Paintwork Research Articles

About Alexey Khomyakov’s Views on Church Painting

The article is devoted to the views on church painting of one of the Slavophile leaders A.S. Khomyakov. In 1845, Alexander Ivanov, an artist working in Rome, influenced by the “Slavophile” atmosphere of meetings with F.V. Chizhov, N.M. Yazykov and N.V. Gogol, attempted to use an icon as a model for the image of the Resurrection of Christ for the Moscow Cathedral of Christ the Saviour (for the first time in the history of the Russian academic school). It is doubtful that Khomyakov could have unreservedly welcomed this endeavor by Ivanov. Although he believed that for Russia’s return to nationality it would be sufficient only to revive the old in consciousness and life, he did not at all understand this return as a revival of the authentic forms of Old Russian art or as a stylization of these forms. Khomyakov’s negative attitude to stylizations is evidenced by his sharp criticism of the eclecticism of Bavarian art. In Russia, he believed, the link with tradition had long been severed and therefore Old Russian art could not serve as a basis for a modern art school. Not in Ivanov’s traditional icon-oriented sketch of the Resurrection of Christ, but in his painting The Appearance of the Messiah, Khomyakov recognized, even before he saw it with his own eyes, evidence of the beginning of the revival of truly Russian life and Russian thought. In his opinion, the artist sought in the painting to eliminate personal artistic manner, to become a kind of transparent medium through which the holy image would be imprinted on the canvas. The German Nazarene artists tried to capture the Christian phenomenon in the artistic contemplation of the spirit, but they could only teach it, they themselves were incapable of it. Ivanov, a graduate of the Imperial Academy of Arts, who had perfectly mastered the craft of an artist, was at the same time, according to Khomyakov, a pupil of icon painters, who created a great work of church wall painting. The history of the Russian art school of the second half of the 19th — early 20th century fully confirmed the validity of this assessment of the painting The Apparition of the Messiah. It laid the foundation for the God-seeking direction of Russian painting, on which Russian art blossomed in the work of I.N. Kramskoi, V.M. Vasnetsov, M.V. Nesterov, N.N. Ge, as well as atheists — V.D. Polenov and V.V. Vereshchagin. Although not all the works of this trend were honored to be accepted into the bosom of the Orthodox Church, most of them allow us to be deservedly proud of the Russian art school.

Realism as a Tool for the Revival of Classical Traditions in the Painting Work of Olga Karpenko

Realism as a Tool for the Revival of Classical Traditions in the Painting Work of Olga Karpenko

해녀 표상과 로컬리티

This study, on the premise that the perception of Haenyeo is not a fixed entity but a product that is discovered or changed according to social and political desires, traces the changes in perception by era as reflected in works on the theme of Haenyeo in the modern and contemporary era. The purpose of this study is to examine the meaning of the icon of Haenyeo to Lim Ho, who was called the painter of “Conch and Haenyeo.” In fact, Haenyeo, who had been subject to servile labor until the Joseon Dynasty, overcame adversity under the influence of colonial capitalism in the modern era, leading to the emergence of strong images of Haenyeo that sometimes stimulated maternal love. However, <The Beach>, one of Lim Ho's representative works, presents a lyrical landscape that is different from the existing Haenyeo. Paying attention to this point, the paper attempted to trace the meaning of the iconography of Haenyeo in Lim Ho's painting work. Haenyeo were a topic that Lim Ho had been obsessed with throughout his life, and they were also a manifestation of national sentiment beyond locality. It can be said that the lyrical local scene, which is different from the strong Haenyeo statue seen in <The Beach>, was the result of his consideration of local and national art as a first-generation Western painter in Busan.

ANALISIS MANAJEMEN WAKTU KONSTRUKSI PEMBANGUNAN GEDUNG KLINIK UNIBA DENGAN MENGGUNAKAN METODE CPM DAN APLIKASI QM FOR WINDOWS V5

Factors that influence the delay in the construction of the UNIBA clinic building is a lack of communication between labor and supervisor, delay shiping material, quality of job control, the intensity of rainfall. This research is to determine the analysis of the management planning of the construction. To find out the urgency of the use of barchart in the process of managing the construction of the UNIBA clinic building. Conclution in this problem the author uses the CPM method, barchart. In this CPM analysis there are several jobs that belong to the criticalpath, namely the critical path of the work of the UNIBA clinic building structure there are 10 jobs, namely preparatory work (A-7 days). Bored pilee (B-21 days) work. Pile cap (C-21 days). Floor plate work (H-14 days). Ladderwork (-3 days). Beam wor (N-21 days). Floor plate work (S-0-14 daays). Sanitair work (W-35). Ceiling work (S-42). Paint work (X-42). Conclution of the use of barchart in the process of managing the construction of th UNIBA clinic building timeliness, data objectivity, submitting information on time, to provide standards that can be used to measure or compare progress with status, to identify and isolate the most important information

Kelelawar Sebagai Ide Dalam Penciptaan Karya Seni Lukis Surealis

The aim of creating this final work is to visualize self-reflection by using it as an idea in creating a work of surrealist painting. As well as as a means to deepen the concepts and techniques of painting work. The creation of this final work applies a creation method that is carried out in stages. Starting from the preparation stage, elaboration stage, synthesis stage, concept realization stage, and completion stage. Based on the method that has been carried out, ten work titles were obtained, namely: "Transformation and Regeneration", "Like Time, Wings", "Balance", "Explorer", "Adaptation", "Wading Bats", "Peering Behind the Wings”,“Break through”, “Sleep”.

Creating in the metaverse: An SSRL‐based collaborative painting approach to promote students' creativity, socially shared regulation and positive painting behaviours

AbstractBackgroundPainting is the foundational expression across all art forms and is one of the key creative practices for fostering students' aesthetic ability and creativity within fine arts courses. Collaborative painting in the form of socially shared regulation of learning (SSRL) can be recognized as an effective strategy for enhancing creativity in both individual and group work. However, the absence of contextual experiences and collaborative spaces poses challenges for students in cultivating their creativity in painting.ObjectivesThe present study explores students' creativity, socially shared regulation (SSR) and positive painting behaviours using an SSRL‐based collaborative painting approach in the metaverse (Meta‐CP).MethodsVia a quasi‐experimental design, a total of 40 Chinese students in fifth grade were recruited and were randomly divided into an experimental group and a control group, with 20 students utilizing the Meta‐CP approach, while the remaining 20 students followed the conventional SSRL‐based paper‐and‐brush collaborative painting (C‐CP) approach. The Meta‐CP approach not only offers an authentic painting context and a collaborative space but also facilitates the collaborative process through the SSRL framework. The data collection included students' creative tendency, painting works and painting process.Results and ConclusionsThe Meta‐CP approach effectively enhances students' creativity concerning adventure, curiosity and imagination, as well as results in the creation of more distinctive and logical artistic works. Furthermore, the approach significantly improved the quality of students' SSR. Additionally, students utilizing the Meta‐CP approach displayed more positive painting behaviours compared with those employing the C‐CP approach.

THE PROBLEM OF ICONOGRAPHIC CANON IN ORTHODOX CHURCH PAINTING

The article is devoted to the formulation of the problem of the iconographic canon and to the study of the specifics of canonical works in Orthodox church painting. For this purpose, we study the relationship between the artistic-aesthetic canon in general and the iconographic canon in particular. To clarify the semantic content of the concepts “iconographic canon” and “iconography”, a distinction is proposed between the terms “iconographic model” and “iconographic type”. The specifics of the Eastern Christian iconographic canon are studied in the context of the special gnosiological role of visual arts in the system of Orthodox culture, which determined the features of iconographic symbolism. General and specific principles of the canonical system are formulated, revealing the religious-philosophical and artistic-aesthetic integrity of iconographic images intended for the non-rational expression of divine revelation and acting as a connection between the “earthly” and “celcetial”, immanent and transcendental levels of being.

Topeng Sebagai Ide Penciptaan Karya Seni Lukis Ekspresionis

The aim of this work is to represent the author's personal concerns which he wishes to express in his final assignment of creating a work of painting, based on personal experiences in the process of making friends over the years. Every human being has their own process in making friends, during which time hypocrisy will occur in friendship. There are several stages carried out according to the method used in creating the work, namely: 1). Preparation is the initial stage in creating a work of art starting from looking for ideas and concepts. 2). Elaboration is a main idea that has been determined and will later be expressed in a work of Expressionist Painting. 3). Synthesis is the steps in creating a work. 4). Concept Realization is a process stage in work and 5). Completion is the final stage in the work. A total of ten paintings measuring 120 cm x 100 cm and 100 cm x 100 cm with acrylic media on canvas. Each work displays a different facial anatomical figure. namely "Fighting Each Other", "Used", "Disappearing", "Two-Faced", "Traitor", "Disease", "Envy and Jealousy", "In Suffering", "Secret", "Hiding".
 

ИНДУСТРИАЛЬНЫЙ ЖАНР В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ:КУЙБЫШЕВСКАЯ ГЭС В ПРОИЗВЕДЕНИЯХ ЖИВОПИСИ И ГРАФИКИ

The article examines the development and features of the industrial genre in Russian fine art in the context of the work of artists on the construction of the Kuybyshev hydroelectric station. The general features of the industrial genre of the mid-20th century are given, the works of painting and graphics dedicated to the construction of the Kuybyshev hydroelectric station are analyzed, reflecting and preserving the history for the younger generation of the following artists: A.K. Vingorsky, V.G. Gremitskikh, G.V. Filatov. In addition to the artistic analysis of the works, the article briefly presents the biography of the above-mentioned artists, reviews the features of their work, highlights the features of the figurative solution of the industrial genre of the 50s.

Application of Artificial Intelligence-based Visual Arts Pedagogy in Traditional Painting Education

Abstract Traditional art has a deep cultural heritage and rich connotation, combining artificial intelligence technology with traditional aesthetics as a way to realize the innovation of traditional painting education mode. In this paper, starting from the performance of traditional painting’s aesthetic value, a personalized intelligent painting teaching mode is constructed based on the visual art teaching method and combined with artificial intelligence. The CCME-GAN model is introduced for the construction of a personalized painting learning generation model, and the BERT-LDA model is established by combining the BERT model and the LDA model for the intelligent evaluation of personalized painting works. Xinjiang folk artworks were selected as the research data source to carry out the validation of personalized painting work generation and assessment, and teaching comparison experiments were designed to analyze the teaching effect of the personalized intelligent teaching mode. The subjective evaluation score of Xinjiang folk art paintings generated by the CCME-GAN model was 9.11, and among the nine clustering results of painting work assessment, the eigenvalues of the theme of painting evaluation of Cluster 1 range between [0,5.5]. At the end of the teaching experiment, students’ creativity scores increased from 2.74±0.37 before the experiment to 4.63±0.26. Relying on artificial intelligence technology can enhance the teaching effect of traditional painting methods and improve students’ painting levels.

УКРАЇНСЬКИЙ ВЕКТОР ТВОРЧИХ ПОШУКІВ КАНАДСЬКО- УКРАЇНСЬКОГО МИТЦЯ ВАСИЛЯ КУРИЛИКА

The purpose of the article is to study the Ukrainian context in Vasyl Kurylyk’s artworks through the prism of his socio-historical coordinate system (origin, environment, psychological and mental state, formation of aesthetic artistic foundations, foci of creative formation). Research methods are applied on the basis of an anthropocentric approach, focusing on the personality of Vasyl Kurylyk and his literary (autobiography, explanations of paintings) and painting works. The author used principles and methods of historical-anthropological research in combination with biographical, iconographic, historical-analytical, figurative and stylistic methods. The scientific novelty of the research lies in the fact that the author of the article analyzes the works of Vasyl Kurylyk, which have a clearly expressed Ukrainian vector. As a result of the research, the author concludes a powerful Ukrainian foundation in Vasyl Kurylyk’s consciousness and self-identification which was formed thanks to the stories of his parents, research and the significant influence of the Ukrainian diaspora in Canada. It was reflected in the artist’s works, which have a Ukrainian vector. The artist’s autobiography gives us a clear signal about the artist’s indifferent attitude towards the country of origin of his ancestors. Interest in Ukrainian history, ethnography, literature, folklore, traditional Ukrainian customs and rites is reflected in a large number of works of Vasyl Kurylyk. While studying these works one might understand how acutely the topic of origin and reasons for parents’ emigration was experienced by the artist. Apparently, Vasyl Kurylyk tried to find answers to questions related to Old Country all his life. After his two visits to Ukraine at the end of his life he partially completed the puzzle of his perception of Ukrainian realities and hidden meanings. In our opinion, the main idea he wanted to express through his works with the Ukrainian vector is the statement that Ukrainians have never lost their identity and regardless of the troubles that happened to them, they always remained a part of the multicultural Canadian community.

Collection of the Chelyabinsk Regional Art Gallery of the 1930s–1940s: Documentary evidence about the fate of the first collection

The article examines the history of the collection of the Chelyabinsk Regional Art Gallery in the period from 1938 to 1947. The collection was formed in the late 1930s and early 1940s in three ways: through the acquisition of works of art from private individuals, through the city’s existing collection of paintings from traveling exhibitions, and through transfers from major art museums (in particular, from the State Russian Museum). Thus, by the beginning of the Great Patriotic War, the fund of the Chelyabinsk Art Gallery consisted of works of domestic and Western European painting and graphics, objects of decorative and applied art. However, with the closure of the gallery in the summer of 1941, the collection was distributed among city institutions and by the time the museum was restored after the war, a significant part of it had been lost. The research is based on data from archival materials stored in the United State Archive of the Chelyabinsk Region (Chelyabinsk), and also proceeds from the current state of the collection of the Chelyabinsk State Museum of Fine Arts, the successor of the gallery. We analyze archival documents in order to restore the chronicle of losses and acquisitions of gallery exhibits in the 1940s. Based on the lists attached to the acts of transfer and inspection of exhibits from the 1940s, the most complete list of works of art that were owned by the Chelyabinsk Regional Art Gallery before its liquidation in the summer of 1941 was compiled. The article is accompanied by a table indicating the names of the works, their authorship and source of origin, known pre-war registration numbers of the works, and also, if available, the registration numbers of the Chelyabinsk State Museum of Fine Arts.

Research on Teaching Methods of Integrating Watercolor Techniques and Information Technology in Higher Education Art Education

Abstract Watercolor painting is a visual and creative discipline, which is closely related to the development of digital technology, which also affects the methods and means of basic art education in China. In this paper, we detect the trajectory of gesture movement after preprocessing the gesture data collected from students in watercolor painting using a Leap Motion sensor. We use Euclidean distance and nearest neighbor laws to identify and classify gesture movements in order to recognize students’ gesture movements in art education. Then, the virtual interactive system is designed with Unity 3D software, and finally, the art teaching method combining watercolor techniques and information technology is established. The results of teaching practice show that the level of students’ watercolor technique skills in all dimensions under innovative teaching is much higher than that of students under traditional teaching, and the significance values are all less than 0.05, which indicates that the use of VR technology has a very obvious impact on the teaching of watercolor painting. Meanwhile, the scores of students’ watercolor painting works were also improved with the assistance of VR technology. This study can provide a case reference for the subsequent research on the application of augmented reality technology and related teaching resources to art education and can enrich the construction of a new model of art learning activities in colleges and universities with technical support.

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.

Construction and Efficacy Verification of Color Theory Optimization Model in AI Painting Assistant

Abstract The application of artificial intelligence in the field of painting has been greatly developed, which is a new way of thinking in the digital era, bringing innovation and infinite possibilities to the art of painting. The article first researches the art and expression of AI painting, mainly taking various network models as the main form of expression. Then, color theory and color space are introduced to provide a theoretical basis for the proposal of a color optimization model. Considering that the ACE algorithm has problems of high complexity and image enlargement, the acceleration algorithm LLLUT is used to improve data processing. The AI imitation painting works “Monet’s Garden” and “Neon” are taken as case studies. In terms of color preference, AI painting prefers to use three primary colors: black, white, and red. For example, AI’s imitation painting work Han Xizai Night Banquet has three peak points higher than the average peak, respectively 0.04, 0.09, 0.15, and 0.99. The corresponding colors used are red, black, and yellow. The main colors used in the composition are red and yellow. In the application evaluation of the color model, the comparative analysis concludes that the color mixing efficiency is higher using the research method in this paper, and in the practical application, both painting professionals and amateurs have a stable effectiveness in generating color preference schemes after using the AI painting assistant based on the ACE color model optimized by LLLUT.

Legal Protection Copyright of Non-Fungible Token-Based Painting Works (NFT) in Indonesia

In the midst of increasingly massive digitalization and modernization, the use of technology and information in producing masterpieces has brought new problems, one of which is related to digital-based copyright protection. In the background of this, this research then produces 2 (two) problem formulations that need to be researched, namely: how is the protection of copyright of Non-Fungible Token (NFT) based paintings in Indonesia? And what are the obstacles in the protection of copyright of Non-Fungible Token (NFT) based paintings in Indonesia?. This research is empirical research, with a sociological approach research method. The results showed that, Non-Fungible Token (NFT) as a digital work of art, civilly categorized as "rights" according to article 499 of the Civil Code, by Law Number 28 of 2014 concerning Copyright, is still recognized as one of the protected objects. More than that, the obstacles found by researchers related to copyright protection of digital-based paintings, based on the results of interviews at the Ministry of Law and Human Rights of the Special Region of Yogyakarta and the Special Criminal Investigation Directorate of the Yogyakarta Police, among others: Regulatory Factors, Law Enforcement Factors, Supporting Facilities and Facilities, Individual, Environmental and Community Factors.
 Keywords: Non-Fungible Token, copyright protection, technology

PERMAINAN TRADISIONAL DI ERA MODERN SEBAGAI SUMBER IDE PENCIPTAAN KARYA SENI LUKIS

The creation of the Final Project entitled "Traditional Games in the Modern Era of Ideas in the Creating of Paintings" is taken from the current state of traditional games. There are several factors that cause traditional games to be abandoned today; 1). Reduced children's play area, 2). The role of parents, 3). Enter the modern game. At this time traditional games are rarely played by children, because most children are more interested in playing smartphones. The process of creating this final painting work uses the theoretical basis of L.H Chapman, which mentions 3 stages, namely, 1). Efforts to find ideas or find sources of ideas, inspiration, 2). Enchane, develop and establish initial ideas, 3). Visualization into the medium. Objects in paintings and figures for children are depicted with decorative naive forms and the choice of colors uses bright colors which are expected to be able to express an atmosphere of joy. The child figures experience a change in facial anatomy, which is expected to represent the character of a child who is innocent and free-spirited and depicts innocent children who have not yet found their identity. In this painting, the author displays the atmosphere that occurs in each of his paintings.

Embodiment of Typical Images of Chinese Traditional Opera in Oil Painting

The article is devoted to the peculiarities of embodiment of typical images of Chinese traditional opera in works of oil painting. Depicting the actors in their stage roles, the artists strive to recreate the aesthetic impact that Chinese opera has on the viewer. However, they use a system of artistic and expressive means characteristic of the fine arts. The aim of the study is to determine the peculiarities of embodiment of typical images of Chinese traditional opera by contemporary Chinese artists. The works of Peng Xiaohan, Wang Qijun, and Yue Haitao serve as the object. Although the typical images of Chinese traditional opera are characterised by their own set of symbols and signs, each author depicts the plots and characters of the productions in their own way. Some of them strive for a realistic portrayal of what is happening on stage: they capture the expressive poses of the main character, capture the plot scenes of the production. Others create a collective image of a character or separate parts of the plot, using the symbolism of colour, costume, theatrical make-up. On the example of paintings by the above artists, the author identifies the main creative approaches to the embodiment of typical images of Chinese traditional opera in oil painting. These include following the iconographic canons of Chinese opera, combining the traditions of Chinese art with the tendencies of Western painting, etc. For the first time, on the basis of works by contemporary Chinese painters, different approaches to the reflection of typical images of Chinese traditional opera in oil painting were identified and the peculiarities of their embodiment in the language of fine arts were determined, which can be useful for further research in this area.

Between War Images and Ecstatic Prayers

Abstract The work of Breslau artist Heinrich Tischler (1892–1938), although well-known and investigated by researchers of local art milieu, mainly through exhibitions, has not yet received a deeper interpretation from the point of view of the complex and rich iconographic repertoire that has its roots in both Jewish and non-Jewish mystical thought, and in terms of the artist’s connections with the Jewish Expressionist community from Germany and Eastern Europe. Tischler, as a Jewish Expressionist whose work touched on messianic and apocalyptic themes, drew inspiration from the Kabbalah and included references to Christian iconography, as well as an element of the grotesque. This article focuses primarily on Tischler’s painting and graphic works, analyzing their Jewish idiom of messianic and apocalyptic motifs.

Research on Influence of Digital Media Works on Painting Work

Thanks to the technological revolution, mankind has entered the interactive era. Under the trend of digitalisation, the application of AI robots, meta-universe, ChatGPT, NFT, VR, virtual space and other technologies in creation, the combination of traditional painting and digital media technology not only changes the form of expression of the paintings themselves, but also guides the artist's way of thinking and semantic output in the act of creation, making the artist's The way of expression, media materials, creative stance and the state of the viewer have all undergone significant changes. What many artworks nowadays pursue is not the effect of the picture in the general sense, but the programme and process of the formation of the work. From this point of view, the aesthetic experience focuses on the process of contact between the viewer and the artwork, and the viewer's participation becomes more and more important in reflecting the value of the artwork. With the help of case studies, this article develops from three major points, namely, creative thinking, creative process and expression of works, to analyse the qualities of contemporary digital media art creation, focusing on the role of cultural aesthetics and way of thinking for artists and audiences. Finally, through the self-analysis and summary of the author's works combined with digital media technology.