Art Of Painting Research Articles

『임천고치(林泉高致)』에 드러난 산수화의 미적 인식과 방법 연구

This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
 The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
 A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.

『임천고치(林泉高致)』에 드러난 산수화의 미적 인식과 방법 연구

This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
 The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
 A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.

Brain-inspired semantic data augmentation for multi-style images.

Data augmentation is an effective technique for automatically expanding training data in deep learning. Brain-inspired methods are approaches that draw inspiration from the functionality and structure of the human brain and apply these mechanisms and principles to artificial intelligence and computer science. When there is a large style difference between training data and testing data, common data augmentation methods cannot effectively enhance the generalization performance of the deep model. To solve this problem, we improve modeling Domain Shifts with Uncertainty (DSU) and propose a new brain-inspired computer vision image data augmentation method which consists of two key components, namely, using Robust statistics and controlling the Coefficient of variance for DSU (RCDSU) and Feature Data Augmentation (FeatureDA). RCDSU calculates feature statistics (mean and standard deviation) with robust statistics to weaken the influence of outliers, making the statistics close to the real values and improving the robustness of deep learning models. By controlling the coefficient of variance, RCDSU makes the feature statistics shift with semantic preservation and increases shift range. FeatureDA controls the coefficient of variance similarly to generate the augmented features with semantics unchanged and increase the coverage of augmented features. RCDSU and FeatureDA are proposed to perform style transfer and content transfer in the feature space, and improve the generalization ability of the model at the style and content level respectively. On Photo, Art Painting, Cartoon, and Sketch (PACS) multi-style classification task, RCDSU plus FeatureDA achieves competitive accuracy. After adding Gaussian noise to PACS dataset, RCDSU plus FeatureDA shows strong robustness against outliers. FeatureDA achieves excellent results on CIFAR-100 image classification task. RCDSU plus FeatureDA can be applied as a novel brain-inspired semantic data augmentation method with implicit robot automation which is suitable for datasets with large style differences between training and testing data.

Painterly Image Harmonization by Learning from Painterly Objects

Given a composite image with photographic object and painterly background, painterly image harmonization targets at stylizing the composite object to be compatible with the background. Despite the competitive performance of existing painterly harmonization works, they did not fully leverage the painterly objects in artistic paintings. In this work, we explore learning from painterly objects for painterly image harmonization. In particular, we learn a mapping from background style and object information to object style based on painterly objects in artistic paintings. With the learnt mapping, we can hallucinate the target style of composite object, which is used to harmonize encoder feature maps to produce the harmonized image. Extensive experiments on the benchmark dataset demonstrate the effectiveness of our proposed method.

SEJARAH DAN PERKEMBANGAN SENI KALIGRAFI DALAM ISLAM

Calligraphy is one of the art of painting with Arabic inscriptions in Islamic art. Calligraphy can also be said as knowledge and skills for every artist. From each carving, calligraphy has its own meaning in it. The application of the method in this study is a qualitative method and literature analysis. The data collection process in this study determines the art of literature related to the studies discussed, the data analysis in this study uses normative analysis. The results of this study state that the history of calligraphy has a special meaning both in writing and in meaning. The art of calligraphy also experienced further development of Umayyad, Abbasid, & Abbasid writings. The development of writing that is still used today, namely during the late Abbasid period, especially in Islamic countries.

Brushes and brains: Does handedness influence surface topography of art painting?

Distinguishing between right-handed and left-handed painters in the realm of painting is a question approached from various angles across different disciplines. Each approach, whether it's from neuropsychology, the study of the artwork itself, or the artist's imprint on the work, contributes insights to the burning question of whether the myth of the left-handed painter being more talented than their right-handed counterparts holds true. In this study, we introduce an experimental method involving both left-handed and right-handed painters to determine if the surface topography of brushstrokes presents relevant parameters for differentiating handedness. After conducting an analysis of variance (ANOVA), we isolated relevant roughness parameters, the most significant are the mean hill roundness (Shrn) and the maximum dale aspect ratio (Sdarx). These parameters exhibit significant differences based on the painter's dominant hand. Other parameters also provide insights into the reliability of our study, specifically the texture direction (Std), which shows no difference among the painters. The results are discussed. These findings pave the way for a more comprehensive understanding of the painter's stroke in the process of art painting creation.

Weighted Similarity-Confidence Laplacian Synthesis for High-Resolution Art Painting Completion

Artistic image completion assumes a significant role in the preservation and restoration of invaluable art paintings, marking notable advancements through the adoption of deep learning methodologies. Despite progress, challenges persist, particularly in achieving optimal results for high-resolution paintings. The intricacies of complex structures and textures in art paintings pose difficulties for sophisticated approaches like Generative Adversarial Networks (GANs), leading to issues such as small-scale texture synthesis and the inference of missing information, resulting in distortions in lines and unnatural colors. Simultaneously, patch-based image synthesis, augmented with global optimization on the image pyramid, has evolved to enhance structural coherence and details. However, gradient-based synthesis methods face obstacles related to directionality, inconsistency, and the computational burdens associated with solving the Poisson equation in non-integrable gradient fields. This paper introduces a pioneering approach, integrating Weighted Similarity-Confidence Laplacian Synthesis to comprehensively address these challenges and advance the field of artistic image completion. Experimental results affirm the effectiveness of our approach, offering promising outcomes for the preservation and restoration of art paintings with intricate details and irregular missing regions. The integration of weighted Laplacian synthesis and patch-based completion across multi-regions ensures precise and targeted completion, outperforming existing methods. A comparative analysis underscores our method’s superiority in artifact reduction and minimizing blurriness, particularly addressing challenges related to color discrepancies in texture areas. Additionally, the incorporation of pyramid blending proves advantageous, ensuring smoother transitions and preventing noticeable seams or artifacts in blended results. Based on empirical results, our method consistently outperforms previous methods across both high and low resolutions. Responding to these insights, our approach emerges as an invaluable guide for both curators and artists. The algorithm’s performance yields insights that underscore the central role of thoughtful decision making in the creation of art paintings. This guidance extends to informing choices related to color selection, brushstrokes, and various other elements integral to the artistic process. During the creation phase, employing these insights enables artists and curators to optimize not only the digitization but also the subsequent restoration process. This proves especially vital when dealing with the intricacies involved in physically restoring damaged original art paintings. Importantly, our approach not only streamlines the restoration process but also contributes significantly to the preservation and enhancement of the digital representations of these distinctive and often intricate works of art.

Visual Observation and Visual Analysis on the Expressive lines as a Self-emotion in Artist's Paintings

Visual Observation and Visual Analysis on the Expressive lines as a Self-emotion in Artist's Paintings

TANG-KHA PAINTING: AN APPRAISAL

The present research paper is on the art of Tang-kha painting. Tang-kha is term used for the traditional Tibetan scroll painting. It is portable paintings that one can carry along by scrolling it. Tibetan scroll paintings are famous for their richness in terms of religious themes and use of vibrant colours. The art of painting was borrowed from Ancient India and developed by monks of Tibet. The Tang-kha painting was a medium to spread the teaching of Buddha among the illiterate through illustration. The origin and development of Tang-kha painting and its different regional variation along with the general characteristic feature is discuss in the present paper.

Empathy and the art of Leonardo da Vinci.

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

The Concept of Love of Country in 19th-Century Painting

Love for the country does not only focus on the physical resistance carried out at that time but can also take other forms. In this case, painting artists realized their love for their homeland through visual aspects. This research explores the forms of the concept of love for the country in Indonesian painting, especially in the 19th century. This research uses the historical method with five stages: topic selection, heuristics, source criticism, interpretation, and historiography. The result of this research is that paintings in the 19th century illustrate the concept of patriotism as seen from the objects depicted. The object of the painting is not only fixated on the role and power of the colonial nation but also gives the impression that the Indonesian nation also has a role. This can be seen from some of Raden Saleh's paintings such as Daendels' potert, the painting Between Life and Death, and the painting of Prince Diponegoro's arrest, which gives the meaning that Indonesians also played a role in historical events that occurred at that time.

THE ESSENCE OF ROGAN ART CAPTURING HUMAN EMOTIONS

Rogan art, also known as Rogan painting, is a traditional art form that originated in the Kutch region of Gujarat, India. The art is characterized by its bold colors, intricate patterns, and highly stylized motifs, often depicting elements from nature, such as flowers, birds, animals, and geometric shapes. The art of Rogan painting on cloth dates back centuries. The Rogan technique was traditionally associated with the Afridi tribe of Pathans. The main aim was to combine traditional Rogan art with contemporary line work to depict human behavior and emotions through psychedelic art. This project showcases early-stage conceptual clothing that add scent to emotional fashion by amalgamating the confidence-boosting and socially acceptable aspects of fashion design with the beneficial psychological effects of mood manipulation. It investigates the expanding frontier of smell by seeking out unusual sensations that can be integrated into the fashion palette to generate radical properties that benefit the wearer. The graduate collection 'Enkrateia' blends fashion, sustainability, and psychology. The paper explores emotional clothing and new connections with the body to discover how fashion may make a difference. It describes experimental ideas for a collection of clothes that adds function to fashion design, enhancing the quality of life for human beings suffering from stress or illnesses

Grotesque Approaches in Contemporary Turkish Painting

The Republican period witnessed significant changes in Turkish art and the art of painting was reshaped in this process. By addressing the grotesque elements in paintings depicting mythological themes, the study aims to understand the reasons why artists use these images and the social, cultural, and political contexts of these images. The study analyzes the depiction of figures in Turkish painting in a grotesque context during the Republican period and how artists integrated the influences of Western culture as well as traditional Turkish culture. Additionally, it is examined whether the use of grotesque images emerged as a reaction of the artists to the political and social atmosphere of the period or as a different narrative strategy. In this context, it offers an understanding of how grotesque images in Turkish painting reflect the artists' individual expressions, social criticism and cultural identities.

ArtCap: A Dataset for Image Captioning of Fine Art Paintings

The image captioning of fine art paintings aims at generating content descriptions for the paintings. Due to the complexity of modeling both image and language, this task usually needs sufficient training data. However, different from photographic image captioning, there are few satisfactory datasets for painting captioning. In this article, we introduce a painting captioning dataset (named the ArtCap dataset), which contains 3606 paintings and five descriptions for each painting. We present the carefully designed construction pipeline of our dataset and further evaluate our dataset from two aspects of annotation quality and application effectiveness, respectively. For the annotation quality, we compare the global characteristics, annotation content, and annotation consistency of our dataset with other painting descriptions datasets. For application effectiveness, we employ our dataset and other painting descriptions datasets to train image captioning models and analyze the captioning performances. The results demonstrate the promising annotation quality and application effectiveness of our dataset.

Anorexia nervosa through the lens of a severe and enduring experience: 'lost in a big world'.

Severe and enduring anorexia nervosa (SE-AN), is a serious and persistent illness, despite 'state of the art' treatment. Criteria have been theoretically proposed, but not tested, and may not adequately capture illness complexity, which potentially inhibits treatment refinements. The clinical reality of death as an outcome for some people who experience SE-AN (1 in 20) and broadening access to voluntary assisted dying, further complicates the field, which is undeveloped regarding more fundamental concepts such as nosology, treatment, recovery definitions and alternative conceptualisations of SE-AN. The present paper is in response to this and aims to build upon qualitative literature to enhance phenomenological understandings of fatal SE-AN. A published book, being the legacy of a 32-year-old professional artist offers a rich account of a life lived with AN, for 18years with continuous treatment. A polysemous narrative via the interrelationship between the languages of the artist's words and visual art is translated via interpretative phenomenological analysis (IPA), offering rich insight into the SE-AN experience. The process of analysis induced three superordinate themes (1) Disappearing Self (2) Dialectical Dilemma (3) Death and Dying: Finding Meaning. Two cross cutting themes traversed these themes: (a) Colour and (b) Shifting Hope, where the former produced a visual representation via the 'SE-AN Kaleidoscope'. Collectively the themes produce a concept of SE-AN, grounded in the data and depicted visually through the artist's paintings. The picture of SE-AN revealed in the analysis extends upon conceptualisations of SE-AN, highlighting key processes which are thus far under explored. These factors are implicated in illness persistence eliciting opportunities for further research testing including diagnostic considerations and treatment directions. In SE-AN, distorted body image extends to a global distortion in the perception of self. Additional criteria for the severe and enduring stages of illness related to (1) self and identity processes (2) measures of 'global impoverishment' across life domains are proposed for consideration in the future testing of putative defining features of SE-AN.

Writing Time: The Shufa of Fung Ming Chip

Fung Ming Chip (馮明秋, b. 1951) is a contemporary artist based in Hong Kong who practices shufa (書法, lit. “the way of writing”). Traditionally, shufa is the art of writing Chinese characters with a brush on paper or silk; it is deeply connected to the arts of poetry and painting. However, the theories of making and viewing that undergird traditional shufa, as well as the stakes of its contemporary practice, remain largely unknown to Western audiences. This essay is a response to Fung’s latest solo exhibition, entitled NumberS Series. It considers how Fung Ming Chip’s latest works have moved beyond traditional shufa practice and language itself to examine the relationship between art and time. Unlike previous critical works that contextualize Fung’s art with respect to Euro–North American art and art history, this article uses Fung’s writings and early Chinese theories of aesthetics and ontology to establish that his art works in a distinctly non-Western manner that has its own relevance and perspective for a contemporary, global audience.

Construction and Efficacy Verification of Color Theory Optimization Model in AI Painting Assistant

Abstract The application of artificial intelligence in the field of painting has been greatly developed, which is a new way of thinking in the digital era, bringing innovation and infinite possibilities to the art of painting. The article first researches the art and expression of AI painting, mainly taking various network models as the main form of expression. Then, color theory and color space are introduced to provide a theoretical basis for the proposal of a color optimization model. Considering that the ACE algorithm has problems of high complexity and image enlargement, the acceleration algorithm LLLUT is used to improve data processing. The AI imitation painting works “Monet’s Garden” and “Neon” are taken as case studies. In terms of color preference, AI painting prefers to use three primary colors: black, white, and red. For example, AI’s imitation painting work Han Xizai Night Banquet has three peak points higher than the average peak, respectively 0.04, 0.09, 0.15, and 0.99. The corresponding colors used are red, black, and yellow. The main colors used in the composition are red and yellow. In the application evaluation of the color model, the comparative analysis concludes that the color mixing efficiency is higher using the research method in this paper, and in the practical application, both painting professionals and amateurs have a stable effectiveness in generating color preference schemes after using the AI painting assistant based on the ACE color model optimized by LLLUT.

Shedding light on the molecular interactions during the aging process of yellow ochre pigment in oil employed in art paints

Interactions between the yellow ochre pigment and oil hydrolysis/oxidation products were characterized in commercial art and restoration paint.

Learning an Interpretable Stylized Subspace for 3D-aware Animatable Artforms.

Throughout history, static paintings have captivated viewers within display frames, yet the possibility of making these masterpieces vividly interactive remains intriguing. This research paper introduces 3DArtmator, a novel approach that aims to represent artforms in a highly interpretable stylized space, enabling 3D-aware animatable reconstruction and editing. Our rationale is to transfer the interpretability and 3D controllability of the latent space in a 3D-aware GAN to a stylized sub-space of a customized GAN, revitalizing the original artforms. To this end, the proposed two-stage optimization framework of 3DArtmator begins with discovering an anchor in the original latent space that accurately mimics the pose and content of a given art painting. This anchor serves as a reliable indicator of the original latent space local structure, therefore sharing the same editable predefined expression vectors. In the second stage, we train a customized 3D-aware GAN specific to the input artform, while enforcing the preservation of the original latent local structure through a meticulous style-directional difference loss. This approach ensures the creation of a stylized sub-space that remains interpretable and retains 3D control. The effectiveness and versatility of 3DArtmator are validated through extensive experiments across a diverse range of art styles. With the ability to generate 3D reconstruction and editing for artforms while maintaining interpretability, 3DArtmator opens up new possibilities for artistic exploration and engagement.

Research on the Influencing Factors of Artistic Creation of Fine Arts Painting in the Context of Visual Culture

Abstract The creators of fine art painting art are often affected by the conceptualization and imagination factors, expression techniques and methods, as well as the influence of theme and subject selection, etc., and they are unable to commit themselves to the expression of artistic power and infectious power of fine art painting works. This paper constructs the PLS-SEM and BN combined structural equation model in the context of visual culture, analyzes the latent variables in the path relationship with PLS-SEM for empirical testing, and predicts and diagnoses the causal relationship between the variables with the Bayesian network. Finally, a questionnaire survey was conducted among the major fine art painting art creation groups in Guangzhou, China, and the influence factors of fine art painting creation were extracted using principal component analysis. The constructed model is combined with the collected data for empirical analysis. The β coefficients of the influence paths of the factors are all greater than 0.42 and significant at least at the 0.05 level, and the creative motivation, creative environment, personal artistic level, art industry environment, and painting artistic skill all positively influence the fine art painting artistic creation outcome. When the level of artistic achievement in art painting and drawing is “high”, the probability that the level of the art industry environment and creative environment is high is higher, with probabilities of 0.742 and 0.701. When the level of personal artistic level is “high”, the probability that the level of creative motivation is “high” is greater than 0.42 and significant at least at the 0.05 level. When the individual’s artistic level is “high”, the level of creative motivation is more likely to be “high,” with a probability of 0.726. This study allows the timeliness and dynamics of painting to be harmonized and linked with the painter and provides certain references for the improvement of the artistic skills and creative level of the creator of the painting.