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Journal articles on the topic 'Miniature painting'
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1
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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Stolyarova, E. G., A. V. Knyazeva, and A. V. Davydov. "ARTISTIC FEATURES OF RUSSIAN VACQUERY MINIATURE CRAFTS IN MODERN DECORATIVE ARTS AND DESIGN." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 94 (2024): 101–6. http://dx.doi.org/10.37313/2413-9645-2024-26-94-101-106.
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This article examines the Russian crafts of lacquer miniature painting in the context of the manifestation of their artistic features in modern decorative and applied arts and design. The authors’ goal is to identify stylistic techniques of Russian varnishes and analyze the possibilities of using authentic characteristics of folk art in the author’s design of design objects and decorative arts. The article presents the general and specific in the visual arts and technologies of Fedoskino, Palekh, Kholuy and Mstera. It has been determined that Fedoskino has the artistic features of realistic oil painting, and Palekh, Kholui and Mstera, formed on the basis of icon painting, acquired the features of conventionally decorative painting with tempera paints. The article lists the specific artistic features of each of the declared crafts of lacquer miniatures. The authors come to the conclusion that the original Russian traditions of folk painting have recognizable traditions that have developed over decades, which may represent an “artistic code” of Russian culture. Using the wealth of artistic expressiveness of lacquer miniatures in our country, the opportunity has been formed to create modern works of art with decoding the source of inspiration in the process of designing new products of design and applied creativity.
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Mokhtar, Mumtaz, Nurul Huda Mohd Din, Rashidah Salim, and Nurul Izza Ab Aziz. "Art Appreciation on Mughal Miniature Paintings from Islamic Art Museum Malaysia Kuala Lumpur." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 89–96. http://dx.doi.org/10.21834/ebpj.v7isi9.4251.
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This paper discusses the art appreciation on Mughal miniature paintings from Islamic Art Museum Kuala Lumpur. The focus of appreciation is from five miniature painting had been exhibited at IAMM. Namely The exhibition of 14 Dynasties and a Region: The History and Culture of the Muslim World from 8th June until 16th October 2022. The analysis of the artwork is focused on the layout composition, variation of colors and the style The discipline of art history has been pioneered by the west and directly inevitably their formulas are also used in analyzing Islamic works of art.
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Zeybekoglu, Senem, and Hossein Sadri. "Miniature as a way of representation in design studio: a case study." Archnet-IJAR: International Journal of Architectural Research 13, no. 2 (July 15, 2019): 408–24. http://dx.doi.org/10.1108/arch-02-2019-0037.
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Purpose Learning from traditional miniature painting and from recent studies on their modern and creative applications, the purpose of this paper is to identify the key qualifications of miniature and possible ways for using miniature in urban design studios. Following discussions on the pedagogical and professional effects of using miniature in a design studio, the paper introduces De-Urban Design Studio’s philosophy and its experience in employing miniature as a way of representation as the case study. Design/methodology/approach Different from the urban design’s professional role which materialized in conventional architectural presentation, miniature appears as a representation way in the search for the appropriate media for the de-urban design’s activist model. Findings Expressing the philosophy of transition design and de-urbanization, and studying some of the miniatures produced in the De-Urban Design studio, this paper sheds light on the possibilities created by the usage of miniature in urban design studio as a communication medium in making the processes of design more inclusiveness, participatory and democratic. Originality/value The term miniatecture is used for the first time as a representation technique developed in the De-Urban Design Studio co-instructed by the authors of this paper.
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Morris, Rekha, and J. Jain-Neubauer. "The Rāmāyaṇa in Pahari Miniature Painting." Journal of the American Oriental Society 105, no. 4 (October 1985): 789. http://dx.doi.org/10.2307/602781.
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Rao, K. Mrutyunjaya. "PICTORIAL ELEMENTS OF INDIAN MINIATURE PAINTING." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (January 21, 2022): 15–26. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.62.
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This paper discusses the magnificent contribution of Indian miniature painting as the torch bearer of Indian visual culture for the future generations with transitions and various idioms. It’s Visual imagery raised to paramount importance from the auxiliary position to the religious text. Artist has not imitated from nature but imbibed the spirit of divinity and greater love and passion on Indian culture. Its function is religious as well as decorative. “Horrorvacuue” the desire of filling space is the common characteristics of an Indian is often appears in Indian painting. The articulations of line, colour , space are discussed in this article The Climatic conditions might been allowed the Indian painter to experience unusual color patterns. The deep rooted veneration for religion and nature and to fulfill the taste of his patron. Which made him as a distinct artist in the world forever.
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Səfxan qızı Məhərrəmova, Nigar. "History of Azerbaijani carpets with classical composition." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 149–53. http://dx.doi.org/10.36719/2663-4619/66/149-153.
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The article provides information about the historical review of Azerbaijani carpets and examines its stages. The 16th century is characterized as the Golden Age of Azerbaijani history and culture. The carpet weaving of that time combined the subtlety and wonder of miniature painting, the decorative-plan solution of traditional motifs, a magnificent color palette reflecting all the colors and diversity of nature. Key words: carpet, pattern, color, Islam, miniature painting, sufism, seljuk, component
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Pulikova, Lyubov V. "Creation of a Miniature Painting Class as an Artistic Cultural Event." Observatory of Culture 20, no. 4 (September 22, 2023): 386–95. http://dx.doi.org/10.25281/2072-3156-2023-20-4-386-395.
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The miniature painting class at the Imperial Academy of Arts existed for more than half a century, but no researcher has examined the prerequisites for its formation. Information about the class’s activities is sketchy, and the names and number of students remain unknown. From a review of the historiography on the subject it becomes clear that there are almost no documents devoted to the problem of teaching miniature painting at the Imperial Academy of Arts. Since the reign of Peter the Great, the miniature portrait has gone through several stages: a reward portrait depicting reigning persons (a distinctive sign that speaks of the special position and status of the awarded person); a fashion accessory, along with fans and snuff-boxes; finally, a portrait that can always be taken with you to preserve the image of your favorite person. By the middle of the 18th century, the chamber portrait was particularly popular among city dwellers, which met the new ideas about the value and special significance of private life and a person’s inner world. However, not only the fashion for miniature portraits contributed to the opening of the miniature painting class, one should not forget about the economic side of the issue, which was very relevant for the Academy. Children from poor families were accepted to study in the classes of the Academy of Arts, so that in one class, which was not the largest, the sons of apprentices, soldiers, church servants, merchants, musicians could study, and the material issue was not of secondary importance for them. That is why the question of transferring miniaturists to work at porcelain factories becomes very urgent. The creation of a class of miniature painting was a kind of response to the needs of the time, when with the advent of the XVIII century. Russia is gradually included in the pan-European development of artistic culture.
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Panjwani, Priyanka. "Deconstructing a Janamsakhi Illustration:." Sikh Research Journal 8, no. 1 (April 13, 2023): 127–43. http://dx.doi.org/10.62307/srj.v8i1.27.
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It is rightly said that “All art is in part about the world in which it emerged.” As part of a North Indian hagiographic manuscript written in the 19th century, the miniature painting analyzed in this essay depicts a miracle of the founder of Sikhism-Guru Nanak. This essay will deconstruct the visual elements in the watercolor painting and link it to different styles of miniature painting of that period. It will also attempt to answer a fundamental question formulated by French art historian and archaeologist Oleg Grabar– can a work of culture be meaningfully understood through the application of techniques developed outside of it? The dynamism of icons and symbols due to cross-cultural influences is evident through this investigative process.
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Bombardier, Alice. "Twentieth-Century Mutations of Persian Miniature Painting:." Beiträge zur islamischen Kunst und Archäologie 5, no. 1 (2017): 149–66. http://dx.doi.org/10.29091/9783954906864/009.
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Alijon Turdaliyev, Botirali Baratboyev, Sharaboyev Ulugbek, and Zokirov Vokhidjan. "About Behzad and The Great Painter Kamoliddin Behzad." Journal of Advanced Zoology 44, S6 (December 6, 2023): 1487–93. http://dx.doi.org/10.17762/jaz.v44is6.2502.
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In this article, Kamoliddin Behzod is a genius artist, who has become a symbol of spiritual flight and the highest peak of classical miniature painting for all painters, a sharp turn in visual arts in Central Asia (Movarounnahr) in the 15th-16th centuries under the influence of the painter's life and work is described by scientists and artists as "Awakening" in the history of art. " (Renaissance) period. In 2010, for the first time in Tashkent, within the framework of the celebrations of the 345th anniversary of the birth of the famous artist, the main goal of the "International Exhibition of Oriental Miniatures" was to fully display the history of miniature art, and it is said that it opened a wide way for the future perspective and research of this field.
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Dulal, Lok Nath. "Wall Painting of Pujari Math of Bhaktapur: An Exploration." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 2 (December 5, 2023): 124–43. http://dx.doi.org/10.3126/craiaj.v6i2.60252.
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Historical evidences prove that painting is considered as the mother of all other forms of art and crafts. While artists start to sculpture the icon and any art objects, very first, they sketch the drawing of concerning deities and specimens, therefore, a painting is said to be the mother of all other sculpture arts. Therefore, the history of creation of painting is older than other forms of arts. On the basis of creating materials, mediums, instruments, technologies, and nature, painting can be classified into three different forms such as fresco, miniature and painted scroll. This article has analyzed the fresco painting of Pujari Math of Bhaktapur. This is an example of polychrome painting which displays an excellent craftsmanship of the artist. Through the perspectives of religion, culture, social values, art skill and technology this art object is known as the representative fresco paintings of Nepal which reveals the fine handiworks of the artists of the medieval period. In painting where people can observe several secular and religious figures of deities and social events associated with the myths of religious scriptures especially Ramayan and Mahabharata the great epics of Hindu. Despite all its amusing qualities, unfortunately, this painting is still not properly considering as the subject of research and study. It is its academic problem and research gaps as well. Thus, raising the research questions such as what types of paintings are painted on the walls and beams of Pujari Math? Why the painting of Pujari Math is considered wonderful work of art? And what are the major features of the painting of Pujari Math? Likewise, this paper fulfills the certain specific objectives such as to examine the paintings of Pujari Math; to explore the significance of the work of art and to analyze the major features of the fresco paintings. It is qualitative research based on primary data and secondary information. Primary data have been obtained from the field using observation and interview method whereas the required secondary information has been collected from different reliable literatures such as journals, documents, books, published and unpublished relevant reports. Thus, for fulfilling the research gaps and problems this paper has been prepared.
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Leonhard, Karin. "Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 428–57. http://dx.doi.org/10.1163/15733823-02046p06.
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It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chiaroscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.
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Рябцева, І. М. "To the problem of interpreting the genre of choral miniatures in the creation of Lesya Dichko (on the example of choral miniatures on poetic texts „Winter”, „Na chovni”, „Spring”)." Музикознавча думка Дніпропетровщини, no. 16 (December 18, 2019): 5–17. http://dx.doi.org/10.33287/221918.
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The purpose of the article is to identify the features of the genre ofUkrainian choral miniature and to identify the basic principles of theirimplementation in the choral works by Lesya Dychko. The purpose of thework determines the relevant tasks, which are in identifying the genrestyle landmarks of the musical language of L. Dichko, available in selectedchoral miniatures for poetic texts and, based on their analysis, outline anumber of immanent features inherent in the creativity of the composer.The methods of the research is formed by the using of empiricalapproaches of scientific investigation, namely observations, analyzes and generalizations, which allow the practical implementation of this studyingthemetic destination. The textological and semantic analytical approachesof the poetic text are also used in the work. The scientific novelty of thearticle is determined by the factor of primacy of the complex analysis ofselected choral miniatures from the standpoint of revealing immanentgenre-stylistic traits of L. Dychko’s creativity. Conclusions. The analysisof choral miniatures „Winter”, „Na chovni”, „Spring” on poetic textsallows to classify them as extremely bright, artistically expressiveexamples of modern interpretation of the genre with a relief display ofnationally characteristic stylistic features, which can be considered as anexample of the synthesis of neo-folklore neo-romantic orientation ofcreativity of L. Dychko. The choir miniature of Lesya Dychko is nowfirmly in the repertoire of numerous choirs of Ukraine. The composerforms a comprehensive outlook model of being in interaction with creativethinking. Her vision of the artistic text takes place at the same time in thedimension of literature, music and painting due to the constantinvolvement of elements of the visual arts vocabulary in her works,orientation to „painting”, and work with poetic images.
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Klamt, Johann-Christian. "Zur Reproduktionsgeschichte mittelalterlicher Schriftformen und Miniaturen in der Neuzeit Teil II: Die erste Hälfte des 19. Jahrhunderts." Quaerendo 29, no. 4 (1999): 247–74. http://dx.doi.org/10.1163/157006999x00103.
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AbstractWith the growing enthusiasm for medieval art and architecture during the first half of the 19th century also miniature painting gained larger attention by scholars in various parts of Western Europe. In the wake of great ancestors as Mabillon and Bessel - and still indebted to them - those men discussed and copied medieval miniatures with an astonishing sensibility for both the artistic detail and the historical background. But also these protagonists - with their manifold intentions and their endeavour for the spreading of fac-similes - can be caught manipulating - unconsciously or consciously - the original. Finally, it was the medium of photography which guaranteed 'objective' reproductions of miniatures, for the benefit of research in modern sense.
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Cardeira, Ana Mafalda, Stéphane Longelin, Agnès Le Gac, Isabel Nogueira, Maria Luísa Carvalho, and Marta Manso. "Spectroscopic Characterization of a Contemporary Indian Miniature Painting." Applied Spectroscopy 67, no. 12 (December 2013): 1376–81. http://dx.doi.org/10.1366/13-07147.
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Dr Balbinder Kumar. "Prakratik Manviya Pravratti,Rangmay Srashti evam kalatamak samanjasyta maen varn samrenshad Bodh." Knowledgeable Research: A Multidisciplinary Journal 1, no. 1 (August 31, 2022): 45–50. http://dx.doi.org/10.57067/kr.v1i1.105.
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The tradition of using color in Indian painting has been going on since ancient painting styles. These include Ajanta, Pala, Apabhransh, Mughal, Rajasthani and Pahari styles. In which lines and letters have been used in a very realistic manner and the environment of the picture has been made beautiful, an attempt has also been made to create a three-dimensional effect from the lines. In the journey from Ajanta to Pahari miniature painting, there has been a lot of innovation and development in the varna tradition
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Kumari, Kanchan. "SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (September 23, 2021): 34–47. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.28.
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English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions.
Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।
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Пивень, Марина Георгиевна. "Interpretations of the Old Testament Plot "David’s Victory over the Goliath" in Italian Decorative Painting of XVth Century." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 9–23. http://dx.doi.org/10.31802/2658-5111-2020-1-2-9-23.
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Статья посвящена рассмотрению трактовки ветхозаветного сюжета победы Давида над Голиафом (Первая книга Царств) в живописных произведениях художников Италии XV в. Автор сосредоточивает внимание на декоративных композициях повествовательного характера, выполненных Пезеллино, Джованни ди Сер Джованни (по прозвищу Скеджа) и Андреа дель Кастаньо. Живописные образы рассмотрены в контексте культурных тенденций и идеалов эпохи Возрождения, а также в контексте параллельно развивающейся изобразительной традиции представления библейского героя в статуарной пластике. В статье уделено внимание источникам иконографии декоративных росписей - средневековой книжной миниатюре, произведениям декоративно-прикладного искусства Византии, а также текстовым источникам, обусловившим смысловое прочтение образа, в частности Псалтири. В декоративных росписях мастера предпринимают попытки адаптировать сложившиеся в миниатюре иконографические типы к формату многофигурной картины. The essay deals to the interpretations of Old Testament plot “the young David’s victory over Goliath” (First Book of Kingdoms) in Italian domestic paintings of XVth century. The author focuses on narratives compositions, made by Pezellino, Giovanni di Ser Giovanni (Scheggia) and Andrea del Castaño. The pictorial images are considered in the context of cultural tendencies and ideals of the Renaissance, as well as in the context of a parallel developing tradition of representing the biblical hero in the statuary plastic. The article pays attention to the sources of iconography in decorative paintings - medieval book miniatures, works of decorative art of Byzantium, as well as textual sources, that determined semantic reading of the image (in particular, the Psalter). In decorative paintings the iconographic types, established in miniature, were adapted to the format of a larger multi-figure painting.
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Joshi, Indu, and Kamal Kishore Kashyap. ""IMPACT OF MINIATURE PAINTING ON CONTEMPORARY ARTISTS OF RAJASTHAN"." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 204–6. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3738.
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Contemporary art which believes in the creation of an unimaginable world by creating new forms of continuous form which has shaped its sensation by mixing multiple modes of expression and has also reduced the distance of art from other experimental disciplines. As a result, the creation of an artwork today has created a new way to express the psychological effects of human beings through pictures by creating musical melodies, perfume fragrances and many other environments.The influence or inspiration of something has always been behind any experiment or work in human life, in the same way, many contemporary artists, influenced by the Indian miniature, painting tradition, developed their own art style by creating new forms. At the same time, the work of inspiring the invaluable heritage of Indian painting in a changing environment. Contemporary artists have succeeded in creating amazing picture forms by blending contemporary and interactive shapes, by entering the world of miniature paintings made in small color, color, method, contemporary artists by entering the world of canvas and oil colors.A long list of artists who have attracted the whole world by creating such art forms is working in Rajasthan, which includes Chhotu Lal, Shail Chappell, Couple Kishore Upadhyay, Rameshwar Baruta, Lalit Shrama, Prabha Shah, Lalchand Marothia, Charan Sharma, Kiran Murdia etc. includes many names.
समकालीन कला जो नित नवीन रूपों का सृजन कर एक अकल्पनीय संसार के सृजन में विश्वास रखती है जिसने अभिव्यक्ति के अनेक साधनों के मिश्रण से अपपनी अनुभूति को एक आकार प्रदान करने के साथ अन्य प्रयोगधर्मी विषयों से कला की दूरी को कम करने का भी कार्य किया है जिसका परिणाम है कि एक कलाकृति का निर्माण आज संगीत की धुन, इत्र की सुगंध एवं अन्य कई प्रकार के वातावरण का सृजन कर मनुष्य के मनोवैज्ञानिक प्रभावों को चित्रों के माध्यम से अभिव्यक्त करने का नवीन मार्ग प्रशस्थ हुआ।मनुष्य के जीवन में कोई भी प्रयोग या कार्य के पीछे हमेशा से ही किसी चीज का प्रभाव या प्रेरणा कार्य करती आयी है उसी प्रकार से अनेक समकालीन कलाकारों ने भारतीय लघु, चित्र परम्पपरा से प्रभावितत होकर अपनी कला शैली का विकास कर नवीन रूपों के सृजन के साथ-साथ भारतीय चित्रकला की अमूल्य धरोहर को बदलतते परिवेश में गति प्रदान करने का कार्य किया है। छोटे-छोटे पारस्परिक रूप-रंग, विधि में बने लघु चित्रों के संसार को समकालीन कलाकारों ने कैनवास एवं तैल रंगों की दुनियां में प्रवेश कराकर समकालीन एवं पारस्परिक आकारों के समिश्रण से अद्भुत चित्र रुपों की रचना करने में सफल रहा है। इस प्रकार के कला रूपों का सृजन कर सम्पूर्ण विश्व को आकर्षित करने वाले कलाकारों की एक लम्बी सूची राजस्थान में कार्यरत हैं जिसमें छोटू लाल, शैल चैपल, युगल किशोर उपाध्याय, रामेश्वर बरूटा, ललित श्र्मा, प्रभा शाह, लालचंद मरोठिया, चरन शर्मा, किरण मुर्डिया आदि अनेक नाम शामिल हैं।
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BEREZINA, Elizaveta. "Lacquered History: Soviet Crafts and Problematic Memory of the Communist Past." Martor. The Museum of the Romanian Peasant Anthropology Review 26 (2021): 47–54. http://dx.doi.org/10.57225/martor.2021.26.03.
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The paper questions the ethics of displaying lacquer miniatures representing the Soviet past drawing on the example of an exhibition and publishing project Russian History: The Twentieth Century in Lacquer Miniature undertaken by the All-Russian Museum of Decorative, Applied and Folk Art (Moscow). In November 2017, almost 300 lacquer miniatures were displayed to commemorate the centenary of the Russian Revolution and other upheavals of the twentieth century. While recognizing the efforts of the curators to introduce the imagery of lacquer painting into the actual discussion on the communist past, I argue that the project irons out the controversial nature of the Soviet regime and literally “lacquers” history. I criticize the project for (1) using lacquer miniatures merely as illustrations of the historical events; (2) ignoring political, economic and cultural conditions of imagery making; (3) evading discussion of the problematic past. The review suggests questions to be asked about the representation of history in lacquer miniatures that could help museum curators working with Soviet imagery in crafts.
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Minissale, Gregory. "Esoteric and exoteric vision in South Asian miniature painting." World Art 11, no. 3 (April 13, 2021): 255–75. http://dx.doi.org/10.1080/21500894.2021.1911838.
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Ayres, Larry M. "An Early Christian Legacy in Italian Romanesque Miniature Painting." Wiener Jahrbuch für Kunstgeschichte 46-47, no. 1 (December 1994): 37–44. http://dx.doi.org/10.7767/wjk.1994.4647.1.37.
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Baranov, E. F. "Original Technique for Miniature Painting on Opalescent Guilloche Enamel." Secreta Artis 6, no. 3 (January 30, 2024): 59–67. http://dx.doi.org/10.51236/2618-7140-2023-6-3-58-67.
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Dhiman, Rekha. "MUGHAL CARPET COLOR MAKING PROCESS (WITH REFERENCE TO THE JAHANGIR ERA)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3644.
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Mughal painting maintains an independent and significant identity throughout Asia. Babur, the fifth generation of Timur Vansh, established Mughal culture in 1527 by dominating some parts of India. Which was extended by the rulers of Humayun, Akbar, Jahangir, Shahjahan and Aurangzeb. At this time, all the arts developed properly. Mughal carpet painting was at its peak till the reign of Shahjahan. Iranian, Chinese and Western art styles influenced this. At this time the painting was effective as miniature and crystal painting. 'Jahangir period (from 1605 to 1627 AD) painting was in its youth in the form of miniatures. Senior painters in the schools of paintings used to study the subjects practically as well as impart an important chapter in the 'Rangamiji in miniatures' according to Nassab Talim. This was the reason that Jahangiric painting was achieved to the extreme. Provided the method of color mixing to Lipi. 2 Under this, special attention was given to color formation process and color composition. Senior painters used to train the subjects to collect natural, mineral and chemical tissue stems under their own supervision. During the Jahangir period, color manufacturing was done in India itself and exported to other countries. Therefore, special attention was also paid to color making method.
म्ुागल चित्रकला सम्पूर्ण एषिया में स्वतंत्र और महत्वपूर्ण पहचान बनाये हुए है। तैमूर वंष की पांचवी पीढ़ी के बाबर ने सन् 1527 में भारत के कुछ हिस्सों पर अपना आधिपत्य कर मुगल संस्कृति को स्थापित किया। जिसे हुमांयू , अकबर, जहाँगीर, षाहजहँा और औरंगजेब आदि षासकों ने विस्तार दिया। इस समय सभी कलाओं का समुचित विकास हुआ। षाहजहँा के षासन काल तक म्ुागल कालीन चित्रकला चरम - वैभव को प्राप्त थी। इस पर ईरानी, चीनी और पष्चिमी कला षैली का प्रभाव पडा। इस समय चित्रकला लघु और स्फुट चित्रों के रुप प्रभावषाली रही। ’जहाँगीर काल (1605 से 1627 ई. तक) चित्रकला लघुचित्रों के रुप में अपने यौवन पर थी।‘1 जहाँगीर ने अपने षासनकाल में चित्रषालाओं की स्थापना की और चित्रकारों को संरक्षण प्रदान किया। चित्रषालाओं में वरिष्ठ चित्रकार षिष्यों को व्यवहारिक रुप से अध्ययन कराते थे ही साथ ही नसाब तालीम अनुसार ’ लघुचित्रों में रंगामेजी ’ महत्वपूर्ण अध्याय की तालीम दिया करते् थे।यही कारण था कि जहाॅंगीरकालीन चित्रकला चरमसीमा को पाप्त हुई।’मरवादीद ने सम्पूर्ण मुगलों की चित्रकला अैर लिपी को रंग मिश्रण का विधान सुलभ कराया। 2 इसके अंतर्गत रंग निर्माण प्रक्रिया और रंग संयोजन को विषेष महत्व दिया जाता था। वरिष्ठ चित्रकार षिष्यों को स्वयं के निरीक्षणमें प्राकृतिक, खनिज और रासायनिक तंू उंजमतपंस एकत्रित करने का प्रषिक्षण देते थे। जहाँगीर काल में रंग निर्माण का कार्य भारत में ही होता था और अन्य देषों को निर्यात किया जाता था। अतः रंग निर्माण पद्यति पर भी विषेष ध्यान दिया जाता था।
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Arakelyan, M. G. "Illuminated Bible of the Armenian Master Ghazar Baberdatsi of Lvov." Art & Culture Studies, no. 2 (June 2023): 248–67. http://dx.doi.org/10.51678/2226-0072-2023-2-248-267.
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The proposed subject has tremendous significance for specialists in the field of studying iconography, Armenian miniature painting and theology, since the article examines and analyzes the relationship of miniatures of the masters of the Armenian community of New Julfa (Isfahan, Iran) with the works of Armenian miniaturists of the Polish-Lithuanian Commonwealth of the first quarter of the 17th century. This is especially presented in the iconography of full-page miniatures with the biblical and apocalyptical scenes in the traditions of the East and West. Thus, the miniatures of the Bible (Matenadaran, M351) illuminated by the master Ghazar Baberdatsi in the Armenian monastery of the Assumption of Theotokos at Lvov in 1616–1619 are directly affected on the development of iconographic schemes of miniatures created by the New Julfan craftsmen in the second quarter of the seventeenth century. Such influence, in particular, can be traced in the works of the master Hayrapet Jughayetsi. Also, thanks to the surviving colophons of the Lvov Bible, a number of aspects related to the attribution of the authorship of miniatures have become clear.
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Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.
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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.
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Maeda Tareq Mohammed. "The Aesthetics of Timurid and Safavid Miniatures." Basrah Arts Journal, no. 29 (May 28, 2024): 52–60. http://dx.doi.org/10.59767/2024.05/29.5.
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This research studies the aesthetics of Timurid and Safavid miniatures in a comparative manner. The first chapter deals with the research problem, its importance, and defining the most important terms used in it. The research problem included the topic of the aesthetics of Timurid and Safavid miniatures in the drawings of both eras through the artistic works produced by Islamic painting schools, where each school has characteristics that distinguished it from the other. The research problem was overcome through the following question: How did the Muslim artist achieve the miniatures aesthetics in manuscripts for both eras?The II chapter, the theoretical framework, includes four sections: the first on the aesthetics of Islamic art, the second on the art of Islamic miniatures, the third on the most important artistic features of painting (the Timurid era), and the fourth of the (Safavid) era. The third chapter included the research procedures, and the fourth chapter included the results and conclusions.The functional treatment of the concept of space designated for Islamic miniatures came according to a fruitful and sincere artistic and functional emotional approach within the relationships of creation that give it a spiritual feeling due to what the elements of construction have of multiple intellectual meanings and connotations, such as transferring the stories and events that were prevalent at that time, to documenting the style of Islamic architecture and the type of clothing worn by Muslims, the moral and social values that appeared through the interpretation of the movements of people in the Islamic miniature, as came in most of the sample models.
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Lavrov, Dmitrii Evgen'evich. "Works of Palekh miniature painters in the field of porcelain decoration (Palekh porcelain)." Человек и культура, no. 4 (April 2022): 114–20. http://dx.doi.org/10.25136/2409-8744.2022.4.37124.
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The article is devoted to the history of the production and painting of artistic porcelain products in the Palekh craft – a little-studied page in the annals of the twentieth century Palekh. The subject of the study is an analysis of the technical and artistic difficulties faced by Palekh artists in mastering the production and painting of porcelain in the 1920s - 1930s, as well as the reasons that, unlike the production and painting of papier–mache, it could not be put on an industrial basis. The purpose of the article is to expand our understanding of the richness of the ways of development that the Palekh fishery had during the early Soviet period using the example of an alternative artistic material for Palekh. Using the method of comparative analysis, as well as narrative and structural research methods, the author examines the role of A.V. Bakushinsky and other representatives of the Soviet intelligentsia in the development of porcelain painting by Palekh artists. The scientific novelty of the study consists in an attempt to consider this problem as a complex phenomenon: the article analyzes Palekh porcelain products from both the pre-war period and the 1950s – 1970s. The main conclusion of the article is the statement that despite the gradual fading of the Palekh fishing organization's interest in this material, many Palekh artists continued to create talented and original porcelain products during the Soviet period.
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Yuqi ZHANG. "Stylization and individuation: the concept and style of space in Chinese and Persian painting images in Han and Tang Dynasties." Costume and Culture Studies 2, no. 2 (June 30, 2024): 13–28. http://dx.doi.org/10.6914/ccs.020204.
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During the Han and Tang Dynasties, the exchange of handicraft culture between China and Persia significantly promoted economic development, advanced diplomatic relations, improved the material and cultural life of the people, enriched their spiritual enjoyment, and held a critical position in the history of East-West handicraft cultural exchange. The methods of image composition in Chinese painting and Persian miniature painting differ, yet there are mutual influences. The images reflect the national uniqueness and cultural diversity of both countries due to the differences in functional space. This paper explores the communication between China and Persia in painting images during the Han and Tang Dynasties by examining three aspects: composition, space concept, and style of Chinese painting and Persian detailed photos. It reveals the mutual influences formed in exploring stylization and individuation while maintaining the distinctive characteristics of the art communication path.
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Shakirova, Ch T., J. A. Isakov, and A. B. Orifjonov. "The importance of learning miniature painting in fine arts classes." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 1 (2022): 334–37. http://dx.doi.org/10.5958/2249-7137.2022.00061.1.
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Di Pietrantonio, Natalia. "Pornography and Indian miniature painting: the case of Avadh, India." Porn Studies 7, no. 1 (January 18, 2019): 36–60. http://dx.doi.org/10.1080/23268743.2018.1532808.
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Kodode, Ujjwal. "THE PHILOSOPHICAL ROLE OF COLORING IN THE PERSPECTIVE OF RAJASTHANI MINIATURE." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3682.
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In Rajasthan, the interest towards painting and its original form was traditionally prevalent. The credit for reviving Rajasthani traditions and cultures is seen in the traditional painting here, in the depiction of women and the expression of colors. Evidence of this is seen in the lineages and color combinations etched in ancient times in the rock shelters here. There is an initial depiction by Rangay showing the expressions of the then figures. Rajasthani painting certainly occupies an important place in Indian art from the 16th century to the 19th century. The combination of colors is the predominance of this style. The variety of colors with rankhako has been skillfully perfected, but the simple combination of colors has been expressive, dynamic, strong and figurative.
राजस्थान में चित्रकला प्रति अभिरूचि और उसका मौलिक स्वरूप परम्परागत रूप से प्रचलित था। जो राजस्थानी परम्परा एवं संस्कृतियों को गैारवान्वित करने का श्रेय यहां की पारम्परिक चित्रकला में नारी चित्रण और रंगांे की अभिव्यक्ति में दिखाई देता है। इसका प्रमाण यहां के शैलाश्रयों में प्राचीन काल में उकेरे गये रेखाकंन एवं रंग संयोजन में दिखाई पड़ता है। रंगांे द्वारा तत्कालीन आकृतियों के भाव दर्शा ने का प्रारंभिक चित्रण हुआ है। 16 वीं शताब्दी से 19 वीं शताब्दी तक राजस्थानी चित्रकला निश्चय ही भारतीय कला में महत्वपूर्ण स्थान प्राप्त है। रंगों का संयोजन रेखाओं का बारीकी इस शैली की प्रधानता रही है। रेंखाकनो के साथ रंगों की विभिन्न छंटा कुशलतापुर्ण, किन्तु सरल संयोजन, रंगों का अभिव्यक्तिपूर्ण,गतिशील, सशक्त एवं आलंकारिक किया गया है।
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Solomonea, Carmen Cecilia. "Restoration project of the mural paintings of the Dragomirna Monastery Church." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 8 (2017): 165–84. http://dx.doi.org/10.47950/caieteara.2017.8.12.
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"The main Church of the Dragomirna Monastery has its nave and altar decorated mural paintings which date back to as early as the early 17th century. These were created in the affresco technique, with areas completed in mezzo fresco, and extensive gilded surfaces. There is a wide diversity of stone-carved elements– flowers, ribs, torsade embossing, sculpted and painted shields, which cannot be found in any previous mediaeval churches in Moldavia. These elements complete the iconographic programme of the painting, which spans over 22 registers, differentiating and defining the uniqueness of Dragomirna. A series of degradations due to infiltration, which occurred over time in the upper part of the nave and the base of the bell tower, led to the architectural restoration of the Church in the ‘60s. The mural painting is first restored 400 years after its creation. The complex works were possible through the implementation of a project funded by the European Union between November 10th 2010 and February 15th 2012.The ample restauration and conservation process of the 900 square meters of mural painting highlighted its amazing original appearance and its artistic elements influenced by the techniques and chromatics of miniature painting. The interventions have been carried out in accordance with the international standards of conservation and involved a team of 50 specialists. The project ‘Dragomirna Church’s 17th Century Frescoes,Suceava, ROMÂNIA’ has been among the winners of the 2014 EU Prize for Cultural Heritage / Europa Nostra Awards in the ‘Conservation’ category. The project has received the Grand Prix and the Public Choice Award. "
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Shabir, Sana, Muhammad Kaleem Ullah, and Sadia Asghar. "The Eastern and Western amalgamation: a dilemma for Pakistani artists." Liberal Arts and Social Sciences International Journal (LASSIJ) 7, no. 1 (June 30, 2023): 104–19. http://dx.doi.org/10.47264/idea.lassij/7.1.6.
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This research explores the combination of Eastern and Western amalgamation in the artwork of Farhat Ali painter. This East and West cultural diffusion discourses inquiries about cultural identity and its conceivable effect. During academics, curriculum studying, and practising Western art and in the paintings, the painter has to produce the-eastern approach. It was unsuccessful as it made the East and West divisions unspecified because the artist had to do such work, which belonged to the culture. The basic structures within the institutions are copied from the West and mainly affect the local art sector and most of the communication being done, which is a clear effect of post-colonialism. It is apparent from Farhat Ali’s work and his practice entirely that he has shrewdly noticed this conflict. Farhat Ali’s choreographed gestures and their placement make for highly dramatized illustrations. It might incorporate calligraphy, miniature painting techniques, or traditional patterns into a modernist painting or use contemporary materials and colours to create classic images. Ultimately, the researcher will prove the East and West combination is a trauma for Pakistani painters. This study also accentuates sociolect-psychoanalytical cultural conflicts and how to affect the feeling and behaviour of characters.
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Batirov, Jahongir Sobirovich, and Sherali Naimovich Avezov. "THE CURRENT IMPORTANCE OF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEV GOGICAL VIEWS OF MEDIEVAL THINKERS ON AR AL THINKERS ON ARTOF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEVAL THINKERS ON ART." Scientific Reports of Bukhara State University 4, no. 4 (August 28, 2020): 293–96. http://dx.doi.org/10.52297/2181-1466/2020/4/4/4.
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In the article, there is a growing demand for critical learning and implementation of all the best in painting in schools in Uzbekistan and the Commonwealth countries, all of which summarize the history and development of Oriental miniature art and, therefore, provide a historical overview. It is said that the stylistic essence of art, its aesthetic power, is directly related to modern requirements.
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Bojakowski, Jacek. "Sight resolution and brain integrative role during painting of miniature portrait." International Journal of Clinical Neurosciences and Mental Health, no. 3(Suppl. 1) (December 23, 2016): S15. http://dx.doi.org/10.21035/ijcnmh.2016.3(suppl.1).s15.
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Stanivuković, Goran. "Portrait Miniature Painting, the Young Man of Shakespeare’sSonnetsand Late Elizabethan Aesthetics." English Studies 95, no. 4 (May 19, 2014): 367–91. http://dx.doi.org/10.1080/0013838x.2014.908029.
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Abdukhalikov, F. F. "The art of portrait painting in miniature of the Safavid period." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 2-1 (2023): 383–91. http://dx.doi.org/10.37485/1997-4663_2022_2_1_383_391.
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Shachkova, E. V. "Methodological and pedagogical conditions of organization of independent work of students in classes miniature painting." Educational Dimension 26 (December 14, 2009): 384–88. http://dx.doi.org/10.31812/educdim.7050.
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Cora, Dominika. "Miniature Painting in Eighteenth-Century England: The Case of William Pether (1739–1821)." Arts 11, no. 3 (May 27, 2022): 61. http://dx.doi.org/10.3390/arts11030061.
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William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.