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Journal articles on the topic 'Sculptures and paintings'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Yang, Zeyin. "Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management." Mathematical Problems in Engineering 2022 (August 8, 2022): 1–9. http://dx.doi.org/10.1155/2022/3237282.

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Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture an

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2

Stepanenkova, V. M. "On Locating Paintings, Graphics, and Sculptures Defended as Creative Theses on Art History in the USSR." Secreta Artis 7, no. 1 (2024): 91–102. http://dx.doi.org/10.51236/2618-7140-2024-7-1-91-102.

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The article summarizes the initial findings of research aimed at identifying the locations of paintings, graphics, and sculptures that were defended as creative theses for the degree of Candidate of Art History in the period from 1950 to 1955. These dissertations were defended at the Repin Institute of Painting, Sculpture and Architecture and Surikov Moscow State Art Institute. The inquiry has identified works of painting and graphic art present in the State Museum Fund of the Russian Federation, along with the locations of sculptures, including monumental artworks.

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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (2022): 131–42. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257488.

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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty

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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (2022): 131–42. https://doi.org/10.31866/2617-7951.5.1.2022.257488.

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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. N

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5

Wolstenholme, Gordon. "Portraits, Paintings and Sculptures." Journal of the Royal College of Physicians of London 23, no. 1 (1989): 58. https://doi.org/10.1016/s0035-8819(25)02248-2.

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Saleh, Hamsatu, and Irokanulo Ikemefula Emmanuel. "Yoruba Aesthetic Objects in Grillo's Discursive Paintings: A Phenomenological Inquiry." ISSRA Journal of Arts, Humanities, and Social Studies 3, no. 1 (2024): 12–20. https://doi.org/10.5281/zenodo.10628660.

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<strong>Abstract: </strong>This paper explores objects of aesthetics in Yoruba culture from the artistic standpoint of Yusuf Grillo, with a view to explaining the creativity that underscores its rich cultural heritage. Objects of aesthetics in this culture are used as tools which seek a socio-cultural re-definition of the contemporary meaning of their heritage. The new path has gained expressive traction by exposing the object to some form of phenomenological possibilities in the area of vision in order to unmask the possibilities within the body of ‘Dasein’ of the cultural aesthet

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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.

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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

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8

Van Halem, Ludo. "Recent Acquistions Paintings and Sculptures." Rijksmuseum Bulletin 63, no. 3 (2015): 294–315. http://dx.doi.org/10.52476/trb.9833.

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Swami, Viren, Nina Grant, Adrian Furnham, and I. Christopher McManus. "Perfectly Formed? The Effect of Manipulating the Waist-to-Hip Ratios of Famous Paintings and Sculptures." Imagination, Cognition and Personality 27, no. 1 (2007): 47–62. http://dx.doi.org/10.2190/ic.27.1.e.

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Forty-three women and 45 men rated a series of images of selected paintings and sculptures for aesthetic appeal and originality. For each painting or sculpture, there were three versions: the original image and two manipulated images, one displaying a lower waist-to-hip ratio (WHR) and the other displaying a higher WHR than in the original. The results showed that, in general, both male and female participants considered the original and, in some cases, the image with the higher WHR as the most aesthetically pleasing. The results also showed that participants were generally able to discern the

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Andersen, Elisabeth, and Susanne Kaun. "Shadow Paintings: A Neglected Type of Wall Painting." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 3-4 (May 14, 2019): 40–56. https://doi.org/10.69945/ico.vi3-4.25637.

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The article presents the results of a pilot study focusing on what are called shadow paintings in Norwegian church interiors from the 17th and 18th centuries. Among the many Baroque illusionistic wall paintings in churches, painted shadows are probably the least known and considered. Shadow paintings are grey or black paintings that surround church furnishings, such as altarpieces, epitaphs and sculptures, as well as pulpits and stalls. They create an illusion of light by “casting” a shadow behind an object, thus enlarging and accentuating the object. Most of the original shadow paintings were

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Thangamari, Sudalai. "A composition of sculptural figures." MUTHTHARASI – Art Literary Culture Tamil Journal II, no. 1 (2024): 8. https://doi.org/10.5281/zenodo.12758705.

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In our country, the four religions namely Shaivism, Vaishnavism, Buddhism and Jainism are the old religions that have been existing for a long time. All these four sects built temples for Dattam and worshiped Dattam in sculptures and paintings in those temples. There are some notable differences in the morphology of these deities. Those who study sculpture should be aware of those differences. In these four cases, Saivism Vaishnavism has a similar character to Buddhist Jainism. In another sense, Saivism and Vaishnava Buddhism are similar. Saivism and Vainism are the dominant religions in

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Thangamari, Sudalai. "A composition of sculptural figures." MUTHTHARASI – Art Literary Culture Tamil Journal II, no. 1 (2024): 8. https://doi.org/10.5281/zenodo.12758721.

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In our country, the four religions namely Shaivism, Vaishnavism, Buddhism and Jainism are the old religions that have been existing for a long time. All these four sects built temples for Dattam and worshiped Dattam in sculptures and paintings in those temples. There are some notable differences in the morphology of these deities. Those who study sculpture should be aware of those differences. In these four cases, Saivism Vaishnavism has a similar character to Buddhist Jainism. In another sense, Saivism and Vaishnava Buddhism are similar. Saivism and Vainism are the dominant religions in

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13

Wastawa, I. Wayan, I. Nyoman Rema, Putu Eddy Purnomo Arta, and I. Ketut Sudarsana. "Communication Theology in Relief Sculptures at Maduwe Karang Temple." Academic Journal of Interdisciplinary Studies 12, no. 3 (2023): 364. http://dx.doi.org/10.36941/ajis-2023-0084.

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As one of the temples in Buleleng Regency, Maduwe Karang Temple has potential cultural remains in the form of relief sculptures that are interesting to be studied. The present study aims to analyze the cultural remains in form of paintings and relief sculptures using the Communication Theology approach. The data for the present study were collected through field observation, supported by interviews and document study. The result of the analysis showed that the cultural remains in form of paintings and relief sculptures were based on social theology, Shaivism, and Vaishnavism theology which acc

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Dulal, Lok Nath. "Sculpture of Panchayan Deities of National Museum: An Illustrative Stone Work of Nepal." International Journal of Culture and History 9, no. 1 (2022): 105. http://dx.doi.org/10.5296/ijch.v9i1.19534.

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Historical evidence proves the history of sculpturing art is as old as the history of human beings. The findings of stone sculpture and other forms of art from the different prehistoric sites of Europe, Africa and Asia have strongly supported the above mentioned acquaintance. It means the tradition of sculpturing stone art has evolved from the pre- historic culture in the world. Likewise, the tradition of creating stone sculpture and other forms of stone art also existed from the pre- historic age in Nepalese society. It is justified through the findings of hand axes and other different art ob

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Badrajan, Svetlana. "Musicological reflections on a ceramics exhibition." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(44) (February 2024): 7–11. http://dx.doi.org/10.55383/amtap.2023.1.01.

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The history of music knows multiple creations inspired by works of plastic art, exhibitions, tendencies initially asserted in painting. The musical texture reflects the shades of colors, undulations of the sculptures, ideas and conceptions. Similarly, in various paintings or sculptures we will discover images directly related to the field of music: subjects, musical instruments, personalities, etc. An exhibition of ceramics, which suggests through the theme and the ideas promoted, through the subtle links between the visual arts and music, whether of an academic or popular nature, creates musi

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16

Morris, Edward. "Nineteenth Century Paintings and Sculptures of Cromwell." Wordsworth Circle 25, no. 3 (1994): 173–92. http://dx.doi.org/10.1086/twc24042467.

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Ormand, Kirk. "OVID'S HERMAPHRODITUS AND THE MOLLIS MALE." Ramus 51, no. 1 (2022): 74–104. http://dx.doi.org/10.1017/rmu.2022.4.

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Figures of intersexed individuals perhaps representing the minor Greek deity Hermaphroditus became, for reasons that are not entirely clear, strikingly popular in Roman sculpture and wall painting in the latter half of the first century CE. Depicting a fully bisexed human body, these figures have resulted in competing interpretations regarding their purpose, meaning, and effect. As it happens, we also have a text from the Augustan period that purports to explain not only the origin of the intersexed Hermaphroditus, but the production of future bisexed individuals, in Ovid's Metamorphoses Book

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18

HAŞEGAN, Teodor. "The Salon of mobilized artists, Iasi – Chisinau, January 1918." Dialogica 2 (August 15, 2020): 97–102. https://doi.org/10.5281/zenodo.3978107.

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The article provides information about the organization and content of the Exhibition of painting and sculpture of mobilized artists, organized on January 24, 1918, in the School of Fine-Arts (belle-arts) in Iasi, while the city of Bucharest was occupied by enemies. In the Moldovan capital, even in the hard years of the war, in galleries, sometimes improvised, in shop windows, at the headquarters of newsrooms, confectioneries etc., the exhibitions were held in chains. The exhibition of paintings and sculptures of the mobilized artists was an authentic and large replica of the Official Salon in

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19

Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta

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20

Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous k

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Dr., Seema Tiwari. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 146–49. https://doi.org/10.5281/zenodo.3585116.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous k

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22

Boomkamp, Margreet. "Sleeping Beauty." Rijksmuseum Bulletin 67, no. 2 (2019): 142–61. http://dx.doi.org/10.52476/trb.9727.

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The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He s

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Salvador-González, José María. "Regina Coeli—Doctrine and Iconography of the Virgin Mary’s Heavenly Royalty." Religions 14, no. 6 (2023): 815. http://dx.doi.org/10.3390/rel14060815.

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This article aims to highlight the privileged status granted by Christianity to the Virgin Mary when considering her the Queen of Heaven. From the very early centuries of our era, this sublime title was assigned to the Virgin Mary, for her condition of Mother of God, by an increasing number of Church Fathers and theologians. Later, it was expounded by an uncountable number of medieval liturgical hymns. Finally, from the 12th century onwards, these textual proclamations were shaped in sculptures and paintings according to various iconographic types. The author will proceed by first analyzing a

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Jitendra Man Rajbhandari. "Anne Sexton's "The Starry Night": A Poetic Response to Van Gogh's Masterpiece." SIRJANĀ – A Journal Of Arts and Art Education 10, no. 1 (2024): 40–47. http://dx.doi.org/10.3126/sirjana.v10i1.68688.

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Ekphrastic poetry is a poetic reinterpretation of a visual artwork. There are numerous poems, songs, and lyrics written with inspiration from paintings, sculptures, or photographs. An ekphrastic poem can immortalize a work of art adding a new perspective to it. This paper looks at the tradition of Ekphrastic poetry as a genre and explores Vincent van Gogh’s famous painting The Starry Night through the light of Anne Sexton’s popular ekphrastic poem “The Starry Night”. It observes how Sexton’s poem artfully attempts to capture the spirit of Van Gogh’s painting through words. It also suggests how

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Wang, Shiru, and Yulia Ivashko. "GENESIS OF THE VISUAL CONCEPT OF CAVES INTERIORS OF THE DUNHUANG TEMPLE COMPLEX (4TH – 14TH CENTURIES)." Spatial development, no. 5 (November 24, 2023): 3–11. http://dx.doi.org/10.32347/2786-7269.2023.5.3-11.

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The cave temple complex of Dunhuang is a unique example of a large-scale synthesis of arts in the interiors of sanctuaries of the 4th – 114th centuries. The article systematizes the scientific source base, the materials of the graduate student's own field studies, and on their basis, the periodization of wall paintings and sculptures is analyzed and the peculiarities of the genesis of the figurative concept, methods of artistic expression, common plots, etc. are determined. The innovation of the presented research consists in summing up the evidence base for known theses. This is traced

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Shubha, Tripathi, and Beena Jain Dr. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 135–40. https://doi.org/10.5281/zenodo.3585110.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD

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27

Kudelski, Jarosław Robert. "WILANÓW WORKS OF ART IN THE GERMAN CATALOGUE SICHERGESTELLTE KUNSTWERKE IM GENERALGOUVERNEMENT." Muzealnictwo 60 (August 7, 2019): 189–98. http://dx.doi.org/10.5604/01.3001.0013.3341.

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Before the outbreak of WW II, the works of world art collected at the Wilanów Palace were considered to be the largest private collection in the Polish territories. Just the very collection of painting featured 1.200 exhibits. Apart from them the Wilanów collection contained historic furniture, old coins, textiles, artistic craftsmanship items, drawings, and prints, pottery, glassware, silverware, bronzes, sculptures, as well as mementoes of Polish rulers. Already in the first weeks of the German occupation, assigned officials selected the most precious art works from the Wilanów collections,

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D’Elia, Una Roman. "Painting on sculptures in fifteenth-century Florence: case studies." Sculpture Journal 34, no. 1 (2025): 69–86. https://doi.org/10.3828/sj.2025.34.1.05.

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This article focuses on the painted and gilded surfaces of sculptures in fifteenth-century Florence, offering a few case studies to suggest the variety of ways in which painters brought three-dimensional works to life. Paint adds shifting colours that mimic the warmth of flesh, but also shadows and highlights that change the perception of form. The paint can be extremely fine – infinitely delicately delineated eyelashes – or rough, with seemingly splashed-on blood that is in fact carefully executed. The painter Neri di Bicci uses the terms ‘incarnation’ and ‘ornament’ to describe his painting

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Bernstein, Felix. "The Omega Machine." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 59–75. http://dx.doi.org/10.51865/jlsl.2022.05.

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The following is the script for a performance developed in tandem with artist and performer Gabe Rubin and painter Jacqueline Humphries for her show jHΩ1:) at Wexner Center for the Arts in October 2021. Humphries’s work blurs the line between the painterly expression and the automated simulacrum. Her paintings in this show included 3D printed blacklight flat sculptures that resemble paintings that use as a base layer text encoded (ASCII) versions of earlier paintings with novel features palimpsestically overwriting them, such as Greek letters, Möbius strips, emoticons, and brand names. Our scr

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Doley, Caitlin. "Age and Aesthetics in James Abbott McNeill Whistler’s Arrangement in Grey and Black." Age, Culture, Humanities: An Interdisciplinary Journal 5 (January 1, 2021): 1–24. http://dx.doi.org/10.7146/ageculturehumanities.v5i.130864.

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When one begins looking for them in the visual culture of the nineteenth century, aging and aged bodies crop up in a variety of media, styles, and contexts: in drawings, paintings, and sculptures; in popular history paintings and more obscure aesthetic experiments; in artists’ biographies and critics’ writings. However, the discipline of art history has yet to engage with the master identity that is old age, and practitioners of age studies have yet to truly utilize visual primary sources. This article breaks new scholarly ground by interrogating the relationship between old age and the visual

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Rahmi, Selvina, Suryanti Suryanti, and Miswar Miswar. "Estetika Karya Lukis Afianto Arifin." V-art: Journal of Fine Art 1, no. 1 (2021): 25. http://dx.doi.org/10.26887/vartjofa.v1i1.2138.

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This study discusses Afianto Arifin's tendency to persist with a strong naturalism style during the incessant contemporary art. This study also discusses the journey of art, the factors behind his work attitude, and the aesthetic concepts contained in his paintings. To answer these problems, qualitative research methods are used which include observation, interviews, and literature study. The research was conducted in the City of Bukittinggi and Padang Pariaman district, West Sumatra province. Based on the research results, the beginning of Afianto Arifin's artistic career began in Jakarta. Ap

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Кузнецова, І. О., О. В. Лільчицький та М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва". Art and Design, № 4 (15 лютого 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.

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Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art tha

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Nather, Francisco Carlos, and José Lino Oliveira Bueno. "Timing Perception in Paintings and Sculptures of Edgar Degas." Kronoscope 12, no. 1 (2012): 16–30. http://dx.doi.org/10.1163/156852412x631628.

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AbstractThe impressionist artist Edgar Degas (1834-1917) is widely known for his artistic production dedicated to the representation of movement. Degas has done a careful study, realistically depicting the movement both in his paintings of scenes of horses, women bathing and dancing, and in his sculptures of dancers in various positions of classical ballet. Since movements exist only at the intersection space-time, and visual works of art exist only in physical spaces defined by the works themselves, this article discusses the perception of time in the work of Degas. Therefore, this paper emph

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Hazlewood, C. "FRANK BOWLING: RECENT PAINTINGS AND RICHARD BAYE: RECENT SCULPTURES." Nka Journal of Contemporary African Art 1994, no. 1 (1994): 59–60. http://dx.doi.org/10.1215/10757163-1-1-59.

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Vasilyeva, Anna V. "ILLUSTRATIONS TO THE RUSSIAN TRANSLATION OF “THE ADVENTURES OF A LITTLE PREHISTORIC BOY” (1929) BY ERNEST D'HERVILLY IN THE SCOPE OF LITERARY WORKS ABOUT PEOPLE OF THE STONE AGE FROM THE STATE DARWIN MUSEUM COLLECTION." Articult, no. 4 (2020): 104–12. http://dx.doi.org/10.28995/2227-6165-2020-4-104-112.

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The article dwells on the study of the image of a prehistoric man portrayed in children books illustrations and museum exhibitions’ design (paintings, sculptures) in 1920-1930s using the example of works from the State Darwin Museum funds. During this period, famous artists of children's books Vasily Vatagin and Mikhail Ezuchevsky worked at the State Darwin Museum. They were also well versed in anthropology and ethnography. Their drawings were the first Soviet illustrations for the book by Ernest d'Hervilly “The Adventures of a little prehistoric boy”, which became a popular science book for c

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Bordalo, Rui, Salomé Carvalho, José Guilherme Abreu, and Eduarda Vieira. "Infrared thermography analysis with a low-cost camera in plaster sculptures of museum collections." Ge-conservacion 20 (September 22, 2021): 7–15. http://dx.doi.org/10.37558/gec.v20i1.879.

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Infrared thermography (IRT) is a non-destructive and non-invasive technique that provides the possibility to investigate the surface of sculptures for the detection of subsurface features and anomalies such as delamination, layer structure, fillings, and defects. IRT has been widely used in buildings and large structures, as well as in works of art such as bronze sculptures and paintings. This article describes the application of active infrared thermography, using a portable low-cost IRT camera, in the examination of plaster sculptures, a material where it has not yet been applied to. In part

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Martynyuk, Olena. "Gardens of Tolerance: Ukrainian Women Artists Reflect the War in the Donbas." East/West: Journal of Ukrainian Studies 9, no. 1 (2022): 139–76. http://dx.doi.org/10.21226/ewjus631.

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With ongoing war in the Donbas, war narratives and war images saturate public media in Ukraine, the discourse contaminated by ideological remnants of the Soviet World War II cult and by fake news. Art that deals with war wounds can subvert the familiar visual language of war propaganda, where the suffering of victims is a mere pretext for touting the inevitable triumph of the heroes. Currently in Ukraine, the most prolific art in this regard is produced by women-artists who address the trauma of war through painting and installations that offer highly personalized accounts. Often touching upon

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Mandal, Barun. "Visual Rhetoric on Rock During Mesolithic Period at Chintakunta, Kadapa, Andhra Pradesh, India." International Journal of Language, Literature and Culture 2, no. 5 (2022): 1–7. http://dx.doi.org/10.22161/ijllc.2.5.1.

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Following the present to make a better future, there are areas to understand about human settlement in aforementioned, which provides the information about food, shelter, dress, culture, lifestyle, and the relation between human and animal. Moreover, the providers are available in contemporary times which carry the history like- cave paintings, rock paintings, sculptures from ancient civilizations, pots, etc. Human habitations in India had been evaluated by humans from nowhere to somewhere dated back to 10000 BC - 8000 BC, where communication was needed initially, and food, cloth, and language

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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.

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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present

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Poidevin, Robin Le. "Time and the Static Image." Philosophy 72, no. 280 (1997): 175–88. http://dx.doi.org/10.1017/s0031819100056837.

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Photographs, paintings, rigid sculptures: all these provide examples of static images. It is true that they change—photographs fade, paintings darken and sculptures crumble—but what change they undergo (unless very damaging) is irrelevant to their representational content. A static image is one that represents by virtue of properties which remain largely unchanged throughout its existence. Because of this defining feature, according to a long tradition in aesthetics, a static image can only represent an instantaneous moment, or to be more exact the state of affairs obtaining at that moment'. I

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Rattanaprapawan, Sittisak, Apisak Sindhuphak, Krissana Kiddee, and Sompol Dumrongsatien. "Digital Sketching Applications for Design of Multicultural Toys Based on Himavanta Creatures from Thai, Laos, and Myanmar Fine Arts." International Journal of Interactive Mobile Technologies (iJIM) 14, no. 09 (2020): 196. http://dx.doi.org/10.3991/ijim.v14i09.13133.

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<p>The research focuses on digital sketching aspect through a depiction of Himavanta creatures and characters from Thailand, Laos, and Myanmar, where the details of paintings, sculptures, and architectural features as well as multicultural aspiration and imaginations are considered main variables. The research analyzed Himavanta creatures’cultural identities, sculptural forms and patterns, colors, and characteristic structures and implemented these identities into a design process, which then initiated a digital sketching process to transfer the artwork into designing multicultural toys.

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Selwyn, S. "Book Review: Royal Society of Medicine — Portraits, Paintings and Sculptures." Journal of the Royal Society of Medicine 82, no. 4 (1989): 247. http://dx.doi.org/10.1177/014107688908200423.

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Hegenbart, Sarah. "Meleko Mokgosi's Democratic Intuition : Decolonizing History Paintings as Democratizing Exercise." ASAP/Journal 9, no. 3 (2024): 501–30. https://doi.org/10.1353/asa.2024.a957249.

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ABSTRACT: Meleko Mokgosi's series, Democratic Intuition (2013–2019), is a six-year project consisting mainly of a diversity of paintings and several sculptures, which surface several challenges democracies on a global scene are currently facing. In this article, I argue that Mokgosi does not only work through the challenges contemporary democracies face—such as structural racism ingrained in democratic institutions, unequal access to education, which impedes democratic participation and the exercise of one's citizenship, the (neo)-colonial entanglement between democracy and capitalism and the

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Widmer, Caroline. "Collections off the grid, but in a net: In search for (de)colonial issues of South-Asian paintings." Decolonizing academic disciplines and collections 52-1 (2024): 103–13. http://dx.doi.org/10.4000/11zlw.

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The starting point of this contribution is the observation that paintings and drawings from the Indian-Pakistani cultural area are rarely discussed in the context of decolonization of museums and their holdings. What can be seen in the discourse of media is constituted in public and national interests, but even more in a systematic institutional blindness. Contrary to sculptures, the paintings and drawings were traditionally private property and had no viewing practice in a public sphere. Although I argue that the property changes leading to the entrance of those paintings and drawing into (We

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Kaczmarek, Sylwia. "The history of architecture and art and how it is seen by tourists." Turyzm/Tourism 23, no. 2 (2014): 9–13. http://dx.doi.org/10.2478/tour-2013-0006.

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The article presents the relation between the presence of works of art (buildings, sculptures, paintings) at different locations in the world, and tourism. The main theoretical and practical questions include the following: How important is knowledge of the history of art for seeing works of art? What other factors make modern travellers visit places where they can find these works of art?

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Matić, Milan, and Sandra Radenović. "Artist - Olympian." Fizicka kultura, no. 00 (2024): 12. http://dx.doi.org/10.5937/fk77-51679.

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From 1912 to 1948, eighteen hundred artists participated in art competitions within the Olympic Games. Art competitions were held at the following Olympic Games during the period from 1912 to 1948: Stockholm (1912), Antwerp (1920), Paris (1924), Amsterdam (1928), Los Angeles (1932), Berlin (1936), and London (1948). The introduction of art competitions at the Olympic Games was intended to integrate sport and art, spirit and body, and at the same time as a reminder of the cultural valuesand ideals represented in Ancient Greece. Prominent artists of that era served as judges for the artworks. Th

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Stadelmaier, Philipp. "Zoom, Reise zum Grund des Bildes, vom Kleinen ins Kleinste." Zeitschrift für Katalanistik 26 (July 1, 2013): 131–51. http://dx.doi.org/10.46586/zfk.2013.131-151.

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Summary: The paintings and sculptures of Antoni Tàpies are violent, closed and hermetic, but also covered by a fine layer of ciphers, signs and scratches. Thus, they hide an invisible ground which they, however, simultaneously begin to provide access to. Tàpies offers a vision and a reading at the same time. However, apart from seeing and reading, there is a third way to penetrate an image: touch. The romans-collage by Max Ernst, the issue of script in the work of Cy Twombly and the illustrations of the Austrian writer Erwin Moser may help us to understand the significance of touch in Tàpies’

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Ardhiati, Yuke, Ashri Prawesthi D, L. Edhi Prasetya, Febri Wahyu Kurniawan, and Bagus Priyambodo. "Virtual Tourism: An Imaginary Art Museum of Soekarno’s Painting Collection Series." International Journal of Glocal Tourism 2, no. 3 (2021): 177–84. http://dx.doi.org/10.58982/injogt.v2i3.73.

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Abstract : Purpose: This study is concerned with the challenge of how to creatively appreciate Soekarno the first president of Indonesia’s series of painting collections. Research methods: Based on multidisciplinary approaches it was composed of an imaginary building as well as Soekarno’s virtual art museum gallery. Findings: During his life, Soekarno (1901-1970) was fond of collecting numerous of masterpiece paintings and sculptures all of which beautified in six Presidential Palaces. By accommodating interest points in museum buildings and applying Jenck’s theory of postmodern ar

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Howell, Mark. "Pre-Columbian Maya Valveless Tube Trumpets." Journal of Music Archaeology 1 (December 4, 2023): 233–47. http://dx.doi.org/10.1553/jma-001-10.

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There are some 77 representations of non-conch shell pre-Columbian trumpets known, but only one extant ceramic version survives. The others are known from paintings, engravings, and sculptures. Of these there appear to be two primary types: long-widening tube trumpets and wrapped trumpets. In this paper I discuss the evidence for these instruments, their materials and means of manufacture, their sonic signatures, and their uses.

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Nasidi, Nadir A. "Art-Historical Analysis of Selected Sacred Sufi Paintings in Kano, Nigeria." Al Qalam 40, no. 2 (2023): 113–29. http://dx.doi.org/10.32678/alqalam.v40i2.8171.

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‘Iconoclasm’, which may simply be defined as the destruction of artworks as a result of hatred towards them is a common phenomenon in all the three major Abrahamic desert religions; Judaism, Christianity and Islam. Because Islam frowns at representational art, especially sculptures in the round, many Muslim artists pursue and develop their creativity in the elegant Arabic calligraphic embellishments used to adorn the walls of mosques, palaces and the covers of Islamic books. However, despite the growing nature of iconoclasm amongst mainstream Muslims, the Sufis see no harm in visually and arti

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