Painting Style Research Articles

A Comparative Study of Media Symbols from the Perspective of Visual Grammar: A Case Study of Marine Ecological Protection Posters in China and Western Countries

Social developments are bringing about changes in how we communicate and represent ideas. With the tendency of globalisation, marine ecosystems are facing threats such as overfishing, pollution, and climate change, and marine ecological protection has become a focus of attention for all countries. This paper adopts Kress and van Leeuwen’s framework of visual grammar analysis to compare and analyse the use of symbols in Chinese and Western marine ecological protection posters from the perspectives of representational meaning, interactive meaning, and compositional meaning. Qualitative and quantitative analyses of 100 Chinese posters and 100 Western posters reveal similarities and differences in symbol selection, cultural context, and compositional approach. Results show that Chinese posters tend to integrate traditional cultural elements and natural symbols to convey the concept of environmental protection in a harmonious and warm way, such as the use of ink painting style and paper-cutting art to represent marine organisms, while Western posters focus on directly displaying the hazards of marine pollution by means of strong visual contrasts and modern design elements to stimulate the audience’s sense of urgency and responsibility, such as the display of marine animals trapped by plastic rubbish. This research not only deepens the understanding of the theory of visual grammar but also provides valuable references for the design of future environmental posters, emphasising the importance of using visual symbols and communication strategies in different cultural contexts in order to convey environmental messages more effectively and to promote the development of global marine conservation.

Design of Chinese painting style classification model based on multi-layer aggregation CNN

This study delves deeply into exploring the artistic value of traditional Chinese painting (TCP) and aims to bridge the gap between its fundamental characteristics and the realm of human emotions. To achieve this, a novel convolutional neural network (CNN)-based classification model for TCP emotions is proposed. By thoroughly analyzing the distinct emotional mapping relationships inherent in TCP, a comprehensive framework is developed. Notably, emotional feature regions are accurately extracted using image saliency, and a multi-layer aggregation recalibrated emotional feature module is seamlessly integrated into the CNN network structure. This integration strengthens the activation of features that significantly influence TCP emotions. Moreover, a method of multi-category weighted activation localization is skillfully employed to classify Chinese painting emotions within the CMYK (cyan magenta yellow black) color space. The empirical results convincingly demonstrate that our algorithm surpasses existing approaches such as VGG-19, GoogLeNet, ResNet-50, and WSCNet in the task of TCP emotion recognition, achieving an impressive accuracy of 92.36%, the largest error is 0.191. This improvement signifies the advancements made by our model in accurately capturing and understanding the emotional nuances within TCP. By outperforming previous methods, our research contributes to the convergence of multimedia technology and cultural education.

Fashion style transfer: enhancing efficiency and aesthetic with a novel two-stage neural network

Neural style transfer is increasingly recognized as a crucial tool in fashion design. It enables the transfer of stylistic elements from an inspirational source image to a fashion product, thus streamlining the design process and enhancing efficiency. However, existing research primarily focuses on the transfer of painting styles, which only partially meets the specific requirements of fashion design. This study introduces a novel two-stage style transfer model for fashion design applications. This model can efficiently transfer fashion patterns that combine global and local features, preserving the original background while achieving symmetry and gradient effects in fashion patterns. Additionally, a five-factor machine scoring system, closely aligned with human preferences, is proposed to provide a more objective evaluation of the application value of style transfer models in fashion design. Our comparative experiments with various models demonstrate that our proposed model meets the specific requirements of fashion design, particularly regarding style transfer efficiency and aesthetic considerations.

The Administration of the Chinwangbu System during the Korean Empire and Imperial Prince Yŏng’s Productions of Calligraphy and Painting

This paper examines how the newly introduced Imperial Prince System (ch'inwangje 親王制) and the management of the Imperial Prince’s Bureau (ch'inwangbu 親王府) in the Korean Empire shaped the early education of calligraphy and painting and artistic activities of imperial prince Yŏng 英親王 (1897~1970). The ch'inwangje system during the Korean Empire was modeled after the Tang dynasty’s royal title system and governmental structures, illustrating Emperor Kojong’s strong interest in the education and cultivation of the prince’s qualities. Imperial prince Yŏng, who developed a notable interest in calligraphy and painting, appears to have received a systemized education from an early age with the guidance of several teachers. While the previous scholarship dealt mostly with Kim Kyu-jin 金圭鎭 (1868~1933) as a primary role in the prince’s education, this study sheds new light on the contributions of An T'aek-chung 安宅重 (1858~1929), who served as a teaching official at the Suhagwŏn Royal Academy and as a tutor to the Crown Prince. Imperial prince Yŏng’s extant work can be categorized into two distinct phases: those produced before the age of ten, which are mostly limited to calligraphy, and works from his later years that demonstrate modern education, as seen in Imperial prince Yŏng’s Childhood Calligraphy and Paintings 英親王幼年時書畵. Considering that Imperial prince Yŏng was trained in both traditional and modern styles of calligraphy and painting, An’s artistic endeavors during his time in the prince’s household offer valuable insights into the nature of court art during the Korean Empire era. Furthermore, they contribute to a broader understanding of the impact of modern art education in Korea across different social strata during this period.

조선 후기 <해도(蟹圖)> 연구 - 조선시대 게 그림

Crab paintings referred to as Haedo(蟹圖) were mainly drawn with auspicious meanings such as congratulations on passing the state examination. Its origins date back to the Five Dynasties and Northern Song periods in China, and Haedo became popular during the Ming Dynasty when Wu or Wumen School, including Shen Zhou and Xu Wei, started drawing them in the style of literary painting. Literary style Haedo refers to a crab painting with poetic sentiment produced by an ink-and- wash/boneless brush technique for the light-and-shade effect; it greatly influenced East Asian Haedo from the Qing Dynasty of China to modern times and even to Joseon. Exactly when Haedo was first introduced into Korea is unknown, but it is thought that crabs were drawn along with various fish icons at the latest during the Goryeo Dynasty. However, Haedo was drawn in earnest after the introduction of the literary style Haedo during the Ming Dynasty, and painters representing the late Joseon Dynasty, such as Kim In-gwan, Shim Sa-jeong, Choi Buk, and Kim Hong-do, enjoyed drawing them. In particular, Kim Hong-do left behind many works with strong pictorial qualities by adding original elements under the influence of Xu Wei, which greatly influenced the paintings of later painters. Popular throughout the late Joseon Dynasty, the literary style Haedo expanded as far as folk paintings, and the tradition was passed down from the late Joseon Dynasty to modern times. Meanwhile, apart from how the literary style Haedo was developed, a new style of realistically depicting the subject with fine brushes, intertwined with various social and cultural backgrounds, was attempted by Jang Han-jong, a painter at the Dohwaseo (court painting institution), in the 19th century. Jang Han-jong accurately captured the appearance and ecology of each fish species with a hyper-realistic painting style based on detailed sketches that were even reminiscent of a collection of illustrations, and he also created fish and crab paintings in the form of folding screens, which inspired later painters.

Classification of painting styles based on the difference component

The digitisation and classification of artwork are crucial tasks in the management of art collections. However, the scarcity of some styles makes it difficult to obtain sufficient and representative samples in deep learning models, leading to sub-optimal classification performance. This study proposed a difference component for few-shot learning to improve the classification accuracy of existing models on few-shot data. First, the method pre-processes the sample data by permuting limited samples with sufficient data to generate related samples. Subsequently, sets of positive and negative samples with the same scale are generated, containing and not containing the limited samples. Second, a difference component model is constructed to learn the non-linear division among samples contained in the related samples. This is then combined with the existing classification model to determine whether the related samples contain limited samples. Finally, the types of each sample contained in related samples are analysed based on the types of related samples. The results of the multiple experiments demonstrate that the difference component can effectively learn the differential features between combinations of artworks. The combination of the existing classification model and the proposed difference component model has been demonstrated to effectively improve the classification accuracy of few-shot works. In addition, the classification result was superior to that of other baseline methods used for few-sample learning.

The Artistic Characteristics of Chinese Impressionist Painter Wu Guanzhong

This study aims to explore the artistic characteristics of Chinese Impressionist painter Wu Guanzhong. By combing through Wu Guanzhong's artistic experience, it analyzes the evolution of his painting style and its unique expression in the fusion of Chinese and Western art. The study provides an in-depth analysis of Wu Guanzhong's works in terms of subject matter, materials, composition, color, brushwork and other aspects, revealing his unique artistic language and his contribution to the development of modern Chinese painting. At the same time, this study combines literature review and case studies to explore the impact of Wu Guanzhong's art on contemporary Chinese art education, and suggests how to inherit and innovate Chinese national art in the contemporary context. This study provides new perspectives for understanding Wu Guanzhong's artistic achievements and his position in cultural exchanges, and offers useful references for the future development of Chinese art.

Diversity of style in the works of the artist (Naziha Selim)

Iraqi art underwent a significant transformation in the second half of the 20th century, seeking to remove established norms, which led to ground-breaking outputs from artists like Naziha Salim. Her work represents a pivotal shift, rooted in two main aspects: the inspiration from cultural heritage and its contemporary application. Salim's art exemplifies beauty through the use of modern techniques, diverse materials, varying styles, and the interplay of lines and space, alongside the strategic use of color masses. This diversity is the cornerstone of this study. The research is structured into four chapters. The first chapter addresses the research problem, stemming from the question: To what extent does the diversity of style manifest in Naziha Salim's works? The aim is to explore this diversity, alongside highlighting the research's significance and scope. The second chapter comprises two sections: the first reviews the multiplicity of styles in modern European art schools, while the second delves into the diversity of styles in contemporary Iraqi painting, particularly focusing on the experiences of various artists, with a special emphasis on Naziha Salim's work. The third chapter outlines the research methodology, detailing the study population, which includes 15 of Salim's artworks. The sample consists of three works, selected and analyzed based on expert recommendations, employing a descriptive analytical approach to meet the study's objectives and derive conclusions. The fourth chapter presents the research findings, such as Salim's reflection of the social environment and the juxtaposition of reality's tragedies, forming a stylistic, intellectual, and nationalistic vision. The conclusions suggest that the artistic scene revolves around the genuine impetus behind creating art and its relationship with environment, history, and the artist’s introspection. Additionally, the chapter includes recommendations and proposals, concluding with images of the analyzed artworks.

Painterly Style Transfer With Learned Brush Strokes.

Real-world paintings are made, by artists, using brush strokes as the rendering primitive to depict semantic content. The bulk of the Neural Style Transfer (NST) is known transferring style using texture patches, not strokes. The output looks like the content image, but some are traced over using the style texture: it does not look painterly. We adopt a very different approach that uses strokes. Our contribution is to analyse paintings to learn stroke families-that is, distributions of strokes based on their shape (a dot, straight lines, curved arcs, etc.). When synthesising a new output, these distributions are sampled to ensure the output is painted with the correct style of stroke. Consequently, our output looks more "painterly" than NST output based on texture. Furthermore, where strokes are placed is an important contributing factor in determining output quality, and we have also addressed this aspect. Humans place strokes to emphasize salient semantically meaningful image content. Conventional NST uses a content loss premised on filter responses that is agnostic to salience. We show that replacing that loss with one based on the language-image model benefits the output through greater emphasis of salient content.

15금 BL웹툰 <팔재>의 스토리텔링 전략 연구

The 15-rated BL webtoon <Paljae, Child of Winter> succeeds by adopting an unusual material of oriental fantasy. The storytelling strategy of <Paljae, Child of Winter> is threefold: engaging the viewer through a multi-layered narrative of exploration and reflection, expanding the backstory by using the variability of character relationships, and maximizing the tastiness of the oriental painting style that blends with fantasy. First, by reinterpreting and transforming the familiar classic narrative in a modern way and superimposing the pasts of the two characters, the creator built a more complex, multi-layered narrative that aroused the curiosity of the enjoyers and created a participatory culture that they explored and reflected on. At the same time, character relationships that change over time and space give the causality of actions and the probability of events, enriching the narrative and setting backstories apart. Finally, <Paljae, Child of Winter> achieved aesthetic fulfillment with ink painting style artwork, realistic and transparent artwork with medium tones, and long, dynamic artwork per scene. In this way, <Paljae> has achieved its own unique aesthetic, by weakening the sexualized elements, building up the narrative with fantasy and backstory, and painting it in a more aesthetic way. The 15-rated BL webtoons have formed an independent market between girls’ cartoons and 19-rated BL webtoons. The achievement of <Paljae, Child of Winter> is significant not only in terms of diversifying the BL webtoon market, but also in terms of raising the unique status of 15-rated BL webtoons.

Analysis of Color and Artistic Conception in Painting Art

The charm of painting, as a bright pearl in the treasure house of culture, lies in its visual language constructed through colors and lines, which conveys the artist’s unique perception of life and profound emotions. Color, as the most intuitive and expressive language in painting, is not only a simple reproduction of material colors but also a projection of the artist’s inner world. Artistic conception, as a core concept in traditional Chinese painting theory, refers to the emotional atmosphere and spiritual mood embedded in paintings. The purpose of this paper is to discuss the interaction between color and mood in painting art, to analyze the techniques of using color in different painting styles and their influence on the creation of mood, and to provide new perspectives and methods for the creation of paintings.

THE ASTONISHING BEAUTY OF CHHAU MASK: AN EMPIRICAL STUDY ON THE TRADITIONAL FOLK ART OF CHARIDA VILLAGE OF PURULIA DISTRICT, WEST BENGAL

Bengal, a land of beauty and prosperity in its cultural ancestry. The tradition is enriched by diverse folk art of various tribes and ethnic groups creating the uniqueness. Music, dance have great importance for recreational, aesthetic and cultural aspect of the state. The cultural background, social value and structure, history, religion and mythological concept are also reflected by the traditional folk art. Different types of folk art are found in West Bengal. Among them, Patachitra and Madhubani are respectively the traditional style of painting, characterized by their mythological stories and intricate designs. The other folk arts with great traditional significance are the embroidery art locally called, Kantha and metal casting technique based Dokra. The Chhau Mask making art is one of them important traditional folk art, essential for the age old Chhau dance. The present paper is empirical and qualitative in nature, mainly focused on the traditional folk art of Chhau Mask, an integral part of Chhau dance, of Charida village, its making procedure and people associated with the mask making economy.

Study on the Influence of Chinese New Year wood-block Print on the Technique and Style of Chinese Print

The article discusses the influence of Chinese woodblock prints on the techniques and styles of Chinese paintings, and analyzes the main problems existing in the current influence, including the challenges of inheritance faults and loss of skills, insufficient innovation and homogenization, as well as cultural identity and market acceptance. In response to these problems, the paper proposes corresponding optimization countermeasures, including strengthening the combination of inheritance and innovation, promoting cross-border integration and exchange, and strengthening cultural identity and market expansion. Through the implementation of these countermeasures, it aims to promote the inheritance and development of Chinese woodblock prints in contemporary society, as well as to deepen its positive influence on the techniques and styles of Chinese paintings, and to contribute to the inheritance and innovation of the excellent traditional Chinese culture.

Chinese traditional painting style automatic classification based on dual-channel feature fusion with multi-attention mechanism

Existing classification models for traditional Chinese paintings mostly ignore shallow detail features, which leads to the imprecise classification of styles. To address the above problems, this paper proposes a Chinese traditional painting style automatic classification model based on dual-channel feature fusion with multi-attention mechanism. First, the spatial attention mechanism is introduced to enhance the Swin-Transformer framework to obtain the salient features of Chinese ancient painting images. Second, a dual-channel attention mechanism is constructed to extract global semantic features and local features of Chinese ancient painting images. Finally, the extracted features are fused and categorized based on the softmax classifier. To verify the feasibility and validity of the proposed model, this paper performs simulations on the Chinese painting dataset and compares it with existing algorithms.The average classification accuracy of the proposed model is 90.6[Formula: see text], with an improvement of 3.14[Formula: see text], which is better than the existing model in both visual effects and objective data comparisons.

Technical features of traditional engrave panting in lacquer works at Binh Duong

Lacquer comes in a variety of forms and styles of expression, like clear warm cockroach paint and jet black lacquer, which merge in harmony with many other materials (eggs, pearls, gold, silver, lipstick, colors, and so on) to create a work of profound artistic language. Artists have conveyed these forms and techniques through lacquer paintings. With a comprehensive expression of typical materials combined with abrasive painting techniques (interlacing, snailegg carving techniques, embossed relief painting techniques, gold cupping techniques, sunken engraving techniques, engraved paint or so on), each type of lacquer painting in Binh Duong has become more effective than expected. Among the current lacquer techniques, the engraving technique involves the artisan's meticulousness and expertise when utilizing sharp, blunt tools to carve into the paint surface while also creating evenly spaced engraving lines. These engraved lines have become a defining feature of Binh Duong's painting and engravingtechniques. Because of the above distinguishing features, the author employed an artistic research approach to analyze and evaluate several traditional lacquer painting styles in Binh Duong. To clearly see the artistic value of the engraving technique in Binh Duong, it must be recognized as a true core value that deserves to be cherished and promoted in creativity, education, and vocational transmission, especially given the risk that traditional occupationsare gradually disappearing, as they are today.

Scaling Painting Style Transfer

AbstractNeural style transfer (NST) is a deep learning technique that produces an unprecedentedly rich style transfer from a style image to a content image. It is particularly impressive when it comes to transferring style from a painting to an image. NST was originally achieved by solving an optimization problem to match the global statistics of the style image while preserving the local geometric features of the content image. The two main drawbacks of this original approach is that it is computationally expensive and that the resolution of the output images is limited by high GPU memory requirements. Many solutions have been proposed to both accelerate NST and produce images with larger size. However, our investigation shows that these accelerated methods all compromise the quality of the produced images in the context of painting style transfer. Indeed, transferring the style of a painting is a complex task involving features at different scales, from the color palette and compositional style to the fine brushstrokes and texture of the canvas. This paper provides a solution to solve the original global optimization for ultra‐high resolution (UHR) images, enabling multiscale NST at unprecedented image sizes. This is achieved by spatially localizing the computation of each forward and backward passes through the VGG network. Extensive qualitative and quantitative comparisons, as well as a perceptual study, show that our method produces style transfer of unmatched quality for such high‐resolution painting styles. By a careful comparison, we show that state‐of‐the‐art fast methods are still prone to artifacts, thus suggesting that fast painting style transfer remains an open problem.

Analysing the Artistic Style of Mei Qing's Landscape Paintings - Taking "Images of Yellow Mountain" as an Example

Analysing the Artistic Style of Mei Qing's Landscape Paintings - Taking "Images of Yellow Mountain" as an Example

The Evolution of Western Oil Painting Styles from the Renaissance to Modern Art

The Evolution of Western Oil Painting Styles from the Renaissance to Modern Art

How Context and Painting Attributes Affect Aesthetic Judgment Across Expertise

Using a digital environment, this study tested how setting (museum vs. street), reputation (established vs. unestablished), and style (abstract vs. representational) affected people's aesthetic perception of art. Art novices, quasi-experts, and experts were randomly assigned to rate paintings that varied in setting, reputation, and style. Although there was no significant main effect of setting, follow-up pairwise comparisons showed that novices gave higher aesthetic judgment to paintings in street settings. There was a significant interaction between reputation, style, and expertise, such that the greater the expertise, the greater the differences in ratings between established and unestablished paintings, and the smaller the differences between abstract and representational style paintings. Quasi-experts and experts gave higher ratings to established rather than unestablished paintings, and all groups preferred representational over abstract style; however, the expert preferences reversed with unestablished paintings. The study found that the effect of reputation and expertise persisted after controlling for painting familiarity.

RESEARCH ON FEATURE EXTRACTION ALGORITHM OF OIL PAINTING ARTISTIC STYLE BASED ON EMOTIONAL EXPRESSION

We present a novel approach to extracting artistic style features from oil paintings, addressing the limitations of existing one-way matrices. Our proposed algorithm focuses on capturing emotional expression in oil painting styles. To ensure relevance to real-world needs and standards, we establish a multi-objective framework with a set of indicators and parameters for fundamental oil painting artistic style extraction. This expansion of the feature extraction calculation range involves the creation of a multi-objective calculation matrix and the development of a pyramid sequence and extraction algorithm for conveying emotional expression. By leveraging local constraints specific to oil paintings, our method effectively extracts artistic style features. The results of our tests, which involved five oil paintings, demonstrate the effectiveness of our approach. By applying the Artistic Style Feature Extraction (ASFE) algorithm based on emotional expression, we successfully control the differences in oil painting texture depth within a range of 0.65. This indicates a high level of authenticity and accuracy in our algorithm, superior calculation performance, and practical utility for various applications.