Painting Style Research Articles

‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon

ABSTRACT This paper explores the radical ekphrasis employed by Max Porter within his 2021 novella, The Death of Francis Bacon. Blurring prose, poetry and quasi-fictional biography, the text greatly elaborates upon more traditional and classical forms of ekphrasis, exploring all new methods of adopting the form. Alongside Porter's linguistic-aesthetic mosaic there is a theoretical acuity to his assimilation which resonates greatly with Gilles Deleuze's 1981 creative-critical study, Francis Bacon: The Logic of Sensation. Porter demonstrates the great potentiality of his innovative expansion of the form as a means to enhance our understanding of an artwork and to give an intimate glimpse into the processes undertaken by the artist, testing the ground for literary methods which evoke Bacon’s iconic style of painting, as well as pondering how to capture a true sense of his philosophical impetus. Porter seems particularly interested in considering the process of readership itself; the very act of conjuring mental images while reading - particularly through literary metaphor - and how this experience can be manipulated in writing to reflect Bacon’s visual aesthetics.

Painted eggs in the Muslim and Christian traditions

Eggs are a symbol of life, reproduction and restoration of nature for many nationalities. The oldest egg decoration ceremonies are known to have taken place among Zoroastrians, whose historical heartland lies in Azerbaijan, India and Iran. The ancient tradition of decorating eggs connects the culture of historical Persia to contemporary Europe. In many Eastern European countries, including Poland, Hungary, Romania and Ukraine, these practices persist up to the present where painted eggs serve as national symbols. While the patterns on the eggs and the style of painting may differ (Iran’s Nowruz holiday eggs are different from European Easter Eggs), there are similarities in the decorative techniques used by the Slavic peoples of Ukraine, Poland and Romania who have preserved the tradition of treating the egg as a sacred source and repository of nascent life which has a protective power.

The Research on the Transformations in "Pleasant Goat and Big Big Wolf" and Attitudes Towards the Animation Industry in China

China experienced a period of rapid development on entertainment domain. While some animations became extremely famous in a short time but quickly disappeared at the market, others could keep on track with the alteration of society. In this paper, the researchers will focus on an animation called Pleasant Goat and Big Big Wolf and alterations of the culture and society in China behind its changes. The authors discuss reasons leading to changes of the animation and estimate alterations happened on society through researching developments of Chinese animation industry during last 15 years and making comparisons in its characters, plots, and painting styles between different editions of the animation published in last 15 years. In this paper, people could find out some reasons about changes of this animations in last 15 years and changes of peoples attitudes toward animation industry on society.

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.

Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting

The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distinguished through the shape of the face, body shape or abdomen and coils as well as detailed parts of the eyes, eyebrows, nose, mouth, mustache, and other detailed shapes. (I Made Yasana, Menggambar Wayang Klasik Bali 1). Gede Modara who created the Kamasan Wayang style inspired the author to create puppets with a new style through the figures in the Kamasan Classical Puppet. This creation process aims to preserve the Kamasan Classical Puppet and develop it into a modern painting without eliminating the existing packages. The paintings created are expected to be able to become the characteristics of the author.

Ukrainian Military Themes in the Historical Battle Painting of Andrii Kholomeniuk

The purpose of the work is to investigate the topic of Ukrainian military history in the historical-battle painting of A. Kholomeniuk; analyse the main cycles and their plot, imagery, author's interpretation. The research methodology consists in the application of the historical-chronological method, comparison and generalisation, art analysis, with the application of the principles of systematicity and historicism. The scientific novelty of the study consists in the systematic generalisation and analysis of the artistic works of the famous artist-battalist A. Kholomeniuk, which reproduce various historical periods of the military history of Ukraine, mainly the late Middle Ages and the Cossack region. Conclusions. As a result of the conducted research, it was established that in his work A. Kholomeniuk addresses various topics and plots of Ukrainian military history, among which the large cycle of works "The Khotyn War of 1621" (approx. 80 paintings) occupies a prominent place, which serves as a kind of pictorial encyclopaedia of Ukrainian Cossacks. A. Kholomenyuk's battle paintings have a distinct author's style of painting, with an expressive manner and play of colour, light and shadow, characterised by perfect composition and a deep study of historical details and context. The battle-historical works of A. Kholomeniuk belong to the important examples of modern Ukrainian historical-battle painting, which vividly reflects Ukrainian military themes.
 Keywords: A. Kholomeniuk, battle-historical painting, battle studies, historical themes, military history of Ukraine, Cossack period.

An emotional expression framework based on social media style transfer

Recently, artificial intelligence has great effort in social media. Style transfer is a subtask of deep learning, can transform images shared on social media into works with artistic painting style transfer through image recognition technology, which creating amazing effects. However, the current style transfer technology is still in the early stages of development, and can only convert the shared picture into the style of a certain artwork, but does not have the ability to convert the emotional expression of the picture. In this paper, we proposes an emotional expression framework based on social media style transfer, conducted an experiment in the LFW database where the same portrait photo can express different emotions by combining it with images of different styles and realizes the style transfer technology for emotion and emotional expression. Therefore, the application of style transfer technology in social media is of great value and can promote the intelligent development of social media.

Factors that Shaped the Art of Turkish Painting in The Republic Period

The roots of current Turkish painting can be traced back to the early 20th century. Until the establishment of the Republic of Turkey, painting did not emerge as one of the most important and influential art forms in Turkish culture. However, as a result of the historical processes spanning from the late period of the Ottoman Empire to the establishment of the Republic of Turkey, the paradigm shift brought about by the Republic facilitated the formation and establishment of a unique art form known as Western style painting in the Turkish nation. The transformation from subjects of a monarchy to citizens of a nation, and from subjects to individual identities, which took place during the Republic era, enabled Turkish painting to acquire a national character through the influence of state patronage and the power of reforms. Although the Westernization movement and educational reforms that began during the Ottoman period led to a new formal direction influenced by the forms of the Western worldview, as well as the unique content of the Ottoman state’s worldview, it was during the Republic era that Turkish painting found its characteristic forms and expressions. While the formal patterns of painting were influenced by Western styles of the time, the subject matter and content reflected the intellectual and revolutionary world of modern Turkish society, allowing for the emergence of a distinctive form of painting art under these circumstances.

Image representation and reconstruction by compositing Gaussian ellipses

AbstractIn this paper, a method of stroke‐based rendering is proposed for image representation and reconstruction. The proposed method involves compositing a set of ellipses that greatly vary in location, size, rotation angle, color, and opacity. This study proves that alpha compositing is differentiable if a two‐dimensional Gaussian function is used to draw a solid ellipse. The gradient method can then be employed for automatically identifying the parameters of each ellipse such that the difference between the input image and the composited image is minimized. Experimental results indicate that the proposed method can represent various types of images including portraits, landscapes, buildings, street scenes, artificial objects, medical images etc. The proposed method can particularly render the most details and significant features of an input image with fewer strokes compared to other stroke‐based rendering algorithms. This study also demonstrates that the proposed method can be applied in painting style simulation and sparse‐view computed tomography imaging.

Research on the development strategy of art industry based on RNN model

Abstract In this paper, we firstly propose an art style classification system based on the RNN model to study the development of the art industry, and continuously fine-tune this white noise image according to the long and short-term memory network and gated recurrent unit network until it makes this white noise image similar to the artwork image style, and the ink painting image feature extraction is mainly studied from the recurrent neural network based ink style feature extraction and the overall nested edge based The two aspects of brushstroke feature extraction based on overall nested edge detection are studied. Then, based on the art industry and big data, the ink painting style classification system is constructed, and the effectiveness of the system is verified by model art classification effect analysis. The results show that the RNN performs well on the face dataset, where the accuracy of multiple classifications up to 10 categories is above 85%. This indicates that the RNN model in this paper can maintain good performance in the ink painting art classification task.

WALL PAINTING IN THE NON-CANONICAL TYPOLOGY OF THE GENRE-SPECIES STRUCTURE OF CHINESE FINE ART

The article deals with a non-canonical art practice in modern Chinese fine art, mural painting of public spaces. The actualization of the above-mentioned problem is caused by the appearance of changes and supplements to the morphological system of Chinese fine art: Chinese state has opened up to the world, dynamic urbanization has begun, the attitude of the society to public spaces and the tasks of mural painting in their visualization have changed. The purpose of the article is to understand the place of modern wall painting in the non-canonical structure of fine art in China at the beginning of the 21st century. The research methodology is based on the methods of both general theoretical analysis and formal-stylistic and compositional-coloristic analysis of works of art. The author analyzes publications in which the state of Chinese and foreign scientific discourse on the specified problem is investigated. Based on the examples of the analysis of the wall painting of Shanghai, Nanjing, Mianyang, and various Chinese villages, the main stylistic, compositional and coloristic means of artistic expressiveness of the murals of the 2020s are determined, and the functional features of modern wall painting as a non-canonical art practice of the latest Chinese fine art are revealed. It has been proven that at the beginning of the 21st century a non-canonical structure of fine art, dialogic in its communicative nature, began to form in the country, which is a part of general processes in the field of modern art. It is stated that today Chinese muralism is in the initial stage of its formation. The study of stylistic, compositional and coloristic means of artistic expressiveness of works of modern wall painting, which appeared at the beginning of the 21st century in China, allows us to assert that the main artistic style of modern wall painting remains realism and its varieties, hyperrealism and photorealism, focused on fairly traditional compositional solutions, but a bright color range. Considering the lack of systematic morphological studies of the fine art of modern China, we believe it necessary to continue analyzing the latest art practices, which today make up the non-canonical structure of the country’s fine art.

DEPICTION OF NATURE IN RAJASTHANI GITA GOVINDA

Humans have evolved their life in Nature’s Lap and gradually developed the consciousness accordingly. Nature’s beauty and mesmerizing elements have always influenced and attracted humans towards it. This impacted human to an extent that elements of Nature were established as divine powers namely Surya, Chandra, Vayu, Varuna, Indra, and Pruthvi. Poets and Painters have given Nature a new dimension with their imagination, vision, emotions, and glorification. The paintings found in Indian Art have been depicting Nature’s elements in Jainism, Buddhism and Brahmanism majorly. The renaissance of Indian Art has been initiated by Rajput Style Paintings and this is noticeable that they were also influenced by Nature. The painters in Rajasthan were equally attracted by elements of Nature as the poets were. The major poetic-literature created were Sur-Sagar, Ramayana, Bhagwat Puran, Mahabharata, Geet-Govind etc.The poetic-literature Geet-Govind consists of enormous amount of beautiful Nature-depiction in it, with bright colors and figures covered under Rajasthan’s style. Lotus floating in Yamuna River, deep-blue clouds covering the sky, Moon, stars, tree-groves, forest, flowers & plants filled over mountains have been depicted beautifully. In Rajasthan’s Style of paintings, the sky has a noticeable importance. Each artwork has the sky depiction on top area of frame with different climatic conditions like clouds, rain, plain open sky, stars in night etc. which is done on flat form surface.Objectives: Present research paper “Depiction of Nature in Rajasthan’s Geet-Govind” covers a unique angle of study which justifies the Flora & Fauna depictions in miniature. The motive of the paper is to showcase & mark different Natural demographics of Rajasthan in Geet Govind and the climatic influence over it. This paper also aims towards different art styles of Rajput Miniature covering different Bhava and Rasa theory conceptualized in Geet-Govind. Thus, the research paper will be helpful for further research-scholars, this will increase interest in studying the topic and will provide a new vision(dimension) for observing the Geet-Govind.

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.

Oromumma is Anti-Vestige Ideology Destroying Heritages in Ethiopia

Oromumma is Anti-Vestige Ideology Destroying Heritages in Ethiopia

Ink painting style transfer using asymmetric cycle-consistent GAN

Chinese ink painting, an artistic and cultural treasure, necessitates automatic generation for its preservation and evolution. We've innovatively observed and validated that the domain information between photographs and ink paintings, is asymmetrical, which has been overlooked by current style transfer algorithms. We propose an innovative generative adversarial network featuring an asymmetric cyclic consistency structure to address this in ink painting style transfer. This structure uses generators of differing capabilities to align with the asymmetry in transformation directions, improving image quality and model optimization speed. Additionally, we introduce two unique loss functions within the network. The salient edge loss intensifies the subject in the real photo and enhances the edge stroke of the drawn subject, a distinct attribute of ink painting. The feature-wise cycle consistency loss is designed to speed up model optimization. We've also built a Chinese bird ink painting dataset to validate effectiveness of the model. Extensive experiments on this and a public dataset demonstrate that our algorithm can comprehensively learn various stylistic features of ink painting, especially regarding brushstroke style, ink diffusion, and detail preservation. Furthermore, the quantitative results indicate our approach achieves superior results in generation quality and model efficiency compared to existing methods. For instance, compared to the most recent style transfer method, our method achieves an average decrease of 9.44% and 25.32% for FID and KID metrics across three datasets and reduces training and inference time costs by 46.81% and 22.71% respectively.

ON THE QUESTION OF CLARIFYING THE NAME OF ZHU DA (1626–1705) AND ITS ORIGIN

Zhu Da (1626–1705) was a famous Chinese artist who lived during the late-Ming Dynasty and early Qing Dynasty. He was born in Nanchang, Jiangxi Province. Zhu Da was related to the imperial house of Ming. After the fall of this dynasty, during the reign of the Manchus, he was forced to hide, became a monk for some time and reached heights in the study of Buddhism, after which he returned to worldly life. Zhu Da and his work were significantly influenced by the classical texts of Confucianism, the philosophy of Cheng-Zhu, Buddhism and Taoism. His poetic captions for paintings and individual poems are extremely symbolic and have a special artistic style. Zhu Da became a reformer of traditional literati painting (wenrenhua) and raised it to new heights. Subsequently, he had a great influence on the painting of representatives of the Four Monks and the Eight Eccentrics from Yangzhou, as well as on the style of such 20th century masters as Qi Baishi and Xu Beihong, who worked at the end of the Qing period and the beginning of the Republican period in China. The last fifty years have become the most fruitful period in the field of studying the work of Zhu Da. The research moved outside of China, publications by foreign scientists appeared about the artist, and the name of Zhu Da (Bada Shanren) gained worldwide fame and recognition. The scientific works and articles devoted to him are conventionally divided into the following three thematic areas. The first one is the study of Zhu Da’s pseudonyms (names), his life and contacts with artists and poets, his contemporaries. The second area is the study of Zhu Da’s creative thought and artistic achievements. The third one is a study of the influence of Zhu Da’s painting style on later artists and related comparisons. The article analyses publications and scientific works devoted to Zhu Da’s creative work, published over the past half century. Among them, those related to clarifying the pseudonyms (names) of Zhu Da, his pedigree and biography are especially highlighted; various approaches of Chinese and foreign scientists to the study of the creative work of the outstanding Chinese master and his artistic heritage are considered.

First AMS radiocarbon dating of Río Chico style paintings (southernmost Patagonia, Argentina): Older than expected

This paper presents the first AMS 14C dating of the Río Chico Style from southernmost Patagonia (52°S). These paintings are characterised by the dominance of geometric linear motifs and a low frequency of figurative ones. According to a few indirect radiocarbon dating of stratified pigments and the chronology of nearby sites, the Río Chico Style has traditionally been dated to ca. 2000 BP, although an earlier chronology (ca. 8000 BP) has also been proposed according to Fell Cave (Magallanes, Chile) stratigraphy. Here we present the first AMS 14C dating for this style from three rock paintings at Romario Barría Rockshelter (Pali Aike volcanic field, Santa Cruz province, Argentina). The main objectives of this work are, first, to discuss the chronology of the Río Chico style from direct and indirect datings, second, evaluate the use of the site according to painting manufacture, and finally, analyse the distribution of Río Chico style at the regional scale and its connections with other lines of evidence, such as lithic assemblages, to discuss the role of rock art in highly mobile southern Patagonia hunter-gatherer societies.

On the Style of Monumental Painting of the Church of the Saviour at Berestove of 1643–1644

The purpose of the article is to analyse the literature and sources covering the issues of the style of monumental painting of the Church of the Saviour at Berestove of 1643–1644 and to revise the terminology traditionally used for the murals of this church. The research methodology is based on the application of a systematic approach, analytical method, art historical, historical-comparative, historical-genetic, historical-systemic and descriptive methods for a comprehensive consideration of the above issues and formulation of reasonable conclusions. The scientific novelty is characterised by the fact that for the first time, on the basis of a critical analysis of literature and sources, the need for a reliable stylistic analysis of the monumental painting of the Church of the Saviour at Berestove of 1643-1644 was identified in order to prove the legitimacy of the term "post-Byzantine art" in relation to this monument. Conclusions. The problem of the style of monumental painting of the Church of the Saviour at Berestove has been in the field of research since the mid-twentieth century. Although the publications of several leading national scholars contain reasonable remarks on the artistic influences on the murals of the Kyivan church, a reliable stylistic analysis has not yet been conducted. Therefore, another appeal to the monumental painting of the church is fully justified. The prospect of further research is to conduct a detailed stylistic analysis of the murals of the Kyiv church in the broad context of post-Byzantine art and Ukrainian painting of the late sixteenth and early seventeenth centuries. We believe that such an approach will allow us to resolve the issue of artistic influences on the monumental painting of the church and rethink the problem of terminology in relation to this monument in particular and to Ukrainian art of the first half of the seventeenth century in general. Key words: Church of the Saviour at Berestove, monumental painting, style, post-Byzantine art, Era of Petro Mohyla.

Enhancing Art Gallery Visitors' Experiences through Audio Augmented Reality Technology

Audio Augmented Reality (AAR) applications are gaining traction, especially for entertainment purposes. To that extent, the current study explored its use and effectiveness in enhancing art gallery visitors’ experiences. Four paintings were selected and sonified using the Jython algorithm to produce computer generated music (Basic AAR); the audio was then further enhanced with traditional music by a musician (Enhanced AAR). Twenty-six participants experienced each painting in Basic, Enhanced, and No AAR condition. Results show that AAR cues had a significant effect on participants’ subjective feedback towards the paintings. Sentiment Analysis shows that participants mentioned significantly more positive words from Enhanced AAR than the others. Enhanced AAR also made participants express a sense of immersion, whereas Basic AAR made them concentrate more on forlorn aspects of the paintings. Findings from this study suggest ways to improve and customize AAR cues for different painting styles, and indicate the need for multi-modal augmentations.

Феномен постпамяти и его эстетика на примере «антисталинского цикла» Петра Белова

The article is dedicated to the analysis of numerous paintings by the Soviet artist Pyotr A. Belov (1929–1988). For the first time, these artworks were presented in Moscow in 1988, at the posthumous exhibition of the artist, revealing complex issues in the history of the USSR. The paintings presented at the exhibition were later referred to the “anti-Stalinist cycle”. In 2020, the GULAG History Museum (Moscow) accepted these paintings into the collection and organized the exhibition The Queue for the Truth. The authors of the article rely on the concept of post-memory believing that the artist can be attributed to the “first generation” — the generation of witnesses to the traumatic events of history, in this case, the totalitarian regime under which the GULAG system developed. Within the framework of this cycle, Pyotr Belov addresses various narratives, both collective and individual: he represents the history of the USSR through images of power, recognizable elements and symbols of everyday culture of the USSR, as well as tells about his personal history and the history of his family. The authors of the article consider works presented at The Queue for the Truth exhibition using the semiotic and formal-stylistic methods of analysis. In the conclusion section of the article, the authors focus on the features of Pyotr Belov’s painting style (which appear only in the “anti-Stalinist cycle”), the plots of the paintings, and the episteme that influenced the creation of the painting cycle in the 1980s.