Language Of Painting Research Articles

Exploring the image language of Mongolian painting from the perspective of regional culture

Mongolian painting art is influenced by the regional characteristics of Mongolia, and is distinct from other regions and has its unique features. The language of painting images is an artistic expression that combines the creator’s subjective consciousness with objective aims; it is a way for the creator to express emotions and also a bridge for communication between the creator and the viewer. Through the study of the diversity of modern paintings, this article explores the cultural integration behind art and analyses the artistic expression of ethnic elements in paintings. From the perspective of regional culture, this article discusses the influence of Mongolian regional characteristics on Mongolian image language. Painters depict the beauty and vastness of the grassland with their brushes and integrate the long history and traditional folk culture in their creations. Mongolian-themed paintings have unique regional characteristics and ethnic aesthetic features. Taking the regional characteristics of Mongolian paintings as the entry point, it demonstrates the significance and uniqueness of Mongolian painting image language for artistic creation. Монгол зургийн дүрслэлийн хэлийг бүс нутгийн соёлын үүднээс судлах нь Хураангуй: Монголын уран зураг нь Монгол орны бүс нутагт тохирсон, бусад бүс нутгаас ялгарах өөрийн гэсэн онцлогтой. Дүрслэх урлаг нь уран бүтээлчийн субъектив ухамсрыг объектив зорилготой хослуулсан уран сайхны илэрхийлэл юм. Өөрөөр хэлбэл, уран бүтээлчийн сэтгэл хөдлөлөө илэрхийлэх гол арга зам бөгөөд уран бүтээлч болон үзэгчийг холбож өгөх гүүр юм. Энэ өгүүлэлд орчин үеийн уран зургийн олон талт байдлыг судалж, угсаатны элементүүд, уран сайхны илэрхийлэлд дүн шинжилгээ хийж, түүгээр дамжуулан соёлын нэгдлийг илрүүлсэн. Монголын бүс нутгийн соёлын онцлог монголын дүрслэх урлагт хэрхэн нөлөөлсөн талаар судалсан. Сүүлийн үед уран зураачид өргөн уудам нутаг, тал хээр, үзэсгэлэнт байгалийг бийрээр дүрсэлж, олон зуун жилийн түүх, ардын уламжлалт соёлыг уран бүтээлдээ шингээн бүтээх нь ихэссэн. Монголын уран зургийн дүрслэлийн хэл нь гоо зүйн онцлог шинжүүдийг агуулж байдаг тул онцгой ач холбогдолтой гэж үзэн энэхүү өгүүллээ бичиглэв. Түлхүүр үгс: угсаатны элементүүд, бэлгэдэл зүй, өнгө ба чимэглэл, зохиомж ба хэлбэр, хүмүүс ба хөрөг зураг, байгаль ба хүрээлэн буй орчин, зөрчилдөөн ба нэгдэл, уламжлал ба орчин үе, илэрхийлэл, гоо зүй

FEMALE PORTRAITS IN SOVIET AND CHINESE ART IN THE 1960-1980S: TRENDS, ARTISTIC IMAGES, VISUAL TECHNIQUES

From the end of the 1960s till the 1980s, Soviet and Chinese painters explored female portraiture, o ering visual conceptualisations in art history. This paper primarily discusses three central themes: overall trends in socio-cultural development, comparative analysis of female-themed portrait imagery, and research into the painting language of female portraiture itself. By examining the historical and cultural perspectives of Soviet and Chinese oil paintings, this study aims to reconstruct the development of female portrait themes during the aforementioned period. The indepth exploration helps the author not only understand the artistic styles and technical features behind the artists’ works but also glimpse the complex changes in gender consciousness and cultural identity against the backdrop of social and political contexts of that time.

The Representation of Urban Work in China’s Modern Boneless Paintings

In 1979, China began to implement the policy of "reform and opening up", which has since then embarked on the path of rapid development and modernization. After "reform and opening up" drove economic development, the urbanization process also accelerated, and cultural transformation also drove innovation in the representation of Chinese visual arts. This study aims to investigate, study, and explain how urbanization is reflected in modern Chinese boneless paintings under the background of "reform and opening up". Using qualitative research as research strategy, through observation, interviews and documents as techniques of collecting data, this reseacrh tries to interpret the symbolism, meaning and value of the symbols of urbanization representation in modern Chinese boneless paintings. The research results prove that modern Chinese boneless paintings reflect people's living conditions and various social problems after the "reform and opening up". All these problems come from the social changes that have occurred in China during the process of urbanization, and are expressed through the unique painting language of modern Chinese boneless paintings. On the one hand, these painting languages reflect the progress and changes brought about by "reform and opening up" to modern Chinese painting; on the other hand, they also reflect the concern and deep meaning of modern Chinese boneless paintings for current social phenomena.

The Representation of Urban Modernization in Modern Chinese Paintings

China's "reform and opening up" has driven economic development and promoted urban modernization. At the same time, cultural transformation has brought about changes in the themes of Chinese visual art. This study aims to investigate, study, and explain how urban modernization is represented in modern Chinese paintings in the context of China's modernization development. The researcher used qualitative research methods, analyzed documents, and observed artistic works to try to interpret the symbolic meaning and value of urban modernization representation in modern Chinese paintings. The research results prove that urban modernization in the works reflects the current living conditions and various social problems of urbanites after the "reform and opening up". All these problems come from the social changes that have occurred in China during the process of urban modernization, and are expressed through the unique painting language of modern Chinese painting.

The Influence of Jianjiang on Modern and Contemporary Landscape Painting

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

Research on the Development form of Chinese Contemporary Oil Painting in Recent 30 Years

This paper analyzes and discusses the development form of Chinese contemporary oil painting in the past 30 years, and thinks that in the past 30 years, after the baptism of Western cultural thoughts, postmodern thoughts have been deeply rooted in the hearts of Chinese people. Under this background, Western modern culture has brought rich topics to Chinese oil painting, and Chinese oil painting language is also transforming under the impact of Western artistic thoughts. This paper also summarizes the two aspects of Chinese contemporary art criticism during the period of 1990-2020. This paper holds that only by accurately grasping the characteristics of The Times and starting from the simple life can contemporary Chinese oil painting see the truth, goodness and beauty of art from life, and only by returning to the real "contemporary" can it absorb the essence from it and have enduring vitality.

Application of graphene-EDTA nanomaterials in oil painting creation

In the modern art ecology, the situation of oil painting in society urgently requires finding the key to revitalizing its strong vitality, in order to give oil painting new vitality and achieve its new development. As a painting language in the context of oil painting, new materials have become an important means of promoting the development of oil painting. This article explored the development, creation, and material innovation of oil painting. This article elaborated on the types of comprehensive materials and their application in oil painting, and discussed the application of graphene and nanomaterials in art creation and oil painting. Through comparison, it can be seen that the use of nano oil painting materials in oil painting creation was significantly improved the fluidity and coloring degree, with an increase of 0.18 in fluidity and 0.15 in coloring degree. The application of graphene ethylene diamine tetraacetic acid (EDTA) in oil painting has created graphene-EDTA oil paintings that have been loved and welcomed by viewers, enhancing the motivation for oil painting creation.

Resistance or Compromise: A Comparison of Western Mainstream Painting Language Before and after the Invention of Photographic Technology

This paper focuses on the developmental changes in the language of drawing brought about by the invention of the camera. Therefore, this paper takes the time of camera invention as the node. First, we will analyze the common features of the painting language of the famous painting schools before this point in time and the common features of the painting language of the famous painting schools after this point in time. Then we will compare and analyze them to explore the development and evolution of the painting language. Current research on painting before and after the invention of the camera is mostly focused on aesthetic approaches, art criticism, and its influence on popular culture. It adds to the gap in research on the language of painting and provides some insights into the creation and development of today's photography and painting.

Contemporary Oil Painting Art and Art Market in Real Life

Since the reform and opening up in the 1980s, in the context of cultural exchange between China and the West, Chinese culture, art, and ideological concepts have undergone tremendous changes. Under the influence of Western painting, the development of oil painting art has further explored and studied modernist painting. At the same time, under the influence of Western modernist painting art, Chinese oil painting art has also shown a phenomenon of a hundred flowers blooming, such as the diversification of artistic styles and the diversification of painting language types, thereby creating the birth of various new painting schools. In the context of globalized art and culture, contemporary Chinese oil painting has also begun to go global. However, the development of contemporary Chinese oil painting is still criticized by the art of easel painting and photorealistic painting. Faced with the booming art market and the diversification of evaluation standards, how to understand the current situation and trends of contemporary oil painting art development is a question worthy of our in-depth research and reflection.

Analysis of Texture Construction Method of Picture Language in Oil Painting Teaching

In essence, painting language refers to the various artistic methods and forms used in the process of internal emotional communication and artistic expression of art. It requires students to carefully observe and think about their own personality, form a pictorial language in the process of imitation and creation, and learn how to use it. Taking the importance of constructing the texture of the picture language in the teaching of oil painting as the starting point, this paper analyzes some basic construction methods of the texture of the picture language, hoping to provide some references for the development of oil painting teaching.

The Formalism Issue of Catholic Iconography in China

During the Republican period in China, the Catholic Church gradually developed and grew in China and made attempts to localize itself in different fields, one of which was the promotion of localized Catholic icon painting in the field of art. Due to the problem of divergence between Chinese and Western cultures and styles, formalistic expressions of these paintings emerged. As a representative practice of Catholic painting in China, Beiping Fu Jen Catholic University, with Chinese painting style as its main focus and Western style as its auxiliary, consciously innovated the expression of Catholic icon painting in China, however, in the expression of content and selection of subject matter, excessive emphasis was placed on Chinese visual language to cater to the tastes of Chinese audiences, and as the edifying function of Catholic painting failed to be exercised to a certain extent. There is still a certain degree of formalism. The development of Catholic painting in China needs to find a balance between the spirit of doctrine and Chinese visual culture, integrate Catholic aesthetics into the Chinese painting tradition, and create a new form of painting language, rather than the migration and appropriation of visual symbols.

SPATIAL ARCHETYPES IN THE ARTISTIC WORLD OF V.E. SAVKIN AND YU.D. DEEV

The language of naive painting, like verbal, is a universal communicative system, which gives reason to use a diachronic approach to explore its content arising from the depths of human nature. Being a combination of historical experience and psychological energy, the archetype becomes a symbolic unit of the analysis of naive paintings. The universality of the archetype is manifested in its ability to be realized in different time contexts, which makes it a very attractive subject of research in the works of naive artists of the second half of the XX century. Repeated reference to the archetype of the “ideal city” accelerates its adaptation to new cultural realities, becoming a method of interaction of a self-taught artist with the world. The relevance of the research is related to the interest in the implementation of the utopian project of the city within the framework of modern art space. The scientific novelty lies in the fact that for the first time the archetype of the ideal city will be considered in the works of naive painting by artists V.E. Sakiyan and Yu.D. Deev. The research is aimed at studying the diachronic aspect of the creative interpretation of the «ideal city» archetype in the images of Russian artistic culture.

The Application of Painting Language in Literary Translation from the Perspective of Translation Aesthetics: A Case Study of Wiley's English Translation

Points, lines and surfaces are the expression forms of painting, while words, phrases and sentences are the expression forms of language. The mutual reference and combination of painting art and language art enriches the expression of literary translation, and makes literary translation, like painting, give full play to its unique aesthetic value and artistic emotion. Based on Liu Miqing's translation aesthetics theory, this paper analyzes the aesthetic object and aesthetic subject of translation, combines the viewpoint of painting language with translation, and discusses the use of painting language in Chinese poetry translated by Arthur Waley from two aspects: the use of lines and the construction of geometric figures, and the reproduction of painting language in poetry translation.

Exploring the Spatial Expression of New Meticulous Figure Painting

Painting space is an important component of painting in visual arts. This paper takes the spatial expression form of "New Meticulous Painting" as the starting point, first briefly expounds the concepts of "New Meticulous Figure Painting" and "Painting Space", and summarizes and refines the general presentation methods of "New Meticulous Figure Painting" on the visual screen. For example, it has the characteristics of "Surreal Atmosphere", "Grey Tone", "Weakened Lines" and "Rich in Modern Urban Elements". Secondly, I try to understand the diversity of spatial expression forms of figure painting in the context of "New Meticulous Painting", combine my own creative works with practice, and make a multi-dimensional deconstruction analysis of the composition of painting language forms of spatial expression in the visual picture of my own works, aiming at exploring the artistic concept and technique composition of painting creation, so as to give the author more ideas and possibilities for his own creation.

Reality and Grotesqueness

"Paradise on Earth" is the representative work of Dutch painter Bosch in the Renaissance period. His works create a dreamlike world with wonderful imagination and grotesque and exaggerated images. Bosch perfectly integrated the painting language with the real world and enriched the painting expression. This article mainly analyzes some grotesque images in his works and attempts to explore Bosch's art.

Pictorial principles in the system of formal connections: the limits of representation in modern Chinese painting

The purpose of the article is the study of formal connections in the pictorial system of modern Chinese painting. The authors focus on the analysis of the types of form representation. This makes the question of finding correspondence between artistic forms and reality, which is generalized with the help of figurative author's artistic language, urgent. As a subject of research, the mentioned problem is relevant for modern art studies. The authors show that the concept of "formal language" attracts considerable attention in contemporary Chinese art studies. This proves the importance of the study of formal connections for the analysis of both traditional art practices and for innovative artistic searches. Form as a component of the language of modern painting is represented using pictorial principles, which in the context of the conceptual categories of Chinese art history can be summarized within two interrelated groups, namely: expression and aestheticization of form. The first group unites structural questions, which are mostly related in one way or another to the interpretation of the technical features of oil painting. Within the limits of the second group, the issues of figurative (or, according to the terminology used in Chinese art history – spiritual) foundations of the representation of the image are considered. The authors concluded that in modern Chinese oil painting, form as a pictorial principle relies on the imitative nature of artistic generalization. Form as a pictorial principle is connected with the possibility for the artist to "appropriate" certain aspects of reality, to make their generalization his own point of view on the world. Within modern Chinese painting, the imitative form has a reflexive status, which is confirmed by a number of transformations in the oil technique. In Chinese painting, this principle has a direct reference to traditional artistic practice.

A Brief Discussion on the Significance of Material Mediation to Mixed Media Painting

In contemporary society, material artworks have been widely used in art and established as a new form of artistic language. The creative use of media materials has greatly expanded people's visual space. The materialization of artists' aesthetic concepts means that media materials are involved in the process of painting practice through different ways of expression, promoting the independence and connotation of painting language, and strengthening it, so that the creation of mixed media has obtained a very strong living space in today's era. In the process of artistic creation, material materials are branded with themes and need to serve artistic ideas. They not only play the role of media of artworks but also have certain artistic characteristics. Materials will show different effects in different works and the use of different artists, reflecting the artist's visual perception of the objective world and also conducive to stimulating the work's deeper meaning. This paper studies the influence of media on the creative process of painting works by changing the creative thinking mode, emotional expression, and visual perception mode of mixed media painting, and tries to summarize the meaning of material media in mixed media painting.

Liquid gestures: The language of that land

The painterly language arising from the paintings of Helen Frankenthaler finds itself describing gestures that behave ‘in-between’ constructed histories. Historic accumulated gestures by female painters and artists at seminal moments in history point towards spaces in which contemporary artists can speak about how new painting language can be formed, now. Using notions of liquidity from Giorgio Agamben and Luce Irigaray to think of a new painterly terminology. The field of making, the performance and transitive material visualizations of Frankenthaler’s practice makes space for the voices of female painters after her.

When verbal and visual arts share the same plot: artistic worlds of Bakhyt Kenzheyev's poem Hunters in the Snow and the painting by Peter Brueghel the Elder

The authors correlate and interpret the same plot in different types of art, i.e., painting and literature. Such a rapprochement is justified by the intertextual reference of Bakhyt Kenzheyev's poem Hunters in the Snow (1984) to the painting of the same name by Peter Brueghel the Elder (1665). The languages of the visual and the verbal are organized differently: the painting offers its viewer a direct contemplation, while the world of the poem gradually unfolds itself in the reader's imagination. The images in the painting are static, whereas textual images reveal themselves in a certain sequence, according to R. Ingarden. The authors believe that the images of the house and the forest are the key difference between the figurative system of the painting and the text. In the painting, the viewer sees the house and the forest from the outside only, while the text gives its reader an opportunity to see them from the inside. The images we see in Brueghel's painting differ from those we see in our mental eye when reading Kenzheyev's poem because the narrator shifts between the space of the painting, here he is one of the hunters, and the position of an outside observer. Therefore, one and the same plot can be translated from the language of painting into the language of poetry, but the change in the format of visibility is bound to cause various semantic changes.

Research on Cultural and Creative Product Design Integrating China Ink and Wash Art Elements

The language of ink painting is an artistic expression bred by Chinese civilization and has a long history. As a unique artistic expression, it condenses the temperament of the Chinese nation, shows the national psychology and shows the national wisdom, and is one of the representatives of China traditional culture. In order to promote the continuous development of national design with China characteristics, we must explore our own traditional culture and make use of it. It is of great significance to absorb the essence of China's ink and wash art elements and apply them to the creative design, so as to create a creative design with China characteristics and nationality. The breakthrough point of this paper is the design of cultural creative products, so as to explore the application of ink and wash expression language in the design of cultural creative products.