ОСОБЛИВОСТІ УКРАЇНСЬКОГО ЖИВОПИСУ У ПОСТМОДЕРНІСТСЬКОМУ ВИМІРІ

The purpose of the study is to identify the postmodernism principles' influence on formation of the distinctive features of Ukrainian painting in the XXIstсentury. Methodology. The research uses a culturological approach to consider postmodernism as a creative method and factor that influences the activities of Ukrainian artists. Formal-stylistic analysis is applied to clarify the connection between creative practices and the principles of postmodernism and to determine their features as well.Results.The analysis of Ukrainian artists' painting practice of the XXI century in the context of the postmodern worldview was carried out. The study focuses on postmodernism as a factor in the development of various artistic styles. The artistic and stylistic features of painting over recent years in Ukraine were analyzed. There was revealed the natural influence of postmodernist principles on domestic painting, characterized by the features of postmodernism, which is manifested in a variety of areas (conceptualism, transavant-garde, contemporary, etc.) and syncretism in art. Although the latest painting practices are integrating into European culture and tend to the Western European tradition, Ukrainian art still saves its distinguishing features. It was found that a feature of Ukrainian postmodernism is the conceptualization of painting, the introduction of deep content into a new format of painting and the synthesis of traditional fine art and new technologies. Scientific novelty lies in the identification of the main distinctive features and patterns of Ukrainian postmodern painting development. The practical significance. Presented results aid to trace postmodernism as a factor of influence on the peculiarities of the formation of new directions in Ukrainian painting practices, which can be used as a theoretical basis for further art criticism analysis of contemporary painting.

Illustrated and Illuminated Manuscripts of the Dalāʾil al-khayrāt from Southeast Asia

Illustrated and illuminated manuscripts of the Dalāʾil al-khayrāt from Southeast Asia are an invaluable resource for our understanding of the painting tradition of this region. The many copies now kept in various institutions attest to its popularity, while the lavish treatment often given to manuscripts indicates the high regard local communities had for this text. The types of images featured are similar to those from other parts of the Islamic world, yet these images, as well as the decorative illumination, also reflect local artistic styles. This paper examines a selection of Southeast Asian manuscripts of the Dalāʾil al-khayrāt dating from the eighteenth and nineteenth centuries, situating them both within the broader context of manuscript production and usage, and the pietistic landscape of the region.

Monumental Painting: Post-Iconoclasm

Although few secular examples of Byzantine monumental painting survive, hundreds of churches throughout the Mediterranean and the Balkans preserve impressive decorative programs. Many of these churches are well studied. Others, however, remain unpublished. Close study of the paintings provides valuable information about techniques, materials, and artistic styles. Church decoration can show enormous regional variation: specific communities and patrons often exerted influence on subject matter. Inscriptions played an important role in many churches, providing an archive of liturgical texts to be spoken and sung and epigrams to be read. Liturgical texts, hymns, and ritual performance were important inspirations for painters and communities in the Middle and Late Byzantine periods. Phenomenological effects of sound and light were also considered in monumental decoration.

Interactive Artistic Multi-style Transfer

Artistic style transfer is to render an image in the style of another image, which is a challenge problem in both image processing and arts. Deep neural networks are adopted to artistic style transfer and achieve remarkable success, such as AdaIN (adaptive instance normalization), WCT (whitening and coloring transforms), MST (multimodal style transfer), and SEMST (structure-emphasized multimodal style transfer). These algorithms modify the content image as a whole using only one style and one algorithm, which is easy to cause the foreground and background to be blurred together. In this paper, an iterative artistic multi-style transfer system is built to edit the image with multiple styles by flexible user interaction. First, a subjective evaluation experiment with art professionals is conducted to build an open evaluation framework for style transfer, including the universal evaluation questions and personalized answers for ten typical artistic styles. Then, we propose the interactive artistic multi-style transfer system, in which an interactive image crop tool is designed to cut a content image into several parts. For each part, users select a style image and an algorithm from AdaIN, WCT, MST, and SEMST by referring to the characteristics of styles and algorithms summarized by the evaluation experiments. To obtain richer results, the system provides a semantic-based parameter adjustment mode and the function of preserving colors of content image. Finally, case studies show the effectiveness and flexibility of the system.

Artwork style transfer model using deep learning approach

Art in general and fine arts, in particular, play a significant role in human life, entertaining and dispelling stress and motivating their creativeness in specific ways. Many well-known artists have left a rich treasure of paintings for humanity, preserving their exquisite talent and creativity through unique artistic styles. In recent years, a technique called ’style transfer’ allows computers to apply famous artistic styles into the style of a picture or photograph while retaining the shape of the image, creating superior visual experiences. The basic model of that process, named ’Neural Style Transfer,’ has been introduced promisingly by Leon A. Gatys; however, it contains several limitations on output quality and implementation time, making it challenging to apply in practice. Based on that basic model, an image transform network was proposed in this paper to generate higher-quality artwork and higher abilities to perform on a larger image amount. The proposed model significantly shortened the execution time and can be implemented in a real-time application, providing promising results and performance. The outcomes are auspicious and can be used as a referenced model in color grading or semantic image segmentation, and future research focuses on improving its applications.

Integration of Fictional Archaeological Artistic Styles and Modern Brand Design: Artist Daniel Arsham’s Work

At present, with the rapid development of the global economy and improvement of people’s life quality, demands for products are not only limited to the pursuit of practical functions. Instead, people also pursue certain ornamental values besides practical functions. Individualization also becomes an indispensable part. People’s sight enjoying demands cannot be satisfied by many conventional designs anymore. People start paying attention to the uniqueness of products. To this end, brand owners should help enhance the uniqueness of brand product design by some external resources, so as to attract more consumers. Each artist has their own typical artistic style and features. By cooperating with brands, they can bring unique artistic styles to products as well as artistic elements to improve the brand image. Therefore, more and more brands have extracted different artistic elements of artists and embody them in product design in recent years. Integration of these elements and brand design has brought great artistic effects, and the creative and innovative products motivate people’s purchase intention. In the essay, with an introduction to an American modern artist Daniel Arsham and his artistic style, namely fictional archaeological artistic style, the era background of cooperation between art and modern brands as well as their mutual integration forms are described. In the end, the research focuses on how Daniel combined fictional archaeological artistic style with different modern brands in the design and how he added modern technologies to diversify product forms.

Application of Deep Learning Algorithms to Visual Communication Courses

There are rare studies on the combination of visual communication courses and image style transfer. Nevertheless, such a combination can make students understand the difference in perception brought by image styles more vividly. Therefore, a collaborative application is reported here combining visual communication courses and image style transfer. First, the visual communication courses are sorted out to obtain the relationship between them and image style transfer. Then, a style transfer method based on deep learning is designed, and a fast transfer network is introduced. Moreover, the image rendering is accelerated by separating training and execution. Besides, a fast style conversion network is constructed based on TensorFlow, and a style model is obtained after training. Finally, six types of images are selected from the Google Gallery for the conversion of image style, including landscape images, architectural images, character images, animal images, cartoon images, and hand-painted images. The style transfer method achieves excellent effects on the whole image besides the part hard to be rendered. Furthermore, the increase in iterations of the image style transfer network alleviates lack of image content and image style. The image style transfer method reported here can quickly transmit image style in less than 1 s and realize real-time image style transmission. Besides, this method effectively improves the stylization effect and image quality during the image style conversion. The proposed style transfer system can increase students’ understanding of different artistic styles in visual communication courses, thereby improving the learning efficiency of students.

EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION

In the development process of art, it is seen that many different artistic styles follow each other. Each movement has been linked to each other in a chain and the way of expression of the artists has been directly affected by the conditions of the period and the cultural background. Contemporary art is undoubtedly completely different from any movement that comes before it. The sharpest point of the break is that the perception of beauty has changed. As a result of this change, a new type of expression that is often difficult to understand, questioning, related to concepts and contexts has emerged. With the transformative power of contemporary art, every object can gain the ability to represent and become a work of art. In this respect, making iconographic analysis in order to better understand the nature of contemporary art requires evaluating the work together with the conditions of the period. In this study, Damien Hirst's new exhibition named "Fact Paintings and Fact Sculptures" has been examined together with the subject of the works, the explicit or hidden meanings of the objects, the past exhibitions of the artist and the similarities of his works with his past works, and the artistic conditions of the period. As a result of the examination, it is seen that the exhibition clearly reflects Hirst's artistic style.

CREAM MERINGUES VS A DIVINE T-SHIRT: CATALAN IDENTITY IN THE SPANISH SPORTS DISCOURSE

This paper aims to make a sketch in the investigation of the representation of the Catalan identity that is inextricably linked to FC Barcelona in the contemporary Spanish sports discourse from its linguistic perspective within the sociocultural premises. The corpus of the data we have analyzed is translated from the most important Spanish sports newspapers As, Marca, Mundo Deportivo and Sport in the range of 2012-2015, as well as from the books of publicist style, with a particular attention paid to some headlines of the articles to the Champions League Final, World Cup and UEFA Euro Cup. The methods we used are critical discourse analysis, linguisitic description with elements of sociolinguistic research. It was revealed that both newspapers and books of journalistic and artistic styles are filled with lexical units from Catalan language: from slogans up to toponyms, anthroponyms, or cultural realia. The lexical item lo catalán (“Catalan” and “Catalonia”) is incorporated into the broad range of speeches and written texts. The official status of this language is regularized in the Statute of FC Barcelona. The incorporation of the Catalan language is manifested in the discourse of players and coaches, Statutes of FC Barcelona, slogans, toponyms, anthroponyms and cultural realia. We also analyzed the role of deictic markers as an expressive dominant of the texts that constitute the fan-position of the above-mentioned sports newspapers. It was exposed the clear presence of two units of discourse madridismo and barcelonismo that have sociocultural meaning to define the tendency of the rivalry between two sports clubs that goes beyond the mere sport. Sarcasm, irony, and humor are the main communicative strategies of their construction in the contemporary Spanish sports discourse.

Light Forms in Urban Environment

The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.