Painted Decoration Research Articles

Application of LIBS and LA-ICP-MS analysis to Hellenistic tableware

Greek and Hellenistic painted vases have attracted scholars of classical archaeology for centuries, either because of the artistic value of the painted decorations or because of the depicted scenes of ancient everyday life. Due to the application of thin slips on the surface, different methods are used for the chemical characterisation of the slips and the body of the same vase. The slips are commonly analysed by X-ray microanalysis, offering point-by-point analysis of mostly major elements, while different tools, such as X-ray fluorescence (XRF), inductively coupled mass spectrometry (ICP-MS), and instrumental neutron activation analysis (INAA), are used for bulk body analysis. This can cause difficulties in comparing the bulk composition and thus in determining the similarities and differences in the preparation process of the clay paste for the slips and bodies of an object. Given the artistic value of these objects, museum curators tend to be reluctant to provide samples for invasive characterisation. Micro-destructive laser ablation methods offer a robust solution to addressing both the relationships between ceramic body and surface treatment chemistry and destructive sampling. To provide a proof-of concept, we analysed slips and bodies of a small sample of Hellenistic fine wares from the Greek colony of Issa in modern Croatia with Laser-Induced Breakdown Spectroscopy (LIBS) and Laser ablation-ICP-MS. Results show remarkable diversity in the use of clay types and processing techniques.

THE INFLUENCE OF THE DEVELOPMENT OF COMPUTER TECHNOLOGIES ON THE PROCESS OF ARCHITECTURAL DESIGN

Problem statement. The history of the development of Petrykiv painting, including the study of the work of folk masters and their followers, their works, as well as consideration of problems and their solutions. The purpose of the article. To study the history of the origin and development of the art of Petrykivka painting. Determination of the stages of development and features in its different periods. Conclusion. The art of Petrikovsky painting is a unique relic of the national artistic tradition, which delegates to the modern world the original culture of the historical cradle of the Zaporizhia Cossacks. His powerful spirit, originality of poetic worldview and profound ethnic folk artistic thinking. Petrykiv decorative painting has in its potential immeasurable possibilities of ancient and eternally young folk art, for entering the sphere of modern life, enrichment of national and world culture. The war situation exacerbates and activates artistic creativity as much as possible. Thanks to the enthusiasm of Petrykiv masters-artists, their desire to support and develop our art, to pass on their skills to descendants, to show the beauty of Petrykiv painting to the whole world, this art form continues to live, improve and surprise with its unique ornament. Due to the significant economic difficulties accumulated during the last decades, an important branch of national culture has reached the critical limit of survival. Ensuring the preservation of historical centers of folk art and folk art crafts of Ukraine is a necessary component of the formation of national consciousness. The following most important strategic directions: state support and protection of the central figure of the industry − its producer, bearer of folk artistic traditions, folk craftsmen and enterprises of historical centers of folk artistic industries; preparation of the future change of folk masters in the creative environment of historical centers of folk art, by reaching different age categories of students, including the creation of specialized secondary educational institutions (schools), which will be gradually expanded as the industry develops; creation of museums in historical centers of folk arts and crafts for the purpose of their popularization, scientific research, assistance in education of future change, development of centers and tourism industry in Ukraine; Petrykiv painting will survive if it finds a new organic “usability”, either by artists of decorative art or by masters of folk art.

Prints and miniatures made by Donat Hübschmann in Vienna for clients from Hungary

Originating from Leipzig and active in Vienna, the printmaker and painter Donat Hübschmann (†1583) had clients from Hungary who were close to the joint Hungarian and Bohemian royal and imperial court in Vienna of the composite Habsburg Monarchy, to which the Kingdom of Hungary belonged. Miklós Oláh (Nicolaus Olahus), humanist prelate and Archbishop of Esztergom, and head of the Hungarian Court Chancellery based in Vienna, commissioned him to make a copy of his etched portrait. János Zsámboky (Johannes Sambucus), who entered court service as a humanist, ordered two works from him. In 1564–65 Zsámboky had an illustrated broadsheet made to commemorate the coronation in Pozsony (now Bratislava, Slovakia) as King of Hungary of Archduke Maximilian II of Habsburg in 1563, which was decorated with a woodcut by Donat Hübschmann: a veduta of Pozsony. Further, in 1566 he assigned Donat Hübschmann to produce a copy of the earliest surviving printed map of Hungary (Lazarus secretarius, Tabula Hungariae, 1528). Other Hungarian-related works can be found among the master’s prints, such as a woodcut portrait of Hans Francolin the Younger, Hungarian Herald of Ferdinand I. It is likely that Donat Hübschmann was also responsible for the painted decoration on five letters patent, which were commissioned by Hungarian noblemen and issued by the Hungarian Court Chancellery in Vienna. In every case, the miniature coats of arms were signed with the monogram “DH”. The calligraphic decoration of these can be attributed to the noted calligrapher György (George) Bocskay and his workshop.

Development of Glaze Compositions to Increase the Durability of Decorative Paints Used in Glazed Porcelain

Colorful paint works are carried out to highlight the visuality of ornamental and tableware products, such as cups and plates. As these products come into contact with detergents, food products or grime, erosion and abrasion occur in paint and patterns over time. In this study, transparent glaze compositions that can be applied on patterned products have been developed in order to minimize wear and damage to the paint on ornamental and tableware products such as porcelain cups and plates. It is aimed to have a compatibility with the glaze layer and the porcelain body, to have high transparency and brightness. Different glaze compositions have been implemented to porcelain wares containing precious metallic paints. Then the glazed products were coducted to final firing between 870˚C-900˚C. Colours values of porcelain wares were determined with L-a-b spectrophotometer colours measurment devices and ΔE values was found to be lower than 0.50. Erosion and abrasion resistance were determined by staining test and washing test. According the results, the mass loss values are in the range of 2.7-3.4 mg (24h washing) and 7.9-8.3 mg (168 h washing). The morphology of the samples and the analysis of the phases formed during sintering were determined by X-ray diffraction (XRD) technique and scanning electron miscroscopy (SEM and EDX). Quartz-SiO2 and Albite-Na (AlSi3O8) phases were observed in the structure of the glazes. The results showed that glaze compositions with high transparency and wear resistance can be obtained with only 30% frit content.

Improving the process of teaching students the basics of decorative painting

Improving the process of teaching students the basics of decorative painting

Family Emotional Decorative Paintings: Interaction Design for Communication

This paper describes an approach applied to decorative home paintings: an emotional interaction approach. The study utilizes the theory of constructed emotion and the Wizard of Oz research methodology to extend the user's emotional experience in home scenarios with emotional self-reflection and regulation. Family Emotion Decorative Painting uses the family-shared photo library as the image base data, obtains the emotion type through facial expression and voice emotion recognition, and correlates the moment's emotion with the emotion reacted in the picture. Through qualitative research, we found that family emotional decorative painting can bring emotional arousal and soothing to participants. Family Emotional Decorative Paintings also provoked reflection on technology in and around the home. These findings suggest several opportunities, such as designing for anticipation, better supporting reflection on the past. The study also allowed the team to question the traditional interaction design view that more frequent and prolonged human-computer interactions are a measure of good design. The team will next focus on ways for users to engage in novel and meaningful ways outside of the application.

Application of computer data model in the characteristics and evolution of ceramic decorative painting

With the rapid development of computer technology, computer information technology has made intelligent transformation to all industries. It is particularly important to optimize the computerization of ceramic painting. This paper analyzes the development of ceramic decorative painting and the basic principle of computer data model, determines the method of combining ceramic decorative painting with computer data model, and establishes a computer data model for feature extraction of ceramic decorative painting. And 1015 images of self-made ceramic decorative paintings are applied to carry out simulation analysis. The results show that compared with the traditional classification algorithm based on non deep learning and the partial classification algorithm based on deep learning, the average F1 value of the hybrid neural network model is 96.4%, which is 1.5% higher than the best traditional model. This shows that the designed computer data model for feature extraction of ceramic decorative painting has a good effect on the classification and feature recognition of ceramic painting. This has laid a certain foundation for the computerized optimization of ceramic decorative painting and provided a good support for the healthy development of ceramic decorative painting in the information age.

Production technique and multi-analytical characterization of a paint-plastered ceiling from the Late Antique villa of Negrar (Verona, Italy)

The research focuses on analyzing the production techniques and materials of a Roman paint-plastered ceiling from a Late Antique Roman villa near Negrar (Verona, Italy), recently uncovered. Stylistic features of the decoration, found in reworked collapse debris during the villa’s excavation, date the ceiling to the original construction phase in the 4th century CE. The paper presents the protocol we adopted for recovering and analyzing the painted decoration of the villa, which was in-laboratory recomposed in its original layout after a meticulous and systematic retrieval of fragmented materials. Microsamples of mortar and pigment were then taken to fully reconstruct the execution technique and raw materials used in the paint-plastered ceiling, detailing the application of the tectorium and pigment preparation. Mortar samples were analyzed to define preparatory layer properties, using various analytical techniques including Transmitted-Light Polarized Optical Microscopy (TL-OM) and Scanning Electron Microscopy with Energy Dispersive X-Ray Analysis (SEM-EDS). Optical reflected-light microscopy detected guide incisions on the preparatory mortar, while Reflected-Light Optical Microscopy (RL-OM) revealed the microstratigraphy of pictorial micro-layers. Micro-samplings of painted decorations were conducted to define pigment palettes, determining their mineralogical composition through X-Ray Powder Diffraction (XRPD) analysis coupled with micro-Raman analyses for the determination of carbon-based compounds. The research aims to establish a comprehensive protocol for future endeavors, integrating archaeological reassembly with precise micro-analyses of pigments and mortars, deciphering the intricate layout of ancient, fragmented decorations. This study is the first of its kind in Northern Italy, overcoming challenges posed by fragmented and reworked artifacts in previous research, enabling detailed analytical studies like those conducted here. Moreover, this study of the paint-plastered ceiling of the Late Roman villa of Negrar aims to provide a new impulse for the knowledge of Late Antique painting techniques and materials, which were only marginally considered within Roman painting tradition so far.

Cu(II)-binder complexes in azurite and malachite pictorial mixtures: An EPR study

Degradation processes of paintings, frescos, illuminations, and painted decorations represent a relevant challenge in the cultural heritage field for both conservators and scientists dealing with the causes of these processes. It is very important understanding the molecular origin of colour changes, like fading, yellowing, blackening, as well as the molecular origin of damages due to degradation, like cracking and fall of pictorial layers. Metal complexes, often indicated as “metal soaps”, when referred to metal carboxylates, play a relevant role in degradation. However, their identification is not easy, and the involvement of the metal ions in the degradation mechanisms is often not clear. Continuous Wave Electron Paramagnetic Resonance (CW-EPR) spectroscopy is a very sensitive tool towards paramagnetic species (e.g., transition metal ions like Fe(III), Cu(II), Mn(II), radicals, etc.), providing relevant information on these species, not always well-characterized with other methods. In this paper, we use CW-EPR to study the formation of Cu(II)-binder complexes in natural malachite and azurite pigments mixed with several organic binders. We show that CW-EPR technique is able to detect easily Cu(II) complexes with organic ligands, and can additionally provide information on the pigments themselves. In particular, the first coordination sphere of the Cu(II) complexes is characterized by applying the Peisach-Blumberg method. Moreover, CW-EPR shows that binders can affect the structure of the raw pigments.

The use and production of black Mn‐based pigments for painting late (c. 900–1450) and Inca (c. 1450–1600) periods ceramic vessels in Northwestern Argentina: a multi‐analytical approach using μRaman, FT‐IR, and XRD

AbstractLate and Inca period pottery in the Northwestern Argentine region present two or three characteristic prefiring colors (red, black, and white or cream) in their decoration. Sanagasta and Belén vessels from Late Period are characterized by a bichrome black‐on‐red/cream and black‐on‐red painted decoration, respectively, whereas Inca vessels exhibit a black‐on‐red painted decoration. Analytical results obtained by μRaman, FT‐IR, and XRD analyses on a relatively large number of samples show that the pre‐Hispanic potters during Late and Inca periods used a manganese‐based technique to obtain black colours in these large vessels fired in an oxidising atmosphere. Black paints were produced by the systematic use of different mineral complex mixtures of Mn (pyrolusite, bixbyte, and hausmannite) and hematite. As a result, spinel phases like jacobsite (a Fe‐Mn compound) and magnetite were formed at different firing temperatures. Red paints were obtained using the mineral hematite. A detailed discussion is presented concerning the firing conditions to obtain these black hues.

PENINGKATAN KREATIVITAS MENGGAMBAR DEKORATIF SISWA KELAS III MELALUI PENERAPAN MODEL CONTEXTUAL TEACHING AND LEARNING (CTL)

The study aimed to improve student’s creativity in decorative painting, and describe the constraints and solutions in the implementation of Contextual Teaching and Learning. It was classroom action research. The subjects were teacher and students of third grade at SDN 1 Mekarsari. The data used is in the form of qualitative and quantitative data. Data collection techniques using tetst, observations, and interviews. Data validity uses triangulation of sources and techniques. Data analysis with data reduction, data presentation, and drawing conclusions. The results indicated that Contextual Teaching and Learning (CTL) improved student’s creativity in decorative painting. The students had interesting and unique ideas in painting. The student’s learning outcomes and works improved. The constraints were the teacher had difficulty to manage the students when drawing and they needed much times to finish. The solutions were the teacher provided more efforts to manage the students. It concludes that the implementation of Contextual Teaching and Learning (CTL) improves creativity in decorative painting to third grade students

Research on Affective Ergonomics of User Preferences towards Train Compartment Design

Trains as public transportation have experienced quite significant passenger growth. One type of train that has just been developed is a compartment, a room to maintain passenger’s privacy during the trip. However, train design needs to pay more attention to passenger preferences. Uncovering this can be done using the Kansei Engineering method, which has successfully increased the value of products such as cars and others. Previously, research had been carried out with the results of favorite compartment designs with a minimalist theme, green color palette, decorative painting, glossy, and dominant wood motif finishing. However, this research has not addressed the affective side’s influence on design specifications more deeply. The research objective is to determine train compartment interior design specifications that suit user preferences and respondent clustering. This research will be carried out using a questionnaire with a semantic differential scale, which is tested using Principal Component Analysis (PCA) and Cluster Analysis. The research results show that user preferences influence the interior design specifications of the compartment and the favorite design samples chosen by most respondents. The results of this research can be a reference for train manufacturers and the general public.

ХУДОЖЕСТВЕННЫЕ ОСОБЕННОСТИ РОССИЙСКИХ ПРОМЫСЛОВ ЛАКОВОЙ МИНИАТЮРЫ В СОВРЕМЕННОМ ДЕКОРАТИВНОМ ИСКУССТВЕ И ДИЗАЙНЕ

This article examines the Russian crafts of lacquer miniature painting in the context of the manifestation of their artistic features in modern decorative and applied arts and design. The authors’ goal is to identify stylistic techniques of Russian varnishes and analyze the possibilities of using authentic characteristics of folk art in the author’s design of design objects and decorative arts. The article presents the general and specific in the visual arts and technologies of Fedoskino, Palekh, Kholuy and Mstera. It has been determined that Fedoskino has the artistic features of realistic oil painting, and Palekh, Kholui and Mstera, formed on the basis of icon painting, acquired the features of conventionally decorative painting with tempera paints. The article lists the specific artistic features of each of the declared crafts of lacquer miniatures. The authors come to the conclusion that the original Russian traditions of folk painting have recognizable traditions that have developed over decades, which may represent an “artistic code” of Russian culture. Using the wealth of artistic expressiveness of lacquer miniatures in our country, the opportunity has been formed to create modern works of art with decoding the source of inspiration in the process of designing new products of design and applied creativity.

Theological Programme, Analogies, Innovations in Mural Painting of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894

The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The continuity principle is defined as the basis of the connection between the original (the 18th century) and renewed (1894; Daniil Davydov) decoration of the Cross Exaltation Church. The pictorial compositions analogies to the paintings of the compartments of Lavra Great Church (Dormition Cathedral) according to the programme of the 1720s are observed. Secondary analogies with some compositions in the Lavra Trinity Gate Church are also indicated. Along with analogies, the differences in the thematic, compositional, and stylistic interpretation of the paintings have been investigated. The academicism features in the mural painting of 1894 have been analysed. The originality of themes and plots addition in the mural paintings with icons in the iconostasis and the altar has been revealed. Conclusions. The mural painting programme’s primary source of the Cross Exaltation Church of the Kyiv Pechersk Lavra has been the programme of painting the interior of Lavra Great Church (Dormition Cathedral) in the 1720s. The renewed mural paintings of 1894 inherited the original decoration of the Cross Exaltation Church. Analogies with the paintings of the Great Church can be traced to the theme and general compositional schemes. A partial analogy to the mural painting of the Trinity Church narthex has been used as a component for another theme. Innovations in the paintings of the Cross Exaltation Church have been manifested in the formation of a peculiar thematic hierarchy, a change in compositional elements, and a transition from the baroque style to the traditions of academic sacred painting. The originality is manifested in the presentation of emotionally saturated subjects in the altar icons and paintings, due to which a calm and sublime rhythm of the wall compositions are created. Some icons are a plot addition to the murals. Several thematic lines are revealed in the mural painting, namely the sacrifice of the Saviour on the cross, the sacrifice of a man to God, the meeting of a man with God, the Divine Liturgy and Church of Christ. The main theme of the church painting decoration is the glorification of Christ’s atoning sacrifice and the Precious and Life-giving Cross of the Lord as the instrument of His victory and our salvation. The ideological basis of the mural paintings theological programme is a line from the Epistle of the Apostle Paul to the Hebrews [Hebrews 19:39–40, 20:1–2]. Keywords: sacral culture, Orthodoxy, academic painting, baroque painting, mural painting, sacral painting, Ukrainian painting, Great Church, Dormition Cathedral, Cross Exaltation Church, Holy Trinity Gate Church, Daniil Davydov.

Features of traditional folk Ukrainian decorative painting and its visualization in modern conditions

У статті розглядаються та аналізуються художні особливості народного українського хатнього розпису, чинники його виникнення, зміст художнього задуму, техніки виконання та розвитку. Особлива увага акцентується на збереженні традицій прикрашати житло символічними мотивами – оберегами, які виникли у віруваннях часів язичництва, продовжували існування у християнстві та дійшли до сучасності. Характерною рисою народного мистецтва є синкретичність, де засобами орнаментальних композицій відтворювався «Світовий порядок» на функціональних ужиткових речах. Відмічається варіативність художньої мови хатнього розпису, його вплив на створення нових видів народного графічного мистецтва на початку ХХ століття. Акцентується роль обдарованих митців на створення осередків, шкіл та промислів в різних регіонах країни. Розглядаються творчі пошуки сучасних майстрів та їх приклади зв’язків народного мистецтва з сьогоденням. Поширеною ознакою збереження та розвитку народного мистецтва є сімейні традиції митців різних поколінь, які продовжують і розвивають власні здібності у декоративному живопису, розпису громадських інтер’єрів та виробів побуту, дизайні одягу, текстилі, графічному дизайні, сувенірній продукції.

Painted Decorations on Pottery of the Chernihiv Region of the 18th – first Third of the 20th Century

The purpose of the article is to outline the main issues of the following scientific problem – the history of the origin, assortment, and typology of the principal motifs, compositional schemes, and techniques for making painted decor of the Chernihiv region pottery tableware. The research methodology corresponds to the purpose of this study and includes a comprehensive approach to the study, systematisation, and interpretation of the empirical material using historical-comparative, formal-typological, and art analysis methods. The scientific novelty of this study. It is the first attempt at the comprehensive analysis of painted decor as a manifestation of the artistic culture of the population. While working over the material, the origins and evolution of the most common decorative motifs for the decoration of pottery were determined, their art specificity in the regional and national context was considered, classification was done, and a number of works from museum collections were put into scientific circulation. Conclusions. Analysing the pottery-painted decor of the Chernihiv region of the 18th century – the first third of the 20th century, it can be concluded that it developed within the national tradition of Ukrainian pottery, and used its main aesthetic and stylistic principles. The pottery of the region is characterised by a wide range of motifs (geometric, plant-geometrised, plant, zoomorphic, and others), a variety of techniques, and creative manners. The evolution of the painted decor stylistics contains the interaction of traditional and innovative factors, the influence of neighbouring regions' pottery, artistic and other types of decorative art, for example, art – industrial products – earthenware, and porcelain. The painted decor had pronounced regional features of the form, interpretation of motifs and images, compositional schemes, plastic solutions, and colouring.
 Keyword:.pottery, decor, painting, tradition, innovation, artistic features.

“Sacred Images” in the Interior of the Kyiv-Pechersk Lavra’s Great Church: the Factual System of Sacral Murals, 1897 – 1901

The purpose of the article is to introduce into scientific circulation documents presenting the factual system of sacred compositions 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Dormition Cathedral (Great Church). The research methodology is synthesis of historical and cultural analysis, as well as art study analysis. Scientific novelty. The author has introduced the album of drawings by the artist Andrii Lakov into scientific circulation: “V. І. Vernadsky National Library of Ukraine. Lakov A. A. The album of plans and detailed drawings the inside of the Kyiv-Pechersk Lavra’s Great Church showing the locations of sacred images. 1905. Paper, mixed technique. 19 sheets”. Based on this document, the author has performed three research tasks using examples. First, she reconstructed the system of sacral murals of the Church’s compartment. Second, she revealed the difference between the project and the actual mural. Third, she improved and determined the location of a number of compositions. The author has revealed the important theoretical and practical significance of the album as a presentation of the factual system of sacred compositions of 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral). Conclusions. The album of drawings by the artist Andriі Lakov (1905) presents the factual system of sacral mural painting of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral) of the late 19th – early 20th century. The album permits the determination of the compositions’ location on architectural surface. It is the evidence that artists partially changed the project in terms of the location of some compositions. This album provides an opportunity for the authentic historical reconstruction of the Cathedral’s painting decoration.
 Keywords: sacral culture, Orthodoxy, sacral mural painting, Ukrainian painting, Kyiv-Pechersk Lavra, Great Church, Dormition Cathedral, Andrii Lakov.

A Spectroscopy-Based Multi-Analytical Approach for Studies in Conservation: Decorations in the Alexander Palace (Tsarskoye Selo)

We studied the painted decorations found during recent restoration work in the Alexander Palace in Tsarskoye Selo. Optical/laser spectroscopic methods were applied to obtain a characterization of the materials, pigments, and binders in use and, possibly, their degradation. We analyzed samples of the original Art Nouveau style decoration that was detached in 2019 during conservation work at the State Office of Emperor Nicholas II. A combination of Raman microscopy, infrared spectroscopy, and elemental analysis (obtained from the optical emission following laser plasma formation) allowed us to obtain detailed information on the materials used. The precious pigments of the artist’s green-blue palette and the binder used (drying oil) were identified. A mixture of blue (Prussian blue and ultramarine blue), white (lead white and barium white), and yellow (chrome yellow and zinc yellow) pigments determined the different blue hues used. The use of bronze paint in the dark blue area, which was identified as a brass powder applied with a drying oil as a binder, was also demonstrated.

GENRE-PLOT TYPOLOGY OF INTERIOR DECORATIVE PAINTING IN CHINESE PAINTING OF THE BEGINNING OF THE 21ST CENTURY

The article is devoted to Chinese decorative painting of the beginning of the 21st century. The purpose of the article is the genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century. It is indicated that the actualization of the problem of the development of interior decorative painting was due to the dynamic urbanization of China, the improvement of the living conditions of ordinary citizens of the country since the beginning of the 21st century. The author examines the state of Chinese and foreign scientific discourse on the mentioned problem. The research methodology is based on the use of both general scientific methods of analysis and special art-scientific ones, namely: the method of morphological typology and the method of analyzing symbolic artistic forms. The given genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century showed that the problematization of the genre typology of this art branch should take into account both the genre level of the canonical system of Chinese painting and the genre thesaurus of the non-canonical system of decorative painting. These are the so-called “hybrid genres”, which are the result of the use of a fairly diverse global genre thesaurus. The article proves that the plot typology= of modern Chinese interior decorative painting is based on the deep mechanisms of symbolization in the narrative structures of pictorial art forms, which are decisive both for the national artistic and cultural heritage and for modern Chinese decorative painting. The basis of such a typology is the system of “benevolent” ornament, which has been developed in China for thousands of years. In the course of the analysis, several types of plots, which are currently actively produced by artists for the design of private and public interior spaces, were identified, namely: mythological and religious plots, historical plots and genre plots, which also include the so-called “landscape narrative”. The research opens the perspective of studying the festive decorative painting and its genre-plot typology, as well as the compositional and color solution of the decorative painting in Chinese painting of the beginning of the 21st century.

Archaeometric investigation of pigments of the iconostasis from Saint Georgios church of Sohos

The research presents the preliminary results of the archaeometric investigation of the painting decoration from Saint Georgios church in Sohos, Thessaloniki, Greece. The church is dated to the second half of the 18th century. At the initial stage, the study focused on the identification of the organic and inorganic pigments in the wood-carved iconostasis painting. Fifteen samples of pigments and gilding were obtained during the conservation work from (a) the semi-colonettes that separate the Despotic Icons Zone (8 samples) and (b) the bema door, the entrance to the Diakonikon (7 samples). For studying the peculiarities of the church’s decoration, optical (stereo and polarizing microscopes) and physicochemical analysis (m-XRF, FTIR, Raman, and HPLC) have been used. Most of the inorganic and organic pigments found in the decoration of the iconostasis have been used since antiquity. In general, the inorganic pigments cinnabar and minium (red lead), and the natural organic pigments cochineal and indigo were identified. The iconostasis’s overpainting pigments synthetic ultramarine, zinc white and emerald green date to the first half of the 19th century, and their production dates (c. 1800–1850) are setting a terminus post quem for the overpainting work.