Search results for: paleolithic paintings

Authors: Samia Ait Ali Yahia

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The rock paintings of Grande Kabylia contain a good number of Libyan inscriptions. Of the 54 sites discovered, 23 have inscriptions painted in red ocher. We find them in rock shelters, on blocks of sandstone in the northern part of Kabylia. Our job is to collect as many cave paintings as possible with Libyan inscriptions. Then we will make an analysis on the epigraphic level, the different forms of the characters and their frequencies. The other purpose of this research is to bring out the different characters used in these paintings and compare them with those of the Libyan steles of Grande Kabylia.

Keywords: Grande Kabylia, Libyan inscriptions, Libyan stele, rock paintings

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Authors: Samia Ait Ali Yahia

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The Tifra site is one of 54 sites with rock paintings discovered in Kabylia (Algeria). It consists of two shelters: Ifran I and Ifran II. From an aesthetic point of view, these two shelters appear poor. It shows a human silhouette, a hand, enigmatic designs and especially Libyc inscriptions. The paint used, is the natural red ocher. Today, these paintings are threatened by the frequentation of tourists to the sites as well as by the degradation which result from it. It is therefore vital to us to list and analyze these paintings before they disappear. The analysis of these paintings will be focused on the epigraphic and iconographic level and their meanings.

Keywords: cave painting, Libyc inscription, conservation, valorization

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Authors: Samia Ait Ali Yahia

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Rock paintings and engravings in the Kabylia region of Algeria have been extensively studied, with 54 sites identified. These artworks were primarily discovered by Poyto and Musso in the mid-1960s. The paintings are predominantly adorned with red ochre ornaments, while some engravings can also be found on sandstone rocks. These artistic expressions can be found in various locations, such as shelters, rocks, and sandstone blocks in the northern part of Kabylia. These sites showcase a diverse range of decorations, including human figures, animal silhouettes, enigmatic designs, symbolic drawings, engravings, and Libyan characters. The research will involve conducting fieldwork at the Azru Imeyazen site to identify and study the different paintings and engravings present. This research aims to provide a detailed description of the rock paintings and engravings found in Kabylia, specifically focusing on the Azru Imeyazen (Tarihant) site.

Keywords: rock paintings, engraving, Kabylia, Tarihant, Azru Imayazen

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Authors: Lise Alonso, Audrey Dubost, Patricia Luis, Thomas Pommier, Yvan Moënne-Loccoz

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The Lascaux Cave in South-Est France is an archeological landmark renowned for its Paleolithic paintings dating back c.18.000 years. Extensive touristic frequenting and repeated chemical treatments have resulted in the development of microbial stains on cave walls, which is a major issue in terms of art conservation. Therefore, it is of prime importance to better understand the microbiology specific to the Lascaux Cave, in comparison to regional situations. To this end, we compared the microbial community (i.e. both prokaryotic and eukaryotic microbial populations) of Lascaux Cave with three other anthropized Périgord caves as well as three pristine caves from the same area. We used state-of-the-art metagenomic analyses of cave wall samples to obtain a global view of the composition of the microbial community colonizing cave walls. We measured the relative abundance and diversity of four DNA markers targeting different fractions of the ribosomal genes of bacteria (i.e. eubacteria), archaea (i.e. archeobacteria), fungi and other micro-eukaryotes. All groups were highly abundant and diverse in all Périgord caves, as several hundred genera of microorganisms were identified in each. However, Lascaux Cave displayed a specify microbial community, which differed from those of both pristine and anthropized caves. Comparison of stains versus non-stained samples from the Passage area of the Lascaux Cave indicated that a few taxa (e.g. the Sordiaromycetes amongst fungi) were more prevalent within than outside stains, yet the main difference was in the relative proportion of the different microbial taxonomic groups and genera, which supposedly supports the biological origin of the stains. Overall, metagenomic sequencing of cave wall samples was effective to evidence the large colonization of caves by a diversified range of microorganisms. It also showed that Lascaux Cave represented a very particular situation in comparison with neighboring caves, probably in relation to the extent of disturbance it had undergone. Our results provide key baseline information to guide conservation efforts in anthropized caves such as Lascaux and pave the way to modern monitoring of ornamented caves.

Keywords: cave conservation, Lascaux cave, microbes, paleolithic paintings

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Authors: Hagar Ezzat, Mostafa Attia, Ahmed Bedeir, Abdelrazek Elnagger, Matija Strlic

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Ethnographic Museum in Cairo- Egypt is a place of valuable collections (manuscripts, paintings, textiles and other ethnographic materials), the museum experiences serious neglecting with unacceptable display and storage conditions, the museum is located in Tahrir sq., which consider a high traffic area where pollution levels exceed the acceptable levels in museums. The materials used in manufacturing the display cases are expected to be source of many pollutants which affecting the sensitive oil paintings objects in the galleries. 24 diffusion tubes (12 No2, So2 & 12 O3) have been used in "winter 2014 and spring 2014" for monitoring museum environment with three cases "outdoor & indoor and in the gallery display". A series of analytical techniques with scientific tools: Ion Chromatography have been used to assess measurements and effects of gas pollutants on the museum which help us to make good assessment for the damage of oil paintings objects and the condition of the museum and understand the effect of the museum environment on the deterioration of the sensitive oil paintings.

Keywords: environment, museum, paintings, ethnographic, conservation

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Authors: Taechit Cheuypoung

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This research is done to create new compositions for designs finding inspirations from watercolor artworks displayed in SuanSunandha Palace. The researcher made a study in the history of the landmark, its importance, the paintings in the Palace, the types and characteristics of the flower painted, as well as the artistic elements and principles of designs that went into the paintings. The information obtained led to the creation of six totally new designs. The designs incorporated standard international designs and artistic principles, and still kept to the original style of the watercolor paintings in SuanSunandha Palace. Following the paintings, the designs are divided into three categories: Orchids, Roses and Flowers from Literatures. The researcher used the components of the flowers including: rounded-petal flowers, wavy-edged petals, flowers with pointed petals, leaves, vines, and branches. All of them represented in the original paintings. Upon the original, the researcher switched these elements and its proportion around to create a more modern designs. The original forms are used as references since they contain the characteristics of each flower species. The work created achieved an updated trait and simultaneously, reflects the charms and timeless beauty of the watercolor paintings displayed in SuanSunandha Palace, which still exists in today’s world.

Keywords: watercolor, painting, flower, Suan Sunandha

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Authors: R. G. D Jayawardena

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The Buddha was known by great wise men from 6th century B.C up to date as a superhuman being born in the world beyond the omnipotent. The Buddha’s doctrinal descriptions reflect his deep enlightenment about imperial and metaphysical knowledge. Buddhology undertaken for this study is an unexposed subject in metaphysical points. The Buddhist wall painting in Sri Lanka depicts deep metaphysical meaning than its simple perspective of estheticism. Buddhology, in some perspectives, has been interpreted as a complete natural science discovered by the Buddha to teach the way of honorable living in perfect happiness and peace of mind till death. Such interpretations which emphasized are based on textual studies. The Buddhology conducted through literal tradition is depicted in wall paintings in Sri Lanka are in visual art with specific techniques rules. The Buddhology, which is investigated on wall paintings, portrays the Buddha in the form of a superhuman being and as an unparalleled person among the Devas, Brahmas, Yakshas, Maras, and humans. The Buddha concept is known to Sri Lankan Buddhists as a person attained to full awakening of wisdom. In personality, the Buddha is depicted as a supernormal person in the world and a rare birth. In brief, the paper will discuss and illustrate the Buddha’s transcendental position and the reality of what he experienced and its authenticity.

Keywords: Buddhology, Metaphysic, Sri Lanka, paintings

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Authors: Samia Ait Ali Yahia

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In Algeria, the most impressive and most known prehistoric art is the painted or engraved rock art which is present with abundance in several regions. The existence of rock art in Great Kabylia region has been known for over sixty years. The main purpose of this research is to show the dangers facing these rock paintings and engravings and what are the arrangements for their protection and recovery. As every vestige destroyed is a part of the world's memory which disappears, some steps have to be taken in order to protect these historical and archaeological heritages.

Keywords: rock paintings and engravings, preservation, valorization, Kabylia

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Authors: Shaza Melies, Abeer Refky, Nihad Mansoor

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Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented.

Keywords: multimodal analysis, painting analysis, Salvador Dali, visual grammar

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Authors: Zeinab Mirabulqasemi, Gholamali Hatam

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This article discusses the significance of mural paintings in Iranian culture, particularly within the context of religious tombs known as Imamzadehs. These tombs, dedicated to Shiite imams and other revered religious figures, serve as important religious and communal spaces. The tradition of tomb construction evolved from early Islamic practices, gradually transforming burial sites into places of worship. In the Gilan region of Iran, these tombs hold a revered status, serving as focal points for religious observances and social gatherings. The murals adorning these tombs often depict religious motifs, with a particular emphasis on events like the Day of Judgment and the martyrdom of the Imams, notably the saga of Ashura. These paintings also reflect the community's social perspectives and historical allegiances. Various architectural styles are employed in constructing these tombs, including Islamic, traditional, local, and aesthetic architecture. However, the region's climate poses challenges to the preservation of these structures and their murals. Despite these challenges, efforts are made to document and preserve these artworks to ensure their accessibility for future generations. This research also studies tomb paintings by adopting a multifaceted approach, including library research, image analysis, and field research. Finally, it examines the portrayal of significant figures such as the Shiite imams, prophets, and Imamzadehs within these murals, highlighting their thematic significance and cultural importance.

Keywords: cultural ritual, Shiite imams, mural, belief foundations, religious paintings

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Authors: Rosy Saikia, Krishna Barua

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The evolution of visual art can be traced back from “pre-historic” humans, from the age of Paleolithic, Neolithic, and Metal Age. Mesopotamians and the Egyptians were the pioneers of art, in the first period of history. But the field of art first flourished in the west during the Renaissance. Since then, art represents a continuous yet varied tradition till present day. Until the early 19th century art focused chiefly on representational, religious and classical motifs, but gradually art became more abstract and conceptual approaches gained popularity. Rainer Maria Rilke (1875-1926) was one of the leading poets cum art critic of European modernism. This paper addresses the relationship between Rilke's poetry and visual art, which involves an intimate transference of aesthetic means and definitions of form in the creative process of writing. Rilke’s connection with Auguste Rodin made him learn that a person who can “see” things could realize the beauty of a “thing” and could subsequently write. To “see” the “thing” or “object” rather than representing emotion was considered as more important by Rodin and that was the way he cracked the old aesthetic mould. Rilke himself agreed that his correspondence with the artists made him acquainted nothing but a new way of seeing. Rilke admitted to the constant reference to the Bible, the books of the Danish poet Jens Peter Jacobsen and Auguste Rodin, who all had given him the experience of the essence of creativity, its depths and eternity. Rilke’s association with philosophers such as Nietzhche and artists, starting from Worpweders and Rodin to Cezanne’s paintings, made him almost an apprentice in visual art.

Keywords: seeing, gaze, aesthetic, beauty, visual art, Rilke

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Authors: Mohammad Jamalabadi, Noemi Zabari, Lukasz Bratasz

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Panel paintings -complex multi-layer structures consisting of wood support and a paint layer composed of a preparatory layer of gesso, paints, and varnishes- are among the category of cultural objects most vulnerable to relative humidity fluctuations and frequently found in museum collections. The current environmental specifications in museums have been derived using the criterion of crack initiation in an undamaged, usually new gesso layer laid on wood. In reality, historical paintings exhibit complex crack patterns called craquelures. The present paper analyses the structural response of a paint layer with a virtual network of rectangular cracks under environmental loadings using a three-dimensional model of a panel painting. Two modes of loading are considered -one induced by one-dimensional moisture response of wood support, termed the tangential loading, and the other isotropic induced by drying shrinkage of the gesso layer. The superposition of the two modes is also analysed. The modelling showed that minimum distances between cracks parallel to the wood grain depended on the gesso stiffness under the tangential loading. In spite of a non-zero Poisson’s ratio, gesso cracks perpendicular to the wood grain could not be generated by the moisture response of wood support. The isotropic drying shrinkage of gesso produced cracks that were almost evenly spaced in both directions. The modelling results were cross-checked with crack patterns obtained on a mock-up of a panel painting exposed to a number of extreme environmental variations in an environmental chamber.

Keywords: fracture saturation, surface cracking, paintings on wood, wood panels

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Authors: Michele L. Dormaier

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The purpose of the research was to design costumes based on historic colors used by artists during the seventeenth century. The researcher investigated European art, primarily paintings and portraiture, as well as the color palettes used by the artists. The methodology examined the artists, their work, the color palettes used in their work, and the practices of color usage within their palettes. By examining portraits of historic figures, as well as paintings of ordinary scenes, subjects, and people, further information about color palettes was revealed. Related to the color palettes, was the use of ‘broken colors’ which was a relatively new practice, dating from the sixteenth century. The color palettes used by the artists of the seventeenth century had their limitations due to available pigments. With an examination of not only their artwork, and with a closer look at their palettes, the researcher discovered the exciting choices they made, despite those restrictions. The research was also initiated with the historical elements of the era’s clothing, as well as that of available materials and dyes. These dyes were also limited in much the same manner as the pigments which the artist had at their disposal. The color palettes of the paintings have much to tell us about the lives, status, conditions, and relationships from the past. From this research, informed decisions regarding color choices for a production on a contemporary stage of a period piece could then be made. The designer’s choices were a historic gesture to the colors which might have been worn by the character’s real-life counterparts of the era.

Keywords: broken color palette, costume color research, costume design, costume history, seventeenth century color palette, sixteenth century color palette

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Authors: Chen-Fu Wang, Lin-Ya Kung

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For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder when the materials cannot be easily identified; therefore, it is essential that we take a more scientific approach to assist in conservation work. Paintings materials are high molecular weight polymer, and their analysis is very complicated as well other contamination such as smoke and dirt can also interfere with the analysis of the material. The current methods of composition analysis of painting materials include Fourier transform infrared spectroscopy (FT-IR), mass spectrometer, Raman spectroscopy, X-ray diffraction spectroscopy (XRD), each of which has its own limitation. In this study, FT-IR was used to analyze the components of the paint coating. We have taken the most commonly seen materials as samples and deteriorated it. The aged information was then used for the database to exam the temple painting materials. By observing the FT-IR changes over time, we can tell all of the painting materials will be deteriorated by the UV light, but only the speed of its degradation had some difference. From the deterioration experiment, the acrylic resin resists better than the others. After collecting the painting materials aging information on FT-IR, we performed some test on the paintings on the temples. It was found that most of the artisan used tune-oil for painting materials, and some other paintings used chemical materials. This method is now working successfully on identifying the painting materials. However, the method is destructive and high cost. In the future, we will work on the how to know the painting materials more efficiently.

Keywords: temple painting, painting material, conservation, FT-IR

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Authors: Xiaoling Dai

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Many Chinese artists have used digital photography to create works with features of Chinese landscape paintings since the 20th century. The ‘New Mountains and Water’ works created by digital techniques reflect the fusion of photographic techniques and traditional Chinese aesthetic thoughts. Borrowing from Chinese landscape paintings in the Song Dynasty, the Chinese photographer Yao Lu uses digital photography to reflect contemporary environmental construction in his series New Landscapes. By portraying a variety of natural environments brought by urbanization in the contemporary period, Lu deconstructs traditional Chinese paintings and reconstructs contemporary photographic practices. The primary object of this study is to investigate how Chinese photographer Yao Lu redefines and re-interprets the relationship between tradition and contemporaneity. In this study, Yao Lu’s series work New Landscapes is used for photo elicitation, which seeks to broaden understanding of the development of Chinese landscape photography. Furthermore, discourse analysis will be used to evaluate how Chinese social developments influence the creation of photographic practices. Through visual and discourse analysis, this study aims to excavate the relationship between tradition and contemporaneity in Lu’s works. According to New Landscapes, the study argues that in Lu’s interpretations of landscapes, tradition and contemporaneity are seen to establish a new relationship. Traditional approaches to creation do not become obsolete over time. On the contrary, traditional notions and styles of creation can shed new light on contemporary issues or techniques.

Keywords: Chinese aesthetics, Yao Lu, new landscapes, tradition, contemporaneity

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Authors: César Oliveira, Ana M. S. Bettencourt, Luciano Vilas Boas, Luís Gonçalves, Carlo Bottaini

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Funerary megalithic monuments are probably under the most remarkable remains of the Neolithic period of western Europe. Some monuments are well known for their paintings, sometimes associated with engraved motifs, giving the funerary crypts a character of great symbolic value. The engraved and painted motifs, the colors used in the paintings, and the offerings associated with the deposited corpses are archaeological data that, being part of the funeral rites, also reveal the ideological world of these communities and their way of interacting with the world. In this sense, the choice of colors to be used in the paintings, the pigments collected, and the proceeds for making the paints would also be significant performances. The present study will focus on the characterization of painted art from megalithic monuments located in different areas of North-Western Portugal (coastal and inland). The colorant composition of megalithic barrows decorated with rock art motifs was studied using a multi-analytical approach (XRD, SEM-EDS, FTIR, and GC-MS), allowing the characterization of the painting techniques, pigments, and the organic compounds used as binders. Some analyses revealed that the pigments used for painting were produced using a collection of mined or quarried organic and inorganic substances. The results will be analyzed from the perspective of contingencies and regularity among the different case studies in order to interpret more or less standardized behaviors.

Keywords: funerary megalithic monuments, painting motifs, archaeometrical studies, Northwest Iberia, behaviors

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Authors: Asuman Baldiran, Erdener Pehlivan

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In this study, the root of the name Lykaonia and the geographical area defined as Lykaonia Region are mentioned. In this context, information concerning the settlements of Paleolithic Age, Neolithic Age and Chalcolithic Age are given place. Particularly the settlements belonging to Classical Age are localized and brief information about the history of these settlements is provided. In the light of this information, roads of Antique period in the region are evaluated.

Keywords: ancient cities, central anatolia, historical geography, Lykaonia region

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Authors: Maryam Pirdehghan

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During the Ba'ath Party's rule in Iraq, propaganda was utilized to justify and to promote Saddam Hussein's image in the collective memory as the greatest Arab leader. Consequently, urban walls were routinely covered with images of Saddam. Relying on these images, the regime aimed to provide a basis for evoking meanings in the public opinion, which would supposedly strengthen Saddam’s power and reconstruct facts to legitimize his political ideology. Nonetheless, Saddam was not always portrayed with common and explicit elements but in certain periods of his rule, the paintings depicted him in an unusual context, where various historical and contemporary elements were combined in a narrative background. Therefore, an understanding of the implied socio-political references of these elements is required to fully elucidate the impact of these images on forming the memory and collective unconscious of the Iraqi people. To obtain such understanding, one needs to address the following questions: a) How Saddam Hussein is portrayed in mural during his rule? b) What of elements and mythical-historical narratives are found in the paintings? c) Which Saddam's political views were subject to the collective memory through mural? Employing visual semiotics, this study reveals that during Saddam Hussein's regime, the paintings were initially simple portraits but gradually transformed into narrative images, characterized by a complex network of historical, mythical and religious elements. These elements demonstrate the transformation of a secular-nationalist politician into a Muslim ruler who tried to instill three major policies in domestic and international relations i.e. the arabization of Iraq, as well as the propagation of pan-arabism ideology (first period), the implementation of anti-Israel policy (second period) and the implementation of anti-American-British policy (last period).

Keywords: Ba'ath Party, Saddam Hussein, mural, Iraq, propaganda, collective memory

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Authors: Indrani Chattopadhyaya

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This paper seeks to examine how identity – a cultural self-image of a group of people develops – how they live, they think, they celebrate and express their world view through language, gesture, symbols, and rituals. 'Culture' is a way of life and 'identity' is assertion of that cultural self-image practiced by the group. The way in which peoples live varies from time to time and from place to place. This variation is important for their identity. Archaeologists have classified these patterns of spacial variations as 'archaeological culture.' These cultures are identified 'self-consciously' with a particular social group indicating ethnicity. The ethnic identity as archaeological cultures also legitimizes the claims of modern groups to territory. In prehistoric research problems of ethnicity and multiculturalism, stylistic attributes significantly reflect both group membership and individuality. In India, anthropologists feel that though tribes have suffered relative isolation through history, they have remained an integral part of Indian civilization. The term 'tribe' calls for substitution with a more meaningful name with an indigenous flavour 'Adivasi' (original inhabitants of the land).While studying prehistoric rock paintings from central India - Sonbhadra (Uttar Pradesh) and Bhimbetka (Madhya Pradesh), one is struck by the similarity between stylistic attributes of painted motifs in the prehistoric rock shelters and the present day indigenous art of Kol and Bhil tribes in the area, who have not seen these prehistoric rock paintings, yet are carrying on with the tradition of painting and decorating their houses in the same way. They worship concretionary sandstone blocks with triangular laminae as Goddess, Devi, Shakti. This practice is going on since Upper Palaeolithic period confirmed by archaeological excavation. The past is legitimizing the role of the present groups by allowing them to trace their roots from earlier times.

Keywords: ethnic identity, hermeneutics, semiotics, Adivasi

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Authors: Zeinab Mirabulqasemi, Gholamali Hatam

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The article discusses the rich tradition of mural art in Gilan, Iran, particularly focusing on its religious and cultural significance, with a specific emphasis on tombs and Imamzadehs (descendants of imams). It examines the presence of animals and supernatural beings in these murals, such as horses, lions, birds, snakes, and angels, each carrying symbolic meanings within the religious narratives depicted. It discusses the multifaceted symbolism of these creatures and their portrayal in various scenes, enriching the narrative and conveying spiritual themes. Moreover, the article delves into the geographical and cultural context of the Gilan region, where many of these murals are found, and the challenges posed by environmental factors on their preservation. The article concludes by emphasizing the importance of preserving these artworks as valuable cultural heritage and calls for further research into their social, religious, and artistic dimensions. It utilizes a multifaceted research approach involving library research, image analysis, field investigations, and interviews with local inhabitants to gain a deeper understanding of the significance of these murals.

Keywords: cultural ritual, Shiite imams, mural, belief foundations, religious paintings

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Authors: Alaaeldin Hamdy Ahmed Mohammed

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Introduction: This study examines sports’ fans and non-interested public perception and recognition of the problems that have negative impacts upon the Egyptian sports, particularly football, through caricatures. Eight caricature paintings were designed to express eight problems affecting the Egyptian sports and its development. These paintings were distributed on two groups of the fans and the non-interested public. Methods: The study was limited to eight caricatures representing the eight issues which are: the impact of stopping the sports activity on athletes, the effect of clubs’ disagreement, fanaticism between the members of the ultras of different clubs, the negative impact of the mingling of politics into sports, the negative role of the clubs affects the professionalism of the promising players, the conflict between the national organization responsible for sports, the breaking in of the fans to the playgrounds, the impact of the lack of planning on the national team. The Results: The results showed that both sports fans and those who are not interested in sports recognized the problems that the caricatures refer to and criticizes exaggeration although the rate was higher for the fans. These caricatures contributed also in their recognition of the danger of the negative impact of these problems on the Egyptian sports, particularly football which is the most common at the Egyptian sports fans. Discussion: This finding echoes the conclusion that caricatures are distinctive in the adults’ facial stimuli that are either systematically exaggerated recognition of them.

Keywords: caricature, fans, football, sports

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Authors: Olivia Rybak-Karkosz

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This paper aims to present the results of scientific research on family resemblance in the handwriting of painters. Such a problem is known in handwriting analysis, but it was never a research subject in the scope of painters' signatures on works of art. For this research, the author chose Jacek, and Rafał Malczewski (father and son) as many of their paintings are in museums, and most of them are signed. The aim was to create a catalogue of traits similar to the handwriting of both artists. Such data could be helpful for the expert’s opinion in the decision-making process to establish whether the signature is authentic and, if so, whether it is the artist whose signature is analysed, not the other family member. There are known examples of relatives of the artists who signed their works. Many of them were artists themselves. For instance Andrzej Wróblewski’s mother, Krystyna was a printmaker. To save his legacy, she signed many of her son’s works after his death using his name. This research methodology consisted of completing representative samples of signatures of both artists, which were collected in selected Polish museums. Then a catalogue of traits was created using a forensic handwriting graphic-comparative method (graphic method). The paper contains a concluding statement that it could be one of the elements of research in an expert’s analysis of the authenticity of the signature on paintings.

Keywords: artist’s signatures, authenticity of an artwork, forensic handwriting analysis, graphic-comparative method

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Authors: David Osa-Egonwa

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Visual culture is the expression of the norms and social behavior of a society in visual images. A reflection simply shows you how you look when you stand before a mirror, a clear water or stream. The mirror does not alter, improve or distort your original appearance, neither does it show you a caricature of what stands before it, this is the case with visual images created by a tribe or society. The ‘uli’ is hand drawn body design done on Igbo women and speaks of a culture of body adornment which is a practice that is appreciated by that tribe. The use of pattern of the gliding python snake ‘ije eke’ or ‘ijeagwo’ for wall painting speaks of the Igbo culture as one that appreciates wall paintings based on these patterns. Modern life came and brought a lot of change to the Igbo-speaking people of Nigeria. Change cloaked in the garment of Westernization has influenced the culture of the Igbos. This has resulted in a problem which is a break in the cultural practice that has also affected art produced by the Igbos. Before the colonial masters arrived and changed the established culture practiced by the Igbos, visual images were created that retained the culture of this people. To bring this point to limelight, this paper has adopted a historical method. A large number of works produced during pre and post-colonial era which range from sculptural pieces, paintings and other artifacts, just to mention a few, were studied carefully and it was discovered that the visual images hold the culture or aspects of the culture of the Igbos in their renditions and can rightly serve as a mirror of the Igbo visual culture.

Keywords: artistic renditions, historical method, Igbo visual culture, changes

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Authors: Rahman Abdullayev

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Rituals took place during the rock art production or in the rock art sites can be found reflection in contemporary culture. But the form of rituals was conducted in association with rock art production still uncertain. The main purpose of this research is to define the form of ritual activities that took place in the rock art sites, by the example of Bronze Age rock art of Gobustan. For ritual activity location of the rocks which were selected for making petroglyphs has important significance. Thus, not all the rocks which were suitable for rock art were used for this purpose. If in Upper Paleolithic, Mesolithic, Neolithic periods Gobustan inhabitants executed petroglyphs on the wall of rock shelters, but in Bronze Age they made it on rocks which are in front of the large, open spaces. A recent study of the location of Bronze Age rock art of Gobustan and involving ethnographic information to the interpretation of drawings allows defining the form of rituals which took place in Gobustan at Bronze Age.

Keywords: Bronze Age, Gobustan, ritual, rock art

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Authors: Carlos Riobo

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This paper analyzes literature and art in Argentina from the nineteenth to the twenty-first centuries as these media used the figure of the white female captive to define a developing national identity. This identity excluded the Indians whose lands the whites were taking and who appeared as the aggressors and captors in writing and paintings. The paper identifies the complicit relationship between art and history in crafting national memory. It also identifies a movement toward purity (as defined by separation of entities) and away from mestizaje (racial and cultural mixtures).

Keywords: Argentina, borders, captives, literature, painting

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Authors: Abul Kayum Zarzis Alam

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Death is not a terminal; it is just a junction. From Agamas to Vedas, from Buddhism to Judaism, all the major scriptures and religions of the world always do converge to this hypothesis of death. Death is the ultimate catastrophe of life and it is the genesis of every religion on this Earth. Several hundred thousand years ago, the Homo Sapiens in Paleolithic age introduced the notion of religion on this Earth in its most primitive form just to escape from death and natural catastrophes through their belief in supernatural things which created the sense of superstition among the Homo Sapiens which has only increased over time. This sense of superstition and belief in supernatural things are building blocks of religion. Religion is like entropy, a degree of disorder. Entropy for an irreversible system like our own Universe always increases. Same is happening to our human civilization where the disorder had been increasing over time. The degree of this disorder of human civilization is religion divides and conquers over the human civilization of Earth. Religion is the human entropy which had been governing and will govern us. Just like entropy, religion is also an essential intrinsic property of the system which makes the system evolved. We have to optimize this ambivalence of the human entropy to make our civilization an inclusive and sustainable one.

Keywords: death, earth, entropy, Homo sapiens, religion and human entropy

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Authors: Emine Yılmaz Bolat

Abstract:

Early childhood is a very important period in terms of identifying and developing early skills and abilities. It is likely that the child's development will be in the same direction in the future. This study was conducted with 26 children for the purpose of examining pictures of children of five years old. In the survey, children were asked to draw a picture with pastel dyes. The drawings were collected and evaluated by the researcher. At the end of the research, it was found that the children used the yellow color (N = 17, 16,34%) and the least gray color (N = 1, 0,96%). When the features of children's pictures are examined, the children's paintings have been found to have hierarchy, transparency, completion, the use of vivid colors, and the presence of vertical and horizontal painting lines.

Keywords: early childhood, kindergarten, pictures of children, features of pictures

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Authors: Lina Sun

Abstract:

Chinese traditional drawings related to buildings and construction apply a unique geometry differentiating with western Euclidean geometry and embrace a collection of special terminologies, under the category of tu (the Chinese character for drawing). This paper will on one side etymologically analysis the terminologies of Chinese traditional architectural drawing, and on the other side geometrically deconstruct the composition of tu and locate the visual narrative language of tu in the pictorial tradition. The geometrical analysis will center on selected series of Yang-shi-lei tu of the construction of emperors’ mausoleums in Qing Dynasty (1636-1912), and will also draw out the earlier architectural drawings and the architectural paintings such as the jiehua, and paintings on religious frescoes and tomb frescoes as the comparison. By doing these, this research will reveal that both the terminologies corresponding to different geometrical forms respectively indicate associations between architectural drawing and the philosophy of Chinese cosmology, and the arrangement of the geometrical forms in the visual picture plane facilitates expressions of the concepts of space and position in the geometrical cosmology. These associations and expressions are the collective intentions of architectural drawing evolving in the thousands of years’ tradition without breakage and irrelevant to the individual authorship. Moreover, the architectural tu itself as an entity, not only functions as the representation of the buildings but also express intentions and strengthen them by using the Chinese unique geometrical language flexibly and intentionally. These collective cosmological spatial intentions and the corresponding geometrical words and languages reveal that the Chinese traditional architectural drawing functions as a unique architectural site with subjectivity which exists parallel with buildings and express intentions and meanings by itself. The methodology and the findings of this research will, therefore, challenge the previous researches which treat architectural drawings just as the representation of buildings and understand the drawings more than just using them as the evidence to reconstruct the information of buildings. Furthermore, this research will situate architectural drawing in between the researches of Chinese technological tu and artistic painting, bridging the two academic areas which usually treated the partial features of architectural drawing separately. Beyond this research, the collective subjectivity of the Chinese traditional drawings will facilitate the revealing of the transitional experience from traditions to drawing modernity, where the individual subjective identities and intentions of architects arise. This research will root for the understanding both the ambivalence and affinity of the drawing modernity encountering the traditions.

Keywords: Chinese traditional architectural drawing (tu), etymology of tu, collective subjectivity of tu, geometrical cosmology in tu, geometry and composition of tu, Yang-shi-lei tu

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Authors: Shatarupa Thakurta Roy

Abstract:

Along the limelight of mainstream academic practices in Indian art, exist a significant lot of habitual art practices that are mutually susceptible in their contemporary forms. Narrative folk paintings of regional India has successfully dispersed to its audience social messages through pulsating pictures and orations. The paper consists of images from narrative scroll paintings on ‘Ramayana’ theme from various neighboring states as well as districts in India, describing their subtle differences in style of execution, method, and use of material. Despite sharing commonness in the choice of subject matter, habitual and ceremonial Indian folk art in its formative phase thrived within isolated locations to yield in remarkable variety in the art styles. The differences in style took place district wise, cast wise and even gender wise. An open flow is only evident in the contemporary expressions as a result of substantial changes in social structures, mode of communicative devices, cross-cultural exposures and multimedia interactivities. To decipher the complex nature of popular cultural taste of contemporary India it is important to categorically identify its root in vernacular symbolism. The realization of modernity through European primitivism was rather elevated as a perplexed identity in Indian cultural margin in the light of nationalist and postcolonial ideology. To trace the guiding factor that has still managed to obtain ‘Indianness’ in today’s Indian art, researchers need evidences from the past that are yet to be listed in most instances. They are commonly created on ephemeral foundations. The artworks are also found in endangered state and hence, not counted much friendly for frequent handling. The museums are in dearth of proper technological guidelines to preserve them. Even though restoration activities are emerging in the country, the existing withered and damaged artworks are in threat to perish. An immediacy of digital achieving is therefore envisioned as an alternative to save this cultural legacy. The method of this study is, two folded. It primarily justifies the richness of the evidences by conducting categorical aesthetic analysis. The study is supported by comments on the stylistic variants, thematic aspects, and iconographic identities alongside its anthropological and anthropomorphic significance. Further, it explores the possible ways of cultural preservation to ensure cultural sustainability that includes technological intervention in the form of digital transformation as an altered paradigm for better accessibility to the available recourses. The study duly emphasizes on visual description in order to culturally interpret and judge the rare visual evidences following Feldman’s four-stepped method of formal analysis combined with thematic explanation. A habitual design that emerges and thrives within complex social circumstances may experience change placing its principle philosophy at risk by shuffling and altering with time. A tradition that respires in the modern setup struggles to maintain timeless values that operate its creative flow. Thus, the paper hypothesizes the survival and further growth of this practice within the dynamics of time and concludes in realization of the urgency to transform the implicitness of its knowledge into explicit records.

Keywords: aesthetic, identity, implicitness, paradigm

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Authors: Van Huong Mai, Kanokwan Nithiratphat, Adool Booncham

Abstract:

The Movement of Contemporary Life consisted of two purposes, which were to study the movement and development of the modern life and to create the visual arts, which were paintings expressed via the form of apartment buildings was used from mixed media (digital printing and acrylic painting on canvas) which conveyed the rapid pace of modern life leading to diverse movements in viewer’s feeling. The operation of this creation was collected field data, documentary data, and influence from creative work. The data analysis was analyzed in order to theme, form, technique, and process to satisfy of concept and special character of the pieces.

Keywords: movement, contemporary life, visual art, acrylic painting, digital art, urban space

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