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Journal articles on the topic 'Water Painting'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.

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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emph

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2

Zhou, Yuhang. "Silent Water and Deep Flow, Resounding Gold and Stone." Highlights in Art and Design 7, no. 2 (2024): 20–23. http://dx.doi.org/10.54097/cfj7t346.

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Since Lang Shining came to China in the middle of the eighteenth century, Western watercolor painting has been introduced to China for about 270 years, and it has been a century since Western watercolor painting became popular in Shanghai at the end of the nineteenth century. Combining the taste of traditional Chinese art with the thoughts of watercolor artists of the new era, Chinese watercolor paintings present a bright and dazzling Chinese spirit, of which Liu Shouxiang's watercolor works are a representative.

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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.

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A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or

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4

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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Kristina, Renata Ayu, I. Wayan Setem, and Ni Made Purnami Utami. "Zodiac as Expression in the Creation of Paintings." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 1 (2022): 41–52. http://dx.doi.org/10.59997/citakara.v2i1.1541.

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This thesis raises the theme of "Zodiac as Expression in the Creation of Paintings" from an observation of various types of behavior, characters, and characteristics of the zodiac. This gives rise to the urge to bring the expressions of the zodiac cancer, pisces, and scorpio into abstract style paintings. In the embodiment of the work, the style used is a combination of naturalism and abstractionism, which are the characteristics of Mr. Made Budhiana's painting as a partner in the independent study program of the Merdeka Learning Campus Merdeka. With the aim and benefit of providing an underst

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Minglu, Yang, Ahmad Albattat, and Azman Norhidayah. "Historical Factors Influencing Water Colour Painting Market Environment and Development in China Market Supervisor as a Moderator." International Journal of Professional Business Review 8, no. 8 (2023): e02991. http://dx.doi.org/10.26668/businessreview/2023.v8i8.2991.

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Purpose: China has a long history of art, including watercolour painting, which has garnered international acclaim. China can gain recognition for its artistic accomplishments and contribute to the global art community by preserving and promoting the practise of watercolour painting both domestically and internationally. Theoretical framework: The tale of the development of Chinese watercolour painting is intricate and multidimensional, reflecting the impact of several historical events (Li, 2023; Yin,2022). These elements have all contributed to the creation of this stunning and lasting art f

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Octaviani, Wiwi, Muhammad Yusuf, Khadijah Aziz Karim, and Srida Mitra Ayu. "The Effect of Powder Color and Adhesive Visciousness on the Resistance of Sawsuddinary Painting." Jurnal Penelitian Kehutanan BONITA 7, no. 1 (2025): 25–32. https://doi.org/10.55285/bonita.v7i1.3204.

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Sawdust is the result of residue from the sawmill industry. Generally, it has no economic value, but ithes selling value when it processed into an artistic work suchas painting made of wood powder. The purpose of this study is to determine the effect of adding adhesive solvents on the resistance of sawdust painting. Through the experiment using a 2 factorial completely randomized design, namely powder color and water volume. Powder color consists of 2 levels (S1 and S2) and 3 levels of water volume (A1, A2, A3) and repeated 3 times, so that the combination of treatment are 18 paintings with th

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8

Wang, Xingqian. "Principles of color formation in Chinese painting and ceramic painting." Философия и культура, no. 8 (August 2023): 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.

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The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the

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9

Yu, Wendi, Lu Yang, Jing Zhao, and Hongjie Luo. "Study on the Visualization of Transport and Crystallization of Salt Solution in Simulated Wall Painting." Crystals 12, no. 3 (2022): 351. http://dx.doi.org/10.3390/cryst12030351.

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The transport and crystallization processes of chromogenic 5.0% CuSO4 solution in the supporting body and coarse plaster of simulated wall painting samples were observed. A scanning electron microscope a and self-designed double-layer surface contact internal pressure method were used to test, respectively, the micro-morphologies of salt crystals in different regions and the micro-forces on the contact surfaces during the spread and crystallization of water and salt solution. The results demonstrate that the salt crystals formed by the CuSO4 solution on the surface of the simulated wall painti

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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.

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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and s

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Bologna, Francesca. "Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)." Journal of Roman Archaeology 32 (2019): 97–128. http://dx.doi.org/10.1017/s1047759419000072.

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This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet i

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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field

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Ghosh, Kamalika, and Anubrata Mondal. "Some Studies on Discolouration Effect of Electric Light Sources on Oil Painting and Water Colour Painting in Museum." Light & Engineering, no. 06-2024 (December 2024): 85–92. https://doi.org/10.33383/2023-087.

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Preservation of paintings in museum or art galleries, especially of organic materials like paper and textiles, is a great concern. It is crucial to have proper illumination to see an object. Due to urbanization, in most of the place’s daylight is not sufficient. Due to this, usage of electric lighting, with advanced technology, is highly important. The majority of electric lighting release corrosive ultra violet rays (UV). It can be observed that UV ray is also present as a neighbour of visible light. The discoloration effects of UV content, are due to its high energy concentration, leads to d

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Ma, Caixia. "Morphological Structural Element Optimization for Automatic Line Characterization of Ink Drawings." Security and Communication Networks 2022 (May 11, 2022): 1–7. http://dx.doi.org/10.1155/2022/8595203.

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As a traditional Chinese art, the tools of Chinese ink painting are mainly brushes, ink, and rice paper and ink stone. As an important form of ink painting, ink landscape painting consists of ink lines that first outline the overall trend of the mountain and then complete the basic process of painting with rich chapping techniques. The article proposes a process to draw water animation based on Chinese painting style; this method first perceives the position of water form in Chinese painting and enhances it by morphological structural elements used to automatically draw the line feature analys

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Rawstrone, Annette. "Drawing and painting." Early Years Educator 21, no. 7 (2019): S16. http://dx.doi.org/10.12968/eyed.2019.21.7.s16.

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Drawing chalk pictures on the ground, painting fences with water and even leaving smudged fingerprints on the wall are all examples of children experimenting with mark making. Find out how you can encourage them to push their skills further.

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16

Vostrikova, Ekaterina. "The hwajohwa Genre (Bird-and-flower Painting) in Korean Traditional Painting of the Early and Middle Chosŏn Periods (Late 14th – Late 17th Centuries)." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (2021): 61–78. http://dx.doi.org/10.36340/2071-6818-2021-17-2-61-78.

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The article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the early and middle Chosŏn periods (late 14th – late 17th centuries). The study identifies the historical and cultural context, the stylistic evolution of the bird-and-flower painting and the main terms for its designation. It presents individual artistic trends, examines the techniques used in Korean traditional painting. Moreover, the author outlines the leading artists who worked in this genre during the indicated period. In the early Chosŏn period (1392 – c. 1550), the hwajohwa genre gained particular rele

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Shabiriani, Uzda Nabila. "SEMIOTICS STUDY ON ASEI BARK PAINTING PATTERNS." Jurnal Bahasa Rupa 5, no. 2 (2022): 134–43. http://dx.doi.org/10.31598/bahasarupa.v5i2.926.

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There are meanings, stories and philosophies of the life of the ancestors of the Asei people which have been depicted on the bark for generations since 1600 and produce images related to the living space of the Asei people. The purpose of this study was to determine the meaning of the symbolic forms that exist in the Asei bark painting motifs related to the life of the Asei people and their social system. This study analyzes the colors that are often used and the dominance of images in Asei bark painting motifs. From the results of the analysis, 4 Asei bark paintings often use red from betel n

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18

Kong, Xiangfeng, and Xiangzhen Meng. "Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation." Journal of Chemistry 2022 (August 25, 2022): 1–7. http://dx.doi.org/10.1155/2022/7715011.

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In order to better sort out the superiority of water-based acrylic in painting art, explore and understand the uniqueness of water-based acrylic painting materials and apply this to art creation. The author proposes a chemical process based on water-based acrylic dipping paint, by discussing the coating and film properties of water-soluble acrylic dip paint, combined with the practical application of a casting tank; summarizing the countermeasures to solve the disadvantages of common paint films; and proving that the paint has a good comprehensive performance by comparing with other dipping pa

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Shcherbakova, L. A. "DEVELOPMENT CREATIVE CAPABILITIES OF STUDENTS BY FACILITIES of THE WATER-COLOUR PAINTING." Educational Dimension 13 (May 26, 2022): 287–93. http://dx.doi.org/10.31812/educdim.5784.

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In the article methods and methods of development of creative capabilities are examined by facilities o f the water-colour painting on employments on the special course “Technology of the water-colour painting” on the artistically-graphic faculties of higher pedagogical establishments.

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20

Pasquale, Stefania, Massimo Zimbone, Francesco Ruffino, Giuseppe Stella, and Anna Maria Gueli. "Evaluation of the Photocatalytic Activity of Water-Based TiO2 Nanoparticle Dispersions Applied on Historical Painting Surfaces." Heritage 4, no. 3 (2021): 1854–67. http://dx.doi.org/10.3390/heritage4030104.

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This paper aims at assessing the use of nanomaterials in painting conservation and in cleaning practices that could be alternative to the traditional ones to overcome the limits of new green materials. Titanium dioxide nanoparticles have been spread and studied on historical painting surfaces with good results. In particular, the properties of TiO2 nanoparticles have been considered useful for self-cleaning and protective purposes against the accumulation of dirt and dust that represents the first phase in deterioration of historical painting surfaces. TiO2 nanoparticles, prepared in distilled

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Trufkin, A. D. "Watercolor technique as a necessary condition for creating a complete image." Educational Dimension 26 (December 14, 2009): 340–47. http://dx.doi.org/10.31812/educdim.7040.

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The technics of water colour painting possesses unique specificity Variability of this technics is done by almost impossible its copying, and extreme fragility, propensity in management and mob' deliver to Students many efforts, first of all in a choice of methods and techniques And. though till now there are disputes concerning waler colour definition at schedules nr painting, clearly, that It hat specific propertics of both art forms.

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Prati, Silvia, Francesca Volpi, Raffaella Fontana, et al. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.

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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which fores

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Coullet, Pierre, and Yves Pomeau. "Light, water and physics in Monet painting." EPJ Web of Conferences 244 (2020): 01011. http://dx.doi.org/10.1051/epjconf/202024401011.

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A common observation is the one of reflection of the Sun or the Moon by the slightly perturbed surface of water. In ”Impression, soleil levant”, now in Marmottant museum in Paris, Monet painted the luminous stripe resulting of this reflection when the source is low on the horizon. As we explain this stripe originates from the fluctuations of the angle of the reflecting surface when they are big enough to spread the multiple images to make them overlap, which requires that the fluctuations of the surface angle are of the same order as the angle of the Sun (or Moon) above the horizon. At higher

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Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (2018): 100–119. http://dx.doi.org/10.52476/trb.9750.

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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconogra

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Munteanu, Angela. "LANDSCAPE, COLORED PASSION IN THE CREATION OF ARCHITECT EUGEN BOGNIBOV." Journal of Social Sciences IV, no. 4 (2021): 36–43. http://dx.doi.org/10.52326/jss.utm.2021.4(4).04.

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The landscape genre is painting and contemplation through the creation of the architect and professor, doctor of architecture, associate professor Eugen Bognibov, from the Department of Architecture, Faculty of Urbanism and Architecture, Technical University of Moldova. The landscape was certainly one of the favorite types of painting of professional artists, but also for lovers of beauty. The predilection of the architect and painter Eugen Bognibov for the landscape genre can be explained by the fact that the Moldovan lands offer an enormous variety of views and possibilities to practice the

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Di Tullio, Valeria, and Noemi Proietti. "New Insights to Characterize Paint Varnishes and to Study Water in Paintings by Nuclear Magnetic Resonance Spectroscopy (NMR)." Magnetochemistry 6, no. 2 (2020): 21. http://dx.doi.org/10.3390/magnetochemistry6020021.

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Paintings are complex multi-layered systems made of organic and inorganic materials. Several factors can affect the degradation of paintings, such as environmental conditions, past restoration works and, finally, the type of painting technique and the art materials used over the centuries. The chemical–physical characterization of paintings is a constant challenge that requires research into and the development of novel analytical methodologies and processes. In recent years, solvents and water-related issues in paintings are attracting more attention, and several studies have been focused on

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Tarantola, Gaia, Elena Medri, Arianna Splendore, Francesca Lo Russo, Chiara Matteucci, and Matteo Minelli. "Liquid Foam-Ethyl Vinyl Acetate Adhesive Systems for Lining Process of Paintings: Prospects of a User-Friendly, Harmless Alternative to Conventional Products." Polymers 15, no. 7 (2023): 1741. http://dx.doi.org/10.3390/polym15071741.

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The lining of paintings is a process of conservation science and art restoration used to strengthen, flatten, or consolidate paintings on canvas by attaching by means of adhesives a second canvas to the back of the existing one. To this aim, the prospects of the use of ethyl vinyl acetate (EVA) resins in aqueous dispersion applied as an adhesive in a foam form have been investigated in the present study. The key physical properties of the foam have been investigated, with a deep focus on rheological behavior and the drying rate, comparing the results with those obtained using the liquid produc

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Behrisch, Tanya J. "Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting." Phenomenology & Practice 16, no. 1 (2021): 90–107. http://dx.doi.org/10.29173/pandpr29503.

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The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenolog

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Wang, Juanli, Peng Fu, Ming Cao, and Wenqiang Dong. "Conservation of Yuan Dynasty Caisson Paintings in the Puzhao Temple, Hancheng, Shaanxi Province, China." Coatings 14, no. 10 (2024): 1287. http://dx.doi.org/10.3390/coatings14101287.

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Caisson paintings are an integral part of the unique interior decoration ceiling of traditional Chinese architecture. There are a large number of Yuan Dynasty caisson paintings in the Puzhao Temple, in Hancheng, Shaanxi Province, China. These caisson paintings have exquisite patterns and rich colors, which are rare artistic treasures of the Yuan Dynasty. In the history of nearly 700 years, due to various environmental and human factors, the caisson paintings have experienced various degradation; for example, the paper of the caisson paintings is acidified, the surface is polluted, the color is

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Loboda, Anastasia Yu, Igor N. Trunkin, Roman D. Svetogorov, et al. "A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 156–74. http://dx.doi.org/10.37279/2413-189x.2021.26.156-174.

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In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of sa

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Widodo, Widodo, Devi Etivia Purlinda, and Ahmad Riadi. "Perbandingan Berbagai Metode Pengecatan Spora pada Bacillus Cereus." Jaringan Laboratorium Medis 4, no. 2 (2022): 91–94. http://dx.doi.org/10.31983/jlm.v4i2.8493.

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Endospores are formed by members of several genera of gram-positive bacteria, such as Bacillus and Clostridium. The spores are very resistant structurally; withstand the temperature of boiling water for two hours or more. They contain very little water and show very few chemical reactions. The favorable external environment will cause the spores to break down and the vegetative cells to appear to grow and reproduce. Identification of endospore-forming pathogens is important in food and medical microbiology. However, the spores contain multiple protective layers, which cannot be easily penetrat

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Sanchez, Anna Camille, and Dong-Keon Kim. "Assessment of the Film-Free Water Decal Method for Speckle Pattern Application in Digital Image Correlation." Sensors 24, no. 17 (2024): 5657. http://dx.doi.org/10.3390/s24175657.

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Digital Image Correlation (DIC) often encounters challenges with variability and consistency in traditional speckle pattern application techniques, such as spray-painting, affecting measurement accuracy and reliability. This study evaluates a film-free water decal method as an alternative for applying speckle patterns in DIC. SS275 structural steel specimens were prepared with speckle patterns using both the film-free water decal method and traditional spray-painting. The quality of the speckle patterns was assessed, and their effectiveness for DIC was evaluated through tensile testing and a c

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Andreeva, Olga Pimenovna, Svetlana Petrovna Akhmetova, and Evelina Valerianovna Mikhailova. "Fine receptions of water coloring painting as a means of realization of creative ideas of future designers." Interactive science, no. 3 (37) (March 27, 2019): 47–49. http://dx.doi.org/10.21661/r-486225.

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This article deals with the task of design education in the training of specialists who are ready to implement creative ideas in the design of environmental objects. It gives a detailed analysis discipline of academic painting. It is reported about the study of pictorial techniques, rules and patterns of academic painting, which are necessary when performing creative tasks. The stages of color design of the project are considered in detail, with the implementation of which various graphic techniques of watercolor painting are used.

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Lu, Sa. "The role of the "plum blossom" in the development of traditional landscape painting in China." Философия и культура, no. 7 (July 2022): 139–47. http://dx.doi.org/10.7256/2454-0757.2022.7.38534.

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The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional paintin

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Fatemeh, Baneshi1 and Dr.Hossein Aflakifard* 2. "THE EFFECT OF WATER PAINTING ON CREATIVITY AND SOCIAL ADJUSTMENT OF PRIMARY SCHOOL STUDENTS." Indo American Journal of Pharmaceutical Sciences 04, no. 09 (2017): 3406–10. https://doi.org/10.5281/zenodo.1001023.

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The purpose of the present study was to investigate the effect of water painting on creativity and social adjustment of students. This research was applied in terms of its nature and purpose. Semi-experimental method was used with pre-test and post-test, and control and control groups. The population of the study consisted of all primary school girl students in Marvdasht who were studying in the academic year 2015-2016. Using a multi-stage cluster sampling method, 40 people were selected as the statistical sample. In order to collect information, Child Behavioral Questionnaire (CBCL) and Torra

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Bahari, Nooryan, Dyah Yuni Kurniawati, and Sigit Purnomo Adi. "PLEXIGLAS AS PAINTING MEDIA." VISUALITA 8, no. 1 (2019): 15–23. http://dx.doi.org/10.33375/vslt.v8i1.1235.

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The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based pai

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Li, Yue, and Galina V. Alekseeva. "“Formula of Water” in the Iconography of Landscape Painting in Medieval China." Observatory of Culture 20, no. 5 (2023): 550–59. http://dx.doi.org/10.25281/2072-3156-2023-20-5-550-559.

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The theme of the sea in traditional Chinese painting is associated with the last decades of the development of the country’s artistic life, in particular with painting on the theme of the sea and ocean. The aim of the study is to determine the peculiarities of the embodiment of the image of the sea element in Chinese painting of the Middle Ages as a basis for the development of the marina genre in modern art. In the works of masters of the Song (960—1279), Yuan (1271—1368) and Ming (1368—1644) dynasties one can notice the repetition and interpretation of those “formulas” used by painters in me

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Rusdin, Rusdin, Merlyn Mangopo, and Ruslan R. Yarkuran. "Pelaksanaan Pekerjaan Finishing pada WC dan Tempat Whudu Masjid A-Ikhlas Thumburuni Kab. Fakfak Papua Barat." Community Engagement and Emergence Journal (CEEJ) 2, no. 3 (2021): 84–90. http://dx.doi.org/10.37385/ceej.v2i3.317.

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Al-Iklas Mosque is one of the public mosques in Fakfak City which is still active and has a fairly large number of worshipers, namely 300 people. However, currently the mosque has supporting facilities for building facilities, namely toilets and ablution places whose floors and walls have not been tiled and painted. As well as the damage to water channels and faucets where wudu. Therefore, the PKM team provided solutions to carry out work on installing ceramic floors, repairing drains and painting the walls of the WC and the ablution area of ??the Al-Iklas Thumburuni Fakfak Mosque. The method

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Wang, Mengting. "Contemporary Dream Aesthetic of the Taihang Dream." Learning & Education 10, no. 3 (2021): 14. http://dx.doi.org/10.18282/l-e.v10i3.2377.

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The creation of contemporary ink and landscape painting is not only a kind of artistic creation,but also represents the”unity of man and nature”.The”rhythm of life”expressed in the combination of water and ink implies the unique way of Chinese painting,and finally presents a pattern of.

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Amrullah, Bashiruddin, Triyono Widodo, and Abdul Rahman Prasetyo. "Penciptaan Karya Seni Lukis Bertemakan Dampak Pencemaran Lingkungan dengan Metode Penciptaan Alma Hawkins." JoLLA: Journal of Language, Literature, and Arts 3, no. 3 (2023): 460–74. http://dx.doi.org/10.17977/um064v3i32023p460-474.

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Sampah merupakan buangan yang dihasilkan dari setiap aktifitas manusia, baik secara pribadi maupun kelompok. Pada tahun 2021, Sistem Informasi Pengelolaan Sampah Nasional (SIPSN) me-nyatakan bahwa timbunan sampah di Indonesia mencapai 28.527.056 ton/tahun dan penanganan-nya hanya sampai 48,86 persen. Persentase tersebut menandakan belum adanya upaya penanganan sampah secara maksimal. Inilah yang menyebabkan banyaknya kawasan yang tercemar, baik di tanah, air, maupun udara. Pencemaran di tanah, air, atau udara tersebut berdampak buruk kehidup-an makhluk hidup. Oleh karena itu, perlu adanya solu

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Jiang Feihong. "Analyzing the Significance of Heavy Colors and Ink in Chinese Painting from the Perspective of Cultural Symbol." Journal of Information Systems Engineering and Management 10, no. 16s (2025): 845–52. https://doi.org/10.52783/jisem.v10i16s.2670.

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Chinese painting carries thousands of years of historical and cultural heritage and occupies an important position in the global art field. With its unique aesthetic concepts, expression techniques and cultural connotations, it demonstrates the wisdom and creativity of the Chinese nation. In this rich and diverse Chinese painting system, heavy color painting is often used to express major historical themes, religious stories, etc., carrying profound social and cultural functions and aesthetic interests. Ink painting uses water as a medium to show the feelings of literati and poets. This study

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Gaynutdinov, Timur Rashidovich. "Deconstruction in the Neighborhood of Art. The Problem of Painting in the Philosophy of Jacques Derrida." Философия и культура, no. 10 (October 2022): 54–65. http://dx.doi.org/10.7256/2454-0757.2022.10.39020.

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The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical ontological-epistemological aspect of truth in the context of art history.

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Mirzaie, Rasol Abdullah, Masoumeh Shahmohammadi, and Amrollah Kouhi. "Study of students' mental images effect on learning chemistry." International Journal of Physics & Chemistry Education 2, no. 1 (2010): 53–62. http://dx.doi.org/10.51724/ijpce.v2i1.183.

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It is clear that use of images has effect on teaching the chemistry concepts. In classrooms, some examples which are used for simplifying and understanding the material better are in macroscopic dimension and students do not understand particles such as atoms, molecules and ions well. In order to help them understand these concepts in macroscopic dimension, illustration is used. In illustration, students can reflect different concepts of chemistry which have learnt during teaching. One of the illustration methods is to use painting art, as one can determine the extent to which they have unders

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Faskiev, R. S., A. N. Melnikov, and E. G. Keyan. "METHODOLOGY FOR CONTROLLING THE AIR PARAMETERS OF PAINT-DRYING CHAMBERS WHEN WORKING WITH AUTOMOTIVE WATER-BASED PAINTS." Intellect. Innovations. Investments, no. 5 (2024): 82–92. http://dx.doi.org/10.25198/2077-7175-2024-5-82.

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One of the significant ways to reduce the destructive impact on the environment from the technological processes of restorative repair of car bodies is the transition to paints diluted with water. However, the direct use of existing paint drying chambers for the application and drying of waterborne paints can negatively affect the performance of the process and the quality of the coating. It has been established that during the drying of coatings from waterborne paints, the formation of stagnant ventilation zones is possible, which can lead to reverse condensation of water, followed by the for

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Inculet, I. I., and R. G. Klein. "Electrostatic painting of nonconductive surfaces with water-base paints." IEEE Transactions on Industry Applications 32, no. 1 (1996): 90–92. http://dx.doi.org/10.1109/28.485817.

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Zhang, SongHai, Tao Chen, YiFei Zhang, ShiMin Hu, and Ralph Martin. "Video-based running water animation in Chinese painting style." Science in China Series F: Information Sciences 52, no. 2 (2009): 162–71. http://dx.doi.org/10.1007/s11432-009-0035-7.

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Waskito, Randi Purnama Putra, Junil Adri, Dori Yuvenda, Jasman, and Irzal. "Dry air compressor for car painting quality improvement." EUREKA: Physics and Engineering, no. 6 (November 30, 2023): 129–36. http://dx.doi.org/10.21303/2461-4262.2023.002843.

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The humidity used in the painting process greatly determines the result of painting the car body. This study aims to develop a dry air compressor that can be used to overcome car paint defects. This system consists of a 2 HP compressor engine for sucking air from the atmosphere, two air collection tubes where the first tube contains air obtained from the atmosphere and the second tube contains dry air obtained from the first tube. The inside of the first tube is given a copper coil measuring 5 mm in diameter which is connected to a 120-watt cooler while the second tube is not given a copper co

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Shuia, Essaied, and Elsayed El-Agouz. "Effect of Diffrent Absorbing Materials on Th Performance of Basin Solar Still Under Libyan Climate Conditions." Solar Energy and Sustainable Development Journal 2, no. 1 (2013): 1–10. http://dx.doi.org/10.51646/jsesd.v2i1.92.

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This experimental study deals with a single-basin solar still using various absorbing materials with and without black painting. Different types of absorbing materials with and without black painting were used to enhance the solar still productivity throughimprovement in absorptivity. Those materials are steel and aluminum with and without black painting and rubber. Two identical solar stills were manufactured using locally available materials. All the results were compared together to reach the best absorbing materials with and without painting that can be used for solar still. It was found t

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Lei, Yun, and Supath Kookiattikoon. "Silence as Meaning: The Semiotics of Negative Space in Huang Binhong's Flower-and-Bird Paintings Introduction." Journal of Posthumanism 5, no. 6 (2025): 4451–65. https://doi.org/10.63332/joph.v5i6.2639.

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In Chinese ink painting, the unpainted surface is never truly empty. What may appear to Western eyes as mere negative space—the untouched paper surrounding a spray of plum blossoms or the void between a bird’s wings—functions in Huang Binhong’s (1865–1955) flower-and-bird paintings as a sophisticated visual language. This paper explores how Huang transformed the traditional practice of liubai (留白, “reserved blankness”) from a compositional device into a semiotic system—where absence speaks with as much force as form. While Huang’s revolutionary heimi (黑密, “black density”) style in landscape pa

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H. Sulaymon, Abbas, and Ali A. Merdaw. "Testing of Drinking Water Reservoirs Coating." Iraqi Journal of Chemical and Petroleum Engineering 8, no. 1 (2007): 1–7. http://dx.doi.org/10.31699/ijcpe.2007.1.1.

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The present study refers to a ready-made three components epoxy based paint made by the Modern Paints Industries Company (Al-Za'farania, Baghdad) subjected to several tests in order to improve its specifications by optimizing the application conditions. The paint components are under the trade names: Resin (D-5547), Hardener (H-1457) and Thinner (P-851). The paint is used for painting drinking water reservoirs from inside.

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