Relevant bibliographies by topics / Byzantine Mural painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Byzantine Mural painting'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Byzantine Mural painting"

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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
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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
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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 (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 speci
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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 conne
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Erdenebold, Lhagvasuren, and Ah Rim Park. "Paradise Lost: Gold Coins from the Underworld." Acta Mongolica 21, no. 541 (2023): 51–62. http://dx.doi.org/10.22353/am.202301.03.

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In 2011, the Mongolian and Kazakhstan joint expedition, dates approximately to the seventh century (A.D. 650–670), excavated a tomb of Shoroon Bumbagar, decorated with a wall painting, in Bayannuur sum of Bulgan province. The structure of the Shoroon Bumbagar tomb, murals and burial objects clearly exhibit tastes of nomads who resided along the Silk Roads and the Steppe Route. Comparing to funerary art traditions in East Asia such as Chinese and Koguryo mural tombs, it represents nomadic culture as well as the broad interactions from Byzantine Empire to China. With wall paintings and burial ob
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Kliś, Zdzisław. "Gestures in Passion Cycles in Central European Mural Painting." Folia Historica Cracoviensia 13 (February 23, 2024): 81–94. http://dx.doi.org/10.15633/fhc.1454.

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In medieval Passion cycles represented in Czech, Slovak (former Hungary), and Polish murals dating from the fourteenth to the fifteenth centuries one may observe a number of-gestures which appear in respective scenes starting from the Entry into Jerusalem and ending with the Entombment (laying in the sepulchre). The most significant gesture in the entry scene is the outstretched hand of Christ riding a donkey. It is the language of gesture used since antiquity, transmitted through Byzantine and Italian art (including Giotto’s Entry into Jerusalem in his Arena Chapel frescoes), and transferred
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Stamboliyska, Bistra, Stefan Tapanov, Evelina Velcheva, et al. "Materials and Techniques of the Mural Paintings in the Church-Ossuary of the Rila Monastery, Bulgaria." Minerals 14, no. 11 (2024): 1115. http://dx.doi.org/10.3390/min14111115.

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This presented research examined the wall paintings in the Church-Ossuary Presentation of the Blessed Virgin, part of the most important Rila Monastery complex in Bulgaria, painted by the painters from Mount Athos in 1795. The painting materials used to create the unique murals were studied for the first time by optical microscopy (OM), attenuated total reflectance Fourier transform infrared (ATR–FTIR), scanning electron microscopy energy dispersive X-ray spectroscopy (SEM–EDS), and enzyme-linked immunosorbent assay (ELISA). The vibrational and elemental analysis showed that the color palette
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Gheorghiță, Romeo. "Câteva aspecte privind tehnica de realizare şi starea de conservare a picturilor murale ale mormântului hipogeu roman „cu banchet" din Tomis - Constanţa." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 1 (2010): 75–86. http://dx.doi.org/10.47950/caieteara.2010.1.10.

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One of the cases in which the application of the basic principles of in situ conservation and restoration was tried is the hypogeum-tomb with mural painting in Tomis - Constanţa. It was discovered in 1988 in the north-western area of the ancient city of Tomis. Th e archaeologists set its construction and usage between the Roman and Byzantine period, starting with the 4th century. The hypogeum in Constanţa preserves its original mural painting almost entirely. It has a coherent iconographic program, with significant stylistic marks, which demonstrates its origin as a Roman paleochristian tomb.
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ERGINA, ALENA S., and OLGA B. ELKAN. "BYZANTINE ORNAMENT IN MURAL PAINTING OF CAVE TEMPLES OF MOUNTAINOUS SOUTHWESTERN TAURICA OF THE 13TH-15TH CENTURIES." Университетский научный журнал, no. 83 (December 29, 2024): 43–53. https://doi.org/10.25807/22225064_2024_83_43.

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The article analyses and systematises ornamental motifs in the decoration of cave temples in mountainous southwestern Taurica. As a result of analytical work with materials from archaeological research of the early 20th century and modern field research, artistic connections between southwestern Taurica and various regions of the Byzantine Empire of the 13th-14th centuries are discovered.
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Plamen, Sabev, and Goranchev Veselin. "UNKNOWN DEESIS MURAL PAINTING FROM ST. DIMITAR CHURCH IN ARBANASSI." Proceedings of Regional Museum of History - Veliko Tarnovo, 2019 Volume 34 (November 12, 2019): 225–42. https://doi.org/10.5281/zenodo.4917476.

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In 2012, in the Regional Museum of History – Veliko Tarnovo, a Deesis mural painting was found, which was on one of the walls in St. George’s Chapel in St. Dimitar’s Church in the village of Arbanassi. This image, along with part of the plaster base, was removed from a masonry wall to protect the painting from the moisture in the natural environment. Only small fragments with the images of St. John the Baptist and of the Blessed Virgin have survived. In fact, the frescoes in St. George’s Chapel are still in a very problematic condition to be analysed. They have, indeed,
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Dissertations / Theses on the topic "Byzantine Mural painting"

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Pätzold, Alexandra. "Der Akathistos-Hymnos die Bilderzyklen in der byzantinischen Wandmalerei des 14. Jahrhunderts /." Stuttgart : F. Steiner Verlag Wiesbaden, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20586117.html.

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Ranoutsaki, Chryssoula. "Die Fresken der Soteras Christos-Kirche bei Potamies : Studie zur byzantinischen Wandmalerei auf Kreta im 14. Jahrhundert /." München : Institut für Byzantinistik, 1992. http://catalogue.bnf.fr/ark:/12148/cb35577693j.

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Sinkević, Ida. "The Church of St. Panteleimon at Nerezi architecture, programme, patronage /." Wiesbaden : Reichert, 2000. http://catalogue.bnf.fr/ark:/12148/cb39168651h.

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Soria, Judith. "Le récit de la Passion du Christ dans les peintures murales : formes et fonctions du cycle narratif à Byzance et en Serbie du XIIIe au XVe siècle." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE5066.

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Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de dis
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Connor, Carolyn L. "The Crypt at Hosios Loukas and its frescoes." 1989. http://catalog.hathitrust.org/api/volumes/oclc/67173283.html.

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Books on the topic "Byzantine Mural painting"

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Spatharakis, Iohannis. Dated Byzantine wall paintings of Crete. Alexandros, 2001.

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Gavrilović, Zaga. Studies in Byzantine and Serbian medieval art. Pindar, 2001.

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Wharton, Annabel Jane. Tokali Kilise: Tenth-century metropolitan art in Byzantine Cappadocia. Dumbarton Oaks Research Library and Collection, 1986.

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Velmans, Tania. Vyzantio: Technē kai diakosmēsē. Ekdoseis Karakotsoglou, 2004.

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Kakadiarēs, Nikos. Hypotheseis epi Xērou akmēs gia tēn Vyzantinē zōgraphikē: Dokimia. Ekdoseis Leimōn, 2018.

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M, Schwartzbaum Paul, ed. Tokalı Kilise: Tenth-century metropolitan art in Byzantine Cappadocia. Dumbarton Oaks Research Library and Collection, 1986.

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Orlova, M. A. Naruzhnye rospisi srednevekovykh pami͡a︡tnikov arkhitektury: Vizantii͡a︡, Balkany, Drevni͡a︡i͡a︡ Rusʹ. "Nauka", 1990.

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Orlova, M. A. Naruzhnye rospisi srednevekovykh khramov: Vizantii︠a︡, Balkany, Drevni︠a︡i︠a︡ Rusʹ. 2-ге вид. Severnyĭ palomnik, 2002.

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Orlova, M. A. Ornament v monumentalʹnoĭ zhivopisi Drevneĭ Rusi: Konet︠s︡ XIII-nachalo XVI v. Severnyĭ palomnik, 2004.

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Đurić, Vojislav J. Vizantiĭskie freski: Srednevekovai︠a︡ Serbii︠a︡, Dalmat︠s︡ii︠a︡, slavi︠a︡nskai︠a︡ Makedonii︠a︡. Izd-vo "Indrik", 2000.

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Book chapters on the topic "Byzantine Mural painting"

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Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.

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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the pre
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Dimitrova, Elizabeta. "Animae Pulchrae: Depiction of Saintly Images in Byzantine Mural Painting." In Perception of Beauty. InTech, 2017. http://dx.doi.org/10.5772/intechopen.69265.

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Brennan, T. Corey. "Images of the Roman Fasces." In The Fasces. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0003.

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Abstract When the institution of the fasces first confronts us in the visual medium, it appears quite evolved—and terrifying. That emerges from a second-century bce mural painting from the Esquiline in Rome which depicts lictors in distinctive dress, menacingly parading in triumph, and a coin (late second century bce) which represents a lictor about to dole out punishment. Moneyers of the Republic only sporadically include the fasces in their designs minted in Rome, and just once as an abstract symbol of state power. Rome’s emperors from Augustus through Nerva (i.e., 27 bce–98 ce) essentially
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Mickūnaitė, Giedrė. "Silence." In Maniera Greca in Europe’s Catholic East. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789462982666_ch01.

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Three case studies explore functions of Byzantine murals in Lithuania around 1400. The first examines paintings from the grand ducal castles and argues this decoration has been a visual vernacular to Lithuania’s pagan elites. The second links the murals in Trakai to the Serbian Morava School and inscribes these paintings into confessional debates. The third focuses on the Crucifixion in Vilnius Cathedral revealing the adoption of Orthodox skill for Catholic content. Byzantine murals reached Lithuania via a double cultural transfer: geographically, they moved from north Russian principalities a
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Gedevanishvili, Ekaterine. "Mobility of Text: a Key to Understanding the Murals of the Svip‘i Façade Painting." In Sacred Mobilities in Byzantium and Beyond. BRILL, 2024. http://dx.doi.org/10.1163/9789004704503_004.

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Conference papers on the topic "Byzantine Mural painting"

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Глушенков, А. Н., А. С. Ергина, and Ф. В. Шкарбан. "CAPABILITIES OF NEURAL NETWORKS IN WORK ON RECONSTRUCTION OF SACRED MURAL PAINTING OF TAVRIKA (ON THE EXAMPLE OF THE COMPOSITION OF THE ASSUMPTION OF THE MOTHER OF GOD, THE CHURCH OF THE ASSUMPTION, ESKI-KERMEN)." In Проблемы сохранения объектов культурного наследия и новейшие цифровые технологии. Crossref, 2025. https://doi.org/10.54874/9785605334910.2025.1.09.

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В статье исследуются возможности применения искусственного интеллекта (ИИ) при реконструкции монументально-декоративной живописи Таврики эпохи позднего Средневековья, которая дошла до нас в фрагментарном виде. Одним из ключевых объектов исследования является композиция «Успения Богородицы» на западной стене Церкви Успения в Эски-Кермен (XIV в., Республика Крым). Актуальность использования ИИ обусловлена необходимостью восстановления утраченных элементов средневековой стенописи, создания 3D-моделей, предложений по материалам и методам реставрации, а также анализа потенциальных воздействий. Стат
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Этингоф, О. Е. "Annunciation of Ustyug and frescos of the church of the Annunciation at Gorodische and of the naos of the St. George cathedral, Yuriev monastery." In Архитектурная археология. Crossref, 2020. http://dx.doi.org/10.25681/iaras.2686-6900.1.282-290.

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Фрагменты фресок из наоса Георгиевского собора Юрьева монастыря обнаруживают параллели со многими памятниками византийского мира, Новгородской земли около второй четверти XII в. Больше всего общего у них с росписями башни того же собора и иконой Устюжское Благовещение , вероятно также происходящей из Юрьева монастыря. При всех различиях и вариациях стиля иживописной техники две части фресок собора иикона могли быть выполнены одной артелью. Князь Всеволод-Гавриил, вероятно, призвал вНовгород артель, включавшую либо столичных греческих мастеров, либо киевских, учившихся у византийцев. Наиболее п
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