Search Results (223)

Based on the previous investigation results, this article investigates the ’Du khang of Gung ’phur Monastery in sPu rang, mNga’ ris, identifying the images and corresponding inscriptions on its four walls and interpreting the meaning of the murals. The study concludes that the murals were executed in the Water-tiger year (1602), with involvement from the local king and his minister, as well as native donors and painters from neighboring Nepal. A comparative analysis with relevant temples in sPu rang and Ladakh reveals that the murals reflect the popular themes of the ’Bri gung bka’ brgyud school in Western Tibet from the mid-16th to the early 17th century. As such, the murals attest to the spread of the school in mNga’ ris, and provide first-hand materials for research on the history and royal family of sPu rang around the 17th century. Full article

The representation of atmospheric phenomena and, in particular, clouds was a prominent theme for painters during the transition from the eighteenth to the nineteenth centuries. During this period, under the influence of rationalism and encyclopedism, Luke Howard’s cloud classification (1803) was proposed, gaining followers among scientists and artists of the time. Among the latter, Goethe was instrumental, as he intensely promoted this cloud classification, even dedicating his own poems and drawings to it. From then on, some painters depicted cloud studies following the academic principles recommended by Goethe. Caspar David Friedrich did not adopt these principles and depicted clouds as bodies endowed with freedom and feeling, as fragments of soul. The work of P. H. de Valenciennes played a prominent role in this approach; it was translated into German and became a reference manual for Romantic landscape painting. This paper addresses the scientific and cultural context of that historical moment, studies the importance of the landscape, and its aerial aspect, in the painting of the time and details the role of Friedrich as a singular author of German Romanticism, who did not want to participate in the academic ideas of representing clouds, since the sky was, for this painter, a symbol of the transcendent. Full article

In George Eliot’s The Mill on the Floss (1860), we are cautioned not to judge a book by its cover. Yet, the marketing team at every publisher knows that we, the audience, inevitably do just that. In the case of Arthur Schnitzler’s The Road Into the Open (1908), various editions have featured paintings or drawings by contemporary Austrian artists, including Max Kurzweil, Gustav Klimt, and Egon Schiele, as the cover art. Schnitzler’s novel initially emerges in Pre-World-War-I Austria, a society grappling with political instability, fears about moral decline, and a preoccupation with neuroses. The anxious society that produced Schnitzler, Kurzweil, Klimt, and Schiele has been considered a representation par excellence of fin-de-siècle decadence. Following Gerard Genette’s Paratexts, I inquire as to the effect(s) of cover art and the competing visions of the novel they represent. This study responds to the following questions. How have publishers used or misused decadent imagery in (re)productions of Schnitzler’s novel? What meaning can be made from the use of the works by Kurzweil, Klimt, and Schiele as cover art? What contribution does each work make to our understanding of the Austria in Schnitzler’s novel? How does the reception of the author complement or compete with the reception of each painter? Full article

Existing video inpainting methods typically combine optical flow propagation with Transformer architectures, achieving promising inpainting results. However, they lack adaptive inpainting strategy optimization in diverse scenarios, and struggle to capture high-level temporal semantics, causing temporal inconsistencies and quality degradation. To address these challenges, we make one of the first attempts to introduce reinforcement learning into the video inpainting domain, establishing a closed-loop framework named CLIP-RL that enables adaptive strategy optimization. Specifically, video inpainting is reformulated as an agent–environment interaction, where the inpainting module functions as the agent’s execution component, and a pre-trained inpainting detection module provides real-time quality feedback. Guided by a policy network and a composite reward function that incorporates a weighted temporal alignment loss, the agent dynamically selects actions to adjust the inpainting strategy and iteratively refines the inpainting results. Compared to ProPainter, CLIP-RL improves PSNR from 34.43 to 34.67 and SSIM from 0.974 to 0.986 on the YouTube-VOS dataset. Qualitative analysis demonstrates that CLIP-RL excels in detail preservation and artifact suppression, validating its superiority in video inpainting tasks. Full article

The correct identification of historical artists’ earth pigments is mandatory for cultural, scholarly, and historical applications. This paper focuses on the definition of the distinctive mineralogical, geological, and geochemical properties and the discussion of the geological genesis and place of origin of the natural Fe-Mn-based earth pigment named terra d’ombra (umber). It one of the dark-brown earth pigment most widely used by Italian and European painters from the Renaissance to the nineteenth century. The terra d’ombra earth pigment is a primary chemical sediment mainly composed of Fe (oxy)hydroxide and Mn oxide, produced by the authigenic precipitation from oceanic or lacustrine waters rich in metal solutes of volcanic hydrothermal origin. The principal areas of provenance are the island of Cyprus and the Monte Amiata volcano (southern Tuscany, Italy). Its peculiar properties in painting derive from this specific mineralogical composition and genetic process, which also exclude its definition as a particular type of ochre and as a clay pigment. Further misinterpretations include confusion with pigments composed of organic materials and the erroneous attribution of the name and area of origin to the Italian region of Umbria. Full article

This paper aims to re-examine the roles of engravers and printers in the producing process of Nishiki-e, multicolored woodblock prints made in 18th–19th century Japan. Previous research has privileged the creative ideas of artists while regarding the craftsmen’s work as mere reproduction. In contrast, this paper re-evaluates the Nishiki-e production process, comprising publishers, painters, engravers, and printers, as a “meshwork,” a concept proposed by anthropologist Tim Ingold. By examining documents and specific works from three perspectives of imagery, coloring, and texture, this paper argues that the engravers and printers were also deeply involved in selecting lines and colors in the finished work. It reveals that Nishiki-e were products woven through the correspondence between humans and materials, reflecting economic factors and spectators’ pleasure. Full article

Fotis Kontoglou (1895–1965) was a prominent Greek painter and writer, known primarily for revitalizing byzantine painting in the 20th century and being one of the first artist-conservators in Greece active at this period. The current study represents the first systematic attempt to examine seven (7) icons (i.e., ecclesiastical panel paintings) attributed to Kontoglou, currently located in two famous monasteries in Laconia, Greece. The research utilized exclusively non-destructive analytical techniques, namely digital optical microscopy, UV-induced visible fluorescence photography (UVIVF), and portable X-ray fluorescence (p-XRF) spectroscopy, to identify the materials—particularly pigments—employed in the corresponding paintings. The results are interpreted under the light of Kontoglou’s own writings on painting, in particular his “Ekphrasis” painting manual. Preliminary assessments of surface morphology and state of preservation were achieved through macroscopic and microscopic probing, as well as through inspection under ultraviolet light, while further analysis was performed using portable X-ray fluorescence spectroscopy. The results confirm the employment of both traditional and modern synthetic inorganic components, while comparisons with the pigments listed in Kontoglou’s “Ekphrasis” painting manual suggest his persistent use of a rather limited palette of pigments. Nevertheless, despite the fact that the paintings were executed in a small period of time (1954–1956), data revealed notable differentiation between the studied icons, which probably indicates procurement of materials from various sources. Given the scarcity of technical investigations of modern (20th century) paintings, this study is relevant and reveals some interesting hints, which may pertain to the trends of the mid-20th century Greek paint market, like, e.g., the rather limited distribution of Ti-white. Additionally, the current findings contribute considerably towards understanding Kontoglou’s artistic methods during a highly creative period and can be utilized to support future conservation efforts. Ultimately, the current preliminary study sheds light on some methodological aspects of the pertinent research and assists towards establishing a detailed protocol for future studies. Full article

Text-to-image generative models can be used to imitate historical artistic styles, but their effectiveness in doing so remains unclear. In this work, we propose an evaluation framework that leverages expert knowledge from art history and visual semiotics and combines it with quantitative analysis to assess stylistic fidelity. Three experts rated both historical artwork production and images generated with Midjourney v6 for five major movements (Abstract Art, Cubism, Expressionism, Impressionism, Surrealism) and ten associated painters (male and female pairs), using nine visual criteria grounded in Greimas’s plastic categories and Wölfflin’s stylistic oppositions. Ratings were expressed as 95% intervals on continuous 0–100 scales and compared using our Relative Ratings Map (RRMap), which summarizes relative shifts, relative dispersion, and distributional overlap (via the Bhattacharyya coefficient). They were also discretized in four quality ratings (bad, stereotype, fair, excellent). The results show strong inter-expert variability and more moderate intra-expert effects tied to movements, criteria, criterion groups and modalities. Experts tend to agree that the model sometimes aligns with historical trends but also sometimes produces stereotyped versions of a movement or painter, or even completely missed its target, although no unanimous consensus emerges. We conclude that evaluating generative models requires both expert-driven interpretation and quantitative tools, and that stylistic fidelity is hard to quantify even with a rigorous framework. Full article

This study deals with the painting Snowy Stream, which is often used to represent the style of the poet painter Wang Wei (699–761). This album leaf, with several colophons by Dong Qichang, was long believed to have been in his collection. It played a significant role in giving form to “painter Wang Wei” as the founding patriarch of the Southern School and thereby helped Dong shape his theoretical reorientation of Chinese landscape painting. First, the paper examines the social life of this painting during the time of Dong Qichang and argues that it underwent major remodeling and renovation that significantly changed its format and appearance before being acquired by Cheng Jibai. Dong’s unreserved approval of this painting was largely motivated by financial concerns for the benefit of Cheng. Second, the paper explores the rationale behind the warm reception of this image despite its dubious provenance and severe condition. The author argues that the remodeled image echoes the pastoral theme and level perspective that is a signature of Wang’s poetry, embodies the key doctrines and aesthetics of Chan Buddhism, and demonstrates the visual effect of using a pure ink wash to replace linear outlines and patternized texture strokes. Full article

The identification and location of Sicilian red-figure pottery workshops remain an unresolved issue in archaeological research. Recent studies propose various hypotheses based on the typological and stylistic analyses of the vases and on the distribution of the finds. This paper examines a corpus of red-figure vases from Gela (Sicily), dating from the late 5th to mid-4th centuries BC, attributed to prominent painters from Sicily and Magna Graecia. For the first time, a corpus of fourteen red-figures vases is subjected to X-ray fluorescence elemental analysis (XRF) to compare the results with established compositional data for fine ware Sicilian productions, including those from sites identified in the archaeological literature as potential red-figure workshop centers or areas with relevant attestations. The aim is to geochemically fingerprint the Gela corpus to assess its manufacturing origin and test the prevailing stylistic attribution hypotheses. The compositional similarity in the geochemical fingerprint of the studied corpus points definitively to a single, highly cohesive production area—namely the so-called “Strait of Messina” area, which is distinct from Siracusa which has been traditionally considered the main producer. This finding challenges the existing model of red-figure production in the region and strongly suggests the presence of a major, previously unidentified workshop center serving Gela. Full article

Potatoes are an economically important crop in Virginia, USA, where growers must balance planting dates, nitrogen (N) management, and variable crop prices. Early planting exposes crops to low temperatures that limit growth, whereas late planting increases pest pressure and nutrient inefficiency. This study evaluated the effects of planting dates, N rates, and application timing on potato growth, yield, and pest incidence. We also assessed whether soil physicochemical properties could predict the presence of wireworms and plant-parasitic nematodes (PPNs) using complementary on-farm samples collected across Eastern Virginia between March and July 2023. Three planting dates (early-March, late-March, and early-April) were combined with five N rates (0, 146, 180, 213, and 247 kg N·ha⁻¹) under early- and late-application regimes. We collected data on plant emergence, flowering time, soil nitrate, biomass, tuber yield, pest damage, and UAS-derived metrics. Results showed that late-March planting with 180 kg N·ha⁻¹ achieved the highest gross profit while maintaining competitive yields (25.06 Mg·ha⁻¹), representing 24% and 6% improvements over traditional practices, respectively. Early-April planting produced the largest tubers, with a mean tuber weight 19% higher than the other planting dates. The Normalized Difference Red Edge Index (NDRE) was strongly correlated with N content in plant tissue (R² = 0.81; r ≈ 0.90), and UAS-derived plant area accurately predicted tuber yield 4–6 weeks before harvest (R² = 0.75). Wireworm damage was significantly higher in early-March plantings due to delayed insecticide application, while soil nitrate concentration and percent H saturation were identified as key predictors of wireworm presence. Although less effectively modeled due to limited sample size, PPN occurrence was influenced by potassium saturation and soil pH. Aligning planting dates and nitrogen applications with crop phenology, using growing degree days (GDD), enhanced nitrogen management, and yield prediction. Full article

As the “Ninth Grotto-Heaven” in Daoist tradition, Linwu Cave has served as a symbolic bridge between the human and immortal realms since the Tang Dynasty. During the Ming Dynasty, painters of the Wu School in Suzhou reimagined Linwu Cave through landscape paintings, transforming it into a visual emblem that merged Daoist cosmology with the ancient Chinese literati ideal of reclusion. This article adopts an interdisciplinary approach, combining art history and religious studies, to analyze Linwu Cave-themed paintings by Wu School artists such as Shen Zhou, Wen Zhengming, and Tang Yin. The study examines how these painters reinterpreted the Daoist concept of “grotto-heavens and blessed lands” into “habitable spaces” through a process of “de-ritualization”. This strategy involved the use of imagery such as the alchemical metaphors of stalactites and the qi (vital energy) symbolism of auspicious clouds on sacred mountains, which diminished Daoist ritualistic elements while amplifying the literati’s idealized vision of reclusion. Drawing on local historical records and field investigations, the research further reveals how the transformation of Linwu Cave into a cultural landmark reflected the Ming Dynasty scholar-officials’ cultural strategies. Through art, these individuals articulated the tension between their aspirations for official success and their longing for a secluded life, set against the backdrop of a rigid civil service examination system and intense political rivalries. By employing the theoretical framework of “Sacred Space”, this study argues that literati painting functioned not only as an aesthetic expression but also as a dynamic medium for religious and philosophical ideas. This perspective offers new insights into the interpretation of Daoist art and its broader cultural significance. Full article

Within the framework of an extensive conservation project involving multiple stained-glass windows of the Basilica of San Petronio in Bologna, Italy, this study reports the results of the diagnostic campaign on the rose window depicting Sant’Ambrogio between two angels holding the coats of arms of the Marsili family. The rose window is located in the homonymous chapel and, based on recent studies attributing the cartoon to the Bolognese painter Biagio Pupini, who was active in San Petronio from 1519, is dated to the early sixteenth century. No evidence was found regarding the workshop responsible for the production of the stained-glass window. The window showed no significant conservation issues, either in the glass elements or in the lead cames. However, the extensive degradation of the grisaille—likely caused by a low-quality mixture, improper firing, or aggressive cleaning—resulted in the loss of the original drawing. This study presents the results of non-invasive investigations on the glass tiles of the rose windows and the analyses of deposits present on their surfaces. Fiber Optic Spectroscopy (FOS) in transmittance, X Ray Fluorescence (XRF), and Hyper Spectral Imaging (HIS) in transmittance were used to investigate the glass composing the rose window. Fourier Transform Infrared Spectroscopy (FT-IR) was applied to study deposit samples collected from the external surface of the window. Additionally, only four glass samples, obtained from hidden areas or already detached fragments, were analyzed using Scanning Electron Microscope with Energy-Dispersive Spectroscopy (SEM-EDS). In addition, a photographic processing method is described, which enabled the recovery of the ghost image, the faint trace or imprint left by the grisaille on the glass during firing, allowing the conservators to faithfully reintegrate the original drawing. Full article

Objective: To investigate the sensitization to the dispersal of blue 124, a synthetic dye used in textile applications. The chemical properties of this dye allow it to migrate from fabrics to the skin, posing a risk for sensitization and allergic reactions. Materials and Methods: A retrospective analysis of 30,629 consecutive patch test data from 1997 to 2021 in the Triveneto region (Italy) was performed using disperse blue 124 1% in petrolatum. Data were analyzed to assess trends in sensitization rates across different demographics and occupational groups. Results: The prevalence of sensitization to disperse blue 124 was 2.5% (n. 780 patients) and declined over the considered period, reaching a prevalence of approximately 1.5–1.9% in recent years. Sensitization was slightly higher in women (2.7%) compared to men (2.3%, p = 0.053), and in 36–65-year-old individuals (p < 0.05). Painters and textile workers presented a mild increase in sensitization, without reaching the statistical significance. Discussion: Disperse blue 124 sensitization declined significantly over the considered period, probably as result of the reduced use of this dye in textiles available on the Italian market. Its occupational role is limited. Conclusions: Contact dermatitis associated with disperse blue 124 declined over the considered period, but it is still above 1%, indicating the need for monitoring. Full article

As a painter of the Dutch Golden Age and a pivotal figure in the Northern Renaissance, Vermeer’s oeuvre inaugurated a maritime modernity in the wake of the Protestant Reformation through its odes and elegies to quotidian existence. This essay centers on Vermeer’s masterpiece, Woman Holding a Balance. It scrutinizes and probes the Baroque theater of the soul as depicted by Vermeer through the lens of a post-global, post-colonial Lebenswelt. Grounded in Deleuze’s The Fold, this essay endeavors to furnish a phenomenological and genealogical hermeneutic for Vermeer’s interior scenes. It does so by dissecting Vermeer’s theater of silence, his intrinsic use of light, the female figure behind the fabric, the politics of still life, and the theology and interplay of color. In so doing, this essay aspires to unearth the dialectical, oscillating utopian potential embedded within Vermeer’s imagery. Full article