Landscape paintings provide an abundant and objective representation of good and distinctive local scenery, which is widely used in local landscape analysis, so the comprehensive research of ...landscape paintings is fundamental and necessary for the subsequent landscape planning work. Landscape paintings include both planar information and spatial information. However, there has been little previous work on landscape paintings from both a three-dimensional and planar perspective, and the landscape features of landscape paintings have not yet been comprehensively clarified. Therefore, this paper, taking the Seto Inland Sea area as a case study, aims to comprehensively clarify the landscape features of the paintings and provide a valuable index of "good and characteristic landscapes" in this area based on the two planar features of element configuration and color, along with one spatial feature (element arrangement). To deeply clarify the typical landscape features of paintings, we attempt to propose a classification method by combining the similarity of features in different attributions. The results indicate that Sky, Green, and Sea are the most essential landscape elements, and yellow (orange), blue, and green hues are the most used in the paintings. In addition, the paintings were classified into eight typical landscapes, and seascape and field landscapes were the most significant presented in the landscape paintings in this area. This study presents a method to clarify the landscape features from both planar and spatial perspectives, providing more comprehensive guidance and data support for the subsequent landscape planning work and analysis-especially in regional landscape exploration-and for the development of tourism landscape resources in urban planning.
In 1979, a Kekchi Maya Indian accidentally discovered the entrance to Naj Tunich, a deep cave in the Maya Mountains of El Peten, Guatemala. One of the world's few deep caves that contain rock art, ...Naj Tunich features figural images and hieroglyphic inscriptions that have helped to revolutionize our understanding of ancient Maya art and ritual. In this book, Andrea Stone takes a comprehensive look at Maya cave painting from Preconquest times to the Colonial period. After surveying Mesoamerican cave and rock painting sites and discussing all twenty-five known painted caves in the Maya area, she focuses extensively on Naj Tunich. Her text analyzes the images and inscriptions, while photographs and line drawings provide a complete visual catalog of the cave art, some of which has been subsequently destroyed by vandals. This important new body of images and texts enlarges our understanding of the Maya view of sacred landscape and the role of caves in ritual. It will be important reading for all students of the Maya, as well as for others interested in cave art and in human relationships with the natural environment.
In his discussion forum contribution, Pieter Jolly (2020) questions the reliability and the interpretation of radiocarbon dates for southern African rock art arising from our ongoing research ...(Bonneau et al. 2011, 2014, 2017a,b). Here, we should like to answer the points that he has raised. Further, we should like to provide further elements that were not considered by him, but which were published in our earlier articles. In so doing, we explain why arguments stating that we missed opportunities to test our method are not valid.
In a series of articles published within the last 10 years, Adelphine Bonneau, as the lead author, has reported on the results of new methods that she and her co-workers have developed for direct ...dating of San rock paintings in southern Africa (Bonneau et al. 2011; Bonneau et al. 2012; Bonneau et al. 2014; Bonneau et al. 2017a,b). My intention here is to look critically at some of the dating results she has produced and the way in which some of these results have been interpreted, and to point to opportunities missed by her to test thoroughly the reliability of her dating methods before she published dates for rock paintings in her study areas. This critique does not extend to the development and technical details of the dating methods used by Bonneau. Nor does it apply to any contribution of Bonneau's co-authors that is unrelated to the analysis of the AMS dates produced by her methods, or is unrelated to the choice of which paintings to date.
In these powerful and stylishly written essays, Maria Manuel Lisboa dissects the work of Paula Rego, the Portuguese-born artist considered one of the greatest artists of modern times. Focusing ...primarily on Rego’s work since the 1980s, Lisboa explores the complex relationships between violence and nurturing, power and impotence, politics and the family that run through Rego’s art. Taking a historicist approach to the evolution of the artist’s work, Lisboa embeds the works within Rego’s personal history as well as Portugal’s (and indeed other nations’) stories, and reveals the interrelationship between political significance and the raw emotion that lies at the heart of Rego’s uncompromising iconographic style. Fundamental to Lisboa’s analysis is an understanding that apparent opposites – male and female, sacred and profane, aggression and submissiveness – often co-exist in Rego’s work in a way that is both disturbing and destabilising. This collection of essays brings together both unpublished and previously published work to make a significant contribution to scholarship about Paula Rego. It will also be of interest to scholars and students of contemporary painting, Portuguese and British feminist art, and the political and ideological aspects of the visual arts.
Monographic study of the gold ground in Italian panel painting. Analyzes the art historiographical use of the term in the 20th century. "Gold ground" and "perspective" are not thought of as ...oppositional. For example, Fra Angelico is shown to develop strategies for perspective representation from within the gold ground. Notes theological, philosophical, and historico-scientific sources.
Poussin’s Women: Sex and Gender in the Artist’s Works examines the paintings and drawings of the well-known seventeenth-century French painter Nicolas Poussin (1594-1665) from a gender studies ...perspective, focusing on a critical analysis of his representations of women. The book’s thematic chapters investigate Poussin’s women in their roles as predators, as lustful or the objects of lust, as lovers, killers, victims, heroines, or models of virtue. Poussin’s paintings reflect issues of gender within his social situation as he consciously or unconsciously articulated its conflicts and assumptions. A gender studies approach brings to light new critical insights that illuminate how the artist represented women, both positively and negatively, within the framework in his seventeenth-century culture. This book covers the artist’s works from Classical mythology, Roman history, Tasso, and the Bible. It serves as a good overview of Poussin as an artist, discussing the latest research and including new interpretations of his major works.
Aesthetic perception and judgement are not merely cognitive processes, but also involve feelings. Therefore, the empirical study of these experiences requires conceptualization and measurement of ...aesthetic emotions. Despite the long-standing interest in such emotions, we still lack an assessment tool to capture the broad range of emotions that occur in response to the perceived aesthetic appeal of stimuli. Elicitors of aesthetic emotions are not limited to the arts in the strict sense, but extend to design, built environments, and nature. In this article, we describe the development of a questionnaire that is applicable across many of these domains: the Aesthetic Emotions Scale (Aesthemos). Drawing on theoretical accounts of aesthetic emotions and an extensive review of extant measures of aesthetic emotions within specific domains such as music, literature, film, painting, advertisements, design, and architecture, we propose a framework for studying aesthetic emotions. The Aesthemos, which is based on this framework, contains 21 subscales with two items each, that are designed to assess the emotional signature of responses to stimuli's perceived aesthetic appeal in a highly differentiated manner. These scales cover prototypical aesthetic emotions (e.g., the feeling of beauty, being moved, fascination, and awe), epistemic emotions (e.g., interest and insight), and emotions indicative of amusement (humor and joy). In addition, the Aesthemos subscales capture both the activating (energy and vitality) and the calming (relaxation) effects of aesthetic experiences, as well as negative emotions that may contribute to aesthetic displeasure (e.g., the feeling of ugliness, boredom, and confusion).
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
In the present study, we examined the eye movement behaviour of children and adults looking at five Van Gogh paintings in the Van Gogh Museum, Amsterdam. The goal of the study was to determine the ...role of top-down and bottom-up attentional processes in the first stages of participants' aesthetic experience. Bottom-up processes were quantified by determining a salience map for each painting. Top-down processing was manipulated by first allowing participants to view the paintings freely, then providing background information about each painting, and then allowing them to view the paintings a second time. The salience analysis showed differences between the eye movement behaviour of children and adults, and differences between the two phases. In the children, the first five fixations during the free viewing phase were strongly related to visually salient features of the paintings-indicating a strong role for bottom-up factors. In the second phase, after children had received background information, top-down factors played a more prominent role. By contrast, adults' observed patterns were similar in both phases, indicating that bottom-up processes did not play a major role when they viewed the paintings. In the second phase, children and adults both spent more time looking at regions that were mentioned in the background information. This effect was greater for adults than for children, confirming the notion that adults, when viewing paintings, rely much more on top-down processing than children.
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Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
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