Wall Paintings Research Articles

Pendampingan Peningkatan Human Capital Melalui Eksplorasi Dimensi Visual di Kampung Tridi, Malang

Tridi Village is a village located in Malang City, Indonesia, which is famous for the uniqueness and beauty of the 3D wall paintings that decorate the entire village. These paintings create an interesting visual atmosphere, reflecting local art, culture and traditions. Tridi Village has become a popular tourism destination that attracts tourists with its unique charm. Apart from the wall art, this village also has cultural heritage and local crafts which are an additional attraction. Increasing tourism attractiveness through innovative digital marketing strategies is expected to have a positive impact on economic growth and welfare of the people of Tridi Village. This research explores the application of creative thinking methods in developing digital marketing strategies to increase the tourism attractiveness of Kampung Tridi. Through brainstorming and mind mapping sessions, the people of Kampung Tridi are actively involved in generating innovative ideas related to the potential of tourism, arts and local culture. Brainstorming sessions create a collaborative space without critical boundaries, while mind mapping graphically visualizes the relationships between ideas. The result is an integrated digital marketing strategy, designed to increase tourist visits and empower the local economy. Implementation of this strategy requires active community involvement and full support from the local government.

DIGITIZATION OF SHEKHAWATI MURALS USING AUGMENTED REALITY TECHNOLOGY

This paper presents the experimental digital documentation of Shekhawati murals using an augmented reality simulation system. Augmented reality is the most influential technology of this era. All other sectors are using AR to obtain the best results in a minimum amount of time and produce outstanding products and services for the masses. This paper tells the story of augmented reality technology’s intense relationship with traditional paintings in terms of creativity and showcases the experimental use of artificial reality technology to build a digital version of an open art gallery in Rajasthan. Shekhawati murals are huge and contain beautiful drawings and painting styles, unique colour palates, and incredible composition settings, all of which have the essence of our rich tradition. The digitization of the characteristics of murals and the application of artificial reality technology made this open art gallery virtually accessible for pedagogical use.This article discusses the approach of 3D digitisation techniques in wall painting murals, including testing. The project was tested based on the requirements of Shekhawati Havili's wall paintings and their digital equivalent using an open-source technology that may be utilised for several purposes. Because the total project was created using open-source techniques, anybody can access the project to experience the Haveli paintings and their specifications.

Mechanical properties of wall soils for predicting damage to the substrate of Hiten wall paintings in the Horyu‐ji Temple main hall caused by humidity fluctuation: Measurements with mock‐up materials

AbstractSafe and efficient conservation of cultural artifacts requires preventing artifacts deterioration and energy‐saving environmental control. To achieve this, predicting deterioration caused by environmental conditions is necessary. Predicting the mechanical damage caused by humidity fluctuations necessitates knowledge of the mechanical properties of cultural artifacts materials. Although the mechanical properties of several artifacts have been extensively studied, no investigations have focused on the soils underlying wall paintings. This study aims to clarify some mechanical properties of the upper‐ and middle‐coat soils serving as the substrates for Hiten wall paintings at Horyu‐ji Temple. Mock‐up materials were prepared, and splitting tensile and uniaxial compressive tests were performed. Simultaneously, specimens with various equilibrium humidities were tested to clarify their humidity dependency. The tensile and compressive strengths, Young's modulus, proportional limit, and Poisson's ratio of the upper‐coat soil were 0.103–0.239 MPa, 1.16–2.55 MPa, 0.115–0.209 GPa, and 1.10–2.49 MPa, and 0.152, respectively. Moreover, the humidity‐induced strains for the upper‐ and middle‐coat soils were measured, and the moisture expansion coefficients were approximately 1240 and 2337 μST/−, respectively. The results of this study provide vital data for the conservation of the wall paintings and contribute to a deeper understanding of wall soil properties.

The ancient pattern in the Crimean cultural landscape

The subject of the study is the ancient pattern in the cultural landscape of Crimea, expressed in architecture, sculpture, monumental and decorative arts. The object of the study is the Crimean artifacts of the ancient polis (architectural details, sculpture, vase painting) in comparison with similar objects of mainland Greece. The author pays special attention to the transformations of the ancient style in the Crimean diaspora, associated with the influence of autochthonous cultures: Taurian, Meotian, Cimmerian, Scythian-Sarmatian, and examples of the synthesis of the artistic stylistics of these cultures and the ancient style. The use of the ancient order system as the basis of all subsequent styles, including the Crimean modern, which is a reflection of the synthesis of cultures of the multiethnic cultural landscape of Crimea, is also traced. The continuous continuity of the ancient style up to the present is shown. The article uses the method of historicism in retrospect of the ancient pattern in the cultural landscape of the Crimea, the comparative method in the comparative analysis of artifacts of the Crimea and mainland Greece, the method of stylistic analysis in classical architecture and decorative arts of the Crimea. The main conclusions of the study are: 1. The Crimean cultural landscape is diverse due to the historical polyethnicity of the region, associated with its geographical location and unique natural complex, which has become a place of numerous ethnic migrations throughout history. This is also connected with the appearance of ancient Greek culture in the Crimea, which left a significant mark on the peninsula. 2. The ancient order architectural system, as well as the use of classical anthropomorphic proportions in sculpture, wall painting, vase painting, became the basis of the classical approach in architecture and fine arts. The constructive expediency, conciseness and harmony inherent in ancient architecture became the reason for its global introduction into subsequent architectural and artistic styles, up to the present time. 3. The ancient pattern in the Crimean cultural landscape is unique in that it embodies the cultural synthesis of Greek classics and local autochthonous cultures.

Development of lime injection grouts for the stabilisation of detached lime plasters with wall paintings in the unique Romanesque round church in Slovenia

This paper presents the design of lime grouts to stabilise wall paintings from the 13th and 14th centuries in the Romanesque church of St. Nicholas in Selo, Slovenia. Most of the paintings were executed using the secco technique on a single layer of lime plaster made of slaked lime and quartz sand, which was applied to a clay brick masonry base. The thickness of the detached pockets was generally 2 mm to 1 cm, in a few places up to 5 cm, especially in the vault area. Consolidation of detached plaster layers is an irreversible treatment to restore the adhesion between the detached plaster layers. It was therefore important that the grouts met certain criteria in terms of composition and properties in the fresh and hardened state. We developed three grouts that meet general criteria and two specific key requirements, such as low density and sufficient injectability without pre-wetting to prevent new damage and/or the plaster falling off the wall or ceiling during or after the consolidation treatment. The grouts consist of hydrated lime, fillers, polycarboxylate ether superplasticizer (PCE) and water. During the design process, various quartz fillers were tested in different proportions. The reduced density of the grout was achieved by using expanded glass granules as a partial filler substitute. The appropriate injectability of the grout was achieved through the combination of reduced water content and superplasticizer PCE.

Память об умерших царевичах: к особенностям темы царского тезоименитства в ярославских стенных росписях XVII – первой половины XVIII вв.

The focus of this paper is on the glorification of the Romanov house in early Modern times in the art of Yaroslavl. The city of Yaroslavl was closely involved in the chain of events leading to the enthronement of the reigning Romanov dynasty and that is why much attention was paid in the city to their glorification in church worship and ecclesiastical art. Images of holy princes on temple pillars and the consecration of cathedrae in honor of tsars and princes have become a tradition in Yaroslavl. Our study of the iconography of murals in Yaroslavl churches confirms that the lives and destinies of each Romanovs’ generation were reflected in Yaroslavl’s monumental painting, including images of princes who died in infancy. For con-temporaries, a death of an heir to the throne was a great loss and an omen of coming tribula-tions. The long life of the tsar and his family was, conversely, seen as a promise of stability and abundance in the country. To ensure longevity and well-being of royal figures the intercession of patron saints of the royal family was evoked. Their images were widely disseminated both in icons and in wall painting. The highest point of their glorification was the unique fresco com-position “May the Tsar and His family be blessed”, representing the genealogy of the Romanov dynasty, ascending from the holy princes and crowned by numerous tsareviches (tsar’s sons). Based on the analysis of this composition the interplay of reality and fiction in popular per-ception of the ruling house is discussed.

Bacterial Communities in Plastic-Contaminated Sites and Rusted Acrylic Wall Paint: Isolation and Characterization

Bacterial Communities in Plastic-Contaminated Sites and Rusted Acrylic Wall Paint: Isolation and Characterization

Unveiling the microstructure, materials, and painting period of ancient wall paintings at Shanxi Xianqing Temple, China

Unveiling the microstructure, materials, and painting period of ancient wall paintings at Shanxi Xianqing Temple, China

New insight from MALDI-TOF MS and multivariate data analysis on the botanical origin of polysaccharide-based paint binders in ancient Egypt.

Polysaccharide-based materials of plant origin are known to have been used as binding media in paint and ground layers of artifacts from ancient Egypt, including wall paintings, cartonnages and sarcophagi. The use of gums from Acacia, Astragalus and Prunus genera has been suggested in the literature on the basis of their qualitative or quantitative monosaccharide profile after complete chemical hydrolysis. The introduction of partial enzymatic digestion of the polysaccharide material, followed by analysis of the released oligosaccharides by matrix assisted laser desorption ionization-time-of-flight mass spectrometry, has proved effective in discriminating among gums from different genera, as well as among species within the Acacia genus. In this study, the previously built Acacia database was expanded, principal component analysis (PCA) was used to aid in grouping of the samples, and data interpretation was refined following a modified acacieae taxonomy. Application of the analytical strategy to investigate the paint binders in artworks from ancient Egypt allowed qualitative discrimination of gums at a species level, and provided new insights into the artists' material choices.

Analysis of house dust mycoflora and enhancement of antifungal potency of wall paints

Analysis of house dust mycoflora and enhancement of antifungal potency of wall paints

The Role of Wall Painting Art in the Protection and Dissemination of Rural Cultural Heritage

The Role of Wall Painting Art in the Protection and Dissemination of Rural Cultural Heritage

Bacterial Communities in Plastic-Contaminated Sites and Rusted Acrylic Wall Paint: Isolation and Characterization

Bacterial Communities in Plastic-Contaminated Sites and Rusted Acrylic Wall Paint: Isolation and Characterization

Imitation Curtain Depictions from Byzantine Cappadocia

By scrutinising examples of imitation curtain patterns on Cappadocian wall paintings, this article aims to comparatively evaluate other curtain imitation compositions seen in Byzantine art. In addition to this, the use of curtains in civil and religious architecture (especially at the entrances of large structures) in the Byzantine Period and the theological importance of imitation curtain patterns in the Byzantine Period are also discussed. Curtains were found in all areas of the Empire, although few have survived. In addition to the positive influences of Old and New Testament texts, religious commentaries called tractates written by Gregorius of Nyssa, one of the Cappadocian Church Fathers, may have encouraged the use of curtain patterns in Christian religious structures. Based on this, the theological explanations of aniconic curtain patterns are also included in our article. The article also aims to prove that this pattern we encounter in Byzantine art is a continuation of Roman art traditions. It is possible to find curtain patterns in a lot of handiwork from the early Byzantine Period. Among the churches of the Byzantine Period in the Cappadocia region, which is our main subject, imitation curtain patterns are primarily seen in wall paintings dating to the 9th - 11th centuries. In this study, we have identified that the only exception to this situation is the example in the apse of Ihlara Bezirana Church (end of 13th century, beginning of 14th century). The pattern was implemented especially in the aniconic ornament of the naos or apse wall paintings of the churches in the region, and it is noteworthy that they were painted as the main motif in a row, forming the border of the figural scenes on the lower parts of the walls (in the areas below the human waist). This study explains the properties of the imitation curtain patterns found in the wall paintings of Cappadocia and compares them in terms of ornamental properties, pattern composition, size, colour scale, and theological roots and development in Byzantine art. In addition, the importance of the curtain pattern, its usage areas and its features in the Byzantine Empire have been explained with examples.

A Group of Byzantine Wall Paintings on Rock Surfaces in İncirliova, Aydın and Yatağan, Muğla

Aydın’ın İncirliova ilçesine bağlı Dereağzı köyünün yukarısında Ballıkaya ve Muğla İline bağlı Yatağan ilçesinin Yava köyü sınırları içinde kaya yüzeyine yapılmış dört resimli yüzey tespit edilmiştir. Aydın, Ballıkaya’da oldukça sarp bir alanda bulunan mağaranın girişinin sağ tarafında, sıvalı yüzeyinin üzeri mavimsi-gri bir fondan oluşan panonun içerisine tek figür olarak cepheden ve ayakta Başmelek Mikhail resmedilmiştir. Melek bir tunik üzerine, önü işlemeli bir zırh giymiştir. İki yana yayılmış açık kanatları yere kadar uzanan melek, bir eliyle omzuna dayanan kılıcı, diğeriyle kını aşağıya doğru tutmaktadır. Yatağan’da tespit edilen resimlerin ilki halk arasında Resimli Kaya olarak anılan anıtsal kaya kütlesinin güneybatısında yer almaktadır. Sıvasız yüzeye yapılmış olan resimler, doğu-batı doğrultusunda uzanan iki şerit üzerinde yer almaktadır. Üst şeritte tanımlanabilen ilk sahne Yahuda’nın ihanetidir. Tasvirin orta bölümünde ayakta, birinin gövdesi cepheden, diğerininki yandan resmedilmiş iki figür yer almaktadır. Soldaki İsa’yı, sağdaki Yahuda’yı temsil eden bu figürlerin birbirine yaslanmış başları cephedendir. Tasvirin devamına İsa’nın Çarmıha Gerilmesi resmedilmiştir. Kompozisyonun orta kısmında, çarmıhta İsa, Meryem ve Yahya yer almaktadır. Alt şeritte içinde büst formunda aziz, piskopos ya da kilise babalarına ait portelerin resmedildiği altı madalyan yer alır. Yatağandaki üçüncü resim, Resimli Kaya Kütlesinin kuzeyinde, taş bloklarının oluşturduğu Rozetli Mağara olarak adlandırdığımız küçük bir mekândadır. Sıva üzerine yapılmış resimlerde figüre yer verilmemiştir. Mekân içinde doğal yolla oluşmuş kubbemsi formun etrafı siyah, ince bir çizgiyle çerçevelenerek içerisi açık yeşil renkli kalın dairesel bir bordürle sınırlandırılmıştır. Dairesel çerçevenin sol dış köşesinin alt bölümünde, uzun yeşil yapraklı bir lale motifi yer almaktadır. Yatağan’daki dördüncü resimli yüzey, Resimli kayanın kuzeybatısında, Nişli Kaya olarak adlandırdığımız kaya kütlesinin batı yüzünde bulunan derin bir nişin içindedir. Nişin içi sıvanarak, tek sahneli bir resimle bezenmiştir. Sahnenin ortasına, Meryem ve kucağında çocuk İsa resmedilmiştir. Rozetli Mağara haricindeki resimlerin, üslupsal ve ikonokrafik özelliklerinden hareketle Orta Bizans dönemi içinde yapıldığı Resimli Kaya’nın 1. grup resimlerinin 2. evresinin de yine bu dönem içerisinde yenilendiği anlaşılmaktadır. Rozetli kayada yer alan resimlerin ise, üslup ve motif seçimleri İkonoklazma dönemine işaret etmektedir.

Figürliche Reliefs frühchristlicher Zeit in Kleinasien (4.-6. / 7. Jahrhundert n.Chr.)

In Asia Minor, only a relatively small number of reliefs with biblical depictions or images of saints from the early Christian period (fourth to sixth / seventh centuries AD) have been preserved. They represent an exceedingly small percentage of what was likely actually produced, with a substantial amount considered to be lost. This makes it difficult to classify the art based on geographic region, in comparison, for example, to the proliferation of the Roman grave reliefs of the second and third centuries. Nevertheless, Asia Minor was of an area of great importance for the theology of early Christianity. Numerous churches from the Early Byzantine period have been preserved or at least documented. Many were large and magnificent buildings, showing excellent masonry techniques, and some had unusual shapes. The churches were richly adorned with capitals, barrier plates, and ambons, as well as floor mosaics. Although only a few remnants of wall paintings and mosaics are preserved today, it can be assumed that most of churches possessed them. While there are portrait sculptures and busts of excellent quality, very few reliefs are based on the Bible. They are almost all very simple pieces, in terms of craftsmanship, with a few exceptions. The existence, not only, of the customary iconography, but also rare and unique character depictions of the reliefs of biblical scenes, illustrates the reach of the Byzantine Church in even the most remote areas of that region, shedding light on Late Antique art in Asia Minor as the heartland of the Byzantine Empire.

AESTHETICAL SIGNIFICANCE OF DECORATED WOODEN COVERS OF THE MANUSCRIPTS UNDER JAIN SCHOOL OF PAINTING IN THE MEDIVAL PERIOD

Jain school of paintings has a special feature in the wider perspective of Indian painting. The rich form of Jain art started in the form of sculptures and cave wall paintings. Later on, a new original form of Jain art started in the form of manuscript painting, which is based on various motifs of miniature style, such as - illustrated palm leaves, illustrated cloth paintings and illustrated paper books etc. Illustrated examples of Jain painting have been found in the handwritten texts made in all these motifs, along with these, the wooden covers which were kept above and below the manuscripts for the protection of these texts, have also been collected from private Collection and museums. These wooden covers were made to keep the palm leaves safe. Along with manuscript paintings, painters used to decorate these panels with beautiful figures and stories. The free expression of the painter can be seen in the depiction of these wooden covers. Like manuscripts, these plates also hold a special place in art history.There is a wonderful depiction of Indian animals and birds, geometrical shapes, design of bellflowers, columbines and religious symbols on these illustrated wooden covers of manuscripts. In addition to decorations, these panels also depict various contemporary events and cultural themes. Due to the uniqueness of designs and the amazing depiction of these wooden book covers it can be inferred that the painters who created them must have been highly skilled. These wonderful examples of paintings from Jain school of paintings have special importance in art history and Jain culture. The objective of the research is to do artistic analysis of these wooden manuscripts covers. Although analyzing all the collected data from the museums and manuscript centers was a challenging task for the researcher but eventually efforts were made to publicize the facts in detail.

Defect Isolation from Whole to Local Field Separation in Complex Interferometry Fringe Patterns through Development of Weighted Least-Squares Algorithm

In this paper, based on Gaussian 1σ-criterion and histogram segmentation, a weighted least-squares algorithm is applied and validated on digital holographic speckle pattern interferometric data to perform phase separation on the complex interference fields. The direct structural diagnosis tool is used to investigate defects and their impact on a complex antique wall painting of Giotto. The interferometry data is acquired with a portable off-axis interferometer set-up with a phase-shifted reference beam coupled with the object beam in front of the digital photosensitive medium. A digital holographic speckle pattern interferometry (DHSPI) system is used to register digital recordings of interferogram sequences over time. The surface is monitored for as long as it deforms prior to returning to its initial reference equilibrium state prior to excitation. The attempt to separate the whole vs. local defect complex amplitudes from the interferometric data is presented. The main aim is to achieve isolation and visualization of each defect’s impact amplitude in order to obtain detailed documentation of each defect and its structural impact on the surface for structural diagnosis purposes.

Connections in Making and Meaning of Bhutanese Wall Painting: Tango Utse, 17th to 20th Century

Connections in Making and Meaning of Bhutanese Wall Painting: Tango Utse, 17th to 20th Century

FORMATION OF THE ART DECORATION OF THE DUNGHUAN CAVES UNDER THE INFLUENCE OF EXTERNAL FACTORS

The influence of external factors on the formation of the figurative concept of Dunhuang wall paintings is analyzed. The purpose of the article is to highlight the processes of forming the artistic decoration of Dunhuang caves under the influence of external factors.
 The relevance of the research topic is due to the need to draw the attention of world scientists to the problem of research and preservation of the Dunhuang complex, since some of the frescoes are in a state of emergency and the exchange of experience of restorers from different countries is necessary for their preservation.
 The tasks of the study were to determine the role and significance of external factors in the activation or decline of the Dunhuang complex, and based on this to argue the dependence of the figurative concept of Dunhuang wall paintings on external factors (political, ideological, economic, social, natural and climatic).
 It is proved that the appearance of the Dunhuang Buddhist cave temple complex and the processes related to its construction were largely determined by external factors: at first, the commitment of the rulers of China to the new religion of Buddhism contributed to the activation of the process of creating new sanctuaries, and later under the influence of local philosophical and religious traditions as well as cultural and artistic preferences, there is a transformation of Buddhist fresco traditions borrowed from India, which acquires a local color in the conditions of China. It should be noted that while preserving the general canonicality of wall painting in the process of developing artistic skills, it acquires greater realism and the means of artistic expression are diversified with portraits of benefactors, scenes from their lives and landscape compositions.

TRANSFORMATION OF BORROWED PHENOMENA: THE BUDDHIST FRESCO IN DUNGHUAN AND THE ARCHITECTURE OF THE MOSQUES OF SHAANXI PROVINCE IN CHINA

The purpose of the article is to analyze the phenomenon of borrowing without being limited by a specific style, and on the basis of this to argue at which hierarchical level the transformation took place: at the level of composition, form or decor.
 The relevance of the research topic is determined by the need to analyze how local cultural and artistic traditions influenced the transformation of borrowed styles and what exactly the phenomenon of transformation consisted of, whether it was the same for several borrowed styles.
 As a result of the study of wall paintings in different periods, it was established that, according to the figurative concept of Dunhuang, the transformation was as follows:
 – a departure from the original Indian frescoes by complicating the compositions in the direction of three-dimensionality and polymorphism, diversifying polychromy, anatomical perfection, detailing and giving the image a national color through portrait images of founders in Chinese clothes, scenes from their lives, landscape images; 
 – therefore, in the Dunhuang frescoes, the transformation was focused on the planar images of the fresco (the role of ritual sculpture in the Dunhuang sanctuaries was much smaller). 
 Despite the fact that Islam never competed with Buddhism, Taoism and Confucianism in terms of the number of believers in China, the rulers were friendly towards the construction of mosques. However, they are clearly dominated by Chinese traditions:
 – there are much more courtyards than in traditional mosques, and they are landscaped according to Chinese landscape design and have ponds with fish (this is a purely Chinese tradition);
 – the appearance of the pavilions and gates is purely Chinese: pavilions with a traditional Chinese silhouette, curved roofs with tiled roofs, complex multi-level eaves, open galleries on pillars, the use of traditional Chinese building materials (stone, brick, wood, tiles), bright polychromy, small detailing.
 So, in the case of mosques as well, Chinese culture radically changed their appearance, giving them maximum similarity with the temples of traditional religions.
 Thus, the transformation took place equally at all levels – planning, landscape design, three-dimensional form, plane with wall paintings and carvings.
 Later, this style manifested itself in the transformation of European Art Nouveau, which was also superimposed on local traditions.