Search Results (27)

This article examines Xinzeng Gegu yaolun 新增格古要論 (Expanded Essential Criteria of Antiquities), a connoisseurship manual compiled in 1460 by the mid-Ming official Wang Zuo 王佐. Drawing upon Cao Zhao’s 曹昭 early Ming Gegu yaolun 格古要論 (Essential Criteria of Antiquities), Wang reconfigured a manual focused on authentication and appreciation into a text structured by Confucian values and political ethics. He added ritual-oriented entries in chapters four and ten through thirteen, such as “An Examination of Song Dynasty Attire and Rank Titles” 宋制服裝入銜考 and “An Inquiry into Gold and Silver Insignia” 佩金銀牌考, reinforcing Confucian ideology through commentary on ritual institutions and the inclusion of imperial edicts and commemorative inscriptions. He also reorganized the placement of guqin 古琴, calligraphy and painting, while redefining evaluative standards to integrate material objects into moral instruction and bureaucratic discipline. In doing so, Wang reinforced a shared community of scholar–officials, using ritual hierarchy, loyalist writings, and gift exchange to respond to the uncertainty of a fractured political order. This article argues that through a non-canonical text like Xinzeng Gegu yaolun, mid-Ming scholar–officials extended Confucian discourse into antiquities, transforming antiquarian writing into a visible enactment of ethical values and collective identity. Full article

The artistic expression inherent in Chinese paintings serves as a conduit for the artists’ emotional and cognitive expression. However, current research lacks consensus regarding the distinct psychological mechanisms underlying the appreciation of Chinese painting genres (landscape vs. figure paintings). This study—employing a vocabulary generation task and the Implicit Association Test (IAT) to compare semantic representation and emotional awareness during participants’ viewing these two types of paintings—aims to elucidate potential disparities in aesthetic processing. In Experiment 1, although both types of paintings produced an abundance of content words, figure paintings elicited a greater number of emotional association words than landscape paintings. Meanwhile, Experiment 2 demonstrated faster response times for an incompatible joint task versus a compatible joint task. These findings collectively suggest that the aesthetic of paintings may engage automatic processes, with the effects on semantic representation and emotional awareness appearing to be independent of the type of paintings. The predominance of content processing over emotional response may be attributed to the temporal characteristics of emotional arousal. Full article

Archaeology is a well-established discipline that sheds light on human history and uncovers the mysteries of materials, their origins, production methods, and areas of use. It provides significant insights into various topics such as the production history of glass and other materials, trade routes, manufacturing processes, degradation mechanisms, regional usages, and coloring com-positions. Glass, an ancient yet contemporary material, can transmit, absorb, and reflect light. Appreciating glass art requires recognizing its rich history, offering artists technical and aesthetic possibilities in modern life and architecture. This study examines the influence of archaeological research and the artistic character of ancient glass on contemporary glass art. Archaeological findings from Turkey and around the world have been reviewed, with a particular focus on the Phrygian Valley, located in and around Eskişehir, an important region for the Phrygian civilization. Artifacts unearthed through excavations and sur-face surveys conducted in the Phrygian Valley, and preserved in the Eskişehir Eti Archaeology Museum, have been analyzed. The museum houses approximately 22.500 artifacts, including sculptures, steles, ceramics, glass vessels, metal objects, jewelry, and coins. Inspired by these artifacts and Phrygian culture, original glass designs have been created using techniques such as stained glass, lampworking, and glass painting. The aim of the study is to interpret Phrygian art and culture through innovative designs. Full article

Azurite, a natural mineral pigment consisting of basic copper carbonate (2CuCO₃·Cu(OH)₂), is one of the Middle Ages’ most common blue pigments. Why paintings originally coated with azurite appear blackened today remains debated. Using a non-invasive multi-analytical approach, the study analysed several unexpectedly black-appearing details (objects such as books or clothing such as veils, robes, or mantles) in Antoine de Lonhy’s works. The aim was to investigate if the black colour was due to intentional iconographic reasons, incautious restoration work, or painting deterioration. The analytical results displayed the presence of the blue pigment azurite, therefore, the expected original colour of various areas should be blue. To shed light on the discussion regarding the blackening, several other Renaissance paintings with similar black details were analysed, all from the same period and geographic area as de Lonhy’s works and conserved under identical conditions. The reasons why the blackening takes place are still unclear. However, the combined use of X-ray fluorescence spectrometry (XRF), UV-visible diffuse reflectance spectrophotometry with optical fibres (FORS), portable X-ray diffraction (XRD), and the elemental mapping based on the XRF data revealed that these blackened areas were originally painted with azurite, suggesting they were once blue. This finding significantly changes the overall appreciation of these artworks. Full article

The goal of neuroaesthetic research is to understand the neural mechanisms underpinning the perception and appreciation of art. The human brain has the remarkable ability to rapidly recognize different artistic styles. Using functional connectivity, this study investigates whether there are differences in connectivity networks formed during the processing of abstract and figurative paintings. Eighty paintings (forty abstract and forty figurative) were presented in a random order for eight seconds to each of the 29 participants. High-density EEG recordings were taken, from which functional connectivity networks were extracted at several time points (−300, 100, 300 and 500 ms). The debiased weighted phase lag index (dwPLI) was used to extract the connectivity networks for the abstract and figurative conditions across multiple frequency bands. Significant connectivity differences were detected for both conditions at each time point and in each frequency band: delta (p < 0.0273), theta (p < 0.0292), alpha (p < 0.0299), beta (p < 0.0275) and gamma (p < 0.0266). The topology of the connectivity networks also varied over time and frequency, indicating the multi-scale dynamics of art style perception. The method used in this study has the ability to identify not only brain regions but their interaction (communication) patterns and their dynamics at distinct time points, in contrast to average ERP waveforms and potential distributions. Our findings suggest that the early perception stage of visual art involves complex, distributed networks that vary with the style of the artwork. The difference between the abstract and figurative connectivity network patterns indicates the difference between the underlying style-related perceptual and cognitive processes. Full article

This study aimed to explore the experience of painting appreciation through desktop virtual reality (VR) and a heads-up display (HTC Vive) and compare it with those of a physical painting and album. The study included 52 university students who viewed paintings in all four environments and answered a subjective feelings questionnaire. The results show that the physical paintings generated more positive emotions, such as pleasure, relaxation, and calmness, than virtual paintings. Additionally, the physical paintings were perceived and evaluated as more original, attractive, and valuable. Moreover, among the virtual paintings, the landscape paintings were more popular than abstract ones, whereas among the physical paintings, the abstract paintings were preferred. The head-mounted display made the participants feel uncertain about moving in the physical environment, and the transmission line connecting it to the computer limited their movements. Therefore, it is necessary to enhance the quality and ease of interactions in VR environments to make virtual paintings appear as impressive as physical ones. Full article

Polydimethylsiloxane (PDMS) organogel sponges were prepared and studied in order to understand the role of pore size in an elastomeric network on the ability to uptake and release organic solvents. PDMS organogel sponges have been produced according to sugar leaching techniques by adding two sugar templates of different forms and grain sizes (a sugar cube template and a powdered sugar template), in order to obtain materials differing in porosity, pore size distribution, and solvent absorption and liquid retention capability. These materials were compared to PDMS organogel slabs that do not contain pores. The sponges were characterized by Fourier-transform infrared spectroscopy with attenuated total reflectance (FTIR-ATR) and compared with PDMS slabs that do not contain pores. Scanning electron microscopy (SEM) provided information about their morphology. X-ray micro-tomography (XMT) allowed us to ascertain how the form of the sugar templating agent influences the porosity of the systems: when templated with sugar cubes, the porosity was 77% and the mean size of the pores was ca. 300 μm; when templated with powdered sugar, the porosity decreased to ca. 10% and the mean pore size was reduced to ca. 75 μm. These materials, porous organic polymers (POPs), can absorb many solvents in different proportions as a function of their polarity. Absorption capacity, as measured by swelling with eight solvents covering a wide range of polarities, was investigated. Rheology data established that solvent absorption did not have an appreciable impact on the gel-like properties of the sponges, suggesting their potential for applications in cultural heritage conservation. Application tests were conducted on the surfaces of two different lab mock-ups that simulate real painted works of art. They demonstrated further that PDMS sponges are a potential innovative support for controlled and selective cleaning of works of art surfaces. Full article

The distinctive and visually striking wooden masks associated with the Bwa culture in Burkina Faso, West Africa, are carved from a soft wood into different shapes and display various geometrical patterns and symbols according to their purpose. One of their characteristic features is the use of the colors black, red, and white, which evoke the three major rivers crossing the country: the Black, Red, and White Voltas. According to published accounts of scholars who have worked directly with the artists, the materials used to obtain these colors include reptile excrement for the white, iron-rich stones powdered and mixed with egg or plant gums for the red, and boiled Acacia seed pods for the black, as well as modern materials such as enamel paint in some cases. A group of four Bwa masks in the Arts of Africa collection of the Art Institute of Chicago was investigated using a complement of analytical techniques including Fourier transform infrared spectroscopy, scanning electron microscopy with energy dispersive spectroscopy, pyrolysis gas chromatography–mass spectrometry, and mass spectrometry-based proteomics to characterize their painting materials. The results obtained corroborate the published accounts, while also providing new insights into the nature of the coloring materials and the selection and substitution of pigments and binders. These findings highlight the complementary value of scientific research, in combination with fieldwork and artists’ accounts, to generate a fuller understanding and appreciation of this traditional artistic practice. Full article

The aim of this paper is to introduce the public to the virtual depot of the Gallery of Matica Srpska (GMS), which showcases a collection of sculptures that have been digitized using a Structure-from-Motion photogrammetry and presented by the use of virtual reality and paintings, and drawings were presented through a digital flipbook application. Through the application of cutting-edge methods, highly precise digital replicas of these significant cultural artifacts have been created with details that are difficult to see without a magnifying glass when observing the physical artifact. Additionally, it explores the profound significance and advantages of the virtual depot, such as facilitating remote access, augmenting preservation endeavors, and fostering interdisciplinary collaborations, academic research, educational purposes, and public engagement. The implementation of the virtual depot offers a novel approach to showcasing and studying cultural heritage, opening up new possibilities for the exploration and appreciation of these artifacts in a digital environment. Today, the collection of the GMS encompasses more than 10,000 art objects, which means that one visitor would need about 53 years to access each individual artifact. Virtual depot enables each visitor to do this much faster, but more importantly, in any occasion and setting that they find suitable. Full article

With the rapid development of artificial intelligence painting technology, artificial intelligence in painting has left us confused about the relationship between art and people, and even some people have revisited the old saying of “the end of art”. It has had a certain impact on the status and value of humanity as the subject of paintings, triggering public doubts about the absolute nature of humanity as the subject of art, and bringing anxiety to social subjects. Based on this, we need to re-examine the phenomenon and value of the application of artificial intelligence in painting. This article aims to elaborate on the following three aspects. Firstly, from the perspective of painting appreciation, it is explained that human intelligence involves an incomprehensible special experience, resulting in the fusion of perspectives between creators and connoisseurs, as well as between individual connoisseurs. Secondly, from the perspective of painting tools, it is pointed out that artificial intelligence is an advanced tool and means of human intelligence in the process of painting, an external extension of the body, and has opened up new artistic spaces. Thirdly, from the perspective of painting and artistic creation, it is emphasized that human intelligence involves a private field that can be recognized as an artistic subject. This study is aimed at illustrating the irreplaceable role of human intelligence in the art of painting and the limitations of artificial intelligence. Full article

Contemporary muralism is one of the most widespread manifestations of urban art in cities nowadays. Loss of colour (fading) due to degradation of the pictorial materials is one of the main manifestations of deterioration in this type of artwork. However, the application of protective coatings is considered to slow down fading. In this study, two acrylic-based protective coatings were applied to selected areas of a real mural painted with six different alkyd paints and one acrylic paint. The impact of the protective coatings on the original paint colour and the long-term efficacy were evaluated. For purposes of comparison, the same protective coatings were applied to paint mock-ups prepared under controlled conditions and exposed to an outdoor environment with marine influence and to an ultraviolet aging test. At the end of the exposure periods, physical and chemical changes were evaluated using a multi-analytical approach based on stereomicroscopy, Fourier transform infrared spectroscopy and scanning electron microscopy. Both protective coatings modified the original colour of the paints, with the impact being greater in the mural than in the mock-ups. The efficacy of the coatings as colour protectors is more appreciable in the most colour-stable paints. Thus, neither of the coatings provided good protection for the paints most sensitive to deterioration. The protective efficacy of the coatings was also influenced by their chemical composition and affinity for the painted surfaces. Full article

Acoustics has been integrated with archaeology to better understand the social and cultural context of past cultures. Specifically, public events such as rituals or ceremonies, where an appreciation of sound propagation was required to hold an event. Various acoustic techniques have been used to study archaeological sites, providing information about the building characteristics and organizational structures of ancient civilizations. This review aims to present recent advances in Archaeoacoustics worldwide over the last seven years (2016–2022). For this purpose, one hundred and five articles were identified and categorized into two topics: (1) Archaeoacoustics in places, and (2) Archaeoacoustics of musical instruments and pieces. In the first topic, three subtopics were identified: (1) measurement and characterization of places, (2) rock art, and (3) simulation, auralization, and virtualization. Regarding the first subtopic, it was identified that the standards for reverberation times in enclosures are generally applied in their development. In the second subtopic, it was determined that the places selected to make paintings were areas with long reverberation time. The last subtopic, simulation, auralization, and virtualization, is the area of most remarkable growth and innovation. Finally, this review opens the debate to seek standardization of a measurement method that allows comparing results from different investigations. Full article

Coasts form the universal stage on which people interact with the global ocean. Our history is inextricably intertwined with the seashore, being a rich tapestry of archaeological sites that paint a vivid picture of people hunting, foraging, fishing and scavenging at the edge of the sea. Seascapes inspire diverse art forms celebrated through the ages. The world’s sandy beaches have a flummoxing duality of anthropocentric purpose—ranging from the horrors when being theatres of war to first love under a rising moon. ‘Man’s Love of the Sea’ continues to draw people towards the shore: the narrow coastal strip contains everything from holiday cottages to mega-cities. This coastal concentration of the human population is problematic when shorelines erode and move inland, a geological process fastened by climate change. Society’s response is often a heavy investment in coastal engineering to complement and enhance the natural storm protection capacity of beaches and dunes. The coast’s immense cultural, social, and economic significance are complemented by a wealth of natural riches. In the public’s eye, these ecological values can pale somewhat compared with more imminent ecosystem services, particularly protecting human properties from storm impacts. To re-balance the picture, here we illustrate how peer-reviewed science can be translated into ‘cool beach facts’, aimed at creating a broader environmental appreciation of ocean shores. The colourful kaleidoscope of coastal values faces a veritable array of anthropogenic stressors, from coastal armouring to environmental harm caused by off-road vehicles. Whilst these threats are not necessarily unique to coastal ecosystems, rarely do the winds of global change blow stiffer than at the edge of the sea, where millions of people have created their fragile homes on shifting sands now being increasingly eroded by rising seas. Natural shorelines accommodate such changing sea levels by moving landwards, a poignant and powerful reminder that protecting the remaining natural land is primus inter pares in coastal management. There is no doubt that coastal ecosystems and coastal communities face august trials to maintain essential ecosystem services in the face of global change. Whilst bureaucracies are not always well equipped to counteract environmental harm effectively, using measures carrying a social license, many communities and individuals have encouragingly deep values connected to living coastlines. Building on these values, and harnessing the fierce protective spirits of people, are pivotal to shaping fresh models that can enhance and re-build resilience for shores that will continue to be a ‘baroque embarrassment of coastal riches’. Full article

Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in this painting. With the rapid development of digital clothing technology, it provides a new way and path for the restoration of ancient costumes. Based on the costume archaeology of Spring Outing Painting of Madam Guo, this paper uses 3D virtual simulation and reverse engineering technology to restore the costume style of the characters in the picture, realize the digital restoration and protection of the style drawing, paper pattern, and 3D simulation drawing of the characters’ costumes in the picture. Finally, we introduce the fuzzy analytic hierarchy process (FAHP) to comprehensively evaluate the costume restoration effect. Our proposed method solves the problem of the constraints of time and space on the presentation of ancient traditional costumes, promotes the excellent historical culture of China, and provides a certain reference for the modern redesign of ancient costumes. Full article

Dyslexic children have been shown to be more creative than their non-dyslexic counterparts. They have also been shown to have an abnormal oculomotor profile while viewing targets in free space, making vergence or saccadic eye movements while reading or when viewing Op art. They show a slower deceleration of their eye movements and a difficulty in coordinating their two eyes to obtain single fused vision in depth. Interestingly, their abnormal oculo-motor profile is exacerbated while reading more difficult texts. Given these differences, we postulate that dyslexics’ increased creativity may be related to their different eye movement control affecting how they perceive the world. Therefore, we decided to measure adolescent dyslexics’ creativity, oculomotor profile, and subjective responses while they viewed three paintings by Magritte. These were chosen to stimulate the perception of hidden conceptual spaces or stimulate conflict between the perception of the figural and textural content. For the first time to our knowledge, dyslexic adolescents were demonstrated to be more creative in terms of flexibility and fluidity than their non-dyslexic peers. Subjectively, while viewing the Magritte paintings, dyslexics reported fewer conceptual spaces and fewer hidden words than their non-dyslexic peers; thus, they confabulated less than non-dyslexics. Dyslexics also demonstrated an abnormal oculomotor profile similar to those that we have shown when reading, viewing randomized targets, and while perceiving illusions of depth in Op art paintings, in that they demonstrated difficulty with disconjugation and abnormalities in their eye velocity profiles. We propose there may be a link between dyslexic increased creativity and their eye movement abnormalities. Similar to reading nonsense text, we propose that Magritte’s contradictory paintings exacerbate dyslexics’ eye movement abnormalities. These eye movement abnormalities while viewing these particular paintings might provide a physiological signature suggesting a contribution of their unusual eye control to their higher creativity scores. Full article