Decorative Elements Research Articles

Taxonomic and metabolic characterisation of biofilms colonising Roman stuccoes at Baia’s thermal baths and restoration strategies

Stuccoes are very delicate decorative elements of Roman age. Very few of them survived almost intact to present days and, for this reason, they are of great interest to restorers and conservators. In this study, we combined metabarcoding and untargeted metabolomics to characterise the taxonomic and metabolic profiles of the microorganisms forming biofilms on the stuccoes located on the ceiling of the laconicum, a small thermal environment in the archaeological park of Baia (southern Italy). We found that some samples were dominated by bacteria while others by eukaryotes. Additionally, we observed high heterogeneity in the type and abundance of bacterial taxa, while the eukaryotic communities, except in one sample (at prevalence of fungi), were dominated by green algae. The metabolic profiles were comparable across samples, with lipids, lipid-like molecules and carbohydrates accounting for roughly the 50% of metabolites. In vitro and in vivo tests to remove biofilms on stuccoes using essential oils blends were successful at a 50% dilution for one hour and half. This integrative study advanced our knowledge on taxonomic and metabolic profiles of biofilms on ancient stuccoes and highlighted the potential impacts of these techniques in the field of cultural heritage conservation.

KALIGRAFI SEBAGAI SENI BUDAYA ISLAM DAN ARSITEKTUR

The art of calligraphy has become an integral part of Islamic art and architecture, reflecting the richness of cultural and spiritual values in Islamic society. This research aims to explore the influence and role of calligraphy in shaping Islamic cultural identity through art and architectural design. In this study, we conducted a comprehensive literature review on calligraphy as an Islamic cultural art and architecture. The results show that calligraphy is not only a decorative element, but also a means to convey religious and philosophical messages to Muslims. The use of calligraphy in Islamic architecture creates a spiritual atmosphere and distinctive visual beauty. Calligraphy also plays a role in strengthening Islamic cultural identity and enriching the heritage of Islamic fine arts. It is hoped that this research can be a valuable reference source for researchers, artists, and architects in understanding and appreciating the richness of calligraphic art in the context of Islamic culture and architecture.

Formal Integration of Decorative Elements in the Creation of Figurative Sculpture

Figurative sculpture and decorative elements belong to the same category of art; the development of sculpture art requires innovation and constant exploration of new development paths, while many characteristics of decorative elements can give the creation of sculpture works a variety of inspiration. This paper explores the significance of figurative sculpture and decorative elements, examining their intrinsic connections and historical practices. The study aims to uncover the potential of figurative sculpture in the creation of decorative elements, highlighting how the integration of these forms can contribute to the development of art and the creation of meaningful figurative sculptures.

Muslim Tatars in the Kama area sketches by K.F. Goon

The subject of the research in the article is the visual materials of the 1862-1863, reflecting the features of the costume complex of the Volga-Ural Tatars and its images depending on the time, theoretical and practical knowledge about the peoples living in a certain region and the representation of material heritage, through the socio-cultural perception of the artist K.F. Gun. Based on the results of the work, it was revealed that the artist executed the images in urban and rural settlements, designated class differences through the features of the costume complex - the materials used, multi-part headdresses and their differences from each other, decorative elements and ornaments. He was the first to distinguish between the differences in clothing that existed in private and public spaces, and actualized it in the images he created where the characteristic features of gender and age differences were revealed by the pictures of the costumes. However, it is necessary to highlight the controversial points in the images that were found in the works of K.F. Gun – atypical headdresses, analogues of which have not survived in museums or private collections; errors in administrative-territorial division, when the artist sketched the same people in different provinces, according to his signatures; confusion in peoples, for example - the ambiguous costume complex of the starokryashen Tatars (the Baptized Tatars), closer to the clothing of the Votyaks (Udmurts).

Research on the Notation of Folk Urtiin Duu

This paper deeply explores the notation of Mongolian folk Urtiin Duu, an intangible cultural heritage, and focuses on how to scientifically and rationally record their unique artistic characteristics. The study points out that the simplified notation has the advantages of being easy to learn and flexible in key changes, and is the preferred choice for notating folk Urtiin Duu. In view of the difficulty in recording the free rhythm of folk Urtiin Duu, a method of grouping a group of sound forms based on the combination of the internal rhythmic rhythm and speed changes is proposed to solve the problem of recording non-equal rhythms. For the notation of the core techniques of the decorative elements of folk Urtiin Duu, such as Tashilaga and Nogula, the concept of the music theory symbol system is changed to accurately express them in order to protect the artistic essence of folk Urtiin Duu. In addition, the importance of the backing words in the singing of folk Urtiin Duu is emphasized, and it is advocated to record the backing words in a comprehensive manner to protect the traditional charm of folk Urtiin Duu. This paper comprehensively considers the selection of musical notation, the processing of rhythm, the application of decorative symbols and the standardized recording of filler words, aiming to provide a more scientific and reasonable musical notation strategy for the educational inheritance of folk Urtiin Duu, and promote the inheritance, protection and development of this precious cultural heritage.

Constructing a Semantic System of Facade Elements for Religious Architecture from a Regional Perspective: A Case Study of Jingzhou

The application of semantics in facade elements mainly involves the association between architectural elements and their cultural, historical, or functional significance. By analyzing the shape, layout, and decoration of various elements (such as windows, doors, decorative patterns) in facades, semantics helps us understand the symbolic meanings and cultural implications behind these design choices. This study selects twenty-eight pavilions and buildings from five temples and Taoist sites in Jingzhou City as the research objects, exploring the composition and patterns of religious architectural facades in Jingzhou through the extraction of structural and decorative elements. The study establishes the “Semantic System of Façade Elements in Jingzhou Religious Architecture”, from which the distinctive characteristics of Jingzhou religious building façades are identified. The study finds that side halls predominantly feature hard gable roofs, while the main halls use double-eave hip-and-gable roofs, reflecting differences in architectural hierarchy. The sack with three arrows pattern is the most widely used in door and window decorations, demonstrating the aesthetic preferences of the Jingchu region. Both side halls and main halls commonly adopt high podiums, with the main hall podiums typically exceeding twenty steps in height, which is closely related to Jingzhou’s climatic conditions and architectural hierarchy. This study provides scientific evidence for the preservation, new design, and harmonious integration of traditional culture and architectural features in regional religious architecture.

Seismic Vulnerability Indices of Facades of Colonial Houses in the Historic Center of Morelia, México

Evaluating the seismic vulnerability of facades of historic masonry buildings is essential not only for their significant historical and heritage value, but also to evaluate the safety of this type of construction. This work applies a simplified methodology to assess the seismic vulnerability of the facade of masonry buildings in the historic center of Morelia, Michoacán, México. The historic center of Morelia was declared a World Cultural Heritage Site by UNESCO in 1991. On the facades, there is ornamentation with sculptural and vegetal decorative elements. The methodology involved conducting visual inspections to identify the location, type of structure, construction materials, doors, windows, balconies, cornices, ironwork, pediments, niches, and sculptures, among other characteristic elements of colonial architecture. The seismic demands were determined specifically for the city’s historic center based on a recent seismic hazard assessment of Morelia. Based on the methodology and the compiled database, characterized vulnerability indices were defined for the different damage scenarios that buildings may present. Results indicate that earthquakes with intensities greater than VIII on the Modified Mercalli scale risk collapsing heritage masonry buildings’ facades.

Cultural Transmission in Printed Games of Cupid: Tracing Lines of Descent

Abstract The Game of Cupid is a simple dice-based race game derived from the Game of the Goose in about 1600. Twelve different examples, covering the period to about 1850 and drawn from France, the Low Countries and Britain, are analysed according to distinctive markers that include rules, game board configuration and decorative elements, showing that the evolution of the game can be described by a single tree of descent. The forces governing this evolution are discussed. The results may be of interest to those investigating whether different aspects of a complex cultural trait – such as a board game that has rules, a board and decorative elements – follow separate cultural transmission processes.

Die „Kovacs-Vase“

The Kovacs Vase was first made known under scholars in Munich in 1996, but its origins and current owner are unknown. It could be shown that the pictorial scenes come from the Greek Pankration. It has now been proposed to date the Kovacs Vase to 400 AD. The successful fight of the alround-fighter Privatulus is shown in five scenes, with legends attached to the fight pictures describing the athletes in more detail. The inscriptions also indicate that it must have been an experienced and victorious all-fighter from the Green Circus Party (factiones). What is unusual is that the loser Victorinus is also mentioned by name, possibly also a successful fighter, over whom victory may have meant an outstanding achievement for Privatulus. All additions are written in a vulgar Latin that is similar to Proto-Romance and is difficult to understand. The overview and comparison of silver and non-ferrous metal jugs and vases from the 4th to 8th centuries shows that in the toreutics of this period both traditional forms and motifs have been present since the 4th century and new forms and decorative elements appear that clearly differ from the late Roman origins. The Kovacs Vase combines ‘classic’ shapes and motifs from the 6th century with innovative elements that indicate an independent, classicist development. It could be that it was made in a workshop in northern Italy. Although written sources mention gymnastic agones, no firmly dated images from the 5th century are known to date. Against this historical-archaeological background, the Kovacs Vase with its depictions and inscriptions is a unique testimony to Greek agonistics in late antiquity.

ARCHITECTURAL DECORATION ON KHUMS FROM THE MEDIEVAL KAVAT-KALA

Abstract. The article is devoted to the study of ceramic production in the Middle Ages. However, at this stage, attention is focused on the architectural decoration of individual finds from Estate № 2 at Kavat-kala. Khums, as materials for household purposes, have various decorative elements, but the materials available in our case cannot be classified as widespread in terms of ornament and decoration. Some similarities in decoration are found among ceramic (the kashin) products of the Golden Horde period, and are only characteristic of glazed ceramics of the 13th-14th centuries. However, the available information from archaeological excavations at Kavat- kala allows us to judge the most developed forms of pottery production in the 9th-12th centuries. The article also examines the common features of cultural ties in agriculture of the ancient and medieval periods, identifies the cultures of the peoples inhabiting this settlement, and craft production on the basis of unique collected materials from research carried out on the caravan routes of the south of the Right Bank of Khorezm, including the southern and western foothills. Among them, it was established that in one of the medieval estates of Kavat-Kala, near the ancient Russian canal Gavkhor, vessels with richly decorated images of animals of hand-made ceramics have been preserved, dating from the era of the Khorezmshahs (11th-12th centuries) to the era of the Golden Horde (13th - 16th centuries). Today, no less interesting is the arched ornament located along the rims of the hums, which is almost traditional for the Kashin ceramics of the Golden Horde period, on the outside of the vessels.

On the Structure of Early Neolithic Societies of the Forest Tobol-Ishim Area: morphology and ornamentation of the pottery

The Early Neolithic complexes located in Western Siberia are characterized by the following common determinant features: chronological position within the end of 7,000 – turn of 6,000 cal BC, flat-bottomed vessels, design layouts of vessel necks (lips, rims, collars), and geometric and tree-like ornamental elements. The ceramic complexes are distinguished by different qualitative and quantitative ratios of the types of pottery (Boborykino, Koshkino, Satyga (with rims), comb ceramics, etc.) identified by researchers. When found in the same occupation layer, such a variety of ceramics might be evidence of an unequal sociocultural structure of the Neolithic population groups. The author stand for the concept that ceramic production and new stone processing skills and technologies were introduced (Zach, 2018, 2020) to the indigenous groups with Mesolithic traditions. It resulted in the interaction of autochthonous groups and newcomers and the subsequent merging of their structures, which ran differently in different territories. The author tend to consider the development of “syncretistic” societies in the first stages of such interaction in the Tobol-Ishim Rivers area as a process of transition from the Mesolithic to the Neolithic. Various types of pottery have been recorded at Boborykino complexes. The variety increases at Koshkino complexes, in different settlements and different proportions, which apparently reflects the formation of a new stable cultural tradition. The Kozlovo ceramics became such a tradition, being characterized by round-bottomed vessels with sags in the interior of the rim and a combination of ornaments in mainly incised-receding and comb techniques.

Reevaluation of pollen differentiation in Altingiaceae: Challenges in distinguishing deciduous (Liquidambar) and evergreen (Altingia) types using multivariate statistics and machine learning

Altingiaceae, a family of woody plants, comprising evergreen Altingia and deciduous Liquidambar groups, exhibits distinct leaf morphology, yet both groups overlap in geographical range and climatic conditions. While some tropical Altingia species are confined to Myanmar, Thailand, Cambodia and India without Liquidambar, and some temperate Liquidambar species to northern China without Altingia. Their fossil pollen have significant implications in reconstructing palaeoclimate and historical biogeography, based on classification of Altingia-type and Liquidambar-type. However, the results of previous studies to differentiate pollen types of evergreen Altingia and deciduous Liquidambar were based on limited pollen specimens. Therefore pollen morphology of Altingiaceae and differentiation of above mentioned types needs reevaluation using more specimens from wider geographical range.In this study, we present new findings on Altingiaceae pollen morphology from extensive collection of specimens and reassess the diagnostic features to distinguish evergreen and deciduous types. To improve the credibility of palaeoecological and palaeoclimatic interpretations, we applied multivariate statistical analyses to pollen size, number of pores, pollen wall thickness, and size and density of ornamental elements from light microscopy (LM) and Scanning Electronic Microscope (SEM) images. Additionally, random forest classification models were applied to test the accuracy of differentiating Altingiaceae pollen types. Our results reveal significant morphological overlap between the pollen of evergreen Altingia and deciduous Liquidambar, with classification models showing limited accuracy and explainability. Thus, fossil pollen of Altingiaceae cannot be confidently classified into evergreen or deciduous types, highlighting challenges in using their pollen morphology for taxonomic classification in palaeoecological research.

Towards a Study of the Architectural Decoration of Public Buildings in Parion During the Early Roman Empire

Parion was one of the principal centers of the Roman province of Asia, and the remains of several public buildings adorned with intricate architectural decorations have been uncovered and partially explored. Among these structures are a theater, an odeon, and thermae, all dating to the Roman Empire. In addition to these edifices, other public buildings in the central part of Roman-era Parion remain undiscovered, raising im-portant questions about the organization of public space and the architectural character of the city’s core during the Early Empire. One of the most promising areas for further exploration is the “Agora” sector, bordered to the south by the odeon and to the north by the theater and thermae. This article offers an architectural and histori-cal analysis of the Corinthian order details found in this sector. The architectural elements discussed were un-covered during archaeological excavations conducted between 2015 and 2022 (Figs. 1-6). Although the availa-ble materials are insufficient to definitively identify the specific structures to which these decorative elements belonged, their forms, ornamentation, dimensions, and modules exhibit notable similarities to the architectural details of the southern façade of Hadrian’s Gate in Ephesus. This resemblance suggests a commonality in their architectural compositions and, by extension, the types of structures they adorned. Consequently, it is plausible to infer that these architectural elements were part of a portico associated with a building complex in the Agora. The design of this complex (or at least part of it) likely reflects Hadrian’s extensive building program in the Ro-man province of Asia.

Taking Advantage of the Aesthetic Values of Asiri Art Decorations to Enrich and Sustain the Printing of Modern Women’s Clothing Supplements to Preserve Saudi Heritage Using Artificial Intelligence Techniques

Sustainability is the result of modern-day design philosophy as a result of major industrial developments and many conflicts and wars. This concept is what prompted this research to focus on the possibility of achieving the principles of sustainability practically - in field reality - through the use of artificial intelligence techniques to create contemporary designs derived from the Saudi Asiri heritage and employ them in printing sustainable clothing supplements. Heritage-inspired design has cultural meaning and importance, and its purpose is to transmit our heritage to our emerging generations, and therefore it is considered a type of sustainable thought. The Asir region in the Kingdom of Saudi Arabia has a rich heritage that is greatly influenced by the charming nature of the place. The Asir region is distinguished by the art of the “Asiri Cat,” which consists of engravings, lines, and aesthetic formations engraved by women specialized in this field. They inherited this art from the women who preceded them. Asiri art is distinguished from other arts. The use of bright natural colors such as blue, green, orange, black and white, as the Asir region is considered one of the important heritage and tourist areas within the Kingdom of Saudi Arabia, has played a pivotal role in enriching the cultural and creative stock not only of the Saudi citizen, but also of the Arabian Gulf region. This is what prompted us in the current research to delve into the analysis of the creative and artistic aspects of Asiri art inscriptions and to benefit from the aesthetic values of Asiri art decorations in contemporary artistic designs that achieve sustainability for the purpose of exploiting them in the manufacture of plastic fittings for clothing supplements to serve small industries. Many diverse designs have been implemented using different printing techniques. From (direct drawing method - stencil printing - pictorial screen printing) the use of different types and colors to implement different products to produce clothing accessories that are closely related to the structure of form and content of Al-Qat Al-Asiri art, and depends on its aesthetic philosophy about the heritage and cultural references associated with the place and the artist’s own vision. To revive Saudi heritage. The research aims to take advantage of the geometric and floral decorative elements in Al-Qat Al-Asiri’s artistic engravings as a source for enriching and sustaining printed designs for women’s clothing supplements that are characterized by authenticity and contemporaryness, and preserving popular motifs by reformulating them. In keeping with the times, and preserving its most prominent features, in a way that enhances belonging and preserves the community’s heritage and values. From extinction, endless horizons of creativity and innovation have been achieved in the field of printing clothing supplements, and sustainable plastic repetition, which the designer or art practitioner resorts to in general, and the field of printing in particular, as a creative pluralistic plastic method.The research followed the descriptive and analytical approach in identifying the origins and characteristics of the Asir artistic inscriptions (the cat), analyzing their vocabulary, reformulating them, and drawing inspiration from them to enrich the printed designs of women’s clothing supplements, in addition to the experimental approach in the applied study through the use of different techniques and materials. The results of the study concluded that there are various aesthetic values in the Asiri cat engraving that can be used to create contemporary designs on clothing accessories using different printing techniques, in order to preserve the Asiri heritage in the southern region of the country. The study recommended the need to pay attention to studying heritage and the arts it contains because of its great importance, as it stimulates appreciation of traditional art and preserves it.

Historical Examination and Contemporary Conservation Challenges of the Architectural Decorations of Traditional Folk Houses of the Mulao People in the Hechi Region of China

In the southern regions of China, the Mulao ethnic group is regarded as one of the most ancient ethnic communities. This group possesses a long-standing history and a rich cultural heritage, making it a crucial component in the study of regional ethnic histories. It holds a significant place in the historical evolution of China's ethnic diversity. The traditional residential architecture of the Mulao people, along with its decorative elements, forms a vital part of the cultural heritage of the Mulao community. These structures serve not merely as places of residence but also as venues for cultural transmission and practice, reflecting the profound historical and cultural depth of the Mulao people. As carriers of history, these buildings document the culture, art, and spiritual qualities of the ethnic group, playing an indispensable role in the preservation and development of Mulao culture. This paper conducts an in-depth study of the historical evolution of traditional Mulao residential architectural decoration, aiming to explore its traditional features and modern innovations while, the dissertation examines the various challenges currently faced by conservation efforts. The study extensively compares the traditional features and modern innovations of Mulao residential architectural decoration, showcasing unique styles in form, color, and patterns. Through case analysis, successful preservation practices are identified, providing valuable experiences.This provides invaluable experience and profound insights for future cultural preservation efforts.This research contributes to a better understanding and respect for Mulao cultural heritage, offering substantial support for the continued preservation and evolution of Mulao traditional architectural decoration.

“Three-Quarters of an Hour to Consume Everything”: Dorian Gray and Commodified Aesthetics

This paper examines the commodification of aesthetics in Oscar Wilde's only novel, The Picture of Dorian Gray (1890). The novel is most extensively investigated within the artistic context employed, where Wilde’s approach to art, aesthetics and beauty is regarded as surviving on a transcendental ground. Indeed, despite his identity as a decadent of fin de siècle Britain, and his depreciating critique of the middle and working class for their material pursuits, Wilde gets conceptually closer to the capitalist stream of consumption. The novel ostensibly highlights aestheticism, and hence, art living for its sake on the lines of the manner Wilde launches himself to the world of artistry and literature, particularly through the characters of Dorian Gray, Basil Hallward, and Lord Henry. However, the deep desire to experience artistic pleasure and beauty, as illustrated mainly by Dorian, gets along very well with, and ends up as, the British materialist pursuit. Dorian’s initial position as the embodiment of beauty degenerates due to the same dynamic of beauty commodifying itself, and so, the others implementing it. The very commodities where aesthetic pleasure is sought commodify the aesthete. Wilde's use of ornamental and decorative elements, Dorian’s search for eternal youth, and the whole structuration of aestheticism in the novel necessitate a political reading of the text, calling for the recognition of colonial, material and modernist platform the narrative deeply bases itself on.

Penggunaan Bambu Sebagai Struktur Rumah Tinggal Modern Ramah Gempa

Bamboo material can be applied to structural and decorative elements of modern and minimalist architecture. Use bamboo as structural element, among: 1) as reinforcement structural column, bamboo diameter of 12 cm inserted into the structural column inside iron reinforcement, then cast with concrete. This technique can reduce concrete volume up to 50% than conventional concrete columns, 2) as wall reinforcement, bamboo inserted between the iron reinforcement of the supporting wall, then cast with concrete mortar. This system in addition strengthening walls against the moment forces pressure, can also reduce the volume of concrete. This system can produce walls with a thickness of only 8 cm, much thinner when compared to conventional brick walls 15 cm thick, 3) as reinforcement of concrete slabs, woven bamboo is laid horizontally as a partial replacement for concrete reinforcement iron. This system aims to significantly reduce the amount of iron on the slab, which will reduce construction costs. Science and technology application activities for lecturers of the Department of Civil Engineering, Politeknik Negeri Padag regarding the use of bamboo as earthquake strength for modern residential structure have been carried out at Panti Asuhan Khusus Anak Mentawai, Jl.Purus 4 Padang, on Sunday, August 20, 2023. This activity provides knowledge and adds insight for orphanage children, will finish their education in high school, about alternative materials to replace wood and concrete that are cheaper. So later it is hoped that if they are entrepreneurial or involved in the construction world use of bamboo.

Ottoman Influence on Architecture: The Evolution of Spatial and Decorative Elements in the 19th Century Traditional Macedonian Architecture

Vernacular architecture of 19th-century Macedonia have undergone significant transformations, primarily influenced by Ottoman architectural systems. In this context, "vernacular houses" refer to traditional dwellings built by local communities using indigenous materials and construction techniques. This study examines how Ottoman spatial configurations and decorative elements have been incorporated into Macedonian architecture during this period, illustrating the complex interplay between external influences and local adaptations. By examining these changes, the research reveals the evolving architectural identity of Macedonia in the 19th century. The research employs various qualitative methods, including a comprehensive review of historical texts and scholarly literature related to Macedonian vernacular architecture. In addition, field surveys, photographic documentation and interviews with local experts and residents have been conducted to observe and record architectural changes. The study concludes that 19th-century Macedonian vernacular houses have experienced significant alterations due to the incorporation of Ottoman architectural principles. These changes have been evident in the spatial organization, decorative motifs, and construction methods, which have been drawn from Ottoman traditions while preserving the distinctive characteristics of the region’s vernacular architecture. This adaptive process underscores the dynamic nature of Macedonian architecture, which has evolved through a blend of local and external architectural elements.

Tiebas Castle’ tuiles vernissées: Characterization, raw clay provenance, and manufacturing technology

Tiebas Castle was built between 1254 and 1264 as a royal residence of the kings of Navarre. The Castle was decorated with architectural luxuries imported from the French court. Some decorative elements of this French style are the polychrome roof tiles, called tuiles vernissées; and the glazed floor tiles, called carreaux de pavement. Both are the unique that have been found in the Iberian Peninsula. Elemental and mineralogical analysis allowed us to distinguish two different types of pastes that were used for both tuiles vernissées and carreaux de pavement: yellowish and reddish. The reddish paste was composed mainly of quartz, and to a lesser extent of haematite and illite. The yellow pastes were very rich in calcite and other calcium-bearing minerals (gehlenite, anorthite, diopside or wollastonite) and poorer in quartz and haematite. The different colour tones of the yellow paste samples allowed them to be classified into five subgroups (YP-1, YP-2, YP-3, YP-4, and YP-5). This classification turned out to coincide with a somewhat different mineral composition. The study of the mineral phases newly formed (gehlenite, anorthite, diopside and wollastonite) or destroyed (illite) during firing allowed us to estimate the maximum firing temperature of each of the subgroups. The temperature ranges for each subgroup were as follows: 750–800 °C (YP-5), 850–900 °C (YP-4), 900–925 °C (YP-3), 925–950 °C (YP-2), and 950–1000 °C (YP-1). The study of its possible raw materials allowed us to identify that the yellow pastes from tuiles vernissées and carreaux de pavement were prepared from a mixture of two clays. One of them was the decalcification clay (A15 clay) with which they also made the reddish pastes. The other component of the mixture was the marl from Castle hill. The proportion that the artisans used of both raw materials was 1:2 (twice as much marl as decalcification clay).

Room temperature stimulated long-persistent phosphorescence of polyurethane/SrAl2O4: Eu2+, Dy3+ composite material for textile-based applications

Textile-based SrAl2O4(SAO): Eu2+, Dy3+ composite material offers functional, aesthetic, and safety benefits, making it a valuable innovation with diverse applications in various industries. The susceptibility of textile-based SAO: Eu2+, Dy3+ composite material is degraded with repeated washing, which can diminish its luminescent properties over time. Our major goal was to create a cloth with durable photoluminescent qualities by incorporating waterborne polyurethane (WPU) as a protective coating that could generate light constantly without a light source. Through a systematic approach involving the synthesis of photoluminescent SAO: Eu2+, Dy3+ particles and their integration into a cloth substrate with waterborne polyurethane, a durable cloth with enhanced durability, protection, and adhesion properties are achieved. Cotton fabric and a rotary screen-printing machine were used to apply a thin, translucent layer of glow-in-the-dark pigment to produce the photoluminescence characteristics of the developed cloth revealing efficient light absorption and emission behavior, with emission spectra centered around absorption wavelength between 560 nm and 880 nm, with a 500 nm emission peak, exhibiting of the presence of Eu2+ and Dy3+ activator ions. In addition, to assess the comfort of the treated cotton fabric, a fabroOmeter test was conducted, that provided insights into its overall comfort level. Furthermore, the cloth demonstrates excellent stability and longevity of photoluminescence under various environmental conditions, making it suitable for applications requiring high visibility, safety signage, decorative elements, and apparel wear. This research underscores the potential of polyurethane-enhanced photoluminescent textiles as versatile and sustainable solutions for diverse practical applications.