Art Of Painting Research Articles

Training on MSME’s Development Strategies in Wooden Painting Crafts (study case Bloomy Wooden Art)

The variety of works of painting in each region creates high competition between one painter and another in marketing their products. Considering that in the 2000s, the development of the 'fine arts market' in Indonesia experienced very rapid growth, especially in the achievement of works and products. Bloomy Wooden Art is a company (home industry) which operates in the field of painting crafts using wood media which has been shaped into wall decorations, multi-purpose boxes, tissue boxes, trays, glasses, bowls, decorative tables, etc. The painting arts highlighted here are naturalistic such as flowers, fruit and natural beauty along with elements and animals. The aim of the service is to implement the strategy for developing wood painting craft MSMEs in West Jakarta. The method of implementing service is in 3 (three) stages, namely the preparation stage, implementation stage and evaluation stage. Theory in evaluation uses SWOT analysis to determine weaknesses, strengths, threats and opportunities. Based on the results of initial observations, Bloomy Wooden Art painting MSMEs are generally running well, but there are still shortcomings in terms of marketing aspects of wooden painting products using the social media Instagram which are not optimal, the availability of raw materials and supporting equipment and knowledge in the field of marketing.

Analysis of the Effectiveness of Painting Art Healing in Mental Health Problems in Different Populations

This study aims to systematically analyze the application effect of painting therapy in the treatment of mental health problems in different populations, and to explore its universality and specificity in different age groups, genders, cultural backgrounds, and mental health conditions. Through literature review, comparative research methods, and case study methods, the effectiveness of art therapy in elderly, adult, adolescent, and child populations was comprehensively evaluated. The results of the study show that art therapy can significantly promote emotional regulation, improve cognitive function, enhance social interaction, and develop self-identity, especially in alleviating emotional disorders such as anxiety and depression. However, this study also found that there are certain deficiencies in the methodological quality, sample representativeness, and long-term effects research of art therapy. Future research should further focus on the standardization, long-term effectiveness, and cross-cultural applicability of interventions to promote the widespread application of art therapy in the field of mental health.

Symbolism of Fair Plots in Genre Painting of Peter Bruegel the Elder

The purpose of the article is to analyse the use of fair plots in the works of Pieter Bruegel the Elder, to reveal their symbolism in presenting the panorama of contemporary society. The methodology of the work consists in the application of such scientific research methods as: historical – when examining the artist's paintings in the context of the historical era in which he lived and worked; analytical, which made it possible to single out works with a fair plot from the artist's creative heritage; synthetic, thanks to which observations acquired through analysis became the basis for formulating a general conclusion; comparative art analysis is applied to reveal the specifics of Bruegel's genre painting depicting fairs. The scientific novelty of the work consists in the actualisation of the study of the work of the Dutch artist Pieter Bruegel the Elder, which presents fair scenes that enabled the artist to comprehensively present the motley society of that time in an artistic manner specific to the artist. Conclusions. Pieter Bruegel the Elder's paintings are filled with hidden meaning, the depicted events are connected with history, contemporary politics, reflect the thoughts and ideas of the author, that is, they are symbolic. Bruegel is one of the founders of Dutch genre painting – a direction of fine art in which the painter's attention is devoted to ordinary, everyday, multifaceted life, in the centre of which are people. Using fair plots, the artist discovered new themes and images for art. With the help of fair scenes, Bruegel depicted a generalised picture of the life of society, recorded the traditions and daily life of his contemporaries. The artist's paintings are historical documents that make it possible to track the activities of his compatriots. Pieter Bruegel the Elder, thanks to his creative, innovative abilities, a keen sense of the urgent problems of his people, acquired many followers who copied his paintings, in particular from fair themes, developed his plots. For the artist, the fair plots became a conceptual basis that contributed to the comprehensive artistic reproduction of the national characteristics of the Dutch people, as well as a means of figuratively embodying his creative ideas. The fair theme of the paintings allowed the artist to depict the peculiarities of the modern multifaceted life and activities of the Dutch people, to demonstrate the transformational processes that took place among different layers of the population, to present his own vision of the panorama of the contemporary society, the miniature format of which was the fairs.

Cultural rituality and heritage revitalization values of ancestral temple architecture painting art from the perspective of relational sociology theory

Recent research has primarily focused on the genealogical relationship between ancestral temple painting and its spatial carriers, highlighting a shift in perspective from artistry to symbolism to kinship. While some scholars have noted the influence of ritual culture on architectural painting, few have explored its kinship relationship with architectural carriers. By incorporating relational sociology theory, this study chronologically reviews events influencing the formation of ancestral temple ritual culture, constructs a developmental model, and conducts case studies on the ethicality of architectural painting art, thus establishing a relational sociology analysis framework. Findings: (1) Ancestral temple architectural painting exhibits the ethicality and educational value inherent in Confucian concepts; (2) Themes such as immortal life, literati and scholars, and common folk simplicity highlight the spiritual and material kinship of ancestral temple painting. The vocabulary used in titles such as "He (rapprochement-和)", "He (reunification-合)", "wealth (财)", "happiness (乐)", "blessing (福)", and "longevity (寿)" reveals a positive transmission of Confucian values; (3) The five main artistic expressions of ancestral temple painting are metaphor through objects (借物喻意), the personification of events (以人喻事), using the past to illuminate the present (借古喻今), expressing aspirations through objects (托物喻志), and pun-based symbolism (谐音寓意); (4) The decorative elements of ancestral temples correspond to the forms of their painting art, with the former extending the space of the tomb sacrificial system and the latter representing artistic inheritance. The development of ancestral temple architecture has formed dual developmental contexts centered on ritual culture and supplemented by academic dissemination, fluctuating with the status of Confucianism. The relational sociology model shows that the political aspects of ancestral temples form a sub-lineage of their ritual culture, closely linked to reforms in the educational system and transformations in building functions, further influencing architectural form and decorative art.

THE INFLUENCE OF THE DEVELOPMENT OF COMPUTER TECHNOLOGIES ON THE PROCESS OF ARCHITECTURAL DESIGN

Problem statement. The history of the development of Petrykiv painting, including the study of the work of folk masters and their followers, their works, as well as consideration of problems and their solutions. The purpose of the article. To study the history of the origin and development of the art of Petrykivka painting. Determination of the stages of development and features in its different periods. Conclusion. The art of Petrikovsky painting is a unique relic of the national artistic tradition, which delegates to the modern world the original culture of the historical cradle of the Zaporizhia Cossacks. His powerful spirit, originality of poetic worldview and profound ethnic folk artistic thinking. Petrykiv decorative painting has in its potential immeasurable possibilities of ancient and eternally young folk art, for entering the sphere of modern life, enrichment of national and world culture. The war situation exacerbates and activates artistic creativity as much as possible. Thanks to the enthusiasm of Petrykiv masters-artists, their desire to support and develop our art, to pass on their skills to descendants, to show the beauty of Petrykiv painting to the whole world, this art form continues to live, improve and surprise with its unique ornament. Due to the significant economic difficulties accumulated during the last decades, an important branch of national culture has reached the critical limit of survival. Ensuring the preservation of historical centers of folk art and folk art crafts of Ukraine is a necessary component of the formation of national consciousness. The following most important strategic directions: state support and protection of the central figure of the industry − its producer, bearer of folk artistic traditions, folk craftsmen and enterprises of historical centers of folk artistic industries; preparation of the future change of folk masters in the creative environment of historical centers of folk art, by reaching different age categories of students, including the creation of specialized secondary educational institutions (schools), which will be gradually expanded as the industry develops; creation of museums in historical centers of folk arts and crafts for the purpose of their popularization, scientific research, assistance in education of future change, development of centers and tourism industry in Ukraine; Petrykiv painting will survive if it finds a new organic “usability”, either by artists of decorative art or by masters of folk art.

An Exploration of the Application Path of Painting Art Therapy in Mental Health Education in Colleges and Universities

Painting art therapy integrates painting art theory and psychological analysis, it constantly improves and develops, the application prospects is considerable. Based on the connotation and characteristics of painting art therapy, this paper pays attention to the current situation of mental health education in colleges and universities, and combines the advantages of painting art therapy to explore the integration of painting art therapy into mental health education in colleges and universities: painting is used to project the inner world in psychological survey, painting is used to release signals for help in individual counseling, painting is used to create an expression atmosphere in classroom teaching, and painting is used to awaken emotional resonance in group counseling and theme activities.

Characteristics of Qinghai Traditional Painting Art-Literature Analysis

Qinghai’s traditional painting art, influenced by its diverse ethnic cultures and religious practices, is a unique fusion of Tibetan, Han, and Mongolian elements. Originating from ancient rock art, Qinghai painting has evolved into a complex system characterized by realism, symbolic representation, and vibrant colors. Tibetan Buddhism plays a significant role in shaping the themes and styles of Qinghai’s art, particularly in Thangka and mural paintings. These art forms, rich in religious symbolism, are not only visual representations of spiritual teachings but also educational tools that pass down cultural and moral values. Among Qinghai’s artistic traditions, Datong farmers' paintings stand out for their simplicity, vibrant colors, and strong connection to rural life, using expressive brushwork to depict local customs and daily activities. Meanwhile, Qinghai Thangka is notable for its symmetrical compositions, vivid colors, and intricate details, often portraying Buddhist deities in a harmonious and layered structure. Despite modernization challenges, Qinghai’s painting art continues to innovate while preserving its cultural heritage, with modern artists blending traditional techniques with contemporary elements to keep the tradition alive. This study explores the characteristics, cultural significance, and future of Qinghai traditional painting art, emphasizing its role in cultural identity and artistic development.

Research on animation design of woodblock print characters based on audience aesthetic differences

Traditional woodblock prints are a kind of Chinese folk traditional painting art, with a long history and unique artistic style. It has a long history and unique artistic style. The richness of its themes and wide range of applications cover many aspects such as New Year festivals, wedding banquets and birthday celebrations, religious rituals and lanterns and toys. The wide range of themes and wide range of applications of woodblock prints creates a rich and colourful connotation, especially traditional stories and character images, which constitute an important part of the woodblock prints, there are very rich story resources and character resources in the woodblock prints for animation creators to refer to, different creators of woodblock prints have different understandings and re-designs, and the audience has mixed feelings about the effect of character design. With the development of modern animation production technology and the increasing attention to traditional culture, more and more practitioners have begun to explore the animation of story characters in the non-heritage culture, and this paper aims to explore the feasible path of animation of the elements in woodblock prints under the aesthetic differences.

Studying the quality indicators of acrylic paints with suede effect decorated in youth clothing

The article provides a comparative analysis of the types of national patterns in the formation and decoration of modern youth clothing. In the preparation of modern youth clothing, the structure and use of “tórt qulaq,” “qus qanaty,” and “óńirjıek” ornaments among the national ornaments of the Kazakh people were substantiated. According to the analysis results, the study used the methods of artistic decoration of national elements with volumetric acrylic paints, decorating with an artistic painting of ornaments of a collection of modern youth clothing formed. We studied the influence of dyeing textile materials of mixed composition with acrylic paints and the quality indicators of test samples decoratively decorated with acrylic paints on textile materials. When decoratively finishing brushed “poker with fleece” fabric with “Decola” acrylic paint, applying the paint to the test sample created difficulties. As a result, we discovered that the paint did not lie smoothly on the fabric’s surface. Test samples of the “milana” suit fabric and raincoat material using “Pebeo acrylic paint with suede effect” acquired a 3D volume. We studied the color fastness of washing test samples, and high-quality indicators of color fastness with artistic ornamental finishing in 3D volumes were obtained for the material “raincoat” and the suiting fabric “milana.” When studying the performance of test samples in terms of hygroscopic properties, the raincoat material had a higher waterproof rating, and the “milana” suit fabric had a lower waterproof rating. As a result of the hygroscopic properties of materials, in the manufacture of a collection of youth clothing, “milana” suit fabric was used, and the decorative detail of the “back yoke” was made of raincoat material with a high waterproof rating. As a result of the study, the ornaments will be decorated with artistic painting with “Pebeo acrylic paint suede effect” with 3D volume and made of “rain-coat” material and suiting fabric “milana” to create a collection of modern youth clothing. The artistic and decorative design of the clothing collection with 3D volumetric ornaments was formed, and modern clothing models that meet the tastes of youth, fashion trends, and market requirements were developed.

XÂY DỰNG CHƯƠNG TRÌNH CÁC DỰ ÁN NGHỆ THUẬT HỘI HOẠ ỨNG DỤNG VÀO LỚP HỌC THEO MÔ HÌNH GIÁO DỤC MONTESSORI

Establishing a curriculum for painting art projects within the Montessori education model is imperative for fostering objective practice conducive to social development. Through this investigation, we employ theoretical research methodologies to scrutinize the contextual nuances, program dynamics, and influential factors shaping the implementation of art projects in early childhood classrooms catering to children aged 3 to 6, harmonizing with the Montessori educational ethos. Utilizing the collaborative autoethnography method (Chang et al., 2014), we delve into experiential insights from practical educational pursuits. Preliminary findings indicate the efficacy of art education for this age group, underscored by key aspects including 1) The harmonization of theory and practice throughout program development and implementation; 2) the formulation of precise program framework implementation strategies; 3) the provision of comprehensive providing assistance and direction in selecting art projects and activities for preschool educators. These research outcomes offer a novel perspective on the symbiotic relationship between theory and practice, thus fostering the adoption of innovative methodologies in preschool education within the Vietnamese context. Keywords: Curriculum; project; painting art; children aged 3-6; Montessori education model.

Analysis of Color and Artistic Conception in Painting Art

The charm of painting, as a bright pearl in the treasure house of culture, lies in its visual language constructed through colors and lines, which conveys the artist’s unique perception of life and profound emotions. Color, as the most intuitive and expressive language in painting, is not only a simple reproduction of material colors but also a projection of the artist’s inner world. Artistic conception, as a core concept in traditional Chinese painting theory, refers to the emotional atmosphere and spiritual mood embedded in paintings. The purpose of this paper is to discuss the interaction between color and mood in painting art, to analyze the techniques of using color in different painting styles and their influence on the creation of mood, and to provide new perspectives and methods for the creation of paintings.

STRAIGHT PHOTOGRAPHY AND THE MODERNIST USE OF PREVISUALIZATION

This essay recharacterizes Edward Weston, Paul Strand, and others’ use of ‘straight photography’ as a deliberate modernist strategy that invites the viewer to distinguish between what the photographer foresaw in their photographs and what they intended. As such, ‘previsualization’ is shown to be a method that engages genre conventions inherited from fine art painting and not a necessary quality of art photographs. The first portion of this essay illustrates how versions of previsualization and foresight informed the aesthetic theories of John Ruskin and Peter Henry Emerson. Then, it shows how ‘straight’ photographers pushed against this tradition, inviting viewers to distinguish between photographic foresight and artistic intention. I conclude by suggesting ways the separation of foresight and intention could ramify into our understanding of other arts.

Exploring Perspectives: The Conceptual Formation and Diverse Applications of Texture in the Art of Painting

Exploring Perspectives: The Conceptual Formation and Diverse Applications of Texture in the Art of Painting

The Influence of Jianjiang on Modern and Contemporary Landscape Painting

Jianjiang is a pioneering landscape painter in the late Ming Dynasty and early Qing Dynasty. His works are austere, cool, dry and quiet. Jianjiang learned from tradition and nature, combined with his own emotional personality, formed a unique painting language and artistic outlook. The formal language in Jianjiang landscape painting works is rich, and the schema presented is unique. Jianjiang's painting art has been around for hundreds of years. When reading Jianjiang's works, people still feel a strong sense of form and times. His distinctive painting language and spiritual connotation have a very profound influence on future generations of painters.

A Painting to See the Heart

"Painting art comes from the heart", this is Shi Tao's view. He believes that the essence of the heart is "a painting", which will eventually return to the nature of the heart and self, which is the so-called "heart and sex homology". From the heart is the key to understanding Shi Tao's theory of one painting.

PELATIHAN LUKIS SIDIK JARI (FINGER PAINTING) UNTUK MENINGKATKAN MOTORIK HALUS PADA ANAK TK SIWI

Introducing children to the art of painting is an alternative to increasing children's creativity. Introducing art to children, especially painting, is meaningful for cultivating attitudes and fostering creativity. The aim of learning this art is to ensure that children have optimal motor, cognitive and psychomotor abilities. This service activity was carried out using fingerprint painting techniques which focused on efforts to improve children's fine motor skills at Siwi Kindergarten, Daratan Village, Sleman Regency, DI. Yogyakarta. This activity is part of the output of the MKU Indonesian Language course for UST Fine Arts Education Study Program students.

Painting the Past in the 19th Century: Materials, Methods, and Perspectives in Watercolour Replicas

This study focuses on the material characterisation of a collection of 19th-century watercolour replicas that reproduce ancient Egyptian mural paintings and illuminated decorations from medieval manuscripts. Non-contact analyses, including macro-X-ray fluorescence (MA-XRF), X-ray diffraction (XRD), and fibre-optic reflectance spectroscopy (FORS), were employed to examine the composition of the painting materials, particularly the pigments. The findings are contextualised through archival research into 19th-century technical sources on historical painting and illuminating practices, as well as contemporaneous pigment catalogues that reported commercial prices. Ultimately, this research aimed to explore whether 19th-century artists engaged with historical material practices beyond mere visual representation in their depictions of historical subjects. The results obtained from the replicas of medieval illuminations are groundbreaking, as they challenge prevailing scholarly assumptions. Notably, the use of pigments such as minium and ultramarine blue, which were held in high regard during the Middle Ages, along with the use of chalk in the preparation of the support, suggest that, in an industrialised world where engagement with material culture was increasingly driven by commercial profit, some academic circles still sought to explore and preserve selected historical material practices in the art of painting.

What can cartographers learn from artistic paintings when stylizing maps? A preliminary synthesis from the perspective of visual neuroscience

ABSTRACT Creating a map style from scratch is challenging. Cartographers may find inspirations from artistic paintings and transfer their style to maps. However, the reference painting and the extracted style elements may not fit well with the content and function of maps, resulting in undesirable or even frustrating map stylization. The question of how to choose appropriate paintings as inspirations and utilize their essential visual elements to stylize maps remains unanswered. As neuroscience has developed, an increasing number of neural mechanisms underlying visual perception have been discovered, deepening our understanding of artistic styles and their adaptation to maps. In this paper, we draw connections between visual neurons and style elements of both artistic paintings and maps by examining seven neural mechanisms (i.e. central-peripheral vision, color-to-contour adhesion, double-opponent effects, visual filling-in, orientation selectivity, latency variation, and what-where separation) that are typical of artistic paintings. We also demonstrate that these mechanisms are transferable to maps. We then create a cartographic style syntactics to generally indicate how and to what degree these mechanisms can be reflected in four cartographic stylistic criteria (i.e. identification, expressiveness, aesthetic appeal and emotional impact). Our work contributes to the integration of principles from neuroscience with cartographic design to deepen our understanding of map perception and to facilitate map style transfer.

4D Analysis and Research of Art Painting Intelligent Fusion Based on Calligraphy Character Image Edge Recognition Algorithm

4D Analysis and Research of Art Painting Intelligent Fusion Based on Calligraphy Character Image Edge Recognition Algorithm

Research on Emotion Expression in Painting Art Based on Resemblance Theory

In the face of paintings, people will have a variety of emotions, but it is not a matter of course that art can express emotions. Art itself cannot produce emotions, it is human beings who express emotions from the beginning to the end. Based on people's use of resemblance theory to express emotions through artworks, this paper probes into the nature of resemblance theory and the problems brought by the convention and seeks interaction of artists, audience and artworks in art expressing emotions. Art expressing emotion needs participation of the three, can not be one-sided demonstration. Resemblance theory is not invulnerable, but more of a hope to point to the root cause of this theoretical behavior, to thinking of the "mind", about this differentiating mind that defines emotion, the coexistence of empathy and prejudice, and so on. In addition, this paper also uses the uniqueness of ancient Chinese painting, which is different from Western art, highlights the connected forms of multi-emotion expression in painting art, and enriches and improves the research system of emotional expression in the field of Eastern painting art.