Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

THE EFFECT OF SOCIOLOGICAL CHANGES IN TURKEY AFTER 1970’s ON THE COLOR AND DRAWING OF MEHMET GULERYUZ'S

The second half of the 20th century witnessed many political and social upheavals in the Republic of Turkey as well as in the rest of the world. The political turmoil and chaos that occurred after 1970, which we determined as the limit of our study, and the social values that started to change with the introduction of technology in the institutional field after 1980 and in the individual life after 1990 caused the Turkish society to change at different speeds. Mehmet Güleryüz, who is the artist of the is a sensitive painter who observes, assimilates and has succeeded in reflecting these problems in his works by passing these problems through his intellectual filter with his ability to analyze with universal accuracy. In this study, the subject and drawing of Guleryuz's paintings were studied in this context. Keywords: Mehmet Guleryuz, 70’s, oil painting

The Image of the Yellow (Huang He) River in Chinese Painting

The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.

The Turn and Change of Chinese Contemporary Oil Painting Patterns

Oil painting in China's local development breaks the shackles of traditional formal language and further highlights the innovation and turn of oil painting's iconography. This paper will focus on the rebellion of pictorial vision against tradition, the widening of the boundaries of vision and how pictorial personality uses the medium.

Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting

The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenological research, taking days and weeks for paint to dry before new layers can be applied. This slowness produces phusis within me as an artist, as I am forced to withdraw from the painting while its layers dry and we reassume an unfamiliarity with one another as dual subjects. Through oil painting, landforms’ alterity shifts towards familiarity. Earth’s elements originate in deep time, pre-dating human experience. Cycling within me is a repository of minerals, water, and salinity originating in deep time. This draws attention to alterity within my own body. By practicing phenomenological research through painting landforms, I encounter the phenomenological paradox of deep time and come face-to-face with the originary elemental origin I share with landforms.

Adaptive Extraction of Oil Painting Texture Features Based on Reaction Diffusion Equation

The oil painting retrieval technology based on the reaction diffusion equation has attracted widespread attention in the fields of oil painting processing and pattern recognition. The description and extraction of oil painting information and the classification method of oil paintings are two important processes in content-based oil painting retrieval. Inspired by the restoration and decomposition functional model of equal oil painting, we propose a reaction diffusion equation model. The new model contains two reaction diffusion equations with different principal parts. One principal part is total variation diffusion, which is used to remove noise. The other main part is thermal diffusion, which is used to modify the source term of the denoising reaction-diffusion equation to achieve the effect of protecting the texture of the oil painting. The interaction of the two reaction-diffusion equations finally achieves denoising while maintaining the boundaries and textures. Under the framework of the above reaction diffusion equation model, we introduce Laplace flow to replace the original total variation flow, so that the new denoising reaction diffusion equation combines the isotropic diffusion and total variation flow of the thermal reaction diffusion equation to achieve the effect of adaptive theoretical research. Using regularization methods and methods, we, respectively, get the well-posedness of the two model solutions, which provides the necessary preparation for numerical calculations. Based on the statistical theory and classification principles of support vector machines, combined with the characteristics of oil painting classification, the research and analysis are carried out from the three important aspects of kernel function, training algorithm, and multiclass classifier algorithm that affect the classification effect and speed. Numerical experiments show that the given filter model has a better processing effect on images with different types and different degrees of noise pollution. On this basis, an oil painting classification system based on texture features is designed, combined with an improved gray-level cooccurrence matrix algorithm and a multiclass support vector machine classification model, to extract, train, and classify oil paintings. Experiments with three types of oil paintings prove that the system can achieve a good oil painting classification effect. Different from the original model, the new model is based on the framework of reaction-diffusion equations. In addition, the new model has good effects in removing step effects, maintaining boundaries and denoising, especially in maintaining texture.

A Study on the Retouching Materials for Oil Paintings - Using Restoration Colors and Acrylic Gouache -

In this study, we compare the properties and estimate the durability of five oil colors that are the most popularly used colors in the conservation of oil paintings. A set of these colors was obtained form four manufacturers each, and their properties were analyzed by conducting deterioration experiments. Subsequently, we observed the colors and performed X-ray fluorescence analysis. As a result of colour observation and XRF analysis, it was confirmed that there are the differences according to the pigment types, mixing rations and the manufacturers even for colors having the same product name. The deterioration test indicated differences in the appearance of the colors ; for instance, the color difference was above 12.0 in most of the samples, including restoration color and acrylic gouache. In the case of Lemon Yellow a lot of discoloration and cracking occurred, and difference in gloss was ob served in Viridian of manufacturer C. Most cracks were ob served in the restoration color obtained from manufacturer B and were assumed to be because of the resin used by the manufacturer. Nevertheless, additional research will have to be conducted by controlling variables in order to find out the cause. Through this study, we demonstrated that retouching materials for conservation of oil painting differed in their physical properties according to the color and manufacturer. Therefore a conservator should be mindful during the selection and use of materials for retouching oil paintings.