Mural Art Research Articles

The mural art legalization and development process in Kyiv. Conceptual revitalization

The mural art legalization and development process in Kyiv. Conceptual revitalization

Seni Mural Di Kecamatan Majalaya: Tinjauan Filsafat Seni Leo Tolstoy

The purpose of this study was to analyze mural art in Majalaya sub-district in terms of the art philosophy of Leo Tolstoy. This study uses a qualitative approach with the type of field research. The results and discussion of this reseach include mural art in Majalaya District, Leo Tolstoy philosophy of art, and analysis of mural art in Majalaya District in terms of Leo Tolstoy art philosophy. The conclusion of this study is that mural art in Majalaya District in terms of principles and practice is relevant to Leo Tolstoy’s philosophy of art. The research is recommended for further and in-depth research on mural art and other arts in order to support its existence, especially in Majalaya District.

Mural Art Conservation Data Recording (SCIMA): The Graart Project

Urban art in Italy is experiencing a remarkable evolution that has quickly modified urban spaces, especially in suburban areas. More and more often, we are witnessing the birth of works of art that have been commissioned by festivals, or institutional projects next to spontaneous street artworks. These large projects, often defined as “urban renewal”, when carried out through a well-thought-out design, can become real open-air museums. The proliferation of these creative and legal projects has raised the question of whether street art should be preserved over time. The conservation, or even restoration, of urban art has recently become a controversial topic in scientific debate. In Italy, different associations of researchers are developing new methodologies for preserving street artworks; everyone agrees on the importance of the implementation of good conservation practices. The documentation of the existing condition of a work of art is the first step to start taking care of it. In this article we introduce SCIMA (Scheda Conservativa Informatizzata Mural Art), a digitizing conservation data report that is specific for mural art. The aim of SCIMA was to define the existing condition of the work of art, starting with the socio-cultural and artistic importance, to describe its environment, to define the materials used and its deterioration problems, to suggest conservative interventions. It was born as an analogical tool (sheet) but we are working on digitizing it (database) in order to maintain access to the data recorded for the future.

Aesthetic visions of mural painting in international airports (A Proposal of experience for the researcher at the Yemeni airports)

Purpose: This work is a trial study for International Airports esthetics developments. The work was introduced to explore the disparity and activities of that airports as well as its benefit to tourism growth internationally. All that in order to give a clear understanding and appreciation of the importance of mural and artistic works in the architecture of international airports, all of which are beneficial to the aesthetic, visual, technical and psychological benefits of travelers and visitors, as well as the benefits to tourism and culture of the country in which there are airports.
 Materials and methods: The practical experience of the researcher is based on three main axes, through which it deals with some aspects of the Yemeni environment to be applied within some of the wall works in Yemen airports. All murals are decorated with glass mosaic materials and ceramics on large wooden panels. The 1st axis: murals inspired by the ancient heritage of Yemeni architecture. The 2nd axis: Murals inspired by the picturesque Yemeni nature. The 3rd axis: murals inspired by the social and psychological state of the Yemeni human being.
 Conclusion: Many Yemeni institutions' buildings are decorated with murals, paintings, and other subjects related to that region or community. We note that the government of Yemen has taken care of this type of architecture, such as the art of murals.
 Recommendations: The mural art works are not suitable for placing in international airport halls except with basic points that are supposed to be taken into account in the mural work to be placed inside airports, where it is recommended to take into account the three main axes: the environment, the design, and the materials in which these murals were completed.
 Keywords: mural, airports, Yemeni airports, esthetics.

The Future of the Past: Bringing Attention to Plovdiv's Forgotten Mural Art

This paper presents a project initiated by National Library “Ivan Vazov”, which aims to raise awareness of Plovdiv’s socialist-era mural artworks and to rethink the essence of their presence in the city. The library holds 95 project proposals for monumental art which will be digitized and included within the discourse. The 30-year distance allows a dispassionate view of this heritage, fostering a sense of awareness for their value. The project includes the realization of a bilingual monograph, a traveling exhibition and a website.

Implementation of Computer-Based Vision Technology to Consider Visual Form of Ceramic Mural Art

As one of the cultural forms of human beings, ceramic murals transcend the dimension of time and space and transcend the single cognition of materialism in the sense of purely material materials. The emergence of computer vision technology has also provided conditions for developing ceramic murals in terms of concepts and technical forms. This article first studies the visual communication language research in ceramic mural art, at the same time comprehensively analyzes the design principles of ceramic mural art, and interprets the visual form of ceramic mural art from the perspective of actual projects in the thesis; then, it boldly analyzes the future of ceramic mural art Development trend. Finally, this article analyzes the composition in ceramic mural art, the graphics in ceramic mural art, the color in ceramic mural art, the scale in ceramic mural art, the lighting in ceramic mural art, and the design principles in ceramic mural art. The experimental results show that there are significant differences in the artistic design principles of ceramic muralsP<0.05, and there are significant differences in the artistic design principles of ceramic muralsP<0.05. Therefore, the artistic design principles of modern ceramic murals should mainly follow elegant and prominent forms.

Glamorous Ukrainian Motifs in the Murals by Eugenia Gapchinska

Certain motifs in the artworks of E. Gapchinska, a Ukrainian painter of the early 21st century, were analyzed, which have been implemented in the contemporary mural art. The scope of the key topics and storylines attributable to the Ukrainian authenticity in her creative artworks has been determined. Such paintings, as The Sky in My Palms (2006), A Piece of Bread with Lard (2008) (the mural replica at 102 Kalynova Street, Dnipro City, 2019), Viryovka Folk Choir (2009) (?), Nina Matviyenko (2010), A Ring Means Your Love… (2011), I Can Do Wonders (2013), I’m Yours (2010 (?)), and some angel motifs, inspiring the V. Gidevan’s mural painting project inChernihiv City (2017), were studied. The author has ascertained the specific features of the painter’s creative method in her field.

Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas. Therefore, these new creative landscapes were conceived as important examples of the resilience of cultural tourist destinations. The results emphasize that, until now, the idea of giving muralism a new use as a tool for local economic development had not been envisaged with reference to mural art in Uruguay. This new rethinking has given rise to the so-called Regionalization Processes of Uruguayan wall production. The most relevant cases are those developed in the municipalities of San Gregorio de Polanco (1993), Rosario (1994), and Pan de Azúcar (1998).

Political Socialization Strategy in Increasing Voter Participation in the 2020 Regional Head Election in Sidoarjo Regency

The Sidoarjo Regional General Election Commission has the task and function of organizing general elections in the Sidoarjo Regency area. However, in reality, community participation, especially those who have the right to vote, have not fully exercised their right to vote. The socialization carried out by the Sidoarjo Regional General Election Commission was not optimal due to the pandemic and the less optimal method of socialization carried out by the Sidoarjo General Election Commission in this case the mural art (graffiti) competition. The Sidoarjo Regional General Election Commission must have a strategy in increasing voter participation in the 2020 Sidoarjo Regional Head Election. The purpose of this study is to determine the strategy of the Sidoarjo Regional General Election Commission. The method in this research is descriptive qualitative. With the informant of the commissioner of the community participation division as a key informant. Data collection techniques were carried out through interviews, field observations, and documentation. Data analysis was carried out through Miles and Hubberman data analysis which consisted of data collection, data presentation, data reduction and conclusions. The results of the research on the strategy of the Sidoarjo General Election Commission in increasing participation in the 2020 Sidoarjo Regional Head election, namely the political socialization strategy with face-to-face socialization and socialization through the media, including socialization innovations through mural art media.

PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

The Church in the Mural Art of Nobatia

The Church is simply known as “the body of Christ” (Ephesus 1:22-23) constituted by “the believers” (Acts 20:28; I Timothy 3:15; Ezra 5:8). The aim of this article is to investigate the concept of Church in Nobatia and its main particularities through mural art and architecture during the early Christian and Medieval ages of Nubia, for though the Church had contained the main requirements for the Christian worship which mainly coincided with the faith of the Orthodox Church, but one noticed the appearance of new themes in the Church of Sonqi Tino and Faras Cathedral in certain architectural locations in order to declare specific theological and political ideas, these new changes could therefore have influenced the faith of the Church of Nobatia, thence shedding additional light on them could reveal their origins and the reasons for their appearance as well as could give further insight for understanding the Church especially on that ambiguous part of the Christian history of not only Nobatia but also of Nubia in a whole.

Methodology for the study of mural art in the postcolonial discurse

Methodology for the study of mural art in the postcolonial discurse

A Study of the Contemporary Portuguese Stained Glass: Artists and Works

The qualities of glass as transparency, translucence, brightness and versatility for the various applications, practical and aesthetics make this material indispensable for the artistic creation with a close connection with architecture. In an historical approach this paper will succinctly study the tradition and charisma of this light material, giving special credit to the stained glass, demonstrate the emerge of this Art in the relation with architecture, concerning the Portuguese contemporary panorama. Portugal has a history regarding contemporary stained glass that is unknown. In the 20th century we assist to an interest and development in this art, as many recognized Portuguese artist, painters and sculptures contribute to this mural art, conceiving cartoons and maquettes that would be produce in glass studios, some of them in Portugal, in a close relationship between artists and craftsmen. Born in association with architecture, stained glass is much more than a simple decoration of space, it is an integral part of the architectural building. This paper will focus on the production of stained glass in Portugal, showing some significant examples of works produced by Portuguese renowned artists. Colorful windows with grisailles paintings in an association between color and light will be presented, and also the changes that happen during the 20th and 21st centuries, clarifying the state of Portuguese stained glass.

Pendampingan Pembuatan Mural Sebagai Upaya Meningkatkan Edukasi Belajar Serta Perbaikan Visual Sekolah

Target kegiatan pengabdian adalah sebuah sekolah yang terletak dipinggiran Kota Medan tepatnya Perumnas Simalingkar Medan Tuntungan. Sekolah ini merupakan sekolah yang memiliki visi misi membantu masyarakat sekitar agar dapat sekolah dengan biaya murah bahkan gratis pada kondisi keluarga tertentu. Beberapa tahun terakhir terjadi penurunan siswa yang berminat untuk mendaftar pada sekolah tersebut. Kondisi ini menyebabkan biaya operasional sekolah untuk perawatan bangunan perlahan-lahan tidak teralokasikan lagi. Hal ini yang membuat tim PKM berencana untuk memberikan wawasan terkait fisik bangunan sesuai dengan bidang ilmu teknik dan seni. Salah satu upaya yang dapat dilakukan untuk mewujudkan visual yang baik dan menarik adalah memperbaiki fisik bangunan. Upaya tersebut berupa aplikasi seni mural, selain dianggap memperindah tampilan fisik bangunan, seni mural ini juga dapat memperkuat karakter sebuah kawasan. Metode yang dilakukan adalah dengan metode sosialisasi, membuat konsep desain, kemudian praktik dengan bimbingan pembuatan mural, serta monitoring dan evaluasi. Dalam kegiatan ini tahap-tahap yang lakukan adalah memberi materi pendahuluan berupa pemahaman arsitektur, tahap persiapan pembuatan desain mural dan tahap mengecat. Mural yang dihasilkan dalam bentuk mural edukasi dengan beberapa ragam pengetahuan. Hasil kegiatan ini diharapkan adanya peningkatan ekonomi, peningkatan ilmu seni bagi mitra terpilih sekaligus memperbaiki visual bangunan sekolah.

Arts-led revitalization, overtourism and community responses: Ihwa Mural Village, Seoul

Arts-led revitalization projects are increasingly being undertaken in South Korean cities to improve residential areas in decline. One of the more common initiatives involves the beautification of residential neighbourhoods through mural art. Seoul's “Ihwa Mural Village” is one of the most representative examples of the murals-based regeneration trend. The residential area's transformation by artists in 2006 has made it one of the most popular murals tourism destinations, albeit to the displeasure of a segment of the local population. In 2016, two of Ihwa Village's most iconic murals were destroyed by several residents. This paper explores the context behind the incident through in-depth interviews with key stakeholders. Our research reveals that the Ihwa mural incident was not simply a local reaction to overtourism, but also a response to the perceived unequal economic benefits accruing from the murals tourism. We offer recommendations for policy makers considering similar revitalization projects in residential neighbourhoods.

Persepsi Masyarakat Seni Terhadap Karya Mural Methodos

This mural research aims to find out how people recognize the identity of their artists from the experiences and opinions of the public when viewing and reading mural works that are in the public room. The object of the mural that the researchers chose was Methodos's mural on the wall of one of the food stalls located in Mrisen Village, RT. 007, Panggungharjo Village, Sewon District, Bantul, Yogyakarta. This study uses qualitative research and interview methods to find information from the experience of the arts community on mural art.

Use of muralism to promote awareness about aquatic ecosystems and wise water consumption in northwestern Ecuador

In this article, we present the results of the use of muralism as an artistic tool applied to environmental education with a focus on the promotion of awareness of aquatic ecosystems and rationed water consumption in the province of Esmeraldas in northwestern Ecuador. The research was conducted by an interdisciplinary team of professors and students from the Pontificia Universidad Católica del Ecuador Sede Esmeraldas between 2017 and 2018 with the support of mural artists.The project involved a target audience in participating in the design and painting of four large-format murals with graphic representations of the ecosystems and people's relationship to water. The murals were developed in four different locations in the city where they could be viewed and appreciated by the community in general. One corner of each of these murals was deliberately left blank to serve as a slate where people could reflect and leave their comments.Pre- and post-test surveys were administered to the participants of this study and then evaluated and analyzed using McNemar statistics to measure the changes in participants' knowledge, awareness, and attitude. The reaction of the public to the murals was also part of the study. Their interaction was analyzed using a qualitative evaluation matrix specifically designed for this project.The results obtained in this study show that the use of mural art is an effective tool for environmental education programs. Murals represent a place for interaction; therefore, they become effective spaces for expressing and communicating messages. The impact of murals on awareness of aquatic ecosystems and use of water were more significant in children and teenagers because people are more receptive at a young age. The rest of the target groups participating in the study, although stimulated by the murals, presented minor changes in their responses.The public's reaction to the murals was extremely positive. The results showed that murals that depicted elements relating people's identity to the ecosystem helped reconnect them with nature and reminded them of their responsibility to conserve it. Thus, mural art can serve as a pedagogical tool for environmental education, helping communities connect with the environmental reality and encouraging them to commit to conservation through tangible work.

Characteristics of the development of mural art in Kharkiv

Characteristics of the development of mural art in Kharkiv

Ernest Irwandi EVALUASI PENDEKATAN PARTISIPATORI DALAM SENI, STUDI MURAL KOMUNITAS DI KAMPUNG KOTA

Mural art does not only function as decoration but it is an art activity that impact social life. Decorating villageswith murals has become an art movement across Java. Creation of mural in these villages involves manystakeholders (government, universities, students, artists), which can be considered as participatory art, thatemphasize on collaboration and shared experiences. In participatory art, artists’ and facilitator role is to encouragecommunity creativity. This research focuses on art community murals using participatory action researchapproach. This research aim to analyze collaborative art creation models, and examine how art canempower a community.

Мурал-арт як складова культурного простору міста

The aim of the article is to define the role of mural art as a part of street art in the context of the cultural urban space. Identification of mural art in cities, its transformation depending on the place of creation and changes in the perception of the viewer requires needs research that is more detailed. А lot of people do not distinguish between concepts in street art; do not understand the artistic value of murals. Therefore, it is useful to show all functions, which murals can have. The quantity and quality of murals in the urban space affects its reputation, culture, development trends. That is, murals can both spoil urban visions and aestheticize them. Murals often engine enrichment of human consciousness, because artists raise important social issues, motivate the viewer to think. They try to turn the city into a large gallery, to influence people who involuntarily become spectators and connoisseurs of street art. It is also appropriate to explore the trends of Ukrainian muralism in the urban space. After all, street art has become very popular in Ukraine, as evidenced we can see various thematic festivals and competitions. The research methodology involves an interdisciplinary approach, analysis of scientific works of cultural and art history, review of thematic media and creative work of street artists to determine the characteristics and purposes of their activities. The works of modern Ukrainian researchers who study the issues of the cultural space of the city, mural art and street art in general are involved. The scientific novelty lies in the study of the influence of mural art on personal perception on drawing attention to socio-political problems in the urban context. On the example of the analysis of works of world street artists the tendency to social and educational function of murals, instead of simply aesthetic, is traced. The practical significance of the study is to emphasize that murals have artistic value, a unique semantic message, and are not just a means of aestheticization. The article can be useful for specialists in culturology, history, art history, architecture and for artists.