Academic literature on the topic 'Thai mural painting'
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Journal articles on the topic "Thai mural painting"
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Pichaichanarong, Tawipas. "Visual Methods in Social Research on Lanna Mural Painting: A Case Study of Wat Phumin, Nan Province." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 25. http://dx.doi.org/10.24821/ijcas.v3i2.1842.
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According to most of tourists who have visited Thai temples and have seen Thai mural paintings with untrained eyes, they might not understand a story on walls at first sight. It may be because Thai mural paintings look confusing, crowded with colorful figures that appears similar in detail and character, leaving no place to focus one’s attention (David K. Wyatt, 2004). Thai mural painting is a disparate of the visual arts because of conventions that are entirely its own. This research is designed to study the capability of Thai and Foreign tourists in order to apprehend Lanna mural painting through visual methods in social research. For Methodology, questionnaires were used by collecting the data from the total of 411 Thai and foreign tourists who have been visited Wat Phumin, Nan province. At the same time, qualitative method was used by collecting the data form tourists who have been visited Wat Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and qualitative data. This study concludes that the comprehension of Lanna mural painting at first sight from Thai and foreign tourists at Wat Phumin, Nan province are not positive. In addition, the results reported that our respondents have verified that there is no direction in order to understand stories on Lanna mural painting from the beginning. Furthermore, the results reported that our respondents have established visual methods in social research in order to discover more effective solutions to facilitate Thai and foreign tourists to obtain the information of the storytelling in Lanna mural painting at first sight as possible.
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Suphaphimol, Nattaphon, Nakarin Suwannarach, Witoon Purahong, Churdsak Jaikang, Kamonpan Pengpat, Natthawat Semakul, Saranphong Yimklan, et al. "Identification of Microorganisms Dwelling on the 19th Century Lanna Mural Paintings from Northern Thailand Using Culture-Dependent and -Independent Approaches." Biology 11, no. 2 (January 31, 2022): 228. http://dx.doi.org/10.3390/biology11020228.
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Lanna painting is a unique type of painting in many temples in the Northern Thai region. Similar to most mural paintings, they usually decay over time partly due to the activity of microbes. This study aimed to investigate the microorganisms from two Lanna masterpiece paintings in two temples that differ in the numbers of visitors using both culture-dependent and -independent approaches. The microorganisms isolated from the murals were also tested for the biodeterioration activities including discoloration, acid production and calcium precipitation. Most microorganisms extracted from the paintings were able to discolor the paints, but only fungi were able to discolor, produce acids and precipitate calcium. The microorganism communities, diversity and functional prediction were also investigated using the culture-independent method. The diversity of microorganisms and functional prediction were different between the two temples. Gammaproteobacteria was the predominant group of bacteria in both temples. However, the fungal communities were different between the two temples as Aspergillus was the most abundant genus in the site with higher number of visitors [Buak Krok Luang temple (BK)]. Conversely, mural paintings at Tha Kham temple (TK) were dominated by the Neodevriesia genera. We noticed that a high number of visitors (Buak Krok Luang) was correlated with microbial contamination from humans while the microbial community at Tha Kham temple had a higher proportion of saprotrophs. These results could be applied to formulate a strategy to mitigate the amount of tourists as well as manage microorganism to slow down the biodeterioration process.
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Raksamani, Adis Idris. "The Siamese Concept of Muslims through Mural Paintings." Manusya: Journal of Humanities 22, no. 1 (July 15, 2019): 1–33. http://dx.doi.org/10.1163/26659077-02201001.
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The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows: 1. The otherness of Muslims from afar in the late Ayutthaya. 2. The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii. 3. The multicultural guests in the Reigns of King Rama iii-iv. 4. Unity under the royal patronage in the Reigns of King Rama v-vi. The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.
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Pichaichanarong, Tawipas. "Practice-Based Research in Digital Arts: A Case Study of Wat Phumin, Nan Province, Thailand." International Journal of Creative and Arts Studies 6, no. 2 (July 24, 2020): 157–72. http://dx.doi.org/10.24821/ijcas.v6i2.4159.
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ABSTRACTThai mural paintings have played a significant role in Thai society since The Sukhothai Kingdom period (1238-1438 AD) until the present. Wattana Boonjub (2009) points out that Mural painting was used for teaching the Thai people in the past. Throughout history, temples have become a crucial part of Thai' lives; for example, Wat Phumin in Nan Province. Wat Phumin has exceptional architecture, beautiful visual presentations of Buddhist storytelling on the walls which depict scenes from the Buddhist Jataka tales, and scenes of everyday life in Nan. These unique characteristics have attracted many visitors to this temple over the years. Also, when those interested visit Wat Phumin, they experience this temple as a Museum. Loïc Tallon et al. (2008) suggests that the museum experience provides an appropriate situation for learning history in an unconventional setting. As a result, previous research titled “Visual Research Practices on Thai Lanna Mural Painting: A Case Study of Wat Phumin, Nan Province” was presented at The 4th International Conference for Asia Pacific Arts Studies (ICAPAS 2016). The results indicated that the information concerning the Lanna mural paintings inside the temples was overwhelming. However, no directions are facilitating Thai and foreign visitors in viewing and understanding at the first episode of storytelling on Lanna mural paintings inside Wat Phumin. Therefore, this research is the result of finding a solution to facilitating visitors in viewing Buddhist Jataka tales through digital arts and digital technology (such as responsive web design, QR codes, etc.) with practice-based design research. ABSTRAK Lukisan mural Thailand telah memainkan peran penting dalam masyarakat Thailand sejak periode Kerajaan Sukhothai (1238-1438 M) hingga saat ini. Wattana Boonjub (2009) menunjukkan bahwa lukisan Mural digunakan untuk mengajar orang-orang Thailand di masa lalu. Sepanjang sejarah, kuil telah menjadi bagian penting dari kehidupan Thailand; misalnya, Wat Phumin di Provinsi Nan. Wat Phumin memiliki arsitektur yang luar biasa, presentasi visual yang indah dari cerita Buddha di dinding yang menggambarkan adegan dari kisah Buddha Jataka, dan adegan kehidupan sehari-hari di Nan. Karakteristik unik ini telah menarik banyak pengunjung ke kuil ini selama bertahun-tahun. Juga, ketika mereka yang tertarik mengunjungi Wat Phumin, mereka merasakan candi ini sebagai Museum. Loïc Tallon et al. (2008) menunjukkan bahwa pengalaman museum memberikan situasi yang tepat untuk belajar sejarah dalam lingkungan yang tidak konvensional. Sebagai hasilnya, penelitian sebelumnya yang berjudul “Praktik Penelitian Visual pada Lukisan Mural Lanna Thailand: Studi Kasus Wat Phumin, Provinsi Nan” dipresentasikan pada Konferensi Internasional ke-4 untuk Studi Seni Asia Pasifik (ICAPAS 2016). Hasilnya menunjukkan bahwa informasi mengenai lukisan mural Lanna di dalam kuil sangat banyak. Namun, tidak ada arahan yang memfasilitasi pengunjung Thailand dan wisatawan asing dalam melihat dan memahami episode pertama pada cerita tentang lukisan mural Lanna di dalam Wat Phumin. Oleh karena itu, penelitian ini adalah hasil dari menemukan solusi untuk memfasilitasi pengunjung dalam melihat cerita Buddha Jataka melalui seni digital dan teknologi digital (seperti desain web responsif, kode QR, dll.) dengan penelitian desain berbasis praktik.
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Pichaichanarong, Tawipas, Veerawat Sirivesmas, and Rueanglada Punyalikhit. "APPENDING ROLES OF THAI LANNA TEMPLES FOR SUSTAINABLE COMMUNITIES: A CASE STUDY OF WAT PHUMIN, NAN PROVINCE." International Journal of Heritage, Art and Multimedia 3, no. 8 (March 10, 2020): 01–11. http://dx.doi.org/10.35631/ijham.38001.
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Temples have been important in Thai society for over 700 years. When the Sukhothai Kingdom (1238 -1438 AD) was the capital city of Thailand. The great King Ramkamhang had been accepted Theravada Buddhism to be the strongest religion in the land. Later Lanna kingdom (1296 - 1558 AD) was founded in the mid-13th century by King Mangrai. Indeed, King Ramkamhang was friends with King Mangrai, and King Ngam Muang of Phayao Kingdom (1094–1338 AD), it is possible Theravada Buddhism had been introduced to the kingdoms during the reigns of these three Kings. Indeed, the Lanna Kingdom has accepted Theravada Buddhism to be their religion. Until 1894, Lanna Kingdom combined with Siam Kingdom which is the Rattanakosin period (1782 AD - present). Throughout history, temples have become an essential part of Lanna and Thais’ lives. At present, some Thai Lanna temples are not only functions for performing religious rites, but also, they become central for Lanna and Thai communities. Temple (“Wat” in Thai) is a sacred architecture. Moreover, there are ideas to decorate inside temples with arts. Wattana Boonjub (2009) points out that Mural painting is used to teach (Lanna and) Thai people in the past. For example, Wat Phumin, Nan province. With beautiful Lanna architecture and exquisite Lanna mural paintings, these are intangible heritages. These unique characteristics have invited lots of people to visit this temple for years. Therefore, Wat Phumin became a tourist attraction that creates revenue for its community. Johan Galtung (1980) gave the definition for “Self-Reliance”, is the strategy for development to be financial independence. With collaboration from the community, it becomes a sustainable community. For Methodology, quantitative and qualitative methods were used by collecting the data from tourists who have been visited Wat Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and qualitative data. This study concludes that Wat Phumin, Nan province has created a sustainable community for its community.
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Johnson, Irving Chan. "Doing fieldwork in an acrylic hell: mediations between personhood, art and ethnography in a Thai mural painting." Journal of Visual Art Practice 17, no. 1 (October 9, 2017): 81–99. http://dx.doi.org/10.1080/14702029.2017.1381009.
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Lee, Hwa Soo, Yeong Gyeong Yu, and Kyeong-Soon Han. "Material and Manufacturing Properties of Bracket Mural Paintings of Daeungjeon Hall in Gaeamsa Temple, Buan." Journal of Conservation Science 38, no. 1 (February 28, 2022): 45–54. http://dx.doi.org/10.12654/jcs.2022.38.1.04.
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This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 μm, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study’s results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.
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Lee, Na Ra, Yeong Gyeong Yu, and Hwa Soo Lee. "Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo." Journal of Conservation Science 37, no. 6 (December 31, 2021): 701–11. http://dx.doi.org/10.12654/jcs.2021.37.6.09.
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This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.
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Halim, Erwin Ardianto, Sherlywati Sherlywati, and Tri Octaviani. "Mural as Educational Media at Simpay Asih Kindergarten, Cideres, Majalengka, Jawa Barat." Journal of Innovation and Community Engagement 1, no. 2 (May 23, 2021): 111–20. http://dx.doi.org/10.28932/jice.v1i2.3547.
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Murals as educational media are a means of student development and good social life. Simpay Asih Kindergarten needs other learning media in teaching its students so that murals can be an alternative. Murals also provide motivation in learning. Another impact of a mural is to create a beautiful and positive space. Mural painting is painting in stages. Concepts and sketches are the first stage, then proceed to the preparation of the walls as a medium for painting, and the last stage is the final touch. Teachers and students of Simpay Asih Kindergarten welcomed the implementation of this mural, so that a positive response was obtained. With enthusiasm, the mural can have a positive impact on Simpay Asih Kindergarten students.
Keywords: mural; education; kindergarten
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Nasri, Adel, and Xianfeng Huang. "Images Enhancement of Ancient Mural Painting of Bey’s Palace Constantine, Algeria and Lacuna Extraction Using Mahalanobis Distance Classification Approach." Sensors 22, no. 17 (September 2, 2022): 6643. http://dx.doi.org/10.3390/s22176643.
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As a result of human activity and environmental changes, several types of damages may occur to ancient mural paintings; indeed, lacunae, which refer to the area of paint layer loss, are the most prevalent kind. The presence of lacuna is an essential sign of the progress of mural painting deterioration. Most studies have focused on detecting and removing cracks from old paintings. However, lacuna extraction has not received the necessary consideration and is not well-explored. Furthermore, most recent studies have focused on using deep learning for mural protection and restoration, but deep learning requires a large amount of data and computational resources which is not always available in heritage institutions. In this paper, we present an efficient method to automatically extract lacunae and map deterioration from RGB images of ancient mural paintings of Bey’s Palace in Algeria. Firstly, a preprocessing was applied using Dark Channel Prior (DCP) to enhance the quality and improve visibility of the murals. Secondly, a determination of the training sample and pixel’s grouping was assigned to their closest sample based on Mahalanobis Distance (MD) by calculating both the mean and variance of the classes in three bands (R, G, and B), in addition to the covariance matrix of all the classes to achieve lacuna extraction of the murals. Finally, the accuracy of extraction was calculated. The experimental results showed that the proposed method can achieve a conspicuously high accuracy of 94.33% in extracting lacunae from ancient mural paintings, thus supporting the work of a specialist in heritage institutions in terms of the time- and cost-consuming documentation process.
Dissertations / Theses on the topic "Thai mural painting"
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.
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Master of Visual ArtsThe Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Asavaplungkul, Saisingha Monruedee. "Le Râmâyana dans les peintures du temple du Buddha d'Émeraude (Wat Phra Kèo) à Bangkok : sources, contexte, prolongements." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040049.
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Le Râmakîen est une des œuvres littéraires les plus importantes du royaume thaïlandais. Reprenant l’épopée indienne de Vâlmîki, le Râmâyana, il revêt une grande importance à la cour royale et sa popularité est considérable dans toute l’Asie du Sud-Est. Au Wat Phra Kèo, ses épisodes ont été intégralement illustrés sur le mur de la galerie. La thèse ne prend en compte que les parties figurant les dix incarnations de Viṣṇu et la naissance des dieux hindous et des personnages de l’épopée. Ces épisodes nous amènent au prélude du Râmakîen et l’étude s’arrête au moment du retour du roi Jânaka à Mithilâ. Il nous a fallu opérer des rapprochements entre ces peintures et le Tamrâ Thewarûp, les albums d’iconographie brahmanique, ainsi que le Tamrâ Thewapâng, recueil de légendes sur la naissance des dieux et les incarnations de Viṣṇu. Ces rapprochements étaient nécessaires car tous les épisodes représentés à Wat Phra Kèo ne sont pas racontés dans le Râmakîen tel que le relate la version du roi Râma I. L’omniprésence des scènes empruntées à l’épopée, en particulier celles des dix incarnations de Viṣṇu et des dieux hindous dans les temples importants de Bangkok fondés par les rois ou par leurs proches au début de la période de Ratanakosin, s’explique par la grande importance accordée par ces souverains à l’incarnation de Viṣṇu en Râma. Le royaume thaïlandais adopta par ailleurs les rites brahmaniques pratiqués à la cour khmère. Une récapitulation des témoignages iconographiques sur l’épopée au Cambodge, au Laos et au Myanmar complète notre étudeThe Râmakîen is one of the most important literary works in Thailand. Derived from the Indian epic of Vâlmîki, it became very important at the royal Thai court, and is one of the most popular texts in South-East Asia. At Wat Phra Kèo its episodes are represented on the four sides of the gallery. This thesis aims to study the parts illustrating the ten incarnations of Viṣṇu, the birth of the Hindu Gods and the main characters of the Indian epic. These episodes lead us through the Râmakîen’s prelude and our study stops at the moment of King Jânaka’s return to Mithilâ, his kingdom. The comparison between the paintings, the Tamrâ Thewarûp, the iconographic albums of Hindu Gods and the Tamrâ Thewapâng (the book of legends containing the god’s creation and the ten incarnations of Viṣṇu) proved necessary to understand some of the painted scenes which do not relate to the Râmakîen, as told in the version composed by King Râma I. The omnipresence of a number of scenes borrowed from the epic (particularly the ten incarnation scenes of Viṣṇu and the Hindu God images) in the temples founded by the kings or their families around Bangkok’s Grand Palace can be explained by the great importance attributed by the sovereigns to the Râma avatâra of Viṣṇu. Besides, the Thai Kingdom borrowed from the Khmer court their Hindu rituals. A review of the Râmâyana images in Cambodia, Laos and Myanmar completes our study
Books on the topic "Thai mural painting"
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Thai mural painting. Bangkok, Thailand: White Lotus Press, 2009.
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Jaiser, Gerhard. Thai mural painting. Bangkok, Thailand: White Lotus Press, 2009.
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Phlāinō̜i, Sombat. Mural paintings. [Bangkok]: Office of the National Culture Commission, Ministry of Education, 1985.
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Matics, K. I. Introduction to the Thai mural. Bangkok: White Lotus, 1992.
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ʻInthralip, Sonthiwan. Thai traditional paintings. [Bangkok: Sonthiwan Intralib], 1994.
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Wyatt, David K. Reading Thai murals. Chiang Mai, Thailand: Silkworm Books, 2004.
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Līsuwan, Wibūn. Čhittrakam Thai. 2nd ed. [Bangkok]: ʻOngkān Khā khō̜ng Khurusaphā, 1985.
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Reading Thai murals. Chiang Mai, Thailand: Silkworm Books, 2004.
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Lyons, Elizabeth. The Tosachāt in Thai painting. 4th ed. Bangkok, Thailand: Promotion and Public Relations Sub-Division, Fine Arts Dept., 1990.
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Songkhlā, Wanniphā Na. Čhittrakam fāphanang nai Prathēt Thai. [Bangkok]: Fāi ʻAnurak Čhittrakam Fāphanang læ Pratīmākam Titthī, Kō̜ng Bōrānnakhadī, Krom Sinlapākō̜n, 1990.
Find full textBook chapters on the topic "Thai mural painting"
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Hardie, Philip. "Visions of Apotheosis and Glory on Painted Ceilings." In Celestial Aspirations, 257–319. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691197869.003.0006.
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This chapter takes a more detailed look at the representation of flight and elevation to the heavens in the baroque ceiling paintings of seventeenth- and early eighteenth-century England. It reviews the use of classical iconography, and on the interaction of pagan classical iconography with Christian iconography. The lines of reception are less direct in the case of painting than in the textual tradition, since very few ceiling paintings from antiquity will have survived down to the Renaissance and the iconography of early modern ceiling painting is therefore largely constructed on the basis of ancient texts. The chapter examines the visual vocabulary of English ceiling paintings, which is for the most part taken over from earlier European models, sacred and secular. Many of the practitioners of mural and ceiling painting in Britain were indeed continental artists, such as Rubens, Verrio, and Laguerre.
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Gussak, David E. "Guernica." In The Frenzied Dance of Art and Violence, edited by David E. Gussak, 232–42. Oxford University Press, 2022. http://dx.doi.org/10.1093/med-psych/9780190064495.003.0010.
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Picasso’s Guernica captured his fury in response to the innocent Basque village of Guernica being destroyed by the German Luftwaffe during the Spanish Civil War. This painting became the template for the Guernica Children’s Peace Mural Project, developed by art educators to facilitate change by guiding children who are experiencing strife to redirect their frustrations into a transformative message of peace. This chapter provides a succinct examination of Picasso and the painting that captured the destruction of a peaceful village. Following this, an in-depth conversation with one of the founders of the Children’s Peace Mural Project, Dr. Tom Anderson, is presented along with a comprehensive review gleaned from the literature. This chapter ultimately explores how one painting provided the blueprint for how art can help children develop connections and help allay the powerlessness, fear, frustration, and anxiety derived from overwhelming circumstances.
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Feen-Calligan, Holly, Elizabeth Barton, Julie Moreno, Emma Buzzard, and Marion Jackson. "Murals and photography in community engagement and assessment." In Social Work Research Using Arts-Based Methods, 129–38. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781447357889.003.0012.
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This chapter describes how photography and mural methods help promote cross-disciplinary and community collaboration, enhance the experience of individual participants as well as that of the community, document university–community projects, and assess outcomes through constituent voices (film), photographs, and mural painting processes. Arts-based research methods and their applications for social work are exemplified by a project of an urban research university’s community engagement program: ArtsCorps.
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Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.
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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the prepared throne (Hetoimasia) in the Novgorod Sophia image, its light symbolism, and the development of anti-Latin ecclesiological iconographies in Novgorod.
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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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Ellenzweig, Allen. "The Mural Show and a Threat of Marriage." In George Platt Lynes, 183–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0013.
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Monroe arrives in New York in time for George’s Leggett show, then visits his family in Evanston. Lynes publishes a picture in Vanity Fair and others in several Northeast exhibitions. George participates in Lincoln Kirstein’s “mural show” at MOMA, which includes works by Lynes’s peers and the eminent Edward Steichen. The photo murals are better reviewed than the paintings. George worries how to return to Paris with Monroe but manages the expense. His most significant portrait of summer 1932 is of André Gide. Southern writer Katherine Anne Porter enters the Harrison of Paris circle. George returns home in September to the shock of little Claus’s death. His studio is again at the Englewood rectory, now with prospects for solid commercial work. George grows concerned that Monroe and Barbara’s planned trip of several months to China will result in their marriage. Then, in early December, the Reverend Lynes dies of a heart attack at age fifty-three.
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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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Jones, Michael. "Conservation of Mural Paintings in the Coptic Museum." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0026.
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This chapter describes the preservation efforts undertaken by the American Research Center in Egypt on the famous murals, preserved in the Cairo Coptic Museum, which were originally excavated in Apa Jeremiah's Saqqara monastery and Apa Apollo's Bawit monastery. These wall paintings have traditionally been considered the principal symbols of Coptic art. The Saqqara niches were excavated between 1906 and 1910. In keeping with Egyptian tradition, all the paintings are painted on plaster a secco. The Saqqara niches were constructed of mud brick lined with a white lime plaster arricio, often quite coarse and uneven, containing siliceous alluvial sand and some occasional plant fibers. The Bawit niches were excavated in 1913. The two niches were painted on mud with only a thin white lime wash applied for the paintings, rendering them considerably more delicate than the Saqqara niches.
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Ura, Karma. "Visual Arts and Visualization." In Bhutan, 37—C3.P205. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868572.003.0003.
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Abstract A literature survey of spiritual masters and their early temple-residences and extinct gyal khars indicate the impermanence of wall paintings they housed. Yet the techniques of preparing base-coat plaster and palletes of mineral and organic colours for frescoes lasted long. Some plant-based colours are common to both painting and fabric or yarn dyeing. Experiences of pigment preparation were distilled into a theory of colours in the 17th century Tibet and this is recalled in the light of Bhutanese practices. The earliest fresco in the country is that of Paro Taktshang rock face with its style exceedingly alike the 11th century Drathang monastery in south-western Tibet. Evolution of artistic styles is traced from ancient mural paintings of Tamshing temple and Khoma temple to an ‘unsurpassed subtlety’ in Tango Gyalsey Zimchung and Tongsa Lama Lhakhang. With the exception of Drukpa Kunley’s rebelliously haunting poetry, erotic art could not emerge in the monastic environment, but flourished in terms of phallic images on rural houses, though this too is threatened in modern Bhutan. Erotic performances by clowns in mask dance festivals and dances performed naked are linked to rites of fecudinity and fertility. The final part delineates my hypothesis that Vajrayana iconography have been influenced by its primary purpose: to instruct and support meditative visualization.
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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.
Conference papers on the topic "Thai mural painting"
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Jaidilert, Salinee, and Ghulam Farooque. "Crack Detection and Images Inpainting Method for Thai Mural Painting Images." In 2018 IEEE 3rd International Conference on Image, Vision and Computing (ICIVC). IEEE, 2018. http://dx.doi.org/10.1109/icivc.2018.8492735.
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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.
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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
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Mezzadri, Paola, Francesca Valentini, and Maria-Concetta Capua. "CRITICAL AND ANALYTICAL APPROACHES IN A CONTEMPORARY MURAL PAINTING' RETOUCHING PROCESS: THE KEY STUDY OF MURALS BY ANTONIO CARENA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13580.
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This paper focuses on critical and analytical approaches behind the reintegration process in the conservation project of two contemporary mural paintings designed by Antonio Carena and located in the outdoor contemporary museum of Piscina in Italy. Moreover, there will be evaluated materials and techniques applied, in this selected case study, where contemporary criteria on chromatic reintegration, still connected to a case by case situation, confirm that the aesthetic presentation of a work of art is the phase of the restoration in which the exquisitely critical nature of the intervention is best expressed, since it implies a scientific plan at the basis and the objective critical judgment of the operator which is called to interpret some formal, visual and historical values of the work of art, acting on them. Finally, there will be analysed theoretical and technical methodologies to explain how scientific criteria, which are also objective and based on the visual perception of colour by the human psyche and its consequent aesthetic elaboration, passes through a scientific-critique interpretation of the constituent materials in the work of art.
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Regidor Ros, José Luis, Clara Portilla Romero, Juan Valcárcel Andrés, and Pilar Roig Picazo. "Pictorial reconstruction of Palomino’s ceiling by digital techniques." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13528.
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The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to preserve cultural heritage and participate directly in the intervention processes required for their conservation and restoration.
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Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.
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Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.
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Sepe Camargo, Gabriel. "Garder mon aile dans ta main: The genesis of the Open Hand." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.
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Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938