Mural Art Research Articles

Applying TOPSIS and AHP Intrinsic Properties to Explore Consumers’ Preferences for Public Ceramic Relief Murals in Taiwan Region

Ceramic mural art is a contemporary landscape art, carefully designed based on human nature, culture, and architectural wall space; combined with social customs, visual sensibility, and art. It may also become the main axis of ceramic art in the future. The most distinctive feature of Taiwan region’s public ceramic relief mural (PCRM) was pioneered by Pan-Hsiung Chu in 1987. In addition to breaking through the limitations of traditional PCRM, Chu uses local culture and perceptual art as themes, giving Taiwan region’s ceramic wall art a unique style and innovative value. This study uses in-depth interviews with experts to analyze the intrinsic properties of AHP. At the same time, IPA is used as the public’s preference evaluation, and TOPSIS analysis is applied to understand consumers’ preferences for PCRM design imagery. It is hoped that this will sort out the key preferences of consumers and provide a reference basis and research methods for promoting PCRM in the Taiwan region.

Community Response to the Existence of Mural Artwork in Gampong Peunayong, Banda Aceh City

Mural art is a work of fine art that is depicted on a large, flat medium, such as the wall or ceiling of a room. Murals first appeared as a means of aspiration during the Indonesian war for independence. At that time, the street walls were covered with various kinds of critical and satirical murals. This research activity was carried out in Gampong Peunayong, Banda Aceh City. This research aims to find out how traders and the local community react and respond to the existence of murals on the walls of Gampong Peunayong buildings. In terms of examining research objects and subjects, researchers use qualitative research methods, which discuss descriptively the entire data obtained during the research. As a supporting tool, researchers used Clive Bell's Form Theory to examine the shapes in the murals in Gampong Peunayong briefly. The research method used is qualitative research. This research aims to find out how the local community that lives around the murals exists and examine information about the murals depicted on the walls of Gampong Peunayoung. Based on the results of research in the form of explanations and responses from the community regarding the existence of murals in Gampong Peunayong, some people accept and are happy with the presence of murals in their environment, especially traders at the Peunayong market. However, some others did not like the visual mural that was presented. The impact of murals on the economic growth of traders at Peunayong Market is also not really felt; whether or not there are murals, traders still have customers.

중국 시골 벽화 디자인 연구

This study aims to explore the demands of users for the design of rural wall murals in China from the perspective of rural revitalization, and to propose suggestions for rural beautification. The research adopts a combined approach of qualitative semi-structured interviews and quantitative Analytic Hierarchy Process(AHP) to achieve a more objective investigation. Firstly, user suggestions and demands for improving rural wall murals were investigated through interviews, and key requirements were summarized. Secondly, AHP was applied to assign weights and rank the extracted key requirements. The research results indicate that users' demands for improving rural wall murals are mainly concentrated in three major categories: theme and content, design and creativity, and space and environment. Furthermore, by further applying the AHP method, the concepts of regional characteristics, natural environment, living scenes, theme creativity, cultural heritage, and craftsmanship are ranked higher in demand. Based on the above findings, this study also proposes relevant improvement suggestions and design ideas, including diversified thematic creativity of murals, cultural tourism development, community participation and co-construction. The study emphasizes the exploration and inheritance of rural culture and human landscapes by designers, broadening the design thinking of designers, and promoting the development of rural mural art, providing cultural support and driving force for rural revitalization. These findings are expected to provide substantive guidance for the practice of rural mural design, and valuable references and inspirations for academia and practitioners.

A Review on Organic Additives Used in Historic Indian Murals

The scientific identification of organic additives in plaster and mortars has become an appropriate principle in the preparation of compatible repair material. Besides the need to characterise inorganic components, the conservation of mural art is facilitated by the unabridged documentation of organic components particularly mixed in ancient decorative mud/lime plasters support. The review addresses the influence of organic additives in the historic artworks and analytical methods used for their investigation. The paper has considered, the various plant-based organic additives recommended by ancient Indian texts like the Vishnudharmottara purana, Samaranga sutradhara, Silparatna etc., which have been documented and reported. With regard to the mentioned historical texts, plant-based products such as fermented juice, gum, fibres, straw, husk, resin etc., were used as organic additives for the preparation of wall plaster which provides disparate attributes to the plaster thus making it crack free, durable, antioxidant, antibacterial and insect-resistant. Furthermore, the recently reported destructive and non-destructive characterisation techniques based on chromatography, spectroscopy, ionization, and microscopy have also been described here. The mentioned techniques contribute as a fundamental tool to identify proteins, polysaccharides, fatty acids, resinous materials, starch, plant product etc., extracted from the mud/lime plasters and mortars.

EMERGING TRENDS IN CHUARCHITRARANGAL - TRADITIONAL MURAL ART OF KERALA

The south Indian state of Kerala is home to charismatic murals painted between 9th and 18thcentury CE and are proudly known as Chuarchitrarangal. These paintings adorn the walls of Shrikovil – the sanctum sanctorum of Hindu temples all over Kerala that narrates stories of God and Goddesses. Kerala murals have largest collection of secco, based on ancient Indian mythological stories.This study aims to identify, analyse and document the emerging trends in Kerala Mural Paintings. Also, it will make an effort to forecast the future trends. Primary data of renowned artists and secondary data of ancient murals will be referred for the study. 7 temples which hold the best condition murals will be included in the research. The medieval era (9th to 12th century CE) saw the height of this art. The entry of European art into academia in the 19th century, hampered the local art and Kerala murals began to face a significant decrease. Because of the realistic finish of European painting and the use of new convenient oil paints, local traditional art styles were no longer recognized and respected. The Kerala mural tradition had already faded into history by the end of the 1900s. Currently Kerala has a decent number of professional muralists who work extensively in conventional and contemporary methods. This art is being revived steadily. New generation artists are experimenting to keep up with the pace and preferences of new world. Getting inspired from various genres, creating novel styles yet keeping the conventional value intact has become a major trend in Kerala mural art.

Study on the Path of Living Inheritance of Non-related Tangka Mural Painting: Taking Sichuan Institute of Nationalities as an Example

As an important part of China's intangible cultural heritage, thangka murals contain profound historical and cultural value and unique artistic charm. The purpose of this paper is to study the living inheritance path of thangka murals and explore how to effectively protect and inherit this valuable heritage in modern society. Through the in-depth analysis of Sichuan Institute of Nationalities in four aspects, namely, cultivation and protection of inheritors, cultural dissemination and publicity, industrialization and marketization, as well as social participation and aesthetic education and infiltration, a set of comprehensive living inheritance strategies is proposed. Firstly, it emphasizes on ensuring the complete inheritance of skills through the establishment of a sound mechanism for the transfer of skills. Secondly, various forms such as exhibitions and multimedia are utilized to expand the influence of thangka fresco art and increase public awareness and interest. At the same time, it promotes the integration of thangka mural art with tourism and cultural creative industries, promotes its market-oriented development and improves economic benefits. Finally, emphasize the importance of public education and aesthetic infiltration, and mobilize the strength of all sectors of society through a variety of ways to participate in the protection and inheritance of thangka murals. The research in this paper provides theoretical support and practical guidance for the living inheritance of non-heritage thangka murals, aiming to promote this cultural treasure in the modern society with new vitality and vigor.

Seni Mural Sebagai Bentuk Ekspresi Nilai-Nilai Keislaman di Kota Salatiga, Indonesia

This research was conducted with the aim to find out the representation of Islamic values found in mural art in Salatiga City, so that it can be useful for future researchers. This research is a descriptive qualitative research with semiotic analysis approach by referring to Roland Barthes' theory. The data collection technique in this research uses observation and documentation methods on the object of research. The observation method in this research is by looking at the mural images on the walls of Salatiga City directly, while the documentation method in this research is taking some photos of mural art images related to Islamic values. The result of this study shows that, in the art of drawing or painting on the walls of large "murals in Salatiga City" there is a representation of Islamic values of aqidah, sharia and morals that dominate in the mural art located in three locations: Selasar, Munginsidi, and Taman Tingkir. Mural art is effective to represent Islamic values, because people can easily grasp the meaning of the values that want to be conveyed.

Creativity of Elementary School 1 Pekanbaru Teachers in Learning Cultural Arts and Craft (SBDP)

This study employed a qualitative research method and a descriptive approach to data collection. The mural decorations and the teachers in the school served as the study's subjects, while the study's objects included the subject matter of the mural decorations, the shape of the symbol, the color, and the composition of the mural art. The research and interviews were conducted in classrooms I through VI of SDN 1 Pekanbaru, which totaled 15 classes; of these, a sample of three classes was taken. Observational methods, in-depth interviews, and visual documentation all contributed to the collection of research data. Methods of qualitative and descriptive analysis were utilized in the study of the data. The findings revealed that the appreciation of mural art was due to the creativity of the teacher in terms of shape, color, line, illustration, and the theme that was raised. Specifically, the following was the theme that was raised: first, a teacher at SDN 1 Pekanbaru characterized a simple form of the elements of natural balance as a mural object. One of them is about the image of freshness and coolness given by nature, and the importance of preserving the surrounding natural environment, such as in the mural "Come on, Preserve Nature", which is on the wall decoration for class VI-B, and the mural art for class VB is entitled "Let's Respect and Appreciate Each other's Mural Art.

Visual communication in public space through mural art in Makassar, Indonesia

Mural art serves as a powerful means of visual communication, allowing artists to convey messages, narratives, and ideas through visual elements. Murals often address social, political, cultural, or environmental issues, expressing viewpoints and sparking conversations within the community. This study aims to examine the role and meaning of visual communication in mural art in Makassar City. The object of observation is divided into two, namely mural art that is appropriate in its place and mural art that is not in its place, such as the walls of inhabited houses, shop fences, and public facilities. Through the case study research method conducted in the city of Makassar, the data collected through the observation and interview stages were then analyzed descriptively. The results show that mural art is an alternative form of conveying messages through aesthetic and ethical values. Due to its significant role in arousing one's feelings, the Makassar city government has made mural art an indicator of improving the quality of the city's environment through the Lorong Wisata program. As part of the "Lorong Wisata" program, mural art can be commissioned or encouraged to enhance the visual appeal of the designated lanes. Murals can transform plain walls into vibrant and visually captivating artworks, adding color and character to the surroundings. Mural installations can serve as focal points and landmarks within the tourism lanes, attracting visitors and providing unique photo opportunities.

Medical representations in Mexican muralism. Medical-historical analysis of the murals at La Raza National Medical Center General Hospital.

In 1944, the call for the construction of "La Raza" Hospital in Mexico City was launched. The project included the proposal to create two murals, and the artists who were invited to participate were Diego Rivera and David Alfaro Siqueiros, who, with their work, bore testimony to the advent of modern medicine and the construction of the social security model in force in Mexico. To determine how mural art is historically linked to medicine in Mexico and how they complement each other, considering two works carried out at the same time and in the same hospital. Analysis of the historical context and iconographic and iconological analysis of "La Raza" Hospital murals. It was possible to clarify the relationship of the artists with medicine and the role murals play within the modern vision of medicine. Mural art is intertwined with medicine because it bears witness to the advent of the construction of the social security model currently in force in Mexico, since hospitals became social achievements of the State and were to be known as symbols of welfare and modernity in Mexico.

Mural visual media to enhance environmental caring character of elementary school students

This study aims to describe the use of visual media of mural art in Education to improve the character of environmental care for grade IV elementary school students. The approach used in this study is a qualitative approach or Qualitative Research. The type used in this study is Classroom Action Research to improve the environmental care character of grade IV elementary school students using mural art visual media, carried out in two cycles, each consisting of two meetings with stages of activities including planning, implementation, observation, and reflection, focusing on the use of mural art visual media and character education caring for the environment of students. The study subjects were grade IV B students of Makassar City State Elementary School, totaling 26 students. Data collection techniques are used through educator and learner observation sheets, documentation, tests, and non-tests. The research instruments used are observation sheets and questionnaires used to measure students' character. The data analysis techniques used are qualitative and quantitative data analysis techniques. The research results on character education caring for the environment of students in Cycle I are in the Sufficient category, and Cycle II has increased, namely in the Good category. Based on the study's results, using visual media of mural art can improve character education care for the school environment and the environment around grade IV B students of Makassar City State Elementary School.

Pilgrimage to Pureland: Art, Perception and the Wutai Mural VR Reconstruction

Virtual reality (VR) supports audiences to engage with cultural heritage proactively. We designed an easy-to-access and guided VR reconstruction of the murals in Mogao Grottoes, Pilgrimage To Pureland, to offer the general public an accessible and engaging way to experience the Dunhuang murals. We explored an immersive VR reconstruction approach that can efficiently convert complex 2D mural art into 3D digital VR content while maintaining its originality. Specifically, we reconstructed the Mt. Wutai pilgrimage mural in Cave 61 into a plot-based interactive VR environment that offers users a more accessible and immersive narrative to visit and appreciate Dunhuang murals’ complex religious, historical, and artistic value. We conducted a user study with twenty participants to further investigate how this reconstruction approach and the interactive narratives would affect users’ immersive experiences and knowledge acquisition, compared with other forms of virtual access as the control group. Findings from our user study revealed that participants from the VR experimental group reported a significantly higher level of immersion and understanding of the knowledge. To conclude, our 2D-to-VR reconstruction methods provided a VR reconstruction approach and insights for creating engaging user experiences and improving users understanding of cultural and historical concepts while preserving the originality of the cultural heritage.

Murale w przestrzeni miasta. Analiza funkcji i rozmieszczenia na przykładzie Słupska

Mural art is popular in many cities in Poland. Słupsk is one of them. The main goal of the paper is to present the distribution, theme, and functions of the murals in Słupsk. In the space of this medium-sized city situated in Pomerania region 40 murals have been catalogued and described according to the adopted criteria, thus obtaining detailed information about their location and subject matter. Most of Słupsk’s murals are in the Old Town, especially located in the revitalized area. The analysis of their detailed location shows that they are both in prominent places (main streets and squares) and in less visible places (side streets, gates, garage walls). The themes of murals in Słupsk are diverse. In-depth interviews with representatives of the city hall, cultural centre, tourist information centre, a foundation operating in the field of culture, social activation, and education, as well as mural artists in Słupsk allowed also to obtain information on the murals’ functions and paths of their creation in the urban space. Respondents emphasized the importance of murals in the revitalization of the city and drew attention to their educational, tourist and promotional function.

Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes

The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.

Performing arts of embodied refusal amid anthropogenic climate change: the Salim Ali Biodiversity Park and Bird Sanctuary, Pune, India

Birds twitter, flap their wings or wade in the gurgling water of the Mula-Mutha river in a special place, named after Salim Ali, the world famous, award-winning ornithologist and ‘Birdman of India’ (1896–1987). Yet, bird habitat, migratory routes, species diversity and songs are affected by the slow violence of global warming and environmental pollution. Urban citizens or Punekars including artists, women, children and ornithologists refuse the brutality of this slow violence by enacting forms of activism that centre birdlife and affirm thriving more-than-human worlds. This co-authored piece focuses on the embodied performances of refusal at the Salim Ali Biodiversity Park and Bird Sanctuary, Pune, a rapidly growing city in the western state of Maharashtra, India. Activism takes the form of poetry, city walks, participatory mural art and other forms of resistance by the Save Salim Ali Sanctuary Action Group (SSASAG). Our co-authorship collective consists of an activist/ornithologist of the SSASAG, an internationally acclaimed mural artist, and an Australian geographer of Indian heritage who went on daily ‘nature walks’ while visiting family in Pune. We craft this piece as a continuation of our activist refusals of anthropogenic climate change and toxic environmental pollution, and to illuminate solidarity with the brilliance of human and more-than-human worlds in and beyond Pune.

Walls of Many Colors: The Celebration of Mural Art in the Moroccan City

The history of walls in Morocco is extremely rich. Walls have played a powerful role throughout history, recounting stories of protection, resistance and encounter. They stand as historical palimpsests bearing traces of former times. However, in our modern times, walls have now embraced new functions. They have become spaces for creative communication and artistic performance. As a survivor of the Arab Spring revolutions that swept the MENA region by the end of 2010, Morocco has adapted to the transformations that have altered the political landscape in the region by answering the national demands and needs. It has elaborated strategies that aim to ease the masses’ frustrations and answer their aspirations by offering them larger platforms to express themselves and more liveable and breathable public spaces to occupy. Morocco has been creatively upgrading its cities where mural art is celebrated, thus competing with the world’s most famous metropolises. This article explores the evolution of mural art in Morocco with an emphasis on the cultural wall heritage of the country.

Traditional and modern pigments in Gino Severini's Swiss murals

AbstractBetween 1924 and 1947, Gino Severini decorated five churches in the Romand region of Switzerland with monumental religious wall paintings. This mural art played an important role in the Italian artist's career despite being mostly unknown and not easily found. The painting methods and materials of these modern Swiss murals were characterized by combining historical and archival research with onsite visual and scientific examination. Most pigments were identified with noninvasive methods integrating mapping techniques (i.e., technical photography and digital microscopy) with point analysis (x‐ray fluorescence and reflection FT‐IR spectroscopy). The results of these portable techniques were completed with SEM‐EDS, μFT‐IR FPA imaging, and μRaman analyses on micro‐samples which provided stratigraphic and compositional information to complement the noninvasive results. Overall, the data obtained show that Severini used both traditional pigments (e.g., Sangiovanni white and ochres/earths of various color) and modern ones, such as cadmium‐based pigments, with different painting techniques (e.g., zinc white was applied exclusively a secco). Apart from cerulean blue (cobalt stannate) and Naples yellow (lead antimonate) found only in two locations, the same set of pigments was documented in all of Severini's Swiss murals. The characterization of the artist's palette is important to understand the technical painting process followed by Severini, his interest on new painting materials available on the market and, at the same time, loyalty towards traditional painting methods, such as painting a fresco.

Monumentalizing “The Collective”

Abstract By analyzing the public mural paintings sponsored by the French state to help artists survive the economic crisis around the time of the Popular Front, this article intends to contribute to the study of the relationship between mass politics and mass culture in the 1930s. After addressing French and foreign views on mural art as well as state agendas behind mural commissions, the study examines the social and political significance of state-financed mural projects. Frequently large-scale and realized in a figurative style, murals portrayed collectivities in instants of conviviality and extolled the solidaristic ties binding them. State-financed mural paintings, I contend, monumentalized “the collective” so to create unity and collective spirit. Thereby, they created a visual politics that helped bridge the gap between art and the people and became agents of mass politics at a time of political instability.

MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/

Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.

Innovative Use of the Pointillism Technique for the Production of Scrap Metal Mural Art of Kofi Annan for Environmental Sustainability

Scrap metals have been an environmental nuisance blocking the pathways of water and leading to various forms of environmental pollution at Anloga in the Kumasi Metropolis of Ghana. This scrap metal art project was aimed at creatively reusing and re-purposing scrap metals from various construction, dump sites and households for the creation of a metal artwork as a step in reviving scrap metal art for environmental sustainability. Over the years, murals have been made using various techniques in painting and sculpture. The studio-based research design that employs the qualitative descriptive method was used for this project. The project adopted the concept of pointillism whereby tiny dots in various pure colours are used in creating an artwork that is appreciated when viewed from a distance. We replicated this concept by representing the dots with metal domes from scrap metals in producing an innovative commemorative metal mural of the former UN General Secretary, Kofi Annan. The researchers employed participant observation and used photographs to collect the data by carefully studying the various scrap metals that were available for the project and by utilizing most metal working techniques. It was very necessary to carry on this project to revive scrap metal art in Ghana which is gradually dying out. The study revealed that recycling and melting of metal scraps should be done in kilns and furnaces rather than in open hearth processes for best results. The study recommends the exploration of other methods of doming in the future for much efficiency. Also, the study recommends the exploration of other fine art techniques and media using various scrap metals for artistic production.