Theory Of Painting Research Articles

Iberia - Iconosphere of Religious Otherness: The “Sodomitic Moor” in 16th-Century Spanish Painting

This text proposes a genealogy of the trope of the “Sodomitic Moor” in medieval Iberian culture and its consolidation from the Modern Age onwards, coinciding with the imperialist/colonialist expansion towards America. The object of the study are the literary sources that describe the martyrdom of Saint Pelagius in the 10th century (Raguel and Rosvita of Gandersheim) and the visual representations of the same subject in the 16th-century Spanish painting, specifically the images that make up the altarpiece of Saint Pelagius painted by Master of Becerril, which is now in Malaga’s Cathedral. The analysis of the sources will be carried out considering the contributions of queer theory to the study of medieval Iberian cultures through authors such as Mark Jordan or Gregory Hutchenson. As for the visual analysis, the text reviews the historiography of Spanish art history on the images that make up this altarpiece, as well as other contributions such as Francisco de Holanda’s theory of painting, the persecutions for sodomy that were consolidated at the end of the 15th century with the approval of the Pragmatic against Sodomy by the Catholic monarchs, or the principle of ‘interconnected Otherness’ defined by Victor Stoichita, which allows us to understand how the Muslim religious Other is interconnected with the racialized Indian Other from the end of the 15th century onwards.

L’Inachevé et le devenir : L’esthétique du temps chez François Cheng

François Cheng studied the issue of time in Chinese painting with a particular interest in the notions of the unfinished and becoming. The two notions are understood as the essence of Chinese artists’ distinctive conception of time and influence later Cheng’s literary works. Through combining classical Chinese painting theories with his novel, this article investigates the notions of the unfinished and becoming embodied in Cheng’s Le Dit de Tianyi, and the Taoist aesthetics in his conception of space-time. In the first part, I examine the notion of the unfinished which is reflected in Tianyi’s fresco of Yumei, and which allows the fresco to develop and to participate in the rhythm of the universe. In the second part, I discover that the boundaries between past, present, and future are conflated in the novel, like a scroll which contains at the same time the déjà-vu and the unknown. Finally, I discuss the notion of becoming by analyzing Tianyi’s comments on Proust’s lost and regained time, and I argue that his life experience also contributes to the forming and establishment of his time cycle which is both recognized and unexpected.

Study on the development of Chinese oil painting color language under the fusion of Chinese and Western painting

Color is not only the linguistic element of human perception of the world, but also the starting point of artistic perception and artistic analysis. As an important part of art language, it together with modeling language constitutes the indispensable core language of visual art, which not only affects the artistic expression of the whole creation, but also affects the artist's spiritual world. Due to the development of different cultural systems in China and the West, there are also some differences in color language systems, mainly in its own color language characteristics and usage. Since the 20th century, the color language in Chinese painting has shown the tendency to learn from Western art, which has also led to the fusion of color concepts of Chinese and Western painting to some extent. In this process, whether Western painters or Chinese painters, the attention and research on the color system of Western oil painting occupy the main part of painting theory. However, despite many achievements, Chinese painters' study of the localization of oil painting color is still difficult to carry out. Therefore, the development of Chinese oil painting color language needs to be re-examined and positioned.

Practice of New Method of Tempera Panels in Tempera Painting Teaching

The Tempera painting course provides students with effective painting theory and practical research on material  language, image thinking, artistic ideal and spiritual appeal in painting creation. It plays a very important role i teaching students painting. The author conducted a questionnaire survey on the current situation of tempera painting teaching, which shows that above 80 class hours are set in professional art colleges, and 85.71% of tempera painting teaching in universities tempera class hours are set below 64 class hours.There are many contents and special materials and techniques in tempera course. 64 class hours are not enough for the traditional tempera painting teaching.It takes at least one week (20 class hours) for tempera panels to make complex materials, which  makes the teachers unable to impart the complete tempera knowledge system to the students, affecting the quality   of tempera teaching .If there is a problem in the fabrication of tempera panels, other practical links behind can no be realized .However, tempera panels production is not the core content of the course, but it takes a lot of time.Therefore, the author decided to save time from production of tempera panels to solve the problem of  insufficient class hours .Through a lot of practice, 250g/m2 watercolor paper is finally selected as the main material, and the new tempera panels are made in only 5 hours. And in the class practice operation, the effect is very good.This paper records in detail the manufacturing method of the new tempera panels, so as to provide practical experience for tempera teachers. The use of the new method will save 15 class hours. Teachers can use more time  to teach the core content of course, effectively promote tempera painting teaching and improve the teaching quality of in universities.

"Not Resembling" in Ni Zan's Landscape

This essay will discuss the extent to which Ni Zan puts "not resembling" into practice in his landscape paintings, considering the modular aspects of Ni Zan's work. Firstly, the compositions depicted in Ni's and later imitators' work will be analyzed and compared. Then, the brushworks of Ni will be closely observed by selecting individual objects from several paintings. And finally, the author engages with textual research on Ni's painting theories.

Studying Restoration Painting

In this article I discuss the history of restoration painting through art history and art conservation with the help of a case study. Restoration painting has a long history as a part of art conservation. The methods and theories of restoration painting have evolved along with the process of art conservation into a discipline of academic study. I discuss an old method of restoration painting called overpainting by means of a case study. Overpainting was quite a common practice, until it became viewed as unethical and unprofessional. The case study is a painting that was modified by overpainting. The modifications were done most likely at the same time as damages to the canvas were repaired, possibly sometime before the middle of the 20th century. The old overpaintings were removed during a complete restoration of the painting in 2018–2019. The removal of the overpaintings uncovered new possibilities for the interpretation of the motif of the painting. I briefly discuss the idea of the Italian tratteggio method of restoration painting, which in my view demonstrates a scientific turn in conservation. I also discuss new ways of using scientific methods of collecting data for decision making in restoration.

Guo Xi on Painting the Invisible Gaze of the Dao

Abstract For the Song dynasty painter and theorist Guo Xi, Daoism runs like veins through his Lofty Appeal of Forests and Streams, helping it become one of the greatest works of landscape painting theory in China. This essay explores the influence Laozi and Zhuangzi had on Guo Xi's thought, paying particular attention to the latter's implementation of spirit, nature, and incompleteness. Guo Xi succeeded in giving these Daoist themes an aesthetic significance that had yet to be fully realized by his predecessors, while expounding them in a manner that remained faithful to the texts from which they were drawn. While Guo Xi was not the first person in China to employ the principles of Daoist philosophy in their discourse on landscape painting, his ability to synthesize them into a cohesive representation of the invisible gaze of the Dao led to his becoming one of the most eminent painters and aesthetic theorists in the history of Chinese aesthetics.

Legong Keraton Dance in Pekraman Sukawati in the Creation of Painting Arts

The Legong Keraton dance has the meaning of a classical dance from the island of Bali which has agile, flexible and smooth movements because it is danced by three girls aged 10-12 years, and is accompanied by the gamelan Gong Kebyar. This dance functions as a balih-balihan dance or entertainment. Many stories are played in the performance of the Legong Keraton dance, one of the most popular stories is Lasem which tells the love of Prabu Lasem to Putri Rankesari. There are 5 structures in the performance of this dance which include papeson, pangawak, penyet, pengipuk and pakahad. This dance, which was originally a dance of entertainment for kings and nobles in a palace or castle. The method used in the research of Legong Keratondi Dance in Pekraman Village, Sukawati, is the method of observation, interviews, literature, and documentation. The data analysis method used is a qualitative method. The theories used to support the creation of works are the theory of painting, aesthetic theory, and semiotic theory, using the flow of naturalism.

Неоромантичні візії пейзажної та інтимної лірики Лесі Українки

Lesia Ukrainka’s oeuvre has played an important role in the development of national and world culture. The poetess brought to Ukrainian literature the rich spiritual world of her heroes: people with an inquisitive mind and a passionate heart. Powerful talent, dedicated to serving people, deep penetration into the most important issues of the day, high professional culture – all these factors put Lesia Ukrainka in the ranks of the world’s greatest poets. All of Lesia Ukrainka’s works are filled with a powerful vital force – a neo-romantic aesthetic ideal, according to which the leading motives are struggle, will, service to a lofty goal. The lyrical hero of her poetic works is a courageous personality who tries to find solutions to current social and philosophical problems. The feeling of spiritual exhaustion which is characteristic of European neo-romanticism is not characteristic of Lesia Ukrainka’s orogonative manner. All of Lesia Ukrainka’s creative practice varies and unfolds issues not of an objective historical nature, but discursive issues, issues related to the nature, content, form, subtext and context of human existence and communication. The poetess associated the modernization of Ukrainian literature with the requirements of a perfect, elaborate form, with the discipline of spirit and stylistic exigence. She considered neo-romanticism to be the leading style of her time. Lesia Ukrainka’s poetry is characterized by a combination of neo-romanticism and neo-classicism, and later becomes empowered by a powerful vital force – a neo-romantic aesthetic ideal, according to which the leading motives are struggle, will, and service to a lofty goal. The question of new, modern art is reflected in most of her works. Her neo-romantic rebel characters are distinguished primarily by the urge of freedom, determination and stoic readiness to fight and resist social forces. These neo-romantic orientations are combined in art with trends that can be described as neo-classic. The lifting of restrictions on the comprehension of the spiritual figure of Lesia Ukrainka raises the need for appropriate methodology and tools that will allow to know the nature of her thinking, to give the concept of personality in a surprisingly harmonious fusion of wisdom, tenderness and strength. Speaking of Lesia Ukrainka’s lyrics, one cannot ignore the question of the image of the landscape in her lyrical poetry, because in her poetic works, she paid great attention to the depiction of nature, landscape, and at the same time the widest range of human feelings against the background of the diversity of pictures of the surrounding world. Managing the magic of painting (the poetess was not only widely acquainted with the history and theory of painting, but also painted herself), Lesia Ukrainka with fine taste and excellent ability reproduced Ukrainian nature and landscapes of other lands in her lyrical poetry. The poetess greatly appreciated the landscape in works. Lesia Ukrainka’s intimate lyrics are dominated by sad motives, longing for lost love and unattainable happiness. However, the soul of the poetess, hardened by trials, responded to both physical and mental pain with the pearls of poetic creativity. All these poems are brought together by an optimistic, life-affirming beginning, whatever they are about. They testify to her unsurpassed talent as a poetess-lyricist. All genre formations, without exception, both large and small poetic forms were subject, were within her control. The poetess proved to be a true master in the field of socio-political, philosophical and meditative, intimate-personal, and landscape-marine lyrics. Art is not so much interested in the world as in its own essence. This is the time of particularly active self-reflection of the artist. All this makes her lyrics relevant both then and now. The exceptionally great significance of Lesia Ukrainka’s oeuvre in the history of Ukrainian literature lies in the fact that it has inspired Ukrainian poetry with new themes and motives, enriched the lyric lines, rhythms and metrics of Ukrainian poetry. Her neo-romantic, symbolist poetry and drama emphasized attention to new values, new philosophical, existential problems at the turn of the century.

The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong

The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.

МЕЖДУНАРОДНЫЙ КОНКУРС ИМЕНИ П.И. ЧАЙКОВСКОГО КАК ФЕНОМЕН ИНТЕРНЕТ-ТРАНСЛЯЦИИ

The International Tchaikovsky Competition has been held for sixty years and has become a tradition with an intention to renew itself. An essential aspect of this is the webcast, which, being performed at the highest level, not only develops the established democratic orientation of this competition, but makes the competition a relatively independent artistic event. The empirical base of the research is Internet broadcasting of XV and XVI competitions. Method – a comparative analysis, performed in the context of cultural knowledge. The article analyzes the features of the modern Internet broadcast of the competition, which distinguish it from previous TV and Internet broadcasts. The specific difficulties of shooting musical events related to their duration and the static of what is happening, as well as the resources that were used by the director and operators of "Medici.tv" in the creative solution of these problems, were understood. It is shown that the perception of the online broadcast of the competition is not inferior in terms of artistic criteria to the impression that the listener who attends the concert receives, but this is a different impression, not canceling, but supplementing the traditional one. On this basis, the conclusion is formed that the Internet broadcasting enriches the artistic culture. It provides the audience with new opportunities for creative perception of an artistic work. In addition, the webcast allows the art critic to carry out research on the phenomena of the performing arts at a fundamentally different level, to increase the degree of reliability of the knowledge gained. Previously, the theory of performing arts relied on an unreliable empirical research base: a single viewing and listening to a concert version of a work and memories of it. Webcasting allows multiple viewing and listening, verification of the findings, including through the use of computer programs, which allows one to overcome the degree of subjectivity that is unacceptable for science, which is inevitably present in art criticism, based on the empirical experience of a researcher attending a concert, protects against the accidents of perception that lie in wait for the listener in the concert hall. And the theory of performance objectively becomes on a par with other branches of art history - the theory of painting, architecture, musicology, studying musical notation, etc. The webcast changed the status of the Tchaikovsky Competition. Initially, in 1958, it was conceived and implemented as, first of all, a socio-political event, marking the beginning of the period of the "policy of openness" pursued by the leadership of our country. Thanks to the webcast, the competition has become a completely self-sufficient event - it exists as a “piece of art”, which you can which can be enjoyed again and again, just as we re-read works of classical literature over and over again.

Research on the Influence of Taoism on the Theory of Chinese Landscape Painting

世界科学出版社（World Science Publishing-WSP）立足国际，积极配合中国“走出去”出版战略，大力推进版权输出与引进，并不断拓展国际间的交流与合作，取得显著成绩。WSP国际图书出版项目力倡中国科研人员出版英文图书，出版社具有丰富的国际传播资源与雄厚的编辑、翻译、出版力量，拥有一批著名的中外翻译专家、出版专家，及一支精通国际出版的编辑、翻译和国际营销队伍。探索“科学进步”与“社会进步”是人类永恒主题，WSP推崇以科学信仰引领学术方向，遵循各国法律和地方法规，能够协助您优质、快捷、低

Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century

The article investigates the theory of non-figurative painting developed by Mikhail Larionov (Rayonism) and its connection to parascientific theories of the early twentieth century. One of the central scientific and parascientific mythologies of the time regarded the shift in the understanding of the idea of matter. The notion of ‘radiant matter’ had a prominent place in these mythologies. The article analyses a range of frameworks, within which the idea of ‘radiant matter’ was interpreted (from a scientific research of different phenomena provoked by invisible waves to spiritualist and occultist experiments). The iconography of these waves and the theories of the dissociation of matter represent an essential input to understand how abstract art emerged in early-twentieth-century Russian painting.

Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century

The article investigates the theory of non-figurative painting developed by Mikhail Larionov (Rayonism) and its connection to parascientific theories of the early twentieth century. One of the central scientific and parascientific mythologies of the time regarded the shift in the understanding of the idea of matter. The notion of ‘radiant matter’ had a prominent place in these mythologies. The article analyses a range of frameworks, within which the idea of ‘radiant matter’ was interpreted (from a scientific research of different phenomena provoked by invisible waves to spiritualist and occultist experiments). The iconography of these waves and the theories of the dissociation of matter represent an essential input to understand how abstract art emerged in early-twentieth-century Russian painting.

Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics

Summary The uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and their theories in the historical perspective, and the issue of likeness in art in particular. It demonstrates how this term is related to the evaluation of the work of art, the artist’s expression and self-expression, and his/her relation to the “object” represented in art; in other words, with representation, imagination and morality, which is evident in such compounds as “drawing truthfulness” (xie zhen 写真), and “to create the truth” (chuang zhen 創真). The article deals with the conceptual and historical analysis of the term zhen, aiming to survey the differences and changes of its meaning in theories of painting, literature and “aesthetics of things” (antiquarianism), and to reveal the relations between its philosophical and aesthetic interpretations, especially evident in the Ming dynasty.

Envisioning the World Within or Without Limits: on Representation and Creativity in the Aesthetics of 17th Century China

AbstractThis essay examines a number of statements on painting and visual perception by Chinese literati artists of the late Ming – early Qing periods. It argues that the approaches to pictorial representation and creativity entailed in these statements reveal a considerable impact of Buddhist theories of consciousness. In the theories analyzed, pictorial representation is discussed in terms of ways and modes of how the mind relates to the world. As will be demonstrated, the function of expressing cognitive organization in representation is given more prominence than the function of rendering an external reality. The view of pictorial representation as being essentially what the mind produces in its relation to the world provides a basis for the assumption of a fundamental affinity between the creation of an image and the process how phenomenal reality unfolds by virtue of cognitive operations. This assumption seems to broadly underpin the painting theories discussed. And it is this assumption that provides a clue how and why the literati artists adopt Buddhist theories of cognition to the understanding of art. In the last section of the essay, we turn to the sources which cast still another perspective on artistic practice, namely a practice which captures a single moment of pure direct perception.

ShadowPlay2.5D

An immersive experience brought about by virtual reality can potentially enhance the appreciation of classical Chinese poetry, which is difficult to describe clearly in everyday language or ordinary media. However, making 3-dimensional illustrations for a 360-degree display in virtual reality is usually a labor-intensive and time-consuming procedure and hard to master for non-professional media creators, such as teachers. Motivated by the homology theory of classical Chinese poetry and painting, we propose an image-based approach of building 2.5-dimensional immersive stories to visualize classical Chinese poetry. Specifically, using Chinese shadow play as a metaphor, we have designed and implemented ShadowPlay2.5D , a sketch-based authoring tool to help novices create 360-degree videos of classical Chinese poetry easily. To ensure coverage of the diverse themes in Chinese poetry and preserve the sense of culture, we build a Chinese ink-painting style image repository of essential poetic elements identified via crowdsourcing. To facilitate construction of 2.5-dimensional scenes, we design features that support puppet-like animation, instancing, and camera organization in a 3-dimensional environment. Through two user studies, we show that ShadowPlay2.5D can help novices make a short 360-degree video in about 10--15 minutes, and the 2.5D stylized illustrations created can bring about a better immersive experience for poetry appreciation.

THE PORTRAIT OF SERGEI YESENIN IN ESSAYS-MEMOIRES OF YURY ANNENKOV AND MAXIM GORKY

The paper presents a comparative analysis of the methods of creating a verbal portrait in the essay by Maxim Gorky “Sergei Yesenin” and in the memoires of Yury Annenkov “Sergei Yesenin”. The possibility and necessity of comparing the two selected works is explained by both the factual material chosen by the authors (both writers devote their essays to Sergei Yesenin) and similar methods of creating a verbal portrait of the poet, and the context of the style of the era, which is reflected in the works and the individual style of each artist. The aim of this work is to substantiate the genre-style features of the considered verbal image of Sergei Yesenin in the abovementioned works, which allows clarifying the created and already axiomatic image of the poet. The study is built using comparative historical and historical functional methods, the works of Alexander Veselovsky, Yuri Lotman, Yuriy Mineralov, as well as the experience of modern literary scholars involved in the theory and history of verbal painting. In the process of the comparative analysis of the works, it was revealed that Yury Annenkov and Maxim Gorky, recreating the verbal portrait of the poet Sergei Yesenin, was primarily seeking to portray him as an exponent of the tragic era. Capturing the image of the poet Sergei Yesenin, the painter creates his self-portrait, surrounded by his beloved, at the background of the era in which he lived, the writer tries to guide the reader inside the poetry laboratory of ‟nature”.

В.А. ЖУКОВСКИЙ И В. ФОН ШАДОВ: ПО МАТЕРИАЛАМ НЕОПУБЛИКОВАННЫХ ПИСЕМ ХУДОЖНИКА

The article presents, for the first time, an attempt to reconstruct the context and the object of creative contacts of Vasily Zhukovsky and Friedrich Wilhelm von Schadow (1788–1862), a theorist of painting and head of the Academy of Arts in Dusseldorf. The sources for the reconstruction were the previously unpublished eight letters by the German artist written in the period from 1838 to 1846 and now stored in the Manuscript Department of the Institute of Russian Literature and materials from the creative heritage of the Russian poet and artist. The article establishes new facts about the institutional role of Zhukovsky in the Russian-German cultural ties in the 19th century. Von Schadow gave some of his paintings in the original, in copies or prints for Zhukovsky’s personal collection and for the imperial collection of the future Hermitage. The list of these paintings is, for the first time, compiled in the article. The textual material is illustrated with images from von Schadow’s works discussed in the epistolary dialogue. Von Schadow’s published manifestos on the theory and criticism of Christian religious painting, which Zhukovsky read and which influenced his artistic worldview in the 1840s, are attributed. The article presents, for the first time, the most significant fragments from von Schadow’s letters of 1838–1845 translated into Russian. The fragments fill in the gaps in the objective representation of the scale of Zhukovsky’s activities at court on compiling a collection of Russian paintings both in the institutional and ideological artistic aspects. At the same time, the communication between the German artist and the Russian poet found reflection in Zhukovsky’s creative heritage of the late period: in his criticism, works on art theory, prose, and reflections. Von Schadow, in his last letters, and Zhukovsky, in his diary entries, pay special attention to reflections on pedagogical activities and works on the theory of fine arts, as well as on their social and political activities. The parable of the prodigal son was the final touch in the creative dialogue of the poet and the artist. Zhukovsky reflected this parable in his unfinished poem about the Wandering Jew. The lines of the poem paint in words fragments from the Sacred History quite in the spirit of von Schadow’s paintings: Zhukovsky compares the Wandering Jew who ascended Calvary with the prodigal son and depicts the holistic canvas of the inner and outer space of the character through his eyes. The conclusion is made that the discovered letters from von Schadow to Zhukovsky reveal the adherence of the both to the lofty romantic idea of a synthesis of arts based on the poetics of heartfelt feelings, artistic imagination, active teaching, and religious and mystical experience. Fine arts, science and history, issues of faith and politics of the mid-19th century were a background for the concentration of the correspondents on the rethinking of substantial religious and philosophical issues on the material of eternal biblical plots on the entombment of Christ, taking Christ down from the cross, on reasonable and unreasonable maidens, and, finally, on two parables about the lost sheep and the prodigal son, which became the ultimate embodiment of the dialogue of a poet and an artist in fine arts.

Strindberg och turismen

Strindberg and Tourism: Travelling, Visual Culture, and Writing in the Age of Tourism
 This article looks at August Strindberg’s travelogues from Italy (1884-1888) as a reaction to the early tourism industry at the end of the 19th century. The travelogues engage with the contemporary practices of mediating and representing tourist sites, including guidebooks, travel writing, and visual attractions, such as panoramas and dioramas. Following Jonathan Crary’s theory of modernist painting as a reaction to the malleability of visual perception, this study shows how the attempts to control, mediate, and disseminate impressions from tourist sites at the same time made them subjective and volatile. Thus, the tourist site and the tourist experience became an important point of departure for Strindberg’s literary experimentation.Keywords: , , ,