Relevant bibliographies by topics / Painting and literature / Journal articles
To see the other types of publications on this topic, follow the link: Painting and literature.

Journal articles on the topic 'Painting and literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Painting and literature.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.

Full text
Abstract:
English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sentiments of human beings progressed by primitive barbarism. The infinite beauty of the parallel vision of creation embodied dance art, singing art with Prabhavishnuta. The instruments were unmodified. When the replica of nature was found to be a sound form, the concrete shape from the soil and stone was found in the form of "sculpture".
 Hindi : सृष्टि चित्रलिखित सी है, चलचित्र भी है। ''ये कौन चित्रकार है''! पता नहीं! पर सृष्टि का एक क्षुद्र हिस्सा भर मनुष्य इन चित्रों-चलचित्रों के बीच ही जनमता है, काल-कवलित होता है। सांसों के आने-जाने और रूक जाने की अवधि में इन चलचित्रों को देखता है। यह जो वह देखता है, उसकी आँखों के कैमरे से गुजरकर दिल-दिमाग में छपता है। उसे बैचेनी होती है। उस छपे को साझा करूँ। इस साझा करने की बैचेनी से जनमी चित्रलिपि। लिपि की बेल फैली, चित्र रचे चितेरों ने, रंग अविष्कृत हुए। मानस उर्वर हुआ, कल्पना से कला समृद्ध हुई। आदिम बर्बरता से आगे बढ़े मनुष्य के भावों से कला को स्पन्दन मिला। सृष्टि के समानांतर दृष्टि के अपरिमित सौंदर्य ने प्रभविष्णुता के साथ नृत्य कला, गायन कला को मूर्त्त किया। वाद्य अविष्कृत हुए। प्रकृति की प्रतिकृति ध्वनि रूप पा गयी तो मिट्‌टी और पत्थर से ठोस आकार ''मूर्तिकला'' रूप में मिला।
APA, Harvard, Vancouver, ISO, and other styles
2

Schiralli, Martin, Constance A. Pedoto, and Donna Richardson. "Painting Literature." Journal of Aesthetic Education 29, no. 1 (1995): 108. http://dx.doi.org/10.2307/3333525.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature." Religions 11, no. 9 (2020): 467. http://dx.doi.org/10.3390/rel11090467.

Full text
Abstract:
What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in Buddhist texts one begins to find a growing regard for the possibilities of re-ordering and transvaluing sense experience. After suggesting the possibility of this on the basis of a preliminary consideration of some figures of speech invoking painting, this essay turns to the reconstruction of what I call aesthetic stances to make sense of the idea of new possibilities in sense experience. I derive the concept of “aesthetic stances” on the basis of a close reading of a pivotal moment in one Buddhist narrative, the defeat of Māra in The Legend of Aśoka.
APA, Harvard, Vancouver, ISO, and other styles
4

Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

Full text
Abstract:
This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
5

Liu, Jiemin. "Chinese Literature and Painting." Comparative Literature: East & West 5, no. 1 (2003): 150–60. http://dx.doi.org/10.1080/25723618.2003.12015636.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sabino, Isabel. "If I didn´t care, one more kiss [feat_ 2019’s “She (and the space of painting)”]." Revista Farol, no. 21 (December 12, 2019): 10–22. http://dx.doi.org/10.47456/rf.v1i21.30839.

Full text
Abstract:
The 2019 text entitled “She (and the space of painting)”, produced in a parallel creative process for a painting exhibition, focuses on contemporary art theory, film, female characters, literature, poetry, music and, especially, on pictorial space from the feminine perspective. Now, it is reissued here, choosing one of the paintings made, already exposed, and a song underlying it as symptomatic of the perspective of confinement by the pandemic crisis.
APA, Harvard, Vancouver, ISO, and other styles
7

Lin, Fen, and Mike Yao. "The Impact of Accompanying Text on Visual Processing and Hedonic Evaluation of Art." Empirical Studies of the Arts 36, no. 2 (2017): 180–98. http://dx.doi.org/10.1177/0276237417719637.

Full text
Abstract:
This study explores how accompanying text affects the way an individual views and interprets a painting. We randomly assigned participants to view 20 paintings from the classical era with factual information, contextualized background information, or no information displayed next to them. We then recorded their visual gaze using an eye-tracking device and asked them to evaluate the paintings. The results show that how people view a painting and how they evaluate a painting are two distinct cognitive processes. The contextual information serves to orient the viewing process. The accompanying text influences the visual attention and gaze pattern but has limited impact on the hedonic evaluation of paintings. Instead, hedonic evaluation is more of a taste acquired through education and socialization. This study offers an empirical footnote to discussions on the cognitive assumptions in sociological studies of art and cultural phenomena.
APA, Harvard, Vancouver, ISO, and other styles
8

Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

Full text
Abstract:
The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discriminated the less balanced from the more balanced versions of the black-and-white paintings with a single glance at each. They were also able to discern differences in balance among the color stimuli in the single fixation condition, but not the subtle differences in balance between the two versions of each painting. Subjects' assessment of a composition's balance based on stimulus information encoded with one fixation did not significantly change when exposure duration permitted multiple fixations of that composition. Data are consistent with the view that the induced structural organization resulting from the balanced configuration of a painting's element is detected spontaneously by the eye “at first glance.”
APA, Harvard, Vancouver, ISO, and other styles
9

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

Full text
Abstract:
Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
APA, Harvard, Vancouver, ISO, and other styles
10

Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.

Full text
Abstract:
This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the paintings were accompanied by matching music. A main effect for music style (Wilks' lambda = .718, p < .01) showed participants thought all paintings were less active and more beautiful when accompanied by the impressionist music. There were no significant effects for gender.
APA, Harvard, Vancouver, ISO, and other styles
11

Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

Full text
Abstract:
AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
APA, Harvard, Vancouver, ISO, and other styles
12

Martindale, Colin, Michael Ross, and Ivan Miller. "Measurement of Primary Process Content in Paintings." Empirical Studies of the Arts 3, no. 2 (1985): 171–77. http://dx.doi.org/10.2190/64at-5b46-9hy4-hlq4.

Full text
Abstract:
In order to investigate whether rating scales could be used to measure primary process content in paintings, a study of responses to a series of nine nineteenth- and twentieth-century paintings was conducted. One group of subjects rated these paintings on several ratings scales. A second group of subjects wrote stories in response to each of the paintings. The stories were scored for primary process content employing procedures used in previous studies of stylistic evolution in poetry. There were high negative correlations between amount of primary process content in texts elicited by a painting and ratings on naturalistic, representational, meaningful, and photographic dimensions. Amount of primary process content in stories elicited by a painting increased as a function of artist's birthdate.
APA, Harvard, Vancouver, ISO, and other styles
13

Corso, Simona. "Painting Literature: Tullio Pericoliʼs Robinson Crusoe". Italian Studies 74, № 4 (2019): 352–66. http://dx.doi.org/10.1080/00751634.2019.1658920.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

Full text
Abstract:
Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
APA, Harvard, Vancouver, ISO, and other styles
15

Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.

Full text
Abstract:
A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parameters of the sunlight typical for the region of a given culture; quite a definite “color triad” is inherent to each national school, dominating the majority of its paintings. These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.
APA, Harvard, Vancouver, ISO, and other styles
16

Gautam, Manju. "COORDINATION OF COLOR AND RAGA: IN THE CONTEXT OF KANGRA PAINTINGS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3587.

Full text
Abstract:
The amazing coordination of music and painting in Kangra painting is a unique achievement in arts across the world, which is why Kangra painting is considered by art scholars to be synonymous with all hill painting. The color scheme of the paintings produced in the Kangra painting style is unique, it seems that all the beauty of the Kangra aesthetic artist filled the paintings through color and lines. The diversity of subjects is a quality of this genre. The artist here also gave the form of abstract and phonetic content of music along with literature and poetry, by color and lines, which is rare in any other art of the world.
 काँगड़ा चित्रकला में संगीत व चित्रकला का अद्भूत समन्वय संसार भर की कलाआंे मंे एक अद्वितीय उपलब्धि है यही कारण है कि काँगड़ा चित्रकला को कला विद्वानों ने समस्त पहाड़ी चित्रकला का पर्याय भी माना है। काँगड़ा चित्रशैली में निर्मित चित्रो की रंग योजना अनूठी है ऐसा प्रतीत होता है कि काँगड़ा का समस्त प्रकृति सौन्दर्य कलाकार ने रंग व रेखाओं के माध्यम से चित्रों में भर दिया। विषयों की विविधता इस शैली का गुण है। यहाँ के कलाकार ने साहित्य एवं काव्य के साथ संगीत की अमूर्त, तथा ध्वन्यात्मक विषय वस्तु को भी रंग एवं रेखाओं द्वारा साकार रूप प्रदान किया जो कि विश्व की किसी अन्य कला में दुर्लभ है।
APA, Harvard, Vancouver, ISO, and other styles
17

Mengham, Rod. "thurnauer: vt and vi, to paint in the second person." Text Matters, no. 5 (November 17, 2015): 221–30. http://dx.doi.org/10.1515/texmat-2015-0016.

Full text
Abstract:
Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them.
 Issues of language often surface literally in paintings by Thurnauer; written language appears sometimes as part of the material fabric in which human figures move or recline. The textual elements are not superimposed on the figures but appear to exist in the world they inhabit, requiring the painter to relate figure to ground in a process of interlacing. When the viewer’s eye traverses the painting it falls under the magnetic influence of the text to the extent that viewing must succumb in some degree to the operations of reading with its specific rhythms and expectations.
 In these paintings, visual and verbal languages provide us with different maps of the same territory; and Thurnauer’s hybridized representations argue that the world can only be rendered through a dialogue, an interlocution of different forms, genres, media. We approach her work, not as viewers whose function is predicated through a gaze regulated according to the distorting demands of consumption or control, but as readers engaged in a critical activity seeing around the edges of historically produced versions of the self.
APA, Harvard, Vancouver, ISO, and other styles
18

van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.

Full text
Abstract:
Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
APA, Harvard, Vancouver, ISO, and other styles
19

Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.

Full text
Abstract:
In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.
APA, Harvard, Vancouver, ISO, and other styles
20

Kling, Thomas, and Andrew Duncan. "History Painting." Chicago Review 48, no. 2/3 (2002): 164. http://dx.doi.org/10.2307/25304907.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Emanuel, Lynn. "Bad Painting." Antioch Review 52, no. 3 (1994): 493. http://dx.doi.org/10.2307/4613007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Cohen-Aponte, Ananda, and Ella Maria Diaz. "Painting Prophecy." English Language Notes 57, no. 2 (2019): 22–42. http://dx.doi.org/10.1215/00138282-7716125.

Full text
Abstract:
Abstract This article examines the work of the Chicana artist Sandy Rodriguez, who created the Codex Rodriguez-Mondragón, an ongoing project begun in 2017 that consists of botanical illustrations and large-scale maps of California and northern Mexico. Rodriguez’s Codex draws on pre-Hispanic, colonial, and Chicana/o/x antecedents, most notably the Florentine Codex (sixteenth century) and the Chicana/o/x codices of the early 1990s, produced in the context of the quincentenary of Columbus’s voyage. This article posits Rodriguez’s Codex as a polyphonic text that exceeds both the linguistic of the literary and the visual of the artistic, drawing on a multiplicity of sources, both historical and contemporary, visual and textual, oral and aural, in her mapping of California’s land and history. The Codex Rodriguez-Mondragón collapses precolonial, colonial, and contemporary histories to underscore continuities between the ruptures of conquest and our dangerous geopolitical moment.
APA, Harvard, Vancouver, ISO, and other styles
23

CHRISTODOULOU, A. C. "Melville's Painting." Leviathan: A Journal of Melville Studies 5, no. 1 (2003): 50–52. http://dx.doi.org/10.1111/j.1750-1849.2003.tb00065.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Flint, Kate. "Painting memory." Textual Practice 17, no. 3 (2003): 527–42. http://dx.doi.org/10.1080/0950236032000140113.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Zou, Weihan, and Sok-Yee Yeo. "Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods." Coatings 12, no. 3 (2022): 320. http://dx.doi.org/10.3390/coatings12030320.

Full text
Abstract:
In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials.
APA, Harvard, Vancouver, ISO, and other styles
26

Aldouby (book author), Hava, and Albert Sbragia (review author). "Federico Fellini. Painting in Film, Painting on Film." Quaderni d'italianistica 36, no. 1 (2016): 267–69. http://dx.doi.org/10.33137/q.i..v36i1.26295.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism." Renaissance Quarterly 51, no. 1 (1998): 1–33. http://dx.doi.org/10.2307/2901661.

Full text
Abstract:
AbstractThis essay shows how scholarship on fifteenth-century Flemish panel painting became intertwined with efforts at national identity-building in nineteenth and early twentieth-century Europe. Paintings such as Jan van Eyck's Ghent Altarpiece were not only dispersed across regional and national boundaries, but were intellectually appropriated for competing national programs. The paintings consequently became a site of conflict between the Latin and Germanic traditions. These conflicts are clearly visible through the shifting terminology of this art, variously claimed as “Flemish” and “Netherlandish.” Such nationalist discourses shaped future scholarship on Flemish painting and contributed to its perceived inferiority vis-à-vis the Southern artistic tradition.
APA, Harvard, Vancouver, ISO, and other styles
28

Antherjanam, Sindu. "A Comparative Study of Malayalam Literature and Paintings: Trajectories of Evolution." Artha - Journal of Social Sciences 17, no. 2 (2018): 39–58. http://dx.doi.org/10.12724/ajss.45.3.

Full text
Abstract:
Art and literature are part as well as a reflection of life. Literature and arts help to observe and interpret the world. They can also change the world. Visual arts stand in the forefront of knowledge dissemination. However the significance accorded to literature has never been given to painting. The paper traces how literature has always preceded and given more priority against painting and other visual arts form in the region of Kerala. This also goes with the fact that in discussing the history of arts, rural arts and artists are never discussed sufficiently. This is despite the fact that there is always a closer relationship between alphabets, scripts and paintings of various forms. The paper traces this close relationship to the earlier times when the scripts and written forms essentially evolved from hand drawings and stone carvings in the context of the south Indian language Malayalam. That the scripts and alphabets essentially evolved from those early pictographs should be a useful background to understand the relationship. The paper also marks the historical transitions in the Malayalam alphabets and scripts under various influences.Keywords: Evolution of Malayalam Script, Vamozhi
APA, Harvard, Vancouver, ISO, and other styles
29

Plavinskaya, Lidiya S. "CROSS-DISCIPLINARY COMMUNICATIONS: LITERATURE AND PAINTING (WITHIN TEACHING DISCIPLINE «LITERATURE»)." Scientific Review. Series 2. Human sciences, no. 1-2 (2019): 134–42. http://dx.doi.org/10.26653/2076-4685-2019-1-2-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Meliyana, Erni, and Aida Rusmariana. "Efektifitas Finger Painting Terhadap Perkembangan Motorik Halus Pada Anak Prasekolah : Literature Review." Prosiding Seminar Nasional Kesehatan 1 (December 16, 2021): 1459–66. http://dx.doi.org/10.48144/prosiding.v1i.879.

Full text
Abstract:
AbstractPreschool children are they who aged 3-6 years, and at that age they have enormous potential to optimize aspects of their development, including the development of fine motor skills. children need to be trained for fine motor skills from an early age because children's hand skills are a window of knowledge, one way to improve fine motor development in preschool children is by finger painting. The purpose of this study was to determine the effectiveness of finger painting activities to improve fine motor development in preschool children based on a literature review. The design of this study was a literature review of three articles from Google Scholar with keywords including finger painting, fine motor development, preschoolers, Denver II (Developmental Screening Test) and full text articles published at least in the last 5 years. The sample in this study is children aged 3-6 years. The results of the analysis of the characteristics of the respondents in the three articles were a total of 70 respondents. The average value of the increase in fine motor development before the intervention was 2.89 and after it were 4.39. The conclusion from this literature review is that finger painting activities are effective in increasing fine motor development in preschool children. It is suggested for the nurse to be able to implement and provide education especially for parents to do finger painting activities as an intervention to improve fine motor development in preschool children.Keywords: Preschool children; denver II; Finger Painting; Fine motor development
 AbstrakAnak prasekolah adalah anak yang berusia 3-6 tahun, anak yang sudah memasuki usia tersebut mempunyai potensi yang sangat besar untuk mengoptimalkan aspek perkembangannya, termasuk perkembangan ketrampilan motorik halus. Sejak dini anak perlu dilatih untuk motorik halusnya karena ketrampilan tangan anak adalah jendela pengetahuan, salah satu cara untuk meningkatkan perkembangan motorik halus pada anak prasekolah yaitu dengan finger painting. Tujuan dari penulisan ini adalah untuk mengetahui efektifitas pemberian kegiatan finger painting untuk meningkatkan perkembangan motorik halus pada anak prasekolah berdasarkan literature review. Desain karya tulis ilmiah berupa literature review dari tiga artikel penelitian yang di dapat dari laman google scholar dengan kata kunci finger painting, perkembangan motorik halus, anak prasekolah, Denver II, berupa artikel fulltex dan minimal terbit 5 tahun terakhir. Sampel dalam penelitian ini yaitu anak yang berusia 3-6 tahun. Hasil analisa karakteristik responden dari tiga artikel berjumlah 70 responden. Nilai rata-rata peningkatan perkembangan motorik halus sebelum intervensi 2,89, setelah intervensi 4,39. Simpulan dari hasil literature review ini yaitu kegiatan finger painting terbukti efektif untuk meningkatkan perkembangan motorik halus pada anak usia prasekolah. Saran bagi perawat dapat menerapkan dan memberikan edukasi kepada orangtua untuk melakukan kegiatan finger painting sebagai salah satu intervensi untuk meningkatkan perkembangan motorik halus pada anak usia prasekolah. Kata kunci: Anak Prasekolah; Denver II; Finger Painting; Perkembangan Motorik Halus
APA, Harvard, Vancouver, ISO, and other styles
31

Sudrajat, Dadang, Yasraf Amir Piliang, Tisna Sanjaya, and Andriyanto Rikrik Kusmara. "Colour dematerialization in spiritual literature and painting." Harmonia: Journal of Arts Research and Education 17, no. 2 (2017): 174. http://dx.doi.org/10.15294/harmonia.v17i2.10568.

Full text
Abstract:
<p>Colour in variety of art expression can be interpreted differently. This study is aiming at analyzing the colour dematerialization of Javanese spiritual literature “Falsafah Jeroning Warna” by Suprapto Kadis and a painting by Ahmad Sadali entitled “Gunung Mas”. Research was done by employing qualitative research, while data was collected by observation, interview, discussion, and documentation study. The analysis of meanings in the two art works was done in descriptive way by using the theory and the knowledge of tasawwuf or sufism, the aesthetics, and arts. Results showed that both sufis, Ahmad Sadali and Suprapto Kadis, share similarities in doing dematerialization towards colour. For them, colour was initially taken from nature (the external territory) which then experienced dematerialization when it made contact with inspiration that was created from the internal area (mental). On the other hand, the difference between the two art works lies on an understanding that colour in FJW is naturalistic mimesis in nature, meanwhile, the painting of Ahmad Sadali is naturaly abstract.</p>
APA, Harvard, Vancouver, ISO, and other styles
32

Margolis, Joseph. "Toward a Phenomenology of Painting and Literature." Symposium 8, no. 3 (2004): 477–90. http://dx.doi.org/10.5840/symposium20048338.

Full text
APA, Harvard, Vancouver, ISO, and other styles
33

Jellinger, K. A. "Neurology of the Arts - Painting - Music - Literature." European Journal of Neurology 12, no. 3 (2005): 238. http://dx.doi.org/10.1111/j.1468-1331.2004.00983.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Chuchvaha, Hanna. "Russian realisms. Literature and painting, 1840–1890." Canadian Slavonic Papers 60, no. 3-4 (2018): 614–16. http://dx.doi.org/10.1080/00085006.2018.1519948.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Miller, B. L. "Neurology of the arts: painting, music, literature." Journal of Neurology, Neurosurgery & Psychiatry 76, no. 1 (2005): 148. http://dx.doi.org/10.1136/jnnp.2004.048835.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Coles, Alasdair. "Neurology of the Arts: Painting, Music, Literature." Journal of Neurology 252, no. 1 (2005): 116. http://dx.doi.org/10.1007/s00415-005-0651-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Riggs, G. "Neurology of the Arts: Painting, Music, Literature." Neurology 67, no. 9 (2006): 1727. http://dx.doi.org/10.1212/01.wnl.0000215008.37141.bf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

Joshi, Manisha. "LITERATURE – “A PAINTING OF AN INWARD EYE”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3518.

Full text
Abstract:
After fine arts, literature has been another oldest form of the most creative and powerful means of expression. A writer is the most gifted artist, he is not only a juggler of words, but also a painter who with the same dexterity, portrays life in its most realistic and varied forms. Hence, literature whether poetry, drama, prose or fiction can be considered as the finest of arts. Newman has rightly defined literature as, ‘thought expressed in language’ but certainly this thought needs to be subjective for, all other fine-arts like literature are personal in expression, even though they differ in their media. Hence whether a novelist, poet, painter or sculptor, when create their art it is basically their personal vision which they present or communicate through their chosen medium. The close inter-relation between literature and fine-arts can never be denied, that is why it is said that, ‘a poem is a talking picture, while a painting is mute poetry’. A poet in his creative moments is an inspired being, participating in the eternal and infinite and the one. He tries to arrest the divine moments and tries to redeem them from decay. These inspired moments are transitory for from them arises quick succession of thoughts and feelings. Imagination fades yet it illuminates and paints the composition which bears a reflection to the imagination.
APA, Harvard, Vancouver, ISO, and other styles
39

Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

Full text
Abstract:
Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same work. They take references from photographs and present them in canvas. They also present their paintings, sculptures and photographs along with music, recitation of poems and performance. Some of their canvases present painting and poem side by side in the single space. Both visual art and verbal art coexist in the single canvas. The artists’ creative urge goes beyond all boundaries, codes and established rules of arts. They do not follow the conventional techniques of creating arts. They experiment with forms, techniques, contents and medium. A single artwork has its own way of creation which may not be applicable to other artworks created by the same artist. The artist does not follow these trends but his work may set the new trend for other artists.
APA, Harvard, Vancouver, ISO, and other styles
40

CROSLAND, MAURICE. "Popular science and the arts: challenges to cultural authority in France under the Second Empire." British Journal for the History of Science 34, no. 3 (2001): 301–22. http://dx.doi.org/10.1017/s0007087401004435.

Full text
Abstract:
The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire (1852–70) we find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model.
APA, Harvard, Vancouver, ISO, and other styles
41

Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.

Full text
Abstract:
Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).
APA, Harvard, Vancouver, ISO, and other styles
42

Su, Tung-Ching, Tsung-Chiang Wu, Ming-Hung Wun, and Cheng-Wei Wang. "Style Recognition of Door God Paintings by Hypothesis Testing for Texture Features of Painting Patterns." Applied Sciences 12, no. 5 (2022): 2637. http://dx.doi.org/10.3390/app12052637.

Full text
Abstract:
Many studies in the literature have presented multiple remote sensing techniques for defect inspection of paintings. At present, however, papers on defect inspection and restoration of oriental architectural arts—such as door god paintings—are still rare. If an aged and damaged door god painting needs a restoration, then following the style and treatment skill of the original artist as much as possible is important for the restoration. Unfortunately, it is usually difficult to access the original artists for some of the aged door god paintings. This paper considers the texture features of auspicious patterns of armors on warrior door gods as useful information to recognize styles of door god paintings by unknown artists. First, a two-level two-dimensional discrete wavelet transform coupled with co-occurrence matrix calculation was adopted to analyze the texture features, based on the descriptors of angular second moment (ASM), entropy (ENT), contrast (CON), homogeneity (HOM), dissimilarity (DIS), correlation (COR), and cluster tendency (CLU), in the four orientations of 0° (horizontal), 45° (vertical), and 90° and 135° (double diagonal). Second, a two-tailed t-test based on the analyzed texture features was introduced into the hypothesis testing for demonstrating the master and apprentice relationships between the surveyed artists, and for recognizing the door god painting styles of unknown artists as well. The experimental results show that the proposed method effectively describes the texture features of the auspicious patterns of the surveyed door god paintings, and is able to determine the useful co-occurrence features for recognizing unknown artists’ painting styles.
APA, Harvard, Vancouver, ISO, and other styles
43

Mathews, Timothy, Jacqueline Chénleux-Gendron, and Jacqueline Chenleux-Gendron. "Surrealism and Painting." Poetics Today 17, no. 2 (1996): 274. http://dx.doi.org/10.2307/1773362.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Perry, John Oliver, and Bidhu Padhi. "Painting the House." World Literature Today 74, no. 4 (2000): 806. http://dx.doi.org/10.2307/40156120.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Brakhage, Stan. "Painting Film (1996)." Chicago Review 47/48 (2001): 61. http://dx.doi.org/10.2307/25304806.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Jenkins, D. "What is Painting?" Cambridge Quarterly 29, no. 1 (2000): 84–87. http://dx.doi.org/10.1093/camqtly/29.1.84.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Maleuvre, Didier. "David Painting Death." diacritics 30, no. 3 (2000): 25–38. http://dx.doi.org/10.1353/dia.2000.0021.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Disney, Dan. "Painting Red Orchids." World Literature Today 91, no. 1 (2017): 86–87. http://dx.doi.org/10.1353/wlt.2017.0246.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Parovatkina, H. Y. "THE RIDER OF THE SKY (VASYL’ BARKA – A PAINTER)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 326–28. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-326-328.

Full text
Abstract:
For the first time the article reveals a so far recondite facet of Vasyl’ Barka’s creative endowment – the art of painting. On examining his artistic paintings, exhibited in the National Museum of Literature of Ukraine a few years ago, the author of the article briefly acquaints with the exhibits of the display, draws parallels with the visual art works by Čiurlionis and Roerich.
APA, Harvard, Vancouver, ISO, and other styles
50

Luo, Yupan. "Ekphrasis in “The Disquieting Muses” : A Dialogue Between Poetry and Painting." Learning & Education 10, no. 5 (2022): 82. http://dx.doi.org/10.18282/l-e.v10i5.2679.

Full text
Abstract:
The American Confessional poet Sylvia Plath(1932-1963) has created a series of poems based on well-known western 
 paintings at the early ages of her writing. “The Disquieting Muses” is one of these ekphrastic poems, which depicts the noncommunicative relationship between her and her natural mother. If we approach this poem from the perspective of inter-arts 
 poetics, that is to say, to analyze the poem side by side with its painting copy, we can discover different approaches of dialogue 
 between the poem and the painting. This paper is meant to explore unique charm and beauty in ekphrastic literature as well as to 
 add new perspectives to the study of Plath’s poems.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Painting and literature' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography