Pictorial Works Research Articles

Conceptualizing Touch Aesthetic Communication as a Model Pictorial Art Appreciation

Haptic communication through pictorial art remains an argumentative subject of aesthetic experience, with many unresolved issues until today that questioning the how and why reactions of various people. Throughout this framework of research, a conceptual examination of experiencing a pictorial work of art (its duration, intensity, and individual art expression) for a congenitally blind person by applying Verbal Protocol Analysis (VPA) approach model was designed to enhance the experience from an artwork. This study provides an observation procedure within the influence of 'time of experience' and 'art expression' mediated by professional artwork. Keywords: Art; Touch; Communication; Visual Art Experience; Tactile eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA CE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3780

Classification of the traditional wine-growing landscape of Castilla y León in the pictorial work of regional artists since the mid-20th century

Castilla y Leon's fields and plateau have always been best known for their cereal crops. Yet vineyards have also sprung up along the Duero River valley at the same time as the winemaking industry began building wine presses and wineries. Wine growing has had a significant impact on the economic, social and cultural history of the Duero's towns and cities, and still does today. For instance, it has given rise to a characteristic vine-and-wine landscape that is deeply rooted both in the land and its inhabitants and has been depicted in popular culture by important landscape painters. Their artistic representations capture different elements of the geographical space found in these lands and the work carried out there, enabling us to define and categorise them, obtaining valuable information to interpret what has happened in the territory.

Modern Chinese painting on military themes: "new realism" and loyalty to traditions

In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.

Способы языковой репрезентации оценки произведения живописи на материале английских литературных произведений

The paper aims to identify linguistic means used to evaluate pictorial work in the English-language fiction discourse. The article reveals the specificity of visual image representation in a literary text, considers the process of artistic image verbalization. Scientific originality of the study is conditioned by the fact that evaluation is considered as a triadic predicate with three arguments. Linguistic means of their realization are singled out. Relying on an analysis of factual material, the author identifies linguistic means to express evaluation in the English-language fiction discourse. The findings indicate that evaluation subject is represented in a unified way, whereas the second and third argument is realized in different ways. The following conclusions are justified: evaluation presupposes the use of certain linguistic means required to describe communicative-pragmatic situation in a literary text.

Playing finger cymbals in the Roman Empire: an iconographic study

Abstract Finger cymbals, played with one pair in each hand like castanets, are iconic of the Middle Eastern ‘belly’ dance, which has been represented in numerous pictorial works and photographs since the 18th century. Middle Eastern dancers show that it is possible to dance while using two small cymbals in each hand, attached to two different fingers with straps from the cymbals’ holes. Starting from the observation that many such small cymbals have been found in Roman archaeological sites, this article asks whether Roman dancers played these small cymbals like Middle Eastern dancers do today. The question is complex, because Roman dancers were able to play small cymbals in other ways, such as holding just one in each hand, or inserting them into cymbal tongs. This article presents a typological and functional study of small metal cymbals attached to fingers in Roman iconography. Three examples are considered: a mosaic from the Roman city of Augusta Traiana (now Stara Zagora) in Bulgaria, and two stone reliefs, one from Orolaunum (now Arlon) in Belgium and another from the Podocataro Palace in Rome, dated from the 2nd to the 4th centuries ce. These remains testify to the use of fingers cymbals, two in each hand, attached directly to two different fingers, by dancers from the Roman Empire.

The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)

The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.

IT'S ALL ABOUT THE HAT, OR TO THE STORY OF ITS ABOLITION: CLAIR HUGHES’ BOOK «HATS»

This article reviews Clair Hughes' book «Hats» that was published by New Literary Review (in Russian: «Новое литературное обозрение») in 2019. The British researcher shows the history of hats through the prism of New European values, perceptions and etiquette. Hats act as the most important factor of democratization and emancipation. The author links hat fashion to the development of urban culture (boulevards, passages, cafes), entertainment culture (horse races, theaters, music halls, cinemas), youth subcultures (teddy boy, etc.). Clair Hughes pays close attention to the history of the cylinder and bowler hat, the Gainsborough hat and the Merry Widow hat, the cloche and the beret. The sources of the study are literary and pictorial works (by John Galsworthy, Henry James, Samuel Beckett, Walter Sickert, Henri de Toulouse-Lautrec, Georges Sera, René Magritte) and illustrated magazines. Hats on stage, in movies and sports, hats as markers of social differences, famous modifiers (Lucille, Rebu, Dache) and iconic images in politics, show business (Churchill, Sinatra, Max Linder, Chaplin, Buster Keaton, Marlene Dietrich, Audrey Hepburn, Faye Dunaway, Gene Shrimpton) are the subject of Claire Hughes' book. The author ends her study of New European fashion with a history of the rejection of hats in post-war culture.

Особенности творческого метода Э. Дега в интерпретации темы «Балет Парижской оперы»

The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.

РОЛЬ СИНЕСТЕЗИИ В ИЗОБРАЗИТЕЛЬНОЙ ДЕЯТЕЛЬНОСТИ НЕСЛЫШАЩИХ

The article is devoted to the artistic creativity of the hearing impaired. It analyzes paintings and drawings created by deaf art students and compares these works with those of hearing students. As any art is synesthetic, that is, it has certain intersensory connections, we can say that music is the closest to painting because of its various synesthetic connections reflecting colour relations, rhythm and composition. Here, the concepts of harmony, interval, tone, tonality, which are based on a system of relations, are very close. Since the deaf are deprived of the ability to fully perceive musical harmonies, the analysis of their pictorial works is of particular importance for understanding their worldview and artistic language. In the creative process, there is a close relationship between perception of various aspects of life and artistic expression. In this context, it is interesting to study the colour work of deaf artists, whose life perception is physically limited, especially in the musical field. The article also considers the features of using rhythm and space in the artworks of hearing impaired art students. Based on this analysis, it is concluded that the sense of rhythm does not actually differ between hearing and non-hearing people. The sense of artistic space is weaker in the deaf than in the hearing. Narrative compositions created by the hearing impaired have no significant features.

Interpretación del arte sacro de la Iglesia San Juan del Valle Loja-Ecuador

With the present investigation it has been possible to identify that in the container of the San Juan del Valle Church there are four pictorial works that are considered cultural patrimony of Ecuador, besides it has been possible to decode the iconography of sacred art. The objective of the study is to present to the readers the first approximations of the meaning of the symbols present in the colonial church of the city of Loja. The methodology was of qualitative character and by means of a documentary analysis, comparative of religious works in other contexts. The results of the research allow us to have a clearer vision of the iconography of the sacred art of the colonial and republican period. It is concluded that this study will allow to deepen in the future other researches that are developed in the same line.

El Ortega Brú más íntimo. Una aproximación a las pinturas. Clasificación

In this article we analyze the pictorial work of Luis Ortega Brú. Little known, it seems necessary to address it for the full understanding of his work. Many of his paintings were a complement to his sculptural projects, being sketches of the same, but others are creations disconnected from sculptural creation, intímate inquiries or parts of a multidisciplinary creative project that tells us about an artist in line with the aesthetic movements that they were contemporaries with him

Exploring Topics and Genres in Storytime Books: A Text Mining Approach

Objective – While storytime programs for preschool children are offered in nearly all public libraries in the United States, little is known about the books librarians use in these programs. This study employed text analysis to explore topics and genres of books recommended for public library storytime programs. Methods – In the study, the researchers randomly selected 429 children books recommended for preschool storytime programs. Two corpuses of text were extracted from the titles, abstracts, and subject terms from bibliographic data. Multiple text mining methods were employed to investigate the content of the selected books, including term frequency, bi-gram analysis, topic modeling, and sentiment analysis. Results – The findings revealed popular topics in storytime books, including animals/creatures, color, alphabet, nature, movements, families, friends, and others. The analysis of bibliographic data described various genres and formats of storytime books, such as juvenile fiction, rhymes, board books, pictorial work, poetry, folklore, and nonfiction. Sentiment analysis results reveal that storytime books included a variety of words representing various dimensions of sentiment. Conclusion – The findings suggested that books recommended for storytime programs are centered around topics of interest to children that also support school readiness. In addition to selecting fictionalized stories that will support children in developing the academic concepts and socio-emotional skills necessary for later success, librarians should also be mindful of integrating informational texts into storytime programs.

Psychometrics of Art – Validation of RizbA, a Quantitative Rating Instrument for Pictorial Expression

ABSTRACT Although art has been subject to psychological research for some time, the artwork itself received little attention in quantitative research. The rating instrument for two-dimensional pictorial works (RizbA) fills this gap by providing a tool for formal picture analysis. This study validates the questionnaire on 294 images created by 147 non-artists. In an online test–retest study the material was rated by 880 (T1) and 475 (T2) experts in visual art using RizbA. Statistical quality criteria, Principal component analysis (PCA) and indices of factor similarity were computed. The overall test’s capacity of differentiation yields a partial eta-squared of .28 (T1) and .33 (T2). Test–retest reliability is .93. PCA reveals an eight-factors solution. Tucker’s coefficients of congruence range between |0.82| and |1.00|. Intraclass correlation coefficients are .81 (T1) and .84 (T2). Results indicate generalizability to nonprofessional art. As the first reliable tool for picture analysis, RizbA allows a more detailed examination of art and its correlates.

LEONARDO DA VINCI’S AND NICOLAUS STENO’S GEOLOGY

Anniversaries for the two founding fathers of geology occurring in the same year prompted a comparative evaluation of how the two contributed to establishing the basic principles of the discipline. To do so, passages from their publications, codices and manuscripts have been quoted directly. The Stenonian principles (‘original horizontality’, ‘original continuity’, and ‘superposition of individual strata’) are present in Leonardo’s notebooks amazingly formulated, using similar wording when studying the same area more than 150 years earlier. Also, Stenonian priority in naming and explaining geological concepts and processes (e.g., faulting, folding, angular unconformity, relative chronology) are mirrored in Leonardo’s writings and pictorial works. While Steno enjoys priority in stepwise restoration of the geological history of a given region, Leonardo was the first to construct a 3D geological profile representation and geomorphologic maps. Lastly, the paper focuses on diverging stances of the two savants about the Noachian Deluge and the age of the Earth. Already 500 years ago, Leonardo had solved the question of marine fossil remains of organic origin found in the mountains implying the possibility of deep geologic time in a statement of ‘eternalism’. 350 years ago, Steno solved the same question in a different way in which he retained a basic role for the Deluge and assumed a short age for the Earth by focusing mainly on short-lived sedimentary and geomorphologic processes.

Life in Switzerland of Charles-Édouard Jeanneret known as Le Corbusier

The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.

Cultural Heritage Restoration of a Hemispherical Vault by 3D Modelling and Projection of Video Images with Unknown Parameters and from Unknown Locations

Reverse engineering applied to architectural restoration for the reconstruction of structural surfaces depends on metric precision. Sometimes there are elements on these surfaces whose value is even higher than the building itself. This is the case for many churches whose ceilings have pictorial works of art. Reconstruction requires the existence of some identifiable remainder and/or a surface geometry that enables mathematical development. In our case, the vault has an irregular hemispherical geometry (without possible mathematical development), and there are no significant remains of the painting (which was destroyed by a fire). Through the 3D modelling of the irregular vault and two historic frames with a camera of unknown geometry, an inverse methodology is designed to project the original painting without metric deformations. For this, a new methodology to locate the camera positions is developed. After, a 3D virtual mathematical model of the complete image on the vault is calculated, and from it, partial 3D virtual images are automatically calculated depending on the variable unknown positions of the video cannons (distributed along the upper corridor of the apse) that will project them (visually forming a perfect complete 3D image).

La enseñanza de la medicina a través de la pintura

IntroductionThe loss of humanization in the practice of medicine forces us to reflect on how to improve teaching in undergraduate and graduate medical degrees. One of the tools to use could be a return to the teaching and practice of the medical humanities and the use of pictorial works by established authors as a tool in the teaching of medicine. MethodsBibliographic and digital review related to the objective of the study. ResultsThe selected pictorial works have been grouped into 3 sections: How is teaching of medicine represented on the canvases?; how are diseases reproduced in tables?, and how can we teach our students to be doctors through painting? ConclusionThe humanities stimulate medical sensitivity and should be used as teaching tools.

Review: Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe

Review: <i>Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe</i>

Иероглифы в традиционном китайском искусстве: воспроизведение, использование и эстетическое значение

The paper aims to identify specificity of hieroglyphs functioning in the traditional Chinese art by the example of calligraphy, carved print and painting. The author examines development stages of hieroglyphics as an object and subject of cognition, analyses its functions, identifies levels and ways of hieroglyphics involvement into figurative space of calligraphic and pictorial works. It is shown that the Chinese art has been characterized by artistic synthesis from the moment of its origin. The researcher proposes a new approach to the problem of synthesis of calligraphy, painting, carved print and hieroglyphics, introduces uninvestigated theoretical materials into scientific circulation, which constitutes scientific originality of the study. The conducted research allows concluding that the hieroglyph is an integral element of painting and calligraphy, a subsidiary component of the aesthetic and semiotic system.

Reconstruction of ancient greek painting in the context of modern digital technologies

Explore the possibility of forming an algorithm that allows for the reconstruction of the lost compositions of easel painting by outstanding masters of the Ancient Wurld.The purpose. Form an algorithm of the scheme of actions based onon the basis of the received historical information allowing to make the reconstruction of the lost compositions of easel painting of outstanding masters of Ancient Greece.Methodology. In the study, the following research methods were used:1) analytical method, by which the current literature had been analyzed;2) theoretical and conceptual method, which made it possible to determine the conditions necessary for the implementation of IT-technology into cultural and artistic practice; The study used the methods of computer modeling and analysis, which made it possible to increase the accuracy of the results. The authors of the article consistently consider the algorithm of actions necessary to restore the lost works of the past. The work takes into account the technological features of the layer-by-layer painting of the Ancient World and analyzes the color scheme used by the masters of antiquity. For clarity, the authors have created a special scheme — a color square. The creation of this material was preceded by a deep study of ancient sources, in particular the works of Pliny the Elder. Results. The main elements necessary for the restoration of the lost pictorial work of art have been established. The main reconstruction algorithm is stated: drawing, composition and methodology for creating a work of antique art. Hellenistic Greek colouristic is systematized according to the “Color square” scheme. All this information can be used in deep machine learning technologies according to certain algorithms and can give very interesting results.The scientificance novelty. Consist in the creation of a scheme of actions aimed at restoring the image as close as possible to the lost original on the basis of the preserved literary and material artifacts. Practical significance. This algorithm can be useful when creating computer software designed to recreate lost works of the past. Such a system will be needed in such fields as archeology and art history. The technique is ideal for use in deep machine learning technologies. To carry out the reconstruction of a specific work, the main aspects are considered: origin, development, principles of classical painting, technology, influence on other types of fine art (philosophy, utilitarian application, subject matter). The research methodology is based on the use of historical, cultural, art history and biographical approaches.