Representation In Painting Research Articles

Ethnofolklore representations in moldovan painting of the 1970s

The article demonstrates that during the 1970s, Moldovan painting focused deeply on rural life and folk traditions, expressing them profoundly. Plastic artists depicted the beauty and authenticity of rural landscapes on canvas, highlighting the close connection between people and nature. Portraits and everyday life scenes brought to the forefront authentic faces and moments experienced by ordinary people. Realism and decorative elements harmoniously intertwined in their creations. Dances and folk traditions were represented in various forms, conveying the energy of traditional events. Folk motifs and symbols underscored Moldova’s cultural and historical identity. Mythology and the legend served as sources of inspiration, bringing forth the metaphorical visions of the artists. Ornamental elements and specific technical principles of Moldovan mural painting emphasized the importance of faith and folklore. Overall, these themes and motifs contributed to shaping an authentic image of Moldovan culture in the painting of the 1970s.

Threads of Tradition and Global Expression: Persian Rugs Unraveled through Paintings and Globalization

Abstract: Unravelling Persian Rugs: Art, Tradition and Globalization This study investigates the dynamic relationship between Persian rugs, art, and globalization, following their transformation from functional objects to powerful symbols of identity. The study examines representations in paintings from various historical periods, highlighting the nuanced interplay between these textiles and global influences. Persian rugs have served as conduits for cross-cultural communication throughout history, from luxury in the Renaissance to modernistic interpretations in the twentieth. Through case studies, the paper delves into narratives that connect tradition and transformation, contributing to a better understanding of art, culture, and our shared human journey.

Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism

As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.

Enhanced Inclusion through Advanced Immersion in Cultural Heritage: A Holistic Framework in Virtual Museology

In recent years, the digitization of cultural heritage has been favored by significant advancements in specific technologies, such as photogrammetry and three-dimensional scanning. The digital representations of artifacts, paintings, books, and collections, as well as buildings or archaeological sites, has led to the transfer of cultural organizations to the digital space. On the other hand, the rapid development of immersive technologies and the Internet of Things is expected to decisively shape virtual cultural heritage in the coming years. However, this digital transition should expand its impact on most of the population. This article aims to cover the lack of structured methodology in the design and development of inclusive virtual spaces in cultural heritage. This research introduces a holistic framework that is mainly based on the disciplines of virtual museology. The proposed methodology takes into account the advancements in extended reality and the creative industry of computer games. The multisensory approach would lead to advanced immersive experiences, while the multilayered approach of cultural heritage content would enhance accessibility in inclusive virtual spaces. Moreover, this holistic framework could provide evidence from the virtual worlds that could be applied to real cultural heritage organizations.

Gift and Glory

The gift of a velvet with repeating patterns of the Virgin Mary nursing Christ (Madonna del Latte) from Shah Abbas of Safavid Persia to the Republic of Venice is often interpreted as the embodiment of the Shah’s two-fold political and commercial motivations in pursuing his transcultural allegiance with Venice against the Porte. This paper explores the Shi’a Safavid iconography of the biblical imagery on this velvet and rereads it as a Safavid attempt in defining commonality across cultures through visual media. This vision differs significantly with the Venetians’ perception of the Shah’s luxurious gifts and letters, which is reflected in Gabriele Caliari’s painting of the Safavid reception by Doge Grimani in 1603, in Palazzo Ducale, Venice. The paper analyzes the two visions of the Safavids and the Venetians in a comparative study of the period’s textual and visual materials. It explores how the gifts such as the Madonna del Latte velvet facilitated diplomatic negotiations with Christian Europe, whereas painted representations such as Caliari’s reveal much about the perception of cultural difference in early modern courts.

WOMEN’S COSTUME OF INNER MONGOLIA IN MODERN CHINESE EASEL PAINTING.

The article is devoted to the peculiarities of the representation of the female costume of Inner Mongolia in modern Chinese easel painting. The purpose of the article is to understand the stylistic, compositional, and coloristic solutions of the mirroring of women’s costumes by Chinese easel makers at the end of the 20th – beginning of the 21st century. The administrative autonomy chosen for analysis is a fairly self-sufficient region of China, in which a peculiar complex of women’s costume was formed. Its representation in easel painting makes it possible to capture a certain picture of the world, specific to Inner Mongolia. The research methodology is based on the methods of general-theoretical, formal-stylistic and compositional-coloristic analysis of works of fine art. The author analyzes publications in which the state of Chinese and foreign scientific discourse on the specified problem is investigated. On the examples of the analysis of the paintings of Jin Gao, Chen Yifei, Chen Yanning and other modern easel painters, the artistic features of the representation of two versions of the female costume complexes of Inner Mongolia are revealed: ethnic and historical. It has been proven that the components of such a complex of women’s costumes were a robe with special elements (cuffs and linshui), a wide skirt (or pants) and boots made of soft leather. A special element of such a complex was the geometric ornament, the colors of which changed depending on the type of costume and the circumstances of its use. The analysis of the representation of both variants of the female costume complex proved that the ethnic variant is usually presented in a realistic style, in accordance with the canons of classical Chinese painting. Artists, as a rule, use fairly simple compositional solutions with both a single figure and a multi-figure plot. The color palette of such images is warm, ochre-brown, and the clothes depicted are usually contrasting (white, red, blue). All the mentioned means of artistic expression and pictorial techniques testify to the fact that modern Chinese easel artists strive to preserve the cultural heritage of the specified autonomous region.

Some Biographical Notes on Artists of Sacred Sufi Painting in Kano, Nigeria

Abstract The Sufi Islamic leader, Sheikh Ibrahim Niass first came to Kano in 1937. His repeated visits paved the way for the development of Sufi artists in Kano. Through their representational art, they celebrate the various Sufi saints, particularly those of the Qādiriyyah and Tijjāniyyah Sufi orders. This article puts the growth of Sufi representational art in the context of the history of Tijjāniyyah Islam in Kano by examining the biographies and works of six Kano artists and their sacred Sufi painting, from the 1980s to the present day. This article concludes that paintings of Sufi saints by these artists, which countered alternative aniconic views associated with some branches of Islam, contributed not only to the development of representational paintings in Kano, but also to the acceptance of Western media, styles, and techniques in their visual representations of such paintings.

Retracted: Analysis of Emotional Color Representation in Oil Painting Based on Deep Learning Model Evaluation

Retracted: Analysis of Emotional Color Representation in Oil Painting Based on Deep Learning Model Evaluation

Representation of Ophelia's Painting in the Scene of Melancholia Movie 2011

Sir John Everett's Ophelia is a very famous painting. The object of the painting is the death of Ophelia, a character taken from Shakespeare's Hamlet. This painting has inspired many artists and filmmakers to use its visualization as inspiration. Research on the visualization of Ophelia's death has never been done, especially with the use of the tableau vivant technique in the object of research of Lars Von Trier's 2011 film Melancholia. based on this, the purpose of this study is to determine the role of the tableau vivant technique in the field of cinema. Especially its role in the representation of the painting "Ophelia" by Sir John Everett Millais by director Lars Von Trier in the scene of the 2011 film "Melancholia". Trier with his creativity uses the technique with his specialty. It is important to discuss this as a reference in making cinema works by utilizing paintings that were present before. The analysis is done with the main theory of tableau vivant so that its role as a representation technique is visible. The theory of film cinematic elements (mise en scène and cinematography) to support the main theory, describing how the elements in the film represent the painting. Data collection techniques are carried out by means of observation and literature study related to the object of the movie scene that shows the representation of painting, and the painting it represents. The results of the analysis are how the creative use of tableau vivant technique by Lars Von Trier plays a role in representing Ophelia's painting in the scene of the movie Melancholia in 2011 through its cinematic elements. With this research, filmmakers are able to make Trier's creativity using the tableau vivant technique as a reference in making movie scenes inspired by works of art.
 
 Keywords: Film; Lars Von Trier; Melancholia; Ophelia; Tableau Vivant

The artistic tension based on the dynamic expression of two-dimensional graphics in decorative paintings

Throughout the history of the development of decorative paintings, it is not difficult to find that there are many excellent works of art that can move the audience in the forms of dynamic and static expression, and more different styles and forms of expression have been produced. In terms of its dynamic performance, it plays a positive role in the public field by attracting the attention of the viewers and increasing the environmental atmosphere according to the needs of the space environment. This paper mainly explores the dynamic expression forms in decorative paintings, and expounds the application of various elements, namely shapes, colors and structures, in the two-dimensional space in decorative paintings. The emphasis is on analyzing the method of dynamic performance from the two aspects of control and systematisms and the personalized power and rhythm of the form. It also analyzes the artistic value of dynamic expression and discusses the application and artistic tension of dynamic expression in decorative paintings. Combined with the creation of their own decorative paintings, try to use the expression form of art works for reference to carry out the dynamic expression of decorative paintings, so that the decorative painting design works have a strong visual impact, emotional appeal and unique personality expression. This paper provides theoretical basis and design ideas for dynamic representation of decorative paintings.

Impulsive aggression: recognition and choice of pharmacotherapy

Instrumental (controlled) aggression is observed in populations of both mentally healthy and mentally ill people. This type of aggression is not associated with any specific pathophysiological changes and cannot be considered as an independent symptom, which might be a target of pathogenetic therapy. By contrast, impulsive aggression is a paroxysm of anger, based on affectively narrowed consciousness when volition control is significantly reduced or absent. Impulsivity is different from cognate compulsivity by the loss of a stage of intellectual processing of affectively painted representations and by that the irrational attraction to action is realized involuntary, automatic. All impulsive-behavior patients are united by common pattern of neurobiological abnormalities, such as deficit of frontal inhibition of subcortical unconscious emotions and inclinations in response to relevant arousing stimuli. The results from evidence-based research, meta-analyses and Cochrane reviews of efficiency of pharmacological agents used for reduction of impulsive aggressive behavior were summarized.

A probe into the Visual elements in female illustrations from the Perspective of Feminism

With the rise of the feminist movement in the 1970s, the concept of feminism gradually entered the public's field of vision. Its theory revolves around with the development of society, the wave of feminism continues to deepen and affect all aspects of human life. The improvement of productivity and the change of production relations urge women to re-recognize themselves, and the improvement of productivity and the change of production relations urge women to re-recognize themselves, and women's self-worth and social status are more and more affirmed. The female image, as one of the common subjects in the history of eastern and western illustration, has rich forms of expression, thus reflecting multiple connotations, and analyzing the visual elements in female illustrations from the perspective of feminism. it provides a new perspective for illustration analysis, and can deeply understand the author's creative ideas through the selection and performance of picture elements. The author starts with feminist painting art, through the analysis of representative paintings including female images in Chinese and western art history. The author starts with feminist painting art, through the analysis of representative paintings including female images in Chinese and western art history, combined with feminist thoughts to analyze the implication behind image expression, and then from feminist painting to feminist illustration research As feminism goes deep into the public's As feminism goes deep into the public's field of vision, feminist illustration expression is endowed with more forms and meaning of the times, and it is always intended to show the viewer a At the same time, illustration, as a widely used form of artistic expression, can provide an effective perspective for feminist expression as a woman. At the same time, illustration, as a widely used form of artistic expression, can provide an effective perspective for feminist expression as a suitable medium, so as to provide a window for the public to understand feminism. The research and thinking of this paper is devoted to excavating the unique and diverse female beauty in different female paintings and illustrations. and hopes to appeal to the viewer to have more tolerance and appreciation of the current feminist art, in the present when many female artists are open up the artistic road in the future with practice.

LiberIC: Iconography and iconology knowledge organization in book representations in Painting

This study introduces the preliminary design of LiberIC, which is a description and cataloging tool that collects, controls, contextualizes, classifies, and grants access to representations of books in painting. We worked with a research sample consisting of two thousand paintings via the application of an exploratory and descriptive methodology. Through direct observation of these art pieces, we detected characteristics and particularities that could provide meaning to the pictorial representations of books in them. The collected data was then organized into major categories of information. Taking the principles of description and organization of knowledge as a starting point, and according to the formal style of other widely consolidated international cataloging rules, these categories were, henceforth, refined and progressively adjusted. As a result, we developed a descriptive code that arranged the collected data in nine areas and nearly 100 description fields, ultimately allowing every record to be retrieved through different authorized access points. To delve deeper into the shapes and meanings of these representations, we designed three of these areas in accordance with the theoretical foundations of modern iconography and iconology, which establish three distinct phases in the description, analysis, and interpretation of objects in Art. This tool fills a gap in the scientific literature and opens new paths of study. The way data have been structured generates a description model that can be extrapolated to other subjects. Replacing book description fields with description fields related to other types of objects produces a system capable of describing and cataloging any type of iconography.

:Minoische Bild-Räume: Neue Untersuchungen zu den Wandbildern des spätbronzezeitlichen Palastes von Knossos

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Memory at the Center of Our Life

Memory at the Center of Our Life

The political dimension of ekphrasis

ABSTRACT This paper examines the political effects of the representation of historical paintings in film. It contends that the inclusion of this ‘older’ form, painting, and of the world associated with its popularity brings a mythological past to bear on contemporary philosophical and political issues in a novel and complex manner. Using the formal qualities of film, like montage and close-up, film makers can reimage and reimagine the place and role of painted works within the contemporary worlds in which the films are set. The interruption of one world into the other, the painted past into the photoreal present or future, uncovers new continuities and makes the distant past a matter of concern for the problems of the present. Using the philosophy and theories of Jacques Rancière, Bonnie Honig, Robert Pippin, and Roland Barthes, this article examines the representation of painting in Andrei Tarkovsky’s Solaris (1972) and the collaborative film Germany in Autumn (1978).

An Inspiring Object: A Wedding Uchikake Kimono from the Collection of the National Museum in Kraków and its Multiple Representations

The article is concerned with a Japanese wedding uchikake kimono, c. 1800–1850, acquired by distinguished Polish collector Feliks ‘Manggha’ Jasieński in 1900, the nuanced issues surrounding its multiple representations in Polish painting and photography during the period 1900–1908, and the multifarious meanings with which the garment was imbued. The uchikake’s original features exerted a seminal formal influence upon its representations. The interpretive process was also informed by perceptions concerning the woman’s status in society and marriage in Japan and in the West, Western and Japanese artistic traditions, as well as current Japonisme in art and fashion. In each of its representations, the uchikake also conveyed personal meanings important to the artist/wearer.

Analysis of Emotional Color Representation in Oil Painting Based on Deep Learning Model Evaluation

When an artist creates an oil painting, it is rich in emotion. Color is the main way to express emotion in oil painting. As far as the art field is concerned, color is an objective phenomenon that people can really feel its unique richness and brilliance, and different people will have different emotions when facing the same picture. Color itself is not emotional, but people have different psychological feelings by looking at different colors. This is the power of color. In the same way, color is also a carrier for painters to convey emotions in oil paintings. The study of emotional color expression in oil painting is more helpful for people to understand the emotion conveyed by oil painting. Color has an important role and an irreplaceable position in oil painting creation. In the creation of oil painting, color expression is combined with emotional expression. The creator conveys his experience and feelings in the form of color. In this paper, we look at the relationship between color and emotion, the emotional expression of color, and the expression of emotion in painting. The creators of oil paintings convey their feelings and experiences in the form of color, which plays a unique and important role in portraying the image of their works, expressing emotions, and creating an atmosphere, and we analyze and reveal how to use paint to express emotions in oil painting.

Introduction: the image between presence and absence

Dream images, anticipations of the future, memories of the past, perceptual distortions, delusional hallucinations, cognitions intoxicated by alcohol and drugs have always inhabited the visual representations of paintings, comics, films, television series, videogames and, more recently, virtual reality installations. We call them “altered states of consciousness”, meaning any perceptual state other than ordinary human perception

Xu Beihong and his activities in the field of popularization of Chinese painting abroad

The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.