Kinds Of Paints Research Articles

Improvement of Buildings’ Air Quality and Energy Consumption Using Air Purifying Paints

Among the existing techniques to mitigate the problem of contamination in the indoor environment, photocatalytic technology is considered to be the most promising solution in terms of effectiveness and cost. To that end, in the frame of the LIFEVISIONS project, a novel photocatalytic powder (photo-powder) was mixed in paints’ matrix, producing a photocatalytic building material (photo-paint) able to improve indoor air quality (IAQ), upon its application, without downgrading paint physical properties. As a result, of IAQ improvement, less energy will be needed from ventilation systems, addressing not only health issues related to air quality but also energy reduction targets. Many powder formulae were synthesized using different synthetic pathways, concentration of dopants, and TiO2 particles’ size. They were tested in a photocatalytic reactor (lab-scale tests), according to CEN TS 16980-1:2017, under visible light and the results showed that the most promising photocatalytic performance degrades 85.4% and 32.4% of nitrogen oxide (NO) and toluene, respectively. This one was used for the production of two different kinds of paints, organic (with organic binder) and inorganic (with potassium silicate binder), in an industrial scale. Both were tested in the Demo Houses’ prototype demonstrator (real-scale tests) with an ultimate scope to estimate their effectiveness to degrade air pollutants under real-world conditions. In addition, the reduced energy consumption as a result of less ventilation needs was calculated in Demo Houses. More specifically, the energy reduction based on simulation results on Demo Houses was more than 7%. Although lab-scale tests showed better photocatalytic performance than the real scale, the efficiency of the paints under a more complicated environment was very promising.

Research on Aesthetic Orientation of painting themes of Lingnan Temple Monks in Ming and Qing Dynasties

Monk painting is an important part of Chinese painting art and a unique cultural phenomenon in Chinese art history. Monks in successive dynasties have made great achievements in landscape painting, figures, flowers and animals. These eminent monks who have entered the Buddhist gate often have a deep understanding of traditional Chinese culture, a more thorough insight, understanding and interpretation of human and nature, and a more lofty perspective. Their works are obviously different from other kinds of paintings. The selection of painting themes is not random, but careful consideration based on life experience and emotional expression. They not only contain the artist's clever conception of objective objects, but also embody rich emotion and aesthetic consciousness. In the study of the aesthetic orientation of the painting themes of Lingnan monks in the Ming and Qing dynasties, the elements and means commonly used in the paintings of monks can be regarded as a form of the use of image symbols. This paper will try to use the research method of image semiotics to analyze its theme orientation from the perspective of painting specialty, trying to clarify the unique artistic features of the paintings of Lingnan monks in the Ming and Qing dynasties, and then reveal the uniqueness of the theme orientation of the paintings of Lingnan monks in the Ming and Qing dynasties.

Monets Memory of Camille: A Theme-Based Analysis of Monets Paintings

Claude Monet was not only a pioneer of Impressionism but also one of the most famous artists in hundreds of years of art history. Although many scholars and art historians have done a lot of research on Monet, the analysis of the relationship between Monet and his wife from the perspective of painting is still lacking. This paper studies and discusses the development of the relationship between Claude Monet and Camille Monet by reading documents, books and letters, and analyzing the paintings that Monet painted for Camille. The conclusion of this paper is that as time passes, Monet became more and more proficient in Impressionistic paintings -- the kind of painting with painterly and visible brushstrokes, light colors, unusual emphasis on light, etc. He painted more and more Camille. His love for Camille culminated in her death from metastatic cervical cancer, which didnt get over for several years. By studying the development of their relationship in paintings, people can have a better and deeper understanding of Monet himself, his life with Camille, and the meaning behind his paintings, so as to gain a deeper insight into the history of art.

THE EFFECT OF PINE TREE RESIN ON THE THERMAL AND MECHANICAL PROPERTIES OF PLASTER WITH EXPANDED CLAY

This study focused on a new type of insulation plaster consisting of pine tree resin, expanded clay (EC), and gypsum. Gypsum plaster mortars were prepared with ECs with grain diameters of 0-2 mm and 2-4 mm and gypsum binder at 20%, 40%, 60%, and 80% by volume. The resin was added to each mortar at 0.5%, 1%, and 2% of the mix weight to create artificial pores. Samples with 32 different combinations were obtained. The samples were subjected to tests (such as thermal conductivity, compressive strength, ultrasonic sound velocity, and water absorption). The results showed that the higher the pine tree resin volume, the lower the density and thermal conductivity and the higher the compressive strength and porosity. The samples had high water absorption rates. The results indicate that these plasters can be used as interior plasters for insulation purposes and can be painted with any kind of paint.

Comparison of the Effectiveness of Visual Thinking Strategy Between Persian Miniature and Classical Painting in Learning Medical Humanities from the Perspective of Medical Students

Background: Visual thinking strategy (VTS) is an interdisciplinary education that focuses on art. In this method, all students think about complex artistic elements. VTS uses visual literacy to teach communication skills and thinking. Objectives: This study aims to compare the educational effectiveness of Persian pictures with classical painting, which leads to teaching the concepts of medical humanities using medical students’ perspective. Methods: In this cross-sectional descriptive-analytical study, medical students of clinical course (trainees and interns, 4th - 7th year of medicine) in the second semester of the 2021 academic year attended a VTS discussion session, which contained thinking about three paintings, including a classical western painting, a Safavid era miniature, and a contemporary painting. At the end of the session, an opinion poll on the effectiveness criteria was completed by the students separately for each painting, and the results were analyzed. Results: According to the findings, our intervention improved visual and auditory sensitivity, accuracy and attention, interaction and cooperation with others, teamwork, and an understanding of their share in the group. In addition, from the perspective of contemporary miniature students, this field played a prominent role in reducing job exhaustion, anxiety, and stress, and created a sense of calm and aesthetics in students by applying topics and issues of the day and paying attention to socio-cultural issues. Classical western painting conveyed a sense of calm and discomfort to the students. Based on the results of interpretive content analysis, this kind of painting had a profound effect on the meaning transmission so that it exposed the comprehensive views on the subject to the viewer’s sight. Given that the Safavid miniature contains various symbols that express the details of the social context and cultural traditions related to human beings, it conveys a variety of senses. On the other hand, the use of classical painting and contemporary Persian painting in VTS discussions in medical education was more prominent than the Safavid era miniature. Conclusions: Miniature can have helpful effects on improving medical professional skills similar to classical painting in VTS topics.

PRELIMINARY STUDY OF A IMAGE ANALYSIS SETUP APPROACH OF THERMAL TRACING JET ENGINE PARTS USING THERMAL PAINTS

Reduced engine performance comes with a higher operating temperature, and that limit is imposed by component material life. It is critical to have an accurate, full-field evaluation of the metal temperature of the hot section components for engine designers to develop dependable and lasting engines. Using conventional thermometry isn't recommended since it fails to generate heat gradients and results in problems when transferring data from measurement sites to the readout unit. It has recently been discovered that the thermal transfer condition has changed, and as a result, the actual temperature of the components cannot be measured. A paint will permanently change color if it is exposed to heat, this kind of paint is known as a temperature signaling paint. The traditional method is to test the thermal coatings personally. A manual process of interpretation results in mistakes because there is no accurate detection of isothermal limits that impact human eyesight. A systematic methodology for automated interpretation of thermal paints is detailed in this paper. A technique for orderly picture capture, image segmentation, and image processing, which employs a correct algorithm for surface temperature interpretation, has been addressed.

Using a scale model room to assess the contribution of building material of volcanic origin to indoor radon

Abstract In the frame of Radon rEal time monitoring System and Proactive Indoor Remediation (RESPIRE), a LIFE 2016 project funded by the European Commission, the contribution of building materials of volcanic origin to indoor radon concentration was investigated. First, total gamma radiation and related outdoor dose rates of geological materials in the Caprarola area (Central Italy) were measured to define main sources of radiation. Second, 222Rn and 220Rn exhalation rates of these rocks used as building materials were measured using an accumulation chamber connected in a closed loop with a RAD7 radon monitor. Among others, the very porous “Tufo di Gallese” ignimbrite provided the highest values. This material was then used to construct a scale model room of 62 cm × 50 cm × 35 cm (inner length × width × height, respectively) to assess experimental radon and thoron activity concentration at equilibrium and study the effects of climatic conditions and different coatings on radon levels. A first test was carried out at ambient temperature to determine experimental 222Rn and 220Rn equilibrium activities in the model room, not covered with plaster or other coating materials. Experimental 222Rn equilibrium was recorded in just two days demonstrating that the room “breaths”, exchanging air with the outdoor environment. This determines a dilution of indoor radon concentration. Other experiments showed that inner covers (such as plasterboard and different kinds of paints) partially influence 222Rn but entirely cut the short-lived 220Rn. Finally, decreases in ambient temperature reduce radon exhalation from building material and, in turn, indoor activity concentration.

Menyusur Dua Alur Lukisan Jelekong

Kampung Jelekong adalah sebuah desa yang terletak di Kabupaten Bandung. Nama kampung ini menjadi dikenal luas akibat karya-karya lukisan yang dibuat oleh penduduknya. Lukisan-lukisan tersebut terkenal dengan menampilkan objek pemandangan alam, binatang atau bunga. Belakangan, melalui beberapa pelukis di sana, berkembang jenis lukisan yang lain, yang berbeda dengan lukisan khas Jelekong. Kehadiran lukisan yang lain itu, tidak saja memunculkan keberagaman dalam hal tematik serta teknik lukisan, tapi lebih dari itu menunjukkan perbedaan tentang bagaimana lukisan itu diproduksi, didistribusi dan diapresiasi serta bagaimana pelukis Jelekong harus bertindak secara berbeda.
 Di dalam tulisan ini, untuk memudahkan identifikasi, kedua macam lukisan itu disebut dengan lukisan “tradisional” Jelekong dan lukisan “kontemporer” Jelekong. Kehadiran dua macam lukisan itu, dengan segala macam perbedaannya, menunjukkan satu hal yang sebenarnya mendasar, yaitu: perbedaan medan seni lukis. Perbedaan medan seni lukis itu dengan sendirinya yang mengakibatkan segala macam perbedaan yang melingkupi kedua macam lukisan Jelekong tersebut.
 Tulisan ini bertujuan untuk menjabarkan lebih jauh perbedaan-perbedaan yang ada diantara kedua macam lukisan yang berkembang di Jelekong tersebut. Untuk mengamati dan membahas berbagai perbedaan tersebut, tulisan ini lebih berfokus pada aspek sosiologi seni yang melatari kedua macam lukisan itu. Tesis Sanento Yuliman, Dua Seni Rupa, akan menjadi kerangka analisis dalam tulisan ini.

На границах русского портрета XVIII века

The consideration of the boundaries of 18th-century Russian portrait painting is usually associated with the study of the nature and originality of the phenomenon, which involves a look from the inside out. Meanwhile, the consideration of the “boundary” area itself could provide information about contacts with “neighbors”and the opportunities provided by the time and patron. The18th-century Russian portrait painting has been chosen as an example because it by the end of the century accumulated the highest achievements in national artistic culture. Special attention has been paid to the lower chronological boundary, which lies between the late medieval “personа” and the portraiture of modern times. Arrangement of the “side” boundaries of portraiture is connected with the addition of a full system of genres encouraged by the Imperial Academy of Arts. Among other genres, the allegory became one of the most widely used in portraiture. Having already appeared in the 18th century, the era of classicism, allegory became the important link between the portrait image and historical painting. When comparing two images of the same person, for example, a monarch in portraiture versus allegorical painting, a change is observed in the status of a hero towards greater historization. Another variant of the boundary area is created by the interaction between a model figure and landscape background. The appearance of “promenade-portrait” with a fairly developed landscape environment coincided in Russia with the formation of the landscape as a separate “kind of painting”. A portraiture approach to staffage canbe considered a symptom of the beginning of the convergence of these genres. The influence of genre painting on portraiture was not great because genre painting itself was not well developed in 18th-century Russia. In general, the example of the portraiture form shows that the boundaries of the genre are the subjects of certain convention and their transparency is the testament of the living memory of the former syncretic integrity and the sign of readiness for a new synthesis.

THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA

Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.

Influence of Different Kinds of Paints on Self-Cleaning Process of the Facade Coating

This work summarizes assessing the durability results of facade coatings in the area of their resistance of the self – cleaning effect. To characterize this feature three different types of samples were chosen: silicone paint, photocatalysis effect paint and lotus flower effect paint. Test samples were exposed on natural conditions and artificial weathering process in laboratory at the same time. After this research, durability effect of self – cleaning properties and stain resistance by established criteria were obtained. LM and SEM micrographs, contact angle and profilometry were used widely to measure this factor. In conclusion, all of tested facade coatings based on silicon exhibit the highest effect of self-cleaning.

Application of Scanning Kelvin Probe in the Study of Protective Paints

Industrial coatings are composed of layers of different polymers (top coats, primers) containing pigments, corrosion inhibitors, and fillers as well as additives. For corrosion protection, it is vitally important to preserve the strong adhesion and long-term stability of the metal-polymer interface in corrosive environments. In recent decades, the performance of painted materials increased, which requires the application of advanced methods for quick assessing, ranking and predicting corrosion stability. Scanning Kelvin probe (SKP) is a highly sensitive and non-invasive technique to analyze in situ the metal-polymer interface of high-performance industrial coatings. SKP is able to monitor the adhesion and corrosion underneath different kinds of paints without the need for long-term corrosion tests. SKP is a localized electrochemical technique with a spatial resolution in the range of 70-100 µm. Hence, it is possible to obtain information about the intact and corroding portions of the interface at defect sites, corrosion blisters, contaminants and intermetallics, quality of pretreatments, and the development of galvanic couples that lead to corrosion de-adhesion of the polymeric coatings. This article reviews the application of SKP to the determination of the mechanisms of corrosion de-adhesion of model paints, thick marine paints, coatings with zinc rich primers, automotive paints and coil coatings applied on galvanized steel substrates.

Another AI? Artificial Imagination for Artistic Mind Map Generation

This article presents a novel real-time, collaborative, and interactive AI painting system, Mappa Mundi, for artistic Mind Map creation. The system consists of a voice-based input interface, an automatic topic expansion module, and an image projection module. Imagination is one of the most important factors which makes an artistic painting unique and impressive. With the rapid development of artificial intelligence, more and more researchers try to create painting with AI technology. However, lacking imagination is still a main problem for AI painting. This research proposes a novel approach to inject rich imagination into a special kind of painting- Mind Map. Lexical and phonological similarities of respective seed words are first considered, then the system learns and inherits the artist's original painting style, and further applies Dadaism and impossibility of improvisation principles into the process. Several metrics for imagination evaluation are then developed later in the article. The result show that this proposed method can increase the imagination of painting and also improve its overall quality.

„Cały świat – samo życie”. Rola materii w malarstwie Tadeusza Kantora w latach 1945–1964

The topic of the paper is the idea of matter in Tadeusz Kantor’s painting after World War II, including metaphorical painting, the informel, and the painting of the matter (1945-1964). The artist defined matter as an indeterminate, universal foundation which is a vehicle of the attributes of all that can be perceived by the senses, both animate bodies and inanimate things. A starting point are Kantor’s own texts – his notes and publications reflecting particular stages of his artistic evolution, critical essays on art, as well as later statements referring to the period under scrutiny. The present analysis is an attempt to find out whether Kantor’s postulates were really reflected in his art. Its main goal is to reconstruct his line of reasoning concerning matter and focus on the activities rooted in his theories, which is why contemporary reception and interpretations of his painting have not been taken into account. The frame of reference includes philosophical and artistic ideas known to Kantor or available to the artistic circles of the period. The text has been divided into four parts corresponding to particular stages of the artist’s development: (1) 1945-1947, when Kantor was trying to find ways of artistic expression beyond traditional topics of painting, such as the human figure, (2) 1947-1954, the metaphorical period, when, as a result of his visit to the Palais de la Découverte, he tried to represent the world invisible to the eye, (3) 1955-1959, the informelperiod, when paint became for him an equivalent of the matter, a synecdoche, one substance symbolizing all of it, and (4) 1958-1964, painting of the matter, when he kept using also other substances added to paint and chose a “concrete” approach to the painting’s meaning. The authors argue that over the first two decades following World War II Kantor succeeded in creating a new kind of painting, corresponding to the present, in which matter was to be dominant. To achieve that goal, for many years he was experimenting with different ways of representing matter – its ruling forces and principles. His initial existential observations, which challenged the uniqueness of humans in the universe, were later supplemented by shocking contact with science at the Paris Museum of Inventions. In the next decade, Kantor stopped making references to science and accepted process as a basic method of reaching the ontological foundation of the world, i.e. “matter.” His art was no longer “production,” but turned into “action.” At the last stage under consideration, he decided that the painting must not present signs referring to reality beyond it. He rejected the idea of painting as illusion and mediation, claiming that the matter of art is concrete, that it becomes “what it is.”

Direct and potential risk assessment of exposure to volatile organic compounds for primary receptor associated with solvent consumption.

Rapid development of industrial production has stimulated the growth of consumption of raw and auxiliary materials including organic paints, among which volatile organic compounds (VOCs) are proved harmful to the population who inhale the polluted air based on epidemiologic studies. Therefore, new types of environment-friendly paints were developed to replace solvent-based paints (SBPs). Nevertheless, new types of paints containing VOCs failed to replace SBPs entirely due to certain disadvantages. Hence, five kinds of paints were employed in simulation experiments to assess the health risk of primary receptor including three kinds of water-based paints (WBPs) and two kinds of SBPs. Conclusions showed that mean TVOC concentration in breathing zone of primary receptor ranged from 9.5 to 13.6mg/m3 and 3.4×103 to 1.4×104mg/m3 for WBPs and SBPs, respectively. Assessments of non-cancer risk concluded that nearly one third quantified compounds exceeded corresponding thresholds for WBPs, and the maximum risk value was 101.33; for SBPs, the maximum risk value reached 50760.20, and twenty-two compounds exceeded the reference limits. The calculation of cancer risk values showed that seventeen compounds were higher than acceptable limit amongst which 1,2-dibromoethane had maximum values of 1.27×10-2 to 3.24×10-2 for WBPs; for SBPs, all quantified compounds exceeded the acceptable limit, and 82.61% VOCs were distributed in a scope larger than 1×10-3. Additionally, a removal efficiency of 60% was considered for primary receptor with personal protective equipment, and subsequent results confirmed its inability of lowering the risk resulted from hazardous VOCs. The calculated potential health risk could be applied to estimate the total health risk for both primary and secondary receptor based on consumed materials. The finding suggested that WBPs could improve VOCs exposure condition and reduce the direct and potential health risk significantly for primary receptor, although they might dissatisfy acceptable limit.

Application of Polyurethane Abrasion Resistance Paint on the Arch Gate of Tunnel Spillway in Xiaolangdi

Seventeen consecutive concerned water-sediment regulation has been carried out in Yellow River Xiaolangdi reservoir since 2002, in order to reduce the downstream river channel and reservoir sediment deposition. The water flow went through the arc working gate place will reach 33 m/s during the flood and sand, combined with open/close state under dynamic water in the daily operation, there are some serious erosion pit appeared on the arc facade panels. The gate was thinned, and the service life got shorter, which threated the safe operation of the gate. Therefore, it is necessary to use new type high abrasion resistance and high corrosion double function of paint to repair the gate panel. High elastic polyurethane resistant paint was developed, whose polyurethane was the main basic material, adding antirust pigment and scales the water-blocking material of stainless steel. The abrasive wear performance of two kinds of paint was tested by using rotary machine in the conditions of four different flow velocity and 50 kg/m3 sediment concentration, the results showed that the wear resistance of polyurethane abrasion resistance paint is 50 to 80 times of stainless steel flake epoxy paint. The drawing method is adopted to test the paint and substrate of peel strength, the results showed that the bonding performance of polyurethane abrasion resistance paint is equal to the stainless steel flake epoxy paint. The self-developed paint was carried out on the arc working gate place after a flood test, compared with the traditional protection plan, the results showed that the paint on arc gate had played a very good effect of corrosion and abrasion protection, and had very good practicability and value of popularization and application, which provided reference for other tunnel gate abrasion protection.

회화 속에 나타난 차(茶) 그림 연구

Tea is said to be synthetic culture and arts. Since the Goryeo Dynasty period, the tea culture has been enjoyed and recently, the culture with a harmony of tea and paintings is being created, with the revival of tea. In the Joseon Dynasty, painters from painting academies enjoyed drawing tea paintings, which express the thought of classical scholars of those times well and they have been continued until now since the Joseon Dynasty period. In this study, tea paintings include the paintings, which express the poetry parties and the tea parties, are associated with tea, or express tea as a sub-theme, and painting characteristics of old painters in the tea paintings expressing the tea culture were considered and lifestyles with art and tea were analyzed. This is because tea painting should be included in the category of our traditional painting and considered as one kind of painting. The class to learn about tea ceremony and tea paintings can bring the effect of killing two birds with one stone in nature-friendly education for a harmony of humans and nature. It is anticipated that the education about tea ceremony and tea paintings presented in this study would contribute to expansion of the base for the tea culture and generalization of tea paintings by creating a decent culture of the country.

Signing Large Color Prints: The Significance of Blake's Signatures

Among William Blake's greatest achievements as both painter and printmaker are his large monoprints of 1795. Blake produced thirty-three mono prints of twelve designs, twenty-nine of which are extant. He signed at least twenty, using five different formats, but is thought to have sold only eleven, all to Thomas Butts. The present essay sequences the signatures and argues that Blake also sold nine monoprints to three collectors between 1806 and 1810, that he sold his first monoprints to Butts by mid-1796, that he printed designs in a heretofore unknown printing session in ca. 1795–96, and that, around 1807, he changed his idea about the monoprint, from large color print to a new kind of painting. The monoprints reveal that Blake's general practice was to sign artworks not upon execution or completion, but upon sale.

Seni Prasi Dalam Kajian Antopologi Dan Sosiologi

Pracy Art is a kind of painting using leaf lontar media which is painted with the sharp iron, the formercharcoal mixed with coconut oil slightlyy on its surface. Themes are revealed; Mahabrata, Ramayana, Sotasoma,Tantri, and other folklore. The existence of the palm leaf is important in the life of the people of Geriya, Talibeng,Sidemen, Karangasem. Because the art is part of the civilization of Ancient Bali. To understand more deeply aboutthis art of pracy it is necessary to approach with anthropology and Sociology. Both fields of science are related to humanlife in the activity of art. This Study the focuses on the discussion in "literature", collectors, and community observers ofpracy art. The purpose of the research is to know the existence of art pracy in the life of Geriya, Taliban, Karangasemsociety. The benefit of research is to know existence of pracy art at Bali ancient, and in global era. The research methoduses qualitative discriminative, ethnographic approach, data retrieval with observation, interview, and documentation.To solve the problem in the art of pracy use some big theories; ethnographic theory, social exchange, diffusion theory andother small theories. The Findings show that Pracy Art in the life of Geriya Taliban, Karangasem is as arepresentation of beliefs, beliefs and teachings of Hinduism.

Seni Prasi Dalam Kajian Antopologi Dan Sosiologi

Pracy Art is a kind of painting using leaf lontar media which is painted with the sharp iron, the formercharcoal mixed with coconut oil slightlyy on its surface. Themes are revealed; Mahabrata, Ramayana, Sotasoma,Tantri, and other folklore. The existence of the palm leaf is important in the life of the people of Geriya, Talibeng,Sidemen, Karangasem. Because the art is part of the civilization of Ancient Bali. To understand more deeply aboutthis art of pracy it is necessary to approach with anthropology and Sociology. Both fields of science are related to humanlife in the activity of art. This Study the focuses on the discussion in "literature", collectors, and community observers ofpracy art. The purpose of the research is to know the existence of art pracy in the life of Geriya, Taliban, Karangasemsociety. The benefit of research is to know existence of pracy art at Bali ancient, and in global era. The research methoduses qualitative discriminative, ethnographic approach, data retrieval with observation, interview, and documentation.To solve the problem in the art of pracy use some big theories; ethnographic theory, social exchange, diffusion theory andother small theories. The Findings show that Pracy Art in the life of Geriya Taliban, Karangasem is as arepresentation of beliefs, beliefs and teachings of Hinduism.