Artistic Techniques Research Articles

Challenges of analytical methods for the characterization of microsamples from David Alfaro Siqueiros mural painting.

This study presents the analysis of seven microsamples from Untitled Mural 3, painted by David Alfaro Siqueiros between 1964 and 1972. The mural has never been restored, therefore preserving the materials used by the artist. The microsamples were analyzed using a combination of techniques: optical microscopy (OM), scanning electron microscopy with energy-dispersive spectroscopy (SEM-EDS), attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro-Fourier transform infrared spectroscopy (micro-FTIR) with reflection mode, and high-resolution nuclear magnetic resonance (NMR) spectroscopy. In this work, compounds common to those identified in the analysis of the contemporary mural Trazos de composición piramidal composition were identified, such as acrylic and nitrocellulose binders, titanium white and iron red oxide as pigments, and DEHP as a plasticizer. Unexpectedly, polyvinyl acetate (PVAc) and different nitrocellulose monomers were identified, in addition to chrome yellow instead of ochre, and a predominance of quartz, asbestos, and talc as fillers, instead of carbonates. The study confirmed that Siqueiros used multiple binders in successive layers in no apparent order, providing valuable insights into his artistic techniques. The research also proved an efficient methodology for studying very small and complex samples.

The Ketone-Based Varnish Removal from an Oil Painting by Wassily Kandinsky: Comparison and Assessment of Cleaning Methods Through Preliminary Test on Mock-Ups and Multi-Analytical Investigation

This paper presents the removal of a non-original varnish from the surface of a painting by Wassily Kandinsky based on prior experimentation carried out on mock-ups, which were made according to the original artistic technique and painting stratigraphy. Due to a generally serious state of conservation, the artwork underwent several treatments over the years that have changed its original appearance. This work focused on the study and characterization of the ketone-based varnish present on the surface to outline how this non-original film layer interacted with paint layers and increased deterioration phenomena. Aiming to identify the most suitable approach for the artwork, some preliminary cleaning tests were made on artificially aged mock-ups. A multi-analytical investigation was carried out through non-invasive and invasive techniques to support all steps of the conservation treatment. By comparing cleaning results on mock-ups, a suitable protocol was developed and applied to the original painting. The best results were obtained by using the Nanorestore Gel® Dry MWR (Medium Water Retention) with ethanol. The project has shown that the dissolving power of the solvent can effectively be controlled and limited at the surface by confining it to the nanostructure of the gel, thus minimizing the risk of interaction with the original paint layers.

The Gothic Complex in Tim Burton’s Films

Tim Burton’s films are known for their melancholic and melancholic yet love filled nature. The display and interplay of cool and warm tones in his films provide the audience with the director’s kindness and warmth during the viewing process. Tim Burton’s films use Gothic artistic techniques to create a very eerie world, with Gothic style reflected in characters, audio-visual language, and themes.

Ars est celare artes. Zur Rocca di Tristano-Episode in Ariostos Orlando furioso

Abstract The dissimulatio artis follows, at least, two different traditions since antiquity: on the one hand, it is integrated in the tradition of rhetoric, one the other hand, it is part of the ars amatoria. Furthermore, the dissimulatio artis is neither a theoria nor a praxis in the Aristotelian sense, but could be considered as a poiesis. Ariosto takes advantage of this specific status of the dissimulation artis in his Orlando furioso, especially in the Rocca du Tristano-Episode, in order to present its potential to ennoble specific artistic techniques and to transform these techniques into art: ars est celare artes. By doing this, Ariosto creates an ars fabula narrandi that demonstrates its own capacities by using the dissimulatio artis for the presentation of different arts: ars fabula narrandi est celare artes.

Novels by A.A. Zinoviev as works of a new genre

The article analyzes the novels of A.A. Zinoviev from the perspective of genre specificity and artistic techniques that the author inherits from previous literature. Proximity to the artistic traditions of M.E. Saltykov-Shchedrin and J. Swift’s texts allow us to consider Zinoviev’s texts in the context of world artistic culture, but the peculiarities of the organization of the novel space and the angle of the writer's point of view on social reality indicate that his novels do not fit into the usual genre canons and should be considered as sociological novels. The results obtained expand the traditional understanding of the genre of the novel, describe interesting author’s intentions of the world order, reveal the relationship between the artistic word and sociological statistical data, and give impetus to further research of the creative work of an extraordinary writer.

Th e concept of human image in the artistic heritage of A.A. Zinoviev

The work analyzes the concepts of human representation in the art trilogy of A.A. Zinoviev. The specific genre features of his novels are described, which dictate a new form of representation of a person completely impersonal and stereotyped. The supra-individual nature of his characters is emphasized, which are generally represented by three varieties: ibans, homos, postmen, each of which has its own extreme poles. Specific techniques have been identified that distinguish the novel heroes of the artistic space A.A. Zinoviev: the heroes of the trilogy are compared with the options for representing the character in a classic novel, on the basis of which specific artistic techniques of the image are distinguished, characteristic only of the sociological novels of A.A. Zinoviev. The conclusions obtained as a result of the analysis of typed heroes of the art trilogy allow us to talk about the creation of a new genre of the novel — sociological, in which the concept of human representation undergoes deep author's processing, as a result, the hero is not interesting as a person, but as the embodiment of a particular idea, and conditional impersonal heroes represent a world without conventions, in all its potential possibilities, this is the phenomenon of A.A. Zinoviev, which turned the conditional form of the novel into a statistically life-like diagnostic social sentence to modern society.

Unusual Composition of the Sarezzano Reliquary Busts

The interdisciplinary study of two reliquary busts from Sarezzano (Piedmont, Italy) is a perfect example of the necessity to provide for material characterisation as a recurring common practice in historical studies and a mandatory step in conservation assessment. Furthermore, the diagnostics of cultural heritage play a crucial role in art historical research, providing relevant information on artefacts’ genesis, production technology, and conservation history. The study of the materials of the reliquary busts was performed by non-invasive (portable X-ray fluorescence spectrometry) and micro-invasive (stereomicroscope, attenuated total reflection Fourier transform infrared spectroscopy and powder X-ray diffraction analysis) methods. According to the results, the busts were found to be made of a tin–lead alloy, a rather unusual material for mediaeval reliquary busts. Moreover, the outcome suggests that the busts were originally silvered, except for the hair and beard which are still gilded. The analysis reveals the use of colophony as an adhesive buffer layer on the busts’ alloy, as well as inside them, to favour the metal working process, since it is found as degraded residue. Finally, even the typology of alloy decay is defined. All this information has enabled us to determine the artistic technique and estimate the value and quality of the material employed. In addition, it has led to the correct choice of materials and methods to be adopted during the restoration, and therefore the usage of more suitable solvents and tools.

Architectural Imaginaries in Chinese Jiehua

A review of Leqi Yu, Painting Architecture: Jiehua in Yuan China, 1271–1368, Hong Kong: Hong Kong University Press, 2022, 216 pages, 54 halftones, 12 color plates. ISBN: 978-988-8754-23-6. Yu’s book on Yuan jiehua, a traditional Chinese painting genre centered on architectural subjects and tectonic structures, examines its relationship with real buildings, painters, and politics. This review highlights her discussions on architectural representations, focusing on her accounts of the degree of accuracy in pictorial depictions, utilization of modular systems by painters, and artistic techniques employed to achieve verisimilitude.

Design and Art Tools Formation of Visual Context in Modern Anthropogenic Environment

The purpose of the article is to establish the design and artistic means of forming the cultural-artistic context of modern anthropogenic space. The research methodology involved the use of synthesis and analysis methods with the involvement of interdisciplinary connections (architecture, art history, cultural studies, psychology, design), which made it possible to develop the available theoretical and practical experience on the subject of the article; the method of theoretical generalisation was used to formulate conclusions regarding the outlined problem. The scientific novelty of the article lies in the fact that it actualises the issue of the role of the visual and plastic language of design in the formation of the communicative and cultural content of the anthropogenic environment. Conclusions. With the change of socio-cultural, political and economic conditions, people's requirements for their environment also change. Design and artistic techniques make it possible to dynamically adjust the visual context of the space, to modernise it. The visual plastic design language of the modern anthropogenic environment is presented in artistically decorated stationary and moving objects, their parts, which add character and individuality to it, cause certain emotions in people who interact with such a space. The presence of murals, graffiti, street stencils, sticker art, aerosol art, posters, photo wallpapers, knitted graffiti, mosaics, LED art, media facades, sculptures, video mapping contributes to the formation of a new visual context of the environment, 3D images. Unsystematic, chaotic formation of the visual context of the space can disrupt its artistic integrity. It is worth considering the location of the object, its role in the general structure of the environment, architectural, historical or ethnic context.

СИМФОНИЗМ ПРОИЗВЕДЕНИЙ И. Л. СЕЛЬВИНСКОГО: РОМАН-ЭПОПЕЯ «АРКТИКА» И ПОЭТИЧЕСКИЙ ЦИКЛ «АЛИСА»

The article examines the interconnection of musical and verbal arts. Using the novel «Arctic» and the poem cycle «Alice» as examples, an analysis is conducted of the artistic techniques employed by I. L. Selvinsky to create verbal analogs of musical structures. It is established that the thematic depth of the works, detailed depiction of the processes of character formation and development, their spiritual quests, and the resolution of internal conflicts indicate the symphonic nature of the poet’s thinking. The reference to the symphonic works of P.I. Tchaikovsky, the disruption of the composer’s accepted symphony order, enhances the aesthetic direction of the poetic work and reveals profound meaning. The unity of thematic and imagery material, the utilization of similar principles in the development of musical and literary works allow for the poetic cycle «Alice» to be considered as a symphonic suite, with its poetic elements assessed in the parameters of musicology correlated with literary methodology.

Особенности интерпретации дастана и мифологические отступления (на материале «Сказа-ния о дочери Шана» Микаиля Башту)

This article examines the images of mythological characters and interprets the text of the dastan “The Tale of Shan’s Daughter” from the point of view of folklore studies. The author of the dastan is considered being the ancient Bulgarian poet and educator Mikail Bashtu. The author solves the super-task of his dastan - the conversion of a pagan to the Muslim faith - with the help of several artistic techniques, among which an important place is occupied by a dream, which is equally characteristic of archaic folklore and ancient Eastern literature. Forces of good and evil, love and rejection, procreation, expressed by the concept of “woman” point to the most ancient layers of traditional everyday culture of the Turks, and the transformation of these images into divine forc-es of the Islamic persuasion allows us to trace how the Turkic peoples passed from one religious hypostasis to another. The genre definition of the work is determined through the analysis of its poetics. In particular, the features of the plot structure and artistic language are considered.

Methodology of visual techniques in the cinematographic art of Kazakhstan in 1930-2020

Cinematography in the Republic of Kazakhstan has a century-old history that began in the 1930s and continues today. During this period, a large number of films were created reflecting the culture, history, social and political aspects of the country’s life. Therefore, the relevance of the study lies in the knowledge and preservation of valuable aspects of the cinematic legacy, the examination of cinematography and highlighting practical aspects of visual techniques in cinematography. The purpose of the study is to identify a clear difference between cinematic codes in the visual representation of films created in different periods of the development of Kazakh cinema. The following research methods were used in the study: analytical research, systematisation, comparison and generalisation. As a result of the study, it was possible to examine the periodization of the development of Kazakh cinema, which helped to understand its evolution and development at different stages. This study examines the picture of the world reflected in the films “Amangeldy” (1938), “Racketeer” (2007), and the film “Paralympian” (2023). Based on this, an analysis of their visual techniques was conducted, which allowed identifying their unique features and contribution to the cultural legacy. The study analyses current trends in the methodology of visual techniques, especially in the use of digital technologies, which opens up new opportunities for cinematographers. The importance of maintaining a balance between new trends, cultural values, and traditions of the Republic of Kazakhstan is emphasised. The study on the methodology of visual techniques in the cinematographic art of Kazakhstan can be used by modern cinematographers and students interested in this field.

“The Struggle of the Worlds”: the Representation of the Future War in the Soviet Science Fiction of the 1930s

In pre-revolutionary fiction, the struggle of the worlds was perceived mainly as a clash between earthlings and an extraterrestrial civilization. After the emergence of the Soviet state, the struggle between the Bolshevik and antiBolshevik worlds became one of the key themes in fiction. By the early 1930s, the formula “struggle of the worlds” existed in Russian literature both as fantastic and non-fantastic, reflecting a real social confrontation. However, the idea of a world revolution as the goal and result of the struggle of the worlds is actually eliminated from science fiction. The social struggle, which can transform into an interstate conflict, by the end of the 1930s turns into a war of the worlds, where the military clash between the USSR and a hostile state is the decisive factor. The changes taking place in the international arena led to the fact that in science fiction, too, England and France are replaced by Germany, Italy and Japan as the main opponents. In the war of the future the victory is determined not by heroism and national unity, but also by military and technical superiority. Along with the apparently fantastic weapons possessed by both the USSR and the enemies in the future, the writers described technical achievements, whose fantastic nature is not always noticeable even to a non-specialist contemporary, since some weapons that were fantastic in the late 1930s already became a reality during the Great Patriotic War. One of the distinctive features of the works of 1938–1939 about the future war is the minimal differentiation between the fantastic and non-fantastic. On the one hand, there is no war yet, on the other hand, the distance between the future and the present is practically absent, and the “effect of the future” is leveled due to image of reality that maximally corresponds to the present. This artistic technique helps to convey to the reader the confidence that victory is the logical conclusion of the present, and not a fantasy.

Intangible heritage restoration of damaged tomb murals through augmented reality technology: A case study of Zhao Yigong Tomb murals in Tang Dynasty of China

Tomb murals are a precious amalgamation of tangible and intangible heritage, encapsulating profound historical significance and aesthetic value. While tangible heritage often gains more attention than intangible heritage in cultural protection, it is still imperative to acknowledge that intangible heritage complements and substantiates the historical, cultural and artistic context. Tomb murals contain intangible heritage elements such as religious practices, customs and artistic techniques. Tomb murals from the Tang Dynasty of China showcase the cultural richness of both tangible and intangible heritage. Nevertheless, there are many challenges to the protection of Tang Dynasty tomb murals. In light of these challenges, the current study aims to protect the intangible heritage embodied in Tang Dynasty tomb murals through augmented reality technology. A Tang Dynasty tomb, the Zhao Yigong Tomb, has been selected as the research object. Seven murals from this tomb were restored using a process involving two-dimensional and three-dimensional modelling combined with augmented reality (AR) technology. Throughout the restoration process, the current study explores the impact of religious customs associated with the Zhao Yigong Tomb on mural contents and artistic techniques. The scenes depicted in these seven murals were integrated into an on-cloud AR platform to establish an effective process for protecting intangible heritage in tomb murals and stimulate further research, design and development. This study identifies the target audience as researchers, educators and college students interested in history, art and culture. To evaluate the current study, researchers and educators with relevant working backgrounds and college student participants with different backgrounds and interests were invited to test the AR application in the field, followed by one-to-one interviews for a usability assessment. The usability assessment shows that the AR application is widely accepted. In addition to adding information interactively, it helps the audience to improve their understanding of Tang Dynasty art and culture.

Separate and Reassemble: Generative AI through the lens of art and media histories

AI image generation represents a logical evolution from early digital media algorithms, starting with basic paint programs in the 1970s and advancing to sophisticated 3D graphics and media creation software by the 1990s. Early algorithms struggled to simulate materials and effects, but advances in the 1970s and 1980s led to realistic simulations of natural phenomena and artistic techniques. Generative AI continues this trend, using neural networks to combine and interpolate visual patterns from extensive datasets. This method of digital media creation underscores the modular and discrete nature of computer-generated imagery, distinguishing it from traditional optical media.

THE LOST WAX TECHNIQUE OF DOKRA ART: AN EMPIRICAL STUDY ON BIKNA VILLAGE OF DISTRICT BANKURA, WEST BENGAL

Among the famous artistic works of Bankura District of West Bengal, Dokra (also known as Dhokra) is an age old traditional non-ferrous metal art of Indian Subcontinent. The term ‘ ‘Dokra’’ generally describes a group of craftsmen, nomadic in nature who spread over the different states i.e. Andhra Pradesh, Chhattisgarh, Orissa, Madhya Pradesh, Jharkhand and West Bengal. Dokra is characterized by its simple and primitive figurines on folk themes, variety of beautifully decorated deities and animal structures. The evidences of Dokra non-ferrous metal crafts trace back to the Harappan Civilization almost 4600 years ago. The dancing girl of Harappan Civilization is an ideal example of Dokra non-ferrous metal casting. This paper is mainly focused on the traditional lost-wax technique (Cire perdue in French) of Dokra metal art of Bikna village of District Bankura still practiced at present. Delighted to say, Dokra art from West Bengal has gained the Geological Indication (GI) Tag in the year of 2018. The present study is qualitative in nature and based on empirical research work on Bikna village involving interviews, oral history and observations. Both primary and secondary data sources were used to accomplish the work.

The Scholar-Fighter: Chang Nai-zhou and His Book on Martial Art

The article explores the theoretical foundations, practical techniques and social context of the martial art school created in the late 18th century by Chang Naizhou, a native of Henan рrov. An educated man, Chang left a detailed description of the principles and methods of his school. The legacy of Chang Naizhou and the emergence of a large number of enthusiasts of martial arts among the educated elite of society indicates the formation in Qing China a new synthesis of elite and popular culture, which combined the traditions of Confucianism, Taoist and Buddhist selfcultivation and the folklore motifs. A stratum of professional fighters emerged, closely integrated both with the local society and its paramilitary formations (self-defense units, sworn brotherhoods, associations of participants in temple festivals, schools of martial arts, etc.) and the ruling elite of the empire and its military administration. At the heart of Chang Naizhou's method is the concept of configurations of force (shi 势), which are created by the action of the vital energy of the organism (so-called qi 气) and in turn strengthen and direct this action. The primary substrate of this energy is the so-called "centered qi", which in the spiritual-somatic practice of martial arts generates a great variety of properties and qualities of life experience and makes possible the unity of consciousness and physical body. The force in this case is the result of an interaction of the polar elements of Being. Chang Naizhou introduces many original concepts and techniques of martial art, but his outlook is determined by the common arsenal of Chinese tradition. Thus, his school reflected the nature of the whole Chinese civilization: the diversity of forms rooted in a comprehensive structural unity.

Analisis Strategi dan Teknik Tendangan Sabit Dalam Olahraga Pencak Silat: A Systematic Literature Review

Hook kick is a crucial technique in the Indonesian martial art of Pencak Silat that requires precise strategy for its effectiveness. This research employs a systematicliteraturereview method to explore relevant studies on hook kick strategies in Pencak Silat. The method involves searching scientific articles and other pertinent sources to identify commonly used strategies and the scientific evidence supporting them. Analysis of the literature reveals that hook kick strategies can be categorized into several key elements, including proper body positioning, correct foot techniques, utilization of body momentum, and effective distance management. These findings provide deeper insights into how this technique can be effectively applied in combat situations and training. The research outcomes are expected to offer profound insights applicable to training and skill development in Pencak Silat, contributing to the enhancement of overall standards in this martial art. Keywords: Sickle Kick Technique, Sports, and Pencak Silat

Interpretation of Film The Thrill of Life: Multidimensional Emotional and Social Exploration

This article uses various film theories to conduct a thorough and comprehensive analysis of the film The Thrill of Life. Starting from the emotional dimension, this article explores the complex emotional experiences triggered by the protagonist's inner struggles, love pursuits, and familial bonds in a special social context. At the social level, the profound influence of the historical characteristics, social contradictions, and cultural context reflected in the film on the fate of the characters was analyzed. Through a detailed study of film elements such as camera language, narrative structure, and color usage, it reveals how the film presents multidimensional emotions and social reality through unique artistic techniques. The research aims to provide new perspectives and theoretical support for a deeper understanding of the artistic value and social significance of this film.

Modern Trends in Teaching Artistic Techniques and Methods: Analysis of Approaches to the Development of Artists

Modern Trends in Teaching Artistic Techniques and Methods: Analysis of Approaches to the Development of Artists