Color Painting Research Articles

Minor Modification in Asbestos Roof of Cow Shed for Reduction of Heat Stress in Dairy Cows during Summer Season

Thermo neutral zone (TNZ) is the range of ambient temperature & humidity in which animals feel comfortable and their production level is optimum. When temperature humidity index (THI) goes above 72, the dairy cows begin to show symptoms of mild heat stress, which affects the milk production in dairy animals during summer season in India. Asbestos and GI sheet are commonly used as roofing material in many cattle farms throughout the world. This experiment was carried out on apparently healthy cross bred jersey cows receiving balanced ration during the month of May in the livestock farm of OUAT, Bhubaneswar for one week. The existing cattle shed was partitioned into three compartments by raising brick walls, each having the dimension of 30 x 25 ft size. The asbestos roof of first one was covered with 90 % grade green shed-net. Over the asbestos roof of second compartment, heat reflective white colour was painted and asbestos roof of third one was left as such. From 8.00 AM to 5.00PM, the THI of the normal asbestos roof shed varied from mild to moderate heat stress range. But THI of both shed-net covered shed and heat reflective colour painted shed was found to be within the mild heat stress range i.e. 72-79 during noon indicating a comfortable ambient condition for the animals in summer season when the outside ambient temperature went up to 40 0C during noon. No significant (P>0.05) change in the milk production was observed among the groups during the week. However, a decrease (P<0.05) of 0.43, 0.25 and 0.38 L in milk yield of the cows was observed when they were kept under normal asbestos shed, heat reflective colour painted shed and shed-net covered shed, respectively. From the study, this can be concluded that the impact of heat stress on milk production can be reduced by painting the rood of the shed with heat reflective colour paint.

The color influence of dust in air pollutants on architectural painting: a case of archery tower at the West Gate in Shaanxi, China

At present, under the influence of environmental pollution, the color of architectural painting gradually darkens, loses luster, and even cracks when the pigment falls off, which seriously affects the long-term preservation of architectural painting. In order to study the damage mechanism of dust particles to the color of the architectural painting, this study took the archery tower at the West Gate as the research object, monitored the temperature and humidity of the indoor environment, and analyzed the composition of the dust by ICP-MS, IC, and XRD. The experimental results showed notable fluctuations in the indoor humidity in inner the archery tower at the West Gate during the monitoring period from January to March, which were not conducive to the preservation of wood-colored paintings. The 24-h average PM2.5 and PM10 concentrations, measured over 2 days in January, were beyond the National Ambient Air Quality Standard norms, and PM contains a large amount of soluble salts such as sulfate and nitrate, causing serious salt erosion and damage to the color painting layer. Through the simulation experiment of the color painting layer, it was revealed that the dust particles deposited on the surface of the color painting layer change the spectral characteristics of the color painting layer, and then cause the color layer to lose its original hue, fade become blurred, or darken. It was anticipated that this research would serve as a valuable reference for the preventive protection of the color painting layer of the archery tower at West Gate.

A Study on the Color Prediction of Ancient Chinese Architecture Paintings Based on a Digital Color Camera and the Color Design System

Color paintings such as painted facades and interiors are important decoration elements of ancient Chinese architectures. The color of the paintings usually fades over time due to exposure to strong light, high humidity, high temperatures, and other environmental factors. In order to restore or reproduce the color appearance of ancient architecture paintings correctly, it was necessary to study the color degradation process of such paintings. To meet the needs of on-site colorimetric measurement of the paintings on ancient Chinese architectures, we propose using a digital color camera and the CDS (Color Design System) to measure and evaluate the colors of such paintings. The CDS is a color order system recommended by the Chinese national technical committee for color standardization (SAC/TC 120) in 2017 (GB/Z 35473-2017). The current version of the CDS atlas contains about 2740 samples which were uniformly distributed on the whole color space, and can be used to set up the colorimetric characterization model for the digital camera. Particularly, the digital CDS lookup table contains over 400 thousand samples, and it can be used to express the color of paintings on ancient Chinese architectures. In the experiment, a digital color camera was used to capture the colors of the paintings on the ancient Chinese architectures of different years based on the CDS and polynomial transform method. Moreover, a linear interpolation method was proposed for calculating and predicting the color degradation of such paintings. The experimental results show that with the increase in years, the color hue of the paintings changes slowly, while the lightness and the chroma of them fade obviously. In the future, more ancient architectures of different years and from different places should be selected as experimental samples to improve the method and the results of the paper.

Material and Microstructure Analysis of Wood Color Paintings from Shaanxi Cangjie Temple, China.

Cangjie Temple was built to commemorate Cangjie, the legendary inventor of Chinese characters. It stands as one of the few remaining temples in China dedicated to the invention and creation of writing. In this study, the material properties of wooden paintings from the Cangjie temple were characterized using Polarized Light Microscopy (PLM), Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (SEM-EDS), Micro-confocal Raman Spectroscopy, X-ray Diffraction (XRD), Fourier Transform Infrared Spectroscopy (FTIR), and Pyrolysis-Gas Chromatography-Mass Spectrometry (Py-GC/MS). It was confirmed that the pigments of the paintings included cinnabar, lapis lazuli, lead white, Paris green, and carbon black. The proteinaceous glue was used as an adhesive in the pigment samples, with tung oil likely being utilized as a primer for the wooden structures before painting. This study not only provides valuable data support for the conservation and restoration of the architectural features of Cangjie Temple but also provides useful reference for the maintenance and inheritance of similar ancient buildings.

Droplet-Pen Writing of Ultra-Uniform Graphene Pattern for Multi-Spectral Applications.

Artificial optical patterns bring wide benefits in applications like structural color display, photonic camouflage, and electromagnetic cloak. Their scalable coating on large-scale objects will greatly enrich the multimodal-interactive society. Here, a droplet-pen writing (DPW) method to directly write multi-spectral patterns of thin-film graphene is reported. By amphiphilicity regulations of 2D graphene nanosheets, ultra-uniform and ultrathin films can spontaneously form on droplet caps and pave to the substrate, thus inducing optical interference. This allows the on-surface patterning by pen writing of droplets. Specifically, drop-on-demand thin films are achieved with millimeter lateral size and uniformity up to 97% in subwavelength thickness (<100nm), corresponding to an aspect ratio of over 30000. The pixelated thin-film patterns of disks and lines in an 8-inch wafer scale are demonstrated, which enable low-emittance structural color paintings. Furthermore, the applications of these patterns for dual-band camouflage and infrared-to-visible encryption are investigated. This study highlights the potential of 2D material self-assembly in the large-scale preparation and multi-spectral application of thin film-based optical patterns.

A three-dimensional audiobook design based on the Luo Yue culture of the Zhuang people, “Book Travel in Huashan”

The illustration design of this three-dimensional book is re-innovated based on the “North Sea Water Color Painting” style. The design features are in line with the development laws of children’s psychology. With rich colors, complex illustrations, wonderful storylines, and interactive book forms, it also Follow the development rules and learning characteristics of young children to create theme stories, and then carefully study the graphic symbols, summarize and refine the characteristics and essence of the Huashan blessing elements, extract and modernize the “human pattern totem”, and finally Restore the real characters and reserve high-quality picture book resources for preschool children who like Zhuang traditional culture, which is conducive to the promotion and inheritance of local intangible cultural heritage. In the last part, the results of the research on Huashan rock painting graphics and design application ideas are finally attributed to the creative practice of three-dimensional audio book design, completing the entire process from theory to practical application exploration, and then enhancing the national confidence and identity of the Zhuang people.

A Multi-Method Analysis of a Color Painting on Ancient Architecture from Anyuan Temple in Chengde, China

Anyuan Temple, constructed in the 29th year of the Qing Dynasty (1764), serves as a repository of numerous Sanskrit inscriptions and Hexi color paintings from the Qing era. Among its collections, the green Tara Buddha statue, exquisitely carved from wood, is recognized as a national first-class cultural relic. This edifice is instrumental in advancing our comprehension of painting artistry in royal temples. The current research focused on the pigments and binders utilized in the color paintings within Anyuan Temple, located in Chengde. An investigative process entailed collecting four samples from the paintings adorning the temple’s beams. These samples underwent comprehensive analysis using a variety of techniques, such as Scanning Electron Microscopy and Energy-Dispersive Spectrometry (EDS), Micro Raman Spectroscopy (m-RS), and X-ray Diffraction (XRD). The examination revealed that the paintings comprised pigments of lead white, cinnabar, malachite, and azurite, corresponding to the colors white, red, green, and blue, respectively. The enduring stability and aesthetic appeal of these pigments suggest their suitability for use in future conservation efforts. Additionally, Pyrolysis Gas Chromatography/Mass Spectrometry (Py-GC/MS) analysis identified animal glue as the binding agent in the wood component paintings. These insights are pivotal for the forthcoming restoration endeavors of Anyuan Temple, offering essential guidance in selecting the appropriate materials for restoration.

Evaluation of commonly used reinforcement materials for color paintings on ancient wooden architecture in China

Over recent decades, various heritage institutions have utilized a multitude of materials to reinforce the painted layers of ancient Chinese wooden architecture. In this study, we conducted a comprehensive evaluation of the properties and durability of four widely used reinforcement agents, i.e., AC33, B72, FKM, and FEVE, using a series of techniques, including contact angle tests, water vapor permeability measurements, color difference evaluations, tensile strength tests, UV–vis spectrometry, and scanning electron microscopy (SEM). The results demonstrate that the transmittance rates of the films made from these four reinforcement agents are approximately 100% in the visible light range. Among them, the B72 film exhibits the highest hydrophobicity. The AC33 film has better permeability, fair tensile strength, and is more hydrophilic. FKM film is more hydrophobic but has lower permeability and tensile strength. Overall, the FEVE film presents the best comprehensive properties, including better hydrophobicity, higher permeability, and tensile strength. This research provides data evidence to guide heritage conservators and curators in decision-making when selecting appropriate reinforcement materials in practice.

Research of antiaging behavior of a new sealing coating for color painting cultural relics

PurposeThe color painting of ancient buildings has high historical and artistic value but is prone to aging due to long-term outdoor exposure. The purpose of this study is to develop a new type of sealing coating to mitigate the impact of ultraviolet (UV) light on color painting.Design/methodology/approachThe new coating was subjected to a 500-h UV-aging test. Compared with the existing acrylic resin Primal AC33, the UV aging behavior of the new coating, such as color difference and gloss, was studied with aging time. The Fourier infrared spectra of the coatings were analyzed after the UV-aging test.FindingsCompared with AC33, the antiaging performance of SF8 was substantially improved. SF8 has a lower color difference value and better light retention and hydrophobicity. The Fourier transform infrared spectroscopy results showed that the C-F bond and Si-O bonds in the resin of the optimized sealing coating protected the main chain C-C structure from degradation during the aging process; thus, the resin maintained good stability. The hindered amine light stabilizer TN292 added to the coating inhibited the antiaging process by trapping active free radicals.Originality/valueTo address the problem of UV aging of oil-decorated colored paintings, a new type of sealing coating with excellent antiaging properties was developed, laying the foundation for its demonstration application on the surface of ancient buildings.

Study on Carbonation of Porcine Blood Hydrogel in the Composite Mortar of Ancient Chinese Architectural Painting.

In the ancient Chinese recipe for composite mortar used in the construction of ground layers for architectural painting, the mixture of porcine blood and lime water is one of the constituent materials. Herein, according to the traditional recipe, the interaction between porcine blood and lime water was systematically and deeply investigated. The experimental investigation demonstrated that porcine blood mixed with lime water at the ratio found in the recipe can form a hydrogel with a hydrophobic surface. During air-drying, the lime water in porcine blood hydrogel can react with CO2 to form calcium carbonate. The crystal morphology of the formed calcium carbonate depends on the surrounding micro-environment of calcium ions in the porcine blood hydrogel. The formed morphology of calcium carbonate includes small calcite crystallites, small graininess calcite crystals with round features, calcite aggregates with layered ladder-like structures, and amorphous calcium carbonate (ACC). Interestingly, the calcium carbonate formed in the inner part of the porcine blood hydrogel exhibits lamellar distribution due to a Liesegang pattern formation. Based on the findings that the porcine blood hydrogel has surface hydrophobicity and brittleness, it can be predicted that in the preparation process of composite mortar for ancient building color painting base course, porcine blood used in the form of a hydrogel is not only easier to be dispersed in hydrophobic tung oil than in liquid porcine blood but also the affinity between porcine blood gel and tung oil is enhanced. As constituent material dispersed in the composite mortar, the layered distribution of calcium carbonate in the porcine blood hydrogel may presumably be beneficial to reduce the internal stress of the composite mortar material.

1095. Vincetoxicum magnificum (Nakai) Kitag.: Apocynaceae

SummaryThe genus Vincetoxicum Wolf is one of the most species‐rich genera in the Apocynaceae and has diversified in Japan. Vincetoxicum magnificum (Nakai) Kitag. is a perennial herb endemic to Japan. Most Japanese Vincetoxicum species flower in summer to autumn, whereas V. magnificum flowers in spring. Here we provide images of Japanese Vincetoxicum species in their natural habitats and a colour painting, detailed illustrations, photos, and a full description of V. magnificum.

The Technical Dimension of the Works of Artists Robert Rauschenberg and Jasper Johns

The research entitled (The Technical Dimension of the Works of Artists Rauschenberg and Jasper Jones) dealt with the nature of the concept of technology and the mechanisms of its operation in plastic art, The research come in four chapters. The first chapter: The methodological framework of the research, in which the research problem was presented, the importance of research and the need for it, and the goal and limits of the research. As for the second chapter; The theoretical framework, it contained two sections, The first section focused on technology, its concept and its transformations in the history of art, The second section dealt with (the experience of Robert Rauschenberg and Jasper Johns). The third chapter was concerned with research procedures, where the researcher presented the method used, and the research tool, community, and sample of (3) are a model. As for the fourth chapter, it included the results, conclusions, proposals, and recommendations, and the most important of these results reached by the researcher are: 1- Robert Rauschenberg and Jasper Johns used the collage technique (mixed medium), where the artist created multiple processes between gluing, composition, and color painting, thus presenting mutually reinforcing techniques within one visual field. 2- Most postmodern artists invested in disparate ready – made objects to develop them through color, collage, composition, printmaking, photography, and other techniques, as in models (1,2,3).

Dichroic Engineering from Invisible to Full Colors Using Plasmonics

AbstractPlasmonic nanoparticles serve as nonfading pigments for vibrant outdoor glasses and smart windows, offering vivid colors under sunlight with exceptional spatial resolution. However, simultaneously achieving the desired plasmonic coloration in both reflection and transmission with a full‐color gamut remains a formidable challenge, especially when using a single fabrication method. Here, a facile physical triple co‐deposition method to construct scalable plasmonic superstructures, optimal for dichroic color engineering is demonstrated. A key feature of such all‐in‐one plasmonic superstructures lies in extensive color performance in transmission and reflection modes, spanning from transparent invisibility to vivid full colors across the wavelength range of over 600 nm. This exceptional coloration fidelity stems from their 3D‐stacked nanocomposite where plasmonic nanoparticles incorporate a random but uniform distribution within a glass matrix. Wafer‐scale rich and dynamic color images useful for colorful data storage and steganography, as demonstrated through layer‐by‐layer color painting with combinatorial plasmonic superstructures are shown.

Tapping the Economic Potential and Optimizing Strategies of Intangible Cultural Heritage under Digital Transformation

Abstract Intangible cultural heritage has important historical, cultural, and spiritual values. This paper selects the intangible cultural heritage of Yunnan Painting, the national architectural decoration of Dali, as the case study object. We use web crawler technology to extract the consumer’s comment text data, establishing the Yunnan Painting consumer comment text dataset. Secondly, we extract high-frequency words from the dataset using text mining technology, TF-IDF keyword extraction, and LDA themes, and cluster them using the K-means method. Finally, we evaluate the economic potential of Yunnan Painting in terms of consumers’ cognitive abilities and the emotional appeal of its products, based on the extracted results. The study reveals that the dressmaking, painting, and tourism industries are the main economic activities of Yunnan color painting, with the tourism industry requiring further strengthening. According to the text mining of high-frequency words, the frequency of “product” in Yunnan painting was the highest at 296 times, followed by “culture,” “technology,” “cultural creativity,” and “theme.” The analysis of consumers’ emotional text features reveals that most consumers have positive emotions towards Yunnan-colored paintings, while very few have negative emotions. The economic optimization strategy that is proposed is based on the results and provides a reference value for the economic development of other intangible cultural heritage.

The course teaching of rock color painting technique

Rock color painting is a kind of traditional painting in China, which has strong cultural heritage and artistic charm, and has attracted wide attention for its unique charm and artistic expression. The teaching of rock painting techniques is an important part of rock painting education. It aims to inherit and develop traditional Chinese painting skills, cultivate students' understanding of rock painting and creative ability, and guide students to master the basic techniques and expression techniques of rock painting through systematic teaching arrangements and practical operations to make them show individuality and innovation in creation and cultivate their unique sense and understanding of beauty. The purpose of this paper is to explore the teaching methods and strategies of rock painting techniques course, so as to improve students' understanding and application ability of rock painting techniques and promote the inheritance and innovative development of traditional Chinese painting techniques.

An Analysis of the New and the Figurative Art (Paul Cezanne)

Abstract This article presents Malevich’s explanation and indeed justification for the new art, including his own objectless art of Suprematism. He divides the history of art into two trends – figurative art, which relies on an identifiable subject matter to convey any spiritual sensations, and non-figurative art in which sensations are evoked through the mixing of colors, the fabric of the painterly structure – “painting as such” and “color painting” (tsvetopis’). Much of the text focuses on Cezanne who expressed the nature of painting so powerfully in works like The Bottom of the Ravine (1879) and The Card Players (1890–1892). Malevich compares his “painterly realism” to the “illusory” realism of figurative artists, such as Ivan Shishkin and Ilia Repin. This article is translated and edited by Alexander Bouras and Maria Kokkori.

Образ «живой земли» в главе «Троицын день» романа И. С. Шмелева «Лето Господне»

This article reveals the features of the artistic embodiment of the image of the “living earth” in the chapter “The Trinity Day” of the novel The Summer of the Lord by the writer of the Russian émigré of the first half of the 20th century Ivan Sergeevich Shmelev. The Summer of the Lord is the pinnacle work in the author’s oeuvre. The book is based on the autobiographical material. In the chapter “The Trinity Day” the author depicted his own childhood memories of celebrating the Orthodox holiday of the Trinity. In the picture of the lush Russian summer nature shown in the chapter “The Trinity Day” and filled with special value and meaning semantics, the image of the blessed “living earth”, correlated with the image of Russia, becomes the leading one. The artistic technique of color painting dominates in revealing the figurative and motif text range, which acquires a symbolic meaning. The motif of the “revival” of the earthly world on the day of the holy celebration reveals the connection of Christian ideas about God as a life-giving principle, the source of real life. Images of birches, motifs of light, brilliance, fragrance, and spiritualization of the earth receive the important symbolic and spiritual significance in the narrative structure of the chapter “The Trinity Day”. The image of the “living earth” in the text of the novel The Summer of the Lord acquires a universal, comprehensive meaning, includes not only images of nature, but also the home space surrounding the main character of the work – a seven-year-old Vanya, as well as images of the temple, Moscow, the Kremlin. The main idea of this chapter of the novel is the belief in the direct descent of the Lord Jesus Christ on the day of Trinity onto the earthly world in order to bless it. The nostalgic intonation of the adult narrator sounding in the chapter “The Trinity Day”, introduces in the text the idea of making the image of Russia sacred. The bygone childhood and Homeland, forever lost in terrible historical cataclysms, acquire a sacred character, appear in the author’s understanding as the blessed world of Holy Russia. The Russia of his childhood turns out to be included in the single circle of Christian Eternity and existential being.

Precise in-situ detection of inorganic pigments in ancient architectural color paintings by HH-XRF

The handheld X-ray fluorescence spectrometer (HH-XRF) is commonly used to detect the inorganic elemental composition of pigments on-site. However, the accuracy of in-situ detection results can be affected by the characteristics of the painted surface contaminants and the layered structure of pigments in ancient architectural color paintings. To mitigate this error, a method was proposed that combined the XRF spectra of inorganic pigments with the elemental concentration values obtained through principal component analysis (PCA). Additionally, this study discussed the typical surface contaminants and pigment layering found in color paintings separately. Firstly, experiments were conducted on dust accumulation layers of varying thicknesses. The results indicated that the condition of color paintings after pretreatment of dust accumulation tended to resemble the situation with thin dust accumulation during in-situ testing. A fitting formula was derived to establish a relationship between field testing and laboratory testing results. Secondly, experiments were conducted using various combinations of pigment layers. Based on the findings, it was hypothesized that there was a connection between XRF detection results and the maximum concentration value of a single element (as determined by XRF, in an unmixed or unlayered pigment sample without dust or smoke accumulation). The test results were fitted using a Polynomial formula, providing evidence for the existence of a nonlinear functional relationship between these two variables. Finally, an empirical formula for predicting the concentration values of the top color layer with different base colors was proposed. This study offered a precise method for accurately assessing pigments of ancient architectural color paintings through in-situ testing.

Historical Factors Influencing Water Colour Painting Market Environment and Development in China Market Supervisor as a Moderator

Purpose: China has a long history of art, including watercolour painting, which has garnered international acclaim. China can gain recognition for its artistic accomplishments and contribute to the global art community by preserving and promoting the practise of watercolour painting both domestically and internationally. Theoretical framework: The tale of the development of Chinese watercolour painting is intricate and multidimensional, reflecting the impact of several historical events (Li, 2023; Yin,2022). These elements have all contributed to the creation of this stunning and lasting art form, from the rich philosophical and cultural traditions of China to the impact of aesthetic trends and technical advancements. Design/Methodology/Approach: A total of 495 respondents participated in the survey comprised of 110 watercolour artist collectors, 220 watercolour paintings and 165lectors and business intermediaries 165. This study was a cross-sectional study where the data collection period is from August to October 2021. Using Smart PLS, the collected data is analysed. Findings: The study revealed that watercolour painting is a popular art form among both artists and collectors. Watercolour paintings have been a popular art form for centuries, and this study confirms that their popularity remains strong among both artists and collectors. The delicate beauty of watercolours, with their translucent washes of colour and soft edges, is particularly appealing to those who appreciate the subtleties of art. Research, practical &amp; social implications: This study found that watercolour paintings are highly valued by business intermediaries, who recognize their potential as investments. In fact, many galleries and auction houses specialize in selling watercolours, and the market for these works continues to grow. Originality/Value: It is important to note that not all watercolour paintings are created equal - some are more highly prized than others based on factors such as the artist's reputation, the quality of the materials used, and the subject matter depicted. Overall, this study underscores the enduring appeal of watercolour paintings and their continued relevance in today's art world.

Metaphors in Juan Luna’s Works: A Semiotic-Hermeneutic Analysis

Juan Luna was a major force of painting tradition in the Philippines particularly in the late 19th Century. Like his colorful paintings, his life was also interestingly complicated which scholars and historians were fond of studying about. His paintings are known to be packed with symbolism. In this study, I tried to interpret the painter's works and the intricacies of his life as a nationalist and as a private person. By employing semiotic-hermeneutic interpretation, an exposition of various symbols embedded in his works and what they signify was made. As gleaned in the works interpreted, messages and contents were conveyed and made powerful through his visual metaphors. Apparently, Luna concealed his nationalistic ideas and his innermost feelings in his work.