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A vital environment /Jeng, Taesung. January 2009 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 21).
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The isolation of Western society from the revelations of natureSelburg, John. Hoard, Adrienne W., January 2009 (has links)
The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 24, 2010). Thesis advisor: Dr. Adrienne Walker Hoard, Includes bibliographical references.
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Pottery, the multi-sensual medium /Bothamley, Ryan J. January 2010 (has links)
Typescript. Includes bibliographical references (p. 32).
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Playground for the imaginationMiller, B. Darlene. January 2006 (has links) (PDF)
Thesis (M.F.A.)--Georgia Southern University, 2006. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
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ZPROSTŘEDKOVÁNÍ / MEDIATINGSvobodová, Sandra Unknown Date (has links)
-researching the issue of documentation in performance art -realization of a performance in nature -mediating the experience of nature
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Style, Space and Meaning in the Large-Scale Landscape Paintings of Maruyama Ōkyo (1733-1795)Bartel, Jens January 2019 (has links)
This thesis centers on groups of landscape paintings on sliding doors and wall panels for temples in and around Kyoto by the painter Maruyama Ōkyo (1733-1795), dating to the latter half of the eighteenth century. I discuss Snow Landscape of the Chiba City Museum of Art, presumed to have been painted for the temple Enman’in in Ōtsu (Shiga Prefecture), and the former sliding door and wall paintings of Kiun’in, a subtemple of Nanzenji in Kyoto, now in the collection of the Tokyo National Museum. The analysis is embedded into considerations of underlying genre principles in Ōkyo’s art, the reflection on the relevance of “truthfulness to nature” (shasei) and considerations of how his works relate to established painting conventions in early modern Japan. I attempt to frame Ōkyo’s landscapes as an expression of the painter’s Chinese-inspired outlook on painting.
Chapter One centers on Snow Landscape. I use stylistic comparison to argue that the paintings do not match other ink landscapes by Ōkyo of the so-called Enman’in period, but resemble closely another set of sliding doors paintings of similar subject matter at Shōkokuji, dated 1790. Snow Landscape can be understood as part of a small group of Ōkyo works that are thematically and formally related, and that all share obscure provenance and previously unaddressed questions of authorship. This includes sliding door paintings of the temple Daijōji (Hyōgo Prefecture), of Nishi Honganji and of the former Hara collection of Toyooka, all of them with their current whereabouts unknown. In Chapter Two, I provide a detailed reconstruction of the original temple spaces based on the features of the extant paintings, then proceed to disentangle the modalities of Ōkyo’s workshop production as the context from which the Kiun’in paintings likely originated. Comparison of large-scale landscape paintings reveals that much of Ōkyo’s approach relied on reuse of complete compositions, or at least, individual motifs. I argue that the Kiun’in paintings were possibly painted by disciples.
Chapter Three provides glimpses on primary source material written during Ōkyo’s lifetime by his most important patrons: Banshi (1761-1773) by Prince Abbot Yūjō, the diary Onjiki nikki (1787) by Imperial Prince Shinnin and the records of the temple Myōhōin, Myōhōin hinamiki. I argue that little in Banshi allows to conceive of Ōkyo’s art as “modern;” rather, the documents character is shaped by Yūjō’s interest in technical matters of studio painting. Yūjō and Shinnin are connected through familial ties at the court; in addition, attendance data from the Myōhōin hinamiki foreshadows the later rift into a Maruyama school and a Shijō school after Ōkyo’s death. Chapter Four provides a concluding discussion of the significance and context of Ōkyo’s landscape paintings in Buddhist temples. I argue that Ōkyo’s multi-room ensembles for temple interiors are based on artistic convention and spatial hierarchies that are comparable to approaches of the Kano school, and suggest that response to nature, such as allusion to topographical surroundings of a building, usually played a subordinate role. Ōkyo’s art depended on the appreciation of ancient Chinese culture, and closely related to the intellectual outlook of the court of Emperor Kōkaku.
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Landscape and nature in American prints transformations in form and meaning in the work of contemporary women artists /Haertel, Nilza Belita Grau, January 2006 (has links)
Thesis (Ph.D.)--Indiana University, Dept. of Fine Arts- History of Art, 2006. / Title from PDF t.p. (viewed Nov. 3, 2008). Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4015. Adviser: Sarah Leah Burns.
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Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings /Chapman, Gaye. January 2004 (has links)
Thesis (Ph.D.)--University of Western Sydney, 2004. / A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.
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Formulations /Petranek, Stefan. January 2007 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaf 40).
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Mastering myths and wandering wallflowers : botanical illustrations, gardens and the "mastery of nature"Du Toit, Victoria 03 1900 (has links)
Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009 . / This thesis investigates the historical roots of botanical illustration. It argues that far from being simply
scientific representations of plants and flowers, empty of artistic comment and only accompaniments to
a scientific text, botanical illustrations assisted in presenting plants brought to Europe from the colonies,
in ways that influenced the easy assimilation and appropriation of these plants into European culture.
The "mastery of nature", which implies an attitude of dominance by humans over nature, is discussed as
symptomatic of the European colonial period. European acts and attitudes of dominance are manifest in
scientific approaches toward botany, botanical illustrations and gardens. This thesis proposes that
attitudes of dominance have resulted in humans being spiritually and physically separated from nature.
This thesis proposes that associations of botany, flowers and botanical illustrations with the feminine
have assisted in human domination over nature. In much the same way as female is dominated by male,
in a human sense, so plants and flowers were pictured as feminine − replete with feminine associations
of subservience, weakness and vulnerability − making a human domination of the plant world possible.
The artworks produced in conjunction with this thesis, for the degree Master of Philosophy (Illustration),
aim to promote a sense of human attachment to and identification with the plants painted, in opposition
to the separateness from nature that is promoted by the "mastery of nature". While traditional botanical
illustration, in service to modern science, promoted the supremacy of vision as a way of knowing nature,
the artworks draw attention to the unseen issues around plants and the human spiritual connections with
them. This thesis proposes that, in a contemporary context characterized by an environmental crisis,
there is a new role to be played by botanical illustration: it is felt that botanical illustrations should
emphasize human connections with the plant world, thus alerting humans to the necessity of nature for
our physical, as well as spiritual, survival.
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