Elements Of Painting Research Articles

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.

FHS-adapter: fine-grained hierarchical semantic adapter for Chinese landscape paintings generation

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.‘Gou, Cun, Dian, Ran’ means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp.

M. Ravel’s vocal cycle “Chansons madécasses” and its role in the development of French chamber-vocal music of the first half of the twentieth century

Statement of the problem. Chamber vocal genres attracted Ravel throughout his career, from his first opuses (his first song belongs to Op.4) to his last, which was the vocal cycle “Three Songs of Don Quixote to Dulcinea”. The vocal works fully embody the main features of the composer’s style and creative interests. This sphere of Ravel’s work corresponds to the leading trends in the development of chamber vocal genres in the French culture of the twentieth century. At that time, composers had gravitated toward symbolism, elegance and refinement of music expression, the impressionistic reflection of fleeting moments, elusive images of nature or shades of human feelings. The cycle “Chansons madécasses” (“Madagascar Songs”) attracts primarily by a mixture of colonial themes and exoticism, which is realized in a combination of speech expressiveness and musicality, recitative melody and plastic rhythm. The cycle poses a number of difficult tasks for performers, the solution of which lies in the plane of historical accuracy and technical precision. These aspects are examined in the article. Discussion of the historical, social and textual specifics of music and poetry will help to renew the traditions of the cycle’s performance that were formed in the last century. Objectives, methods, and novelty of the research. The purpose of the article is to examine Ravel’s vocal cycle “Chansons madécasses” in the context of the development of French chamber music of the first half of the twentieth century, with an emphasis on content and stylistics. Theoretical analysis and systematization of scientific sources on the topic helped to outline certain traditions of musicological presenting the cycle “Chansons madécasses; historical and comparative research methods have made it possible to consider the historical and cultural context of the poetic component of the cycle –“poems in prose” by E. Parny. Holistic and comparative musicological analysis contributed to the coverage of ways of realizing the poetic and musical spaces of the cycle. M. Ravel’s vocal cycle “Chansons madécasses” remains poorly researched in domestic musicology, which determines the scientific novelty of this study. Research results and conclusion. Based on the analysis of M. Ravel’s chamber-vocal cycle, it can be concluded that the composer continues the best traditions of French art with its refined and impressionistic features, while demonstrating an innovative approach to vocal genres. Particularly interesting are his creative searches in recent years, when Ravel reached a new understanding of musical and poetic synthesis. The main features of his chamber music, including vocal cycles, were the daintiness and elegance of the figurative sphere, the refinement of the musical style, the inclination to the recitative manner of vocalization, and elements of sound painting In the cycle “Chansons madécasses” M. Ravel not just embodies the text in music; he tries to make the music itself convey the text. Emotions and conflicts present in the words receive an active dramatic musical embodiment; the erotic play of dynamics and tempos in “Nahandove”, the clash of tonalities in “Aoua!” and the quiet mysterious sounds in “Il est doux” serve as an example of an attempt to achieve a “direct” reproduction of the text in music. Thus, the songs of the cycle “Chansons madécasses” represent the composer’s complex relationship with the very idea of a “voice”. M. Ravel “appropriates” the voice of an exotic “other” in order to address provocative themes that he avoided in the rest of his vocal works; but instead of remaining in this “safe space”, he constantly undermines its stability: avoiding the conventionality of musical exoticism, looking for a strong dramatic support of the text capable of making an impression on the listeners, M. Ravel puts us into a confrontation with the various emotions presented in these songs.

Inheritance And Innovation of Lingnan Intangible Cultural Heritage: Application Exploration of Information Visualization

This paper explores the current situation, challenges, and strategies for the digital inheritance and innovation of Lingnan intangible cultural heritage, focusing on the integration of woodblock new year painting elements. It introduces the rich cultural resources of Lingnan and highlights the difficulties faced in their preservation. The paper emphasizes the necessity of digital inheritance and the significant role of digital means in protecting and disseminating intangible cultural heritage, particularly through the application of information visualization technology. It details methods such as multimedia display, interactive experience, and data visualization, illustrating their practical effectiveness through case studies involving Cantonese opera, Guangcai porcelain, and notably, the integration of woodblock new year paintings. The paper also discusses the challenges of digital inheritance and the potential of emerging technologies like virtual reality and augmented reality in advancing the cause of intangible cultural heritage preservation. By incorporating woodblock new year painting elements, this study aims to enrich the digital representation of Lingnan culture, thus promoting its innovative inheritance and development in the digital age.

Sound Art of Internet of Things Explore: Sound Sensors in the Fusion of Painting and Music

INTRODUCTION: The combination of sound art and Internet of Things (IoT) technology offers new possibilities for artistic creation. With the rapid development of the Internet of Things (IoT), sound sensors have become a powerful tool for capturing environmental sounds. This study aims to explore the application of suitable sensors in the fusion of painting and music by utilizing IoT technology to create more prosperous and interactive artworks for artists. OBJECTIVES: The study's primary purpose is to explore the potential uses of sound sensors in art creation, especially in integrating painting and music. By deeply analyzing the interaction between sound and visual art, the researchers aim to discover new creative possibilities, thus expanding the boundaries of artistic creation. METHODS: The study utilized a comprehensive methodology that included a literature review, field research, and artistic practice. First, the literature on sound art, IoT, and art fusion was extensively reviewed to provide a theoretical foundation for the study. Second, through field research, the researchers collected practical examples of sound sensors applied in the field of art. Finally, through hands-on art creation in the artist's studio, the researchers verified the potential applications of suitable sensors in the fusion of painting and music. RESULTS: The study found that sound sensors have many applications in painting-music fusion. By embedding suitable sensors into painting tools and music devices, artists can capture the sounds of their surroundings and transform them into visual and auditory artistic expressions. Examples from practice demonstrate how this technological innovation can bring a richer, more sensual experience to artistic creation while engaging the audience in interactive participation. CONCLUSION: The results of this study show that the combination of sound sensors and IoT technology offers new possibilities for artistic creation. By integrating proper elements in painting and music, artists can create more profound and engaging works. This innovation expands the boundaries of art and provides the audience with a more intimate and interactive experience with the artwork. In the future, further research can delve into the application of sound sensors in other artistic fields, thus promoting the integration of art and technology to move forward.

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.

Analysis of Pigments Unearthed from the Yungang Grottoes Archaeological Excavations

The Yungang Grottoes, excavated during the 5th to 6th centuries AD, stand as a pinnacle of Buddhist sculpture, representing a precious world cultural heritage. Since their excavation, the grottoes have undergone multiple phases of painting, with a significant amount of pigment still present on the surfaces of the stone carvings. Since the 1990s, two large-scale archaeological excavations have been conducted on both the front ground and the summit of Yungang Grottoes. During these excavations, various artifacts with accompanying pigments were unearthed, encompassing stone carvings, grinding tools, architectural components, fragments of murals, and remnants of clay sculptures, spanning the historical periods of the Northern Wei, Liao-Jin, and Ming-Qing dynasties. Using portable X-ray fluorescence spectrometry, portable microscopy, polarizing microscopy, scanning electron microscopy–energy dispersive X-ray spectroscopy, and confocal Raman microscopy, we conducted a comprehensive analysis of these painted elements. The investigation revealed the presence of hematite, vermilion, goethite, malachite, calcium carbonate, lead white, and ivory black pigments in the Northern Wei samples. The Liao-Jin samples exhibited hematite, while the Ming-Qing samples contained vermilion, minium, atacamite, lead white, and Prussian blue.

Building Maintenance Priority Decision Support System Using the Method Profile Matching

Along with the increasing age of a building, maintenance activities become things that need to be done to minimize damage that occurs such as damage to the ceiling or ceramics. Therefore, this study aims to determine the priority of building elements in the treatment of architectural components in buildings A and B ITK campus using Profile Matching method. Based on the results of analysis and observations in the field, the elements that are the main priority in the architectural component of Building A are ceiling elements, the second priority element is sanitary elements, the third priority element is floor elements and door and window elements, the fourth priority element is painting elements, and the last priority element is Wall pair elements. Whereas in the architectural component of Building B, the main priority elements are ceiling elements and sanitary elements, the second priority element is the wall pair element, the third priority element is the floor element and the door and window element, and the last priority element is the painting element.

Retracted: Analysis of Painting Elements of Tea Culture and Art Works Based on Image Perception

Retracted: Analysis of Painting Elements of Tea Culture and Art Works Based on Image Perception

The Transformation of Traditional Chinese Painting Elements in Modern Design Contexts

Abstract To ensure the effective preservation and evolution of traditional painting art, it is imperative to integrate contemporary art design concepts and methodologies. This paper focuses on the reconstruction of traditional Chinese painting elements, distilling and adapting its pattern, ink, and calligraphy components into a modern design framework. Specifically, the features of the pattern elements are identified and transformed using a feature point extraction algorithm combined with K-Means clustering. For ink and calligraphy elements, a fusion of self-attention mechanisms and Generative Adversarial Networks (GANs) facilitates the stylistic migration and conversion of these elements through the construction of distinct discriminators. Subsequent evaluation of the transformed painting elements utilized Importance-Performance Analysis (IPA) within a contemporary design context, aiming to assess the practical value of traditional painting elements in modern design. The findings indicate that the clarity of information (C1) and its accuracy and efficacy (C3) in the context of contemporary design achieved importance scores exceeding 3.6. Furthermore, the satisfaction scores for modeling (C10), color (C11), and imagery (C12) each surpassed 3.5, denoting a high level of satisfaction in the IPA of their conversion. The study enriches traditional artistic methods and conceptualizations, thereby enhancing their cultural depth and significance.

Innovative Application of Chinese Landscape Culture Painting Elements in AI Art Generation

Abstract In recent years, the swift advancement of artificial intelligence (AI) has significantly propelled the capabilities of data generation, a pivotal technology underpinning AI development. This has led to remarkable innovations across various domains, including images, text, and speech. In this study, we introduce a sophisticated image translation network tailored for AI-driven art generation of landscape painting elements. This network is enhanced by integrating a self-attention mechanism with orthogonal Jacobi regularization, aiming to elevate the quality of the generated artwork. Furthermore, we developed a landscape style transfer model using the image above translation network to encapsulate elements of Chinese landscape cultural paintings. This model emulates the artistic process employed by human artists, effectively capturing the essence of the content and infusing the intended style. The efficacy of the generated images is quantitatively assessed through Peak Signal-to-Noise Ratio (PSNR) and Structural Similarity Index Measure (SSIM) values. Comparative analysis of the style transfer outcomes across three models reveals that the Generative Adversarial Network (GAN) model exhibits the lowest PSNR and SSIM values. Although the CycleGAN model achieves commendable style transfer, its visual impact remains less pronounced in comparison to the Wasserstein GAN (WGAN). Subjective evaluations of image quality and style fidelity between the generated images and the input stylized images indicate that the WGAN outperforms other models. It achieves an average content evaluation score of 4.11 and a style score of 4.2 across nine style transformations, surpassing the average scores obtained by competing models.

The Creative Presentation of Color Elements in Chinese Painting Art under the View of Information Technology

Abstract In this paper, Chinese paintings are scanned using a scanner under the same light conditions, and RGB format files are obtained. In order to ensure the accuracy of extracting the color elements of Chinese paintings through HSV color conversion of RGB format files and color-cutting processing based on fuzzy C-mean clustering on the premise of the extracted color elements, we explain in detail the application of the color elements of the art of Chinese paintings in the presentation of the creativity and the value of the Chinese painting art and carry out an example of analysis of the color elements of the art of Chinese paintings. The data shows that the highest choice of males for the perception of color elements in Chinese painting art is the “blue and yellow” option number of people accounting for 64.5% of the total. In contrast, the females in the color combination of the most choices with the same as the males, but accounted for a higher 71.5%, indicating that there is a difference between the perception of color elements in the art of Chinese painting for boys and girls, which sets out the differences in the perception of color elements in Chinese painting art for boys and girls. Boys and girls have different aesthetic views on the inventiveness of color elements in Chinese painting art, as evidenced by this. This study promotes the improvement of visual expression and creative presentation of color elements in Chinese painting art. Also, it has theoretical guidance value for the research and development of Chinese painting art information.

The application of Chinese painting elements in contemporary fashion design

The application of Chinese painting elements in contemporary fashion design

A arte da fotografia na China: algumas observações sobre sua conotação estética

Abstract: Photography, as a tool, mainly presents the relationship between people and objects through the use of artistic elements, such as light, shadow and color in images. The creation of photography is an activity that requires inspiration and skills. It requires photographers to carefully and deeply observe and think about the overall structure of the work, in order to take good photos that are both artistic and thoughtful. The development and popularization of photography in today’s society cannot be underestimated for their impact on public aesthetics and humanistic thinking. This paper aims to analyze the aesthetic connotation of Chinese photography and explore its aesthetic standards and values. The philosophical thoughts in Chinese photography are explored, and their reflections and perspectives on life and society are analyzed. The relationship and mutual influence between aesthetic connotations and philosophical thoughts in Chinese photography are explored, and their significance and influence on photography works are analyzed, so as to better understand and appreciate the uniqueness of Chinese photography. Chinese photography is a unique and diverse form of artistic expression that reflects China’s rich cultural heritage and social development. By emphasizing harmony, the integration of painting elements, storytelling and appreciation of nature, Chinese photography provides a profound aesthetic experience and conveys deeper meanings of unity, tranquility, and the relationship between people and the environment.

The Cezanne Effect in Malevich’s Suprematism

Abstract This essay focuses on Paul Cezanne’s painting Madame Cezanne in a Yellow Chair, situating it within Kazimir Malevich’s theory and practices, and tracing how this work became emblematic in Malevich’s teachings on modern art. Cezanne’s painting represents two intersecting stories: one pertaining to the introduction of modernism in Russia, and the other relating to Malevich’s theory of the additional element in painting. Ultimately, the essay aims to show how this particular work brings these two narratives together, shedding light on the role of form, color, and texture in Cezanne’s work and their influence on Malevich’s Suprem-atism.

Theoretical Legacy of Oleksandr Bogomazov: The Artist’s Notes in The Portrait Problem

The publication of Oleksandr Bohomazov’s theoretical text “On Portrait” (1915– 1916) is part of the large manuscript Thoughts About Art which was written by the artist as a continuation of the theoretical work Painting and Elements (1914). Theoretical studies were an important part of his artistic work. In his paintings and graphics, Bohomazov develops a number of his own techniques that make it possible not only to convey the dynamic states of the depicted objects, but also to create the impression of intense dynamic tension and reproduce the feeling of movement. The main emphasis in the works is on the viewer’s psychological perception of the feeling of this movement. Thus, his later theoretical explorations moved towards the visualization of the natural energy of objects, which was embodied in the new text, Thoughts About Art (1915– 1916). Using the analytical approach to painting, Oleksandr Bohomazov formulates his artistic theory as an evolution of painting elements. Since the portrait genre played a vital role in the artist’s creative practice, it is important to study the part of his theoretical texts aimed at understanding the goals and pictorial tasks that the artist is faced with during the creation of a portrait.

Обзор исследований влияния русского изобразительного искусства на развитие традиционного искусства Северо-Востока Китая в ХХ веке

Russian fine art had a significant influence on the development of art in China. Elements of Russian painting had a great influence not only on the development of the art of Chinese painting in general, but also, in particular, on the development of the art of painting in the Heilongjiang region (Northeast China). Both in China and in Russia, research is being conducted on the influence of Russian painting on the development of Chinese art, in particular Chinese painting; research on artistic exchanges between Heilongjiang and Russia, research on the history of the development of art in Northeast China, as well as research on the contribution of Russian immigrants to the development of art in Northeast China. This article analyzes Chinese and Russian publications reflecting the results of these studies.

“Formula of Water” in the Iconography of Landscape Painting in Medieval China

The theme of the sea in traditional Chinese painting is associated with the last decades of the development of the country’s artistic life, in particular with painting on the theme of the sea and ocean. The aim of the study is to determine the peculiarities of the embodiment of the image of the sea element in Chinese painting of the Middle Ages as a basis for the development of the marina genre in modern art. In the works of masters of the Song (960—1279), Yuan (1271—1368) and Ming (1368—1644) dynasties one can notice the repetition and interpretation of those “formulas” used by painters in medieval China. Such “formulas” are the established ways of depicting water surfaces with pen and ink, formed during the Song dynasty and developed in the Yuan and Ming eras until the seventeenth century. Particular emphasis is placed on the systematization of schemes for the embodiment of the sea in different states in Ma Yuan’s work, their sources, and how they were embodied and transformed by painters in subsequent periods. The use of schemes for depicting water made it possible to achieve the effect of dynamism. This was conditioned, among other things, by the specificity of artistic tools and materials used by masters, who had in their arsenal scarce artistic means. The artists endeavoured to invent and form their own method of execution for each theme. The article has theoretical and practical value. It supplements the history of the development of landscape painting in ancient China by analysing the origin and formation of the previously little-studied motif, which in the space of Chinese painting of the 20th — 21st centuries has taken a strong position.

THE LEGACY AND DEVELOPMENT OF CHINESE TRADITIONAL PAINTING IN A MODERN PICTURE BOOK

Children’s picture books have developed relatively maturely in Western countries, and Chinese publishing houses have chosen imported children’s picture books as their first choice for a long time. Regarding the development of the domestic children’s picture book market, due to the short development time, there are currently only a handful of children’s books that truly integrate Chinese traditional culture, and the connotation has not been truly inherited and popularized, and the unique historical meaning has not been truly reflected in the market. resonate in children’s lives. As far as image design is concerned, due to the influence of foreign children’s picture books, domestic children’s picture books mostly focus on natural expressions of objects and lack deep cultural value and spiritual connotation. As a result, our country’s children’s picture books lack national characteristics. Traditional Chinese painting is part of Chinese cultural heritage and has a unique form of artistic expression that can embody the connotation of Chinese humanistic spirit. The integration of traditional painting elements with modern children’s picture book design not only shows the diversity of the children’s world, but also reflects the cultural characteristics and artistic styles of different nations. When applying Chinese painting elements in the design of children’s picture books, whether in terms of formal language or philosophical spirit, blind application must be avoided. Modern children’s picture book design concepts should be followed, scientifically absorbed and flexibly applied Chinese painting elements to create deep and refreshing works for readers. A children’s picture book with Chinese elements. When creating picture books, we must also combine them with current science and technology to make picture books more nationally distinctive and modern in design, in line with the development of today’s diversified era. Based on the unique artistic characteristics of traditional Chinese painting — composition, pen and ink, color, artistic conception and other elements, this article discusses its application and embodiment in contemporary children’s picture books. It conducts research and analysis on the works of outstanding contemporary picture book creators, and summarizes The application methods and principles of traditional Chinese painting elements in the design of children’s picture books, and explore the new development of traditional painting elements in the creation of children’s picture books.

Illustrating Stravinsky: integration of new media design in live Philharmonic Orchestra performance

Today, as arts organizations, including philharmonic orchestras, look for new ways to engage their patrons and attract new audiences, the use of new media can enhance experiences at arts venues and events such as concerts, and can lead to greater appreciation of art forms that are sometimes considered outmoded and staid. This study focuses on the search for an appropriate approach, design process and implementation of new media design for symphonic orchestra performance. The case study examines the integration of new media for the Thailand Philharmonic Orchestra’s live performance of The Rite of Spring, an early 20th-century avant-garde masterpiece composed by Igor Stravinsky. Motion graphics and AR technology were utilized to bring hand-drawn and painted elements inspired by the music and Russian folk art to life.