Role of microorganisms in mural paintings decay

IMAGES IN ARCHITECTURE – FROM MURALS TO ILLUMINATING PROJECTIONS

Journal of Architecture and Urbanism ◽

10.3846/13921630.2007.10697090 ◽

2007 ◽

Vol 31 (1) ◽

pp. 54-61

Author(s):

Małgorzata Bąkowska

Keyword(s):

New Media ◽

Urban Space ◽

Mural Painting ◽

Wall Paintings ◽

Architectural Space ◽

The Past ◽

Mural Paintings ◽

Artistic Quality

As in every other domain of art, in contemporary mural painting it is possible to indicate great projects and realizations as well as failures. However, many examples confirm the thesis of an especially significant role of depicting in architectural and urban space. After all, like in other kinds of painting, the main feature here is the talent of an artist. Artistic quality of depicting in architectural scale is so important because of its aesthetical, ethical and education role. It is hard to answer the question about the future of mural paintings and the role of the new media of transmitting color and illusion in architectural space. Nowadays, in the time of instant development of science and technology, increasing tempo of life and continuous need of changes, it may turn out that the digital and hologram pictures better fulfil the expectation of the present recipient. It is not unlikely that the practical values of these techniques – their energetic and light features – might cause the elimination of traditional wall paintings which have accompanied architecture for so many ages. On the other hand, we could observe in the present culture evident “retro” tendencies – the growth of interest in the past, the recognition of traditional forms of expression, and a desire for their continuation. Materiality, touchable texture, and some mysterious load of energy executed by artists in traditional techniques are the elements acting to the advantage of old- fashioned painted walls. Paveikslai architektūroje – nuo freskų iki šviečiančių projekcijų Santrauka Sienų tapyba, kaip architektūros elementas, per amžius turėjo įvairių paskirčių: magišką, simbolinę, estetinę. Freskos suteikė vietai prestižo, perdavė religinio turinio žinias ir įamžino svarbiausias įvykius. Kadangi sienų tapyba visuomet egzistuoja architektūriniame kontekste ir perima architektūrinės formos specifiką, jos negalime suvokti kaip visiškai autonomiško meno. Dėl savo masto, spalvos, simbolinės prasmės ir tam tikrais atvejais aukštos meninės vertės freskos yra išraiškingi orientyrai miesto erdvėje, padedantys geriau susivokti „kognityviuose žemėlapiuose“. Šalia tradicinės sienų tapybos neseniai architektūrinėje aplinkoje ėmė atsirasti naujomis technologijomis – skaitmenine, lazerine ar hologramomis – atlikti paveikslai. Jų meninė vertė yra ypač svarbi dėl jų estetinės, etinės ir edukacinės reikšmės.

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To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries

Almanac "Culture and Contemporaneity" ◽

10.32461/2226-0285.2.2021.249250 ◽

2021 ◽

Author(s):

Maryna Bardik

Keyword(s):

Dominant Role ◽

Cultural Analysis ◽

Mural Painting ◽

Artistic Style ◽

Byzantine Art ◽

Mural Paintings ◽

Baroque Art ◽

Church Decoration

The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 1845–1847, 1890–1900s has been revealed according to the text and visual records introduced into scientific circulation. The dominant role of the main iconostasis for the image of side-altars’ new iconostasis has been determined. The conservatism of religious personages who wanted to preserve the features of the previous iconostasis (height, number of tiers, the old icons, etc.) has been proved. It is determined that the sacred value of some icons was more important as a stylistic priority and it barely led to the replacement of the material of the iconostasis (silver instead of marble that traditional for Byzantine iconostases). Published photos of the Big iconostasis and the approved draft of the main iconostasis with the author of autographs (photos from the collection of the National Reserve “Kyiv-Pechersk Lavra”). It has been found out distinguished Ukrainian art historian H. Pavlutskyi in one of them. The autonomy of the iconostases style of the mural paintings style in the Great Pechersk Church decoration has been proved. Conclusions. The attempt to realize the idea of the Byzantine iconostasis in the Kyiv-Pechersk Lavra’s Great Church in 1845–1847 created a precedent of the inconsistency of the artistic style of iconostasis and mural painting. The Byzantine style iconostasis hypothetically could exist in the spacious Baroque plastic art. Conversely, the complex of Baroque iconostases existed independently of the wall form performed in accordance with the Byzantine tradition at the turn of the 19th and the 20th century. The polemic pointed around the main iconostasis, a new іmage of other iconostases designed in a complex with it. The baroque tradition was implemented in the new iconostasis projects. The monks perceived a change in mural paintings but they considered some icons by sacral constants in the Great Church. The Big iconostasis without upper tiers with the Byzantine cross was the victory of the Baroque tradition. The preservation of Baroque iconostases was a testimony of their stylistic autonomy from the mural painting decorated in Byzantine style. Key words: sacral culture, Orthodoxy, Byzantine art, Baroque art, iconostasis, sacral mural painting, KyivPechersk Lavra, Dormition Cathedral.

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Aj atz'aam, "los de la sal". El uso de la sal en la ciudad maya de Calakmul

Estudios de Cultura Maya ◽

10.19130/iifl.ecm.2020.55.0001 ◽

2020 ◽

Vol 55 ◽

pp. 11-40

Author(s):

Rogelio Valencia Rivera

Keyword(s):

Classic Period ◽

Human Consumption ◽

Late Classic ◽

Long Distance ◽

Mural Paintings ◽

Local Sources ◽

Maya Area

This paper shows the existence of the transportation and exchange of goods that could not be produced, or were not even present locally, to satisfy a community’s self-consumption, due to an increase in population during the late Classic in the Maya area. Although some studies discuss the exchange of goods in Maya society during the Classic period, they are usually centered on the objects employed by the Maya elites. In this case, I will analyze the role of salt as an indicator of the existence of exchange activities using the evidence available in the mural paintings in the Maya city of Calakmul. The need of the mineral for human consumption, the lack of local sources of the mineral, and the long distance to salt sources, set the stage for exchange travels in order to import it to Calakmul.

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The Robe of Corporeality: Sensual Aspects of Medieval Representations of Crucified Christ in the Tunica Manicata

10.31338/2657-6015ik.29.8 ◽

2020 ◽

pp. 35-50

Author(s):

Ika Matyjaszkiewicz

Keyword(s):

Gender Identity ◽

The Body ◽

Medieval Art ◽

The Third ◽

Mural Paintings ◽

12Th Century ◽

Gregorian Reform ◽

Ambiguous Position ◽

Volto Santo

This paper explores the iconography of the Volto Santo – a crucifix worshiped at the cathedral of Lucca, Italy, and the reception of this iconographic type in the medieval art. The aim is to investigate the role of robes covering the body of crucified Christ in the scenes of the Passion. First of all, the origins and meaning of different Christ’s garments are discussed in relation to the debates on the nature of Christ and around the Eucharist. Still, as the Volto Santo is usually dated to the 12th century and it presents Christ in the tunica manicata with the cingulum, which can be identified as a clerical costume, the meaning of Christ’s garments in the context of the Gregorian Reform, celibacy, and the concept of the third gender is also presented. Afterwards the practices of dressing the Volto Santo in the ceremonial vestments as a manifestation of its worship are analyzed. These vestments along with the altar, where the Volto Santo was presented to the faithful, are the most important elements of the iconography of the representations of the Volto Santo in the mural paintings. What draws attention in these images is the ambiguous position of Christ nailed to the cross and standing on the altar at the same time. That produces ambivalent sensual experience: the impression of uncourting Christ turns into a recognition of the particular cult object and vice versa. Moreover, the robe covering the body contributes to a fluid gender identity of the figure. It may be concluded that the robes of the crucified Christ play several roles: they cover the suffered body, they are an attribute of the ruler or priest, but above all, they manifest Christ’s corporality. The faithful confronted with these images found his or her somatic identity with Christ.

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The role of the under-layer in the coloured perception of gildings in mediaeval mural paintings

Open Journal of Archaeometry ◽

10.4081/arc.2013.e16 ◽

2013 ◽

Vol 1 (1) ◽

pp. 16 ◽

Cited By ~ 2

Author(s):

Aurélie Mounier ◽

Floréal Daniel

Keyword(s):

Electron Microscopy ◽

16Th Century ◽

Absorption Properties ◽

Gold Leaf ◽

X Ray ◽

Mural Paintings ◽

Application Techniques ◽

Analysis System ◽

Scanning Electron

A study of the gildings used in mural paintings from the 12th to 16th century showed rather limited types of application techniques (essentially mixtion techniques, but also in rare examples distemper techniques) and a higher variety of employed metals. Samples have been taken off from mural paintings in the southwest of France as in the Bordeaux Cathedral, Meyrals Castle, Ste-Marie Church of Audignon. Samples analyses have been carried out by scanning electron microscopy coupled with an energy dispersive X-ray analysis system, Raman spectroscopy and Fourier transform infrared spectroscopy. Depending on the metal used for the gilding, the under-layer could be different in terms of material and colour. Under the gold leaves, the layer is usually red or yellow. That can be explained by the absorption properties of light by the gold leaf. Under tin leaves, which are thicker and opaque, the usefulness of the under-layer is less obvious. An experimental study illustrates the role of the coloured under-layer.

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Elucidation of the Chemical Role of the Pyroclastic Materials on the State of Conservation of Mural Paintings from Pompeii

Angewandte Chemie ◽

10.1002/ange.202010497 ◽

2020 ◽

Author(s):

Silvia Pérez‐Diez ◽

Luis Javier Fernández‐Menéndez ◽

Héctor Morillas ◽

Alberta Martellone ◽

Bruno De Nigris ◽

...

Keyword(s):

The State ◽

Mural Paintings

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Elucidation of the Chemical Role of the Pyroclastic Materials on the State of Conservation of Mural Paintings from Pompeii

Angewandte Chemie International Edition ◽

10.1002/anie.202010497 ◽

2020 ◽

Author(s):

Silvia Pérez‐Diez ◽

Luis Javier Fernández‐Menéndez ◽

Héctor Morillas ◽

Alberta Martellone ◽

Bruno De Nigris ◽

...

Keyword(s):

The State ◽

Mural Paintings

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Temples in Travancore: History, Polity and Governance

Shanlax International Journal of Arts, Science and Humanities ◽

10.34293/sijash.v7i4.2315 ◽

2020 ◽

Vol 7 (4) ◽

pp. 54-58

Author(s):

P K Rajagopal

Keyword(s):

Historical Analysis ◽

The State ◽

Mural Paintings ◽

Hindu Temples

Temples in Kerala have been all the time, amazing factors in the society for their uniqueness in tradition, customs, rituals, festivals, art, architecture, mural paintings, etc. It is believed that most of the ancient Hindu temples in Kerala have been consecrated by Parasurama, the sixth incarnation of Lord Vishnu. According to legend, after the departure of Parasurama, the Brahmins became the virtual rulers of the land. They divided the land into several Desams, and in each, they erected a temple, consecrated it and placed an image in them, and performed the prescribed rituals. The ownership of Hindu temples became the bone of contention for the temples that were associated with power in the locality. In the course of the conflict for the ownership of temples, the management of several of them became disorderly, and the state had, in consequence, to assume their control through the exercise of its paramount melkoima right. This paper is a historical analysis of the role of temples in society and the evolution of temple administration in the erstwhile Travancore state.

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