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Journal articles on the topic 'Painting and nature'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.

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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexu

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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter

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Potter, Polyxeni. "Painting Nature on the Wing." Emerging Infectious Diseases 12, no. 1 (2006): 180–81. http://dx.doi.org/10.3201/eid1201.ac1201.

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Liu, Zao. "Fusion into One: Exploring the Complementarity of Shitao’s Waterfall on Mount Lu and Its Inscribed Poem." International Journal of Comparative Literature and Translation Studies 7, no. 2 (2019): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.1.

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Shitao’s famous poem-painting Waterfall on Mount Lu has generated a great interest in the field of Chinese paintings. However, the purpose of the work remains a topic of discussion among scholars. From the standpoint of complementarity of poetry and painting, this paper discusses the work through a close examination of the painting and its inscribed poem. The interartistic features of the painting and the poem are interpreted in terms of their themes, structures, and imagery. The Chinese aesthetic concept of artistic mood (yijing) is employed to illustrate the connection among these elements.

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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of

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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan

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Seviset, Somchai, and Chaturong Louhapensang. "The Identity and Design of Thai Tradition Paintings." Advanced Materials Research 1028 (September 2014): 327–32. http://dx.doi.org/10.4028/www.scientific.net/amr.1028.327.

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“Kranok” mostly are inspired by the application from natural shapes such as lotus shape, floral species, climber creeping plants or various animals especially animals in the fairy tales. “Kranok” which previously had the meaning of a Thai Painting but later this was used to call another tradition paining which was believed to be applied from the shape of a lotus. Considered as a Thai Tradition Painting Model which is an important base of the Thai Tradition Painting inclusive of the model and steps of drawing the painting and the application into a variety of paintings in the same structure but

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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.

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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "

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Fu, Yunfei, Hongchuan Yu, Chih-Kuo Yeh, Tong-Yee Lee, and Jian J. Zhang. "Fast Accurate and Automatic Brushstroke Extraction." ACM Transactions on Multimedia Computing, Communications, and Applications 17, no. 2 (2021): 1–24. http://dx.doi.org/10.1145/3429742.

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Brushstrokes are viewed as the artist’s “handwriting” in a painting. In many applications such as style learning and transfer, mimicking painting, and painting authentication, it is highly desired to quantitatively and accurately identify brushstroke characteristics from old masters’ pieces using computer programs. However, due to the nature of hundreds or thousands of intermingling brushstrokes in the painting, it still remains challenging. This article proposes an efficient algorithm for brush Stroke extraction based on a Deep neural network, i.e., DStroke. Compared to the state-of-the-art r

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10

Schenk, Franziska, and Andrew Parker. "Iridescent Color: From Nature to the Painter's Palette." Leonardo 44, no. 2 (2011): 108–15. http://dx.doi.org/10.1162/leon_a_00114.

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The shifting rainbow hues of iridescence have, until recently, remained exclusive to nature. Now, the latest advances in nanotechnology enable the introduction of novel, bio-inspired color-shifting flakes into painting—thereby affording artists potential access to the full spectacle of iridescence. Unfortunately, existing rules of easel painting do not apply to the new medium; but, as nature inspired the technology, an exploration of natural phenomena can best inform how to overcome this hurdle. Thus, by adopting a biomimetic approach, this paper outlines the optical principles underlying irid

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Chauhan, Sadhana, and Monalisa Rajaura. "NATURE OF MISCELLANEOUS CARPET PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 48–50. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.982.

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English : The history of painting in India is very old. It was only in the Stone Age that humans started drawing cave. The softest feelings of life and the lively thoughts of struggle life, etc. are still safe as human artifacts. From time immemorial, man has been expressing his feelings through line and shape, weight and traction. It is also necessary to know the definition of painting before considering the nature of painting in India. "Painting is the appearance of some form by marking the length, width, roundness and height with the help of color lines on a flat surface such as a mur

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12

Kader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed, and Ahmed Abo-El Yamin. "Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt." Budapest International Research in Exact Sciences (BirEx) Journal 1, no. 3 (2019): 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.

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The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),

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13

Parrott, A. C. "Aesthetic Responses to a Series of Paintings by Paul Klee." Perceptual and Motor Skills 69, no. 1 (1989): 339–48. http://dx.doi.org/10.2466/pms.1989.69.1.339.

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The effects of exposure to a series of colour slides of paintings by Paul Klee were assessed with 69 nonexpert subjects. All subjects viewed the same 2 paintings by Klee while the other 10 paintings were varied between groups. The control group viewed paintings by 10 different artists (da Vinci, Picasso, Rubens, Dali). The first experimental group viewed 10 different paintings by Klee while the second experimental group saw 3 Klees in close detail. Differences in response to the 2 Klees seen by every group comprised the empirical data. The experimental groups produced higher ratings on questio

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Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place." Academic Research Community publication 1, no. 1 (2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.

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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view an

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15

Bernatonite, Ada Vilisovna. "Cinematic Nature of English Pre-Raphaelites’ Painting." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 61–70. http://dx.doi.org/10.17816/vgik6361-70.

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The article analyses the peculiarities of the Pre-Raphaelite style from the viewpoint of its cinematic imagery. The work of Millais, Rossetti and Hunt is described in terms of film language (close-ups, the subdivision of the pictures composition into individual narratives, the creation of a particular mood by using details, the background as a long shot, etc.) explaining the hyper-realism of the Pre-Raphaelites.

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16

Chen, LuYang, and Ziao Chen. "Wilderness in Ancient Chinese Landscape Painting." Environmental Ethics 42, no. 3 (2020): 253–66. http://dx.doi.org/10.5840/enviroethics202042324.

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Chinese painting is dominated by landscape painting, which is a unique form of artistic expression for Chinese people, while landscape generally refers to nature. Wild natural landscape can be called “wilderness,” which embodies the vitality and upward vitality of nature, and also contains unique cultural characteristics. “Wilderness” is the most important “original ecological” environment in the natural environment. Its existence has natural, ecological, and aesthetic significance. It is nature in its primitiveness and ecology in its wildness; the aesthetic lives on in it. Compared with Weste

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17

Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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18

Ribouillault, Denis. "Seeing Christ, Reading Nature." Nuncius 32, no. 3 (2017): 514–55. http://dx.doi.org/10.1163/18253911-03203002.

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This paper provides a detailed interpretation of a little-known yet extraordinary painting from the Montreal Museum of Fine Arts, Christ in a Landscape by Jan Swart van Groningen (ca. 1530–1540). This work is a perfect illustration of the importance of the popular Christian metaphor of the “Book of Nature” in early modern art, especially in the Reformed circles to which Swart likely belonged. Beyond offering an explanation for the presence of some strange aspects of the landscape (a snail, shells and colored pearls, unicorns, rocks with anthropomorphic features, etc.), the article explores the

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Wahida, Adam, Endang Sri Handayani, and Slamet Supriyadi. "The Philosophical Values of Kawung Batik Motif in Contemporary Batik Painting." Mudra Jurnal Seni Budaya 35, no. 1 (2020): 76–82. http://dx.doi.org/10.31091/mudra.v35i1.1001.

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As one of the classic Javanese batik, the Kawung batik motif contains philosophical values that teach life guidelines for humans, such as gratitude, religiosity, respect for nature, and togetherness. These philosophical values are still relevant to the current situation, so it is interesting to be used as a source of ideas for the creation of contemporary paintings. This article is the result of research that aims to describe the philosophical values of the Kawung batik motif as a source of ideas and the process of creating contemporary batik paintings. The method is descriptive qualitat

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20

Bordalo, Rui, Paulo J. Morais, Helena Gouveia, and Christina Young. "Laser Cleaning of Easel Paintings: An Overview." Laser Chemistry 2006 (January 11, 2006): 1–9. http://dx.doi.org/10.1155/2006/90279.

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The application of laser cleaning to paintings is relatively recent despite its use on stone-based materials for over 30 years. The cleaning of paintings is of high importance, because it is the least reversible invasive intervention, as well as the most usual of all conservation treatments. Paintings are multilayer system of heterogeneous nature, often very sensitive and inherent difficult to clean. Being a noncontact method, laser cleaning has advantages compared to alternative techniques. Over the last decade, there have been important research studies and advances. However, they are far fr

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Pawar, Vasundhara. "COLOR COMBINATION IN RAJASTHANI PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3662.

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"Sumeru in the mountains, Garun among birds, Raja is superior in individuals, in the same way" painting "is considered superior." The name of human perception of feeling is art. Kumar Swamy has said that art not only displays emotions but is also the carrier of spiritual message. The word Kala is mentioned in the eighth circle of the Rigveda. By the time of Mahajanapada period, the counting of 64 arts had begun. The nature of Indian painting is as expansive as its history. The earliest specimens of painting in India are found in prehistoric rock paintings. In which Mirzapur, Bhimvetika and tig

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D'Amico, Sebastiano, Valentina Venuti, Emanuele Colica, et al. "A combined 3D surveying, XRF and Raman in situ investigation on The Conversion of St Paul painting (Mdina, Malta) by Mattia Preti." ACTA IMEKO 10, no. 1 (2021): 173. http://dx.doi.org/10.21014/acta_imeko.v10i1.824.

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This paper presents the results of three different approaches applied to the newly-restored titular painting entitled <em>The Conversion of St Paul</em>, the main altarpiece in the Mdina Cathedral in Malta. This large, dramatic painting is the work of the Baroque artist, Mattia Preti, known as <em>il Cavaliere Calabrese</em>. Here, we focus on the results of the digital photogrammetric survey that adopts image-based approaches for 2D/3D model reconstruction. The model was used to quantify important features of the painting as well extensions of the areas restored. In ad

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Burke, Juan Luis. "From Courtesan to Saint." Latin American and Latinx Visual Culture 3, no. 2 (2021): 29–45. http://dx.doi.org/10.1525/lavc.2021.3.2.29.

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This essay analyzes the viceregal Mexican artist Juan Correa’s painting The Conversion of St. Mary Magdalene, from the late seventeenth century. A depiction of a woman explicitly displaying traits of her sensuality and sexuality in a Mexican viceregal artwork, the painting visually conveys symbolic embodiments of the feminine condition. These embodiments refer to religious penitence, self-reflection, mysticism, and the vita contemplativa. Moreover, I examine the episodic nature of the painting, associating it with feminine devotional practices. The painting’s pictorial configuration apparently

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24

Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland." Polar Record 50, no. 1 (2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.

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ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more sim

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Kijoo Kim. "Lines in Oriental Painting - Their Nature and Inclination." Misulsahakbo(Reviews on the Art History) ll, no. 32 (2009): 89–126. http://dx.doi.org/10.15819/rah.2009..32.89.

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Josenhans, Frauke. "Sur le Motif: Painting in Nature around 1800." Getty Research Journal 1 (January 2009): 179–90. http://dx.doi.org/10.1086/grj.1.23005375.

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Bhardwaj, Kumkum. ""CULTURAL TRADITION OF ECO-NATURE PAINTING OF KISHANGARH"." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3232.

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"The paintings of Kishangarh Sh. Of Rajasthan display the awareness of the environment in today's environment by preserving nature." Vegetation, water, air, three environmental components are depicted in abundance. The cultural tradition of spirituality philosophy is embedded in the environment with nature painting. The picturesque environment of the picturesque environment in the greenery seems to spread the message of saving the environment from getting polluted to the environment, which is a positive effort.Environment refers to the moral and biological system of the entire universe, under

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Thein, Karel. "Gods and Painters: Philostratus the Elder, Stoic Phantasia and the Strategy of Describing." Ramus 31, no. 1-2 (2002): 136–45. http://dx.doi.org/10.1017/s0048671x00001417.

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I shall comment upon the way the elder Philostratus, author of Imagines, inscribes both the art of painting and his own interpretation of 65 particular paintings within a larger framework, which is composed of nature on the one hand, and the human perception of nature on the other. To get to this framework in a slightly oblique way, I will start with a brief reminder of Philostratus' often neglected classification of the arts.In his Life of Apollonius of Tyana 8.7, Philostratus takes notice of the established opposition between the mechanic and the liberal arts (τέχναι βάναυσοι and τέχναι σοϕα

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Merewether, Charles. "Chabet: The Russian connection." Journal of Contemporary Painting 6, no. 1-2 (2020): 79–92. http://dx.doi.org/10.1386/jcp_00015_1.

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This article focuses on the Filipino artist Roberto Chabet and his Russian Paintings of 1984. It explores the influence of Russian art, especially Vladimir Tatlin on his work in the 1980s and others, notably Malevich and El Lissitzky’s Proun work. The article looks back at Chabet’s trips to Europe and his first installations and work on paper in the 1970s, prefiguring the radical nature of his subsequent Russian painting.

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Tunstall, Alexandra. "Beyond Categorization: Zhu Kerou’s Tapestry Painting Butterfly and Camellia." East Asian Science, Technology, and Medicine 36, no. 1 (2012): 39–76. http://dx.doi.org/10.1163/26669323-03601003.

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This paper introduces the technique of kesi or tapestry weave in China through one example, Butterfly and Camellia, attributed to Zhu Kerou, a woman artist of the twelfth century. This particular weaving is attributed to a time period when tapestry weavings began to imitate the visual language of painting. The relationship between kesi and painting is explored, examining the early use of kesi as wrappers for paintings. At the same time that the basic technology of kesi weaving is discussed, the gendered nature of weaving as work in Song-dynasty China as well as the techniques of connoisseurshi

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Hommes, Margriet van Eikema, and Emilie Froment. "'Een doek van geene beteekenis' De nachtelijke samenzwering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 141–70. http://dx.doi.org/10.1163/187501711798264193.

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AbstractBecause of its extreme darkness, The nocturnal conspiracy of Claudius Civilis by Govert Flinck (16151660) and Jürgen Ovens (1623-1678) holds an isolated position within the decoration program with the Batavian revolt in the galleries of Amsterdam's former Town Hall. Of course the canvas depicts a nocturnal scene with light from only the fire and the moon, but in this painting the darkness dominates virtually everything. The rough, rather sketchy execution, whereby large parts of the canvas are left unpainted is also peculiar. Because of this appearance, some art historians have thought

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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.

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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 sen

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Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (2019): 71. http://dx.doi.org/10.3390/arts8020071.

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Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering

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Griggs, Jessica. "“Nature is much better at painting than I am”." New Scientist 204, no. 2728 (2009): 50. http://dx.doi.org/10.1016/s0262-4079(09)62637-3.

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Sokolova, Alla Nikolaevna. "Content of the concept of “ethnic painting”: articulation of the problem." Культура и искусство, no. 9 (September 2021): 1–17. http://dx.doi.org/10.7256/2454-0625.2021.9.36273.

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This article analyzes the concept of &ldquo;ethnic painting&rdquo;, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of &ldquo;ethnic painting&rdquo; to ambiguity of its content. The most commonly concepts in sphere are &ldquo;national art&rdquo;, &ldquo;ethnocultural manifestations&rdquo;, &ldquo;territorial-ethnic nature of painting&rdquo;, &ldquo;national peculiarities&rdquo;, and &ldquo;national distinctness of art

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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.

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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, th

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Siopsi, Anastasia. "Aural and visual manifestations of the Scream in art, beginning with Edvard Munch's 'Der Schrei der Natur'." New Sound, no. 50-2 (2017): 237–57. http://dx.doi.org/10.5937/newso1750237s.

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In Munch's painting entitled Der Schrei der Natur (1893), a figure, while walking on a bridge, feels the cry of nature, a sound that is sensed internally rather than heard with the ears. The Scream is thought to be the ultimate embodiment of fear, angst, and alienation. It is also thought to symbolize humanity's existential panic expressed by ugly, even hideous, sounds of living beings undergoing both physical and emotional suffering in the modern age. As a motive, the so-called Ur-schrei is manifested mainly, but not only, in expressionist literature, painting and music, in order to articulat

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Kaur, Jasminder. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (2017): 18–32. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.1988.

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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of th

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Atkinson, Maggie. "Healing Vibrations through Visionary Art." Religion and the Arts 19, no. 4 (2015): 339–88. http://dx.doi.org/10.1163/15685292-01904003.

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Nineteenth-century visionary artist Georgiana Houghton believed in the healing qualities of her art, and she educated religious teachers and clergy about the nature of her spiritual images. This article examines Houghton’s mediumistic paintings and seeks to demonstrate how her experimentation with vibrant colors and manipulation of form prefigured early modernist painting techniques. In addition, this analysis expands on how Houghton transformed her knowledge of the tenets of Spiritualism, which she amalgamated with her understanding of the science of botany to produce flower form spiritual po

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Wang, Jitai. "Expressionism in European and Chinese painting (late XIX – early XXI centuries)." Культура и искусство, no. 5 (May 2020): 27–46. http://dx.doi.org/10.7256/2454-0625.2020.5.32729.

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This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a

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Park, Jeongshin. "A Study on Body Painting according to Nature Art Types." Fashion business 18, no. 4 (2014): 66–79. http://dx.doi.org/10.12940/jfb.2014.18.4.66.

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Turner, Matthew. "Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature." Journal of Aesthetic Education 43, no. 1 (2009): 106–21. http://dx.doi.org/10.1353/jae.0.0033.

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Bleichmar, Daniela. "Painting as Exploration: Visualizing Nature in Eighteenth-Century Colonial Science*." Colonial Latin American Review 15, no. 1 (2006): 81–104. http://dx.doi.org/10.1080/10609160600607499.

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Mogensen, Margit. "The symbolistic idea in Danish painting: Young girls in nature." History of European Ideas 20, no. 1-3 (1995): 355–62. http://dx.doi.org/10.1016/0191-6599(95)92963-u.

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Simova, Veronika, P. Bezdicka, J. Hradilova, D. Hradil, and T. Grygar. "X-ray powder microdiffraction for routine analysis of paintings." Powder Diffraction 20, no. 3 (2005): 224–29. http://dx.doi.org/10.1154/1.1938983.

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Laboratory powder X-ray microdiffraction with a focusing monocapillary and linear multichannel detector was applied to phase identification in fragments of painting layers of art works, canvas and wall paintings, and polychromes on wood. This method is useful in materials research of painting layers with complex stratigraphy, and it is indispensable in distinguishing inorganic pigments of different natural provenance and revealing degradation products. The advantage of X-ray microdiffraction is its nondestructive nature and no need of sample pretreatment. Samples after microdiffraction can hen

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Singh, Santosh Kumar. "Ecological Awareness: Matrimony of Agriculture and Art." Social Inquiry: Journal of Social Science Research 2, no. 2 (2020): 234–52. http://dx.doi.org/10.3126/sijssr.v2i2.33062.

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This article examines how Mithila folk painting reflects ecological consciousness of the society and the intertwined Maithili life with local flora and fauna that consequently maintains natural environment intact in the region. At the onset of climate issue worldwide, folk painting of Mithila communicates its local as well as international spectators about the preservation of surrounding nature blending it with ritual phenomena, agrarian lifestyle and inculcating geographical values to the new generation through the visual depiction. Once the indigenous art, transformed into leading folk paint

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Vallega, Alejandro A. "Paul Klee’s Originary Painting." Research in Phenomenology 43, no. 3 (2013): 462–74. http://dx.doi.org/10.1163/15691640-12341270.

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Abstract Paul Klee’s sense of modern art and his own painting as the channeling of the originary movement of life leads to an insight beyond modern art, and back towards such dynamic cosmological experiences as that of the Onas people of Patagonia. In their daily life and their rituals their painted bodies expressed the living force of their cosmos (often the rituals marked the experiencing of transformation and passage), an originary energy that occurred at the limit of what one may call art and nature. In engaging Klee’s painting and drawing, one is brought to such an open space of living tr

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Sharma, Rita. "WONDERFUL HARMONY OF COLORS IN NATURE ILLUSTRATION RAMKUMAR." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3615.

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Characters have an important place in human life as well as in painting. Varna is the essence of human life and pictures, just as words are needed for poetry, rhythm for music and juice for poetry, similarly color is essential for pictures. In the absence of color, the picture is monotonous, so from primitive cavities to the present day, artists have been taking the shelter of colors and expressing their souls.In the Indian painting conspiracy, cohesion is referred to as the name Variak Bhang. The possible mixing of colors in the picture is actually a color breakdown. Objects have knowledge of

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Kukil, N. "Hrygorii Synytsia’s school of coloristic painting." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 117–24. http://dx.doi.org/10.33838/naoma.27.2018.117-124.

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The article is devoted to the study of the creative contribution of Hrygori Synytsia, an honored artist of Ukraine, laureate of Taras Shevchenko state prize, to the development of theoretical basis of formation of modern Ukrainian national painting. Artist was concerned with the question of developmental ways of Ukrainian art. Having received art education at the M. Boychuk's Studio of monumental painting, H. Synytsia saw the primary task in the development of this school’s traditions. He enriched the teaching of M. Boychuk with his own theory of color. The article explores the genesis of the

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Singh, Charanjit. "CONTEMPORARY EFFECTS ON MADHUBANI FOLK PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 222–28. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3740.

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Today, artists are doing new experiments in Madhubani folk painting, these experiments are natural as well with changing times. This change is the eternal truth of nature. We believe that art is the same. Which change with changing time, but do not let it lose its original form. With this spirit, Madhubani folk painting is being done in the main areas of Madhubani painting even today in Jitwarpur, Darbhanga, Purnia and surrounding areas. And it has been done before also.Today, if we study the folk painting of both decades (past and present) and the work style of their artists, then we get that

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