Articles de revues : « Thai Painting »

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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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Johnson, Irving Chan. « Doing fieldwork in an acrylic hell : mediations between personhood, art and ethnography in a Thai mural painting ». Journal of Visual Art Practice 17, n^o 1 (9 octobre 2017) : 81–99. http://dx.doi.org/10.1080/14702029.2017.1381009.

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Ye, Zhihao, et Xinyun Jiao. « Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting ». Asian Journal of Social Science Studies 7, n^o 7 (1 août 2022) : 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.

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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.

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Jovanović, Vanja, Suzana Erić, Philippe Colomban et Aleksandar Kremenović. « Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates ». Heritage 2, n^o 3 (4 septembre 2019) : 2612–24. http://dx.doi.org/10.3390/heritage2030160.

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.

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Barron, Irving R., et Gaurav Sharma. « Toward CanvasChain : A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings ». Electronic Imaging 2020, n^o 4 (26 janvier 2020) : 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.

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Wilson, Sarah Kate. « Painting’s liveness ». Journal of Contemporary Painting 9, n^o 2 (1 octobre 2023) : 267–85. http://dx.doi.org/10.1386/jcp_00059_1.

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Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin’s speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit’s declaration that the medium of painting is live and ‘On Air’ is drawn into her argument for painting’s liveness, whilst Catherine Wood’s curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text.

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Schoonmaker, Cristina Penn. « Arts Education in Thailand : Why it Matters ». MANUSYA 17, n^o 2 (2014) : 1–16. http://dx.doi.org/10.1163/26659077-01702001.

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The humanities, especially the visual arts, are often neglected at Thai universities because they are perceived as rarely yielding tangible results. This paper aims to demonstrate that learning to decode and talk about a painting not only require high level cognitive, visual, and language skills, but also extensive contextual knowledge, which only a background in the humanities can offer. The author analyzes several works of art as well as discusses modern aesthetics to argue that the arts are an integral part of the human experience, and therefore, should be included in general education courses at the tertiary level.

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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 (31 août 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 ancient figures with stories behind them, if the artist's intended code cannot be read, the title given by others will only describe the materials used in the painting. A painting depicting the story of “The Conversation of three old men” from Dongpozhilin volume 2, written by the famous Song dynasty writer Su Shi, would be titled differently in Joseon as “Three immortal asked their age” or “Three old men asked their age”, “Three people asked their age”, or “Three immortal watching the waves”. In China, the same painting is called “Three Old Men” or “Adding computing rods to ocean house”. By comparing and contrasting the similarities and differences between Joseon and Chinese paintings on the theme of “The Conversation of three old men”, this study aims to shed light on the process of transmission and transformation of this painting.

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McCormick, Patrick, et Mathias Jenny. « Contact and convergence : The Mon language in Burma and Thailand ». Cahiers de Linguistique Asie Orientale 42, n^o 2 (13 mai 2013) : 77–117. http://dx.doi.org/10.1163/19606028-00422p01.

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Mon has long been in contact with the dominant Burmese and Thai languages. The documented history of more than a thousand years allows us to trace changes in the language over time. This study looks at the divergent Mon varieties spoken today in Burma (Myanmar) and Thailand respectively, both influenced to different degrees and in different domains by the dominant national languages, Burmese and Thai. The study brings together insights from areal linguistics and history, painting a picture of the development of Mon in the two countries and its changing structure. Le mon a été depuis longtemps en contact avec les langues dominantes que sont le birman et le thai. Une documentation historique de plus d'un millénaire nous permet de suivre l'évolution de cette langue à travers les époques. Cette étude s'intéresse aux variétés divergentes de mon parlées aujourd'hui en Birmanie et en Thaïlande respectivement, toutes deux influencées à des degrés divers et dans des domaines différents par les languges nationales dominantes, le birman et le thaï. Cette étude s'appuie à la fois sur la linguistique aréale et l'histoire afin de brosser un tableau du développement du mon dans ces deux pays et de son évolution structurelle.

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Sarkar, Asmita, et Aileen Blaney. « Material Metaphor and Reflexivity in Contemporary Painting : A Practice-based Investigation ». Journal of Aesthetic Education 57, n^o 1 (1 avril 2023) : 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.

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Pahukan, Sujittra. « New Dimension of Lacquered Work ». Asian Journal of Arts and Culture 23, n^o 1 (22 juin 2023) : 260635. http://dx.doi.org/10.48048/ajac.2023.260635.

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Thai artwork Kammalor patterns (Lacquered Work) are the national art of Thailand that indicate the prosperity of culture that shows Thai identity. Handicrafts in Thai art, therefore, represent a skill that is exquisite, delicate, and tactful. In the midst of the contemporary social trend, social changes in art are diverse in commercial art. There are modifications and developments of works of art. Making the art market, the addiction to commercial art has an alternative channel for people to consume art in a variety of ways and more freely. The result of this creative research, researchers study and collect data. The knowledge from theory and practice in fine arts, surreal art creation, contemporary Thai painting style, analysis of techniques and creative processes from Thai techniques, a black and gold lacquered pattern technique and ancient lacquered patterns, including materials to create works that are even more difficult to find nowadays. The process combines techniques, processes and styles from Vietnamese lacquered works, such as techniques for inlaying materials onto works, using materials from fishbones, crab shells and shells together with mixing techniques on ceramic works from technique Raku firing (The Art of Raku Firing) using the Kintsugi fusion technique in the form of mixed media creations. The result of creating this work will show emotional aesthetics, a feeling that reflects imagination in creating works from inspiration in the fishery profession and the concept that the researcher does not rely on surreal art, which emphasizes the transfer of stories through creativity, symbolic shape display, and artistic visual elements that modified new attitudes through conservative Thai art forms to reflect the image of Thai art in the "New Dimension of Kammalor" series for society in the 21st century to remain sustainable in the future.

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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana et Luh Suartini. « ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA ». Jurnal Pendidikan Seni Rupa Undiksha 12, n^o 3 (30 septembre 2022) : 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.

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This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta

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Kader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed et Ahmed Abo-El Yamin. « Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt ». Budapest International Research in Exact Sciences (BirEx) Journal 1, n^o 3 (25 juillet 2019) : 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.

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The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.

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Herz, Rachel S., et Gerald C. Cupchik. « The Effect of Hedonic Context on Evaluations and Experience of Paintings ». Empirical Studies of the Arts 11, n^o 2 (juillet 1993) : 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.

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Aytaç, A. « Turkish textiles which have been described in paintings of artist Şevket Dağ ». Universum Humanitarium, n^o 1 (13 juillet 2021) : 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.

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Na Ri, Ge Le. « Characteristics of Mongol Figures in Persian Miniature Paintings ». Highlights in Art and Design 4, n^o 2 (1 septembre 2023) : 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.

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Bivens, Becky. « An Unlikely Match : Modernism and Feminism in Lynda Benglis’s Contraband ». Arts 13, n^o 3 (8 juin 2024) : 106. http://dx.doi.org/10.3390/arts13030106.

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In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.

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Ni Ketut Wiriani Merta, I Putu Sudana et Yohanes Kristianto. « Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism ». Jurnal Multidisiplin Madani 3, n^o 9 (29 septembre 2023) : 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.

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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sutasoma, and the lives of the Gods.Then the teachings of Hinduism as inspiration for the creation of traditional Balinese painting works (Wayan Agus Gunada). Painting is part of the art of Kamasan puppet art has unique cash characteristics such as natural forms, folklore, mythology and Hindhu religious teachings, which are manifested in the forms of symbols in it that are thick with spiritual value. Painting is not only as a display material but also as a material for forming human characters. Because in puppets there are good teachings and bad teachings. In puppets there are ways of behaving, ways of thinking, ways of dealing with life are all contained in puppet stories. Positive characters bring peace while negative characters bring misery. For example, Ravana, a puppet character who has a great lust that cannot hold back his ego, then makes all people miserable, Korawa who loba makes the entire palace miserable. Likewise, the wise character of Rama, the wise admiral character can be used as an example in behaving in everyday life. The reason for this research is to preserve traditional art assets as one of the wealth of the Indonesian nation (Bali). To introduce Indonesia in international especially tourism. While the uniqueness of painting is: 1 as the meaning of life / philosophical learning. 2 Wayang paintings have survived until now not extinct 3, puppet paintings as an economic breakthrough of the community, 4 Puppet paintings of ancestral assets, 5 Wayang paintings as friends of tourism to come to Indonesia.Almost all corners in the Sangging Kamasan Klungkung Bali banjar, there are puppet painting galleries that are ready to welcome tourisms visiting Indonesia, especially Bali. Great services of classical puppet painting or Balinese Traditional Paintings as a loyal friend of tourism, so that Indonesia can get acquainted with international countries because of the contribution of this classic puppet painting service (Balinese Traditional Paintings)

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Locher, Paul, et Yvonne Nagy. « Vision Spontaneously Establishes the Percept of Pictorial Balance ». Empirical Studies of the Arts 14, n^o 1 (janvier 1996) : 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discriminated the less balanced from the more balanced versions of the black-and-white paintings with a single glance at each. They were also able to discern differences in balance among the color stimuli in the single fixation condition, but not the subtle differences in balance between the two versions of each painting. Subjects' assessment of a composition's balance based on stimulus information encoded with one fixation did not significantly change when exposure duration permitted multiple fixations of that composition. Data are consistent with the view that the induced structural organization resulting from the balanced configuration of a painting's element is detected spontaneously by the eye “at first glance.”

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Nieves, Juan Luis, Juan Ojeda, Luis Gómez-Robledo et Javier Romero. « Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings ». Journal of Imaging 7, n^o 4 (14 avril 2021) : 72. http://dx.doi.org/10.3390/jimaging7040072.

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In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show that independent component analysis of the painting images yields directions of colour preference aligned with the relevant colours of these images. Following on from this analysis, the results suggest that hue colour components are efficiently distributed throughout a discrete number of directions and could be relevant instances to a priori describe the most representative colours that make up the colour palette of paintings.

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Kim, Yeonjoo. « Pursuing the Aesthetics of ‘non-vulgarization’ : Focusing on Shanshuichunquanji by Han Zhuo ». Institute of Humanities at Soonchunhyang University 42, n^o 3 (30 septembre 2023) : 163–94. http://dx.doi.org/10.35222/ihsu.2023.42.3.163.

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This study aims to examine the aesthetic value of ‘non-vulgarization(不俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to proceed to Tao in painting. Han Zhuo expressed not only the cultivation of learning but also the replacement of poetry with a painting’s implied meaning and the proficiency of brushing, Furthermore, he emphasized “learning” in order to have a sophisticated aesthetic with the Confucian method. Despite the fact that the literary men at the time considered that the character of the painting was congenital and could not be learned as a manifestation of personality due to social status, Han Zhuo believed that the aesthetics of “non-vulgarization” for landscape painting could be achieved by learning, learning the method of painting, and seeking learning.

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Markevicius, Tomas. « Innovation in Green Materials for the Non-Contact Stabilization of Sensitive Works of Art : Preliminary Assessment and the First Application of Ultra-Low Viscosity Hydroxypropyl Methylcellulose (HPMC) by Ultrasonic Misting to Consolidate Unstable Porous and Powdery Media ». Sustainability 15, n^o 20 (10 octobre 2023) : 14699. http://dx.doi.org/10.3390/su152014699.

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Paintings and other works of art created with fragile and mechanically unstable powdery media present challenges to conservators. Frequently, powdery media is water-sensitive, extremely fragile, tends to delaminate, and may be altered by even the slightest physical action or interaction with liquids. Materials that can provide an efficient stabilization without unacceptably altering the optical characteristics of the delicate substrate are extremely limited. Among these, Funori, Isinglass, and Methocel A4C have become established for this use. In bench practice, consolidants are frequently applied in a non-contact way, using ultrasonic and pneumatic aerosol generators to minimize the impact of the consolidant on sensitive substrates. However, nebulizing the available materials is problematic in bench practice, because of their high viscosity and, only extremely low concentrations can be nebulized using low kinetic impact ultrasonic or pressure-based misting systems adopted from the healthcare industry. As a potential innovative solution, this study introduces novel ultra-low viscosity (ULV) cellulose ethers (ULV-HPMC) for stabilisation of unstable porous and powdery surfaces, which have been successfully applied in bench practice for the pilot treatment of Edvard Munch painting on canvas and two 19th c. Thai gouache paintings on panel. Novel ULV-HPMC materials have multiple desirable qualities for consolidation treatments in conservation, and in accelerated aging tests marginally outperformed Methocel A4C, considered to be one of the most stable consolidants in the practice of conservation. Because of the ultra-low viscosity, higher concentrations of ULV-HPMC materials can be applied as water-based aerosols in a non-contact way and in fewer applications, which is a significant advantage in the treatment of delicate water-sensitive surfaces. Notably, novel ULV biopolymers are low-cost, derive from sustainable and renewable sources, and do not raise health and environmental concerns. Such novel materials and methods seamlessly resonate with the ICOM-CC’s Melbourne 2014 declaration, EU Green Deal, and the UN’s Sustainable Development goals and show potential adding new sustainable materials with the exceptionally low viscosity to the conservator’s tool box.

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Li, Lingjing, et Yu Tian. « Aesthetic Preference and Time : Preferred Painting Dilates Time Perception ». SAGE Open 10, n^o 3 (juillet 2020) : 215824402093990. http://dx.doi.org/10.1177/2158244020939905.

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In the domain of aesthetic preference, previous studies focused primarily on exploring the factors that influence aesthetic preference while neglecting to investigate whether aesthetic preference affects other psychological activities. This study sought to expand our understanding of time perception by examining whether aesthetic preference in viewing paintings influenced its perceived duration. Participants who preferred Chinese paintings ( n = 20) and participants who preferred western paintings ( n = 21) were recruited to complete a temporal reproduction task that measured their time perception of Chinese paintings and of western paintings. The results showed that participants who preferred Chinese paintings exhibited longer time perceptions for Chinese paintings than for western paintings, while the participants who preferred western paintings exhibited longer time perceptions for western paintings than for Chinese paintings. These results suggested that aesthetic preference could modulate our perceived duration of painting presentation. Specifically, individuals perceive longer painting presentation durations when exposed to the stimuli matching their aesthetic preferences.

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Daneyko, Olga, Natale Stucchi et Daniele Zavagno. « The Poggendorff illusion in Ruben's Descent from the Cross in Antwerp : Does the illusion even matter ? » i-Perception 13, n^o 5 (septembre 2022) : 204166952211258. http://dx.doi.org/10.1177/20416695221125879.

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Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.

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Zhao, Shuhong, et Sheng Gui. « The research on door guardian painting’s function and implication ». Chinese Sociological Dialogue 2, n^o 1-2 (juin 2017) : 52–66. http://dx.doi.org/10.1177/2397200917711464.

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Door guardian painting is one of the greatest treasures of Chinese art, bearing the weight of the simple feelings and the life awareness of Chinese people. As a specific cultural symbol, door guardian paintings symbolize a kind of popular folkloric culture which has experienced changes under the influence of a changing society. Through door guardian paintings, people’s attitudes and understandings can be observed in their unremitting dreams of a better life. This article begins with the door guardian painting’s tardy development, then discusses its functions and implications in Chinese society. Based on empirical research, this article explores the deep emotional experience expressed in daily life. The uniqueness of the article is that the authors take the function and implication of door guardian paintings as the entry point to explore the development of the rational cognition and mental change of the public in China, and by this to explore the change in people’s daily life so as to inherit and carry forward Chinese culture in the new era.

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Wei, Ping. « Emotional Cognitive Expression in Lacquer Colors Based on Prior Knowledge ». Journal of Environmental and Public Health 2022 (30 août 2022) : 1–10. http://dx.doi.org/10.1155/2022/1151676.

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Since lacquer painting first appeared in the world of art, research into it has grown steadily. People have developed a keen interest in modern lacquer painting as a result of the extensive study of lacquer culture in both domestic and international academic circles. Many artists and art enthusiasts have contributed significantly to the study and research of lacquer painting and have made helpful attempts at modern lacquer painting. But it is challenging to describe the emotion that a lacquer painting’s color conveys. This paper presents a decision-making framework for emotional cognitive learning based on the theory of emotional cognitive evaluation because there are relatively few researchers who have specifically studied the relationship between the creation of lacquer paintings and emotions and because there are also few research materials and documents for reference. The assessment of an emotional state is the central component of this framework. The observation module in the model framework is used to gather the emotional data that the lacquer painting expresses. The issue of emotional expression in lacquer painting is resolved by the emotional evaluation system, which combines the preprocessed information with prior knowledge to evaluate. The importance of affective cognitive expression in lacquer painting and the necessity of affective computing in the fields of machine learning and decision control is obtained on the basis of discussing the research status and content of affective cognition and affective computing. The efficiency of expression was increased by 1.3 percent as a result.

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Lin, Jun. « Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision ». Security and Communication Networks 2021 (5 mars 2021) : 1–6. http://dx.doi.org/10.1155/2021/5511252.

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In order to solve the problem of poor visual communication effect of impressionist painting colors and low accuracy of painting color enhancement by existing methods, this thesis proposes a research on the performance of impressionist painting color visual communication based on machine vision under the background of wireless network. This method can improve the vision, speed, and efficiency of communication, through the analysis of the characteristics of impressionist paintings, and determine the visual communication objects of impressionist painting colors. The process of visual communication is analyzed, and the color matching of impressionist painting is completed with the help of BP neural network algorithm. On this basis, the histogram method is used to process the image brightness of impressionist paintings, the image interpolation method is used to process the image brightness of impressionist paintings, and the image is corrected by gamma correction to complete the image performance research. The color vision communication of impressionist painting needs to correct the gray scale error of impressionist painting and enhance the color of impressionist painting. The experimental results show that the accuracy of this method for the color matching of impressionist painting images is about 98%, which has a certain degree of credibility.

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Holmwood, Sigrid. « The peasant paints : Minor painting and peasant cosmopolitics ». Journal of Contemporary Painting 8, n^o 1 (6 avril 2023) : 73–96. http://dx.doi.org/10.1386/jcp_00040_1.

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This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.

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Yu, Lan, et Yukari Nagai. « An Analysis of Characteristics of Children’s Growth through Practical Art ». Healthcare 8, n^o 2 (24 avril 2020) : 109. http://dx.doi.org/10.3390/healthcare8020109.

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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.

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Xu, Yuwei. « Immensity in Trivialness, Integrity in Brokenness --To View The Bapo Painting from The Dimension of Time and Space ». Communications in Humanities Research 3, n^o 1 (17 mai 2023) : 56–63. http://dx.doi.org/10.54254/2753-7064/3/20220145.

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The Bapo Painting is a traditional form of art in China. Painters form the pictures by depicting the fragments of cultural relics. In recent years, with the increasing academic interest in "debris" and "ruins", Bapo Painting has also attracted more and more attention from Chinese and foreign scholars. However, as "intentionally-created" fragments, the richness in time and space embodied by Bapo Paintings has rarely been explored. Therefore, this paper will research the temporal and spatial value of the Bapo Painting. On the dimension of time, the Bapo Painting aggregates the past, present, and future. First, the life of the Bapo Painting begins before creation because its subjects are all antiques. Second, the selection and description techniques of fragments in the paintings disclose the social background at the time of creation. Lastly, the fragments on the paintings can trigger people's thoughts about the future destiny of things and their own lives. On the dimension of space, the fragments in Bapo Paintings constitute integrity, showing the dialectical relationship between incompleteness and completeness. From the creator's perspective, the spatial concept reflects a cultural blend of East and West. From the viewer's perspective, the fragments in Bapo Paintings can not only arouse reflection on the overall composition and connotation, but also initiate attempts to reconstruct the noumenon of fragments. Through the integrated perspective of time and space, Bapo Paintings embody the harmony between man and nature as well as the "aesthetics of ruins" that permeates China's cultural genes. Although the Bapo Painting is excluded from the mainstream, it represents the core spirits of traditional Chinese culture.

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Hommes, Margriet van Eikema, et 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, n^o 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 it an outrage that this 'painting with no value' should have replaced Rembrandt's masterpiece with the same subject. However, Flinck and Ovens – both pupils of Rembrandt – were painters of the first rank and there is nothing in the oeuvre of either master that is reminiscent of this rather unbalanced gallery painting. The question is therefore: to what does this piece owe its inaccessible appearance? This, of course, also relates to the manufacture-process and function of the canvas. Archival records and historical texts contain many relevant details on the paintings' genesis but have so far mainly given rise to confusion. The technical investigation, carried out during the 2007-2009 conservation campaign of the Batavian series, now demonstrates that the painting's extreme appearance traces back to both its peculiar genesis that is wholly different from that of the other gallery paintings and to its unfortunate conservation history. It was found that the piece was never intended to be a permanent decoration: the canvas is the one surviving remnant of a series of temporary festive decorations that Flinck had produced in the summer of 1659 in honour of the visit of Amalia van Solms and the Orange family to the Town Hall. Because of the painting's temporary nature, Flinck has modified his usual working procedures. Rather than taking sturdy, durable linen he chose a thin, fine canvas; and instead of applying to his canvas a reliable ground layer he painted on it directly. Flinck elected for fast-drying water-based paint (gum arabic) and worked with an extremely modest palette: he coloured his canvas with a thinned brown paint and on this base modelled his figures with only black contours and beige highlights. The original idea was that Flinck's temporary works would be replaced by permanent decorations from his hand, consisting of twelve paintings. But because of his untimely death in 1660, the commission was divided between Jordaens, Lievens and Rembrandt. Rembrandt's painting, to replace Flinck's work with the nocturnal conspiracy, was almost immediately removed, probably in the summer of 1662. When the Bishop of Cologne visited Amsterdam shortly afterwards, this empty space needed to be filled in a hurry and Flinck's old decoration was retrieved from storage. Jürgen Ovens was commissioned to 'work up [= finish] a sketch by Govert Flinck into a complete ordonnance'. Once again we seem to be dealing with a temporary decoration, for the modest sum of 48 guilders was all that Ovens was paid. The painter only did what was absolutely essential – after applying an isolating glue layer, he just added a few lines and touches of colour in oil paint here and there, all just enough to clarify Flinck's image, which was by then probably somewhat battered. The planned replacement of the Flinck/Ovens' canvas by a permanent painting never materialized; oppressed by a shortage of finance, the city governors decided in 1664 to postpone for five years all commissions or purchases of paintings for the Town Hall. This is why Flinck's canvas, dressed up a little by Ovens, has remained in the gallery to this day. Obviously, this painting, produced for a strictly temporary purpose, was never intended to have such a long 'life'. An ungrounded canvas painted with water-based paint is highly fragile and discolours as the fabric ages. But quite apart from this discolouration the dark and empty impression that the painting conveys today, is mainly due to earlier treatments by those who had no understanding of its unique characteristics. As archival records show, in the eighteenth century the canvas was lined twice using glue; a treatment that involved the use of considerable amounts of water. In addition, over the centuries the painting has been varnished several times and in the 1960's it was given a wax-resin lining. It is because these treatments, each of which is totally unsuitable for a water-based canvas, that the painting has acquired its present patchy and dark orange-brown appearance. Since nothing can be done to remedy the consequences of the lack of understanding of previous centuries - one cannot return to the painting's original appearance - the aim of the recent restoration was to achieve a balance between the aspects of the painting that stem from its unusual manufacture-process and the qualities that are the consequence of its conservation history.

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Casey, Edward S. « Place in Painting ». Research in Phenomenology 54, n^o 1 (27 mars 2024) : 1–12. http://dx.doi.org/10.1163/15691640-12341535.

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Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a continuation on how we experience places in the context of the lived world. Included are analyses of three placially oriented paintings of my own as well as one by de Kooning – all in an effort to show the multivalence of place in painting.

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Pedram, Behnam, Mahdi Hosseini et Gholam Reza Rahmani. « The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View ». Journal of History Culture and Art Research 6, n^o 3 (16 juin 2017) : 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>

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Lee, Yeonju. « The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact ». Korean Journal of Art History 315 (30 septembre 2022) : 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.

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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.

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Feng, Jiarui. « The Spirit of Freehand Brushwork in Chinese Oil Painting ». Pacific International Journal 6, n^o 1 (31 mars 2023) : 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.

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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is deeply rooted in the Chinese idea of the 'unity of heaven and man' and 'respect for individuals'. The paper presents a critical analysis of the aesthetic and expressive features of Freehand Brushwork oil paintings, shedding light on the unique artistic characteristics of Chinese oil painting that distinguishes it from other painting styles. This paper contributes to the understanding and appreciation of Freehand Brushwork oil paintings and serves as a guide for artists seeking to master the Freehand Brushwork techniques in their artistic creations.

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Rahim, Muhamad Ali, Wawan Suryana et Abdusyukur Budiarvin Septiadi. « Eksplorasi Penggambaran pada Material Bergambar sebagai Lukis Alternatif ». Ideas : Jurnal Pendidikan, Sosial, dan Budaya 10, n^o 2 (31 mai 2024) : 385. http://dx.doi.org/10.32884/ideas.v10i2.1562.

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The discourse on shifting artistic idioms which allows for the opening up of diversity in the visual creation of paintings is the background for this applied research. The aim is to offer alternative materials for paintings that add novelty to the idea of creation. The method used is based on practice and experimentation through the use of used pictorial media as a field for painting. This research produces alternative works of painting with visual uniqueness due to the overlapping images as a differentiator. Apart from marking a paradigm shift in the discourse and idiom of painting, it also strengthens the findings regarding the transfer of the basic material context of painting. This creation is quite important because the exploration of unconventional painting presents uniqueness that can trigger newness in painting in the future.

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Codling, Rosamunde. « Further notes about the Antarctic paintings of Edward Seago ». Polar Record 37, n^o 201 (avril 2001) : 153–54. http://dx.doi.org/10.1017/s003224740002698x.

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AbstractThe author has located an Antarctic painting that was not listed in the previously published article ‘The Antarctic paintings of Edward Seago (1910–1974).’ This painting, entitled ‘Antarctic dusk,’ is held by the Royal Geographical Society. An anomaly regarding one of the paintings discussed in the original article is mentioned and clarified.

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Zhan, L., Z. Wang, X. Zhao, Z. Liu et G. Liu. « THE MONITORING AND ANALYSIS OF THE CHINESE TRADITIONAL ARCHITECTURE PAINTING DECAY &ndash ; THE CASE OF JILAN PAVILION IN THE SUMMER PALACE ». ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (23 août 2017) : 737–41. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-737-2017.

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The painting is one of the most decorative elements of ancient Chinese architecture and it is sensitive to the natural environment. The outdoor painting is very easily to be affected by the natural environment and its color is easily to decay. In order to study the relationship between the painting decay and the physical environment, the two paintings on both east and west inner eaves of Jilan Pavilion beside the Kunming Lake in Summer Palace are taken as the research objects, because these two paintings are painted at the same period but their decay degrees are greatly different. Since 2013, the research group regularly monitors the color decay of these two paintings. Meanwhile, the physical environment around these two paintings has been monitored. Based on the analysis of the monitor data, it can be seen that the illumination is the major factor that causes the decay of the painting. Meanwhile, by using the ECOTECT software to stimulate the light environment around the Jilan Pavilion, it can be seen that it is the mirror reflection of the lake that causes the result that the illumination of the west eave (face east) is stronger than that of the east eave (face west).

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Sharma, Yam Prasad. « Nepali Paintings : A Departure From Religious Contents to Secular Subject Matters ». Tribhuvan University Journal 36, n^o 01 (31 décembre 2021) : 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.

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Fan, Wenwei. « Analysis of the Artistic Characteristics of Literati Paintings ». International Journal of Education and Humanities 11, n^o 1 (19 octobre 2023) : 170–74. http://dx.doi.org/10.54097/ijeh.v11i1.13092.

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As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings will promote the development and innovation of Chinese painting and contribute more wonderful works and ideas to the art world. This article through to the literati painting origin, the main style characteristic and the creation theme thorough analysis, demonstrated the literati painting in the Chinese traditional painting unique status and the importance.

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Hua, Jianing. « Integration of Chinese and Western Art in Late Ming Dynasty : Imitation and Innovation with Wu Bin as an Example ». Communications in Humanities Research 8, n^o 1 (31 octobre 2023) : 76–82. http://dx.doi.org/10.54254/2753-7064/8/20230972.

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The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society towards foreign painting. Furthermore, the study conducts the visual comparison methodology to identify the elements of Western painting that were incorporated into Chinese painting during this period, centering on the works of artist Wu Bin (1550-1643) and employing specific information as corroborative substantiation. The results of the study indicate that late Ming society did not exhibit overt animosity towards Western art and that Wu Bins paintings contain discernible Western painting inspirations. Yet, these factors did not impede the prevalence of indigenous artistic and aesthetic inclinations in his oeuvre.

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