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Relevant bibliographies by topics / Late Gothic wall paintings

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Academic literature on the topic 'Late Gothic wall paintings'

Author: Grafiati

Published: 30 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Late Gothic wall paintings"

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Bednarz, Łukasz, Piotr Opalka, Artur Górski, and Gabriela Wojciechowska. "Analysis of the Condition of Damaged Vaults after a Construction Disaster in a Historic Church." Key Engineering Materials 817 (August 2019): 613–20. http://dx.doi.org/10.4028/www.scientific.net/kem.817.613.

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The paper presents an analysis of the causes and effects of masonry vaults damage after a construction disaster in the historic church of St. George in Hajduki Nyskie (southern Poland), dated to the beginning of the XIV century. As a result of the collapse of the eastern gable wall, some parts of the vaults and a wooden roof were destroyed, as well as other structural elements and part of the church's equipment. The building combines late Romanesque, Gothic and Baroque style elements, representing high, trans-regional historical and artistic, religious and cultural values, in particular due to the valuable gothic wall paintings preserved in the nave. The paper presents the state of the building before and after the construction disaster as well as recommendations regarding the reconstruction of the vaults.

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Kónya, Anna. "Eucharistic references in the representations of saints: A case study of Late Gothic wall paintings in Transylvania." Acta Historiae Artium 58, no. 1 (December 2017): 85–113. http://dx.doi.org/10.1556/170.2017.58.1.4.

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Hilje, Emil. "Zidne slike u južnoj apsidi crkve Sv. Krševana - prijedlog za Ivana Petrova iz Milana." Ars Adriatica 7, no. 1 (December 19, 2017): 99. http://dx.doi.org/10.15291/ars.1379.

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Remnants of the late Gothic wall paintings in the southern lateral apse of St Chrysogonus’ church in Zadar are badly damaged, which makes it very difficult to link them to renowned artists or opuses. However, since they can be approximately dated to the second quarter of the 15th century, the number of possible candidates is significantly reduced to only a few painters who are known to have been active in Zadar at the time. In that context, certain visual correspondences to the works of Giovanni di Pietro from Milan (the “Ugljan Polyptych” at St Francis’ monastery in Zadar, frescoes in the chapel of St Doimo in the cathedral of Split, a polyptych at the State Hermitage Museum in Sankt Petersburg), as well as the use of some typical elements, indicate this painter as the possible author of these fragments.

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Horta, Graça, Isabel Ribeiro, and Luís Afonso. "The ‘Calvary’ of S. Francisco's church in Leiria: workshop practice in a Portuguese late Gothic wall painting." Studies in Conservation 43, sup1 (January 1, 1998): 65–69. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.65.

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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.

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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.

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Rosewell, Roger. "Carina Fryklund, Flemish Wall Painting: Late Gothic Wall Painting in the Southern Netherlands. Turnhout: Brepols, 2011. Pp. iv, 435; 80 color and 454 black-and-white figures. €110. ISBN: 978-2-503-51237-2." Speculum 89, no. 3 (July 2014): 770–72. http://dx.doi.org/10.1017/s0038713414001511.

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Costantini, Ilaria, Pier Paolo Lottici, Danilo Bersani, Daniele Pontiroli, Antonella Casoli, Kepa Castro, and Juan Manuel Madariaga. "Darkening of lead‐ and iron‐based pigments on late Gothic Italian wall paintings: Energy dispersive X‐ray fluorescence, μ‐Raman, and powder X‐ray diffraction analyses for diagnosis: Presence of β‐PbO 2 (plattnerite) and α‐PbO 2 (scrutinyite)." Journal of Raman Spectroscopy 51, no. 4 (January 23, 2020): 680–92. http://dx.doi.org/10.1002/jrs.5817.

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Howard, Helen. "Workshop practices and identification of hands: Gothic wall paintings at St Albans." Conservator 17, no. 1 (January 1993): 34–45. http://dx.doi.org/10.1080/01410096.1993.9995073.

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Pirsig, W., St Haase, and F. Palm. "Surgically repaired cleft lips depicted in paintings of the late Gothic period and the Renaissance." British Journal of Oral and Maxillofacial Surgery 39, no. 2 (April 2001): 127–33. http://dx.doi.org/10.1054/bjom.2000.0579.

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Souto, Jorge, Víctor Gutiérrez-Vicente, and Angel Carmelo Prieto. "Raman analysis of Gothic wall paintings in the apse of the Santiago Apóstol church in Alcazarén." Journal of Cultural Heritage 22 (November 2016): 1061–65. http://dx.doi.org/10.1016/j.culher.2016.06.005.

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Dissertations / Theses on the topic "Late Gothic wall paintings"

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Ribeiro, Elinor C. "Beyond ritual : the social context of the Theran frescoes." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269598.

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Tsikritea, Vasiliki. "Beyond Decoration: A Social Approach to Inclusion and Exclusion of Textile Motifs from LM IA LM IIIA1 Pottery." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1539080491763967.

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Rochard, Héléna. "Les peintures murales des "chapelles" de Baouît (VIe-IXe siècles) : images d’une communauté monastique en Égypte byzantine et arabe." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP012.

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Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienne
Since their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality

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Pavlíková, Vladěna. "Mariánská úcta v zrcadle olomoucké nástěnné malby pozdního středověku." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-405869.

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The thesis is focused on Marian devotion with great emphasis on Rosary. In regard on this matter papers presents Olomouc as an important catholic town of Central Europe. Result of this development are unique monuments, concretely rare mural paintings. Presented thesis includes five chapters that deals with political and social history of the town, just as global development of Marian devotion and Rosary in Europe, together with acceptance of these ideas and establishment of Rosary Confraternity in Olomouc. The most important aims of thesis are: to particularize knowledge of confraternities in town, of their activity and operations and to conduct a complex iconographic analyse of wall paintings with pinpoint of their donators. And last but not least to discuss the still unreflected inscriptions on the wall of the Chapel of St John the Baptist of St Wenceslas Cathedral in Olomouc.

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Haragová, Vladěna. "Malby v ambitu kostela svatého Václava v kontextu nástěnného malířství na přelomu 15. a 16. století v Olomouci." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313130.

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The first part of the paper deals with the mural paintings on a Christological theme decorating the northern and eastern walls of the High Gothic ambulatory, which is a part of the National cultural monument Přemyslid Castle. Last Judgement, Annunciation, Adoration of the Magi and Adoration of the Shepherds are depicted on the northern side of the cloister. On the opposite wall between the windows there is a representation of two donators. The eastern front of the ambulatory is decorated with scenes depicting the Crucifixion, Lamentation, Resurrection and Christ with the Arma Christi. Paintings are dated successively from the late 15th century to the first two decades of the 16th century. The different dating of paintings, of course, demonstrates various inspirational sources. The study also reflects many recent discoveries that reveal the origins of the decoration of the cloister. These paintings were probably commissioned by members of the Olomouc Chapter, who were in close contact with Humanistic Societas Maierhofiana. Further the paper focuses on the wall paintings in the John the Baptist' Chapel, where the scenes adorn not only the walls, but also the vault of the eastern field. The frescos were probably created between 1493 and 1517 by the hands of several painters.

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Menath, Jan. "Studien zur Wandmalerei des 15. und 16. Jahrhunderts in Bayerisch-Schwaben/ Allgäu." 2020. https://slub.qucosa.de/id/qucosa%3A75255.

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Die spätgotischen Wandmalereien in Bayerisch-Schwaben/ Allgäu verdienen aufgrund ihrer Ikonographie, Geschichte und Maltechnik größere Beachtung. Erstmalig werden sämtliche überlieferten Wandmalereien – einschließlich der nicht mehr sichtbaren – und deren Geschichte dokumentiert. Fragen nach den Wohltätern und Stiftern, den Künstlern sowie den an der Erhaltung und Wiederherstellung dieser Malereien beteiligten Personen, deren Motive und methodisch-technische Vorgehensweisen werden näher betrachtet. Ausgehend von dieser Studie ist es schließlich möglich, die Entwicklung der Bayerischen Denkmalpflege als auch die Konservierungs- und Restaurierungspraxis von Wandmalerei und die damit verbundene Methodik, Ethik und Ästhetik zu präzisieren. Das Ergebnis ist eine Konkretisierung unterschiedlicher Einflüsse zur Entstehungs- und Veränderungsgeschichte der Wandmalereien, wodurch das derzeit zur Verfügung stehende Wissen erstmals in einem monographischen Kompendium kontextualisiert wird und gleichzeitig eine Lücke in der Erforschung der mittelalterlichen Wandmalerei in Bayern schließt.
The late Gothic wall paintings found in Bavarian-Swabia/ Allgäu deserve significant attention in terms of their iconography, history and painting technique. This thesis first considers traditional wall paintings – including those that are no longer visible – and their history. The research focuses on the sponsors, artists and those involved in the conservation and restoration of these wall paintings. The methodological and technical approach of people involved in conservation is closely examined. It is possible to clarify not only the development of the Preservation of Monuments but also the methods adopted to conserve and restore wall paintings and the methods, ethical and aesthetic perspectives involved. This thesis thus addresses a gap in the research already carried out on Gothic painting in Bavaria. It elucidates and brings together the various influences at work and presents a compendium on the evolution, history and conservation of wall paintings.

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Kuběnová, Veronika. "Gotická móda v českých zemích ve 14. století. Vývoj oděvních prvků v českých zemích v letech 1330 -1410." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335388.

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1 ABSTRACT This thesis presents a study of a field of everyday culture - medieval fashion and its development during the reign of Charles IV of Luxembourg and his son Wenceslas in the Czech lands in the years 1330 - 1410. As these fashion trends and changes were exhibited primarily through the clothing of nobility, this thesis focuses exclusively on the environs of the aristocracy and royal court. In addition to written sources and archaeological finds, the fine arts also serve to advance our knowledge of Gothic fashion trends, whose works authentically capture the contemporary clothing styles and changes in all of Europe. This thesis therefore examines, through a methodical analysis, how wall paintings, panel paintings and book illuminations of Czech provenance reflect changes in clothing fashions and tastes in courtly environs during the period of time known as Luxembourg Gothic. This study of primary iconographic sources in authentic historical buildings and galleries was further aided by the creation of an extensive photo archive. This thesis presents a representative sampling of the works from this archive which documents a basic transformation of Czech clothing culture and the creation of a Bohemian style of Gothic fashion, culminating at the turn of the 14th and 15th century and enriching European...

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Books on the topic "Late Gothic wall paintings"

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Till, Borchert, Capron Emma, Harris Jim 1964-, and Richard L. Feigen & Company, eds. Late Medieval panel paintings: Materials, methods, meanings. London: Sam Fogg, 2011.

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Davidson, Clifford. Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47476-2.

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Davidson, Clifford. Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts. Palgrave Macmillan, 2018.

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Green, Alexandra. Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.001.0001.

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This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.

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Ali, Nadia, and Mattia Guidetti. Umayyad Palace Iconography. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190498931.003.0007.

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The traditional focus on early Islamic art has often obscured the specific contexts of the production of particular artworks. The famous wall paintings at the bath and audience hall of Qusayr ʿAmra and the floor mosaics at Khirbat al-Mafjar provide an opportunity for reconsidering how early Islam responded to encounters with visual and intellectual cultures of Late Antiquity. This essay attempts to explain the making of Umayyad iconography from the craftsmen’s perspectives. By placing the emphasis on the craftsmen and their practices as a repository of techniques, traditions, and cultural memory, we will explore issues of transmission, continuity, and discontinuity in art, through the lens of this segment of society. Ultimately, the goal is to move beyond the interpretation of early Islamic image as a closed symbol, thereby shifting the focus from iconography and style to a practice-centered discourse developed according to the makers’ visual economy.

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Book chapters on the topic "Late Gothic wall paintings"

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Davidson, Clifford. "The Coventry Holy Trinity Doom Painting: Anticipating the End-Time." In Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, 1–35. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47476-2_1.

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Davidson, Clifford. "Image, Text, and Devotion in Carthusian Wall Painting, Manuscript Illumination, and Narrative." In Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, 37–110. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47476-2_2.

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Tsakalidou, Panagiota, Dimitris Arabadjis, Constantin Papaodysseus, Michalis Exarhos, Panayiotis Rousopoulos, Fotios Giannopoulos, Evangelos Fotopoulos, and Michail Panagopoulos. "Advanced Geometric Guides Were Used for the Drawing of Celebrated Late Bronze Age Wall Paintings." In 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 579–89. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_63.

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Canty, Rachel, and David Griffith. "The Passion Cycle in English Wall Paintings and Manuscript Art: Readers and Spectators in Midlands Communities in the Later Medieval Period." In Devotional Culture in Late Medieval England and Europe, 267–89. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.mcs-eb.5.103041.

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Loosley, Emma. "The Material Culture of the Syrian Peoples in Late Antiquity and the Evidence for Syrian Wall Paintings." In The Syriac World, 460–75. First [edition]. | New York: Routledge, 2018. | Series: Routledge worlds: Routledge, 2018. http://dx.doi.org/10.4324/9781315708195-28.

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Bolvig, Axel. "‘I Am Well Done — Please Go on Eating’: Food, Digestion, and Humour in Late Medieval Danish Wall Paintings." In Grant risee?, 247–63. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.1987.

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Green, Alexandra. "Word and Image." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 161–89. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0005.

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As Chapter Four demonstrates, the murals were part of the efflorescence of Nyaungyan and Konbaung dynasty literary activity, visual counterparts to vernacular, Pāli, and dramatic productions. The narratives in the Burmese wall paintings were new tellings of old stories, drawing on Pāli texts and oral traditions, that were shaped to serve the purposes of the temples that housed the murals, reflecting the established repertoire, the desires and goals of donors, and the roles of the artists and monk producers. This chapter explores the various ways in which Burmese wall paintings connected with and related to “words,” both of the written and spoken variety. Textually and visually, Burmese wall paintings incorporated literary concepts in three main ways. First, the prose captions of the murals functioned as glosses to the visual narrative. Secondly, the popularization of drama and narration in Burmese society connected with a focus on an extended narrative format in the murals. Thirdly, the embellishments of descriptive prose and poetry paralleled the illustration of elaborate settings in the murals. The wall paintings formed a nexus of oral, visual, and textual traditions, linking them together through biographical memorialization.

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Gill, Miriam. "Adam Easton and the Lutterworth Wall Paintings Revisited." In Cardinal Adam Easton (c.1330–1397). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463726528_ch03.

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In his monograph on Easton, Andrew Lee proposed that a previously unidentified contemporary portrait of the cardinal may be preserved in the form of an image added to an existing morality wall painting in the parish church of Lutterworth in Leicestershire. This proposal not only suggests the existence of a second representation of this important historical f igure, but makes this wall painting a public visual expression of the ongoing animosity between Easton and the reformer John Wyclif, the incumbent at Lutterworth. This chapter reviews the conservation history and uncovering of the painting, its probable dating, its visual conventions and its iconographic content. This examination of the evidence makes Lee’s suggestion untenable; however, careful examination of the image of the cardinal shows that it was most probably once part of a scene of the Mass of St Gregory, a late medieval devotional theme exemplifying the doctrine of Transubstantiation. The Lutterworth mural thus represents the trenchant restatement in Wyclif’s former parish of the orthodox position which Adam Easton so vigorously defended.

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Green, Alexandra. "A Formula to Honor the Buddha." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 25–59. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0002.

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This chapter establishes the standardization of the wall paintings in terms of painting style, subject matter, and detail, and determine the major social, political, and religious ideas that contributed to the production of the wall paintings and provided a rationale for the standardized format. The murals evince exceptional consistency in choice of subject matter, representation of imagery, and arrangement within an architectural space across the central zone from the late seventeenth to early nineteenth centuries. Each temple contains variations in style, modes of representation, and design, yet all sites draw upon an established group of structures and material so that the differences reveal continuities in subject matter and organization diachronically and synchronically. Although the subject matter of the wall paintings appears to comprise an extensive body of material, the focus upon a specific repertoire for more than a century and the fact that it falls within narrow thematic parameters – the centrality of Gotama, how to worship him, and the power that emanates from spiritual awakening – demonstrates the religious and social constraints placed upon it.

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Bell, Barbara A. E. "Scottish Gothic Drama." In Scottish Gothic, 59–74. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0005.

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Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

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Conference papers on the topic "Late Gothic wall paintings"

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Novak, Zlatan, and Kristina Krulic. "Application of 3D technology for the documentation of late medieval wall paintings in the church of St. George in Lovran, Croatia." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413844.

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