Relevant bibliographies by topics / Miniature painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Miniature painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Miniature painting"

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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (September 1, 2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details. The artists of these miniatures used bright colours with tempera effect and display an unusual understanding of colour combinations.Miniature art form made its debut in the 10th century. The earliest of miniatures are found painted on palm-leaves and their themes relating to Jainism and Buddhism. The palm-leaf paintings seem to have developed between 10th to 12th centuries. In the 14th century, palm leaf was replaced by paper and to earlier colours were added new mineral colours and pigments. Paper, with its tougher, smoother and better pigments absorbing surface almost revolutionized the entire art scenario2.
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Tanieva, Guldona M., and Anvar G. Tadzhiev. "ART OF MINIATURE IN CENTRAL ASIA AND ITS HISTORICAL DEVELOPMENT." JOURNAL OF LOOK TO THE PAST 4, no. 8 (August 30, 2021): 66–73. http://dx.doi.org/10.26739/2181-9599-2021-8-9.

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In present research is said about the steps of development of one of the kind of arts such as miniature in Central Asia, its specific aspects Forming of the Central Asian schools of miniature, about the role of the masters of Amir Timur's times and times of his descendantsand their influence on the school of miniatures of such countries as Turkey, Iran, Azerbaydjan in the 16-19 centuries.The article also provides information on students from the famous artists of their time and their works created in their art schools and their own paintings (miniature).Index Terms:Central Asia, fine arts, east, miniature, school, artist, Movaraunnahr, Herat, Samarkand, tradition, painting
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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.
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Bankov, Mikhail S. "TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 29–48. http://dx.doi.org/10.36340/2071-6818-2021-17-4-29-48.

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The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.
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Darwish, Mahmoud Ahmed. "Two Armenian Bibles with Arabic Influences of miniature painting (Gregor Tatevatsi 1346-1410)." International Journal for Innovation Education and Research 4, no. 8 (August 31, 2016): 72–100. http://dx.doi.org/10.31686/ijier.vol4.iss8.578.

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About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art had been conducted a unique historical panorama of the art of illumination, embracing more than thirteen centuries has been given.The heritage of a number of miniature schools and their outstanding representatives has been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although, most of them illuminated, many have not yet been published. Among the best examples of medieval Armenian illumination are those of the following two manuscripts, where the researcher published (28 miniatures) from the Gospel of folios paper in Matenadaran of Mashtots, for the first time: 13th, dated (1297) and (1378), the miniatures were executed by Grigor Tatevatsi and his pupil in (1378), and15th, dated in the end of 14th century and beginning of 15th century, the scribe is Grigor Tatevatsi and the anonymous painter of Syuniq. The research deals two Armenian bibles with Arab Influences by Grigor Tatevatsi (1346–1410), it begins with an introduction for Armenia with a focus on Syuniq which produced the two manuscripts, and includes three sections:1st. Study of Armenian miniatures with a focus on Grigor Tatevatsi school, where the proportion of miniature paintings, his pupil or anonymous painter of Syuniq.2nd. Analytical study.3ed. The influences of the Arabic miniature painting.
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Agrawal, Ruchi, and Dr Anu Ukande. "INDIAN ART IN CONTEXT: MANUSCRIPT PAINTINGS OF BAL-GOPAL-STUTI." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (July 5, 2022): 15–21. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.114.

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This article seeks to re-discover the glorious manuscript of Bal-Gopal-Stuti which depicts the tales of Krishna based on the hymns attributed to Bilvamangala. Illustrating of the manuscript of Bal-Gopal-Stuti probably began in the early fifteenth century. Bal-Gopal-Stuti is an esteemed literary masterpiece written in Sanskrit devoted to the Hindu God Krishna. Since its composition around thirteenth- fourteenth century. Bilvamangala’s poems have continued to be popular among the devotees of Krishna. Indian art is the outcome of a fusion of several traditions and is still evolving. Indian paintings can be divided into two categories: murals and miniatures. Apparently, miniature paintings, which drew inspiration and source material from the rich legacy of mural and fresco painting, have been known since the seventh or eighth century. Because of their short width and length, the new painting materials limited the scale of the works to miniatures.
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Agrawal, Sujata. "INDIAN MINIATURES (PAHARI PAINTINGS A STUDY OF INDIAN LANDSCAPES, SOCIAL LIFE AND LOVING SONGS OF GEET GOVINDA)." ARTS ACADEMY 2, no. 2 (June 2022): 119–26. http://dx.doi.org/10.56032/2523-4684.2022.2.2.119.

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The article highlights the history of the Indian miniature as a carrier of unique cultural information. The author considers the artistic miniature not only as a special genre of Indian culture, but also as a means of transmitting social traditions, culture, values, including religious ones. Pahari and Kangra miniatures are considered under the direct influence of the topos, in the context of their historical and chronological development. The author gives a commentary on each miniature, its color painting, highlights the main themes and images, connects local motifs with the history of the country, religion.
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Grieten, Stefaan. "Het Toren van Babel-schilderij in het Mauritshuis. Een illustratie van de relatie tussen de 15 de-eeuwse miniatuur- en schilderkunst in de Nederlanden." Oud Holland - Quarterly for Dutch Art History 108, no. 3 (1994): 109–19. http://dx.doi.org/10.1163/187501794x00422.

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AbstractIn the Mauritshuis at Thc Hague is the earliest extant painting on the theme of the Tower of Babel (fig. I). The panel's smal size (19.7 × 17 cm) and the min ute detail of the narrative scene suggest a relationship with the art of the miniaturc. This connection, which is demonstrable in other early representations of the theme (figs. 2-3), is confirmed by numerous motivic similarities with a number of miniatures (figs.4 6) in Les anciennes croniques et conquestes de Charlemaine, a manuscript which was illuminated by Jan de Tavernier between 1458 and c. 1465 and shortly afterwards showed up in the library of Philip, Duke of Burgundy. It is now in the Albert I Royal Library in Brussels. The anonymous painter of the panel was probably not in a position to base his work directly on the actual miniatures, but he may well have made use of sketches which served for the illumination of manuscripts in De Tavernier's studio. However, it cannot be ruled out that a Tower of Babel was painted in that studio. Neither the obvious relationship with De Tavernier's oeuvre nor corresponding motifs in paintings from the Bruges (fig. 8) and Haarlem (fig. 9) environments yield a logical hypothesis for an attribution of the panel in The Hague. The article does however draw attention, to the important but hitherto insufficiently examined relationship between 15th-century painting and the contemporary miniature (and other art techniques).
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Mikešová, Pavla. "Miniatura důstojníka 8. pěšího pluku rakouské armády. Nová akvizice Národního muzea od Patrizia Kettnera z roku 1836." Acta Musei Nationalis Pragae – Historia 77, no. 1-2 (2023): 5–20. http://dx.doi.org/10.37520/amnph.2023.002.

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The article explores a signed and dated portrait miniature of an officer by the painter Patrizio Kittner (1809–1900) from Brno, which was previously unknown. The aim of the text is to present Kittner’s portrait miniature through formal, stylistic and contextual analysis. The introduction focuses on the forgotten miniature painter’s personality, his artistic background, and his work for commissioners among the Moravian aristocracy and leading industrialists. It then proceeds with a formal description of the portrait miniature, its condition having been carefully assessed after the National Museum’s restorer removed the painting from its frame and disassembled the entire miniature into its individual components. This is followed by an analysis of Kittner’s painting style, which was examined using two portable microscopes: Dino-Lite type AM4115ZT for normal light images and Dino-Lite type AD4113T-12V for infrared images. Signed portrait miniatures from the Moravian Gallery in Brno served as adequate comparative ma­terial. The text then discusses the context of the work’s creation and identifies Kittner’s commissioners from the ranks of the Austrian army, evaluating the soldier’s rank and classification. The analyses indicate that Kittner’s miniature has been preserved in good technical condition. It is not substantially damaged, but it has undergone previous restoration, as indicated by the retouching on the right part of the man’s chest and in the upper right corner. This is an example of Kittner’s high-quality work, where the painter followed the Viennese portrait style of Moritz Michael Daffinger, known as the Daffinger School. In Kittner’s case, the clear influence of Viennese miniature production is demonstrated primarily through the painting style charac­terised by intersecting brushstrokes and the use of organic dye to depict skin tone. The article concludes by cautiously identifying the depicted figure as Anton Hahn, a lieutenant of the 8th Infantry Regiment of the Austrian Army.
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Dissertations / Theses on the topic "Miniature painting"

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Gude, Tushara Bindu. "Between music and history Rāgamālā paintings and European collectors in late eighteenth-century northern India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023838261&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Helke, Gun-Dagmar. "Johann Esaias Nilson (1721-1788) : Augsburger Miniaturmaler, Kupferstecher, Verleger und Kunstakademiedirektor /." München : Scaneg, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016505480&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Serban, Carrie. "A study of the Ottoman guilds as they are depicted in Turkish miniature paintings /." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111584.

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This thesis explores the Ottoman guilds during the sixteenth and eighteenth centuries as they are depicted in the miniature paintings contained within two well-known and well-preserved festival albums: the Surname-i Humayun (1582) and the Surname-i Vehbi (1720). These manuscripts describe the events occurring during the festival celebrations for the circumcisions of the sons of Sultan Murad III (r. 1574-95) and Sultan Ahmed III (r. 1703-30) and while they offer an excellent portrait of Ottoman society in general, they are particularly noteworthy for their portrayals of guild processions. Based on analysis of the festival paintings as well as on existing literature, the guilds are examined in the greater context of the Ottoman Empire and aspects such as guild function, structure, hierarchy, membership, and origins and evolution of the guilds are considered.
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Ghoochani, Ghazaleh. "Le bleu dans la miniature safavide avant Shah Abbas." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040021.

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Ces travaux portent sur plusieurs facettes de l’emploi du bleu dans les miniatures persanes. Ils se fondent sur un corpus constitué de 56 manuscrits à peintures, appartenant à la période qui va de l’accession au trône des Safavides jusqu’au règne de Shah Abbâs (soit de 1501 à 1588), et conservés à la Bibliothèque Nationale de France et à la British Library. Ce travail s’articule autour de deux grands axes. Le premier aborde les questions préliminaires relatives aux matériaux et techniques utilisés pour fabriquer la couleur bleue qui se rencontrent dans la peinture persane du XVIe siècle. Cette étude exigeait aussi une définition exacte des noms des nuances de la couleur bleue. Deux catégories de sources textuelles fournissent des informations sur la nature des pigments et le chromatisme employés dans la miniature persane, à savoir les traités techniques et les œuvres scientifiques. L’autre partie de cette thèse présente dans un premier temps une étude picturale détaillée en vue de définir les divers emplacements de la couleur bleue sur les peintures du corpus ; dans un second temps, il est procédé à une analyse textuelle des ouvrages dudit corpus, permettant de confirmer la corrélation des textes avec leurs illustrations quant aux indications liées au choix de la couleur bleue. Ces deux analyses nous mènent vers une synthèse qui aide à comprendre l’aspect symbolique et métaphorique de cette couleur dans l’ensemble de ses représentations picturales. Certaines sources telles que les récits de voyages et les recueils de biographies ou les textes littéraires et mystiques comportent des renseignements précieux sur l’emploi de la couleur bleue dans la société et son contexte culturel
This research deals with several aspects of the use of blue in Persian miniatures. It is based on a corpus of 56 illustrated manuscripts, dating from the beginning of rule of the Safavids until the reign of Shah Abbas (i.e. from 1501 to 1588 A.D.), preserved in the Bibliothèque nationale de France and the British Library. This work contains two major developments. At first, come the preliminary questions about the materials and techniques used to make the colour blue met in the paintings of the XVIth century. This study also required an exact definition of the names of shades of blue. Two categories of textual sources provide information about the nature of the pigments and the chromatics used in the Persian miniature; they are technical treaties and scientific works. The other part of this thesis is made up of pictorial studies which allow us to determine the location of the colour blue in painting. This approach is coupled with an analysis of the illustrated texts in order to confirm the correlation between pictures and texts when dealing with the colour blue. Both analyses lead to a synthesis that helps us understand the symbolic and metaphorical aspects of this colour in all its pictorial uses. Some sources such as travelogues and biographies or literary and mystical texts contain information on the use of blue in society and its cultural context
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Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.

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Keresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.

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Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale
In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products
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Ahmadi, Bahram. "L'enseignement universitaire de la peinture en Iran : problèmes et influences." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10077.

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La peinture « classique » persane a perdu ses caractéristiques en se rapprochant de la peinture occidentale; puis à l'époque Qajar, avec le changement culturel et social, une nouvelle peinture est née tandis que, simultanément, une évolution apparaissait dans son enseignement. Ainsi l'art de la peinture se divise en « art mineur » et « art majeur », dont l'enseignement suit, pour chacun d'eux, un chemin différent. La peinture « réaliste », comme manifestation de l'art majeur, s'est installée à l'école de Ṣanīʿ-al-Molk puis à l'école Dār al-Fonūn pour arriver enfin à l'école de Kamāl-al-Molk qui est devenue la Faculté des Beaux-Arts en 1940. Dans ce contexte les étudiants apprenaient le « style » de Kamal-al-Molk et celui de certains mouvements occidentaux, mais d'une manière incomplète. A la même période, la miniature, c'est- à- dire « l'art mineur », était encouragée afin de représenter la splendeur ancienne. Dans ce processus l’«Administration Culture et Art » a été attentive à la « miniature » en tant que peinture « traditionnelle », ce qui lui a permis d'être enseignée à l’École Secondaire des Beaux-Arts, issue de l'Ecole des artisanats anciens. Dans les années 1330 Š./1950, cette administration a fondé la Faculté des Arts Décoratifs et les Biennales de Téhéran. Par la suite, la peinture s'est orientée avec plus d'intensité vers l'art « Moderne » occidental et en même temps vers l'art et les effets visuels traditionnels d'Iran. A cette époque où s'opérait aussi la modification du système de l’enseignement de la Faculté des Beaux-Arts, les peintres d'Iran étaient divisés en deux groupes: les partisans des styles occidentaux et les néo-traditionalistes. Ces derniers, pour obtenir l’identité, utilisaient les éléments traditionnels tout en suivant les « méthodes » de l'art moderne. En face, les partisans des styles occidentaux avaient commencé par des œuvres figuratives de style expressionniste et étaient arrivés à l'art abstrait. Ils s'étaient libérés eux-mêmes de la contrainte des traditions et des signes de l'identité iranienne. Parallèlement, les miniaturistes en tant que peintres « traditionnels », pour continuer à exister, utilisaient exclusivement les paramètres de l'art réaliste. En revanche, les diplômés de l'Université, artistes « modernes », utilisaient les éléments de l'art de la miniature quand ils voulaient exprimer l'identité
The classical Persian painting lost some of its characteristics by opening up to the occidental painting. In the Qajar era, thanks to the cultural and social changes, a new painting was born with its new teaching methods. Thus the art of painting got divided into “minor art” and “major art”, each of them being taught in a different way. The realistic painting as a manifestation of the “major” art was first practiced in Ṣanīʿ-al-Molk art school, then in Dār al-Fonūn school and finally in Kamāl-al-Molk art school which in 1940, became the Faculty of Fine Arts. The students were studying both Kamāl-al-Molk style and some European styles, but incompletely. At the same time, the miniature, that is to say the “minor art”, was encouraged so that it represented the splendour of ancient times. In this process the Office of culture and art paid special attention to “miniature” as traditional painting. That is the reason why it has been taught in Secondary School of Fine Arts, descended from “Ancient Crafts School”. From 1330s to 1950s, this administration has established the Faculty of Decorative Arts and the Biennale of Tehran. Subsequently, the painting has turned more intensely towards modern occidental art, using at the same time the visual effects of traditional Iranian artistic creation. At that time when the educational system at the Faculty of Fine Arts was going through changes, the painters of Iran got divided into two groups: supporters of occidental painting and neo-traditionalists. The latter, in order to find their own identity, use some traditional elements applying, at the same time the methods of modern art. The supporters of the occidental styles started with figurative painting of the expressionist style and ended up in abstract art. They freed themselves from the constraints of the traditions and symbols of Iranian identity. On the other hand, in order to continue to exist as so called “traditional painters”, the miniaturists use only the parameters of realistic art. However, when the university graduates, the modern painters wanted to express their cultural identity, they used the elements of the art of miniature
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Veiga, Alfredina de Jesus da Cunha. "Estudo arqueométrico de pinturas a óleo sobre cobre dos séculos XVII/XVIII do Museu de Évora." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/17299.

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Este trabalho teve como objetivo o estudo arqueométrico de um grupo de pinturas sobre cobre dos séculos XVII/XVIII pertencentes a uma coleção de cerca de sessenta medalhões do Museu de Évora. O estudo material incidiu sobre dezasseis dos medalhões, que constituem uma amostra representativa do tipo de retratos miniatura que eram pintados na Corte Europeia dos séculos XVII/XVIII, e dos diferentes estados de conservação e restauro existentes nesta coleção. Além da simples observação do seu estado de conservação e das escassas interpretações históricas que lhes são atribuídas, estas peças nunca tinham sido objeto de qualquer estudo analítico moderno em que se utilizassem técnicas instrumentais avançadas. Este estudo material foi realizado utilizando várias técnicas complementares de imagem e análise química, como IRR, μ-Raman, SEM-EDS, LC-DAD-MS, μ-ATR-FTIR, μ-XRD, pXRF, VIM e Py-GC-MS, e recorrendo, sempre que possível, a uma abordagem não destrutiva e não invasiva das peças. Com este trabalho foi possível fornecer um conjunto de dados científicos relevantes acerca do processo de criação destas peças e sobre a composição química dos constituintes da camada cromática, das substâncias utilizadas na preparação da superfície de cobre e dos produtos de degradação. Assim, foram identificados vinte pigmentos, a maioria deles inorgânicos (incluindo a covelite) e alguns orgânicos (como o índigo e a cochinilha), e os aglutinantes utilizados nas pinturas (óleo e tempera grassa). Foi ainda determinada a composição química do suporte de cobre e dos produtos de degradação, tendo sido identificados alguns produtos mais comuns e um produto de corrosão que se evidenciou pela sua raridade neste tipo de peças de arte, o formatotrihidróxido de cobre (II). Este estudo pretende ser um contributo para o conhecimento da pintura a óleo sobre cobre e dos problemas específicos de conservação deste tipo de pintura, de modo a permitir a realização de intervenções futuras eficazes e inequívocas neste tipo de obras de arte; ARCHAEOMETRIC STUDY OF OIL PAINTINGS ON COPPER FROM 17TH/18TH CENTURIES OF ÉVORA MUSEUM ABSTRACT: The aim of this work was to perform the archaeometric study of a group of paintings on copper from the XVII / XVIII centuries, which are part of the collection of about sixty medallions belonging to the Évora Museum. The material study focused on sixteen of these medallions, in different states of conservation and restoration, which constitute a representative sample of the typical portraits that predominated in the European Courts of the XVII / XVIII centuries. Until now, these artefacts have never been subjected to any modern analytical study, and the information known about these artworks is based in the simple observation of the paintings and in the scarce historical interpretations assigned to them. This material study was performed using several complementary techniques of imaging and chemical analysis, such as IRR, μ-Raman, SEM-EDS, LC-DAD-MS, μ-ATR-FTIR, μ-XRD, pXRF, VIM and Py-GC MS, and using a non-destructive and non-invasive approach wherever it was possible. With this work, it was possible to provide a set of relevant scientific data about the creating process of these pieces, and about the chemical composition of the colour layer, the copper surface preparation layer and the degradation products. Therefore, twenty pigments have been identified, most of them inorganic (including the unusual covellite) and some organic (such as indigo and cochineal). It was also possible to identify the binding media used in the paintings (oil or tempera grassa). The chemical composition of the copper support and of the degradation products was also determined, namely it were identified some of the common degradation products and a compound which is very rarely found in the corrosion areas of these type of artworks, dicoppertrihydroxyformate. This study is a contribution to the knowledge about oil painting on copper support and about the specific conservation problems of these paintings, in order to allow effective and unambiguous future interventions in this type of artworks
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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.

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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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Murphy, Laura L. "The Aesthetics of Anxiety: Making in a Time of Environmental Collapse." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343065382.

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Books on the topic "Miniature painting"

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Sumahendra. Miniature painting technique. Jaipur, India: Rooprang Publications, 1990.

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Mike, Davidson. Painting Civil War miniatures. Atglen PA: Schiffer Pub., 1995.

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Painting miniatures. New York: Watson-Guptill, 1989.

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Douglas, Congdon-Martin, ed. Painting miniature military figures. Atglen, PA: Schiffer Publishing, 1994.

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Heinlen, Michael. Medieval & Renaissance miniature painting. Akron, Ohio: Bruce Ferrini Rare Books, 1989.

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Mike, Davidson. Painting Napoleonic miniatures with Mike Davidson. Atglen, PA: Schiffer Pub., 1996.

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Milstein, Rachel. Miniature painting in Ottoman Baghdad. Costa Mesa, CA: Mazdâ, 1990.

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India, National Museum of, ed. Indian miniature paintings. New Delhi: National Museum, 2009.

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Saqafat-e-Pakistan, Idara, ed. Miniature paintings from Pakistan. [Islamabad]: Pakistan National Council of the Arts, Ministry of Culture & Sports, 1995.

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Avants, Brett. Getting started painting diorama figures in acrylics. Moscow Mills, MO: Letterman Publications, 2001.

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Book chapters on the topic "Miniature painting"

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Di Pietrantonio, Natalia. "Pornography and Indian miniature painting: the case of Avadh, India." In South Asian Pornographies, 81–105. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003359708-8.

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Crosby, Mark. "A Minute Skirmish: Blake, Hayley and the Art of Miniature Painting." In Blake and Conflict, 164–84. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230584280_10.

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"Miniature painting: Ahmadnagar and Bijapur." In Architecture and Art of the Deccan Sultanates, 145–90. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521563215.007.

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"Miniature painting: Golconda and other centres." In Architecture and Art of the Deccan Sultanates, 191–225. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521563215.008.

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"Safavid Revival in Persian Miniature Painting." In À l’orientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries, 15–27. BRILL, 2019. http://dx.doi.org/10.1163/9789004412644_004.

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Freya Krishna, Mahima. "REFLECTIONS OF MINIATURE PAINTING IN INDIAN CULTURE; A COGNITIVE STUDY." In Research Trends in Language, Literature & Linguistics Volume 3, Book 5, 54–60. Iterative International Publisher, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bblt5p2ch2.

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Nature is the best known artist. In nature’s creation we see forms, but there is no out-line. The line is created by an artist. Miniature painting is an art of line. Miniature painting formally came to be known as a technique in the 17th Century AD, though it started its ovulation in the 9th century AD on palm leaves. Popularly painted subjects depicted court scenes, mythology and folklore under patronage of Indian maharajas, Indian Miniature painting, took an interesting twist under the colonial patronage from 1860s, with depiction of the common person and their life. Visually there was an amalgam of east and west, addition to a plain dull background in certain drawings. Bazaar art too gained a lot of popularity with the masses post partition in 1947. The focus and concern of my research is & quot;Towards a Practice-based study of miniature and calligraphic Lines from the ancient art of miniature painting to contemporary times is ; based on the completion of my practice-based National Fellowship, & quot;Junior Research Fellowship for Outstanding Artist in the Field of Culture Archive" by the Ministry of Culture. It is s an extension of a self initiated research that started in late 2014.
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Mansion, L. "Letters Upon the Art of Miniature Painting." In Color and Victorian Photography, 131–35. Routledge, 2020. http://dx.doi.org/10.4324/9781003084976-20.

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Wing, Patrick. "Conclusions and the Legacy of the Jalayirids." In The Jalayirids. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402255.003.0009.

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This chapter provides an overview of the history of Jalayirid patronage of miniature painting and book illustration. The question of a “Jalayirid school” of painting is most persistent legacy of the Jalayirids in secondary literature, and is taken up here. The chapter ends with a general summary of the book’s main arguments.
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"Coptic Miniature Painting In The Arabic Alexander Romance." In Alexander the Great in the Middle Ages, 153–76. University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442661301-012.

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"Imagining or Inventing the Tradition of Miniature Painting?" In Art and Polemic in Pakistan. I.B.Tauris, 2010. http://dx.doi.org/10.5040/9780755603923.ch-003.

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Conference papers on the topic "Miniature painting"

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Zaremba, Krzysztof. "Optical fibre lighting system for the miniature painting exposition in the National Museum in Warsaw." In Congress on Optics and Optoelectronics, edited by Leszek R. Jaroszewicz, Brian Culshaw, and Anna G. Mignani. SPIE, 2005. http://dx.doi.org/10.1117/12.623048.

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Tabarestani, Solale, Mohammad Eslami, and Farah Torkamni-Azar. "Painting style classification in Persian Miniatures." In 2015 9th Iranian Conference on Machine Vision and Image Processing (MVIP). IEEE, 2015. http://dx.doi.org/10.1109/iranianmvip.2015.7397538.

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