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.
Full textHelke, 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.
Full textSerban, 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.
Full textGhoochani, Ghazaleh. "Le bleu dans la miniature safavide avant Shah Abbas." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040021.
Full textThis 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
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.
Full textKeresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.
Full textIn 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
Ahmadi, Bahram. "L'enseignement universitaire de la peinture en Iran : problèmes et influences." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10077.
Full textThe 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
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.
Full textGlikson, 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.
Full textMurphy, 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.
Full textVaidya, Aradhana. "Translating Indian miniature paintings into a time-based medium." Texas A&M University, 2008. http://hdl.handle.net/1969.1/85978.
Full textMercy, Nicole. "Recherches sur la peinture au Karnataka : de l’école de Vijayanāgar à l’école de Mysore, XVIème-XIXème." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL191.
Full textThe aim of this work is to study the paintings of Karnataka from the school of Vijayanagar to that of Mysore. It covers the period from the XVIth to the XIXth century. Our goal was to better understand the evolution of painting in Karnataka during the three hundred years that separate both schools. The only remains of the Vijayanāgar School of Painting can be found in the murals of the Vīrabhadra Temples of Lēpākṣī and those of the Virūpākṣa Temple in Hampi. We discuss these two temples before evoking the school of painting of Mysore through its murals, manuscripts and miniatures. This school is closely connected to King Kṛṣṇarāja Woḍeyar III. Contemporarily to the school of Mysore appeared the school of Surpur, unknown until now. Two unpublished collections of miniatures from Mysore and Surpur have allowed us to better understand the evolution of these schools. Other pictorial achievements present specific developments in the art of Karnataka. We present the mural paintings of Tipu Sultan's summer palace, which stands out clearly from the previous era, as well as the Uddharane manuscript intended for the teaching of the devotees.We have tried to bring together in this work the widest possible corpus of murals, manuscripts and miniatures in order to have a global vision of painting in Karnataka
Goudie, Allison J. I. "The sovereignty of the royal portrait in revolutionary and Napoleonic Europe : five case studies surrounding Maria Carolina, Queen of Naples." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aeecdc4b-d840-4e25-be64-ba1407e18cd2.
Full textLauren, Samantha Garretson Peter P. "Painted interiors from the Houghton Shahnameh." 2004. http://etd.lib.fsu.edu/theses/available/etd-08212004-004051.
Full textAdvisor: Dr. Peter Garretson, Florida State University, College of Social Sciences, Program in Asian Studies. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.
Abooali, Sareh. "Space, Gaze and Femineity: Representation of Women in Architectural Spaces in Persian Miniature Painting (Timurid to Safavid eras)." Thesis, 2021. https://hdl.handle.net/2440/134181.
Full textThesis (Ph.D.) -- University of Adelaide, School of Architecture and Built Environment, 2021
Sajadi, Forough. "The impact of the Netherlandish art on Persian Miniature in Safavid era 1588 - 1722." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3971.
Full textCelem pracy jest omówienie wpływu sztuki holenderskiej na rozwój stylu Farangi Sāzi w okresie panowania Safawidów, w latach 1588-1722 r. Oddziaływanie przeanalizowano w dwóch częściach. Najpierw została zbadana grupa zeuropeizowanego malarstwa autorstwa nadwornych malarzy perskich. Następnie rozważono wpływ obecności jedenastu holenderskich malarzy w Persji, a w szczególności dokonań trzech z nich w bibliotece królewskiej. W pracy przeanalizowano do jakiego stopnia te dwa zdarzenia są ze sobą powiązane bądź niezależne.
Šubrtová, Jana. "Antifonář sedlecký a česká malba 13. století." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313156.
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