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.
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Guo, Z. Q., S. Q. Lyu, M. L. Hou, and M. Huang. "HYPERSPECTRAL INVERSION OF SOLUBLE SALT CONTENT IN MURAL PAINTING." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2022 (May 30, 2022): 793–800. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2022-793-2022.
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Abstract. Mural painting is one of the carriers expressing history and culture. Due to the natural and anthropogenic factors, the salt in mural painting and environment is enriched in the surface layer with temperature change. It will induce irreversible diseases such as crispy alkali, which is not conducive to the survival of mural painting in the present. An efficient and non-destructive method to detect salt in murals is of great importance. Therefore, we proposed a method to predict the soluble salt content of mural paintings based on hyperspectral techniques. First, simulated samples with different salt concentrations were measured by a special spectroradiometer to acquire their spectra. Next, breakpoint correction and average smoothing preprocessing are performed and the data set is divided. Then, the spectra were enhanced by continuum removal (CR) and the logarithm of reciprocal (LR). The salt concentration was correlated with the spectra to extract 10 characteristic bands. Finally, the salt content prediction model was established by simple linear regression (SLR) and multiple linear regression (MLR). The accuracy of the model was evaluated with the coefficient of determination R2, root mean square error RMSE, and relative percent deviation RPD. The experimental results show that the best inversion fit is based on the combination of the CR-MLR model at the strong correlation bands of 420nm, 584nm, and 2379nm (Calibration Set R2 = 0.846, RMSE = 0.138, and RPD = 3.240). This paper provides a new technical means for the non-destructive detection of salt content in murals.
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Mogarichev, Yuriy, and Alena Ergina. "Reassessing the Periodization of Mural Paintings in the Cave Church of the Southern Mangup Monastery." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 47–63. http://dx.doi.org/10.15688/jvolsu4.2019.6.4.
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Introduction. The Southern Monastery is located in the southern part of the Mangup plateau in a natural rock grotto. The cave church is in the eastern side of the grotto. It is decorated with mural paintings. The murals of the church are concentrated in the altar. Frescos are divided into the images on the apse, on the altar arch and on the vaults of the church. Methods. Authors give the periodization of frescos comparing iconography and stylistics. Analysis. The images on the apse are flat. The eaves of the altar arch are similar to the icon row. Saints on the arches of the church have their original compositional solution. The apse’s painting was formed earlier than other architectural divisions of the church interior. The fundamentally different organization of the tectonics of the pictorial surface of the altar arch eave and vaults suggests that different artists made these images at short intervals. Results. The church’s murals of the Southern Mangup Monastery were probably formed in three stages. Different artists, who were the representatives of various eastern Christian schools of sacred painting, made the murals. Due to the closed compositional scheme the painting system appears as an indissoluble whole, despite the definite duration of the murals’ formation in the church of the Southern Mangup Monastery. In general, the paintings of the church of the Southern Mangup Monastery date from the early – the third quarter of the 15th century. Probably this monastery is associated with the ruling dynasty of Theodoro.
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Bardik, Maryna. "Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 128–32. http://dx.doi.org/10.32461/2226-3209.2.2021.239989.
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The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.
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Shao, Anding, Qianli Fu, Zhouyong Sun, and Jing Shao. "Studies on the materials and manufacturing technology of the murals unearthed at Shimao Site in Shenmu County, Shaanxi." Chinese Archaeology 17, no. 1 (December 20, 2017): 193–200. http://dx.doi.org/10.1515/char-2017-0017.
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AbstractThis paper presents preliminary scientific analytical results and discussion on the murals unearthed at the Shimao Site in Shenmu County, Shaanxi Province. The murals were composed of pigment layer, plaster base layer and daub layer. The pigments used include hematite, goethite, glauconite and carbon black. Same with the floor plaster layer of the house foundations in the site, the plaster layer of murals is made of calcium carbonate. For the painting procedure, a draft had firstly been designed by engraved lines, and then the murals were painted with various pigments. A tentative comparative study shows that the manufacturing technology and painting techniques of the Shimao mural are similar to that of the murals of the Han and Tang Dynasties. It indicates that the fundamental manufacturing technology of mural had probably been established in the Erlitou Period at latest, which was just followed and enriched over the Han and Tang Dynasties.
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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating." Zograf, no. 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.
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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.
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Mohanu, Dan, and Ileana Mohanu. "The technique of the mural paintings of Corbii de Piatră." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 11 (2020): 135–50. http://dx.doi.org/10.47950/caieteara.2020.11.05.
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The church carved in the spectacular sandstone slope of Corbii de Piatră is without any doubt an atypical monument, that, according to the latest research, can be dated between the end of the 13th century and the first half of the 16th century. A new project has brought back into focus the necessity of an analysis of the execution technique of the mural paintings from within the rock carved church. This represents an answer both to the efforts of stylistic analysis and dating of one of the most controversial Medieval monuments in Wallachia and to the preoccupation to find adequate preservation methods. Executed mainly al fresco, in difficult microclimatic conditions, the iconographic ensemble from within the rock church at Corbii de Piatră presents the technological characteristics of a mural painting made in the fine tradition of Byzantine murals.
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Wu, Meng, Min Jia, and Jia Wang. "TMCrack-Net: A U-Shaped Network with a Feature Pyramid and Transformer for Mural Crack Segmentation." Applied Sciences 12, no. 21 (October 28, 2022): 10940. http://dx.doi.org/10.3390/app122110940.
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The detection of crack information is very important in mural conservation. In practice, the number of ancient murals is scarce, and the difficulty of collecting digital information about murals leads to minimal data being collected. Crack information appears in pictures of paintings, which resembles painting traces and is easy to misidentify. However, the current mainstream semantic segmentation networks directly use the features of the backbone network for prediction, which do not fully use the features at different scales and ignore the differences between the decoder and encoder features. This paper proposes a new U-shaped convolutional neural network with feature pyramids and a transformer called TMCrack-net. Instead of U-Net’s jump-join, an AG-BiFPN network is used, which consists of two modules: a channel cross-fusion (CCT) module with a transformer and a bidirectional feature pyramid network. While fully using the information in different network dimensions, the channel cross-fusion module optimizes the final features of each layer to reduce the confounding effect caused by the fusion of features. For the fusion of multi-scale channel information with decoder features, we designed a fusion module based on a channel attention (called FCA) to guide the fusion of enhanced encoder features with decoder features and reduce the ambiguity between the two feature sets. To demonstrate the effectiveness and generalization of the model, TMCrack-Net was evaluated on the Tang Dynasty tomb chamber mural dataset and Crack500. MIou values of 0.7731 and 0.7944 were achieved, respectively, which are better than those of other advanced crack detection methods. The method yields accurate segmentation performance and is advantageous for mural painting crack segmentation tasks.
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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (May 31, 2016): 31. http://dx.doi.org/10.4995/var.2015.4241.
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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (May 31, 2016): 31. http://dx.doi.org/10.4995/var.2016.4241.
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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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Gil-Torrano, Andrea, Auxiliadora Gómez-Morón, José María Martín, Rocío Ortiz, Mª del Camino Fuertes Santos, and Pilar Ortiz. "Characterization of Roman and Arabic Mural Paintings of the Archaeological Site of Cercadilla (Cordoba, Spain)." Scanning 2019 (July 28, 2019): 1–14. http://dx.doi.org/10.1155/2019/3578083.
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The archaeological site of Cercadilla (Cordoba, Spain) includes a complete chronological sequence from the 3rd to 12th centuries. The most relevant monument is a Roman palace dated between the end of the 3rd century and the beginning of the 4th century AD. It is believed that it was the headquarters of the Emperor Maximiano Herculeo. A bathtub with mural paintings has been found in the thermal zone of the palace. Regarding the occupation of the archaeological site in the medieval period, it should be pointed out that two houses with mural paintings were found; these belong to the Caliphal era (10th-11th centuries). During the Caliphal era, the archaeological site was mostly occupied by one of the large suburbs surrounding the walled city. Cercadilla was gradually abandoned; this process starts at the beginning of the 11th century. This study is focused on the analysis of pigments and preparatory layers of red and white mural paintings of the Roman period in the bath zone and on the analysis of pigments in mural paintings in two houses of the Caliphal era. In the thermal zone, the walls have a white mural painting with vertical and horizontal red bands, while the walls in the two Caliphal houses present the red mural painting decorated with white stripes. Techniques such as Optical Microscopy (OM), Scanning Electron Microscopy in combination with Energy Dispersive X-ray Microanalysis (SEM-EDX), X-ray Diffraction (XRD), micro X-ray Diffraction (μ-XRD), Wavelength Dispersive X-ray Fluorescence (WD-XRF), and Fourier Transform-Infrared Spectroscopy (FT-IR) have been used to study the mural paintings of this archaeological site. The results allowed to determine the composition of the materials used and to understand the differences between the technologies employed in Roman and Caliphal remains studied.
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Mohammed Maqbool, Hayat, Nermen Elmasry, and Zeinab Mohamed Nour. "Aesthetic visions of mural painting in international airports (A Proposal of experience for the researcher at the Yemeni airports)." International Journal of Scientific Research and Management 9, no. 09 (September 21, 2021): 01–15. http://dx.doi.org/10.18535/ijsrm/v9i9.fa01.
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Purpose: This work is a trial study for International Airports esthetics developments. The work was introduced to explore the disparity and activities of that airports as well as its benefit to tourism growth internationally. All that in order to give a clear understanding and appreciation of the importance of mural and artistic works in the architecture of international airports, all of which are beneficial to the aesthetic, visual, technical and psychological benefits of travelers and visitors, as well as the benefits to tourism and culture of the country in which there are airports.
Materials and methods: The practical experience of the researcher is based on three main axes, through which it deals with some aspects of the Yemeni environment to be applied within some of the wall works in Yemen airports. All murals are decorated with glass mosaic materials and ceramics on large wooden panels. The 1st axis: murals inspired by the ancient heritage of Yemeni architecture. The 2nd axis: Murals inspired by the picturesque Yemeni nature. The 3rd axis: murals inspired by the social and psychological state of the Yemeni human being.
Conclusion: Many Yemeni institutions' buildings are decorated with murals, paintings, and other subjects related to that region or community. We note that the government of Yemen has taken care of this type of architecture, such as the art of murals.
Recommendations: The mural art works are not suitable for placing in international airport halls except with basic points that are supposed to be taken into account in the mural work to be placed inside airports, where it is recommended to take into account the three main axes: the environment, the design, and the materials in which these murals were completed.
Keywords: mural, airports, Yemeni airports, esthetics.
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Ortega Cabrera, Verónica, and Gloria Dolores Torres Rodríguez. "Presencia y valor de los círculos rojos en murales teotihuacanos / Presence and value of red circles in teotihuacan murals." Revista Trace, no. 79 (January 29, 2021): 66. http://dx.doi.org/10.22134/trace.79.2021.724.
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En la pintura mural prehispánica se plasmaron símbolos, escenas reales y ficticias, que nos permiten penetrar el universo ideológico de sus creadores. En Teotihuacán, durante los siglos XIX y XX se recuperó una gran cantidad de vestigios de pintura mural cuyo registro forma parte de la memoria arqueológica de la ciudad. Este trabajo hace un breve recuento de los hallazgos de pintura mural en la urbe del Clásico, hasta los albores del siglo XXI. Gracias al registro detallado, visualizamos la presencia constante de una forma geométrica que podría portar un simbolismo particular: el círculo rojo. Se presenta entonces un recorrido por la arquitectura que ostentó este diseño, para lograr un primer acercamiento al patrón visual que los artistas teotihuacanos alcanzaron con esta forma y al posible valor iconográfico de los círculos rojos en el discurso mural de la ciudad. Abstract: In Teotihuacan during the XIX and XX century many remains of wall paintings were recovered from the inside of houses and public buildings. The goal of this research paper is to give a brief account of the mural paintings discovered at the ancient city till the beginning of the XXI century, we have implemented a systematic registration project, which in the end will constititute one of the most complete memories of this artistic expression. Thanks to the detailed surveys, we have been able to recognize the constant presence of geometric shapes that could carry a particular symbolism: the Red Circle. There is then a tour of the architecture that held this design, whit the aim of achieving a first approach to visual pattern that Teotihuacan artists succeeded whit this form, and the possible iconographic value the red circles in the discourse mural in the city. Keywords: Teotihuacan; architecture of Teotihuacan; mural painting; red circles; solar theme. Résumé : À Teotihuacán, au cours des XIXe et XXe siècles, de nombreux vestiges de peintures murales ont été retrouvés, dont l'archivage fait partie de la mémoire archéologique de la ville. Cet ouvrage retrace brièvement l’évolution des découvertes de la peinture murale dans la période classique de la ville jusqu’a l’aube du XXIe siècle. Grâce à ce registre détaillé, nous visualisons la présence constante d’une forme géométrique pouvant porter un symbolisme particulier: le cercle rouge. Une visite guidée de l’architecture qui a mis en lumière ce dessin est présentée, a fin de réaliser une première approche du motif visuel que les artistes de Teotihuacan ont élaboré avec cette forme et de la valeur iconographique des cercles rouges dans le discours mural de la ville. Mots-clés : Teotihuacan ; architecture Teotihuacan ; peinture murale ; cercles rouges ; thème solaire.
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Hayati, Farida. "Pembelajaran Mural pada Mata Pelajaran Seni Budaya di Sekolah Menengah Atas Negeri 10 Malang." Jurnal Pendidikan dan Penciptaan Seni 2, no. 1 (May 23, 2022): 31–38. http://dx.doi.org/10.34007/jipsi.v2i1.140.
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This article examines the emotional, intellectual, physical, aesthetic, artistic, and creative experiences of students at SMAN 10 Malang City. Students are directly involved in various creative experiences, producing works of art. Their real experiences directly benefit their lives. Learning mural art in the Cultural Arts subject allows students to interact with their technical abilities and environmental conditions. Murals are works of art that use drawing or painting techniques on permanent walls, walls or large surfaces. The purpose of this study is to examine the process of painting murals, considering that learning activities are believed to increase the intelligence of students, because the learning process involves cognitive, affective and psychomotor. The research method uses qualitative descriptive, the data used is student actions in the process of creating murals for class XII MIPA D students for the 2018-2019 school year. The analytical tools are observing, observing and recording student activities, as well as analyzing the work produced. The results of the study show that mural work is an alternative for teachers to increase students' creativity which is varied, namely 1) creative ideas, 2) reflection of students' emotional experiences, and 3) responsiveness to space.
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Yu, Yeong Gyeong, Bong Goo Jee, Ran Young Oh, and Hwa Soo Lee. "Manufacturing Technique of the Avalokitesvara Bodhisattva Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 38, no. 4 (August 31, 2022): 334–46. http://dx.doi.org/10.12654/jcs.2022.38.4.08.
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The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.
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Han, Kyeongsoon, Sangjin Lee, and Hwasoo Lee. "Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope." Microscopy and Microanalysis 19, S5 (August 2013): 157–61. http://dx.doi.org/10.1017/s1431927613012555.
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AbstractDisputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlike fresco techniques in the West, Goguryeo painters mixed traditional soft binders and adapted typical secco painting techniques for paintings, borders, and corrections after drying. The disputed issues may be resolved by these techniques, and samples may be produced based on the analyzed data. Therefore, many questions can finally be answered through SEM-EDX elemental mapping.
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Lampakis, Dimitrios, Ioannis Karapanagiotis, and Olga Katsibiri. "Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings." Applied Spectroscopy 71, no. 1 (July 20, 2016): 129–40. http://dx.doi.org/10.1177/0003702816654151.
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The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.
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Ocaña, Sandra Zetina, Manuel Espinosa Pesqueira, Nora Ariadna Pérez Castellanos, and Renato Robert Pappereti. "Xavier Guerrero, De México a Chile (From Mexico to Chile), Some Remarks About the Use of Portland Cement in Mexican Muralism." MRS Proceedings 1374 (2012): 73–85. http://dx.doi.org/10.1557/opl.2012.1379.
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ABSTRACTXavier Guerrero (1896-1974) had an important role in the so-called Mexican Mural Renaissance, as a technical leader in the murals painted by Roberto Montenegro and Diego Rivera in the early 1920’s. Jean Charlot, Diego Rivera and David Alfaro Siqueiros considered him as a sophisticated fresco craftsman, whose knowledge came from a popular mural painters guild.In 1941 the Mexican Government donated a School to Chillan, a Chilean town almost destroyed by a strong earthquake. David Alfaro Siqueiros and Xavier Guerrero were commissioned to paint murals on the Mexico School. Between 1941-1942 Guerrero decorated several walls and the staircase ceiling, the mural program is called De México a Chile (From Mexico to Chile). In 2010 another earthquake destroyed part of the ceiling. This study is part of the diagnosis project of De México a Chile, and consists in the characterization of the mortar and painting layers with optical microscopy, X-ray diffraction (XRD), scanning electron microscopy (SEM) and thermal analysis (TGA), while textural properties of the mortars were studied with nitrogen adsorption-desorption techniques.Analytical results show a stratigraphic sequence composed of several layers of Portland and lime combinations, and also an interesting painting technique that possibly involves the Portland cement setting process, with the development of specular gypsum.
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Ruvalcaba-Sil, José Luis, Luis Barba, Edgar Casanova-González, Alejandro Mitrani, Margarita Muñoz, Isaac Rangel-Chavez, Miguel Ángel Maynez-Rojas, and Jaqueline Cañetas. "Analytical Approach for the Study of Teotihuacan Mural Paintings from the Techinantitla Complex." Minerals 11, no. 5 (May 11, 2021): 508. http://dx.doi.org/10.3390/min11050508.
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Techinantitla building complex, in the Amanalco neighborhood of the ancient city of Teotihuacan, is famous for the iconography and quality of the mural paintings found in this site. A significant part of this heritage has been lost due to looting. In recent years, an interdisciplinary research project was developed to study the limited patrimony that was left. As part of this study, we first employed geophysical techniques to reconstruct the architectural pattern of the compound’s remaining walls, where other paintings may still be found. Then, we applied a non-invasive methodology to characterize a large set of fragments recovered in the 1980s and to gain information on their pigments and manufacturing techniques. This methodology included False Color Infrared Imaging, X-ray Fluorescence and Fiber-Optics Reflectance Spectroscopy, and led to the identification of hematite, calcite, malachite, azurite and an unidentified blue pigment. The results were compared with a previous study performed on a set of Techinantitla mural paintings looted in the 1960s. A broader comparison with contemporary mural paintings from other Teotihuacan complexes shows good agreement in the materials used. These results may suggest a standardization in the making of Teotihuacan mural painting during the Xolapan period (350 to 550 AD).
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Del Lama, Eliane A., Regina A. Tirello, Fábio R. D. de Andrade, and Yushiro Kihara. "Study of mural paintings by Fulvio Pennacchi in São Paulo City by mineralogical techniques." Anais da Academia Brasileira de Ciências 81, no. 1 (March 2009): 115–26. http://dx.doi.org/10.1590/s0001-37652009000100012.
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The present research deals with two mural paintings made in 1947 with the fresco technique by Fulvio Pennacchi in the Catholic Chapel of the Hospital das Clínicas (São Paulo City, Brazil), namely the Virgin Annunciation and the Supper at Emmaus. This study regards the materials and painting techniques used by the artist, based on historical research,on in situ observations and laboratory analytical techniques (stereomicroscopy,scanning electron microscopy with an energy dispersive spectrometer, X-ray diffractometry, electron microprobe, images obtained with UV-light), aiming to improve the methods of characterization of objects of our cultural heritage, and to enhance its preservation accordingly. The results lead to the identification of the plaster components and of distinct layers in the frescoes, besides further information on grain size, impurities and textures, composition of pigments, and features of deterioration, such as efflorescences. The degree of degradation of the murals painting was assessed by this way. Our data suggest that a single layer of plaster was used by Pennacchi, as a common mortar with fine- and medium-grained aggregates. Differences in texture were obtained by adding gypsum to the plaster.
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Gomoiu, Ioana, Dan Mohanu, and Ileana Mohanu. "Cercetări interdisciplinare privind conservarea ăicturilor murale din biserica rupestră de la Corbii de Piatră." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 1 (2010): 87–101. http://dx.doi.org/10.47950/caieteara.2010.1.05.
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The rupestrian church of Corbii de Piatră is placed in Argeș district and it is dug into the stone. The mural painting had been examined in situ and in laboratory to detect the technique and pigments. It was found that the mural painting had been done in al fresco technique on a aerial lime as substrate. The arriccio and intonaco layers are 3-4 mm thick. The murals of Corbii de Piatră church belong to Byzantine frescoes of XII-XIV century. The mural painting has a poor state of conservation because of humidity and low temperature during winter. Units forming colonies from airspore are in connection with part of the day and season. On the walls and vault there is a thick layer of biofilm made of algae and cyanobacteria. On the paper there are different colors of spots produced by fungi. On the wood of icons and chairs it was identified Coniophora puteana, a very dangerous fungus. Wood is also degraded by other fungi and insects. The mortar contains mostly calcite and quartz. The efflorescences look like crusts or veils. The gypsum had been identified by electron microscopy with EDAX and by difractometry.
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Castilla, Manuel V. "The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church." Heritage 4, no. 3 (August 13, 2021): 1773–85. http://dx.doi.org/10.3390/heritage4030099.
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This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus of this paper is on the “illusory mural paintings of architectural perspective in Nantang Church” (Beijing), which has now disappeared, and which spread the influence of the Western Renaissance. The imported Western linear perspective and the fundamentals of architectural drawing facilitated the systematization and dissemination of the quadratura as an unknown technique in China. Based on the text described by the contemporary scholar Yao Yuan Zhi, an original interpretation of the architectural perspective mural paintings in Nantang Church is proposed. These paintings provide an important case study of Sino-European collaboration in the eighteenth century from different points of view: the representation of the light in drawings and the fact that the concept of shadow in some respects was unknown to the Chinese artist.
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Yoo, Seon-Young, Buddakoralelage Janani Namal Seneviratne, and Gyu-Ho Kim. "A Characteristic Analysis on Clay Pigments of Mural Paintings in Sri Lanka." Journal of Conservation Science 38, no. 4 (August 31, 2022): 327–33. http://dx.doi.org/10.12654/jcs.2022.38.4.07.
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Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al<sub>2</sub>O<sub>3</sub>) and silicon dioxide(SiO<sub>2</sub>) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics of clay pigment samples, we go over previous pigment analyses of mural paintings in Sri Lanka. Kaolin is identified after the 17<sup>th</sup> century, yellow and red ochre are applied in early periods, Classic and Late Classic styles. The change in raw materials of pigments occurred in the 17<sup>th</sup> century.
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Hawaldar, Asmita. "Manmath Pooja." Integrated Journal for Research in Arts and Humanities 3, no. 1 (February 3, 2023): 101–5. http://dx.doi.org/10.55544/ijrah.3.1.17.
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Lepakshi is a small town1 situated in Hindupur taluka of Anantpur district, Andhra Pradesh. Veerbhadra temple located in Lepakshi is famous for monumental temple architecture of Vijaynagar Empire period. The extensive mural paintings executed on the walls and temple ceilings are world famous. One of the painting ‘Girija Kalyanam’ depicts story of marriage of Shiv and Parvati. It is a narrative panel. It starts with the painting famously known as ‘Parvati’s toilet’. In this paper, I have tried to prove that it is not ‘Parvati’s toilet’ but ‘Manmath Pooja’.
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Gao, Yongli, and Zijie Zhou. "Automatic Recognition and Repair System of Mural Image Cracks Based on Cloud Edge Computing and Digitization." Mobile Information Systems 2022 (October 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/1534596.
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Mural painting is the art on the wall, it is the painting that people draw on the wall, it is one of the earliest forms of painting in human history, and it is also an accessory part of the building. The decorative and beautifying functions of murals make them an important aspect of environmental art. Cloud edge computing is a combination of cloud computing and edge computing, that fully absorbs the advantages of both cloud computing and edge computing and maximizes their advantages. In this study, based on cloud edge computing and digital technology, the automatic identification and repair system of fresco image cracks is studied. Image segmentation techniques have been proposed in this study, using 60 murals in three regions as experimental objects. Through experimental analysis, it is found that the traditional pine poise treatment method takes the shortest repair time. However, for a specific image, it is difficult to guarantee the quality of its restoration. The mural image in area A was repaired with the conventional pine pitch repair method, which took 113.01 seconds, and the subjective evaluation was 69 points. Using the repair method described in this study to repair, it takes 127.38 seconds, and its subjective evaluation score is the highest, which is 87 points. The experimental results have shown that the cloud edge computing method and digital technology have had a certain positive effect on the identification and repair system of fresco image cracks.
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Olishevska, Yulia A. "Murals as the newest tourist resources: the case of Kyiv." Journal of Geology, Geography and Geoecology 29, no. 2 (July 8, 2020): 364–76. http://dx.doi.org/10.15421/112032.
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The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under the influence of street art. In the process of researching the murals as a tourist resources of cities, we have introduced the term “conceptual tourist resources”, which in our opinion most accurately reflects their semantic charge. Murals are the alternative resources towards traditional tourism resources (natural, historical, cultural, socio-economical or socio-historical) that are widely used in the classifications of leading researchers in the tourism industry (Kvartal’nov V., Smal’ I., Beidyk O., Mal’s’ka M., Kuzyk S., Liubitseva O., Pankova Ye., Stafiichuk V., etc.). The study identified the 32 biggest murals in Kyiv and found that the murals are the relevant forms of street art that focuses on social, cultural, and historical topics. Mural paintings have been found to be motivating objects to visit and affect the formation of city’s new symbols. In the route we have developed, we have selected 24 representative murals made in different styles, dedicated to several topics: milestones of Ukrainian history, the fight between good and evil, friendship and devotion, freedom and equality. Thus, the involvement of murals in excursion routes allows residents and guests of the capital city to track the change in the image of the urban environment under the influence of street art. In the course of the study, it was found that murals are ambiguously perceived in society. The analysis showed that the appearance of modern murals on the streets of the capital began in the mid-2000s, a sharp increase in their number occurred during 2015 - 2017. It was determined that the main factors that influenced the development of muralism in Ukraine were the demands of society and the organization of art festivals, including Muralissimo, City Art, Dynamic Urban Culture Kyiv, Mural Social Club, Art United Us, Mural Social Club Back to school! Ukraine, French Spring, etc. The largest art festivals include City Art 2015, Dynamic Urban Culture Kyiv 2015, Mural Social Club 2016, 2017, Art United Us 2016, 2017, within which 88 works were created. The results of the study identified the trend in the development of muralism in Ukraine, which consists of the gradual change from spontaneous, anonymous street art to the development of concerted and commissioned by state bodies paintings, which are spread not only on the walls of industrial sites, residential buildings, but also on the walls of educational institutions, government institutions and the police department. Kyiv is the first city in the world where a mural was created on the walls of the police department. The study found that since the mid-2010, the murals began to establish in the central part of the city, and since 2014 they have spread to the so-called “gray” residential areas of Sviatoshyno, Darnytskyi, Desnyanskiy and Solomianskyi districts and Obolon’, etc. Today, the total number of murals in the capital is 160.
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Vampelj Suhadolnik, Nataša. "Han Mural Tombs: Reflection of Correlative Cosmology through Mural Paintings." Asian Studies, no. 1 (December 1, 2011): 19–48. http://dx.doi.org/10.4312/as.2011.-15.1.19-48.
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The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinesecosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorative function, but together with the architectural structure and other burial objects reflected the entire cosmic image. The analysis of tomb paintings reveals a developed correlative cosmology yin-yang wuxing which manifests its concrete image in symbolic codes of individual iconographic motifs. The article first displays a general review of tombs with murals, and then focuses on depictions in Han tomb murals, discussing representation of the images of celestial bodies, the symbolic polarity of the cosmical forces yin and yang, the symbolism of the four directions and the four seasons and the symbolic circling of the five xings.
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Dojwa-Turczyńska, Katarzyna. "Building social resilience through visual instruments in Polish public space in the era of Russia's aggression against Ukraine." Przegląd Nauk o Obronności, no. 15 (January 17, 2023): 85–110. http://dx.doi.org/10.37055/pno/159063.
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ObjectivesThe purpose of the article was an attempt to answer the question of the impact of murals created in Polish public space on building social resilience in the era of war in Ukraine.MethodsThe methodology of the conducted research was based on non-reactive research.ResultsThe results of the research showed the very rapid reactions of mural artists to the war in Ukraine. Works created in public space included both grassroots initiatives and mural painting supported by public entities and NGOs. Of interest was the presence of murals in public spaces in cities of different sizes, and the fact that they were created by both anonymous artists and authors who specialized in street art and were well-known in the community. Content analysis showed that the murals stigmatized the aggressor (Russia) and upheld the victim of the attack (Ukraine). They showed the heroism and bravery of Ukrainians, but also the trauma that war brings to hundreds of thousands of civilians and a country fighting for freedom. The murals showed who represents "good" and who represents "evil" in the ongoing conflict.ConclusionsThe murals were one of the instruments for building the social resilience of Poles against Russia's propaganda. Russia was presented on them as an aggressor, Ukraine as an invaded country. The message of the murals resonated in public spaces, but also in media spaces (newspapers, TV) and the Internet. Hence, their significance was broader than merely being present in the public spaces of individual cities.
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Kriznar, Anabelle, and Jana Želinská. "Materials and Techniques of Selected Mural Paintings on the “Gothic Road” around 1400 (Slovakia)." Heritage 4, no. 4 (October 31, 2021): 4105–25. http://dx.doi.org/10.3390/heritage4040226.
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Mural cycles in the churches of Plešivec, Čhyžné, and Štitnik from around 1400 were studied from the material and technical point of view. Stylistically, they show a mixture of Northern and Southern European stylistic currents, which were characteristic for the time around 1400 in East Central Europe. After a precise study in situ, an analysis of extracted samples was conducted by OM, SEM-EDX, and XRD. The plasters used for these murals were all made of lime and sand with different impurities; importantly, they different among each other in terms of their quality and stability. The pigments that were used in these murals were natural and organic: lime white, yellow and red earths, malachite, and azurite were identified, and some pigment degradations were also pointed out. The principal technique is a fresco, but all murals were finished a secco in different proportions, using an organic binder. Painting procedures and modelling were also studied, revealing a strong difference among all three cycles. The painting technique does not always correspond to the style.
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Wang, Q., M. Hou, and S. Lyu. "VIRTUAL RESTORATION OF MISSING PAINT LOSS OF MURAL BASED ON GENERATIVE ADVERSARIAL NETWORK." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 807–11. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-807-2021.
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Abstract. Mural painting is one of the important cultural heritage reflecting the historical migration of the nation. In order to inherit these precious historical and cultural heritage, how to non - destructively and digitally protect and restore the existing murals has become an urgent task. The use of computer - assisted restoration of murals can not only save manpower and material resources, but also avoid secondary damage to the murals.However, most of the existing computer-assisted mural restoration algorithms use similar blocks with priority calculations and matching blocks in adjacent areas to guide mural restoration. There are some problems such as incoherent overall semantic structure, unnatural detail texture and inability to effectively repair large area missing remain to be solved. Aiming at the problems existing in the restoration of large area diseases such as paint loss and color fading in murals, we constructed a fine image restoration network model which based on generative adversarial network. A multi-scale dense matching repair network based on a generative adversarial network is constructed. First, the dense combination of dilated convolutions is used to improve the repair effect of detailed textures, Then, mean absolute Error, (Visual Geometry Group, VGG) feature matching, auto-guided regression, and geometric alignment are used as the loss function to guide the training of the generative network. Second, the discriminator with local and global branches is used to train the discriminant network, so that the repaired image is in the local and global content. Experiments were performed on the three mural data sets one by one. The results show that the network model can effectively restore the lines and faces in the murals. The images restored are not only coherent in semantic details, but also natural in color, which is conducive to the appreciation and display of murals. Thus, as one of the important directions of cultural heritage digital protection，the use of generative adversarial network in the digital restoration of ancient murals have been proved to be effective. It not only provides a reference for the true restoration of the murals but also means a lot to the preservation of murals.
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Verdi Webster, Susan. "Art Ritual, and Confraternities in Sixteenth Century New Spain. Penitential Imagery at the Monastery of San Miguel, Huejotzingo." Anales del Instituto de Investigaciones Estéticas 19, no. 70 (August 6, 1997): 5. http://dx.doi.org/10.22201/iie.18703062e.1997.70.1785.
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During the sixteenth century in New Spain, the celebration of some Christian feasts, especiality Holy Week and Corpus Christi, was much more complex than any of the dramatic rites of Late Medieval Spain. Theater, architecture, and sculpture were used by the mendicant orders, and by the confraternities associated to them, to reinforce instruction. Mural painting was used to chronicle these celebrations as well as to remind the faithful of their representation, as is discussed in this analysis of the Franciscan murals of Huejotzingo.
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Upalevski, Ilija. "Murals make (Our) history: paintings on the wall as media of cultural memory. Interpreting the current state of Warsaw’s commemorative murals." Przegląd Socjologii Jakościowej 13, no. 4 (December 28, 2017): 114–35. http://dx.doi.org/10.18778/1733-8069.13.4.07.
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The aim of this paper is to closely examine the ways in which the outdoor mural as a form of art. has been used for commemorative purposes in the context of the Polish capital. Drawing on content analysis this paper will argue that regardless of their democratic potential and potential to act subversively in the public domain, the commemorative murals in the case of Warsaw are predominantly reflecting the official narrations/representations of the past and thus reproducing the state-supported, nation-centered, male-dominated perspective of history. Referring to Wulf Kansteiner methodological instructions, the paper introduces the notion of “secondary” memory makers in order to describe the position the mural makers are occupying in the field of Warsaw’s cultural memory. It will also be argued that mural makers, by adapting their works to the demands of the cultural institutions responsible for the memory production and dominant discourses of memory from mainly pragmatic reasons, are forgoing a fair portion of the democratic and subversive potential of the murals. As such, the paintings on the walls are, intentionally or not, further involved in more complex state-sponsored strategies of nationalizing the public space.
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Lalithakumari, S., and Pandian R. "Development of Algorithm for Preservation of Heritage Murals and Painting Using Image Processing." International Journal of Informatics and Communication Technology (IJ-ICT) 7, no. 3 (December 1, 2018): 146. http://dx.doi.org/10.11591/ijict.v7i3.pp146-148.
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<span>Image archiving and preservation finds extensive application in culture heritage murals. The study of cultural heritage is of the extreme importance at national and international levels. Not only global organizations like UNESCO but also museums, libraries, culture, temples and private initiatives are working in these directions. During the last three decades, researchers in the field of imaging discipline have started to contribute an increasing set of algorithms for cultural heritage; in that way providing indispensable support to these efforts. A better comparison of the different compression methods presented in this proposed work for culture Heritage mural images. Compression methods usually applied some method to reduce the number of components within each spectrum. The effectiveness of mural image archiving and preservation is analyzed based on 2-D wavelets filtering. The optimum algorithm is also found based on the results.</span>
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Shaftel, A., and J. Ward. "CONSERVATION OF THE SINCLAIR INN MUSEUM, AND THE PAINTED ROOM ANNAPOLIS ROYAL, NOVA SCOTIA, CANADA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 641–47. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-641-2017.
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Conservation of the historic 18<sup>th</sup>C. Sinclair Inn Museum, and of the recently discovered late 18th/early 19thC. unique panoramic wall paintings located in an upstairs room, are co-dependent. This project was carried out with Canadian Conservation Institute (CCI) staff, and Conservator in Private Practice Ann Shaftel. This paper will introduce the Sinclair Inn Museum, outline the CCI murals and building investigations of 2011-15, the mural investigation of 2015-16, which confirmed that the mural extended to all four walls of the function room, now referred to as the Painted Room, and to describe how it has been revealed and conserved to date.
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Alonso, A., N. A. Pérez, J. L. Ruvalcaba Sil, E. Casanova, P. Claes, V. Aguilar Melo, and J. Cañetas. "Comparative Spectroscopic Analysis of Maya Wall Paintings from Ek’Balam, Mexico." MRS Proceedings 1618 (2014): 63–72. http://dx.doi.org/10.1557/opl.2014.455.
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ABSTRACTThe Maya archaeological site of Ek’Balam is located in Yucatán, Mexico. This place is known for its artistic tradition of reliefs modeled in stucco as well as the rich pictorial and hieroglyphic texts. Although the mural played a key role in the artistic program architectural of elite groups, most of these remains have not been studied, either by its incomplete or fragile condition, or by localization in inaccessible substructures.In this study, technical aspects of the mural paintings from rooms 12 and 50 of the main building of the site are addressed by the spectroscopic analysis of its materials. Optical microscopy was used to observe the layers superposition and pigment distribution, while the stucco and rock support were characterized by X-ray Diffraction (XRD) and X-ray Fluorescence (XRF). Moreover, the chromatic palette composed of different colors and tones of red, yellow, orange, green, blue and black were analyzed mainly with non-invasive techniques using Raman and FTIR spectroscopies as well as XRF.The information obtained from the combination of these analytical techniques, allowed a better understanding of the similarities and differences between these two rooms that were built during the last construction stage of the Acropolis. These results were also compared with previous analyses of mural painting of this site and other Maya paintings.
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Irnawan, Raden Dibi. "Narsisme sebagai Wujud Eksistensi Diri dalam Novel “My Name is Red” Karya Orhan Pamuk." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 149. http://dx.doi.org/10.17510/paradigma.v4i2.49.
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<p>This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan<br />Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.</p>
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Szabó, Tekla. "The Gothic style frescoes beneath the western gallery of the Church of Sântămărie-Orlea." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 4 (2013): 107–26. http://dx.doi.org/10.47950/caieteara.2013.4.08.
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The present study is intended to provide a fresh analysis of the Gothic murals in the currently Protestant church of Sântămărie-Orlea. Th e church and especially its precious frescoes have raised the interest of many scholars, both Hungarian and Romanian, but the poor state of conservation of the paintings allowed room for many different interpretations. A new reading of these frescoes is proposed here, based on a series of historic copies, until recently unknown, which provide the grounds to clear up some misinterpretations. Nevertheless, a certain degree of incertitude will remain for as long as these valuable paintings, dated around 1400, are not restored. The wall paintings are placed inside semi-circular frames formed beneath the vaults supporting the western gallery. Generally we can say that they represent saints important to the royal court. South of the entrance there is St. Elizabeth of Hungary, the first woman canonized from the Árpád Dynasty, who offered a new model of piety. North to the entrance there is a hardly interpretable mural with standing saints. The middle figure is supposedly representing one of the Three Holy Hungarian Kings. The scene placed on the northern wall, with the inscription OBIT PAUPER PAULUS, seems to be an original composition most probably connected with the Pauline order, very close to the royal court, whose important achievement was the transportation of the corpse of St. Paul of Thebes (the order’s protector) in 1381 to the monastery from the Buda hills. Th e determination of the style and of the time when this mural was painted is hampered by the actual state of conservation of the frescoes. There is no doubt that the mural is part of the International Gothic style fresco circle, with elements from Italian Trecento, dated around 1400. The restoration of the murals will surely bring out new information and even show completely new valences of the Transylvanian Art.
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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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Burns, George, and K. M. Wilson-Yang. "A microstratigraphic investigation of iron ion migration in some ancient Egyptian wall paintings using PIXE Analysis." Canadian Journal of Chemistry 69, no. 2 (February 1, 1991): 286–92. http://dx.doi.org/10.1139/v91-044.
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The painted murals in the tombs at Beni Hasan (circa 2100 B.C.) are obscured by a rock-like grey surface layer. Its formation involves subsurface removal of slightly soluble calcite (CaCO3) under the action of surface-condensed water. To study the mechanism of surface layer formation and the effect of mural cleaning during recent restorations, the PIXE microprobe was used. Iron depth profiles in red-painted samples taken from the murals, both uncleaned and cleaned, have been obtained over depths of 80 μm (the cleaned sample) and 100 μm (the uncleaned sample). It has been found that the uncleaned sample has more Fe at all depths than does the cleaned sample and that portions of the uncleaned pigment appear to be pure Fe2O3. The shapes of depth profiles of Fe in the cleaned and uncleaned samples are similar to the shapes of diffusion curves; this finding is in agreement with the mechanism of surface layer formation proposed in our earlier papers. Apparent diffusion coefficients for the ion migration of Fe, DFe, in the limestone painting substrate have been determined, assuming constant temperature diffusion over 4 000 years: DFe(u) = (1.4 ± 0.5) × 10−16 cm2/s for the uncleaned sample and DFe(c) = (0.7 ± 0.4) × 10−16 cm2/s for the cleaned sample, where errors are given as the 95% C.I. based on standard deviations of the slope of the fitted curve. These coefficients are consistent with the mechanism of slow migration of Fe in the painting substrate in an arid environment. The difference between DFe values secured for the cleaned and uncleaned samples is attributed to a partial removal of the paint layer in the cleaned sample during the restoration efforts. Thus, if it is assumed that either 20 or 40 μm of paint layer was removed during HCl-cleaning of murals, DFe(c) = (1.0 ± 0.4) × 10−16 and DFe(c) = (1.4 ± 0.6) × 10−16 cm2/s, respectively, are obtained. Removal of the top 40 μm of the mural corresponds to elimination, during the restoration, of the order of 60% of the uncleaned paint layer. Key words: Egypt, PIXE, ancient murals deterioration.
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Colomina, Beatriz. "Kampen om E 1027." Tidskrift för genusvetenskap 16, no. 2-3 (June 20, 2022): 47–57. http://dx.doi.org/10.55870/tgv.v16i2-3.4813.
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On top o f a steep cliff, in a secluded spot some 90 ft above the Mediterranean, architect Eileen Gray designed and built a house for herself and Jean Badovici in the 1920's. She called it E 1027 - E for Eileen, 10 for ] which is the tenth letter of the alphabet, 2 for B and 7 for G. Some ten years låter, architect Le Corbusier lived in the house where he made eight mural paintings without asking permission by Gray who had then moved out. She was infuriated and saw the murals as vandalising graffiti. When l.e Corbusier published pictures of the murals in Oeuvre complete and L'Architecture cVaujtmrd'hui, he didn't even mention ber name. Låter on, the house and some of the furniture designed by Gray were said to be designed by him. l .e Corbusier has said that murals to him were weapons aimed at clestroying the architecture of a house, and he has described wall paintings as a hostile invasion of "the house of a stranger". I.ike all colonizers, however, he did not see the invasion as an act o f violence but rather as a present, a gift.
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Ricca, Michela, Maria Francesca Alberghina, Negin Derakhshan Houreh, Aybuke Sultan Koca, Salvatore Schiavone, Mauro Francesco La Russa, Luciana Randazzo, and Silvestro Antonio Ruffolo. "Preliminary Study of the Mural Paintings of Sotterra Church in Paola (Cosenza, Italy)." Materials 15, no. 9 (May 9, 2022): 3411. http://dx.doi.org/10.3390/ma15093411.
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A multi-analytical approach was employed to study wall paintings located in the Sotterra church at Paola, in the province of Cosenza, Italy. The site is an underground church (hence the name of Sotterra, which means “under the earth”) rediscovered in the second half of the 19th century, during the building works of the Madonna del Carmine church on the same area. This underground church preserves valuable mural paintings having different styles. The construction’s dating and overlapped modifications made until the site was abandoned is also debated. A wall painting, depicting “The Virgin” as part of the “Annunciation and the Archangel Gabriel” present on the opposite side of the apse, was selected and investigated using both in situ and laboratory-based analysis. Preliminarily, the non-destructive investigations involved several analytical techniques (IR imaging, UV-Induced Visible Fluorescence, and X-ray Fluorescence analyses) that provided mapping and characterization of pictorial layers and first data about deterioration phenomena. On the basis of this information, a more in-depth study was conducted on micro-fragments aimed at characterizing the stratigraphy and to identify the artist’s technique. Cross-sections were analysed using polarized optical microscopy and electron scanning microscopy coupled with energy-dispersive X-ray spectroscopy to obtain morphological and chemical information on the selected pictorial micro-fragments of the wall painting. The results allowed to characterize the pigments and provide better readability of the whole figure, revealing details that are not visible to the naked eye, important for future historical-artistic and conservative studies. The results represent the first step of a systematic archaeometric research aimed at supporting the ongoing historical-stylistic studies to distinguish the different building phases hypothesized for this religious site which remained buried for three centuries.