Fine Arts Research Articles

Analysis of Computational Bibliometric Mapping in Multimedia for Art Learning Media Publications using VOSviewer

This research explores the development of fine arts learning media using interactive multimedia research. The goal can be a reference for researchers in conducting and defining research themes, especially around multimedia learning. The method is used through a bibliographic approach with computational mapping analysis using VOSviewer. Article data is retrieved from the Google Scholar database using a publish-or-perish reference management application. Article titles and abstracts serve as guidelines when searching for keywords like "art," "learning media," and "multimedia." We found 447 seemingly related articles. The study period used as learning material is a paper from the last five years (2018 to 2023) indexed by Google Scholar. The results of research on fine arts learning media using interactive multimedia can be classified into four terms. The first term "Training" belongs to cluster 2 with a total of 34 links, an overall link strength of 138, and 59 events. The second term, "Media", belongs to cluster 2, with a total of 30 links, an overall connection strength of 142, and 74 events. The third term, "Multimedia", belongs to cluster 2, with a total of 27 links, an overall connection strength of 110, and 55 events. The fourth term "art" belongs to cluster 1 with a total of 34 links, an overall link strength of 138 and 59 events. From 2018 to 2020, the survey found research fluctuations in several media-based art learning media studies (65, 110, and 124 publications per year, respectively). The number of studies decreased from 44 (2021) to 16 (2023) from 2021 to 2023. Thus, there are still many opportunities for researchers to discuss it.

Cultural Therapy and Concern for the Archive. The Case of Documentary Video Archives by Tomáš Rafa

In this paper, the author explores current perspectives on contemporary art projects through the concept of the archive. By applying a theoretical framework termed “concern for the archive”, the author aims to elucidate complex relationships between the archive as a medium and the situated practices of contemporary art. The paper examines contemporary art as a form of temporary memory storage, particularly through the analysis of Tomáš Rafa’s documentary films. It addresses two key questions: What specific aspects of concern for the archive can be identified in political or activist contemporary art? How does concern for the archive differ from archival care, and why is this distinction important? In the first section, the author discusses the “zones of contact” in political activist art, highlighting the formation of dialogical structures and distinguishing them from scientific research and purely documentary creation. The second section traces the layers of artistic training in Grzegorz Kowalski's renowned studio at the Academy of Fine Arts in Warsaw, where the author gained experience in organizing and documenting collective workshops. This part reveals the specifics of documentary video creation with its activist and archival overlaps. In the final sections, the author outlines a theoretical framework for interpreting documentary video pieces in relation to the concepts of archive, cultural trauma, and cultural therapy.

The main stages of artistic cultural exchange between Beijing and Moscow from the 1950s to the present

The subject of the study is the totality of the main stages of artistic cultural exchange between Beijing and Moscow from the 1950s to the present. The object of the study is the historical process of artistic and cultural exchange between Beijing and Moscow from the 1950s to the present. The article examines the period of educational activity of the Central Academy of Fine Arts in Beijing, where special attention is paid to the contribution of Konstantin Methodievich Maksimov to the development of art in China in the 1950s. Topical issues of cultural policy and mutual understanding in the field of art between the two countries are discussed, as well as the impact of these events on strengthening relations. The author focuses on the importance of the "Festivals of Art and Culture" held in Moscow and Beijing after the reform and opening of China, which became an important catalyst for dialogue between artists and cultural institutions. The research methodology is presented by publications of Russian and Chinese scientists, which were analyzed for theoretical material relevant to the topic of this article. The article opens up new perspectives for further study of the periodization of artistic cultural exchange between Beijing and Moscow. The author believes that China's initiatives on reform and openness policy have proved to be a driving force for deepening cultural interaction, which has reached new heights. As part of this process, many events and festivals have been organized aimed at cultural rapprochement between the two States. The consequence of these events was the fact that the 2024-2025s. They have been declared the Years of Culture of Russia and China, which, undoubtedly, must be taken into account in order to further continue the description of the periods of artistic exchange.

Klid před bouří. Špálova Otava jako šťastný průnik umělcovy osobní historie a národních dějin

The interwar work of Václav Špála is considered to be the essence of the “national art” of the First Czechoslovak Republic. Its emblematic manifestation is the extensive series depicting the Otava River from 1929 and 1930. The paper focuses on the painting On the Otava River (1929) from the collection of the Gallery of Fine Arts in Cheb. It has an exceptional position within it, both in terms of its formal qualities and overall concept. Špála himself was aware of this and never sold it, and the painting was acquired by the Cheb gallery in 1966 from his estate. The uniqueness of the painting is also underlined by its exhibition history: in 1937, Václav Nebeský selected it for the accompanying exhibition to EXPO 37 in Paris, L’art moderne tchécoslovaque at the Charpentier Gallery, twenty years later it was one of only five works representing Czechoslovakia at the international exhibition 50 Years of Modern Art at EXPO 58 in Brussels, together with the works of Emil Filla, František Kupka, Josef Šíma and Otto Gutfreund.

Accountability of Fine Arts and Design Education Graduates in Indonesia in Responding to the Needs of the Job Market in the Second Decade of the 21st Century

Accountability of Fine Arts and Design Education Graduates in Indonesia in Responding to the Needs of the Job Market in the Second Decade of the 21st Century

Trace and Minor Element Analysis of Azurite Blues in Fine Arts: Possibilities and Limitations in Provenance Studies.

Azurite, a historical blue mineral pigment, has previously been described to contain certain elemental impurities. These may originate from host rocks, vein fillings, or the primary copper ore mineralization. In this study, azurites (and also green malachites) from three important Central European deposits with a potential of being exploited for pigment usage already in the Middle Ages have been studied, together with azurite from Chessy, France, with a different geological setting. Using electron probe microanalysis and, more importantly, laser ablation inductively coupled plasma mass spectroscopy for trace elemental analysis, several indicators were pinpointed as important for provenance: characteristic elemental fingerprint of the deposit, e.g., elevated lead (Pb) in combination with rare earth elements, may be combined with zinc (Zn)/arsenic (As) ratio (indicating sources of excess Zn in the primary deposit) and the overall amount of metal impurities (suggesting the source mineral of copper for azurite formation). In addition, malachites from the same deposits were found to preferentially incorporate primary ore metal elements as well as Cd, Mg, Mn, or U. Therefore, if azurite pigment contains an elevated amount of malachite as an impurity, it may significantly influence the overall elemental composition. The results obtained on geological samples were applied to two micro-samples of works of art containing azurite-rich layers originating from the 13th-14th and 16th centuries. It was shown that it is highly beneficial to focus on the overall trace elemental composition of the paint layer and not on the admixed mineral grains, as their presence, especially in minute micro-samples, is largely accidental and thus not representative. Although a higher number of samples need to be studied in the future, the newly described criteria made it possible to exclude some of the localities of the employed azurite pigment. This confirmed the key importance of trace elements analysis of mineral pigments for the provenance studies of fine arts.

Tintoretto in the city of La Plata? Several investigations for the reattribution of the Portrait of Melchior Michael to Tintoretto

The records of the Museo Provincial de Bellas Artes “Emilio Pettoruti” (Provincial Museum of Fine Arts of Buenos Aires "Emilio Pettoruti") indicate that a work belonging to Jacopo Comin, "Tintoretto," is part of its cultural heritage, of great value to the museum and the university city of La Plata. Over time, and perhaps due to the ambitious nature of this attribution, the original assertion was called into question. A comprehensive and complementary spectroscopic analysis using Raman, FTIR-ATR and SEM-EDX techniques serves as one of the information sources for the current study. Thus, cinnabar (HgS), lead white (2PbCO3.Pb(OH)2), calcite (CaCO3), gypsum (CaSO4·2H2O), and carbon black were determined in the artwork using the vibrational techniques while the presence of several components, such as alum (KAl(SO4)2·12H2O), calcite (CaCO3), green earths (K(MgFe2+)(Fe3+Al)(AlSi3,Si4)O10(OH)2), lead white (2PbCO3·Pb(OH)2), cerussite (PbCO3), goethite (FeO(OH)), lapis lazuli, mainly composed of lazurite (Na6Ca2(AlSiO4)6(SO4,S,S2,S3,Cl,OH)2), calcite (CaCO3) and pyrite (FeS2) as well as gypsum (CaSO4·2H2O), umber (α-FeOOH·MnO2), zinc white (ZnO) and lead sulfide (PbS) can be inferred from the determination of the elements using SEM-EDX studies. The tracking of the artwork and its journey to the city of La Plata, and the scanned X-Ray determination revealing hidden objects under the painting surface of the artwork are also dimensions taking into account in the present study. Thus, we can affirm the validity of the work, the Portrait of Melchior Michael, reconfirming and reattributing it to the colossal Jacopo Comin, Tintoretto.

The Impact of Digital Literacy on the Creativity of Art Major University Students

This paper discusses the influence of digital literacy on the creativity of college students majoring in the fine arts. In the context of the rapid development of information technology, digital literacy has become an important part of artistic creation. An analysis of the impact of access to information and digital technology on the creative process reveals that rich knowledge reserves and access to information can stimulate inspiration and promote artistic creativity. Moreover, the use of digital tools provides creators with broader creative space and flexibility, thus enhancing their creativity. The paper also highlights the shortcomings of digital literacy education in colleges and universities and proposes suggestions for improvement, including updating the curriculum, improving equipment and strengthening teacher training, to better support the enhancement of digital art creation and the creativity of fine arts students.

Trade signs in antiquity

AbstractThe paper discusses the inscriptions of two ancient artifacts, the fragment of an Egyptian wine jug (Museum of Fine Arts, Budapest), and a terra sigillata bowl made by Pacatus (Aquincum Museum, Budapest), and seeks to situate them in the history of trade signs. In ancient Egypt, signs predominantly indicated details such as the place and date of production, and the quality of the product, while in Rome trade signs conveyed information concerning the origin of the product through the craftsman or workshop.

Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite

The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gaps in art history and cultural studies within the framework of relevant themes by introducing modeled and unified conceptual-categorical constructions into scientific circulation. The purpose of the research. The main purpose of the article is to rethink and systematize some artistic and stylistic tendencies of the Hellenistic’s era in late antiquity, from which all Eastern church pictorial traditions drew their conceptual and stylistic foundations during their formation period. The methodology. A combination of specialized methods was applied: historical-comparative method for identifying key artistic tendencies; cultural-deductive method for formulating artistic categories; abstraction method for delineating key stylistic features of sacred attributes, as well as for identifying differences and similarities; expert artistic assessment method for theoretical characterization, substantiation, and expansion of conceptual-categorical components; stylistic correlation method for unifying newly discovered stylistic connections of Hellenistic artistic products and the Christian tradition. The combination of the listed methods allows us to reveal the concept of the stylistic basis for the pictorial tradition in the church paraphernalia of the Eastern rite and to systematize the existing authoritative evidence base regarding to origins of the pictorial canon of the Egyptian and Greco-Roman periods. Conclusions. Our analysis shows that in the broad context of the formation of the pictorial canon, peculiar to the churches of the Eastern rite, some artistic trends of the first centuries of the new era turned out to be an unchanging and stable conceptual basis for the pictorial canon in a complex artistic and philosophical coordinate system. Thus, the artistic canon of the Eastern churches, formed between the VI and IX centuries, is nothing more than a borrowed status-functional category for the multi-level gradation of Christian value aspects with specific techniques and means of Hellenistic fine art of the times of ancient Egyptian and Greco-Roman syncretism. Their intermedial nature and appellative character in relation to the Theogony of the ancient world limit the traditional interpretation of the Christian symbolism of the vast majority of canonical images in the artistic plane. The scientific novelty. For the first time our research analyzed the cause-and-effect relationship between canonical Christian stylistic attributes and Greco-Roman and Egyptian features as the ideological basis of the latter for the formative role of the former. It reassessed and re-evaluated some Hellenistic artistic tendencies in terms of their significance and complexity. A number of expanded cultural and art historical concepts and categories of the ancient world are proposed and substantiated.

The Art of Sculpture in Public Space in China: The Wasteland Art Project

With the development of public art in China, artists have been experimenting with the artistic form and means of expression of public sculpture. Previously marginalised by public sculpture, wild non-urban areas have also begun to attract the attention of Chinese artists. The Wasteland art project, implemented in Guazhou, Gansu province, is very indicative in this regard. Sculptor Dong Shubin, a professor at Tsinghua University Academy of Fine Arts, is the initiator of this project and an experimental artist who aims to create a sustainable artistic community in the Gobi Desert in the northwest of the country. He believes that an artist should draw inspiration from a natural environment that is familiar to them, rather than simply imitate others or emphatically separate themselves from the general mass of people. After creating works such as Children of the Earth, Infinity, and Wind Talkers, Dong Shubin and his colleagues are gradually creating a Wasteland Art complex in the Gobi Desert.

Beyond Artists' Colors: A Spectral Reference Database for the Identification of β-Naphthol and Triarylcarbonium Colorants by MeVSIMS.

β-Naphthol and triarylcarbonium colorants were often used by modern and contemporary artists in materials such as inks and paints. Their poor stability and ability to fade upon exposure to light make their identification in artworks crucial for planning exhibitions and preventive conservation. Secondary ion mass spectrometry with MeV primary ions (MeV SIMS) is necessary when analyzing synthetic organic colorants (SOCs) with similar molecular structures due to its advantages in high sensitivity and soft ionization, which causes a low fragmentation of organic molecules. In this work, we applied MeV SIMS with 5 MeV Si4+ to identify selected β-naphthol and triarylcarbonium colorants from the 19th/20th century Materials Collection kept at the Academy of Fine Arts Vienna. The collection contains SOCs from renowned companies, such as I.G. Farben and I.C.I., and serves as a unique source of reference materials in the analysis of artworks. Previous research on these colorants with X-ray fluorescence analysis (XRF), micro-Raman, and Fourier transform infrared (FTIR) spectroscopies failed in the case of colorant mixtures. Similar spectral features of the SOCs within one chemical class and their low concentrations in mixtures did not lead to their identification using these techniques. MeV SIMS detected molecular ions or protonated molecules in the positive-ion mode. In the negative-ion mode, the functional groups (NO2 - and SO3 -) of β-naphthol lakes/pigments and heteropolyacid species (WO3 - and MoO3 -) characteristic of triarylcarbonium toners were determined. The results demonstrate that MeV SIMS is highly effective for identifying β-naphthol and triarylcarbonium colorants in mixtures and distinguishing between pigments, toners, lakes, and dyes.

A New Chinese Manichaean Painting: Auspicious Signs Heralding Mānī’s Birth

This paper introduces and analyzes a new Chinese Manichaean painting entitled ‘Auspicious Signs Heralding Mānī’s Birth’. Zhang Peng 张鹏, a doctoral candidate at the Central Academy of Fine Arts (Zhongyang Meishu Xueyuan 中央美术学院), was the first to notice the Manichaean affiliation of this painting, which was auctioned by the Beijing Poly International Auction Co., Ltd (Beijing Baoli Guoji Paimai Youxian Gongsi 北京保利國際拍賣有限公司) in 2021. This study employs the methods of iconographic comparison and analysis of textual parallels to argue that the recently identified hagiographic painting shares striking stylistic similarities with at least three other previously known Manichaean paintings, and that it can be directly related to one of them.

Manufactured Goods on Display: Japanese Woodblock Prints at the National Industrial Exhibitions of 1877 and 1881

Abstract This article examines the presence of Japanese woodblock prints within the context of state-sponsored exhibitions during the Meiji era (1868–1912). Although the Meiji government organized five National Industrial Exhibitions at irregular intervals, woodblock prints were exclusively showcased at those organized in 1877 and 1881. This article identifies the woodblock prints wherever possible, and addresses questions relating to their role in advancing (Western) exhibition culture, the emergence of modern education, and the growing concern over the impact of popular prints on the future and the reputation of Japanese fine and decorative art.

Digital Dreams and Dubious Dollars: The Challenge of Immersive Van Gogh

The purpose of this study is to discuss the popularity, questions, and controversies surrounding art-themed digital immersive exhibitions based on the life and paintings of Dutch painter Vincent Van Gogh (1853-1890). Since 2019, art-themed immersive exhibits have become extremely popular, with attendance that outstrips many museums showing the same artists, spawning controversy and challenging the fine art world. This study examines the rise of immersive art experiences, arguments for and against immersive spectacles as a way of experiencing artwork, and theoretical perspectives. Methodologies include research into historical, cultural, and commercial contexts including reviews, analyses, critiques, and participant observation. The study discusses components of the exhibition and presents specific arguments for and against them by producers, art critics, critical theorists, and spectators. Questions considered include: Are these exhibitions offering authentic art experiences, or are they exploiting great art for profit? Are they making art more accessible, or are they leading people away from seeing original paintings? Is the way people relate to art fundamentally changing in the age of social media, and if so, how will museums adjust? This study is novel in that it presents and evaluates diverging viewpoints on these controversies and proposes a more flexible approach that centers participant experiences over marketing claims and critical objections.

INSTITUTIONAL ART CRITICISM IN 20TH- AND 21ST-CENTURY IN KAZAKHSTAN

The independence of Kazakhstan and its state sovereignty became important reforming factors in the new social fabric and worldview of the nation, its culture and art, the main component of which is the replacement of former political ideals and the mythologization of its own past. In Kazakhstan, official and unofficial art lives side by side and is displayed in various exhibition venues, which avoids a mindset of opposition and allows for art historians and curators to create divisions by preference. In Kazakhstan, there is a long-overdue need for serious comprehension of, and fixation on, artistic initiatives. Here, we are not regarding ‘fixation’ as the photography and videography of events; we need something different – analysis of the work of individual researchers, painting a picture of the direction of research and the development of the creative side of art criticism institutions in Kazakhstan. This article is an attempt to understand the realities of 21st-century Kazakhstani fine art. It is important to determine the most important institutions and bring the achievements of art criticism in Kazakhstan to the global community, based on the work of individual researchers. Aiming to grasp and examine the main directions and goals of contemporary art critics, we have discovered the individual directions and themes of leading researchers, which serves as a basis for the revealing the characteristic traits of art criticism in Kazakhstan through the prism of individual knowledge and passions.

Stages of formation of artistic skills of art students

The author's elaboration of the stages of formation of artistic and visual skills of students of higher education institutions in the process of creative activity is disclosed and presented in the article for general consideration. The analysis of scientific, psychological-pedagogical and educational-methodical achievements of scientists was carried out in order to specify the content of the concept of "skill", classification of types and stages of the process of formation of skills. The subject of our research "artistic skills" is presented on the basis of thorough theoretical studies of scientists, the idea of ​​the concept of professional and artistic skills of fine art teachers is expanded, a generalization is made regarding the diversity of their types, to which we include artistic-technical, artistic-methodical, artistic-workshop and artistic - visual skills, which are also divided into their own subspecies. In the process of scientific research, the concept of psychological and pedagogical foundations of "formation of artistic skills" and the "exercise" method of generalizing its types and kinds were considered. A list of effective means of the system of educational tasks for art students of higher educational institutions is proposed for consideration, namely, technical methods and techniques in working with soft materials, such as: method - hatching, extinguishing, mixing colors, etc.; technique - side shading, shading, dry washing, wet brush, pen and others. Based on modern theoretical and scientific developments and conceptual ideas of scientists regarding the procedure of "formation of artistic skills", relying on our own professional experience, we reveal the essence and expediency of each of the six stages: organizational, diagnostic, analytical, systematic, synthetic and automation. In accordance with the presented stages, goals, tasks, methods, ways, rules, advantages and disadvantages of their application in practice are determined. The formation of students' artistic skills is due to the use of a number of appropriate methods: scientifically pedagogical - organizational, communicative, instruction, demonstration, illustration, explanation, master class, research, control, verification, current, forecasting, competition, observation and evaluation; personally developed artistic and technical methods that contribute to the effective and rapid mastering of the specifics of performing new technical actions by students in artistic educational activities - "experimental-diagnostic", "differential-constructive", "constructive division", "constructive combination", "holistic-constructive" ", "variable-interval"

The Nails in Fine Arts

The observation of the nails represented in art masterpieces encourages to catch details which allow us to suspect skin disorders of the past, still commonly encountered in our daily clinical activity. Nails are cutaneous annexes reflecting the state of health and unveiling, through their alterations, the presence of specific systemic and cutaneous diseases, as well as the damage which environmental factors and some cosmetic procedures may cause. In the works of visual arts, there are several examples of nail alterations, either related to the job of the models illustrated by the artist (e.g., traumas from heavy activity) or representing signs of concomitant diseases. The works of art also allow to outline a sort of history of nails and of the social meaning nails have been given to and at the same time, they show biological and pathological aspects of human beings and their health, social and religious characteristics. The careful analysis of the nails in the masterpieces of visual art may improve our observational skills and create a direct relationship with the subject that has been portrayed. The manuscript is focused on the main nail alteration decoration which can be observed in the history of art.

In Memory of Sergey Andriaka

Sergey Nikolaevich Andriaka (July 14, 1958 - May 16, 2024) was a distinguished Russian watercolorist, a celebrated artist and educator, and a pivotal figure in national art education. He served as editor-in-chief and a permanent author for the scientific and methodological journal Secreta Artis. Andriaka was the driving force behind the extensive scientific, methodological, and publishing efforts of the art institutions he founded and led: the Federal State Budgetary Educational Institution of Higher Education "Sergey Andriaka Academy of Watercolor and Fine Arts" and the State Budgetary Educational Institution of Additional Education "Sergey Andriaka Specialized School of Watercolor with a Museum and Exhibition Complex".This article represents the first comprehensive effort to summarize his substantial contributions, trace his professional journey, and provide foundational information about his artistic and pedagogical career. It explores the principles underlying the School of Watercolor and the Academy of Watercolor and Fine Arts, and delves into key aspects of Anrdriaka's unique teaching methodology, particularly his multilayer watercolor technique.The article features previously unpublished materials, such as drafts of Andriaka's autobiography and personal conversations with him.

On the Experience of Teaching Monumental Painting Using the Method of Visual Learning

The author of the article investigates the use of a visual teaching approach for monumental painting, as applied to fifth-year students at the Sergey Andriaka Academy of Watercolor and Fine Arts. The project involved students and their teacher collaboratively creating a painting plafond with a total area of 78 m2. The article chronicles the project's workflow, encompassing the creation of sketches, preparation of cardboard, execution of multilayer painting on canvases, and the subsequent installation of the plafond. Emphasis is placed on techniques for creating polychrome images using colorants with a restrained tonal and color palette, as well as on the multilayer oil painting process, which includes a grisaille tempera undercoat and a final glaze.