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painting</title> <meta name="description" content="Search results for: traditional painting"> <meta name="keywords" content="traditional painting"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="traditional painting"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 5011</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: traditional painting</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5011</span> Mixed Model Sequencing in Painting Production Line</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Unchalee%20Inkampa">Unchalee Inkampa</a>, <a href="https://publications.waset.org/abstracts/search?q=Tuanjai%20Somboonwiwat"> Tuanjai Somboonwiwat </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Painting process of automobiles and automobile parts, which is a continuous process based on EDP (Electrode position paint, EDP). Through EDP, all work pieces will be continuously sent to the painting process. Work process can be divided into 2 groups based on the running time: Painting Room 1 and Painting Room 2. This leads to continuous operation. The problem that arises is waiting for workloads onto Painting Room. The grading process EDP to Painting Room is a major problem. Therefore, this paper aim to develop production sequencing method by applying EDP to painting process. It also applied fixed rate launching for painting room and earliest due date (EDD) for EDP process and swap pairwise interchange for waiting time to a minimum of machine. The result found that the developed method could improve painting reduced waiting time, on time delivery, meeting customers wants and improved productivity of painting unit. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sequencing" title="sequencing">sequencing</a>, <a href="https://publications.waset.org/abstracts/search?q=mixed%20model%20lines" title=" mixed model lines"> mixed model lines</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20process" title=" painting process"> painting process</a>, <a href="https://publications.waset.org/abstracts/search?q=electrode%20position%20paint" title=" electrode position paint"> electrode position paint</a> </p> <a href="https://publications.waset.org/abstracts/34291/mixed-model-sequencing-in-painting-production-line" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34291.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">420</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5010</span> Material Analysis for Temple Painting Conservation in Taiwan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chen-Fu%20Wang">Chen-Fu Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lin-Ya%20Kung"> Lin-Ya Kung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder when the materials cannot be easily identified; therefore, it is essential that we take a more scientific approach to assist in conservation work. Paintings materials are high molecular weight polymer, and their analysis is very complicated as well other contamination such as smoke and dirt can also interfere with the analysis of the material. The current methods of composition analysis of painting materials include Fourier transform infrared spectroscopy (FT-IR), mass spectrometer, Raman spectroscopy, X-ray diffraction spectroscopy (XRD), each of which has its own limitation. In this study, FT-IR was used to analyze the components of the paint coating. We have taken the most commonly seen materials as samples and deteriorated it. The aged information was then used for the database to exam the temple painting materials. By observing the FT-IR changes over time, we can tell all of the painting materials will be deteriorated by the UV light, but only the speed of its degradation had some difference. From the deterioration experiment, the acrylic resin resists better than the others. After collecting the painting materials aging information on FT-IR, we performed some test on the paintings on the temples. It was found that most of the artisan used tune-oil for painting materials, and some other paintings used chemical materials. This method is now working successfully on identifying the painting materials. However, the method is destructive and high cost. In the future, we will work on the how to know the painting materials more efficiently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=temple%20painting" title="temple painting">temple painting</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20material" title=" painting material"> painting material</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=FT-IR" title=" FT-IR"> FT-IR</a> </p> <a href="https://publications.waset.org/abstracts/61781/material-analysis-for-temple-painting-conservation-in-taiwan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61781.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">187</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5009</span> The Quality Improvement of Painting Assignments for Grade 4-6 Students by Using PDCA Cycle</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pawinee%20Sorawech">Pawinee Sorawech</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study was to investigate the quality improvement of painting assignments for grade 4-6 students by using PDCA cycle. This study employed a qualitative technique. Suan Sunandha Rajabhat University and its demonstration school were selected as the area of study. An in-depth interview was utilized. The findings revealed that model of PDCA cycle was a proper model to increase the quality of painting assignments for grade 4-6 students. The six steps of improvement included: studying the PDCA model, setting up a plan, determining the scope of work, creating a strategy, developing a quality for painting assignment, and coming up with a handbook for a quality improvement of painting assignment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=quality" title="quality">quality</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20assignments" title=" painting assignments"> painting assignments</a>, <a href="https://publications.waset.org/abstracts/search?q=PDCA%20cycle" title=" PDCA cycle"> PDCA cycle</a>, <a href="https://publications.waset.org/abstracts/search?q=grade%204-6%20students" title=" grade 4-6 students"> grade 4-6 students</a> </p> <a href="https://publications.waset.org/abstracts/14688/the-quality-improvement-of-painting-assignments-for-grade-4-6-students-by-using-pdca-cycle" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14688.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">482</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5008</span> Robotic Arm-Automated Spray Painting with One-Shot Object Detection and Region-Based Path Optimization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iqraq%20Kamal">Iqraq Kamal</a>, <a href="https://publications.waset.org/abstracts/search?q=Akmal%20Razif"> Akmal Razif</a>, <a href="https://publications.waset.org/abstracts/search?q=Sivadas%20Chandra%20Sekaran"> Sivadas Chandra Sekaran</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20Syazwan%20Hisaburi"> Ahmad Syazwan Hisaburi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Painting plays a crucial role in the aerospace manufacturing industry, serving both protective and cosmetic purposes for components. However, the traditional manual painting method is time-consuming and labor-intensive, posing challenges for the sector in achieving higher efficiency. Additionally, the current automated robot path planning has been a bottleneck for spray painting processes, as typical manual teaching methods are time-consuming, error-prone, and skill-dependent. Therefore, it is essential to develop automated tool path planning methods to replace manual ones, reducing costs and improving product quality. Focusing on flat panel painting in aerospace manufacturing, this study aims to address issues related to unreliable part identification techniques caused by the high-mixture, low-volume nature of the industry. The proposed solution involves using a spray gun and a UR10 robotic arm with a vision system that utilizes one-shot object detection (OS2D) to identify parts accurately. Additionally, the research optimizes path planning by concentrating on the region of interest—specifically, the identified part, rather than uniformly covering the entire painting tray. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerospace%20manufacturing" title="aerospace manufacturing">aerospace manufacturing</a>, <a href="https://publications.waset.org/abstracts/search?q=one-shot%20object%20detection" title=" one-shot object detection"> one-shot object detection</a>, <a href="https://publications.waset.org/abstracts/search?q=automated%20spray%20painting" title=" automated spray painting"> automated spray painting</a>, <a href="https://publications.waset.org/abstracts/search?q=vision-based%20path%20optimization" title=" vision-based path optimization"> vision-based path optimization</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title=" deep learning"> deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=automation" title=" automation"> automation</a>, <a href="https://publications.waset.org/abstracts/search?q=robotic%20arm" title=" robotic arm"> robotic arm</a> </p> <a href="https://publications.waset.org/abstracts/176471/robotic-arm-automated-spray-painting-with-one-shot-object-detection-and-region-based-path-optimization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176471.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5007</span> Examining the Functional and Practical Aspects of Iranian Painting as a Visual-Identity Language in Iranian Graphics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arezoo%20Seifollahi">Arezoo Seifollahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the topics that is receiving a lot of attention in artistic circles and among Iran today and has been the subject of many conversations is the issue of Iranian graphics. In this research, the functional and practical aspects of Iranian painting as a visual-identity language in Iranian graphics have been investigated by relying on Iranian cultural and social posters in order to gain an understanding of the trend of contemporary graphic art in Iran and to help us reach the identity of graphics. In order to arrive at Iranian graphics, first, the issue of identity and what it is has been examined, and then this category has been addressed in Iran and throughout the history of this country in order to reveal the characteristics of the identity that has come to us today under the name of Iranian identity cognition. In the following, the search for Iranian identity in the art of this land, especially the art of painting, and then the art of contemporary painting and the search for identity in it have been discussed. After that, Iranian identity has been investigated in Iranian graphics. To understand Iranian graphics, after a brief description of its contemporary history, this art is examined at the considered time point. By using the inductive method of examining the posters of each course and taking into account the related cultural and social conditions, we tried to get a general and comprehensive understanding of the graphic features of each course. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20painting" title="Iranian painting">Iranian painting</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20visual%20language" title=" graphic visual language"> graphic visual language</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20identity" title=" Iranian identity"> Iranian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20cultural%20poster" title=" social cultural poster"> social cultural poster</a> </p> <a href="https://publications.waset.org/abstracts/185508/examining-the-functional-and-practical-aspects-of-iranian-painting-as-a-visual-identity-language-in-iranian-graphics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">50</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5006</span> Conserving History: Evaluating and Selecting Effective Restoration Methods for a Fragment Mural Painting from Amarna</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kholod%20Khairy%20Salama">Kholod Khairy Salama</a>, <a href="https://publications.waset.org/abstracts/search?q=Shabban%20Hassan%20Thabet"> Shabban Hassan Thabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mural%20paintings" title="mural paintings">mural paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=Tal%20Al-Amarna" title=" Tal Al-Amarna"> Tal Al-Amarna</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20microscope" title=" digital microscope"> digital microscope</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman" title=" Raman"> Raman</a>, <a href="https://publications.waset.org/abstracts/search?q=XRF" title=" XRF"> XRF</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR" title=" FTIR"> FTIR</a> </p> <a href="https://publications.waset.org/abstracts/174944/conserving-history-evaluating-and-selecting-effective-restoration-methods-for-a-fragment-mural-painting-from-amarna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174944.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5005</span> Automated Weight Painting: Using Deep Neural Networks to Adjust 3D Mesh Skeletal Weights</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20Gibbs">John Gibbs</a>, <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Flanders"> Benjamin Flanders</a>, <a href="https://publications.waset.org/abstracts/search?q=Dylan%20Pozorski"> Dylan Pozorski</a>, <a href="https://publications.waset.org/abstracts/search?q=Weixuan%20Liu"> Weixuan Liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Weight Painting–adjusting the influence a skeletal joint has on a given vertex in a character mesh–is an arduous and time con- suming part of the 3D animation pipeline. This process generally requires a trained technical animator and many hours of work to complete. Our skiNNer plug-in, which works within Autodesk’s Maya 3D animation software, uses Machine Learning and data pro- cessing techniques to create a deep neural network model that can accomplish the weight painting task in seconds rather than hours for bipedal quasi-humanoid character meshes. In order to create a properly trained network, a number of challenges were overcome, including curating an appropriately large data library, managing an arbitrary 3D mesh size, handling arbitrary skeletal architectures, accounting for extreme numeric values (most data points are near 0 or 1 for weight maps), and constructing an appropriate neural network model that can properly capture the high frequency alter- ation between high weight values (near 1.0) and low weight values (near 0.0). The arrived at neural network model is a cross between a traditional CNN, deep residual network, and fully dense network. The resultant network captures the unusually hard-edged features of a weight map matrix, and produces excellent results on many bipedal models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3d%20animation" title="3d animation">3d animation</a>, <a href="https://publications.waset.org/abstracts/search?q=animation" title=" animation"> animation</a>, <a href="https://publications.waset.org/abstracts/search?q=character" title=" character"> character</a>, <a href="https://publications.waset.org/abstracts/search?q=rigging" title=" rigging"> rigging</a>, <a href="https://publications.waset.org/abstracts/search?q=skinning" title="skinning">skinning</a>, <a href="https://publications.waset.org/abstracts/search?q=weight%20painting" title=" weight painting"> weight painting</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20intelligence" title=" artificial intelligence"> artificial intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20network" title=" neural network"> neural network</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20neural%20network" title=" deep neural network"> deep neural network</a> </p> <a href="https://publications.waset.org/abstracts/148327/automated-weight-painting-using-deep-neural-networks-to-adjust-3d-mesh-skeletal-weights" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148327.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">272</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5004</span> Cognitivism in Classical Japanese Art and Literature: The Cognitive Value of Haiku and Zen Painting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benito%20Garcia-Valero">Benito Garcia-Valero</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper analyses the cognitivist value of traditional Japanese theories about aesthetics, art, and literature. These reflections were developed several centuries before actual Cognitive Studies, which started in the seventies of the last century. A comparative methodology is employed to shed light on the similarities between traditional Japanese conceptions about art and current cognitivist principles. The Japanese texts to be compared are Zeami’s treatise on noh art, Okura Toraaki’s Waranbe-gusa on kabuki theatre, and several Buddhist canonical texts about wisdom and knowledge, like the Prajnaparamitahrdaya or Heart Sutra. Japanese contemporary critical sources on these works are also referred, like Nishida Kitaro’s reflections on Zen painting or Ichikawa Hiroshi’s analysis of body/mind dualism in Japanese physical practices. Their ideas are compared with cognitivist authors like George Lakoff, Mark Johnson, Mark Turner and Margaret Freeman. This comparative review reveals the anticipatory ideas of Japanese thinking on body/mind interrelationship, which agrees with cognitivist criticism against dualism, since both elucidate the physical grounds acting upon the formation of concepts and schemes during the production of knowledge. It also highlights the necessity of recovering ancient Japanese treatises on cognition to continue enlightening current research on art and literature. The artistic examples used to illustrate the theory are Sesshu’s Zen paintings and Basho’s classical haiku poetry. Zen painting is an excellent field to demonstrate how monk artists conceived human perception and guessed the active role of beholders during the contemplation of art. On the other hand, some haikus by Matsuo Basho aim at factoring subjectivity out from artistic praxis, which constitutes an ideal of illumination that cannot be achieved using art, due to the embodied nature of perception; a constraint consciously explored by the poet himself. These ideas consolidate the conclusions drawn today by cognitivism about the interrelation between subject and object and the concept of intersubjectivity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitivism" title="cognitivism">cognitivism</a>, <a href="https://publications.waset.org/abstracts/search?q=dualism" title=" dualism"> dualism</a>, <a href="https://publications.waset.org/abstracts/search?q=haiku" title=" haiku"> haiku</a>, <a href="https://publications.waset.org/abstracts/search?q=Zen%20painting" title=" Zen painting"> Zen painting</a> </p> <a href="https://publications.waset.org/abstracts/111834/cognitivism-in-classical-japanese-art-and-literature-the-cognitive-value-of-haiku-and-zen-painting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/111834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">142</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5003</span> Misconception of the Idea ‘Oshinowoism’ and the Later Development in the ‘Yaba Painting School'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Irokanulo%20I.%20Emmanuel">Irokanulo I. Emmanuel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The idea of ‘Oshinowoism’ is a representational school, which is a concept based on pure and rustic energy in painting. It is described as any painting that depicts the actions of significant through simple illusions. The idea is never to replicate a photographic resemblance with paint but to create an affinity between what one sees and what one artistically intends to create as a representation of that which one beholds in society as an illusion of reality, not as a reality in itself, but as subjective analysis of reality. The disciples of ‘Oshinowoism’ pursue their art from a representational point of view, creating material realities within feels of colours, forms and space, not trying to confuse the art as a substitute for reality nor reality as a substitute for art, but giving each its space and materialism to exist. The depictions of Oshinowo are the constant reminders or perhaps interpretations of those developments that emerged in contemporary African societies because of neocolonialism. This essay has three objectives. First, it examines the misconception around the development of this thought. Secondly, it contextualizes the later contemporary development of painting as art and craft in present-day Lagos, and third, it constructs the misconception and misconstruction of the concept of ‘Oshinowoism’ and offers a correct ideology of this thought with the body of Oshinowo’s work to give the existence to this philosophy. This study looks at the students of Kolade Oshinowo, especially those students who share similar elements and an affinity with the master painting skills, as a way of reconstructing and addressing the misconception in his style. The early works of Olaku, Edosa, and Lara Ige Jacks are plausible evidence of the existential essence of Oshinowo’s artistic philosophy. To this end, therefore, this study would explore the quality of their pictorial techniques and skills in painting as a way of preserving their master’s philosophy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oshinowoism" title="Oshinowoism">Oshinowoism</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20scheme" title=" colour scheme"> colour scheme</a>, <a href="https://publications.waset.org/abstracts/search?q=drawing" title=" drawing"> drawing</a>, <a href="https://publications.waset.org/abstracts/search?q=philosophy" title=" philosophy"> philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=representations" title=" representations"> representations</a> </p> <a href="https://publications.waset.org/abstracts/186616/misconception-of-the-idea-oshinowoism-and-the-later-development-in-the-yaba-painting-school" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186616.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">41</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5002</span> Meditation Based Brain Painting Promotes Foreign Language Memory through Establishing a Brain-Computer Interface</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhepeng%20Rui">Zhepeng Rui</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhenyu%20Gu"> Zhenyu Gu</a>, <a href="https://publications.waset.org/abstracts/search?q=Caitilin%20de%20B%C3%A9rigny"> Caitilin de Bérigny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the current study, we designed an interactive meditation and brain painting application to cultivate users’ creativity, promote meditation, reduce stress, and improve cognition while attempting to learn a foreign language. User tests and data analyses were conducted on 42 male and 42 female participants to better understand sex-associated psychological and aesthetic differences. Our method utilized brain-computer interfaces to import meditation and attention data to create artwork in meditation-based applications. Female participants showed statistically significantly different language learning outcomes following three meditation paradigms. The art style of brain painting helped females with language memory. Our results suggest that the most ideal methods for promoting memory attention were meditation methods and brain painting exercises contributing to language learning, memory concentration promotion, and foreign word memorization. We conclude that a short period of meditation practice can help in learning a foreign language. These findings provide new insights into meditation, creative language education, brain-computer interface, and human-computer interactions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brain-computer%20interface" title="brain-computer interface">brain-computer interface</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20thinking" title=" creative thinking"> creative thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=meditation" title=" meditation"> meditation</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a> </p> <a href="https://publications.waset.org/abstracts/147651/meditation-based-brain-painting-promotes-foreign-language-memory-through-establishing-a-brain-computer-interface" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147651.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5001</span> The Aesthetic Manifestations of Nothingness in Contemporary Visual Arts Practice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robyn%20Therese%20Munnick">Robyn Therese Munnick</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to report on a qualitative practice-based research study which explores the notion of nothingness and how it (nothingness) is the conceptual and theoretical foundation for artistic practice. Furthermore, this study explicates how the artist used their mother’s battle with cancer and the subsequent void it created as source material for the artistic expression of nothingness. The diagnosis which was followed by a physical and emotional absence of the matriarch of the artist family led to an emotional trauma that triggered a feeling of nothingness within the artist. The overarching problem in the study is thus: how this ‘nothingness’ could be expressed in visual art? Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or isn’t anymore, which attempts to grasp what is there by not being there. In attempting to express nothingness, the research aims to build on an exploration of various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for the art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within the art and research, the use of further modes and materials became pivotal. This involves the use of unconventional contrasting modes within a painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, polyvinyl acetate paint, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated the art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis, and field notes in the form of photographic journaling. Ultimately the body of work and research validates that the idea of nothingness can be artistically explored. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conceptual" title="conceptual">conceptual</a>, <a href="https://publications.waset.org/abstracts/search?q=nothingness" title=" nothingness"> nothingness</a>, <a href="https://publications.waset.org/abstracts/search?q=modes" title=" modes"> modes</a>, <a href="https://publications.waset.org/abstracts/search?q=unconventional" title=" unconventional"> unconventional</a> </p> <a href="https://publications.waset.org/abstracts/109447/the-aesthetic-manifestations-of-nothingness-in-contemporary-visual-arts-practice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109447.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5000</span> Painting in Neolithic of Northwest Iberia: Archaeometrical Studies Applied to Megalithic Monuments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C%C3%A9sar%20Oliveira">César Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20M.%20S.%20Bettencourt"> Ana M. S. Bettencourt</a>, <a href="https://publications.waset.org/abstracts/search?q=Luciano%20Vilas%20Boas"> Luciano Vilas Boas</a>, <a href="https://publications.waset.org/abstracts/search?q=Lu%C3%ADs%20Gon%C3%A7alves"> Luís Gonçalves</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlo%20Bottaini"> Carlo Bottaini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Funerary megalithic monuments are probably under the most remarkable remains of the Neolithic period of western Europe. Some monuments are well known for their paintings, sometimes associated with engraved motifs, giving the funerary crypts a character of great symbolic value. The engraved and painted motifs, the colors used in the paintings, and the offerings associated with the deposited corpses are archaeological data that, being part of the funeral rites, also reveal the ideological world of these communities and their way of interacting with the world. In this sense, the choice of colors to be used in the paintings, the pigments collected, and the proceeds for making the paints would also be significant performances. The present study will focus on the characterization of painted art from megalithic monuments located in different areas of North-Western Portugal (coastal and inland). The colorant composition of megalithic barrows decorated with rock art motifs was studied using a multi-analytical approach (XRD, SEM-EDS, FTIR, and GC-MS), allowing the characterization of the painting techniques, pigments, and the organic compounds used as binders. Some analyses revealed that the pigments used for painting were produced using a collection of mined or quarried organic and inorganic substances. The results will be analyzed from the perspective of contingencies and regularity among the different case studies in order to interpret more or less standardized behaviors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=funerary%20megalithic%20monuments" title="funerary megalithic monuments">funerary megalithic monuments</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20motifs" title=" painting motifs"> painting motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=archaeometrical%20studies" title=" archaeometrical studies"> archaeometrical studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Northwest%20Iberia" title=" Northwest Iberia"> Northwest Iberia</a>, <a href="https://publications.waset.org/abstracts/search?q=behaviors" title=" behaviors"> behaviors</a> </p> <a href="https://publications.waset.org/abstracts/159912/painting-in-neolithic-of-northwest-iberia-archaeometrical-studies-applied-to-megalithic-monuments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4999</span> Exploring the Birth of Modern Art in Borneo, Post-War Era 1945 to 1970 </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahah%20Hasan">Rahah Hasan</a>, <a href="https://publications.waset.org/abstracts/search?q=Faridah%20Sahari"> Faridah Sahari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes the development of modern art in Borneo, particularly in Sarawak, Sabah, and Brunei, after the Second World War until the 1970s. This was the period when the British Colonial government dictated the education system, which consequentially inculcated visual art through art and craft subjects imposed on all vernacular schools in Borneo. British influence within the state governance, social, and education system designed with Western ideology created not only a westernized society and mindset but at the same time generated artistic opportunities for emerging local painters to be involved in the initiation of Modern Art in Borneo. Through the historical method and analysis of primary and secondary data, it was obvious that the existence of colonial government departments and institutions such as museums and teaching colleges, and other social organizations in Borneo at that time contributed significantly to the artistic movement. The similar structure and motivation of development in other areas of Borneo confirmed that artistic affirmation of modern art advanced homogenously. Their understanding of easel painting as well as a unique interpretation of culture once distanced from traditional art, resulting in a new visual image that transcended their ethnicity and identity through new mediums and tools. These meticulous interventions modestly visualized in each painting, as discussed in this paper, hopefully, will give a deeper understanding and appreciation of the history of modern art in Borneo. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20history" title="art history">art history</a>, <a href="https://publications.waset.org/abstracts/search?q=Borneo%20art" title=" Borneo art"> Borneo art</a>, <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title=" fine art"> fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20art" title=" modern art"> modern art</a> </p> <a href="https://publications.waset.org/abstracts/132039/exploring-the-birth-of-modern-art-in-borneo-post-war-era-1945-to-1970" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4998</span> Virtual Reality Tilt Brush for Creativity: An Experimental Study among Architecture Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christena%20Stephen">Christena Stephen</a>, <a href="https://publications.waset.org/abstracts/search?q=Biju%20Kunnumpurath"> Biju Kunnumpurath</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study intends to comprehend the effect of the Tilt Brush (TB) Virtual Reality 3D Painting application on creativity among final year architecture students. The research was done over the course of 30 hours and evaluated the performance of a group of 20 university students. Using a Structured Observation Form (SOF), the researcher assessed the research's progress. Four recently graduated artists, educators, and researchers used a Rubric to assess student designs. During the training, the study group was instructed in the fundamentals of virtual Reality, design principles, and TB. The design process, which began with the construction of a 3D design, progressed with the addition of texture, color, and script to items and culminated in the creation of a finished project. The group in the design process is rated as "Good" by the researcher based on feedback from SOF. The creativity evaluation rubric used by the experts rates their work as "Accomplished." According to the researcher's assessment, the group received a "Good" rating. Based on these findings, it can be said that including virtual reality 3D painting in the curriculum for art and design classes will help students improve their imagination and creativity as well as their 21st-century skills in education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity" title="creativity">creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20painting" title=" 3D painting"> 3D painting</a>, <a href="https://publications.waset.org/abstracts/search?q=tilt%20brush" title=" tilt brush"> tilt brush</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a> </p> <a href="https://publications.waset.org/abstracts/163059/virtual-reality-tilt-brush-for-creativity-an-experimental-study-among-architecture-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163059.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4997</span> The Discovery and Application of Perspective Representation in Modern Italy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Matthias%20Stange">Matthias Stange</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the early modern period, a different image of man began to prevail in Europe. The focus was on the self-determined human being and his abilities. At first, these developments could be seen in Italian painting and architecture, which again oriented itself to the concepts and forms of antiquity. For example, through the discovery of perspective representation by Brunelleschi or later the orthogonal projection by Alberti, after the ancient knowledge of optics had been forgotten in the Middle Ages. The understanding of reality in the Middle Ages was not focused on the sensually perceptible world but was determined by ecclesiastical dogmas. The empirical part of this study examines the rediscovery and development of perspective. With the paradigm of antiquity, the figure of the architect was also recognised again - the cultural man trained theoretically and practically in numerous subjects, as Vitruvius describes him. In this context, the role of the architect, the influence on the painting of the Quattrocento as well as the influence on architectural representation in the Baroque period are examined. Baroque is commonly associated with the idea of illusionistic appearance as opposed to the tangible reality presented in the Renaissance. The study has shown that the central perspective projection developed by Filippo Brunelleschi enabled another understanding of seeing and the dissemination of painted images. Brunelleschi's development made it possible to understand the sight of nature as a reflection of what is presented to the viewer's eye. Alberti later shortened Brunelleschi's central perspective representation for practical use in painting. In early modern Italian architecture and painting, these developments apparently supported each other. The pictorial representation of architecture initially served the development of an art form before it became established in building practice itself. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alberti" title="Alberti">Alberti</a>, <a href="https://publications.waset.org/abstracts/search?q=Brunelleschi" title=" Brunelleschi"> Brunelleschi</a>, <a href="https://publications.waset.org/abstracts/search?q=central%20perspective%20projection" title=" central perspective projection"> central perspective projection</a>, <a href="https://publications.waset.org/abstracts/search?q=orthogonal%20projection" title=" orthogonal projection"> orthogonal projection</a>, <a href="https://publications.waset.org/abstracts/search?q=quattrocento" title=" quattrocento"> quattrocento</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque" title=" baroque"> baroque</a> </p> <a href="https://publications.waset.org/abstracts/161857/the-discovery-and-application-of-perspective-representation-in-modern-italy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161857.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4996</span> The Meaningful Pixel and Texture: Exploring Digital Vision and Art Practice Based on Chinese Cosmotechnics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xingdu%20Wang">Xingdu Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Charlie%20Gere"> Charlie Gere</a>, <a href="https://publications.waset.org/abstracts/search?q=Emma%20Rose"> Emma Rose</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuxuan%20Zhao"> Yuxuan Zhao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study introduces a fresh perspective on the digital realm through an examination of the Chinese concept of Xiang, elucidating how it can build an understanding of pixels and textures on screens as digital trigrams. This concept attempts to offer an outlook on the intersection of digital technology and the natural world, thereby contributing to discussions about the harmonious relationship between humans and technology. The study looks for the ancient Chinese theory of Xiang as a key to establishing the theories and practices to respond to the problem of Contemporary Chinese technics. Xiang is a Chinese method of understanding the essentials of things through appearances, which differs from the method of science in the Westen. Xiang, the basement of Chinese visual art, is rooted in ancient Chinese philosophy and connected to the eight trigrams. The discussion of Xiang connects art, philosophy, and technology. This paper connects the meaning of Xiang with the 'truth appearing' philosophically through the analysis of the concepts of phenomenon and noumenon and the unique Chinese way of observing. Hereafter, the historical interconnection between ancient painting and writing in China emphasizes their relationship between technical craftsmanship and artistic expression. In digital, the paper blurs the traditional boundaries between images and text on digital screens in theory. Lastly, this study identified an ensemble concept relating to pixels and textures in computer vision, drawing inspiration from AI image recognition in Chinese paintings. In art practice, by presenting a fluid visual experience in the form of pixels, which mimics the flow of lines in traditional calligraphy and painting, it is hoped that the viewer will be brought back to the process of the truth appearing as defined by the 'Xiang’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20cosmotechnics" title="Chinese cosmotechnics">Chinese cosmotechnics</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20vision" title=" computer vision"> computer vision</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Neo-Confucianism" title=" contemporary Neo-Confucianism"> contemporary Neo-Confucianism</a>, <a href="https://publications.waset.org/abstracts/search?q=texture%20and%20pixel" title=" texture and pixel"> texture and pixel</a>, <a href="https://publications.waset.org/abstracts/search?q=Xiang" title=" Xiang"> Xiang</a> </p> <a href="https://publications.waset.org/abstracts/174685/the-meaningful-pixel-and-texture-exploring-digital-vision-and-art-practice-based-on-chinese-cosmotechnics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174685.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4995</span> A Reflection of the Contemporary Life of Urban People Through Mixed Media Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Van%20Huong%20Mai">Van Huong Mai</a>, <a href="https://publications.waset.org/abstracts/search?q=Kanokwan%20Nithiratphat"> Kanokwan Nithiratphat</a>, <a href="https://publications.waset.org/abstracts/search?q=Adool%20Booncham"> Adool Booncham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Movement of Contemporary Life consisted of two purposes, which were to study the movement and development of the modern life and to create the visual arts, which were paintings expressed via the form of apartment buildings was used from mixed media (digital printing and acrylic painting on canvas) which conveyed the rapid pace of modern life leading to diverse movements in viewer’s feeling. The operation of this creation was collected field data, documentary data, and influence from creative work. The data analysis was analyzed in order to theme, form, technique, and process to satisfy of concept and special character of the pieces. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=movement" title="movement">movement</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20life" title=" contemporary life"> contemporary life</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=acrylic%20painting" title=" acrylic painting"> acrylic painting</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20art" title=" digital art"> digital art</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20space" title=" urban space"> urban space</a> </p> <a href="https://publications.waset.org/abstracts/151895/a-reflection-of-the-contemporary-life-of-urban-people-through-mixed-media-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151895.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4994</span> Mystical Principles of Islamic Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyed%20Razi%20Nousavi%20Gilani">Seyed Razi Nousavi Gilani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Islamic culture and especially the Shia is full of mystical and philosophical elements. A close look at the history of Islamic civilization, which is supposed to represent the teachings and words of faith leaders with the knowledge and use of the philosophical and mystical concepts, has influenced Islamic art. This article explains the influence of Shiite Islamic teachings and their teachings of mystical elements on Islamic art and examines as case studies in the arts such as architecture, calligraphy and painting. These arts have always been associated with mystical and philosophical teachings in view of traditional artists. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mystics" title="mystics">mystics</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20Art" title=" Islamic Art"> Islamic Art</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20culture" title=" Islamic culture"> Islamic culture</a>, <a href="https://publications.waset.org/abstracts/search?q=mystic" title=" mystic"> mystic</a> </p> <a href="https://publications.waset.org/abstracts/53695/mystical-principles-of-islamic-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53695.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">285</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4993</span> Simulation and Study of the Effect of Paint Mineral Coating on Energy Saving </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20A.%20Azemati">A. A. Azemati</a>, <a href="https://publications.waset.org/abstracts/search?q=H.%20Hosseini"> H. Hosseini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> By using an adequate paint in buildings, energy consumption can be decreased. In this research, a range of wall paints in different climatic conditions has been investigated to observe its effect on energy consumption. In the current study, the researchers have investigated the effect of different parameters including climatic condition, absorption coefficient, and thermal loads on paint coating. In order to study these effects, heating and cooling loads of a typical building with different color paints have been calculated. The effect of building paint in different climatic condition was studied and a comparison was drawn between paints and painting coats with inorganic micro particles in temperate climate to obtain optimized energy consumption. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=climate" title="climate">climate</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20consumption" title=" energy consumption"> energy consumption</a>, <a href="https://publications.waset.org/abstracts/search?q=inorganic" title=" inorganic"> inorganic</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20coats" title=" painting coats"> painting coats</a> </p> <a href="https://publications.waset.org/abstracts/34125/simulation-and-study-of-the-effect-of-paint-mineral-coating-on-energy-saving" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34125.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">290</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4992</span> Pictorial Multimodal Analysis of Selected Paintings of Salvador Dali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaza%20Melies">Shaza Melies</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Refky"> Abeer Refky</a>, <a href="https://publications.waset.org/abstracts/search?q=Nihad%20Mansoor"> Nihad Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20analysis" title="multimodal analysis">multimodal analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20analysis" title=" painting analysis"> painting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Salvador%20Dali" title=" Salvador Dali"> Salvador Dali</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20grammar" title=" visual grammar"> visual grammar</a> </p> <a href="https://publications.waset.org/abstracts/131544/pictorial-multimodal-analysis-of-selected-paintings-of-salvador-dali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4991</span> Investigating Effect of Geometrical Proportions in Islamic Architecture and Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amir%20Hossein%20Allahdadi">Amir Hossein Allahdadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The mystical and intuitive look of Islamic artists inspired by the Koranic and mystical principles and also based on the geometry and mathematics has left unique works whose range extends across the borders of Islam. The relationship between Islamic art and music in the traditional art is of one of the concepts that can be traced back to the other arts by detection of its components. One of the links is the art of painting whose subtleties that can be applicable to both architecture and music. So, architecture and music links can be traced in other arts with a traditional foundation in order to evaluate the equivalents of traditional arts. What is the relationship between physical space of architecture and nonphysical space of music? What is musical architecture? What is the music that tends to architecture? These questions are very small samples of the questions that arise in this category, and these questions and concerns remain as long as the music is played and the architecture is made. Efforts have been made in this area, references compiled and plans drawn. As an example, we can refer to views of ‘Mansour Falamaki’ in the book of architecture and music, as well as the book transition from mud to heart by ‘Hesamodin Seraj’. The method is such that a certain melody is given to an architect and it is tried to design a specified architecture using a certain theme. This study is not to follow the architecture of a particular type of music and the formation of a volume based on a sound. In this opportunity, it is tried to briefly review the relationship between music and architecture in the Iranian original and traditional arts, using the basic definitions of arts. The musician plays, the architect designs, the actor forms his desired space and painter displays his multi-dimensional world in the form of two-dimensions. The expression language is different, but all of them can be gathered in a form, a form which has no clear boundaries. In fact, in any original art, the artist applies his art as a tool to express his insights which are nothing but achieving the world beyond this place and time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture" title="architecture">architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=geometric%20proportions" title=" geometric proportions"> geometric proportions</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematical%20proportions" title=" mathematical proportions"> mathematical proportions</a> </p> <a href="https://publications.waset.org/abstracts/45673/investigating-effect-of-geometrical-proportions-in-islamic-architecture-and-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45673.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4990</span> Digital Development of Cultural Heritage: Construction of Traditional Chinese Pattern Database</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaojian%20Li">Shaojian Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The traditional Chinese patterns, as an integral part of Chinese culture, possess unique values in history, culture, and art. However, with the passage of time and societal changes, many of these traditional patterns are at risk of being lost, damaged, or forgotten. To undertake the digital preservation and protection of these traditional patterns, this paper will collect and organize images of traditional Chinese patterns. It will provide exhaustive and comprehensive semantic annotations, creating a resource library of traditional Chinese pattern images. This will support the digital preservation and application of traditional Chinese patterns. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digitization%20of%20cultural%20heritage" title="digitization of cultural heritage">digitization of cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20Chinese%20patterns" title=" traditional Chinese patterns"> traditional Chinese patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20humanities" title=" digital humanities"> digital humanities</a>, <a href="https://publications.waset.org/abstracts/search?q=database%20construction" title=" database construction"> database construction</a> </p> <a href="https://publications.waset.org/abstracts/182148/digital-development-of-cultural-heritage-construction-of-traditional-chinese-pattern-database" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182148.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4989</span> Study of the Behavior of an Organic Coating Applied on Algerian Oil Tanker in Seawater</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=N.%20Hammouda">N. Hammouda</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Belmokre"> K. Belmokre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paints are used extensively today in the industry to protect the metallic structures of the aggressive environments. This work is devoted to the study of corrosion resistance and aging behavior of a paint coating providing external protection for oil tankers. To avoid problems related to corrosion of these vessels, two protection modes are provided: An electro chemical active protection (cathodic protection of the hull). A passive protection by external painting. Investigations are conducted using stationary and non-stationary electro chemical tools such as electro chemical impedance spectroscopy has allowed us to characterize the protective qualities of these films. The application of the EIS on our damaged in-situ painting shows the existence of several capacitive loops which is an indicator of the failure of our tested paint. Microscopic analysis (micrograph) helped bring essential elements in understanding the degradation of our paint condition and immersion training corrosion products. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=epoxy%20paints" title="epoxy paints">epoxy paints</a>, <a href="https://publications.waset.org/abstracts/search?q=electrochemical%20impedance%20spectroscopy" title=" electrochemical impedance spectroscopy"> electrochemical impedance spectroscopy</a>, <a href="https://publications.waset.org/abstracts/search?q=corrosion%20mechanisms" title=" corrosion mechanisms"> corrosion mechanisms</a>, <a href="https://publications.waset.org/abstracts/search?q=seawater" title=" seawater"> seawater</a> </p> <a href="https://publications.waset.org/abstracts/19432/study-of-the-behavior-of-an-organic-coating-applied-on-algerian-oil-tanker-in-seawater" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19432.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">391</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4988</span> Complementary and Traditional Medicine in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H%C3%BCseyin%20Bi%C3%A7er">Hüseyin Biçer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study is an explanation of using and expectation traditional and complementary medicine in Turkey in terms of regionally, cultural and social. Due to geopolitics position, at the intersection of the Middle East, Africa and Europe, Turkey has historically hosted many civilizations and cultures, and hosts many religions at the same time and therefore is very open to intercultural interaction. For this reason, the traditional medicine of Turkey contains traces of many civilizations rather than a traditional medicine of its own. In Turkey, complementary and traditional medicine are used actively. The aim of the study is to measure whether the patients have ever taken traditional medicine as a caretaker or for the supportive treatment of their diseases, and as a result, their expectations. This cross-sectional, paper-based survey study was conducted in 27 state hospitals and 29 family medicine clinics in seven geographical regions of Turkey. Patients who had an appointment in the waiting rooms that day were included. 77.4% of the patients participating in the study stated that they used traditional medicine at least 5 times in their life, 27.6% stated that traditional medicine was sufficient in some diseases, and 36.8% stated that traditional treatment was a part of normal treatment. Both faith and cultural approaches in Turkey always keep traditional medicine close to drugs. Another danger, apart from traditional medicine drugs that can interact with drugs, is that patients find it sufficient to use traditional and complementary medicine alone. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=complementary%20medicine" title="complementary medicine">complementary medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20medicine" title=" traditional medicine"> traditional medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=medicine%20in%20Turkey" title=" medicine in Turkey"> medicine in Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=alternative%20medicine" title=" alternative medicine"> alternative medicine</a> </p> <a href="https://publications.waset.org/abstracts/143862/complementary-and-traditional-medicine-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143862.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">257</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4987</span> Concepts of Modern Design: A Study of Art and Architecture Synergies in Early 20ᵗʰ Century Europe </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stanley%20Russell">Stanley Russell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Until the end of the 19th century, European painting dealt almost exclusively with the realistic representation of objects and landscapes, as can be seen in the work of realist artists like Gustav Courbet. Architects of the day typically made reference to and recreated historical precedents in their designs. The curriculum of the first architecture school in Europe, The Ecole des Beaux Artes, based on the study of classical buildings, had a profound effect on the profession. Painting exhibited an increasing level of abstraction from the late 19th century, with impressionism, and the trend continued into the early 20th century when Cubism had an explosive effect sending shock waves through the art world that also extended into the realm of architectural design. Architect /painter Le Corbusier with “Purism” was one of the first to integrate abstract painting and building design theory in works that were equally shocking to the architecture world. The interrelationship of the arts, including architecture, was institutionalized in the Bauhaus curriculum that sought to find commonality between diverse art disciplines. Renowned painter and Bauhaus instructor Vassily Kandinsky was one of the first artists to make a semi-scientific analysis of the elements in “non-objective” painting while also drawing parallels between painting and architecture in his book Point and Line to plane. Russian constructivists made abstract compositions with simple geometric forms, and like the De Stijl group of the Netherlands, they also experimented with full-scale constructions and spatial explorations. Based on the study of historical accounts and original artworks, of Impressionism, Cubism, the Bauhaus, De Stijl, and Russian Constructivism, this paper begins with a thorough explanation of the art theory and several key works from these important art movements of the late 19th and early 20th century. Similarly, based on written histories and first-hand experience of built and drawn works, the author continues with an analysis of the theories and architectural works generated by the same groups, all of which actively pursued continuity between their art and architectural concepts. With images of specific works, the author shows how the trend toward abstraction and geometric purity in painting coincided with a similar trend in architecture that favored simple unornamented geometries. Using examples like the Villa Savoye, The Schroeder House, the Dessau Bauhaus, and unbuilt designs by Russian architect Chernikov, the author gives detailed examples of how the intersection of trends in Art and Architecture led to a unique and fruitful period of creative synergy when the same concepts that were used by artists to generate paintings were also used by architects in the making of objects, space, and buildings. In Conclusion, this article examines the extremely pivotal period in art and architecture history from the late 19th to early 20th century when the confluence of art and architectural theory led to many painted, drawn, and built works that continue to inspire architects and artists to this day. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20art" title="modern art">modern art</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20methodologies" title=" design methodologies"> design methodologies</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20architecture" title=" modern architecture "> modern architecture </a> </p> <a href="https://publications.waset.org/abstracts/124056/concepts-of-modern-design-a-study-of-art-and-architecture-synergies-in-early-20-century-europe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124056.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4986</span> A Case Study of Zhang Yimou, Using Color Evidence From “Hero and the Shadow” and How the Color Is Symbolized in Contemporary Society?</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rakiba%20Sultana">Rakiba Sultana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigates how different colors are used and bring symbolic meaning comparatively in Zhang Yimou's movies Hero and Shadow. The study also explores how those colors are symbolized in contemporary society. The researcher analyzes the movies Hero and the Shadow to investigate them using colors and how they are used in contemporary society. Hero exposes the colorful colors to expose the Chinese traditions, whereas Shadow explores the gray, black, and white with the ink paints. Also, in contemporary society, sometimes, the author gets a similar symbolic meaning of the colors. Sometimes, the contemporary's meaning is different from the one used in these two movies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20movie" title="Chinese movie">Chinese movie</a>, <a href="https://publications.waset.org/abstracts/search?q=visuals" title=" visuals"> visuals</a>, <a href="https://publications.waset.org/abstracts/search?q=colors" title=" colors"> colors</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20painting" title=" traditional painting"> traditional painting</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20society" title=" contemporary society"> contemporary society</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20Western%20countries" title=" and Western countries"> and Western countries</a> </p> <a href="https://publications.waset.org/abstracts/153113/a-case-study-of-zhang-yimou-using-color-evidence-from-hero-and-the-shadow-and-how-the-color-is-symbolized-in-contemporary-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153113.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4985</span> Using India’s Traditional Knowledge Digital Library on Traditional Tibetan Medicine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chimey%20Lhamo">Chimey Lhamo</a>, <a href="https://publications.waset.org/abstracts/search?q=Ngawang%20Tsering"> Ngawang Tsering</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional Tibetan medicine, known as Sowa Rigpa (Science of healing), originated more than 2500 years ago with an insightful background, and it has been growing significant attention in many Asian countries like China, India, Bhutan, and Nepal. Particularly, the Indian government has targeted Traditional Tibetan medicine as its major Indian medical system, including Ayurveda. Although Traditional Tibetan medicine has been growing interest and has a long history, it is not easily recognized worldwide because it exists only in the Tibetan language and it is neither accessible nor understood by patent examiners at the international patent office, data about Traditional Tibetan medicine is not yet broadly exist in the Internet. There has also been the exploitation of traditional Tibetan medicine increasing. The Traditional Knowledge Digital Library is a database aiming to prevent the patenting and misappropriation of India’s traditional medicine knowledge by using India’s Traditional knowledge Digital Library on Sowa Rigpa in order to prevent its exploitation at international patent with the help of information technology tools and an innovative classification systems-traditional knowledge resource classification (TKRC). As of date, more than 3000 Sowa Rigpa formulations have been transcribed into a Traditional Knowledge Digital Library database. In this paper, we are presenting India's Traditional Knowledge Digital Library for Traditional Tibetan medicine, and this database system helps to preserve and prevent the exploitation of Sowa Rigpa. Gradually it will be approved and accepted globally. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20Tibetan%20medicine" title="traditional Tibetan medicine">traditional Tibetan medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=India%27s%20traditional%20knowledge%20digital%20library" title=" India's traditional knowledge digital library"> India's traditional knowledge digital library</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20knowledge%20resources%20classification" title=" traditional knowledge resources classification"> traditional knowledge resources classification</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20patent%20classification" title=" international patent classification"> international patent classification</a> </p> <a href="https://publications.waset.org/abstracts/151272/using-indias-traditional-knowledge-digital-library-on-traditional-tibetan-medicine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151272.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4984</span> The Geometrical Cosmology: The Projective Cast of the Collective Subjectivity of the Chinese Traditional Architectural Drawings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lina%20Sun">Lina Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Chinese traditional drawings related to buildings and construction apply a unique geometry differentiating with western Euclidean geometry and embrace a collection of special terminologies, under the category of tu (the Chinese character for drawing). This paper will on one side etymologically analysis the terminologies of Chinese traditional architectural drawing, and on the other side geometrically deconstruct the composition of tu and locate the visual narrative language of tu in the pictorial tradition. The geometrical analysis will center on selected series of Yang-shi-lei tu of the construction of emperors’ mausoleums in Qing Dynasty (1636-1912), and will also draw out the earlier architectural drawings and the architectural paintings such as the jiehua, and paintings on religious frescoes and tomb frescoes as the comparison. By doing these, this research will reveal that both the terminologies corresponding to different geometrical forms respectively indicate associations between architectural drawing and the philosophy of Chinese cosmology, and the arrangement of the geometrical forms in the visual picture plane facilitates expressions of the concepts of space and position in the geometrical cosmology. These associations and expressions are the collective intentions of architectural drawing evolving in the thousands of years’ tradition without breakage and irrelevant to the individual authorship. Moreover, the architectural tu itself as an entity, not only functions as the representation of the buildings but also express intentions and strengthen them by using the Chinese unique geometrical language flexibly and intentionally. These collective cosmological spatial intentions and the corresponding geometrical words and languages reveal that the Chinese traditional architectural drawing functions as a unique architectural site with subjectivity which exists parallel with buildings and express intentions and meanings by itself. The methodology and the findings of this research will, therefore, challenge the previous researches which treat architectural drawings just as the representation of buildings and understand the drawings more than just using them as the evidence to reconstruct the information of buildings. Furthermore, this research will situate architectural drawing in between the researches of Chinese technological tu and artistic painting, bridging the two academic areas which usually treated the partial features of architectural drawing separately. Beyond this research, the collective subjectivity of the Chinese traditional drawings will facilitate the revealing of the transitional experience from traditions to drawing modernity, where the individual subjective identities and intentions of architects arise. This research will root for the understanding both the ambivalence and affinity of the drawing modernity encountering the traditions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20traditional%20architectural%20drawing%20%28tu%29" title="Chinese traditional architectural drawing (tu)">Chinese traditional architectural drawing (tu)</a>, <a href="https://publications.waset.org/abstracts/search?q=etymology%20of%20tu" title=" etymology of tu"> etymology of tu</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20subjectivity%20of%20tu" title=" collective subjectivity of tu"> collective subjectivity of tu</a>, <a href="https://publications.waset.org/abstracts/search?q=geometrical%20cosmology%20in%20tu" title=" geometrical cosmology in tu"> geometrical cosmology in tu</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry%20and%20composition%20of%20tu" title=" geometry and composition of tu"> geometry and composition of tu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yang-shi-lei%20tu" title=" Yang-shi-lei tu"> Yang-shi-lei tu</a> </p> <a href="https://publications.waset.org/abstracts/112131/the-geometrical-cosmology-the-projective-cast-of-the-collective-subjectivity-of-the-chinese-traditional-architectural-drawings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112131.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">121</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4983</span> The Inter-Play Between Traditional Religion and Christianity in Eggon Landn Eggon Land</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akolo%20Ajige">Akolo Ajige</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Before the advent of Christianity in Eggon land, the Eggon people were adherents of Traditional Religion. The religion is traditional because it was the religion that they grew up in it. A religion that was practiced by their fore fathers, and it was handed over to them. Traditional Religion created in the Eggon people the spirit of communalism, brotherhood and the value for humanity. The advent of Christianity in the 19th Century in Eggon land, some of the adherents of Traditional Religion changed their religion affiliation to Christianity and let gone, of the Traditional Religion. There was a need for the adherents of these two religions (i.e. Christianity and ATR) to leave in peace with one another. Even though there means of worship varies; it was obvious that Christianity and Africa Traditional Religion leaved in harmony with one another. The obvious spread of Christianity in Eggon land can attest to the fact that Traditional Religion welcomed Christianity and gave it room to operate without any issue. The inter-play of Christianity and Traditional Religion of Eggon people is seen during the Ashimu festival where Christians come to watch, why during Christmas celebration, the Traditional Religious adherents also visit the Christians to celebrate with them. It is obvious that there an Inter-Play between Christianity and Traditional Religion in Eggon land. The peace enjoy by the people attest to the fact of religious harmony. A historical research method was adopted for this research work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inter-play" title="inter-play">inter-play</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20religion" title=" traditional religion"> traditional religion</a>, <a href="https://publications.waset.org/abstracts/search?q=christianity" title=" christianity"> christianity</a>, <a href="https://publications.waset.org/abstracts/search?q=eggon" title=" eggon"> eggon</a> </p> <a href="https://publications.waset.org/abstracts/186595/the-inter-play-between-traditional-religion-and-christianity-in-eggon-landn-eggon-land" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186595.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">51</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4982</span> Sustainable Traditional Architecture and Urban Planning in Hot–Humid Climate of Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Farnaz%20Nazem">Farnaz Nazem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper concentrates on the sustainable traditional architecture and urban planning in hot-humid regions of Iran. In a vast country such as Iran with different climatic zones traditional builders have presented series of logical solutions for human comfort. The aim of this paper is to demonstrate traditional architecture in hot-humid climate of Iran as a sample of sustainable architecture. Iranian traditional architecture has been able to response to environmental problems for a long period of time. Its features are based on climatic factors, local construction materials of hot-humid regions and culture. This paper concludes that Iranian traditional architecture can be addressed as a sustainable architecture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hot-humid%20climate" title="hot-humid climate">hot-humid climate</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran" title=" Iran"> Iran</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20traditional%20architecture" title=" sustainable traditional architecture"> sustainable traditional architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20planning" title=" urban planning"> urban planning</a> </p> <a href="https://publications.waset.org/abstracts/33743/sustainable-traditional-architecture-and-urban-planning-in-hot-humid-climate-of-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33743.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">607</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20painting&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20painting&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20painting&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20painting&page=5">5</a></li> <li class="page-item"><a class="page-link" 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