Relevant bibliographies by topics / Pictorial Beauty

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

Academic literature on the topic 'Pictorial Beauty'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Pictorial Beauty"

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Scovil, Jeffrey A. "The Beauty of Green: A Pictorial." Rocks & Minerals 100, no. 1 (2024): 10–17. https://doi.org/10.1080/00357529.2024.2398392.

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Forceville, Charles. "Compasses, beauty queens and other PCs: Pictorial metaphors in computer advertisements." HERMES - Journal of Language and Communication in Business 13, no. 24 (2017): 31. http://dx.doi.org/10.7146/hjlcb.v13i24.25568.

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Computer advertisements make extensive use of pictorial metaphors. The model pro-posed in Forceville (1996) is used as a starting point to analyze 27 advertisements in PC Magazine, July/August 1999 (American edition) that contain a pictorial metaphor. The aim is twofold: (1) to further contribute to the theory of pictorial metaphor by testing the model against a new corpus; (2) to make an inventory of the source domains used in the metaphors,andtherebytomakesome observations about the ways in which represen-tations of computer technology interact with our daily lives.
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Kim, Soon-seob. "Exploration of Pictorial Beauty in Zan Ni through Thought of Zen." Korean Thought and Culture 100 (December 31, 2019): 593–618. http://dx.doi.org/10.31037/ktac.100.18.

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Hartel, Jenna, and Reijo Savolainen. "Pictorial metaphors for information." Journal of Documentation 72, no. 5 (2016): 794–812. http://dx.doi.org/10.1108/jd-07-2015-0080.

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Purpose Arts-informed, visual research was conducted to document the pictorial metaphors that appear among original drawings of information. The purpose of this paper is to report the diversity of these pictorial metaphors, delineate their formal qualities as drawings, and provide a fresh perspective on the concept of information. Design/methodology/approach The project utilized pre-existing iSquare drawings of information that were produced by iSchool graduate students during a draw-and-write activity. From a data set of 417 images, 125 of the strongest pictorial metaphors were identified and
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Gada, Sneha Ketan. "Varying Perception of Smile Esthetics-A Deviation from the Norm: A Pictorial Questionnaire-based Survey." International Journal of Prosthodontics and Restorative Dentistry 5, no. 3 (2015): 68–73. http://dx.doi.org/10.5005/jp-journals-10019-1133.

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ABSTRACT Introduction Living in a beauty conscious society, the mouth, a focal point of the face, plays a major role in how we perceive ourselves and in the impression we make on the people around us. Esthetic perception varies from person to person, being influenced by each person's personal experience and social environment. In the process of providing esthetic treatment for a patient, one should not only rely on one's eyes and personal perception of beauty, but also be guided by the patient's desires. Hence, the measurement of the perception of beauty in dentistry is fundamental for providi
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Grilli, Giorgia. "Beauty and creativity in the new nonfiction picturebook." Rivista di Storia dell’Educazione 12, no. 1 (2025): 121–29. https://doi.org/10.36253/rse-16855.

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Since the turn of this century, nonfiction books for children have undergone a ‘pictorial turn’ (Merveldt 2018). The proportion and importance of the visual code has progressively increased, and its role has changed not only in quantitative and qualitative terms, but also epistemologically, as images and other formal aspects of the books have become meaningful in themselves, the core of the knowledge the authors want to communicate. Many nonfiction books published internationally over the last two decades revolve around a visual idea, they are created by authors who are also, often, illustrato
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TEMIRGAZINA, Zifa, and Ol'ga ANDRYUSHCHENKO. "THE MYTHONYMS AS THE STANDARDS OF UGLINESS AND BEAUTY." Ezikov Svyat (Orbis Linguarum), ezs.swu.v.21.1 (February 26, 2023): 72–84. http://dx.doi.org/10.37708/ezs.swu.v21.i1.8.

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The article solves the problem of the functioning of mythonyms as the standards of a beautiful and ugly person in the Russian linguistic world picture. It has been established that the characters of lower mythology are chosen as the standards of ugliness, since, according to the pagan views of the ancient Slavs, they have innate physical disabilities: lameness, hunchback, hairiness, horns, tail, etc. The names “death” and “mortal sin” denoting personified anthropomorphic creatures are used as generally accepted standards of ugliness in the Russian language. Mortal sin is a generalized, undiffe
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Dong, Sijia. "Scientific Observations and Pictorial Studies in Leonardos Painting Annunciation." Communications in Humanities Research 9, no. 1 (2023): 104–9. http://dx.doi.org/10.54254/2753-7064/9/20231137.

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This paper examines Leonardo da Vincis innovative approach to landscape depiction and use of perspective in his painting, Annunciation. The painting was Leonardos first commissioned work, while he was trained in Verrocchios workshop as an apprentice. Leonardos careful planning of composition and enthusiastic focus on landscape depicting demonstrate his keen interest in scientific exploration. There are three areas in which the paper aims to cover, including the perspective, composition and additional botanical studies, which would demonstrate the artists exceptional focus on presenting scienti
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Cavalcanti, Lauro. "Roberto Burle Marx: Painting, Architecture and Landscaping in the Creation of a New Language for Gardens." Art and Architecture, no. 42 (2010): 66–77. http://dx.doi.org/10.52200/42.a.j1fe0n0p.

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Painting, architecture and landscaping have never been so well incorporated in one person as in Roberto Burle Marx. His painter skills enabled Roberto Burle Marx to apply deep thorough pictorial principles to the landscape, thus avoiding other approaches made by pioneers who literally transposed cubist or abstract art, which almost resulted in caricatures. His botanical knowledge allowed him to discover new species in regard to their individual beauty and to their proper integration in ecological environments, which provided adequate choices of harmonious systems in terms of their aesthetics a
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Jasminder, Kaur. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research - Granthaalayah 5, no. 6 (2017): 18–32. https://doi.org/10.5281/zenodo.805871.

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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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Dissertations / Theses on the topic "Pictorial Beauty"

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Williams, Georgina. "Lines of beauty : propaganda, the poster, and the pictorial trope." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/368329/.

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Propaganda conceived for distribution via the medium of the pictorial poster creates artwork that can be productively examined from an aesthetic as well as political perspective. When this artwork is primarily restricted to conflict propaganda from the second decade of the twentieth century, the temporal and contextual considerations assist in focussing the poster’s role as a functional object, not only within a propaganda campaign but also within the wider visual ecology of an era. For the poster to operate as an effective means of propaganda distribution, the propagandist requires compositio
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Wolfe, Sheila Pugh. "The Early Morgan Beatus (M644) : problems of its place in the Beatus pictorial tradition /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487598303838813.

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Chang, Shu-Yuan, and 張淑媛. "The effect of pictorial self-instruction program on car beauty job items of the students with mental retardation in vocational senior high school." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/z2wkns.

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碩士<br>國立東華大學<br>特殊教育學系<br>102<br>The effect of pictorial self-instruction program on car beauty job items of the students with mental retardation in vocational senior high school. Abstract This study was aimed to investigate the effect of “pictorial self-instruction program”of students with mental retardation in vocational high school were investigated. The A-B-A’ design of a single subject research was used in this study.The pictorial self-instruction program was the independent variable. Car beauty job items skills were dependent variables.The subjects were three students with mental re
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Books on the topic "Pictorial Beauty"

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Hollis, John H. Iraq's hidden beauty: A pictorial of Iraq's regional beauty. Aegeon Press, 2007.

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Lewis, Paul M. Beauty of Hawaii. LTA Pub. Co., 1989.

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Lewis, Paul M. Beauty of California. LTA Pub. Co., 1989.

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Lewis, Paul M. Beauty of Washington. LTA Pub. Co., 1992.

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Curran, William. Beauty of Wisconsin. LTA Pub. Co., 1991.

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Rouse, Parke. Beauty of Virginia. LTA Pub. Co., 1991.

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Lewis, Paul M. Beauty of Utah. LTA Pub. Co., 1989.

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Kennett, Andrea. Beauty of Illinois. LTA Pub. Co., 1990.

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Lewis, Paul M. Beauty of Colorado. LTA Pub. Co., 1989.

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Will, Robin. Beauty of Ohio. LTA Pub. Co., 1990.

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Book chapters on the topic "Pictorial Beauty"

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Sahaydachny, Antonia. "The Pictorial Representation of Timeless Reality in the Mozarabic Illuminations of the Beatus Commentary to the Apocalypse in Spain (ca. AD 900-1100)." In The Duration of Being. Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110212204.6.531.

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van der Leeuw, Gerardus. "Unhindered Pictorial Representation." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0019.

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Abstract Real and Decorative Nakedness Religious reverence paid to human likeness (idolatry) is by no means primitive. We have seen, in stead, that primitive man worshiped fetishes, animals, forms, mixed forms of men and animals, monsters, but seldom or never realistic likenesses of gods or demons in human form. Primitive man can certainly not be said to have made his god in his own image. The bond between the representation and what is represented is not realistic, but magical. In the image, in the representation, the creature is contained, no matter how little out ward similarity it evidence
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Pearson, Roger. "The Beauty of the Prose Poem." In The Beauty of Baudelaire. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0026.

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This chapter examines the beauty of the prose poem under three headings: the pictorial, the musical, and the rhythmic. Beginning with ‘Les Bons Chiens’ it presents the poet as a street artist for whom the waistcoat mock-ceremonially bestowed on him by a painter of dogs constitutes the recognition of prose poetry as a powerfully inclusive pictorial medium. It then discusses ‘Le Thyrse’ in relation to the music of Liszt and contrasts his rhapsodic art with Baudelaire’s poetic combination of the contingent and the constructed. The final section explores how the poet presents the phenomenal world
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"2 Pictorial Art and Metaphysical Beauty." In How Pictures Complete Us. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804798587-005.

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van der Leeuw, Gerardus. "The Fixation of an Idea as a Holy Image." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0018.

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Abstract The Art of Movement and Pictorial Art “Pictorial art” is a convenient expression, though hardly a happy one. It is wrong to limit the power of representation to painting and sculpture, in the face of the fact that it belongs, beyond doubt, as a major component of the other arts, such as dance and, above all, literature, and is actually lacking only in music. The ability to make images is primeval, and it is no accident that the earliest records of human activity show men making pictures. The prehistoric drawings and paintings on the walls of caves are not only evidence of the creative
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Menzel, Claudia, Gyula Kovács, Gregor U. Hayn-Leichsenring, and Christoph Redies. "Is Artistic Composition in Abstract Art Detected Automatically?" In Brain, Beauty, and Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197513620.003.0021.

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Most artists who create abstract paintings place the pictorial elements not at random, but arrange them intentionally in a specific artistic composition. This arrangement results in a pattern of image properties that differs from image versions in which the same pictorial elements are randomly shuffled. In the article under discussion, the original abstract paintings of the author’s image set were rated as more ordered and harmonious but less interesting than their shuffled counterparts. The authors tested whether the human brain distinguishes between these original and shuffled images by reco
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van der Leeuw, Gerardus. "The Prohibition of Images and the Iconoclastic Controversy." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0020.

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Abstract The prohibition Of Images We have seen how the pictorial arts, outside their existential context, lose their distance from their subject and devote themselves more and more to representation of human feelings. For this reason, they maintain only an external connection with religion, Thus the mind which has become “modern” loses its ability to see anything in the pictorial arts other than the expression of the human. This brings about an important transfer: at first, the prohibition of images was explained by the danger of reproducing the holy, the divine, thus bringing it into an imme
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van der Leeuw, Gerardus. "The Theology of the Arts." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0035.

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Abstract If in this manner we seek the path from art to theology and from theology to art, we find a theology which we can comprehend in the follow ing schema: the image Christian theology does not begin with God, but with Christ; not with creation, but with redemption. Only sorteriol- ogy has entrance to theology. Thus, at this point begins also the theology of the arts. Its center is the image, the fact that God represented himself. The central idea is therefore pictorial art. Of course, the representational element is missing in no art, just as Christology is missing in no portion of dogmat
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van der Leeuw, Gerardus. "The Image of God." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0034.

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Abstract With the image of God, we have arrived at theology. The times when it seemed that theology and arc could have no understanding of each other are past. Artists no longer look down upon dogma, and theo logians are at least willing to consider art as a problem. In Holland, admittedly, there still exists the semi-Puritan opinion of those who think that God would gladly see us despise his gifts. But in a period which is painfully aware that it is no longer able to raise itself to the biblical height, one can hardly share the attitude of Schopenhauer that biblical subjection, especially in
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Novak, Barbara. "Winslow Homer: Concept And Percept." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0010.

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Abstract Mr. Homer goes in, as the phrase is, for perfect realism, and cares not a jot for such fantastic hairsplitting as the distinction between beauty and ugliness. He is a genuine painter; that is, to see, and to reproduce what he sees, is his only care He not only has no imagination, but he contrives to elevate this rather blighting negative into a blooming and honorable positive. He is al- most barbarously simple, and to our eye, he is horribly ugly; but there is nevertheless something one likes about him. What is it? For ourselves, it is not his subjects. We frankly confess that we dete
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Conference papers on the topic "Pictorial Beauty"

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Gheorghita, Ana. "Unele aspecte ale perioadei realismului francez din secolul al XIX-lea abordate prin prisma corelației literatură - arte plastice." In Universitas Europaea: Towards a Knowledge Based Society Through Europeanisation and Globalisation. Free International University of Moldova, 2025. https://doi.org/10.54481/uekbs2024.v2.11.

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In the 19th century historical context, which generated an era marked by cruel and violent events, literature and fine arts are closely related to the political sphere. Obviously, this range of frightening experiences has its own color palette, made up mainly of hard, primary, absolute chromatic expressions: red is the red of blood, gray is the gray of thirsty for rain soil, blue is the almost black dark blue of the clouds heralding storm etc. The contradictory frames of mind, the artistic circle hot debates, fueled by the appearance of a pictorial canvas that came out of patterns usual for th
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