem fôlego, esgotado às vésperas da proclamação da República. Para tanto, será importante confrontar literatura e artes plásticas dentro das premissas do ut pictura poesis, visto que naquela floresceu primeiro o que se convencionou chamar de "indianismo". Propomos uma reflexão sobre a figura do índio melancólico e trágico das pinturas supracitadas de Amoedo em detrimento do índio heróico e guerreiro da produção literária do período anterior e seu papel na constituição de um imaginário nacional que tinha o índio como símbolo pátrio: através das diversas ressiginificações por que passou o corpo indígena, seja no campo da pintura e da escultura, seja no campo da ilustração e da literatura, analisaremos como Amoedo se insere como renovador do indianismo acadêmico, rearranjando os elementos próprios da retórica nacionalista no final do Segundo Império
Abstract: This research project aims to study two specific works of the Brazilian painter Rodolfo Amoedo titled The Last Tamoio (1883) and Maraba (1882). Such works will be examined within the context of his production in the second half of the nineteenth century trying to identify formal and programmatic aspects which approach and at the same time move back them from the creation policy of a national identity implemented by the Imperial Academy of Fine Arts during the nineteenth century. Trying to associate these paintings, very important in Amoedo's whole works, to the social, political and cultural environment of nineteenth century on Brazil, looking for his political and cultural intentions in the artistic context of that period. Furthermore we will study such paintings trying to recognize aspects of Amoedo's style that link them to his artistic development both in Brazil and in Europe, bringing different references in literature and painting areas which was a contribution to its conception. It will be essential to investigate how Amoedo disjoints the apparatus of exaltation of the "national Indian hero" myth, identifying aspects of a late breathless "indianism", exhausted on the eve of the Republic's proclamation. Therefore, it will be important to confront literature and fine arts within the premise of ut pictura poesis, since that first grew what is conventionally called "indianism". We propose a reflection about the image of the melancholic and tragic indian of the Amoedo's paintings above in detriment of the heroic and warrior indian of the literary production of the previous period and their role in the constitution of a national imaginary that used to have indian as a native symbol: through the different reinventions of its meaning which passed the indigenous body, whether in painting and sculpture, or in the field of illustration and literature, we are going to analyze how Amoedo introduces himself as a re-newer of the academic indianism, rearranging the specific elements of the nationalist rhetoric at the end of the Second Empire
Mestrado
Historia da Arte
Mestre em História da Arte
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Jiann-Der, Leu, and 呂建德. "Modern Environmental Space and Figure Painting." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/62566209964721550163.
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Lv, Jian-De, and 呂建德. "Modern Environmental Space and Figure Painting." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/38440284513235996466.
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CHang, Hsing-hsin, and 張馨心. "The Studay of Houngshou's Figure Painting." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/09532663422258206138.
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YEN, CHENG-YI, and 顏承奕. "Fantasy Painting Environment-A Study of Modern Figure Painting Creation." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/z7bq2q.
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碩士國立臺灣藝術大學
書畫系造形藝術碩士班
105
The aim of this dissertation is to study how painting design of personal artistic creation integrated in ink art. Meticulous figure painting is one of main subjects in Chinese traditional painting. It reached the apex from Wei and Jin dynasties to Tang and Five dynasties. Literati painting were raised after Song and Yuan dynasties and it caused the decline of meticulous figure painting which emphasizes detail depicting. With exchange and cooperation between Chinese and Western culture, the concept of realism art was integrated into Chinese realistic painting again. Ink painting enriches techniques and manifestation of meticulous figure painting and it emerges innovation themes and multiple styles at contemporary. This dissertation is themed with meticulous figure painting, design theory and individual creative experience. The creative development is based on above mentioned and aims to develop personal painting style. This dissertation is structured in five main chapters: (1) Introduction, referring to aim, purpose, scope and methodology; (2) Analysis of creation concept, pattern of manifestations and personal portfolio; (3) Case study, analyze the concept formation and artistic expression of Chinese painting by combining semiotics of art, visual language and decorative arts; (4) Interpretation and analysis of artwork with article and illustrations; (5) Conclusions, future research and development.
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"人物話本: 工筆人物畫再探." 2001. http://library.cuhk.edu.hk/record=b5890887.
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石家豪."2001年6月"
論文 (藝術碩士)--香港中文大學, 2001.
參考文獻 (leaves 16-17)
附中英文摘要.
"2001 nian 6 yue"
Shi Jiahao.
Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 16-17)
Fu Zhong Ying wen zhai yao.
圖片 --- p.i -vi
序言 --- p.1
Chapter 上部 --- 古典與復古 --- p.2
Chapter 中部 --- 藝術性與職業性 --- p.6
Chapter 下部 --- 現代化與後現代 --- p.10
結語 --- p.14
註釋 --- p.15
參考書目 --- p.16
附錄：藝術碩士畢業展（研究生：石家豪）作品
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Liu, Ying-pei, and 劉英貝. "The Study of Wu Wei’s Figure Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/35346t.
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碩士國立中央大學
藝術學研究所
96
Wu Wei (1459-1508) was a painter with distinguishing characteristics both in personality and art. He was a legend in his own lifetime. Wu Wei was adored as a hero and a immortal by two emperors in Ming Dynasty, and he was laurelled the title of “Hua Zhuang Yuan” which means “The Best Painter” that no one ever owned in art history. With good fortune, Wu Wei never had a hard time in his career. Wu Wei was proficient in paintings of landscapes, figures, and birds and flowers. The landscape and figure painting were especially outstanding in Chinese painting history. The style of Wu Wei’s art was famous for the eccentric as well as the refinement. This study will focus on the figure painting of Wu Wei. Nanjing was the major city where Wu Wei worked and lived in. He painted a lot about the culture and the lifestyle of this metropolis. The romances that happened at the Chin-Huai river were the best inspiration to him. Wu Wei knew various intellectual and sponsors who could support his career in Nanjing, a prosperous and vanity city. Wu Wei lived there indulgently and was very creative without any restrictions. He spent all his life and talent in this ancient capital and could not dismiss the beautiful scenery from his mind. It was important to live and paint freely for Wu Wei. He liked drinking, reveling and having parties with courtesans, and those experiences of life revealed abundantly in his pictures. He also was in favor of painting the image of prostitute. In Ming dynasty, lots of paintings were about the romances between literati and prostitute. Except Wu Wei, many other painters, such as Tang Ying, usually drew in an obscure way on this subject. However, Wu Wei expressed his experiences with courtesans by paintings in a direct way. “The Ladies” is the masterpiece which combined tightly of his personality, the life, and the creativity. The unorthodox behavior and the great imagination of Wu Wei also showed in his Taoist and Buddhism Painting. The immortal of the figure was often another image of himself. Also, the vigorous and striking brush made the viewers can’t ignore the existence of the painter. Therefore, Wu Wei connected successfully himself with the figure in the painting. “The Genre” is another amazing painting of Wu Wei to show the beggars. In the same era of Wu Wei, another famous painter called Chou Chen used a serious and pessimistic way to express the beggars. But Wu Wei described those people of low positions in the society in a humorous and optimistic way. It is Wu Wei’s unconventional behaviors to make him so different to other painters. Wu Wei’s style name, “Hsiao-hsien,” which means “Little Immortal” can fully identified the unrestrained personality. The reasons for Wu Wei was highly praised and adored were not only his brilliant skills and charm but also the passion and delight that was conveyed through his painting. Wu Wei was both a court and professional painter in Ming Dynasty. He was highly admired and commended by emperors, nobilities, and those intellectuals lived in Beijing, Nanjing and Suzhou city. He had deep influential in Chinese painting and got great fame and achievements in art.
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Chen, Wen-Chao, and 陳文昭. "Computer Generated Three-Dimensional Chinese Figure Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/74204912871067076808.
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碩士國立交通大學
資訊科學系
89
In traditional Chinese Ink figure paintings, in order to represent the soft or heavy materials of clothes, or sometimes we want to show that the clothes are full of creases, various Miao skills were developed. If we want to paint the same figure in another view, we should start over and draw again. Besides, we do not know what the final results looked like before the painting is finished. Once a mistake was made, we have to paint again until it is desired that wastes so much time. In this thesis, we propose a method to generate the Chinese Ink Figure Paintings automatically according to three-dimensional models. We can produce figures of the same three-dimensional model in different Miao skill from different views. In this way, painters can create good-looking figure paintings easily without understanding any Chinese painting skills. Moreover, painters may try different styles in short time to get various effects of the Chinese Ink figure paintings.
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Liu, Po-Wen, and 劉博文. "The Evolution Of Chinese Figure – Portrait Painting." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/41887390241708565416.
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碩士中國文化大學
藝術研究所美術組碩士在職專班
94
Abstract of Thesis In historical torrent, Chinese painting used to have an eminent and illustrious achievement, but within recent centuries, it has shown a declining tendency lonely and aloof--- this is a lament of national fate in such a competing environment for survival. Beyond all doubt, people feel the consanguine emotion as if the blood is thicker than the water, so are the cultural reliance and recognition deeply rooted. People start to seek life identification and culture root after awakening from the mundane world and having a break of gasp in the daily survival-oppressed life. Therefore, the emotional form in respect of national culture art seems having found a new life and a new stage again. Nation’s cultural art represents its spiritual asset, so are the track of its historical activities and the performance of its civilized life. In the time immemorial, purpose of action is barely for survivals or living requirement; there is no demarcation between spirits and materials because of the developing process consistent with the evolving process of human civilization. Although the evolvement of painting and art has no longer stuck by such principle today, it has its own proliferated reliance and rule, providing delicacies for fancier’s taste, and allowing the future generation able to live in the fantasy with sages and lean on the rail in reminiscence. Paintings in art are an important core of artistic forms, undoubtedly, the form of which is pursuing a rule of beautiful model and sculptured beauty. Almost all kinds of the materials can be performed as a topic in Chinese painting, such as mountains, waters, animals, dragons, fishes, vegetables, fruits, palaces, temples, vessels, or vehicles, etc. As to the figure painting, it has been conspicuous in painting profession for a long time, not to mention the close relationship with social pulse. In the early stage, it was used as a political and educational instrument, either the iconic complexion of sages or that of saints; the historical story has been particularizing its tight connection with society. The artistic development may increase the aestheticism and the sentiment to express heart feelings by verse or song. In addition to depict the early-stage society, the figure painting is a cosmological view centered on human life, a life view to perform the soul of all beings in human society, and a noble living view of evolution among all living creatures, with which it has added a sort of humane care in the emotionless and monotonous social environment. The paintings, piece by piece, become the appealing and resplendent poetry and graceful note through artist’s elaborate thought and mental composition either in its modeling variation, stroke, ink halo, thickness, color, and rhythmic vitality. Keywords: Art Form; Modeling Variation; Flavor of Painting; Mental Composition; Rhythmic Vitality.
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Chou, Yi-Ju, and 周逸儒. "The Study of Xu Gu's Figure Painting." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/03592423864434230975.
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碩士國立中央大學
藝術學研究所
102
Xu Gu, one of the famous painters of the Shanghai School in the late Qing, was good at landscape painting, bird-and-flower painting and figure painting. However, most studies on Xu Gu focus on his bird-and-flower paintings and animal paintings, and very few on Xu Gu’s figure paintings. Based on historical records and comments by contemporaries on his works of calligraphy and painting, this thesis will concentrate on his figure painting and provide new information on his life and personal circle. To specify the characteristics of his figure painting style, I will examine his “portrait” and “Buddhism” painting. Most of Xu Gu’s portrait paintings were created for his literati friends and monks; only one was for a woman. Xu Gu adopted Zeng Jing’s style. He may have used photographs as references in order to depict his friends’ faces. This thesis will investigate the differences in portraiture between Xu Gu and other painters like Ren Bonian, and find out which school he followed. For his Buddhist figure paintings, I will discuss only two existing Lohan paintings. Both of them present the traditional iconography seen in Guan Xiu’s Lohan, which had been carved in stone at Shengyin Temple in Hangzhou and then distributed through rubbings.