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2022 ◽  
Vol 2022 ◽  
pp. 1-10
Author(s):  
Xuhui Fu

With the continuous development and popularization of artificial intelligence technology in recent years, the field of deep learning has also developed relatively rapidly. The application of deep learning technology has attracted attention in image detection, image recognition, image recoloring, and image artistic style transfer. Some image art style transfer techniques with deep learning as the core are also widely used. This article intends to create an image art style transfer algorithm to quickly realize the image art style transfer based on the generation of confrontation network. The principle of generating a confrontation network is mainly to change the traditional deconvolution operation, by adjusting the image size and then convolving, using the content encoder and style encoder to encode the content and style of the selected image, and by extracting the content and style features. In order to enhance the effect of image artistic style transfer, the image is recognized by using a multi-scale discriminator. The experimental results show that this algorithm is effective and has great application and promotion value.


2021 ◽  
Vol 15 (2) ◽  
pp. 71-86
Author(s):  
Waridah Muthiah ◽  
Agus Sachari ◽  
Pindi Setiawan

Pemujaan terhadap Parwati mendapatkan tempat yang penting pada era Hindu-Buddha di nusantara, sehubungan dengan kedudukan Parwati sebagai śakti dari dewa tertinggi dalam Śiwaisme, Dewa Śiwa. Hal ini ditunjukkan oleh keberadaan arca-arca dewi dan arca perwujudan ratu, yang beberapa di antaranya menjadi koleksi Museum Nasional di Indonesia. Akan tetapi, asal waktu dan identitas tokoh pada kebanyakan arca ini belum dapat diidentifikasi. Mahkota atau hiasan kepala sebagai bagian dari atribut (lakṣana) arca dapat digunakan sebagai sumber informasi melalui kajian terhadap gaya atau langgam estetika. Penelitian ini merupakan upaya untuk memahami variasi mahkota arca Parwati yang berasal dari era Majapahit, khususnya abad ke-14 M dan 15 M, berdasarkan identifikasi gaya seni dan kecenderungan penggambaran pada masa tersebut. Penelitian dilakukan menggunakan metode deskriptif-komparatif dengan pendekatan ikonografi dan morfologi estetis. Hasil penelitian menunjukkan bahwa ada dua kecenderungan penggambaran mahkota Parwati. Patung dari Kediri dan Blitar cenderung menggambarkan mahkota Parwati dengan bentuk yang mendekati langgam Klasik Awal (Jawa Tengah), dengan menampilkan mahkota semata-mata sesuai kanon Manasara, seperti jatāmakuta, kesabandha, dan kuntala. Kecenderungan kedua menampilkan Parwati mengenakan kirīṭamakuta, yang merupakan atribut Wisnu, dan penyejajaran sifat dan kedudukannya sebagai sosok pemelihara.The worship of Parvati has an important place in the Hindu-Buddhist era in the Indonesian archipelago, with regard to Parvati's position as the spouse of the supreme god in Shivaism, Shiva. This is indicated by the presence of goddess statues and statues of the embodiment of a queen, which some are in the collections of the National Museum in Indonesia. However, the chronology and identity of the National Museum statues collection have not been distinguished. Information on both aspects of a statue can be achieved by means of the study of style or aesthetic of a crown or headdress as a feature of lakṣana (statue attribute). This research is an attempt to understand the varieties of the crowns of the Parwati statue from the Majapahit era, especially the 14th and 15th centuries, based on the identification of the art style and depiction tendencies during this period. This research was conducted using a descriptive-comparative method with approaches of iconography and aesthetic morphology. The results indicate that there are two trends in depicting Parwati’s crown. The statues from Kediri and Blitar tend to depict Parvati's crown in a form similar to those of the Early Classical (Central Javanese) style, by displaying the crown solely according to the scripture of Manasara, such as jatāmakuta, kesabandha, and kuntala. The second trend presents Parvati wearing the kirīṭamakuta, which is an attribute of Vishnu, which correlates to her nature and position as a guardian.


AMERTA ◽  
2021 ◽  
Vol 39 (2) ◽  
pp. 129-146
Author(s):  
Ashar Murdihastomo, S.S. ◽  
Sukawati Susetyo

Abstract. Reinterpretation of The Relative Date of The Four Stone Sculptures Collection of The National Museum of Indonesia. The results of research on the art style of the Kāḍiri period statues in 2020 show that four statues have been identified as requiring renewal. The information in question is related to the relative dating of the statue. The information written on the museum's information label for the four statues comes from the XI-XII centuries AD. However, when examined based on the art style of the statues, the four have younger characteristics. Therefore, the question arises, what are the characteristics of the sculptures from the four statues in the collection of the National Museum of Indonesia, and when is the relative date indicated by the art style of the statues? This study aimed to determine the art style of the four statues from the collection of the Indonesian National Museum and provide new information on the chronology of the time of the statues. This study uses a qualitative approach based on the descriptive-explanative principle in conducting the analysis using the principles of iconography and ancient sculpture art styles. The results obtained indicate that the four statues have two sculpture characters, namely the Majapahit era and the late Majapahit period, with a relative date range of the XIV-XV centuries AD.   Abstrak. Hasil penelitian tentang gaya seni arca masa Kāḍiri tahun 2020 memperlihatkan ada empat arca yang teridentifikasi memerlukan pembaruan. Informasi yang dimaksud terkait dengan pertanggalan relatif arca. Keterangan yang tertulis pada label informasi museum keempat arca tersebut berasal dari abad XI--XII Masehi.  Namun, apabila dikaji berdasarkan gaya seni arcanya, keempatnya memiliki ciri yang lebih muda. Oleh karena itu, muncul pertanyaan apakah ciri seni arca dari empat arca koleksi Museum Nasional Indonesia tersebut dan kapan pertanggalan relatif yang ditunjukkan oleh gaya seni arca itu? Tujuan penelitian ini adalah untuk mengetahui gaya seni arca keempat arca koleksi Museum Nasional Indonesia dan memberikan informasi baru terhadap kronologi waktu arca tersebut. Kajian ini menggunakan pendekatan kualitatif yang didasarkan pada prinsip deksriptif-eksplanatif. Dalam melakukan analisis menggunakan prinsip ikonografi dan gaya seni arca kuno. Hasil yang diperoleh menunjukkan bahwa keempat arca tersebut memiliki dua karakter seni arca, yaitu masa Majapahit dan masa akhir Majapahit dengan kisaran pertanggalan relatif abad XIV-XV Masehi.


2021 ◽  
Vol 14 ◽  
pp. 172-178
Author(s):  
Wenqi He

The Gandhara region of India was the origin of Buddhist art, and, due to its unique geographical location, it was a place where European and Asian civilizations mingled. The original Gandhara Buddhist art style was largely influenced by the style of Classical Greek sculpture. With the gradual development, its sculpture art and Buddhist stories entered a prosperous period and began to spread eastward, exerting a profound impact on the development of Buddhist art in the early stage of western Regions and later in Xinjiang.


2021 ◽  
Author(s):  
Pranjal Singh ◽  
Gondi Surender Dhanunjay ◽  
Thakur Santosh ◽  
Bhavana S ◽  
K. Vengatesan ◽  
...  

This paper analyzes the Japanese Animation (Anime), their art style, how it is created, about popular Anime series and movies, their growth, and adaptation in India and mainly about the growing Anime fans. Majority of Anime series and movies still use two-dimensional (2D) animation style even though there are constant technological advancements in the field of media and entertainment. Though there are setbacks in Anime, we can observe that the growth in Anime viewership is constantly rising. The animation pipeline system that is involved in the making of an Anime will also be explained in detail for a better understanding of the animation process. A research is conducted through a questionnaire form to collect the required information for the study. The data collected is examined methodically and reported. The respondents are the Anime fans, Anime viewers, Anime influencers of all age groups. The survey is mainly to understand why they prefer watching Anime, how often they watch anime? what do they like about it? how were thy influenced to watch Anime? and if Anime fans influenced other individuals to watch Anime and how many people have, they influenced to watch Anime.


2021 ◽  
pp. 285-318
Author(s):  
Eugen J. Pentiuc

This chapter makes use of all the data gathered over the six previous chapters by lexical-biblical-theological analyses of selected hymns. The final chapter is a compilation of key features and hermeneutical procedures of the “liturgical exegesis,” prefaced by a discussion on “liturgized Bible” and several Bible collections used by liturgists (Prophetologion, lectionaries, Psalter, etc.). For a better understanding of the notion of liturgized Bible and its correlative, liturgical exegesis, the chapter proposes an analogy between liturgical exegesis and the early-twentieth-century art style of cubism. Among the key features of liturgical exegesis are aural (hymnography) and visual (iconography) media, integration, collaboration, and actualization. Among hermeneutical procedures are hermeneutical pointers, intertextualities, and typologies. The typologies used by Byzantine hymnographers may be chiastic, reciprocal, embedded, converted, and meta-typologies. The chapter concludes with a list of dissimilarities between patristic biblical commentaries and liturgical exegesis.


Author(s):  
Olle Jilkén

This article explores the visual representation and function of the folkloric Scandinavian nix in the manga series Oblivion High (2012–2014) published by the manga studio Ms Mandu. The aim of the research is to investigate how a well-known folkloric image develops and to consider the nix’s portrayal of masculinity. The article is a critical cultural study based on feminist and queer perspectives on visual culture and folklore studies. The article concludes that the nix in Oblivion High must update his desirability through spectacular clothing and change of musical instrument to meet the contemporary Western heteronormative masculinity ideals. His weakness to the metal iron ties into the nix’s association to fairies and the construction of the nix’s underwater realm is connected to Norse mythology with the appearance of Aino from the Finish national epos Kalevala, Nornorna and hints of the Norse god Odin. Furthermore, the androgynous art style of shōjo manga (a sub-genre aimed at female teenage readers) creates a heterosexual female gaze pattern, while the imagery of a bishōnen (beautiful boy) connects the character Nix to the literary trope of the ‘pretty boy,’ leaving hegemonic masculinity unchallenged.


2021 ◽  
Author(s):  
Hao Su ◽  
Jianwei Niu ◽  
Xuefeng Liu ◽  
Qingfeng Li ◽  
Ji Wan ◽  
...  
Keyword(s):  
Qr Codes ◽  

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Xingyu Xie ◽  
Bin Lv

Convolutional Neural Network- (CNN-) based GAN models mainly suffer from problems such as data set limitation and rendering efficiency in the segmentation and rendering of painting art. In order to solve these problems, this paper uses the improved cycle generative adversarial network (CycleGAN) to render the current image style. This method replaces the deep residual network (ResNet) of the original network generator with a dense connected convolutional network (DenseNet) and uses the perceptual loss function for adversarial training. The painting art style rendering system built in this paper is based on perceptual adversarial network (PAN) for the improved CycleGAN that suppresses the limitation of the network model on paired samples. The proposed method also improves the quality of the image generated by the artistic style of painting and further improves the stability and speeds up the network convergence speed. Experiments were conducted on the painting art style rendering system based on the proposed model. Experimental results have shown that the image style rendering method based on the perceptual adversarial error to improve the CycleGAN + PAN model can achieve better results. The PSNR value of the generated image is increased by 6.27% on average, and the SSIM values are all increased by about 10%. Therefore, the improved CycleGAN + PAN image painting art style rendering method produces better painting art style images, which has strong application value.


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