Imaginería sacra y espacios pictóricos en las comedias de santos de Lope de Vega

The traditional culture has a long history and produces an effect on all aspects of life. The Taoist philosophy has a profound and broad effect on the field of arts and design. And, Lao-Tzu’s philosophical thinking is of groundbreaking significance and his concept produces an effect on the creation of many designers. However, most of the related studies aim at investigating Taoist Zhuangzi’s thinking and only few of them focus on Lao-Tzu’s philosophical thinking. Therefore, it is necessary to study it. Kan Tai Keung, a designer from Hong Kong who well knows the Chinese cultures, arts and aesthetics, and Sugiura Kohei, a designer from Japan who is very familiar with Asian images and cultures, are deeply affected by the Chinese cultures and Taoist philosophy. Both of them have their own excellent works and outstanding personal style in the field of design. Their threads of thought are worthy of being investigated. Therefore, the present study aims at clarifying the concept and meaning of Lao-Tzu’s philosophical thinking of ‘Tao, Being and Non-being’, investigating the relations between Sugiura Kohei’s and Kan Tai Keung’s design works and Lao-Tzu’s philosophy and discussing the concept transformation and creation in this context as well as the similarities and differences between the two designers’ concepts, symbols and practices. Through a theoretical exploration of Lao-Tzu’s philosophical thinking and the related Chinese and Japanese aesthetic ideas, images and psychological forms, and then an analysis of the two designers’ personal background and creative history, seven creative ideas and expressions in relation to Lao-Tzu’s philosophical thinking are summarized as follows: ‘Round Sky and Square Earth’, ‘Yin and Yang’, ‘Tao Gave Birth to All Things’, ‘Harmony between Heaven and Man’, ‘Chaos’, ‘Blank’, and ‘Nature’. For the parts of ‘Round Sky and Square Earth’ and ‘Harmony between Heaven and Man’, Sugiura Kohei and Kan Tai Keung use respectively the Buddhist and Taoist cosmology and the Taoist operation laws pursuing harmony and simplicity; as to the representing methods, Sugiura Kohei uses Mandala, cosmic mountain and five-color meeting while Kan Tai Keung uses round and square forms and the concept of ‘unity of object and subject’ from Zhuangzi’s butterfly dream, which is expressed by the elements of butterfly, lotus and dragonfly. For the parts of ‘Yin and Yang’ and ‘Blank’, both of them use the concept of Yin and Yang and the space arrangement to express aftertaste. For the parts of ‘Tao Gave Birth to All Things’, ‘Chaos’ and ‘Nature’, Sugiura Kohei’s design contains the presence of cosmic power and the multi-subject view of the world while Kan Tai Keung’s design contains the representation of the status and rhythm of the generation and returning to nature of all things through Shi-Tao’s ‘A Painting Theory’. In their works of design, both of them apply the concepts and techniques, such as ‘One Is All’, ‘Tai Chi and Yin and Yang’, ‘The False and the True Complement Each Other’, ‘Harmony between Heaven and Man’, ‘Round Sky and Square Earth’, and ‘Blank’; however, they have different cosmologies, reference theories and preferred symbols, for example, Sugiura Kohei often adopts the Buddhist cosmology of Primordial Chaos and expresses it in the forms of Five elements, Mandala and Sumeru while Kan Tai Keung makes use of the Chinese cosmology and cultural values to represent the viewpoint and idea of the primordial, natural and pure simplicity in ‘A Painting Theory’ and he also prefers to use the Four Treasures of Study, objects in daily life, red points and round stones as the main elements of his design.

This paper, a comprehensive demonstration of the author’s life course and aesthetic experience, is designated to express her emotions and commit personal feelings through painting creations. It is hoped that, from the images, symbols, and forms of her oil paintings, the life tension of flowers in the nature from full blossom to fading away can be fully shown. Everything we perceived from the nature phenomenon can be seen as a similar reflection of our ever-changing life. Only by facing them authentically can we faithfully experience them and get to know the true value of life. Under this rationale and through her creation process, the author expects to go deep into the very inner heart and explore more about its mystery. Through the symbolic metaphor of flowers ecology, as well as utilizing the regular articles for daily use, the author solicits inspiration and subject matters, and then applies them as the entry point of her paintings. Thereby the author converts her inner thinking and sentiment into the oil painting creations that combine life’s reality, arts concept and aesthetic style. By the confession-oriented oil painting creations, the author hopes to express images of her inner feelings through the forms of vision art. Not only can art be utilized to treat wounds and exchange feelings, it can also enrich our lives. Art has its invisible power in such a way that, through its diversified nature, art creations can be applied to endlessly probe into the mystery and value of life. This study consists of 5 chapters briefly described as follows: Chapter 1 – Introduction, including “Motives and Objectives” and “Methodology and Scope of Study” Chapter 2 – Literature Review, looking into the creation spirits and painting features of both Chinese and Western artists, with the incorporation of personal beauty concept. Chapter 3 – Rationale of the Works, describing the author’s painting-related learning and creating process. Chapter 4 – Painting Analysis, explaining the style and analysis of the author’s creation works ranging from year 2007 to 2009. Chapter 5 – Conclusions, summarizing the author’s creation philosophy, as well as exploring the author’s future painting orientation.

Signs, Symbols and Languages of Flowers: A Study on the Romantic Presentation of Visual Images Abstract Through the perspective of the soul, exuberant natural scenery is transformed into imagery that features impressionistic romance via the painting brush. Delicate and charming flowers and the emotions touched which were embedded in the painting are full of poetic charm and purity that we use to admire life, dust and the air. With imagination and the past moments imprinted in the memory, the human soul can be refreshed and peaceful as if bathing in the sunlight of the dawn. External forms and skills for painting creations must be the embodiment of soul and mind. In regard to the symbolism in the artworks, the author employed the connotations of “flower languages” in order to profoundly express both the ideas and emotions that underlie the poetic creation. By combining art theories and aesthetic forms, the author presented a romantic atmosphere. Through the vivacious, poetic and romantic flowers portrayed in the artwork, as well as the dreamland fantasy, the author presented the ideas on canvas. Through this creative experience, the mystery of the peaceful and elegant flowers was explored to obtain a better understanding of the connotations of the languages of flowers. More than that, the influences of impressionism, romanticism, surrealism, symbolism and expressionism on the creative process were analyzed; the nature of painting was delved into through the forms perceived subjectively and the colors reflecting human feelings in artistic creation. The structure of this research is as follows: First chapter-Introduction: the research motivation and purpose, research content, methodology, scope and terminology; Second chapter-Literature review and analysis of painting images: investigation of the creative style of Western artists whose works featured flowers and comparison of the creative style of theirs and the author’s, in order to better understand the creative spirit and painting features of these artists with which, coupled with the author’s personal aesthetic viewpoints, the literatures were compiled and analyzed. Third chapter-Creative concept and practice: the nature of artistic creation, poetic feelings and connotations of flower languages, and the author’s artworks that are presented in a romantic way. Fourth chapter- Analysis of artworks: the analysis of creative forms, underlying ideas, color composition, and statements on main artworks. Fifth chapter- Conclusion: the core of the research project, summary and reflection on the knowledge gained during the research process and the creative concepts, as well as a discussion on the future creative directions and development.

In a visual culture where the dividing line between the theatrical and visual art forms is becoming increasingly blurred, it is important to reconsider the ways in which the spatial is conceived. Space is another non-linguistic medium of communication-it does not convey ideas through language, but through an array of visual and spatial components augmented by aural or linguistic threads. Robert Wilson, Maria Irene Fames, John Byme, David Storey and John Arden were trained as fine artists before becoming playwrights. Their works are used to describe stage space as a visible medium of expression. These playwrights make use of principles from painting, sculpture and installation to create spatio-temporal images that work with a text to form a theatrical performance. They have constructed their pieces with an implicit visual structure that is essential to their staging. Each manipulates aesthetic concepts gleaned from the fine arts as mechanisms to create three dimensional theatrical compositions, which can be categorised as 'scopic building blocks'. By analysing these mechanisms with a methodology and vocabulary drawn from the visual arts, a theatrical conception of spatial analysis will become apparent. These playwrights will be placed in the context of the theatre as a seeing place, into which artists often have crossed over and made use of as an expressive form. Then a summary of the playwrights' fine art training will introduce their aesthetic technique, thereby connecting their visual art and theatrical work. Their working methods will be examined so that their 'playwriting' or 'visual scripting' can be defined. Once the evidence is presented, there will be an exploration of the ways in which these techniques can be applied to physical theatre, theatres of images or other visually influenced texts.

中學世界史教科書中「科學革命」的呈現 (1949-2014)

An art and the author’s day-to-day life is closely linked, in relation to the author’s life—there is no distance. Life’s desire of faith, pursuit of freedom, equality, and fraternity gives the author a natural appreciation of beauty, a worry-free life, establishing a rich and tremendous impact on the artist’s creation. During childhood, as my mother use to say in Taiwanese, “Red is beautiful, black is generous,” this enhances the abstract image representation of the ‘Flying over the Peony’ series art works. Using this beloved Peony image, as a figurative, or semi-figurative, as an abstract, or half-abstract, eventually to an abstract expression. Using the traditional Oriental pen and ink (Chinese ink painting and Japanese glue painting), spirit of aesthetic sensibility to endow western oil painting art forms. Using the Western oil painting’s rational, subconscious, and spontaneity expressions gives oriental Confucianism, Taoism and Zen Buddhism’s perceptual comprehension content, mutual scheme to complement harmony of East-West art forms. By the context of the history of Eastern and Western art, analyzing the nature, differences, characteristics, features, and discussion of contents, forms and techniques of the other, to be aimed at exploring research topics on how to incorporate into Eastern and Western art expression of “Red is beautiful, black is generous,” artistic imagery. Descriptions below: Outline of Chapter I Introduction: Description of motivation and purpose, research scope and methodology, and term definitions. Chapter II Creation of theoretical and literature review, author’s thinking, creative format and basis of content, research and analysis of Eastern and Western art history, mode patterns of evolution, then analysis of the author’s Peony series of art works. Chapter III The practice of creative ideas to life and life experiences, personal experiences, analysis of Peony art work series, how to use “Red is beautiful, black generous” in creating the theme. Chapter IV Composition analysis: Mainly creative description of 7 art works, elaborated on creative concept and process, content and form and analysis of materials and techniques. Chapter V Conclusion: Summing up the above discussions; flying over the peonies, over oneself, put in the ground as a regeneration of the seed, set of ideals and rational beliefs, re-examine one-self on the value of life.

In this thesis new imaging approaches for optical microscopy are proposed and studied. They are based on the use of dynamic structured illumination in combination with a demodulation detection concept employing CMOS image detectors. Two particular implementations are suggested: real-time optical sectioning microscopy and whole field quantitative polarization microscopy. Optical sectioning, i.e depth resolved imaging, allows observation of thin sections in volumetric samples. In its classical configuration the wide-field microscope does not allow optical sectioning of the investigated objects. In this thesis the optical sectioning in a wide-field microscope is achieved by illuminating the sample with a continuously moving single spatial frequency pattern, which temporarily modulates the signal obtained on the photodetector. Only the object parts that are in the focus have a good contrast and consequently generate stronger signal on the detector. The optically sectioned images are obtained employing a CMOS image detector, which demodulates the time-dependent component of the image. Two different systems for real-time acquisition of optically sectioned images are proposed. The first one is based on a specially designed smart-pixel-detector-array (SPDA), which allows performing the signal processing by an electronic circuit integrated to each pixel of the sensor. The second system utilizes a commercial CMOS image sensor. Here, the images are treated by a digital signal processor (DSP) integrated into the camera (iMVS-155). Both approaches provide real-time acquisition of optically sectioned images. The proof of principle for the new method is demonstrated by imaging artificial three-dimensional reflective samples. The optical sectioning imaging of biological samples in bright-field mode and in fluorescence mode is also demonstrated. The optical sectioning performances of the studied systems are similar to that of the confocal microscope. However the new method has some advantages over the classical confocal system: e.g. the difficulties with the alignment and the post-processing inherent to the confocal system are avoided. The theoretical framework presented in the thesis describes the image formation in structured illumination for both reflective and fluorescent samples. The influence of longitudinal chromatic aberration and spherical aberration caused by specimen induced index mismatch on depth discrimination property are studied. In extension to the work related to optically sectioned microscopy, the quantitative polarization microscopy imaging method is proposed as a new application for CMOS detectors. The polarization state of the illuminating light is dynamically changed and the demodulation detection approach is employed to extract the retardance and azimuth of the birefringent sample in real-time; for a whole field of view. Examples of polarization sensitive measurements for different samples are presented. The theoretical analysis is performed using the Jones formalism. Finally, the potentials and limitations of the CMOS detectors for applications in optical microscopy are discussed. Thanks to constant advancements in CMOS technology, the acquisition speed, resolution and sensitivity of new CMOS detectors generations have been improved. This will allow adapting the methods proposed in this thesis for investigations of fast dynamic process where high temporal and spatial resolution is required.

This essay analyzes contemporary influential painter-Gerhard Richter's painting. I will focus on Richter's multiplicity of blur vision. Because the blur vision is fundamental to Richter's painting, it suggested our view of uncertain and limited reality. The main purpose toward the manifestation in Richter's work of blur can brings up complex debate to comprehend contemporary painting. Through reviewing Richter's painting discourse, this paper will divide into two parts to interpret the variety of blur. First of all, Richter's painting could be perceived triple dimensions by manipulating blur vision as models of deconstruction. These aspects appeared in his varied abstract paintings and special relation between photography, painting and style. Secondary, by comparing between Richter and Andy Warhol, I explore the question and argument of serial and multiple images as settlement for contemporary perception. Then I finally conclude that the concept of blur vision reveals aesthetic concern with heterogeneity which redefined our notion of style. Heterogeneity would also play an important role in art to contribute and transcend the ideology of duality.

Throughout use, military equipment is subjected to everyday wear and tear. Some may be significant in its own right, some will interact with other damage, and some will fatigue with use. Under these circumstances, how will equipment that has been in the field deal with an actual ballistic event, or other primary duty issue? Current assessment methodologies ensure safety standards are met, but detailed evaluation of components requires transportation from site. Minimising transport of equipment would reduce costs and fuel usage, and also save lives. The current work considers the use of digital image correlation (DIC) for non-destructive evaluation (NDE), with a particular focus on the assessment of combat helmets. To optimize component loading, the use of pressure differentials and single-point mechanical loading were trialed. Finite element analysis (FEA) suggests pressure differentials produce a greater likelihood for the detection of component damage via surface strain discontinuities. By contrast, single point loading produces highly concentrated strain in the region of contact, whilst minimal strains result for the rest of the component. The optimization of component speckling has also been considered, leading to the development of a novel approach using customisable transfer paper, which can be printed with a pattern specific to a given test geometry. This allows greater standardization, faster application, and increased accuracy, compared with traditional approaches, such as spray painting a speckle pattern. Following these experiments, NDE of an entire military helmet was investigated using a portable test rig. With the method for helmet loading in concept stage, proof that the technique can detect damage is presented via five case studies. The variety of materials and testing processes show the novel approach for component speckling has direct use for the completion of, and external to, the primary goal of the project: “to develop a DIC technique with the potential for portable damage detection of helmets”.

Beyond Comfort in Built Environments

This article, mainly aided by the 1765, 1767 Salons criticism of Denis Diderot (1713-1784), deals with the second half 18th century art works, activities and criticisms centered at Paris. It makes careful observation and analysis about Royale Academie de peinture et de sculpture, the artists from the Academy, the Salon exhibitions held by the Academy, Salon criticisms, the exhibited drawings and paintings and some major, related thoughts at that time. The observation and analysis thrive to show the authentic historical context where the arts were performed, make optimal basis for following examination. Based on historical context, this article starts examine the sentiment/sensibilite appeared in the artistic writings of Diderot and relative art works; further refers sentiment quality to current arts ideas, like the emphasis on viewing, the popularity of drama concepts in painting field, and the aesthetics dissertated by Empiricists. Later in this article, two 1760s Salon painters, Jean-Baptiste Greuze (1725-1805), Hubert Robert (1733-1808), and their works and related critics, are dragged out to reveal the sentiments in art works and its appreciation. By the meticulous development above, it is suggested that, in the second half of the 18th century,the quality of sentiment/sensibilite exists in the art field of Paris.

Painting is an emergence from one of mind images. The main purpose of this creative work is to probe into an impression on mind sentiment. It appears with remembrance image expressed by painting language. We usually have a good remembrance on our past years. This continuously hides into the main body as the time passes and hence has the emotion, produces the image and forms a remembrance. Owing to these, we then can be inspired to have a lot of creative inspirations. This study chooses “Sentiment, Image and Greasepaint”, an eternal congealment, as the topic and mainly investigates the earliest true love during the youth. For achieving this goal, the first chapter introduces the research motivation, purposes, range of study and method. Chapter II goes on literature study, including art expression means of the consciousness stream, surface features of colored language & physical image, and artistic style of the impressionist school. Chapter III delineates the process of creation thought, beginning with springtime reappearance & remembrance image, then to idea formation, to the choice of subject arrangement & connotation request, and finally to artistic greasepaint deriving from the tumult between the shape and the color. Chapter IV describes creation style and method by a series of pictures. Chapter V analyzes a series of remembrance works, inclusive of creation connotation and form. Chapter VI makes a conclusion on creation research and meanwhile describes creation direction for the future and future expectation. One of the most important things in painting creation is “image.” “Meaning” is another kind of subjective cordiality. “Picture” is a kind of visual image. For achieving the purpose of what the creator would like to express, these two components have to link up together and then show up in a harmonious state. Artistic performance is a kind of spiritualization performance. We can transform what we think in our mind expressing through artistic idea and artistic image into artistic mark and then it can be a kind of concrete artistic image. Oil painting creation presents a kind of implication feeling, expressing through the nature of artistic greasepaint and different painting form and then let the idea of the creator can be transmitted to the public. Now, it is the painting for me that turns out to be a congealment process of eternal symbol. At the same time, body operation of the painting becomes a practice of time preservation. This is also the topic of this creation.

The thesis is based upon Taiwanese temple painter, Li, Deng Sheng, as the central subject, which analyzes various periods of temple painting developments, as well as the heritage conditions of temple painters from the north, central and south regions of Taiwan; meanwhile, categories and subject matters of his works will be provided with detailed descriptions, including different stages of apprenticeship of Li, such as learning the craft in temples to making a living on some skill, difficulties and dilemma he suffers and learns from; as well as his self-promoting and transitions. On the other hand, through issues of social networks and identity recognition, the balance Li attempts to obtain in practical economy, ideals and dreams, as well interactions with others will be analyzed, too. Still further, from his temple painting works, the thesis contains an attempt to provide understanding of how work pieces from current cultural crafts and their preservers would present differently from earlier times using digital collecting technologies. Nonetheless, due to differences of viewers and quests, varieties often generates between images in temple painting and classic documents. In that case, an example of portraits of Su Shi painted by Li shall be offered to both inspect and compare with historical data, as well as further analyze how Li attempted to figure the Su’s enthusiasm as a literatus, how Su interacted with Fo Yin, and a trip in the Red Cliff. Eventually, issues like operating painted temples and heritage shall be offered, and provided with suggestion and direction for researches; it is in the hope of benefitting relevant researchers that tend to study same genre, and of expecting to deliver the concepts of cooperation between generations to accomplish the responsibilities of the temple painting heritage through offering crafting skills and experience of the former generation.

Objective To analyze MR imaging appearance of pancreatic neuroendocrine neoplasms(pNEN) and to investigate the practical value of MR imaging appearance in predicting pathological grade of pNEN. Methods All data of 35 patients with pathologically proven pNEN were retrospectively reviewed. MR examinations of the abdomen were performed on all these patients before operation and the data of clinical, pathological and MR imaging were intact. Both plain scan and contrast-enhanced MR scan were performed on each patient. Histopathological grade of pNEN was defined as: G1, G2, and G3 according to World Health Organization classification of tumours of the digestive system guidelines (2010). Image analysis included tumor location, number, size, shape, lesion margins, signal intensity, enhancement pattern, main pancreatic duct dilatation, extrapancreatic spread, and metastases of lymph node and liver. The comparison of quantitative index between G1 and G2 group was performed with t test. Categorical variables were tested using Fisher exact test. Results Thirty five lesions were found in 35 patients, with 14 lesions in G1, 19 lesions in G2, and 2 lesions in G3.Thirty three lesions appeared as a solid mass, and 2 lesions appeared as a cystic lesion. Significant gender-based difference was found between G1 group and G2 group (P 0.05). Of the 35 lesions, 27 lesions were round in shape, while other 8 lesions were irregular. There were 18 lesions with clear margin, and the margins in other 17 lesions were blurred. Main pancreatic duct dilatation was found in 3 cases (1 in G2, 2 in G3). Significant differences in tumor diameter, shape, margin, signal intensity on precontrast images, extrapancreatic spread and metastases were found between G1 group and G2 group (P<0.05). No significant difference was found in main pancreatic duct dilatation or signal intensity on all enhancement phases between G1 group and G2 group. The 2 lesions in G3 group appeared mild contrast enhancement with degrees lower than the pancreas in all enhancement phases. Conclusion MR imaging features such as tumor diameter, shape, margin, signal intensity on precontrast images, extrapancreatic spread and metastases may preoperatively predict the pathological graden of pNEN. Key words: Pancreatic neoplasms; Neuroendocrine neoplasms; Magnetic resonance imaging

Much of the published writing about my practice, has focused specifically on the technical approach I employ when constructing the visual image, with very little detailed analysis of the underlying influences, visual language references and historical and contemporary methodologies embedded in the work. This exegesis titled “Abstraction, Space and Photography” identifies some of the fundamental aspects of the abstract visual language I create as a regional artist situated in far north Queensland and attempting to capture its ethos as location and conceptual construct. Consequently, at the outset I provide some context towards the development of the photographic process that I employ. Although I avoid singular focus on the technical aspects of my image making I am aware that both the technical and conceptual aspects of photography merge in an elemental, and even indexical way, when the artistic intent involves constructing abstract images. Concept and process are intrinsically linked and cannot be separated, as one informs the other. Anne Marsh describes this relationship: Unlike conventional photographs Fitzgerald’s large landscapes are constructed without referent in the outside world. Fitzgerald recreates his experience of actual landscapes in these unique works by shining light directly into the camera’s aperture – literally painting with light onto the sensitive surface. The result sits between landscape and abstraction, and challenges assumptions about photography’s identity as a medium. The series of works developed throughout the Masters (produced 2014-2017) demonstrate an increasing maturity and progression in my practice towards a form of visual language which I would conceive as a kind of photographic abstract expressionism. Heavily influenced by, and in many ways attracted to the more traditional arts — their freedom of expression, additive capacity and representational qualities — this body of work explores photographic images which are imbued with a sense of the painterly and gestural, establishing pluralistic aesthetic connections and strategies of abstraction which stimulate the known — through visualising forms of the unknown. In contrast to my previous works, these images are visually complex, being characterised by a sense of movement and spatial intrigue. In these works I aim to establish a resolved vernacular that moves beyond the experimental, thereby challenge preconceived notions and expectations for the photograph and going some way towards destabilising the accepted narrative of traditional photography as an indexical medium. The exegesis highlights a number of innovative elements I deploy in creating a contemporary visual language in this body of work which I contend offers unique insights into and perspectives on the environment and landscape of central and far north Queensland and northern Australia. I also present contrasting antecedent pictorial traditions and positivist attitudes which have typified the landscape genre that I evoke. The following exegesis has been separated into two distinct sections allowing an opportunity to explore my dual interest in abstraction as a device across the mediums of painting and photography and as a vehicle through which to represent spatial subjectivity. Section One: Abstracting Forms explores key texts which I have found most relevant in the development of my practice drawing parallels to the theories and precedents established by critics such as Susan Sontag, Helmut Gernsheim, Aaron Scharf, Lyle Rexer, John Berger, to name a few. Section Two: Representing Space, Time and the Landscape investigates the primary subject which underpins my work discussing the philosophical notions of spatial construction alongside the shifting ideological influences which have underpinned the representation of landscape as it applies in the Australian context. Throughout the exegesis I have integrated discussion alongside works of key contemporary and historical artists and that of my own to emphasise the resonances between contemporary practice and theory. Artists such as Paul Strand, Man Ray, James Welling, Wolfgang Tillmans, Sigmar Polke, Susan Derges, to name a few, have not only inspired and motivated form and direction within my work but also share similarities in the pursuit of exploration within the medium of photography, seeking to both challenge the preconceived notions of what a photograph is, whilst simultaneously investigating new and progressive developments in the process of image making.