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Littérature scientifique sur le sujet « Thai Painting »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 1 août 2024

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Articles de revues sur le sujet "Thai Painting"

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

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“Kranok” mostly are inspired by the application from natural shapes such as lotus shape, floral species, climber creeping plants or various animals especially animals in the fairy tales. “Kranok” which previously had the meaning of a Thai Painting but later this was used to call another tradition paining which was believed to be applied from the shape of a lotus. Considered as a Thai Tradition Painting Model which is an important base of the Thai Tradition Painting inclusive of the model and steps of drawing the painting and the application into a variety of paintings in the same structure but with different paintings such as one “Kranok”, Three “Kanok”s, Bai Thes “Kranok”s. Afterwards there was a development of the models of the painting which were different according to the ages or periods with characteristic identities with the inspiration from nature as well. Thai Traditional Ancient Showcase/Cabinet/Cupboard in the past used many divisions of Traditional Thai Crafts craftsmen to brainstorm the creation whereby each division craftsman would be with different skills and techniques of design, Thai significant divisions of craftsmen are such as wood carding, lacquer work and mother of pearl inlay.

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Pichaichanarong, Tawipas. « Visual Methods in Social Research on Lanna Mural Painting : A Case Study of Wat Phumin, Nan Province ». International Journal of Creative and Arts Studies 3, n^o 2 (29 décembre 2017) : 25. http://dx.doi.org/10.24821/ijcas.v3i2.1842.

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According to most of tourists who have visited Thai temples and have seen Thai mural paintings with untrained eyes, they might not understand a story on walls at first sight. It may be because Thai mural paintings look confusing, crowded with colorful figures that appears similar in detail and character, leaving no place to focus one’s attention (David K. Wyatt, 2004). Thai mural painting is a disparate of the visual arts because of conventions that are entirely its own. This research is designed to study the capability of Thai and Foreign tourists in order to apprehend Lanna mural painting through visual methods in social research. For Methodology, questionnaires were used by collecting the data from the total of 411 Thai and foreign tourists who have been visited Wat Phumin, Nan province. At the same time, qualitative method was used by collecting the data form tourists who have been visited Wat Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and qualitative data. This study concludes that the comprehension of Lanna mural painting at first sight from Thai and foreign tourists at Wat Phumin, Nan province are not positive. In addition, the results reported that our respondents have verified that there is no direction in order to understand stories on Lanna mural painting from the beginning. Furthermore, the results reported that our respondents have established visual methods in social research in order to discover more effective solutions to facilitate Thai and foreign tourists to obtain the information of the storytelling in Lanna mural painting at first sight as possible.

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Raksamani, Adis Idris. « The Siamese Concept of Muslims through Mural Paintings ». Manusya : Journal of Humanities 22, n^o 1 (15 juillet 2019) : 1–33. http://dx.doi.org/10.1163/26659077-02201001.

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The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows: 1. The otherness of Muslims from afar in the late Ayutthaya. 2. The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii. 3. The multicultural guests in the Reigns of King Rama iii-iv. 4. Unity under the royal patronage in the Reigns of King Rama v-vi. The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.

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Suphaphimol, Nattaphon, Nakarin Suwannarach, Witoon Purahong, Churdsak Jaikang, Kamonpan Pengpat, Natthawat Semakul, Saranphong Yimklan et al. « Identification of Microorganisms Dwelling on the 19th Century Lanna Mural Paintings from Northern Thailand Using Culture-Dependent and -Independent Approaches ». Biology 11, n^o 2 (31 janvier 2022) : 228. http://dx.doi.org/10.3390/biology11020228.

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Lanna painting is a unique type of painting in many temples in the Northern Thai region. Similar to most mural paintings, they usually decay over time partly due to the activity of microbes. This study aimed to investigate the microorganisms from two Lanna masterpiece paintings in two temples that differ in the numbers of visitors using both culture-dependent and -independent approaches. The microorganisms isolated from the murals were also tested for the biodeterioration activities including discoloration, acid production and calcium precipitation. Most microorganisms extracted from the paintings were able to discolor the paints, but only fungi were able to discolor, produce acids and precipitate calcium. The microorganism communities, diversity and functional prediction were also investigated using the culture-independent method. The diversity of microorganisms and functional prediction were different between the two temples. Gammaproteobacteria was the predominant group of bacteria in both temples. However, the fungal communities were different between the two temples as Aspergillus was the most abundant genus in the site with higher number of visitors [Buak Krok Luang temple (BK)]. Conversely, mural paintings at Tha Kham temple (TK) were dominated by the Neodevriesia genera. We noticed that a high number of visitors (Buak Krok Luang) was correlated with microbial contamination from humans while the microbial community at Tha Kham temple had a higher proportion of saprotrophs. These results could be applied to formulate a strategy to mitigate the amount of tourists as well as manage microorganism to slow down the biodeterioration process.

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Mia Destia, Mia Destia, Enjang Suherman Enjang Suherman et Flora Patricia Anggela Flora Patricia Anggela. « Penerapan Budaya 5R dalam Upaya Membina Karakter Karyawan Bagian Painting PT Indonesia Thai Summit Plastech ». Reslaj : Religion Education Social Laa Roiba Journal 6, n^o 4 (9 février 2024) : 1667–80. http://dx.doi.org/10.47467/reslaj.v6i4.794.

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Every company has its own organizational culture and is different. PT INDONESIA THAI SUMMIT PLASTECH is one of the companies that implements the 5R culture. The 5R culture itself is an organizational culture originating from Japan that is made to make improvements in the work environment. The purpose of this study is that the author wants to know more about the analysis of the causes and strategies of implementing the 5R culture in an effort to foster the character of employees of the painting section of PT Indonesia Thai Summit Plastech. Data in this study was obtained from observations, interviews, and documents of PT Indonesia Thai Summit Plastech related to the application of 5R culture. Employees of PT Indonesia Thai Summit Plastech has not fully implemented the 5R culture even though the company has made rules for implementing the 5R culture. This happens because of several obstacles, one of which is the lack of employee awareness about the importance of implementing 5R culture and its influence in the work environment. Strategies that can be carried out in implementing 5R culture in an effort to build character are conducting socialization about 5R culture policies, affirming sanctions for employees who do not implement 5R culture, forming a special 5R culture team and supervising employees, and rewarding employees so as to increase work motivation.

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Pichaichanarong, Tawipas, Veerawat Sirivesmas et Rueanglada Punyalikhit. « APPENDING ROLES OF THAI LANNA TEMPLES FOR SUSTAINABLE COMMUNITIES : A CASE STUDY OF WAT PHUMIN, NAN PROVINCE ». International Journal of Heritage, Art and Multimedia 3, n^o 8 (10 mars 2020) : 01–11. http://dx.doi.org/10.35631/ijham.38001.

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Temples have been important in Thai society for over 700 years. When the Sukhothai Kingdom (1238 -1438 AD) was the capital city of Thailand. The great King Ramkamhang had been accepted Theravada Buddhism to be the strongest religion in the land. Later Lanna kingdom (1296 - 1558 AD) was founded in the mid-13th century by King Mangrai. Indeed, King Ramkamhang was friends with King Mangrai, and King Ngam Muang of Phayao Kingdom (1094–1338 AD), it is possible Theravada Buddhism had been introduced to the kingdoms during the reigns of these three Kings. Indeed, the Lanna Kingdom has accepted Theravada Buddhism to be their religion. Until 1894, Lanna Kingdom combined with Siam Kingdom which is the Rattanakosin period (1782 AD - present). Throughout history, temples have become an essential part of Lanna and Thais’ lives. At present, some Thai Lanna temples are not only functions for performing religious rites, but also, they become central for Lanna and Thai communities. Temple (“Wat” in Thai) is a sacred architecture. Moreover, there are ideas to decorate inside temples with arts. Wattana Boonjub (2009) points out that Mural painting is used to teach (Lanna and) Thai people in the past. For example, Wat Phumin, Nan province. With beautiful Lanna architecture and exquisite Lanna mural paintings, these are intangible heritages. These unique characteristics have invited lots of people to visit this temple for years. Therefore, Wat Phumin became a tourist attraction that creates revenue for its community. Johan Galtung (1980) gave the definition for “Self-Reliance”, is the strategy for development to be financial independence. With collaboration from the community, it becomes a sustainable community. For Methodology, quantitative and qualitative methods were used by collecting the data from tourists who have been visited Wat Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and qualitative data. This study concludes that Wat Phumin, Nan province has created a sustainable community for its community.

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Pichaichanarong, Tawipas. « Practice-Based Research in Digital Arts : A Case Study of Wat Phumin, Nan Province, Thailand ». International Journal of Creative and Arts Studies 6, n^o 2 (24 juillet 2020) : 157–72. http://dx.doi.org/10.24821/ijcas.v6i2.4159.

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ABSTRACTThai mural paintings have played a significant role in Thai society since The Sukhothai Kingdom period (1238-1438 AD) until the present. Wattana Boonjub (2009) points out that Mural painting was used for teaching the Thai people in the past. Throughout history, temples have become a crucial part of Thai' lives; for example, Wat Phumin in Nan Province. Wat Phumin has exceptional architecture, beautiful visual presentations of Buddhist storytelling on the walls which depict scenes from the Buddhist Jataka tales, and scenes of everyday life in Nan. These unique characteristics have attracted many visitors to this temple over the years. Also, when those interested visit Wat Phumin, they experience this temple as a Museum. Loïc Tallon et al. (2008) suggests that the museum experience provides an appropriate situation for learning history in an unconventional setting. As a result, previous research titled “Visual Research Practices on Thai Lanna Mural Painting: A Case Study of Wat Phumin, Nan Province” was presented at The 4th International Conference for Asia Pacific Arts Studies (ICAPAS 2016). The results indicated that the information concerning the Lanna mural paintings inside the temples was overwhelming. However, no directions are facilitating Thai and foreign visitors in viewing and understanding at the first episode of storytelling on Lanna mural paintings inside Wat Phumin. Therefore, this research is the result of finding a solution to facilitating visitors in viewing Buddhist Jataka tales through digital arts and digital technology (such as responsive web design, QR codes, etc.) with practice-based design research. ABSTRAK Lukisan mural Thailand telah memainkan peran penting dalam masyarakat Thailand sejak periode Kerajaan Sukhothai (1238-1438 M) hingga saat ini. Wattana Boonjub (2009) menunjukkan bahwa lukisan Mural digunakan untuk mengajar orang-orang Thailand di masa lalu. Sepanjang sejarah, kuil telah menjadi bagian penting dari kehidupan Thailand; misalnya, Wat Phumin di Provinsi Nan. Wat Phumin memiliki arsitektur yang luar biasa, presentasi visual yang indah dari cerita Buddha di dinding yang menggambarkan adegan dari kisah Buddha Jataka, dan adegan kehidupan sehari-hari di Nan. Karakteristik unik ini telah menarik banyak pengunjung ke kuil ini selama bertahun-tahun. Juga, ketika mereka yang tertarik mengunjungi Wat Phumin, mereka merasakan candi ini sebagai Museum. Loïc Tallon et al. (2008) menunjukkan bahwa pengalaman museum memberikan situasi yang tepat untuk belajar sejarah dalam lingkungan yang tidak konvensional. Sebagai hasilnya, penelitian sebelumnya yang berjudul “Praktik Penelitian Visual pada Lukisan Mural Lanna Thailand: Studi Kasus Wat Phumin, Provinsi Nan” dipresentasikan pada Konferensi Internasional ke-4 untuk Studi Seni Asia Pasifik (ICAPAS 2016). Hasilnya menunjukkan bahwa informasi mengenai lukisan mural Lanna di dalam kuil sangat banyak. Namun, tidak ada arahan yang memfasilitasi pengunjung Thailand dan wisatawan asing dalam melihat dan memahami episode pertama pada cerita tentang lukisan mural Lanna di dalam Wat Phumin. Oleh karena itu, penelitian ini adalah hasil dari menemukan solusi untuk memfasilitasi pengunjung dalam melihat cerita Buddha Jataka melalui seni digital dan teknologi digital (seperti desain web responsif, kode QR, dll.) dengan penelitian desain berbasis praktik.

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Siriphanich, Panatda, Prapaporn Mitmuang et Sunisa Thawonthong. « TOURIST SATISFACTION WITH THE QR CODES ON STREET ART IN SONGKHLA OLD TOWN, THAILAND ». Journal of Event, Tourism and Hospitality Studies 2 (23 décembre 2022) : 1–32. http://dx.doi.org/10.32890/jeth2022.2.1.

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Quick Response code or QR code is a type of bar code that is used widely in many organizations including in tourism to provide various information. This study aims to investigate tourists’ expectations of information provided by QR codes and to study tourists’ satisfaction with QR codes on Street Art in Songkhla old town, Thailand. Quantitative research design was employed in this study. 100 Thai and non-Thai respondents from each of the two phases of data collection answered each set of two questionnaires. Majority of the tourists responded for the need of QR codes to represent Street Art paintings in Songkhla old town as they would like to know the meaning of the paintings in more detail. The language used in QR codes should be English and Thai. The majority of the tourists showed satisfaction with QR code as information sources for Street Art paintings in terms of design, codes’ easy usage, and its accessibility which is not complicated. The results of this study can facilitate travelers’ rapid and easy access to tourism information. The QR codes can improve tourists’ experience by giving background information behind each painting related to history, culture and local ways of life. It helps both tourists and locals to discover more information about the cultural heritage they inherited and to enhance their awareness of heritage preservation. Tourism stakeholders and policy makers also benefit from this study as the information can be used to develop the QR codes for other tourist destinations. Additionally, street art plays an important role in creating creativity in the city and contributes in promoting Songkhla Old Town. It is considered as a tool to drive the local economy.

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Sirimuengmoon, Kawin, Pisak Chinchai et Jananya P. Dhippayom. « Traditional umbrella painting activity improved upper extremity function and decreased depression in stroke survivors in Northern Thailand ». Journal of Associated Medical Sciences 56, n^o 2 (3 mai 2023) : 162–71. http://dx.doi.org/10.12982/jams.2023.046.

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Background: Upper extremity (UE) dysfunction and depression often occur after a stroke. Strategies to promote UE function and reduce depression require task-related training. Objectives: This study aimed to investigate the effectiveness of conventional rehabilitation combined with traditional umbrella painting activity on UE function and depression in stroke survivors. Materials and methods: Twenty-two participants from rehabilitation units in Chiang Mai province, northern Thailand, were recruited according to the inclusion criteria and divided into experimental and control groups of 11 each. The experimental group received conventional rehabilitation combined with traditional umbrella painting activity for 140 minutes a day, three days a week, for a period of eight weeks, while the control group received conventional rehabilitation alone for the same amount of time. The instruments used were: 1) the Functional Test for Hemiplegic Upper Extremity (FTHUE) - Thai version; and 2) the Patient Health Questionnaire (PHQ-9)-Thai version. Statistics used were the Wilcoxon Signed Ranks test and the Mann-Whitney U test. Results: The UE function was significantly higher at the post-test than at the pretest (p<0.004) with a large effect size (d=1.59), and depression was significantly reduced at the post-test compared to the pre-test (p<0.003) with a large effect size (d=1.62), whereas the control group did not change. However, the function of UE and depression in these participants were not significantly different between the two groups both before and after the intervention (p<0.05). Conclusion: Findings indicate that conventional rehabilitation combined with traditional umbrella painting activity appears to be more effective for improving UE function and decreasing depression in stroke survivors than conventional rehabilitation alone. This can be an alternative treatment for occupational therapists in their clinical practices.

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TSUJIAI, Hidekazu. « About perspective of building and Ramakian in the wall painting of Thai Royal Palace Wat Phra Kaeo ». Journal of Graphic Science of Japan 45, n^o 2 (2011) : 3–8. http://dx.doi.org/10.5989/jsgs.45.2_3.

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Thèses sur le sujet "Thai Painting"

Suwannakudt, Phaptawan. « The Elephant and the Journey : A Mural in Progress ». Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.

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Suwannakudt, Phaptawan. « The Elephant and the Journey : A Mural in Progress ». University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.

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Defibaugh, Elaine R. « Did you see that chair / ». Online version of thesis, 1989. http://hdl.handle.net/1850/11323.

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Rietenbach, Tim. « Painting on a surface that has taken control of itself ». The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303490239.

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Black, Steven Michael. « The smear that discloses world : Material and perception in painting ». Thesis, Curtin University, 2021. http://hdl.handle.net/20.500.11937/89773.

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The thesis reads Gilles Deleuze’s lectures on painting from 1981 to develop a theory of painting as a mereological activity, concerned with the relations of parts to one another and to wholes. Painting from observation is taken as a case by which painting performs the broader aesthetic function of exemplifying efficacy.

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Kasick, Andrew George. « Gas Chromatography-Mass Spectrometry Study of a Painting That May Contain Asphaltum Pigment ». Marietta College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1366965064.

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Haggett, Matthew. « Songs and Stories that Only You Know : Multiplicity, Meaning, & ; the Metaphorical Bridge ». PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5191.

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The thesis report will serve as a companion for the body of work that is the bulk of the thesis project. The theme of the thesis project is "the bridge". "The bridge" is a metaphor for meaning occurring through context. It is present on many levels. It will implicit in much of the discussion. I will include themes such as the play of differing scales, the ambiguous line between part and whole, and the reasons for the book format . Specific imagery that occurs repeatedly in the work, like architecture and knots, will be explained in terms of its sources, personal meaning, and formal and conceptual roles. My interests in poetry is also a necessary topic as poetry is both present in the thesis work and implicit in my ideas about art as language. The thesis report will be secondary to the thesis work. It is of primary importance that the work can stand on its own. The ideas discussed in the thesis report must be accessible through the work itself (to a greater or lesser degree). To this effect, the thesis report will not be an attempt to convince, coerce, or cajole the unswayed viewer.

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Houzenga, Brent. « The Process That Eats Itself ». ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2331.

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Chance and the found object set the stage for artworks that illustrate the clash between the everyman, popular culture and high art. The investigation of my process, surroundings and interests leads to an infinite amount of possibilities in a process that is beginning to eat itself.

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Little, Alicia E. « Fragments are formless, as they do not hold together(things that are not touching) ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523452860384935.

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Brooks, Queen E. « The ties that bind : art of an African American artist ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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Livres sur le sujet "Thai Painting"

Rattana, Sanan. Sinlapa Thai chut phāp čhittrakam Thai. Kō̜thō̜mō̜. [i.e. Krung Thēp Mahā Nakhō̜n] : Samnakphim Wātsin, 1998.

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Lyons, Elizabeth. Thai traditional painting. 4^e éd. Bangkok, Thailand : Promotion and Public Relations Sub-Division, Fine Arts Dept., 1990.

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Ginsburg, Henry. Thai manuscript painting. Honolulu : University of Hawaii Press, 1989.

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Jaiser, Gerhard. Thai mural painting. Bangkok, Thailand : White Lotus Press, 2009.

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Tantisuk, Sawasdi. Pāthakathā Sin Phīrasī khrang thī 1, 15 Kanyāyon 2538, rư̄ang banthưk-sāngsan dōi Sawat Tantisuk, na hō̜prachum Mahāwitthayālai Sinlapākō̜n, Wang Thā Phra. [Bangkok] : Mahāwitthayālai Sinlapākō̜n, 1995.

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Thēpwisutthimēthī, Phra. Pritsanā tham Thai chut kāyanakhō̜n. [Bangkok] : ʻAtammayō, 1992.

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Līsuwan, Wibūn. Čhittrakam Thai. 2^e éd. [Bangkok] : ʻOngkān Khā khō̜ng Khurusaphā, 1985.

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ʻInthralip, Sonthiwan. Thai traditional paintings. [Bangkok : Sonthiwan Intralib], 1994.

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Sīsuchāt, ʻAmmarā. Sinlapa tham samai prawattisāt. [Bangkok] : Krom Sinlapākō̜n, 1991.

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Bhirasri, Silpa. Botkhwām, khō̜khīan, læ ngān sinlapakam khō̜ng Sāttrāčhān Sin Phīrasī. Krung Thēp : Hō̜ Sin, Mahāwitthayālai Sinlapākō̜n, 2002.

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Chapitres de livres sur le sujet "Thai Painting"

Prasomphan, Sathit. « Feature Extraction for Image Content Retrieval in Thai Traditional Painting with SIFT Algorithms ». Dans Communications in Computer and Information Science, 56–67. Singapore : Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-7242-0_5.

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Bolten, Randall. « 53 … Uh, Is That a Lot ? » Dans Painting with Numbers, 179–95. Hoboken, NJ, USA : John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118983898.ch10.

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Hediger, Vinzenz. « “I'd Like to Own That Painting” ». Dans A Companion to Fritz Lang, 358–70. Chichester, UK : John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118587751.ch19.

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Garwolińska, Katarzyna, Piotr K. Oleś et Anna Gricman. « Construction of narrative identity based on paintings ». Dans Art that Tells the Truth, 76–88. London : Routledge, 2024. http://dx.doi.org/10.4324/9781032629650-8.

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Gaskell, Ivan. « Paintings That Might or Might Not Be Art ». Dans Paintings and the Past, 115–32. New York : Routledge, 2019. | Series : Routledge research in aesthetics ; 11 | Some chapters revisions of works previously issued 2004–2016. : Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-6.

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Gaskell, Ivan. « Paintings That Might or Might Not Be Art ». Dans Paintings and the Past, 133–56. New York : Routledge, 2019. | Series : Routledge research in aesthetics ; 11 | Some chapters revisions of works previously issued 2004–2016. : Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-7.

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Jahanbegloo, Ramin. « Painting and the Perception of the World ». Dans Talking Poetry, 59–62. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0014.

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Abstract The historical evidence would suggest that painting was the first form of artistic articulation. The cave paintings, the primitive paintings that have been discovered, both in India and in some places in France and elsewhere, suggest that during the prehistoric period thousands of years ago, we have no remnants of any linguistic articulation, but we have painterly expression. So, it seems almost certain that the first expression in terms of art was in painting and that painting preceded poetry.

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Taylor, Luke. « Formal Components of Bark Paintings ». Dans Seeing the Inside, 127–46. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0006.

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Abstract The previous chapter examined in detail the contexts in which ceremonial paintings are made, and the intended effects of the production of paintings with particular meanings in the context of their use. It is now time to consider in detail the processes involved in producing bark paintings. This chapter marks the beginning of a set of chapters that examine various categories of bark painting and the way they are interpreted to encode meaning in different ways. In this chapter I focus on the materials and the various components of form that are used to complete particular categories of painting. Later chapters move to a consideration of the meanings elaborated within different categories of painting by senior artists.

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Taylor, Luke. « Iconic Representation ». Dans Seeing the Inside, 147–93. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0007.

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Abstract A key characteristic of Kunwinjku bark painting is the way that iconic representation is the predominant means of design generation and a primary frame of reference for the interpretation of the meaning of bark paintings. For Kunwinjku the figures in bark paintings are considered to be lifelike or relatively naturalistic representations of natural species or Ancestral beings. A painting may encode other levels of meaning, but an understanding of these meanings is contingent upon the correct interpretation of the figure represented in the painting.

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Sacks, David. « P ». Dans A Dictionary of the Ancient Greek World, 163–202. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195112061.003.0016.

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Abstract painting For the painting of scenes and portraits, the Greeks used various surface materials, including POTTERY, wooden panels, stone walls, leather, and textiles. Of these, only pottery has preserved Greek painting in any quantity, due to the ceramic’s durability and the paint being baked into the. clay during firing. Secondarily, there exist some examples of tomb paintings-from walls of graves or the insides of coffins-that were preserved underground. But most other Greek paintings have vanished over time, as their surfaces crumbled to dust.

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Actes de conférences sur le sujet "Thai Painting"

Jaidilert, Salinee, et Ghulam Farooque. « Crack Detection and Images Inpainting Method for Thai Mural Painting Images ». Dans 2018 IEEE 3rd International Conference on Image, Vision and Computing (ICIVC). IEEE, 2018. http://dx.doi.org/10.1109/icivc.2018.8492735.

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Maeda, A., Y. Oe et N. Yoshizawa. « EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT ». Dans CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po45.

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The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.

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Li, Jinning, et Yexiang Xue. « Scribble-to-Painting Transformation with Multi-Task Generative Adversarial Networks ». Dans Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California : International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/820.

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We propose the Dual Scribble-to-Painting Network (DSP-Net), which is able to produce artistic paintings based on user-generated scribbles. In scribble-to-painting transformation, a neural net has to infer additional details of the image, given relatively sparse information contained in the outlines of the scribble. Therefore, it is more challenging than classical image style transfer, in which the information content is reduced from photos to paintings. Inspired by the human cognitive process, we propose a multi-task generative adversarial network, which consists of two jointly trained neural nets -- one for generating artistic images and the other one for semantic segmentation. We demonstrate that joint training on these two tasks brings in additional benefit. Experimental result shows that DSP-Net outperforms state-of-the-art models both visually and quantitatively. In addition, we publish a large dataset for scribble-to-painting transformation.

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Oe, Y., A. Maeda, M. Takashima, Y. Mizokami, N. Yoshizawa et H. Nagakoshi. « EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE IN MUSEUM LIGHTING ». Dans CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.pp017.

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This study seeks to clarify an evaluation structure in relation to preference concerning the appearance of the painting with a view to creating new lighting standards in museums that consider the luminance ratio. We analysed the experimental results together with the results of previous studies and found that 'appropriateness of brightness for the painting' and 'appropriateness of brightness contrast between the painting and the background surfaces' tended to have a stronger correlation with preference than 'brightness of the painting surface' item; therefore, we examined an evaluation structure using the above assessment items as variables. Consequently, we were able to construct a model that could be applied to all paintings under consideration - which starts with 'appropriateness of brightness for the painting' and ends with 'preference for the appearance of the painting'.

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Rode, Lisa, Blaz Šeme et Janja Slabe. « ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS : THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA ». Dans RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València : Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.

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The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia

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Sakata, Tomofumi, Keiichi Watanuki et Kozawa Motohiro. « Influence of History of Art Learning on Understanding of Beauty and Ugliness in Painting ». Dans 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003240.

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Japanese elementary school teachers can teach art classes to elementary school students without receiving any art education. For this reason, there are no common evaluation criteria for art classes, and teachers create their own evaluation criteria and assign grades. The teachers' own evaluation criteria often include their own interests, suggesting that the students may not be receiving a fair evaluation. It is possible that elementary school students dislike art classes due to unfair evaluation. A dislike of art from an early age can lead to a lack of imagination and creativity. In addition, we are becoming a mature society with a rapidly declining birthrate and an aging population, and it is expected that each individual, as the bearer of a sustainable society, will be nurtured to create new values that will lead to the growth of individuals and society with qualitative enrichment driven by the diversity of the individual. One of the changes in a mature society is the rapid evolution of artificial intelligence. It is claimed that artificial intelligence is starting to think and comprehend knowledge conceptually on its own, and it is predicted that this would significantly alter the nature of employment and the significance of knowledge acquired in schools. At the same time, this leads to a reaffirmation of the fact that no matter how much artificial intelligence evolves and becomes capable of thinking, it is the greatest strength of human beings to provide the purpose of thinking and to judge the goodness, correctness, and beauty of the purpose. School education is required to enable children to actively face various changes, solve problems in collaboration with others, discern various types of information, realize a conceptual understanding of knowledge, reconstruct information and connect it to new values, and reconstruct purposes in complex changing situations. It is also required to be able to reconstruct objectives in the face of complex changes in circumstances. Thus, art education is considered crucial, and it is important to understand what aspects of art are perceived as beautiful or ugly in the process of learning art. Therefore, the purpose of this study was to understand the differences in the sense of beauty and ugliness in paintings between students majoring in art and those who are the same age as the students and have no prior art study experience.We conducted an experiment using paintings from each period of Western art history as the paintings for judging the beauty and ugliness of a painting. By evaluating the beauty and ugliness of art paintings from each period, we selected a variety of paintings from simple to complicated for the purpose of judging the beauty and ugliness of the paintings. We also aimed to quantify the beauty/ugliness points that do not change depending on the age or the complexity of the painting.Fractal analysis was used for the analysis. A fractal is a similarity between the whole and a part of a figure. Fractals are often found in nature and in living organisms, and fractal structures can also be found in works of art. In particular, fractals are seen in the paintings of Abstract Expressionist painters, whether by accident or necessity. It has been reported that fractal dimension and art are closely related. In this study, we consider fractals in color tones as well as in structure.As a result, art majors were able to clearly point out the beauty and ugliness of complicated paintings. Students who did not study fine arts saw the whole complicated painting as beautiful, and were unable to point out clear beauty or ugliness points. For simple paintings with only one person, the art majors were able to point out the beauty and ugliness of the painting in more detail. Students who did not study art pointed out the beauty and ugliness of a simple painting in a large and general way. Fractal analysis showed that the beauty/ugliness points pointed out by the experts maintained a medium fractal dimension. The fractal dimension of the beauty/ugliness points pointed out by students who had not studied art maintained a high fractal dimension, indicating that they perceived beauty/ugliness in more complex areas.The above results indicate that as students learn more about art, they are able to understand the beauty and ugliness of a picture more intricately and perceive beauty and ugliness in areas with a medium fractal dimension.

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Hendricks, Genevieve. « Le Corbusier’s Postwar Painterly Mythologies ». Dans LC2015 - Le Corbusier, 50 years later. Valencia : Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.

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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828

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Okuda, S., S. Taguchi, M. Melgosa et K. Okajima. « PREFERRED LIGHTING FOR UKIYO-E, JAPANESE WOODBLOCK PRINT PAINTINGS ». Dans CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.po129.

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In most cases the appearance of cultural properties depends on surface colours, materials and lighting conditions. This study aims to clear the preferred lighting conditions for the appearance of specific cultural properties named Ukiyo-e, Japanese woodblock print paintings. We used two kinds of Ukiyo-e as visual targets and investigated their appearance under 12 illuminants (D65, A, D50 plus nine LEDs proposed in CIE 015:2018), and three levels of vertical illuminance (50, 200 and 500 lx). According to the results, the preferred appearance of Ukiyo-e was affected by the lighting conditions as well as by specific colours of the paintings. Illuminants with high correlated colour temperatures (CCTs) made paintings appear as newer, and the illuminance of 50 lx was not preferred. We also found that the painting including blue colours was preferred under illuminants with slightly high CCTs, and illuminants with low CCTs were not appropriate for good appearance of Ukiyo-e.

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Zhilin, Denis M., et Marina Tokareva. « CHEMISTRY OF PAINTINGS OR HOW TO INVOLVE 8-10 Y.O. CHILDREN FOR A TWO-HOUR SESSION WITHOUT BREAKS ». Dans 1st International Baltic Symposium on Science and Technology Education. Scientia Socialis Ltd., 2015. http://dx.doi.org/10.33225/balticste/2015.108.

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The paper describes the experience of sessions on chemistry of paintings and chemistry of pencils for 8-10 y.o. pupils and their parents. The session consisted of lecture on the history of paints and pencils and laboratory sub-session where the participants made paints and pencils themselves. The participants could quit whenever they wanted, but really worked for more than two hours without break, that is extremely long for this age. We think that the reason is a diverse activity and a bright output. Key words: chemistry, elementary school, laboratory, painting.

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Tan, Wei Sheng, Wan Yoke Chin et Khai Yin Lim. « Content-Based Image Retrieval for Painting Style with Convolutional Neural Network ». Dans International Conference on Digital Transformation and Applications (ICDXA 2021). Tunku Abdul Rahman University College, 2021. http://dx.doi.org/10.56453/icdxa.2021.1007.

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With the advancement of digital paintings in online collection platform, new image processing algorithms are required to manage digital paintings saved on database. Image retrieval has been one of the most difficult disciplines in digital image processing because it requires scanning a large database for images that are comparable to the query image. It is commonly known that retrieval performance is largely influenced by feature representations and similarity measures. Deep Learning has recently advanced significantly, and deep features based on deep learning have been widely used because it has been demonstrated that the features have great generalisation. In this paper, a convolutional neural network (CNN) is utilised to extract deep and high-level features from the paintings. Next, the features were used for similarity measure between the query image and database images; subsequently, similar images are ranked by the distance between both pair features. Our experiments show that this strategy significantly improves the performance of content-based image retrieval for the style retrieval task of painting. Keywords: Content-based Image Retrieval, Deep Learning, Convolutional Neural Network

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Rapports d'organisations sur le sujet "Thai Painting"

Poloboc, Alina. Fancy Fifi. Intellectual Archive, décembre 2023. http://dx.doi.org/10.32370/iaj.2996.

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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details in red colors, such as the painted lips, the crown on the head of the figure, as well as the shoes and bag, which give the painting a touch of glamour and sophistication. The use of color and details is a fundamental part of the artwork, helping to convey the personality and style of Fancy Fifi. The figure stands out against a neutral background, emphasizing her presence and making her even more striking. The composition of the painting is very well executed, conveying a sense of movement and dynamism. Overall, the painting "Fancy Fifi" is a work full of style and personality, capturing the essence of Miami and the extravagance of its main character. The artist has created a striking and attention-grabbing painting that is sure to captivate all viewers.

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Bowman, Mark D., Bryan D. Hagan et William D. Hurdle. Steel Bridge Coating Evaluation and Rating Criteria. Purdue University, 2023. http://dx.doi.org/10.5703/1288284317386.

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The aim of the study is to gather information on three topics: (1) the evaluation and rating of steel bridge protective coatings, (2) coating systems used by various states throughout the United States, and (3) maintenance painting procedures employed by various state department of transportation agencies (DOTs). First, it was found that most state DOTs use either an Element Level type rating of the coating system or a 9–0 NBI type rating; many state DOTs use both methodologies, with one used for state bridges and the other for local bridges. Second, for coating systems, it was found that there is a great deal of uniformity of the steel bridge coating systems used in the United States, with three-coat paint systems being the most common. Third, it is believed that maintenance painting can extend the useful life of bridge coatings. However, many state DOTs report that the cost of maintenance painting has increased due to many factors that involve available personnel, proper training, and increased regulations on the removal and application of steel bridge coatings. Consequently, many DOTs no longer perform maintenance painting, other than emergency repairs, and simply wait until the entire bridge needs to be re-coated and contract the work out. Lastly, an NBI 9–0 type rating procedure for steel bridge coatings is proposed for possible consideration and implementation by INDOT.

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, décembre 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.

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Wüthrich, Annik. The Copenhagen Wooden Stela AAd6 from the National Museum of Denmark : An unusual Testimony of the 22nd Dynasty. Verlag der Österreichischen Akademie der Wissenschaften, décembre 2021. http://dx.doi.org/10.1553/erc_stg_757951_the_copenhagen_wooden_stela_aad6_from_the_national_museum_of_denmark_an_unusual_testimony_of_the_22nd_dynasty.

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The subject of this article is a wooden stela (AAd6) kept in the National Museum of Denmark in Copenhagen. By iconographical and typological criteria, this object is datable to the 22nd Dynasty and probably comes from the Theban area. The stela displays several particularities, among others, one of the longest genealogies preserved on this object type. Alongside a careful investigation of the different iconographical elements and a new translation of the text, this contribution looks into the onomastic and the prosopographical material, examining different titles such as “ḥnk-nw.w-priest in southern Heliopolis” or “wab-priest in chief of the estate of Mut, the great one, the mistress of Isheru.” This study not only reconstitutes the family tree but also connects this object with three others, that are datable to a timeframe from the 21st Dynasty to the beginning of the 26th Dynasty. An excursus focusing on the painting sequence of the text and depictions contributes to a better understanding of the creation of wooden stelae in the Third intermediate Period.

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Moreno Mejía, Luis Alberto, et Iván Duque Márquez. Contemporary Uruguayan Artists : An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, février 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, février 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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Leading Figures in Venezuelan Painting of the Nineteenth Century. Inter-American Development Bank, septembre 1999. http://dx.doi.org/10.18235/0006227.

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Twenty-one paintings by twelve of the most important 19th centuryVenezuelan artists, never before shown outside of Venezuela, that reveal parallels and differences with the development of painting elsewhere in the hemisphere, from the collections of the Gallery of National Arts of Venezuela, the Central Bank of Venezuela, and the Polar Enterprises Collection, all in Caracas.

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Owner of commercial sign painting firm died because of injuries that occurred when he fell 9 feet at a job site. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, août 1990. http://dx.doi.org/10.26616/nioshsface90co006.

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Selections from the IDB Art Collection : In Celebration of Hispanic Heritage Month 2006. Inter-American Development Bank, août 2006. http://dx.doi.org/10.18235/0006430.

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Celebrating the United States Hispanic Heritage Month, the exhibition presented a selection of 40 works from the Inter-American Development Bank (IDB) Art Collection that have been acquired over the last few years, including painting, drawing, sculpture, graphics, and folk art pieces from most countries of the Americas.

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The Arts of Guyana : A Multicultural Caribbean Adventure. Inter-American Development Bank, juin 2006. http://dx.doi.org/10.18235/0005951.

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More than fifty objects made by the Amerindian population as well as painting and sculpture representing contemporary artists drawn from several private and public collections, pay tribute to Guyanese artists and culture. This exhibition joined in the 2006 celebrations of Guyana's 40th year of independence and the commemoration of Caribbean American Heritage Month, which was declared for June by the U.S. Congress.

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