Pictorial Origins of Cinema Narrative: The Illusion of Movement and the Birth of the Scene in the Paleolithic Cave Wall Paintings of Lascaux

1964 ◽  
Vol 4 ◽  
pp. 20 ◽  
Author(s):  
Gerald Noxon
Keyword(s):  
REPRESENTAMEN ◽  
2020 ◽  
Vol 6 (01) ◽  
Author(s):  
Haryono Haryono

Painting is a language expression that is expressed by artists through symbols or visual signs. Painting does not only reveal beauty, but also the role of symbolic language that will be realized by artists. The role of symbolic language in paintings is very influential to imply meaning, both denotation and connotation. Painting in general certainly aims to convey an unlimited message, it can be a social criticism, a historical record, and can also be present as an appeal. The message conveyed depends on what he wants to convey. So the focus of this study, how the role of painting as a visual language is realized through the symbols in the painting. This study uses the literature study method which is reviewed from some previous literature which is used as a sample or reference. The formation of visual language began in cave wall paintings, pictographs, and contemporary paintings such as the Djoko Pekik trilogy. Every painting shows that humans are able to express something through pictures or paintings.Keywords: Painting, Visual Language, Djoko Pekik Celeng Trilogy.


1994 ◽  
Vol 39 (4) ◽  
pp. 385-386
Author(s):  
Peter Crabb
Keyword(s):  

2012 ◽  
Vol 3 (3) ◽  
pp. 136-139
Author(s):  
Dr. Madan Lal Rajyora ◽  
Keyword(s):  

Author(s):  
S. A. Polkhov ◽  

The article provides a Russian translation of the book IX of «Shincho̅-ko̅ ki». This part of the chronicle narrates the renewal of the war between Nobunaga and Honganji Temple. The followers of the True School of Pure Land besieged in Ozaka managed to inflict painful counterattacks against the forces of the “unifier of Japan”. Nobunaga detachments, trying to capture the Kizu fortress on the outskirts of Ozaka were surrounded and defeated. Ban Naomasa, one of his prominent military leaders, was killed, the army from Ozaka attacked the Tenno̅ji fortress, and only the help immediately rendered by Nobunaga saved the garrison from death. After that, Nobunaga blocked Ozakа on land and at sea. However, the fleet of the Mo̅ri house, which joined the ranks of Nobunaga opponents, and the allies of Mo̅ri were able to defeat the naval forces of Nobunaga and deliver provisions to Ozaka, which allowed Honganji to continue the struggle. Book IX also contains a description of the construction of Azuti Castle and its main tower (tenshu), Nobunaga’s residence. The unique information of the chronicle formed the basis for the further reconstruction of the tenshu’s appearance. The castle became the personification of the wealth and omnipotence of Nobunaga, a reflection of his claims to the role of supreme ruler of Japan. The wall paintings of the main tower halls manifest the influence of Confucianism, Buddhism and Taoism. The key symbols of the images are taken from Chinese political ideology.


2018 ◽  
Vol 12 (3) ◽  
pp. 48-58
Author(s):  
Mofida Weshahy ◽  
Ezzat Kadous ◽  
Khaled Alpasuoni ◽  
Sara Halim
Keyword(s):  

2020 ◽  
Author(s):  
Daniel Jones ◽  
◽  
Maurizio Mainiero ◽  
Maurizio Mainiero ◽  
Benjamin T. Auch ◽  
...  

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