Creation Of Painting Research Articles

Study on How Modern Public Art Expresses Digital Themes with the Help of Painting Creation

Study on How Modern Public Art Expresses Digital Themes with the Help of Painting Creation

A Quantitative Exploration of the Consistency of Visual Rhythms and Social Values in Oil Painting Art

Abstract In the process of oil painting creation, creators present their ideology to the audience through diversified ways of expression so as to produce spiritual resonance with the audience. In this paper, the consistency of social and artistic values of color in oil painting art is studied from three aspects: color attributes, visual rhythm, and color psychological effects. Combined with the HSV color model, the relationship between hue, saturation, and brightness values, which in turn describes color harmony and aesthetics, is used to assess the artistic and social value of oil painting art. Finally, by taking oil paintings of the Literary Review Period style and Classical style as samples, the social and artistic value consistency of oil paintings can be analyzed through color. The results of the study show that when the value of the color attributes of Rembrandt’s oil paintings in the Literary Review Period reaches 240, the saturation value rises sharply, and the hue value likewise falls sharply, forming a strong color focus, making the paintings more toned down and fresh, and alluding to the spirit of resistance that the creator wants to express. The social attributes of purity and solemnity are created when color characteristics are purified, and saturation is smoothed in classical-style oil paintings.

Concepciones estéticas y símbolos culturales en la pintura tradicional China

Abstract: The aesthetic conception in traditional Chinese painting is an essential concept in ancient Chinese aesthetic thought and serves as the supreme aesthetic criterion pursued in classic painting creation. Artists use unique works to showcase the aesthetic conception in traditional Chinese painting, thereby highlighting the distinctive features of Chinese painting. This article conducts a genealogical analysis of artistic conception in traditional Chinese painting. It combines it with specific cultural symbols for interpretation to unveil the philosophical ideas and cultural concepts concentrated in traditional Chinese painting.

Research on the Formation and Generation of Schema in Lacquer Painting Creation

Research on the Formation and Generation of Schema in Lacquer Painting Creation

Research on the Influencing Factors of Artistic Creation of Fine Arts Painting in the Context of Visual Culture

Abstract The creators of fine art painting art are often affected by the conceptualization and imagination factors, expression techniques and methods, as well as the influence of theme and subject selection, etc., and they are unable to commit themselves to the expression of artistic power and infectious power of fine art painting works. This paper constructs the PLS-SEM and BN combined structural equation model in the context of visual culture, analyzes the latent variables in the path relationship with PLS-SEM for empirical testing, and predicts and diagnoses the causal relationship between the variables with the Bayesian network. Finally, a questionnaire survey was conducted among the major fine art painting art creation groups in Guangzhou, China, and the influence factors of fine art painting creation were extracted using principal component analysis. The constructed model is combined with the collected data for empirical analysis. The β coefficients of the influence paths of the factors are all greater than 0.42 and significant at least at the 0.05 level, and the creative motivation, creative environment, personal artistic level, art industry environment, and painting artistic skill all positively influence the fine art painting artistic creation outcome. When the level of artistic achievement in art painting and drawing is “high”, the probability that the level of the art industry environment and creative environment is high is higher, with probabilities of 0.742 and 0.701. When the level of personal artistic level is “high”, the probability that the level of creative motivation is “high” is greater than 0.42 and significant at least at the 0.05 level. When the individual’s artistic level is “high”, the level of creative motivation is more likely to be “high,” with a probability of 0.726. This study allows the timeliness and dynamics of painting to be harmonized and linked with the painter and provides certain references for the improvement of the artistic skills and creative level of the creator of the painting.

Research on the Color Evolution and Brush Development of Landscape Painting

Landscape painting was independent from figure painting in the Sui Dynasty of China. At first, it was “Blue-and-Green Landscape” which was characterized with color expression. It matured in the Tang Dynasty and developed in the Song Dynasty. Then, the literati painters in the Tang Dynasty pioneered literati painting, with “Light Crimson Landscape” or “Ink Landscape” to lead landscape painting from realism to freehand, and established a combination of poetry, calligraphy, painting and seal. Then the literati in the Song Dynasty lent sparkle to the replacement of heavy green color with light crimson ink painting, and that became the mainstream of landscape painting. On this basis, the Yuan Dynasty painters developed a complete landscape painting formula, pushing the landscape expression to the peak. In the Ming and Qing dynasties, imitating the ancient style dominated the landscape painting world. At the same time, some painters pursued originality, forming the situation that the two forces were opposed in the same literati painting category. In modern times, due to the influence of Western culture, the traditional landscape painting has undergone great changes, and the new social life has prompted major changes in the content, form and method of landscape painting creation. Traditional techniques are combined with scientific modeling while ink and color complement each other, and the development of landscape painting has presented a diversified, rich, positive and prosperous appearance.

Cultural Mutual Interpretation of Chinese and Western Aesthetic Category "Vivid Charm"

"Vivid charm" is the highest principle of China's painting creation, the highest embodiment of the artistic spirit of Chinese painting, and an important criterion to judge whether the aesthetic realm of painting is lofty or not. However, the concept of "vivid charm" was originally an aesthetic proposition put forward by Sheikh in Southern Qi Dynasty. Specifically, it refers to the aesthetic realm that works of art embody the momentum of all things in the universe, people's spiritual quality and charm, and achieve natural vividness and fully show its vitality and appeal. In the west, especially in Japan, there are different translations of the word "vivid charm", and "different people have different opinions." In the exhibition of different cultural forms between China and the West, we can also see some interesting phenomena.

Broken Home as Inspiration in the Creative Process of Painting Art

A broken home is defined as a family condition that is not harmonious and does not function like a peaceful and prosperous family, due to frequent disturbances and conflicts that lead to arguments and ultimately divorce. The "broken home" depicted in this artwork is inspired by childhood experiences. Its presence serves as a warning to prevent others from going through the same ordeal. This serves as the foundation for the creation of a two-dimensional painting. The approach employed in this creation is a representational form approach. The medium used is mixed media on canvas, utilizing the placard technique. The creative process involves preparation, design, embodiment, and presentation. This creative process has resulted in the creation of five pieces titled "Strict Parents," "Where is My Home," "Home-Sick," "5 Years Old," and "Traumatic."

Research on the Artistic Language of High Temperature Colour Glaze Porcelain Paintings

High-temperature colour glaze is the fire phoenix in ceramic art, its development history has a long history, until now there have been thousands of years of history, is a great symbol of mankind towards the history of civilization. High-temperature colour glaze ceramic painting has a unique artistic language and strong artistic expression, and has a long preservation time, never discolouration process advantages, contemporary high-temperature colour glaze ceramic painting combined with the humanities trend of the times, presenting the works of the times with a cultural outlook, spiritual beliefs and thinking about life, become the pursuit of artistic value and artistic taste very good carrier, so more and more people have broken the high-temperature colour glaze ceramic painting. Therefore, more and more people have broken the high temperature colour glaze porcelain painting value and meaning can only depend on the porcelain decoration and the existence of the inherent thinking, began to consciously go from a purely aesthetic point of view to the creation of painting, this paper combines the modern aesthetic tendency, innovation on the basis of tradition and then fused with the characteristics of colour glaze, the colour glaze porcelain painting of the art of the language of research.

Research on the Integration of Digital Media and Oil Painting Teaching in Colleges and Universities in the Era of Artificial Intelligence

Abstract Under the impetus of new concepts and new thinking, digital media art is also born. This paper discusses the integration of digital media in oil painting teaching in colleges and universities and constructs a resource library of painting images created by college and university students. The original RGB image is converted to HSV mode, and the college oil painting images are classified into styles based on color entropy. Drawing on the category balanced intersectionality loss function commonly used in edge extraction networks and designing an objective evaluation index based on the Adain network model for comparing the stylistic categorization ability of oil painting image translation networks. Finally, a generalization experiment was conducted on oil painting teaching painting images in colleges and universities through the Gallerix dataset. The results show that in the 2566-dimensional vector data distribution extracted from the oil painting resource base of art majors in H colleges and universities, for example, with dc = 0.05 and dc = 0.1, both sets of parameters find the correct clustering centers, which greatly enhances the efficiency of oil painting creation by college and university students. The method can promote the further development of artificial intelligence technology in the field of art creation and evaluation.

Wall Painting of Pujari Math of Bhaktapur: An Exploration

Historical evidences prove that painting is considered as the mother of all other forms of art and crafts. While artists start to sculpture the icon and any art objects, very first, they sketch the drawing of concerning deities and specimens, therefore, a painting is said to be the mother of all other sculpture arts. Therefore, the history of creation of painting is older than other forms of arts. On the basis of creating materials, mediums, instruments, technologies, and nature, painting can be classified into three different forms such as fresco, miniature and painted scroll. This article has analyzed the fresco painting of Pujari Math of Bhaktapur. This is an example of polychrome painting which displays an excellent craftsmanship of the artist. Through the perspectives of religion, culture, social values, art skill and technology this art object is known as the representative fresco paintings of Nepal which reveals the fine handiworks of the artists of the medieval period. In painting where people can observe several secular and religious figures of deities and social events associated with the myths of religious scriptures especially Ramayan and Mahabharata the great epics of Hindu. Despite all its amusing qualities, unfortunately, this painting is still not properly considering as the subject of research and study. It is its academic problem and research gaps as well. Thus, raising the research questions such as what types of paintings are painted on the walls and beams of Pujari Math? Why the painting of Pujari Math is considered wonderful work of art? And what are the major features of the painting of Pujari Math? Likewise, this paper fulfills the certain specific objectives such as to examine the paintings of Pujari Math; to explore the significance of the work of art and to analyze the major features of the fresco paintings. It is qualitative research based on primary data and secondary information. Primary data have been obtained from the field using observation and interview method whereas the required secondary information has been collected from different reliable literatures such as journals, documents, books, published and unpublished relevant reports. Thus, for fulfilling the research gaps and problems this paper has been prepared.

A STUDY OF CONFLICT IN THE PROCESS OF KNOWLEDGE TRANSFER IN COLLECTIVE PAINTING CREATION

In the era of the knowledge economy, knowledge transfer is a key part of knowledge management. As an innovative organization, collective painting inevitably encounters various conflicts during the process of parallel knowledge transfer among its members. Conflict is a key factor that directly affects the effective transfer of knowledge. However, the existing literature is limited to research within enterprise management organizations and between organizations, all of which are one-way conflicts between knowledge senders and knowledge receivers. The conflict factors generated during the knowledge transfer process of parallel relationships in innovative organizations have not been explored. This article uses qualitative rooted analysis to extract, analyze, and encode the content of collective painting creation team cases in a three-paragraph manner. 20 conflict phenomena were identified, and 5 conflict factors were extracted. The research results provide a certain foundation for empirical research on knowledge transfer conflicts and guide innovative teams to effectively transfer knowledge.

Sang Hyang Semara Ratih as The Creation of Painting

This independent project thesis raises the title Sang Hyang Semara Ratih as the creation of a painting. In the Hindu mythological story Sang Hyang Semara Ratih, which is the lamp of the gods and goddesses as a symbol of love full of desire and loyalty and sacrifice. The story is told in Lontar Cundamani II. In this quote, it is told that heaven is being attacked by the giant Nilarudraka, a powerful giant who wants to rule over heaven. The gods were all defeated, none of them could fight him. Finally the gods came to Bhagawan Wraspati to ask and predict who would be able to beat the giant. Finally the results of the prediction showed that the giant Nilarudraka would only be defeated by the elephant-headed children of Lord Shiva. From the contents of this thesis, the author also reveals the creation of works of art, which the author creates and shows, namely the visuals of the Hindu Mythological object Sang Hyang Semara Ratih which contain many philosophical meanings in it. The conclusion of Sang Hyang Semara Ratih's thesis as the creation of this painting aims to provide an understanding for readers to recognize the meaning of the symbols contained in Sang Hyang Semara Ratih.

Barong Landung as Inspiration for the Creation of Painting Works

Barong Landung as Inspiration for the Creation of Painting Works

Sanghyang Dedari Dance in Geriana Kauh Village, North Duda, Karangasem as the Creation of Painting Works

Sang Hyang Dedari is a traditional Balinese dance which is interpreted as a ceremonial dance to ask for safety Sang Hyang Dedari is a traditional Balinese dance which and repel reinforcements for the local community. The Sanghyang Dedari dance in Geriana Kauh Village has its own uniqueness, especially in the clothing and attributes used, in the clothing section the yellow and white clothing is used which symbolizes purity and safety or prosperity, which distinguishes Sanghyang in Geriana Village from the Sanghyang in place, namely in terms of the bun or crown, in Geriana Kauh Village they still use natural products as crowns, namely grapefruit peels and flowers such as sandat, cempaka, ratna, gumitir, and jepun flowers, which are arranged in such a way as to resemble a bun. Sanghyang Dedari's performance was performed at the catus pate or crossroad, in the center of the village. Sanghyang Dedari is danced by 2 to 7 child dancers who are underage, not yet mature or mature, these dancers or pengayah have the opportunity to sing for up to 3 terms, after a re-election is held. Sanghyang dedari is accompanied by songs, songs, songs. When dancing, the dancers will follow the strains of the gending being chanted, in the middle of that there is what is called the lilit-linting procession, in which the dancers will climb a bamboo stick and dance to the strains of the gending, this lilit-linting is shaped like a cross or tapak dara, which is also display a safety sign. In this independent project, the author shows the process and sequence of the Sanghyang Dedari dance, from the beginning to the end of the Sanghyang Dedari dance in Geriana Kauh Village, Duda Karangasem Strait.

The Meaning of Wayang Wong Ramayana at Taman Pule Temple, Mas Village As An Inspiration for Painting

This independent study TA thesis raises the theme of the Meaning of Wayang Wong Ramayana at Taman Pule Mas Village temple as a source of painting creation. Departing from an illustration idea of Wayang Wong Ramayana and the procession carried out by the local community has a very deep meaning both from the Wayang Wong itself and at the time. ritual procession is performed. From this it sparked the author's desire to raise the meaning of Wayang Wong by combining certain techniques and references to achieve the desired meaning. The problem faced is how to visualize the meaning and techniques used in the embodiment of the work so that it looks attractive. The purpose and benefits of this creation are that first, in general, the author wants to embody the meaning of Wayang Wong Ramayana at Taman Pule Mas Village temple into painting, and to be able to embody the meaning or values of Wayang Wong in a symbolic form that reflects the identity of the author.To answer what is the goal in creating this work, the method used by the author in realizing this method is by exploring, improvising, forming, and finalizing the process and combining it with ideas to create 6 works. In realizing the author's work using several references related to techniques from the works of other artists, it is then processed according to the needs of the author to support the meaning to be conveyed and can produce quality work and become the identity of the author.

‘不俗’의 심미성 추구

This study aims to examine the aesthetic value of ‘non-vulgarization(不 俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅 俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to proceed to Tao in painting. Han Zhuo expressed not only the cultivation of learning but also the replacement of poetry with a painting’s implied meaning and the proficiency of brushing, Furthermore, he emphasized “learning” in order to have a sophisticated aesthetic with the Confucian method. Despite the fact that the literary men at the time considered that the character of the painting was congenital and could not be learned as a manifestation of personality due to social status, Han Zhuo believed that the aesthetics of “non-vulgarization” for landscape painting could be achieved by learning, learning the method of painting, and seeking learning.

Retracted: Application of Digital Painting Technology in the Creation of an Oil Painting Containing Graphene

Retracted: Application of Digital Painting Technology in the Creation of an Oil Painting Containing Graphene

Analysis of the Use of Emotional Expression in the Creation of Watercolor Art

Time is progressing, modern art is also booming, painting is not only focusing on beauty but a way of communication, painting can convey the emotions we want to express, which cannot be replaced by language. A good painting can integrate the creator's emotion with the painting, and reflect the performance of artistic thinking, so that the painting becomes lifelike, more vivid and natural as if reading the author's heart, as if communicating with the author, the form of language is the basis to support all the paintings. Watercolor painting has a long history, from the West into the land of China, by the influence of oriental art, formed a unique contemporary watercolor language form, showing a unique painting style. Emotion is the core of formal language as the creation of painting, and it is the bridge between emotion and concrete expression, and the two are complementary to each other.

Study And Appreciation Of Claude Monet’s Artistic Creation And Life Experience

Claude Monet an outstanding Impressionist painter in the 19th century, is one of the founders of Impressionist painting, known as the "father of Impressionism". His representative works include Impression of Sunrise, Cathedral of Rouen, Haystack, and Water Lily. Many artists and scholars in the study of Monet's works, summed up the artist Monet can be famous for the reason: thanks to his unique insight and innovation in painting creation. Every seemingly insignificant change over time will eventually add up and change things qualitatively. This paper makes a correlation analysis between Monet's painting style and his life experience to explore the influence of the painter's life experience on the painting methods adopted at that time, to study and appreciate his representative works which have achieved periodic success. When people not only stop to appreciate the color surface of the work, but also understand the story behind the creation of art, this will more vividly and truly restore the character image of a writer, and further explore the connotation, historical status, and influence on the development history of painting. At the same time, it is beneficial to broaden the richness of the history of art painting and is also of great benefit to the field of art education and academic research.