Dissertations / Theses on the topic 'Formal painting'

This is a practice-led PhD and the submission includes a written thesis and a comprehensive body of paintings made during the research period. The initial aim of this research developed out of an interest in what appeared to be a clear binary opposition between the structure and understanding of the picture plane within abstract and figurative painting. Traditionally a figurative picture plane tends to achieve pictorial depth through Cartesian perspective. Conversely, abstract picture planes were flattened within modernism. I am interested in creating a pictorial space in painting - image painted on canvas - that has the potential to accommodate a more active viewer. This is a pictorial space in which the surface and pictorial depth do not sit in opposition to each other and the viewer oscillates between the two. The research initiated with a historical survey of pictorial space specifically analysing the difference between Renaissance and modernist space. The research methodology then develops key concepts from Gilles Deleuze's philosophical writings. They are employed within the studio as a system of methods, which have enabled me to re-think the formal characteristic of painting towards creating a new pictorial model. The key concepts within this investigative methodology include: The Fold; Smooth and Striated space in relation to Beauty and Sublime; The Monad; The Figural; and The Virtual. A central premise of the research, both practically as a studio investigation in painting and theoretically, explores the potential of the internal pictorial plane of painting becoming a virtual, complex and plural space more akin to the cinematic. Giles Deleuze's concept of 'The Fold' is at the core of the research and provides a method of thinking through a studio painting practice that might reactivate painterly, abstract and pictorial space for a contemporary audience.

Orientador: Omar Khouri<br>Banca: Ana Helena da Silva Delfino Duarte<br>Banca: José Leonardo do Nascimento<br>Resumo: Este estudo discute os aspectos que configuram a recorrência como a própria essência do fazer artístico, especificamente na pintura. Os argumentos são construídos estabelecendo-se um diálogo entre a recorrência na filosofia da ciência e no campo da história da arte. Quando analisada segundo a especificidade do fazer pictórico, este estudo propõe a designação de recorrência histórica plástica. Neste cenário, a reflexão avança e busca apresentar, definir e distinguir universais (figura recorrente, imagem recorrente, tema recorrente e elemento recorrente) e, assim, contribuir para um corpus de conhecimentos sobre a forma artística - no interesse plástico - que possa ajudar a elucidar e organizar uma sintaxe visual da recorrência. O objeto deste estudo - produto de uma pesquisa bibliográfico-conceitual - fundamenta-se na visualidade de um recorte da obra de Leda Catunda. Por isso as discussões são pautadas pelo suporte visual de pinturas consagradas, desde as de Leonardo da Vinci até as de Leda Catunda, tidas como pontos focais para o desenvolvimento da pesquisa. Outras obras pictóricas da artista são importantes para fundamentar a elaboração desta sintaxe visual<br>Resumen: Esta investigación analiza los aspectos que conforman la recurrencia con la esencia misma de la práctica artística, específicamente en la pintura. Los argumentos se construyen mediante el establecimiento de un diálogo entre la recurrencia en la filosofía de la ciencia y el campo de la historia del arte. Cuando se analizó la especificidad del hacer pictórico, este estudio se propone el nombramiento de recurrencia histórica plástica. Em este escenario, la reflexión se mueve hacia adelante y trata de presentar, definir y distinguir los universales como figura recurrente, imagen recurrente, tema recurrente y elemento recurrente que contribuye a um cuerpo de conocimiento acerca de la forma de arte - en su plástico interés - que pueden ayudar a clarificar y organizar una sintaxis visual de recurrencia. Aunque esta investigación es de naturaleza teórica, su objeto basada en la visualidad de pinturas de Leda Catunda de un recorte. Debido a esto, las discusiones se guían por el apoyo visual de pinturas consagradas de Leonardo da Vinci a las pinturas de Leda Catunda, tomada como puntos focales para el desarrollo de este estúdio. Otras obras pictóricas del artista son importantes para apoyar el desarrollo de esta sintaxis visual<br>Mestre

Made available in DSpace on 2014-08-27T14:36:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-23Bitstream added on 2014-08-27T15:57:11Z : No. of bitstreams: 1 000778141.pdf: 7237434 bytes, checksum: e15d69f5374289c055c3f4368a55fc66 (MD5)<br>Este estudo discute os aspectos que configuram a recorrência como a própria essência do fazer artístico, especificamente na pintura. Os argumentos são construídos estabelecendo-se um diálogo entre a recorrência na filosofia da ciência e no campo da história da arte. Quando analisada segundo a especificidade do fazer pictórico, este estudo propõe a designação de recorrência histórica plástica. Neste cenário, a reflexão avança e busca apresentar, definir e distinguir universais (figura recorrente, imagem recorrente, tema recorrente e elemento recorrente) e, assim, contribuir para um corpus de conhecimentos sobre a forma artística — no interesse plástico — que possa ajudar a elucidar e organizar uma sintaxe visual da recorrência. O objeto deste estudo — produto de uma pesquisa bibliográfico-conceitual — fundamenta-se na visualidade de um recorte da obra de Leda Catunda. Por isso as discussões são pautadas pelo suporte visual de pinturas consagradas, desde as de Leonardo da Vinci até as de Leda Catunda, tidas como pontos focais para o desenvolvimento da pesquisa. Outras obras pictóricas da artista são importantes para fundamentar a elaboração desta sintaxe visual<br>Esta investigación analiza los aspectos que conforman la recurrencia con la esencia misma de la práctica artística, específicamente en la pintura. Los argumentos se construyen mediante el establecimiento de un diálogo entre la recurrencia en la filosofía de la ciencia y el campo de la historia del arte. Cuando se analizó la especificidad del hacer pictórico, este estudio se propone el nombramiento de recurrencia histórica plástica. Em este escenario, la reflexión se mueve hacia adelante y trata de presentar, definir y distinguir los universales como figura recurrente, imagen recurrente, tema recurrente y elemento recurrente que contribuye a um cuerpo de conocimiento acerca de la forma de arte – en su plástico interés – que pueden ayudar a clarificar y organizar una sintaxis visual de recurrencia. Aunque esta investigación es de naturaleza teórica, su objeto basada en la visualidad de pinturas de Leda Catunda de un recorte. Debido a esto, las discusiones se guían por el apoyo visual de pinturas consagradas de Leonardo da Vinci a las pinturas de Leda Catunda, tomada como puntos focales para el desarrollo de este estúdio. Otras obras pictóricas del artista son importantes para apoyar el desarrollo de esta sintaxis visual

This project explores the features of a dress through two-dimensional imagery. It uses trompe l’oeil techniques to investigate and highlight the qualities of the garment. This proposes new ways to use trompe l’oeil designs and new ways to draw inspiration from an existing garment. The dress has been studied visually; through looking at it, tracing its shape and through drawing and painting it. The shape of the dress has been studied and developed through pattern construction. The design elements found in the dress have been expressed and enhanced into new designs. Embellishments and prints are used, to create a refined expression. The project has resulted in a seven outfit collection, where each outfit expresses one or two design element(s) from the inspirational dress. The collection shows a way to use decorative techniques to express findings in an artistic garment investigation. It also shows a way to draw inspiration from an existing garment to create an independent new design.

This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

Made available in DSpace on 2015-04-16T15:18:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3894051 bytes, checksum: ab4fdebd7b07fc792e8dcfa06ab6496c (MD5) Previous issue date: 2012-05-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The dissertation has been designed by several visits to the Site of the Boqueirão, district of Venturosa - PE, where pictorial manifestations have been identified that offer rich material for the study of the printing process developed by the authors of such actions. The study area is defined from an archaeological site with petroglyphs have not dated and printed on a granite formation that stands out in the Vale Ipanema. The pictorial works in these rocky surface is present within a predominantly geometric style, reflecting complex printing processes that use paint as a vehicle of expression. After identifying and analyzing sets of graphs, there are aspects to form, rhythm, technical combinations, hierarchies and structures that aesthetically the object of research, as well as characteristics linked to forms of exposure and preservation of visual production concerned. Analyzing the graphical material selected, designed the presence of point, line, plane and color as structural elements of morphogenesis lytic printed surfaces. This material will be observed in different expressive contexts that allow an information meeting on the historical, cultural and aesthetic object of the present study. Based on theoretical references from different areas of academic knowledge, the process of analyzing the paintings of Archaeological Sitio da Buquinha present in this work is presented in an interdisciplinary way, investigating the relationships between contexts and the structures attached to the object visual analysis. Thus, it becomes possible with the work proposed, a universe of foster interdisciplinary research, analyzing this type of prehistoric visual production as part of a system of visual representation reinterpret them mainly through theoretical studies that pervade the Visual Arts. They are different and complementary steps of the research: a literature review that provides context and relates to the object of research, the research field, where it was possible to visit the primary sources and organize a database by collecting and conducting photographic decals Finally, the last stage of work is presented through the construction of the dissertative text.<br>A dissertação apresentada foi concebida através de diversas visitas realizadas no sítio do Boqueirão, distrito do município de Venturosa PE, onde foram identificadas manifestações pictóricas que oferecem rico material para o estudo do processo gráfico desenvolvido pelos respectivos autores de tais ações. A área de estudo é definida a partir de um sítio arqueológico com pinturas rupestres ainda não datadas e impressas em uma formação granítica que se destaca no meio do vale do Ipanema. Os trabalhos pictóricos presentes na superfície rochosa apresentam-se dentro de um estilo predominantemente geométrico, refletindo complexos processos gráficos que se utilizam da pintura como veículo de expressão. A partir da identificação e análise dos conjuntos gráficos, observam-se os aspectos ligados à forma, ao ritmo, às combinações técnicas, hierárquicas e estruturais que caracterizam esteticamente o objeto de pesquisa e também peculiaridades relacionadas às formas de exposição e conservação da produção visual em questão. Analisando o material gráfico selecionado, verificamos a presença do ponto, da linha, do plano e da cor como elementos estruturais da morfogênese impressa nas superfícies líticas. Esse material expressivo será observado em diferentes contextos que possibilitem uma reunião de informações sobre as características históricas, culturais e estéticas presentes no objeto de estudo. Partindo de referenciais teóricos de diversas áreas do conhecimento acadêmico, o processo de análise das pinturas do sítio arqueológico Pedra da Buquinha, presente neste trabalho, apresenta-se de maneira interdisciplinar, investigando as relações entre os contextos e as estruturas visuais inerentes ao objeto analisado. Dessa forma, torna-se possível, com o trabalho proposto, fomentar um universo de pesquisa interdisciplinar, analisar esse tipo de produção visual pré-histórica como parte de um sistema de representação visual e reinterpretá-lo principalmente através de referenciais teóricos que permeiam os estudos científicos em Artes Visuais. Constituem etapas diferentes e complementares da pesquisa: um levantamento bibliográfico que contextualiza e relaciona-se com o objeto pesquisado, o trabalho de pesquisa em campo, onde foi possível visitar as fontes primárias e organizar um banco de dados através de coletas fotográficas e da realização de decalques e, por fim, a última etapa do trabalho se apresenta através da construção do texto dissertativo.

Made available in DSpace on 2016-04-27T19:32:47Z (GMT). No. of bitstreams: 1 William Golino.pdf: 22459041 bytes, checksum: 405b5d6c2e2313724a978a19439ac51a (MD5) Previous issue date: 2010-06-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The portrait, like any image, is one form of specific ideology of the image field, irreducible, different from the ideologies of other fields, such as politics, literary, etc. Therefore, it is an image ideology, it means, a relatively coherent visual set of beliefs, values and representations, produced by the representative of the social class that commissions and uses it, inseparable from economy, politics and morals. By means of its forms, the portrait presents and represents the global interests and needs of the class, as well as, the particular interests and needs of the class sectors involved in its production, propagation and storage. The main way to explain it is through the analysis of composition, stylistic techniques, materials, dimensions and other original data, historically fixed. Hypothesis: The portrait is constituent to the social relations. Justification: To explain its historical insertion. Theoretical and methodological aspects: Analysis of the integration between artistic and non-artistic forms and contents. Objective: To demonstrate the ideological character of the portrait. Obtained results: The portrait forms determine their aesthetic and plastic meanings, integrated with other ambits of life, for instance, the modern portrait has modern forms while the classic and academic portrait has classic and academic forms<br>O retrato, como qualquer imagem, é uma forma de ideologia específica do campo imagético, irredutível, diferente das ideologias de outros campos, tais como o político, literário, etc., portanto, é uma ideologia imagética, ou seja, um conjunto visual, relativamente coerente, de crenças, valores e representações, produzido pelo representante da classe social que o encomenda e utiliza, indissociável de economia, política e moral. Por meio de suas formas, o retrato apresenta e representa os interesses e necessidades globais de classe e particulares dos setores de classes envolvidos em sua produção, veiculação e guarda. O principal meio para explicá-lo é a análise de composição, técnicas estilísticas, materiais, dimensões e outros dados originais, historicamente fixados. Hipótese: O retrato é constituinte às relações sociais. Justificativa: Explicar sua inserção histórica. Aspectos teórico-metodológicos: Análise da integração entre formas e conteúdos artísticos e não artísticos. Objetivo: Evidenciar o caráter ideológico do retrato. Resultados obtidos: As formas do retrato determinam seus significados estéticos e plásticos, integrados aos outros âmbitos da vida, por exemplo, o retrato moderno tem formas modernas, enquanto o retrato clássico e acadêmico tem formas clássicas e acadêmicas

Aquesta tesi tracta del mètode pictòric i la tècnica d'execució de tres exercicis pictòrics, set retrats en total realitzats per l'autor, com un procés d'aprenentatge i evolució de les mateixes capacitats representatives. Amb l'anàlisi de l'obra personal i de com aquesta s'adapta en l'àmbit de la pintura realitzada amb capes amb poca acció de cobertura, així mateix es realitza l'anàlisi d'aquests set retrats dels quals es desenvolupa el seu procés pictòric per fases i estadis. Mitjançant la documentació amb imatges fotogràfiques dels diferents passos realitzats. A mesura que se succeeixen les imatges, es comenten els passos seguits, a on s'explica els materials que s'han fet servir, com aquests s'apliquen i quin resultat s'aconsegueix com es mostra al passi d'imatges generals i als detalls d'imatge. D'aquesta manera s'incorporen conceptes referents a aspectes tècnics dels materials que s'empren, conceptes referents al mètode pictòric i conceptes referents a l'anàlisi formal de l'obra pictòrica. El projecte d'aquesta tesi arranca de la necessitat de donar sentit a la mateixa obra pictòrica com a objecte d'estudi. A part de la necessitat personal, que es justifica per la presa de consciència i millora de la qualitat tècnica de l'obra pictòrica, si hom es pregunta per la necessitat d'un projecte de tesi sobre l'obra pictòrica personal, haurà de comprendre l'evolució de les capacitats representatives com a font de coneixement, que es produeix durant la trajectòria personal d'un pintor figuratiu, o millor dit il·lusionista, a l'hora de satisfer les necessitats de representació de la forma pictòrica, les quals es van actualitzant al llarg de la seva trajectòria personal.

Topic is processed sunset painting technique oil painting means to Latn and is crowned by a series of "Afterglow". is a continuation of previous work dealing with optical illusions and phenomena occurring in nature. "Glare, however, focuses on logical Only authorized color and shape inspired by the light background storyline. This resulted in a series of closed playing with forms and means in the final painting abstract painting

Submitted by (lucia.rodrigues@ufrpe.br) on 2016-06-16T14:22:14Z No. of bitstreams: 1 Paulo Henrique Rodrigues Melo.pdf: 4520343 bytes, checksum: 9ec5b6dd4ec198ed98b3bd7b8e03f113 (MD5)<br>Made available in DSpace on 2016-06-16T14:22:14Z (GMT). No. of bitstreams: 1 Paulo Henrique Rodrigues Melo.pdf: 4520343 bytes, checksum: 9ec5b6dd4ec198ed98b3bd7b8e03f113 (MD5) Previous issue date: 2010-07-29<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The current research has by its purpose "to read" the pictorial production of Pernambuco in the decade of 20 (1922 - 1932) and understand how its possible meanings and elements were interpreted, manipulated and appreciated in the constructions produced by the painters in the point of local/national cultural identity. Among a variety of gender that passes by portait paintings until the historic painting, we are going to linger at landscape painting, because this one is repitedly understood and used in those formulations as inherent to the identity and the individual history of Pernambuco. In the core of those formulations, we are going to find the conflict between modern and traditional, making evident the tensions brought by the modernizing speech that contaminated the Recife's men imaginary inte the 20th years, carring artists and intellectual people to have an attitude against it or in the favour. This case can be observated in those who connected direct or indirectly to the regional traditionalist movement which will detain more attention. We will understand the work of art as a social practice that built itself in the precisely continuation of historicity in the plastic form and in within social, that its product is introduced. We will approach to the explained model built by the french sociologist Pierre Bourdieu, whose fundamental terms are the Campo and the Habitus. We prioritize the intersection of visual and written sources, taking into consideration that eachone has its way of being and in the same time maintain complex relationshipswith each other through a reciprocal operation by introducing a way to see and say about the reality producing meanings and senses.<br>A presente pesquisa tem por objetivo “ler” a produção pictórica pernambucana na década de vinte (1922-1932) e compreender como seus possíveis significados e elementos foram interpretados, manipulados e apreciados nas construções operadas pelos pintores a respeito da identidade cultural local/nacional. Dentre uma variedade de gêneros que passam pela pintura de retratos até a pintura histórica, deteremo-nos à pintura de paisagem por esta ser recorrentemente entendida e utilizada em tais formulações como inerente à identidade e à história individual e coletiva de Pernambuco. No cerne destas formulações encontraremos o conflito entre moderno e o tradicional, evidenciando as tensões trazidas pelo discurso modernizador que contagiou o imaginário do homem recifense nos anos vinte levando artistas e intelectuais a se posicionarem contra ou a favor. Tal caso pode ser observado naqueles que se ligaram direta ou indiretamente ao movimento regionalista tradicionalista, ao qual deteremos maior atenção. Entenderemos as obras de arte como uma prática social, que se constrói na precisa continuação da historicidade da forma plástica e no seio social ao qual o seu produtor se encontra inserido. Para tal nos aproximaremos do modelo explicativo construído pelo sociólogo francês Pierre Bourdieu, que tem como termos fundamentais os de campo e de habitus. Priorizamos o cruzamento das fontes escritas e visuais, levando em consideração que cada uma possui seu modo de ser e ao mesmo tempo mantêm entre si relações complexas através de um funcionamento recíproco, instaurando uma forma de ver e dizer sobre a realidade produzindo sentidos e significados.

En la Introducción se resume el significado de la voz "horizonte" y su papel en la visión y en la percepción del espacio físico. En el desarrollo argumental se recogen algunos significados y formas gráficas del horizonte en la cultura y el arte occidental, estableciendo cinco categorías: El horizonte en el pensamiento mítico. El horizonte como signo evocador de la profundidad. El horizonte en el espacio construido mediante perspectivas geométricas. El horizonte y la mirada panorámica de reconocimiento del mundo. El horizonte y la Naturaleza como expresión de sentimientos humanos. Un último capítulo -Espacios sin horizonte- dedicado a representaciones y concepciones gráficas que no tienen en cuenta el Horizonte. Al final de cada capítulo se incluyen obras actuales para (o con el objeto de) mostrar cómo las formas y significados que ha tenido el horizonte a lo largo de la historia forman parte de los recursos plásticos del arte que el pensamiento creativo continua utilizando, recogiendo una tradición gráfica secular. Asimismo se incluye en las Conclusiones una propuesta de explicación gráfica de la ilusión lunar y el Horizonte.<br>In the introductory chapter we review the meaning of the word "horizon" and its role in vision and perception of the physical space. In the main part of the work we gather some of meanings and graphic forms of the horizon in Western culture and art. We establish five categories: - The horizon in mythical thinking. - The horizon as an evocative sign of depth. - The horizon in the space built by means of geometric perspectives. - The horizon and the panoramic view that. - The horizon and nature as an expression of human feelings. In the final chapter, called "Spaces without an horizon”, we focus on graphic representations and concepts that do not take the horizon into account. At the end of each chapter we include current works of art in order to show how the forms and meanings that the horizon has had throughout history are part of the visual art resources that the creative thought still uses. Also included in the conclusions is a proposed graphical explanation of the Moon illusion and Horizon.

La maladie d’Alzheimer (MA) est considérée depuis plus de 30 ans comme une pathologie de la mémoire empêchant l’apprentissage d’informations nouvelles en mémoire déclarative. Cependant, l’Histoire de la neuropsychologie rapporte des cas de patients présentant des capacités d’encodage résiduelles malgré une amnésie non-dégénérative avec des lésions pourtant proches de celles de la MA. Si les tâches de laboratoire échouent à montrer ces capacités dans la MA dès les stades légers en utilisant des stimuli verbaux et picturaux neutres, nous avons étudié dans quelle mesure la musique et d’autres types de stimuli artistiques peuvent permettre de les révéler dans des conditions plus écologiques, notamment par l’exposition passive répétée. En utilisant une échelle d’apprentissage construite pour étudier l’évolution du sentiment de familiarité dans la MA, nous avons pu révéler et décrire des apprentissages nouveaux chez ces patients à des stades modérés à sévères, ainsi qu’en inférer la nature au regard des modèles de mémoire classiques et contemporains. Pour finir, nous proposons de discuter en quoi la prise en compte de ces capacités pourrait changer les représentations associées à la MA, et améliorer l’accompagnement proposé aux patients et à leurs aidants familiaux et professionnels<br>For the past 30 years, Alzheimer’s disease (AD) has been considered as a crippling memory disorder impairing any possibility of new learnings in declarative memory. However, in the history of neuropsychology, cases of residual encoding have been reported with amnestic patients presenting different etiologies despite showing lesions very similar to AD. Although using neutral verbal and pictural items in laboratory settings failed to report preserved learning capacities from the mild stages, we investigated how using music and other artistic items in ecological settings may reveal these capacities in AD patients at a moderate to late stage, notably by passive repeated exposition. By relying on a behavioral scale designed to study the evolution of the sense of familiarity in these patients, we were able to show and describe new learnings in this population, and inferring their nature in view of both classical and contemporary memory models. Finally, we offer suggestions to discuss how acknowledging these capacities could change the way AD is perceived, and how it could help caring for people affected by it and their familial and professional caregivers

碩士<br>國立高雄師範大學<br>美術學系<br>107<br>The objective of our research was to explore whether a new type of recent art - "Artificial Intelligence (AI) Art"-in the post-style era, would possibly replace the position of human artists in the creation of painting art. We adopted the" Artistic Turing Test " approach to investigate on whether or not AI Art has the ability to confuse a certain proportion of people's judgments in the form of traditional painting art. Moreover, we use the survey to understand the general public's perception of AI Art and its impact on the artistic circles. While exploring the artistic essence of AI Art, we discovered that the subjects of art creation have gradually transited from humans themselves to inorganic objects. Since consciousness and soul still cannot be precisely defined and scientifically observed with latest technologies, we can only observe whether the value of art has gradually shifted by looking at the "phases" of it. For example, we can observe whether the general public are willing to pay high prices for AI artworks, how difficult it is to distinguish the paintings drawn by computers from humans, or how well received it is for the AI Art by the public, etc. According to the results of the survey, we observed that 70% of the people found difficult to tell whether paintings are drawn by computers or by humans. Moreover, after the artworks revealed to be created by computer program, there was an extreme drop in appraisal. For art collections, the general public still prefer the artworks created by human artists for it’s believed that the artworks created by human beings better express emotions, feelings and uniqueness. Though the results showed that AI Art still hardly changed people's preferences on art collections, the public believe that the influence of AI Art on painting techniques and media practices would be significant, in particular, the shorter creation time, and lower prices applicable to commercial purposes, the reproducibility of artistic style, etc., all of which are the reasons why AI Art are regarded to affect the artistic circles. Although the art of Artificial Intelligence is merely at its beginning stage and the technology is not yet matured, we can hardly make any certain evaluating conclusions on the essence of AI Art immediately. However, with the advances of AI Art technology, someday it will make Artificial Intelligence feel and possess its own emotions; by then we will be able to observe how it uses such emotional experiences to create its own artworks and artistic styles. Only the artworks created through a process of creation can be truly regarded as works of art with Aura and artistic value. Keywords：AI Art、Artistic Turing Test、 Aura、 artistic essence、 formal value

O mobiliário pintado constituiu uma das manifestações mais significativas na produção e desenvolvimento das Artes Decorativas em Portugal, motivo pelo qual integrou a grande maioria dos interiores históricos, e cujo conceito de abrangência ornamental o aproxima, sob idênticos parâmetros, das tipologias acessórias arquitetónicas. A presente dissertação pretende aprofundar o conhecimento acerca da produção de mobiliário pintado do século XVIII, considerando o período do Barroco, do Rococó e do Neoclássico portugueses, refletindo as especificidades da sua época de produção. Os relatos históricos e a quantidade de exemplares que podemos encontrar na atualidade em Portugal demonstram que o revestimento decorativo do móvel português se mostrou multifacetado e diversificado, e o seu papel ultrapassou a mera função de objeto útil, para a qual havia sido construído, embora se tenha assumido unidirecional quanto à abrangência civil e religiosa, adotado como recurso decorativo frequente em ambos os espaços. A inexistência de estudos especializados afigurou-se como uma motivação adicional para as investigações e o trabalho que agora se apresenta resulta do estudo transdisciplinar da produção do mobiliário policromado português, das dimensões histórica, artística e social, das influências externas e dos principais fluxos geográficos. Após o ponto de partida historiográfico, pouco abundante, a pesquisa debruçou-se sobre a observação dos principais tipos de revestimento pictórico, permitiu a sistematização tipológica decorativa, e a reflexão acerca da autoria e das particularidades dos centros de produção. A metodologia processual assentou na estreita colaboração entre o estudo teórico e prático da amostra de estudo, consolidando a etapa anterior numa análise tecnológica dos materiais, das técnicas utilizadas na sua produção, tendo em conta os principais tratados e fontes de inspiração coevas, e dos estados de conservação atuais. A avaliação dos processos de degradação resultou do cruzamento da observação e análise dos objetos, da sua composição material, das técnicas de execução e da sua interação com o meio envolvente. Finalizou-se o trabalho com vários estudos de caso, constituídos por objetos pertencentes a contextos diversos, cujas especificidades ditaram o estado de conservação e, após equacionadas as necessidades individuais, resultaram em diferentes tipos de intervenção prática, consolidando-se o estudo técnico e material em dois deles através da realização de exames laboratoriais.<br>The painted furniture is one of the most significant manifestations in the production and development of the Decorative Arts in Portugal, and therefore it is present in most of the historical interiors, as its ornamental comprehensiveness brings it closer to accessory architectural typologies, due to identical characteristics. This dissertation intends to deepen the knowledge about the production of painted furniture in the 18th century, taking into account the baroque, rococo and neo-classicism periods in Portugal, reflecting the specific characteristics of its production period. The historical accounts and the amount of pieces of art we can find nowadays in Portugal, show that the decorative coating of the Portuguese furniture was diverse and multifaceted. It became more than just a useful object, exceeding its primary purpose, although it was unidirectional as far as its civil and religious comprehensiveness is concerned, being often used as decoration in both of these spaces. The lack of specialized studies became an additional motivation for the investigation and this work is the result of the trans-disciplinary study of the production of Portuguese polychromatic furniture, the historical, artistic and social dimensions, the external influence and the major geographical flows. The research had a scarce historiographical starting point and then focused on the observation of the major types of pictorial coating and it allowed a decorative and typological systematization and a reflection on the authorship and peculiarities of the production centres. The procedural methodology was based on the strict collaboration between the theoretical and practical study of the study sample, strengthening the previous step in a technological analysis of the materials, the technics used in its production, considering the main treatises and contemporary sources of inspiration, and the current conservation conditions. The evaluation of the deterioration processes resulted in the intersection of the observation and analysis of the objects, its material composition, production techniques and its interaction with the surrounding environment. The work was concluded with several case studies, whose specificities dictated the conservation status and, after considering the individual needs, resulted in different types of practical intervention, consolidating the technical and material study in two of them by performing laboratorial tests.

碩士<br>華梵大學<br>美術學系碩士班<br>106<br>The painting on the sector of a folding fan is different from other art forms like painting and calligraphy seen on wall scrolls, long scrolls, album leaf formats, Letters, Screens, etc. Its special aesthetic reflects a variety of fine, delicate, and dynamic features. Most paintings and calligraphy are rendered horizontally or vertically (square or rectangle), but on a folding fan shaped like a sector of a circle, they create a rhythmic and dynamic sloping line, forming mitre joints on both sides of the fan, which create a unique mounted artwork. With the folding fan's special sector shape and multiple folds, whether raw or matured quality of paper is used, the artist needs to take the form of the folding fan into account to create, compose, and adapt to the paper’s characteristics, thereby bringing his brushwork and ink skills into full play. Some painters may even consider this a challenge. The delicate painting on a folding fan often allows viewers to perceive a frameless, artistic art form within a framed painting. The folding fan has two sides where both painting and calligraphy are combined. I. Painting on a folding fan (1) It is a mixed art form that combines poetry, literature, painting, seal carving and crafts. (2) It is a portable implement used by artists to present their collections, works, and paintings. It is also a form of mobile art exhibition. (3) The size of the folding fan is not big; hence, it requires technique and exemplary writing skills to paint characters, landscapes, birds and flowers on this medium. There are many ways to showcase art through these folding fans; these include calligraphy, painting or both. (4) Europeans associate fans with oriental culture. The painting and calligraphy on these folding fans clearly demonstrate the difference between Chinese and Western art forms. II. Research Purpose (1) To understand the historical origin and culture behind painting on folding fans (2) To explore the relationship between form and composition (including badging) in folding fan painting (3) To present the tradition and development of folding fan painting and calligraphy amid changing times