Aesthetics Of Painting Research Articles

Mohammad Ebrahim Jafari: Aesthetics of Painting in Poetry

The article is devoted to the creative heritage of the outstanding figure of Iranian culture — poet and artist Mohammad Ebrahim Jafari (1940–2018). The novelty of the presented research is determined by the almost complete absence of scientific works devoted to this issue: basic biographical facts, analysis of artistic language and the specific imagery of M. E. Jafari are poorly represented even in the Persian language. The purpose of the work is to identify the features of the national-cultural horizon of the synthetic genre combining painting and poetry developed by Jafari. To achieve this goal, it was necessary, firstly, to trace the poet’s biography; secondly, to clarify the nature of the artistic images created by him at different stages of his life and to analyze the original method of the author’s initiative as a way of artistic enrichment of the new synthetic genre. The multifaceted nature of the research subject determined the need for an interdisciplinary approach and the use of a complex of methods such as biographical, hermeneutic, and comparative typological. The author of the article has studied all the video materials and interviews of the poet published to date, his paintings, as well as a collection of selected poems. The author of the article also translated, for the first time, from Persian all the poetic material presented in the text. The study showed that M. E. Jafari, who does not differentiate the forms of creativity, easily transfers the stylistic techniques of his paintings to poems, which fills his lyrics with different shades of colors and smells. Poetic rhythm can be seen in his paintings, at the same time, abstract pictorial images embody the most significance for the poet in terms of acuity of perception, creating images of space and time as a unique experience, extremely concrete in its strength and depth. The masterly combination of abstract expressiveness and specificity of the sensual image makes it possible to attribute the deeply personal artistic creativity of M. E. Jafari to the cultural wave of new poetry, which meets the basic principles of the philosophy of Iranian modernism.

From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

This study delves into the use of visual rhetorical strategies in 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’ (2023), particularly focusing on 鹅鹅鹅 E E E ‘Goose Mountain’ (henceforth ‘Goose’) directed by Hu Rui. We assert that ‘Goose’ transcodes and reinterprets the ancient Chinese zhiguai novella 阳羡书生 Yangxian Shusheng ‘The Scholar from Yangxian’ (henceforth ‘Scholar’) for a contemporary audience through the use of visual rhetoric, leading to a compelling contemporary rendition of this tale. As a silent animation, ‘Goose’ does so by adeptly incorporating visual depictions, especially animal-related imagery and ink painting aesthetics, drawn from the broader traditional zhiguai myths, or tales of the strange and traditional Chinese culture. The core argument hinges on visual rhetoric’s transformative potential. In ‘Goose’, the connection between tradition and contemporaneity is established through metaphor and metonymy. Initially a literary figure of speech, metaphor and metonymy now encompasses ‘visual rhetoric’, widely applied in interpreting visual arts. Visual rhetoric often employs various elements such as colour, shape, size, objects, composition and texture to convey information. This study highlights the role played by the inseparable link between traditional zhiguai narratives, the minzu/national style, and the contemporary animation technology in ‘Goose’, a transformative role that revitalizes ancient traditions to resonate with today’s viewership.

Evaluating the Effects of Integrating Music and Painting Aesthetics in Children’s Education: A Quantitative Study

The scope of aesthetics is often bound by the limits of sensory perception. In appreciating music and painting, information is typically processed through distinct perceptual channels. However, at the cerebral cortex and nervous system level, these modes of perception can interact and integrate, influenced by collected audiovisual information, thereby enriching the aesthetic experience and improving aesthetic efficiency. The domain of audio-visual interactive aesthetics holds significant potential in aesthetic education, yet current research in this area has made limited substantial advancements. This paper explores the functionality and impact of an audio-visual interactive aesthetic model, combining music and painting, within practical aesthetic education through a series of applied experiments. By incorporating Chinese traditional music and painting into children’s regular curriculum, we conduct a quantitative evaluating and analysis of the benefits of audio-visual multi-sensory aesthetics over single-channel perception in enhancing children’s emotional, aesthetic experiences, and cognitive abilities.

The Changes of “Shen” and “Yi” in Chinese Painting Aesthetics: From Gu Kaizhi to Ni Zan

The Changes of “Shen” and “Yi” in Chinese Painting Aesthetics: From Gu Kaizhi to Ni Zan

Distinguished aesthetics achievements and heritage in the space-age paintings inspired by space exploration

The purpose of this paper is to study the birth of space age and the distinguished achievements in the space-age painting aesthetics inspired by space exploration. It has been 66 years ever since the first successfully launch of the artificial satellite Sputnik 1 on October 4, 1957, generally recognized as the first year of space age. Exemplified by the best and most well-known “NASA Art Program”, many major space agencies have sponsored the art program. In Japan, the Japanese Aerospace Exploration Agency (JAXA) supports the art program through its Public Affairs Department. In the European Space Agency (ESA), one of its well-known residence artists is Aoife van Linden Tol. For 66 years of the space age, there are many outstanding painters with many distinguished achievements and heritage of aesthetic paintings created. In particular, Robert Rauschenberg's work “Buffalo II” painted in 1964 has become a classic masterpiece that realized the price of $ 88 million at Christie's auction in 2019.

Research on the Influence of the Aesthetics of Traditional Chinese Painting on Contemporary Oil Painting Landscape Creation

The aesthetic ideas and expression methods of traditional Chinese landscape painting influence all aspects of contemporary oil painting landscape creation. It not only guides oil painting creators to pay attention to environmental issues, return to nature, and explore cultural connotations, but also reminds oil painting creators to pursue both form and spirit and profound artistic effects while expressing nature. The uniqueness of oil painting creation is highlighted, and the artistic value is enhanced. This article analyzes the aesthetic expression of contemporary oil painting landscape creation and the similarities and differences between traditional Chinese painting and contemporary oil painting landscape painting. Based on refining the aesthetic values in traditional Chinese painting, it studies the impact of traditional Chinese painting aesthetics on contemporary oil painting landscape creation, providing reference for related research.

VINCENT VAN GOGH’UN KADIN PORTRELERİ

Vincent van Gogh on yıllık kısa bir zaman diliminde ürettiği eserler ile sanat tarihine adı yazdırmış önemli ressamların başında gelmektedir. Sanat yaşamı boyunca pek çok manzara, natürmort, portre ve otoportre çalışmaları ile ün kazanan Van Gogh’un resim ve çizim çalışmalarının arasında portreleri dikkat çekmektedir: Sanatçının, köy veya şehirde yaşayan insanların portreleri ve kendini etüt ettiği otoportrelerinde plastik süreci başarılı yönetmesi ve duygu aktarımının etkili olması özellikle dikkati çeken unsurların başında gelmektedir. Van Gogh ilk yaptığı portreleri plastik sürecini geliştirmek amacıyla etüt etse de daha sonraları portre resmi onun için anlamsal bağlamda önem arz etmiştir.
 Bu çalışmada, Vincent van Gogh’un kadın portrelerindeki biçimsel alt yapıyı çözümlemek probleminden yola çıkışla portrelerin plastik bağlamdaki zamana ve mekâna bağlı değişim sürecinin varlığını sorgulamak amaçlanmıştır. Sorgulama sürecinde nitel bir yaklaşımla plastik analiz yöntemi kullanılarak sanatçının formu yorumlama biçimi, renk ve ışık kullanımına odaklanılmıştır. Çalışmanın ilk aşamasında kadın portreleri yıllara göre daha sonra Van Gogh’un yaşadığı mekânlara göre ayrılarak altı bölümde incelenmiştir.
 Araştırmada sanatçının plastik süreçteki değişimlerinin en belirgin kırılma noktalarının zamansal ayrımdan daha çok bulunduğu mekâna göre oluştuğu gözlemlenmiştir. Ayrıca Van Gogh önceleri kısıtlı renk paleti ile figürün yüzündeki ışığı irdelemeye odaklanırken sonraları daha fazla renk kullanımına gittiği ve biçimsel yorumlamandan daha çok modelin ifadesini yakalamaya odaklandığı belirlenmiştir.

ON THE CHARACTERISTICS OF METICULOUS FLOWER AND BIRD PAINTING TEACHING FROM THE PERSPECTIVE OF EMOTIONAL BEHAVIOR CHANGE -- TAKING THE INFLUENCE OF ZHOU YANSHENG'S FLOWER AND BIRD PAINTING TEACHING ON STUDENTS' EMOTION AS AN EXAMPLE

BackgroundMeticulous flower and bird painting is a basic course for art and technology majors in the Department of Chinese painting and art colleges. However, at present, the teaching of meticulous flower and bird painting is almost carried out in the order of copying, sketching and creation, and each teaching unit is often isolated. Through the study of Zhou Yansheng's painting characteristics and artistic style, it is found that the previous art research on Zhou Yansheng basically focused on his painting artistic style and brush art aesthetics, and there are few articles to deeply study and summarize the teaching characteristics of Zhou Yansheng's brush painting from the perspective of educational psychology. There is no adjustment of emotion in the process of painting.Topics and MethodsThis paper analyzes Zhou Yansheng's teaching style and teaching characteristics of flower and bird painting from the perspective of inheriting classics and pioneering innovation, and briefly expounds Zhou Yansheng's artistic view from the perspective of teaching psychology, so as to more objectively and comprehensively analyze the artistic characteristics of Zhou Yansheng's ink painting and its influence on the new development of ink painting teaching in modern colleges and universities. At the same time, in the process of painting, we studied the regulating effect of this painting style on group emotion. Using cluster sampling method, 522 freshmen to seniors (256 boys and 266 girls) from four colleges and universities in a province were selected as the research objects. There were 497 valid questionnaires, and the recovery rate was 95.2%. Among them, 138 freshmen (27.7%), 128 sophomores (25.7%), 137 Junior (27.6%) and 94 senior (18.9%). The mean age was 21.3 ± 0.87. Pearson correlation, standard deviation and statistical significance were used to illustrate the correlation. Independent sample t-test was used to verify the difference between high anxiety group and low anxiety group. According to the statistical value of anxiety, participants were divided into three groups: low, medium and high anxiety groups. The questionnaire includes two kinds of anxiety, namely debilitating anxiety and promoting anxiety. The relationship between anxiety and self-efficacy of students of different majors and genders was investigated by t-test, univariate, multivariate analysis of variance and regression analysis.ResultsZhou Yansheng is not only a modern flower and bird painting painter with personal artistic characteristics, but also a highly respected practical educator of flower and bird painting. He has accumulated a lot of valuable experience in 40 years of teaching. The author summarizes his teaching system of meticulous flower and bird painting. Characteristic innovation lies in the combination of teaching composition, modeling and color innovation, and runs through copying, sketching and creation. This systematic teaching mode breaks the gap between reproduction, sketch and independent creation, and finally does not cut off the innovative curriculum mode of all links, so that the works finally show the modern Chinese painting aesthetics of plane composition, color science and material science, and the picture is full of contemporary flavor.ConclusionIn practical sense, Zhou Yansheng's meticulous flower and bird painting has further developed and innovated on the basis of traditional teaching, enriched and developed the teaching of meticulous flower and bird painting to a certain extent, and has certain enlightenment significance and function for the innovation of diversified teaching styles of Contemporary Meticulous flower and bird painting.

ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART

The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.

The Characteristics of Art and Aesthetic of Sculpture of Kurdish Artists for Example in Erbil

Sculpture art is like a binary in human identity, which continues to exist in history, sculpture is a true sense of sculptor and his view of daily life in an artistic work, which leads to a search for beauty characteristics, so the researcher has tried to work on the following research: (The characteristics of the art and Aesthetic of the sculpture of Kurdish-Erbil artists, for example) and here the researcher talks about the problem of research: What are the characteristics of art and aesthetics of the sculptor? The research finds itself in summary and four parts: part one: research problems, research importance, goals, boundaries: subject-art characteristics and sculpture aesthetics, location- (Erbil), time-year (2000-2007), definition of terms that find itself in (specialty, Aesthetic, sculpture, art, artist). Part Two: consists of three main axes such as: 1- artistic and aesthetic properties. 2- The characteristics of sculpture of this theory are the art of sculpture. 3- Sculpture by Kurdish artists (Erbil). The third part consists of research, research society, research punches, tools, data collection, and data analysis, in which (3) punches are selected in the purposeful style. The fourth part consists of (results, results, recommendations, suggestions) that the researcher has reached during the analysis of the tables, such as: the subject of the science of Aesthetic in the art that humans invent, this science is called art, or more beautiful arts, which are marked in tables. The researcher also suggests that the importance of artistic image and aesthetics of painting and sculpture in the Kurdistan Region of Iraq. With the main words: (specialty, aesthetics, sculpture, art, artist).

Gesamtkuntwerk Kavramına Göre Müzik ve Resim İlişkisi

Austrian painter Gustav Klimt is one of the founders of Art Nouveau. Many works by Gustav Klimt include patterns, sculptures, mythological characters, and female portraits. Gustav Klimt said the following about his art: “When I need to say something about myself or about my art, I am neither able to speak in writing nor verbally. Whoever wants to learn about my artistic personality, the only thing worthwhile is to look carefully at my paintings and try to see what I am and what I want to do.’’ Austrian Separation master Klimt is best known for his decorative paintings. The Beethoven Frieze, created in 1902 in honor of the great musician Beethoven, is rich in content. This work, including the composer Beethoven's connection with Symphony No. 9 and his interpretation of his own mythological elements, is an important example of the concept of Gesamtkunstwerk. There is an art isomorphism between cultures. The Beethoven Frieze, an important work of the creative awakening at the dawn of the twentieth century, reveals a narrative that spans three walls moving with human longing for happiness. It is a magnificent realization of Gesamtkunstwerk, where different arts such as painting, sculpture and music are combined under a common theme. The purpose of this article is; To discuss the concept of Gesamtkunstwerk (complete work of art, ideal work of art) on the aesthetics of painting.

Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes

Abstract Jean-Siméon Chardin’s food still lifes from the 1750s and 1760s diverge from his earlier kitchen displays by exhibiting mainly ready-to-eat fruit, baked goods, and beverages, without any suggestion of additional cooking. The emergence of this subgenre in the artist’s oeuvre corresponded to the rise of a new ethos of eating in mid-1700s France, which championed simply prepared food as the alimentary corrective to the corrupting influence of over-refined modern cookery. This moral discourse on Chardin’s subject matter ran parallel to the critical acclaim for the distinct visuality of his art as an antidote to the excess of rococo style. In light of the mid-century discourse on art and food, Chardin’s late still lifes embodied the reformist aesthetic advocated by the French intellectual elite.

倪瓚의 隱逸 행위와 逸의 회화 미학 연구

倪瓚의 隱逸 행위와 逸의 회화 미학 연구

Overview of research methods of painting aesthetics

Overview of research methods of painting aesthetics

‘Aesthetics of Painting Works’ through ‘Poetry and prose’ and ‘Inscriptions on Painting’ by Gang Am, Song and Seong-Yong

‘Aesthetics of Painting Works’ through ‘Poetry and prose’ and ‘Inscriptions on Painting’ by Gang Am, Song and Seong-Yong

Eye Movement Correlates of Expertise in Visual Arts.

The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.

The Landscape Realm in Linquan Gaozhi

Guo Xi was a famous landscape painter and painting theorist in the Northern Song Dynasty. His landscape painting work was called Linquan Gaozhi, which not only inherited the landscape spirits of literati paintings, summarized the skills of landscape paintings, but also opened a new era of landscape painting aesthetics. Hence, it guided the future landscape aesthetic culture and had high ideological and theoretical contributions. We could have a new understanding about the relationship between the landscape and society through reading this book. And on this basis, we were able to know the landscape realm well and realize the harmony of man and nature in the landscape paintings.

The Embodiment of Zhuangzi‘s Ecological Wisdom in Chinese Literati Painting (wenrenhua 文人畫) and Its Aesthetics

The paper deals with the relation of Daoist (mainly Zhuangzi’s) ecological ideas on inter- penetration and “communication-without-communication” of things to Chinese landscape and bamboo painting, more specifically, to the ideas about the harmonization of the painter with the things (scene) painted in the process of producing the artwork. Its purpose is to explore a more nuanced, philosophical and non-Eurocentric interpretation of this peculiar kind of harmony of things or their “unity in particularity”, as inspired by Zhuangzi’s ideas and seemingly embodied in Chinese literati painting. For this purpose, the paper introduces few conceptual models, formulated by Western sinologists, as the particular philosophical schemes for the understanding of Zhuangzi’s epistemology and cosmology, and then discusses their applicability with regard to the relationships between the painter and the world, as presented in early and classical Chinese painting aesthetics and theory.

The colors of paintings and viewers’ preferences

One hypothesis to explain the aesthetics of paintings is that it depends on the extent to which they mimic natural image statistics. In fact, paintings and natural scenes share several statistical image regularities but the colors of paintings seem generally more biased towards red than natural scenes. Is the particular option for colors in each painting, even if less naturalistic, critical for perceived beauty? Here we show that it is. In the experiments, 50 naïve observers, unfamiliar with the 10 paintings tested, could rotate the color gamut of the paintings and select the one producing the best subjective impression. The distributions of angles obtained are described by normal distributions with maxima deviating, on average, only 7 degrees from the original gamut orientation and full width at half maximum just above the threshold to perceive a chromatic change in the paintings. Crucially, for data pooled across observers and abstract paintings the maximum of the distribution was at zero degrees, i.e., the same as the original. This demonstrates that artists know what chromatic compositions match viewers’ preferences and that the option for less naturalistic colors does not constrain the aesthetic value of paintings.

Nature Transformed: English Landscape Gardens and Theatrum Mundi

Nature Transformed: English Landscape Gardens and <i>Theatrum Mundi</i>