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Journal articles on the topic 'Byzantine Mural painting'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

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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Chumak, Maria. "An Expressionist Painter of the Fourteenth Century." OPEN JOURNAL FOR STUDIES IN ARTS 4, no. 2 (2021): 47–62. http://dx.doi.org/10.32591/coas.ojsa.0402.02047c.

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Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophan

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Plamen, Sabev Vesselin Goranchev. "НЕИЗВЕСТЕН СТЕНОПИС "ДЕЙСИС" ОТ ЦЪРКВАТА "СВ. ДИМИТЪР" В АРБАНАСИ / UNKNOWN DEESIS MURAL PAINTING FROM ST. DIMITAR CHURCH IN ARBANASSI". ИЗВЕСТИЯ на Регионален исторически музей - Велико Търново/ Proceedings of Regional Museum of History - Veliko Tarnovo XXXIV/2019, ISSN 1313-6690 (2022): 225–39. https://doi.org/10.5281/zenodo.6509918.

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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 analyse

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Giugea, Gheorghiţa Daniela. "REPRESENTATIONS OF THE LAST SUPPER SCENE IN ROMANIAN MEDIEVAL AND WESTERN RENAISSANCE MURAL PAINTING." International E-Journal of Advances in Social Sciences (IJASOS) 10, no. 28 (2024): 36–48. https://doi.org/10.5281/zenodo.10979616.

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<strong>Abstract:</strong> The Last Supper is established as one of the representative scenes of Byzantine iconography, one that was retrieved in the Romanian medieval mural painting as well. Its iconography is historical, and appears represented in the nave in the Passion area, or liturgical, being exhibited in the main apse, with an emphasis on the Holy Eucharist. It is generally included in the Passion cycle. Apart from the display on the wall, as a mural, it can also be displayed on a wooden support, on canvas or on paper. Over time, the way it is represented has changed, and this depends

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Потапенко, Руслана. "ARCHITECTURAL AND ARCHAEOLOGICAL MONUMENT OF MEDIEVAL UKRAINE: SOPHIA OF KYIV." Український літопис, no. 4 (January 17, 2025): 98–104. https://doi.org/10.31470/2786-8583-2024-4-98-104.

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The world-famous architectural and archaeological monument of Ukraine of the 11th century. St. Sophia's Cathedral in Kyiv, which was built as the main metropolitan temple of Kyivan Rus' and today surprises with the elegance of forms, the perfection of construction techniques, and the high artistic level of paintings. The monument is the 1000th symbol of Ukrainian statehood, erected in the center of Kyiv as a spiritual, political and cultural center.In the language of architecture and painting, Sophia of Kyiv proclaimed a «manifesto» of the political independence of the Old Rus’ state, its nati

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15

Piñol Álvarez, Estefanía. "Alfonso X y el Mediterráneo: algunas reflexiones acerca de la influencia de los manuscritos iluminados árabes en las Cantigas de Santa María. Alfonso X of Castile and the Mediterranean: some considerations about the influence of the illuminated Arabic manuscripts on the Cantigas de Santa María." Territorio, Sociedad y Poder 13, no. 13 (2018): 71. http://dx.doi.org/10.17811/tsp.13.2018.71-99.

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El presente estudio pretende ofrecer un análisis sobre las fuentes visuales de origen árabe y su influencia en las Cantigas de Santa María de Alfonso X el Sabio. Partiendo de un estado de la cuestión donde se tienen en cuenta aquellas propuestas realizadas a lo largo de estos años en relación al marco geográfico de influencias —situadas inicialmente en Francia e Italia pero defendiendo posteriormente la necesidad de reubicar la miniatura alfonsí dentro del ámbito del Mediterráneo— se pretenden aportar nuevas reflexiones críticas, cuestionando algunos de los vínculos concretos e intrínsecos que

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Agoritsas, Demetrios. "Maria Angelina Doukaina Palaiologina and her depictions in post-byzantine mural paintings." Zbornik radova Vizantoloskog instituta, no. 51 (2014): 171–85. http://dx.doi.org/10.2298/zrvi1451171a.

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The Serbian Despot of Ioannina Thomas Preljubovic and his wife Maria Angelina Doukaina Palaiologina were frequently connected with religious endowments and artefacts that were donated in churches and monasteries. One of them, an icon of the ?Doubting Thomas? with the depiction of Maria Palaiologina among the Apostles, was donated by Maria to the monastery of Metamorphosis (Great Meteoron) most probably in the memory of her husband Thomas. This rare iconographic type is traced in post-byzantine painted monuments in Epirus, Thessaly and Macedonia from the sixteenth to the eighteenth century. The

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Квливидзе, Н. В. "The Program Bases of the Altar Murals at the New Tokali Kilise Church: Reasons for including the Holy Scripture Subjects in Altar Paintings." Вестник церковного искусства и археологии, no. 1(6) (April 19, 2023): 31–43. http://dx.doi.org/10.31802/bcaa.2022.6.1.002.

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Формирование литургической программы монументальной декорации византийского храма средневизантийского периода отразилось во включении в алтарные росписи тем и сюжетов, связанных с богослужением. Настоящая статья посвящена исследованию литургических обстоятельств, обусловивших появление в росписи центрального алтаря церкви Новая Токали Килисе цикла евангельских сюжетов. Все представленные композиции относятся к Страстному циклу. В конхе центральной апсиды находится сцена Распятия развернутого иконографического извода, ниже на стене расположены Снятие с креста, Положение во гроб, Воскресение в в

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Katsioti, Angeliki, and Nikolaos Mastrochristos. "The wall-paintings of Saint Constantine at Missochori: New evidence concerning middle Byzantine Nissyros, Greece." Zograf, no. 36 (2012): 65–74. http://dx.doi.org/10.2298/zog1236065k.

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The complex of the churches of Saint Constantine and Saint Mamas is located at Missochori, close to the capital of the island of Nissyros, Greece. The first church preserves wall-paintings dated to the end of the twelfth century, shared donation of two monasteries/churches. The paintings are partly repainted, probably in 1318/1319. Both the murals and the two inscriptions of the church provide new evidence concerning mediaeval Nissyros.

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Starodubcev, Tatjana. "Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting." Zograf, no. 39 (2015): 25–46. http://dx.doi.org/10.2298/zog1539025s.

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Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he

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Ahlstedt-Yrlid, Inger. "Förlorat guld. Absidmålningarna i Löderups kyrka, Skåne." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 3-4 (April 8, 2025): 73–86. https://doi.org/10.69945/20243-427716.

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Lost Gold. The Apse Paintings in Löderup Church, Scania, Sweden This article is an excerpt from Inger Ahlstedt Yrlid’s doctoral thesis Och i hopp om det eviga livet. Studier i Skånes romanska muralmåleri (And in Hope of Life Eternal. Studies in Scanian Romanesque Murals) published in 1976, in which the author summarizes what is known about the vanished Romanesque murals in Löderup Church in southeastern Scania (i.e. Medieval Denmark, now Sweden) before their destruction in the 1860s. It is part of the introduction to the thesis, where the Romanesque frescoes in Scania and their state of preser

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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.

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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contem

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Vitaliotis, Ioannis, and Ahilino Palushi. "At the beginning stages of the “School of Gramos”. The frescoes of the church of transfiguration (Shen Sotiri) in Tremisht, South Albania (1560)." Zograf, no. 46 (2022): 191–212. http://dx.doi.org/10.2298/zog2246191v.

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The murals of the single-aisle timber-roofed basilica of the Transfiguration (Shen Sotiri) in Tremisht (Permet, southern Albania) date from 1560. Several features, such as the Theotokos Blachernitissa, the Passion cycle, the courtiers? hats and clothes of certain military saints, as well as the style of the frescoes, lead us to the artistic tradition of the Ohrid Archbishopric. Moreover, a few iconographic peculiarities seem to be associated with Ioannis from Gramosta (before the mid-sixteenth century). Consequently, the ?Tremisht painter? might have been a member of Ioannis? workshop, represe

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Tretyakov, Nikolay Nikolaevich. "Features of the main stages of the development of monumental church painting in Russia from the Old Russian period to the present day." Pan-Art 5, no. 2 (2025): 306–14. https://doi.org/10.30853/pa20250034.

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The research aims to conduct a comprehensive analysis of the main stages of the development of monumental church painting in Russia from the Old Russian period to the present day and to identify the relationship between the artistic, historical-cultural, and religious factors that have significantly influenced the formation and transformation of this art form. The article provides an analytical overview of the main stages in the development of monumental church painting from the Kievan period to the present day. The work examines the key moments in the formation and evolution of this art form,

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Popovici, Traianus, and Marius Mosoarca. "Conservation, consolidation and restoration of the Holy Annunciation Church, Vatasesti village, region of Oltenia, Romania - Architectural and structural particularities." MATEC Web of Conferences 396 (2024): 20009. http://dx.doi.org/10.1051/matecconf/202439620009.

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The present article discusses the process of architectural and structural diagnosis of a late 18th century, brick masonry built, Christian church located in Vătășești village, Vâlcea county, Romania, presenting the particularities discovered. The church is dedicated to Saint John the Baptist and The Holy Annunciation and it is listed under the LMI code (List of historical monuments of Romania) VL-II-m-B-09968. Its registration in the list of historical monuments inscribed in the National Cultural Heritage of Romania was realized especially thanks to its original byzantine style mural paintings

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Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)." Zograf, no. 38 (2014): 123–41. http://dx.doi.org/10.2298/zog1438123t.

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This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the repres

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Герасимова, Н. В. "The History of the Study of the Altar Monumental Decoration of Early Christian and Byzantine Churches until the end of the XIII Century (Aspect of the Relationship between Liturgical Rite and Art)." Вестник церковного искусства и археологии, no. 1(6) (April 19, 2023): 13–30. http://dx.doi.org/10.31802/bcaa.2022.6.1.001.

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Алтарные росписи — смысловой центр любой декоративной программы христианского храма. На разных этапах истории Церкви они всегда отражали выступавшие на первый план аспекты смысла и назначения этого сакрального пространства. В формировании и обновлении алтарных монументальных программ решающую роль играло богослужение в его историческом развитии. Теме взаимодействия литургии и искусства, как наиболее актуальной в современной науке, посвящено значительное количество публикаций. Цель настоящей статьи — представить обзор существующих искусствоведческих работ, затрагивающих отдельно или в контексте

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Semchyshyn-Huzner, Olesia. "The mural paintings of Modest Sosenko. Characteristics of the style based on representative examples." Sacrum et Decorum 15 (2022): 93–109. http://dx.doi.org/10.15584/setde.2022.15.5.

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In the considerable creative legacy of the Ukrainian artist Modest Sosenko (1875–1920), the murals and sacred easel paintings he created for more than ten Galician churches deserve special attention. His contemporaries noted that the artist’s sacred works were characterised by his own ‘Sosenko style’, which boldly and organically combined Byzantine traditions reinterpreted by 16 th – and 17 th – century masters with modern European stylistic requirements of the turn of the 19 th and 20 th centuries. He was a pioneer who paved the way for the development of modern church art, which was helped b

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Vasco, Giovanna, Antonio Serra, Giovanni Buccolieri, et al. "Mortar Characterization and Radiocarbon Dating as Support for the Restoration Work of the Abbey of Santa Maria di Cerrate (Lecce, South Italy)." Heritage 5, no. 4 (2022): 4161–73. http://dx.doi.org/10.3390/heritage5040215.

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During the restoration work promoted by the FAI foundation (Fondo Ambiente Italiano) of the abbey of Santa Maria di Cerrate (Lecce, Apulia, South Italy), multidisciplinary analyses have been realized to support conservators and art historians for the safeguard and valorization of the most important byzantine evidence (12th–13th century) in Apulia. In this paper, mortar samples have been investigated using scanning electron microscopy (SEM-EDX) and X-ray diffraction (XRD) to characterize the observed materials, directing conservators for the integration interventions with compatible realization

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Planchette, Yoanna. "The Old Testament Prophecy of the Resurrection of the Dry Bones between the West and Byzantium." Arts 10, no. 1 (2021): 10. http://dx.doi.org/10.3390/arts10010010.

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The imagery of the vision of the valley of dry bones (Ezek 37. 1–14) still fascinates theologians and historians of religion with its exegetical and liturgical significance. Rarely represented in medieval art, the iconography of this singular topic related to the Last Judgment deserves closer attention on the part of art historians. The aim of the present contribution is to remedy this situation by offering an analysis of the main pictorial representations of Ezekiel’s prophecy within the medieval East and West. This paper examines the evolution of the theme from the first pictorial evidence f

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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.

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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches o

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Etinhof, Olga E. "New Finds of Frescoes in St George’s Cathedral of the Yuriev Monastery and Teams of Painters in the Novgorod Land of the First Half of the 12th Century." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 464–86. http://dx.doi.org/10.21638/spbu15.2022.304.

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The archaeological expedition led by Vl. V. Sedov discovered thousands of fragments of the original painting around 1130 in the St George Cathedral of the Yuriev Monastery in Novgorod during the 2013–2020. Recent finds of fragments of remarkable frescoes in the Yuriev Monastery, as well as in the Church of the Annunciation on the Hillfort from the beginning of the 12th century, significantly expand the traditional understanding of early art in Veliky Novgorod. These murals allow us to consider in a new way the problem of the work of painters’ teams, their migration and succession in the Novgor

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Stoian, S. P. "UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.

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The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galy

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Zherdiev, Vitalii V. "A.YE. BEIDEMAN’S MURALS IN ST. ALEXANDER NEVSKY CATHEDRAL IN PARIS IN CONNECTION WITH THE CRIMEAN PERIOD OF THE ARTIST’S OEUVRE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 149–62. http://dx.doi.org/10.17223/22220836/41/12.

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The article is about the little-known murals in St. Alexander Nevsky Cathedral in Paris (1859– 1861, architect R.I. Kuzmin), painted by Alexander Yegorovich Beideman (1826–1869). The scientific novelty of the results obtained is in the fact that for the first time A. Beideman’s religious works from the Parisian cycle are introduced and placed into scientific circulation. This cycle is master’s most significant preserved religious work and unique in the Orthodox ecclesiastical art of Western Europe of the second half of the 19th century. Although such brilliant masters as E.S. Sorokin, P.S. Sor

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Kiseleva, Nadezhda A. "Contemporary Perception of the Protoevangelium Ancient Frescoes of the Mirozhsky Monastery." Observatory of Culture 16, no. 4 (2019): 434–46. http://dx.doi.org/10.25281/2072-3156-2019-16-4-434-446.

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The article reveals artistic features of the unique ancient frescoes of the Protoevangelium cycle of the Spaso-Preobrazhensky Cathedral of the Mirozhsky Monastery in Pskov, dedicated to the life of the parents of the Blessed Virgin Mary, as well as her childhood and youth. The article considers a brief history of the first artistic images of the Virgin, her life and the Protoevangelium cycles in the history of world art and the monumental painting in the period from 2nd to the 12th century. In previous scientific publications, the attention was paid to the history of the monastery, the disclo

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Silina, O. V. "The visualization of a hagiography: Frescoes of the chapel of St. Nicholas of Myra in the Cathedral of the Nativity of the Virgin of the Ferapontov Monastery." Journal of Visual Theology 6, no. 1 (2024): 150–61. http://dx.doi.org/10.34680/vistheo-2024-6-1-150-161.

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The Cathedral of the Nativity of the Virgin of the Ferapontov Monastery houses the life of St. Nicholas of Myra, consisting of 12 episodes, the earliest one among Russian murals. The cathedral was painted by the artel of the Muscovite painter Dionisy in 1502. The frescoes of St. Nicholas chapel (actually, a sacristy) with the central image of the Saint, located in the conch of the altar apse, have attracted much attention. Researchers did not fail to notice the expressiveness and psychological characterisation of the face of St. Nicholas in the central image. The combination of the themes of t

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Kudinova, M. A., and D. P. Shulg. "Three Elite Burials of the Northern Zhou Period from Guyuan in Ningxia, China." Vestnik NSU. Series: History and Philology 22, no. 4 (2023): 18–31. http://dx.doi.org/10.25205/1818-7919-2023-22-4-18-31.

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The materials of elite burial complexes of the Northern Zhou period (557–581) discovered in the 1980–1990s in the vicinity of Guyuan City in the Ningxia-Hui Autonomous Region of China are analyzed in this article. Due to the epitaphs engraved on stone slabs found inside the tombs, the names of the buried individuals and the exact dates of the complexes are known: the tombs belong to high-ranking officials of Northern Zhou: Yuwen Meng (565), Li Xian (569) and Tian Hong (574). The complexes under consideration demonstrate a high degree of unification of the funeral rite, which is manifested in t

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Makarova, Anna. "The Style of Murals in the Main Volume of the Church of Nativity of the Virgin in Bethania and Their Place in Georgian and Byzantine Painting. Middle — Second Half of the 12th Century." St.Tikhons' University Review. Series V. Christian Art 22, no. 2 (2016): 25–39. http://dx.doi.org/10.15382/sturv201622.25-39.

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Hummler, Madeleine. "Mediterranen archaeology - OLIVER Dickinson. The Aegean from Bronze Age to Iron Age: Continuity and change between the twelfth and eighth centuries BC. xvi+298 pages, 57 illustrations, 2 tables. 2006. Abingdon: Routledge; 978-0-415-13589-4 hardback; 978-0-415-13590-0 paperback £16.99; 978-0-203-96836 e-book. - D. Evely (ed.). LefkandiIV. The Bronze Age: The Late Helladic IIIC Settlement at Xeropolis (British School at Athens Supplementary Volume 39). xviii+332 pages, 104 figures, 103 plates, CD-ROM. 2006. London: British School at Athens; 0-904887-51-0 hardback £98 + p&p. - CATIE Mihalopoulos. Corpus of Cypriote Antiquities 29: Cypriote Antiquities in Collections in Southern California (Studies in Mediterranean Archaeology XX, 29). 64 pages, 54 plates. 2006. Savedalen: Paul Astrom; 978-91-7081-220-0 paperback. - Peter Attema, Albert Nijboer & Andrea Zifferero (ed). Papers in Italian Archaeology VI. Communities and Settlements from the Neolithic to the Early Medieval period (Proceedings of the 6th Conference ofItalian Archaeologyheldat the University ofGroningen, Groningen Institute ofArchaeology, The Netherlands, April 15-17, 2003) (British Archaeological Report International Series 1452 I & II). xx+1080 pages, numerous illustrations & tables. 2005. Oxford: Archaeopress; 1-84171-888-2 paperback £120 (both volumes). - Stephan Steingräber, translated by Russell Stockman. Abundance of Life: Etruscan Wall Painting from the Geometric period to the Hellenistic period (published in Italian as Pittura murale etrusca by Arsenale, Verona 2006). 328 pages, 250 colour illustrations. 2006, Los Angeles (CA): J. Paul Getty Museum; 978-0-89236-865-5 hardback £80. - John R. Patterson. Landscapes & Cities: Rural Settlement and Civic Transformations in Early Imperial Italy. xiv+348 pages, 17 illustrations. 2006. Oxford: Oxford University Press; 978-0-19-8140887 hardback £60. - Richard Hodges. Eternal Butrint: A UNESCO World heritage Site in Albania. xiv+256 pages, numerous b&w & colour illustrations. 2006. London: Butrint Foundation//General Penne; 978905680-01-6 hardback. - Arthur Evans. Ancient Illyria: An Archaeological Exploration (first published as Antiquarian Researches in Illyricum in Archaeologia 1885 & 1886; other paper in Numismatic Chronicle 1880 and introduction by John Wilkes in Bulletin of the Institute of Archaeology, London 1976). xxii+340 pages, 143 illustrations. 2006. London; I.B. Tauris/Centre for Albanian Studies; 978-84511-167-0 hardback £45. - Branko Kirigin, Nikša Vujnović, Slobodan Čače, Vincent Gaffney, Tomaž Podobnikar, Zoran Stančič & Josip Burmaz (ed. by Vincent Gaffney & Branco Kirigin). The AdriaticIslands Project Volume 3. The Archaeological Heritage of Vis, Biševo, Svetac, Palagruža and Štolta (British Archaeological Reports International Series 1492). iv+240 pages, 24 figures, 3 tables. 2006. Oxford: Archaeo-press; 1-84171-923-4 paperback £38. - Dominique Pieri. Le commerce du vin oriental ài l’époque Byzantine (Vè-VIIèsiècles): le temoignage des amphores en Gaule (Bibliothèque Archéologique et Historique 174). vi+350 pages, 199 illustrations, 9 tables. 2005. Beyrouth; Institut Francais du Proche-Orient; 2-912738-30-X paperback €40." Antiquity 81, no. 311 (2007): 246–47. http://dx.doi.org/10.1017/s0003598x00120186.

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Bardik, Maryna. "To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries." Almanac "Culture and Contemporaneity", no. 2 (December 27, 2021). http://dx.doi.org/10.32461/2226-0285.2.2021.249250.

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The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 184

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OUSTERHOUT, Robert. "Byzantine mural painting in its architectural setting." Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, August 4, 2021, 135–56. http://dx.doi.org/10.12681/dchae.26190.

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This paper explores the architectural setting of monumental imagery in Byzantine churches. A close analysis reveals that the collaboration between masons and painters cannot be taken for granted. The lack of coordination, however, could lead to innovative solutions. By paying closer attention to the relationship between architecture and wall decoration, we may gain a better understanding of changes in the Byzantine conceptions of sacred space and the aesthetic choices underpinning the creation of new formats of monumental imagery.

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Gehad, Basem, Mona Foad Aly, and Hussein Marey. "IDENTIFICATION OF THE BYZANTINE ENCAUSTIC MURAL PAINTING IN EGYPT." May 27, 2015. https://doi.org/10.5281/zenodo.18057.

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Encaustic painting uncovered in the hermitage of Apa Apollo at Baouit- Assuit, was studied by means of spectroscopic, chromatography as well as elemental x- ray fluorescence, the analysis re-vealed unique information’s about the composition of the organic binding medium, as well as it deformation and alteration pattern. The elemental analysis highlights also the types of pigments used in the artistic palette used by the painter in order to execute his paintings. Beeswax was proved to be used, from bees which feed on sunflower, lead was the major com-ponent of the orange pigment indicatin

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Bardik, Maryna. "Some Features of Painting Decorations of the Kyiv-Pechersk Lavra’s Churches at the Late 19th – the Early 20th Century." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 27, 2025). https://doi.org/10.32461/2226-3209.1.2025.327950.

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The purpose of the article is to consider common features of the painting decorations of the Kyiv-Pechersk Lavra’s churches in 1890s – 1910s. The research methodology consists in the complex applying to historical and cultural analysis, art study and diachronic one, empirical observation. The scientific novelty of the study. Based on little-known records, visual sources including introduced into scientific circulation, the author identified and analysed the common features of the painting decoration of the Kyiv-Pechersk Lavra’s churches in 1890s – 1910s. She considered the common image, compos

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Bardik, Maryna. "The Great Pechersk Church’ Mural Paintings of the Late 19th Century as the Interpretation of Its Old Russian Image." National Academy of Managerial Staff of Culture and Arts Herald, no. 3 (November 16, 2021). http://dx.doi.org/10.32461/2226-3209.3.2021.244412.

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The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientif

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Liritzis, I., F. Al-Otaibi, V. Kilikoglou, V. Perdikatsis, E. Polychroniadou, and A. Drivaliari. "MORTAR ANALYSIS OF WALL PAINTING AT AMFISSA CATHEDRAL FOR CONSERVATION – RESTORATION PURPOSES." November 29, 2015. https://doi.org/10.5281/zenodo.33833.

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Contemporary artist Spyros Papaloukas in 1932 undertook a major artistic venture, the painting of the interior murals of the Amfissa Cathedral (Church of the Annunciation) a cross-domed church built in 1868 on the ruins of an early Christian basilica. In this 1000 sq monumental work, Papaloukas, even though he follows the strictly established rules of Byzantine ecclesiastical art, he dares to attempt a new approach to the aesthetic merits of Byzantine iconography by introducing elements of the post- Impressionists, the Fauves and the Nabis. Following our earlier work of spectroscopy of mural p

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Rozela, Dhimgjini. "Mural Paintings of the Monastery Church of Ss. Apostles Peter and Paul in Vithkuqi." June 4, 2018. https://doi.org/10.5281/zenodo.1272931.

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Vithkuqi is one of the areas of Southeastern Albania, which experienced a rapid economic and social development during the second half of the 17th century and the first half of the 18th century.  Vithkuqi was an important center of the Albanian-Macedonian-Thessal zone, known for their special history during the mentioned centuries, under the ottoman invasion. Because of this special development happening in Vithkuqi, many churches were built there in the 18th century. The most important religious buildings, during this period, were the monastery of SS. Apostles Peter and Paul. Parts of th

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Rozela, Dhimgjini. "STYLISTIC FEATURES OF THE ZOGRAFI BROTHER'S PAINTINGS IN THE CHURCHES OF VITHKUQ." October 8, 2018. https://doi.org/10.5281/zenodo.1451834.

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The village of Vithkuq is distributed in an uneven, highland territory in south-east Albania, near the city of Korça. The villagers, who were part of the Greek-orthodox religion, during a well economically developed time in the 17th and 18th century, they enriched Vithkuqi with circa 14 churches and a monastery. Today, in this monastery, are found only 2 churches in damaged conditions. The small mortal church of Saint Cosmas and Damian and the main church, which holds the same name as the monastery, Saint Peter and Paul. Both of these churches are decorated with miraculous murals from t

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Ethan, Schmidt. "Panagia tou Araka." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573220.

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Panagia tou Araka is a Byzantine church of indeterminate date in the vicinity of the village of Lagoudera on the flanks of Madari in the Troodos Mountains of Cyprus, which may have been the katholikon of a monastery or else a private chapel. It consists of a hall terminating in an apse and with a central dome, with the exterior largely concealed behind a more modern system of wood roofing and trellising characteristic of the region, and is possessed of an unusually masterful and complete cycle of religious frescos dating to the year 1192. These were commissioned by a certain Leontios Authentes

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Philippova, O. S., A. Yu Dmitriev, T. J. Tsarevskaya, and S. O. Dmitrieva. "Comprehensive study of 12th century wall painting fragments from the St. George Cathedral of the Yuryev Monastery in Veliky Novgorod (Russia) using complementary physico-chemical methods." Heritage Science 10, no. 1 (2022). http://dx.doi.org/10.1186/s40494-022-00680-y.

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AbstractA total of 7 complementary methods have been applied to investigate unique pre-Mongolian 12th century wall paintings from the St. George Cathedral of the Yuriev Monastery in Veliky Novgorod, Russia. Both archaeological samples from the main space of the Cathedral and fragments in situ in the stairs tower of the Cathedral were studied. For the first time in Russia, sensitive neutron methods were used to study the elemental composition of pigments and plasters—neutron activation analysis and prompt gamma activation analysis. This research made it possible to determine elemental and miner

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Kondratiuk, Alina. "On the Style of Monumental Painting of the Church of the Saviour at Berestove of 1643–1644." Almanac "Culture and Contemporaneity", no. 1 (September 1, 2023). http://dx.doi.org/10.32461/2226-0285.1.2023.286794.

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The purpose of the article is to analyse the literature and sources covering the issues of the style of monumental painting of the Church of the Saviour at Berestove of 1643–1644 and to revise the terminology traditionally used for the murals of this church. The research methodology is based on the application of a systematic approach, analytical method, art historical, historical-comparative, historical-genetic, historical-systemic and descriptive methods for a comprehensive consideration of the above issues and formulation of reasonable conclusions. The scientific novelty is characterised by

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Şarlak, E. A., and R. Onurel. "DEPICTIONS OF PROPHET SOLOMON IN CHRISTIAN ICONS AND OTTOMAN MINIATURE ART." May 25, 2014. https://doi.org/10.5281/zenodo.14335.

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From the paganism to the rise of monotheism and onwards, kings and rulers have introduced religion as part of their conduct in the socio-political construct of the society. One of the great rulers of the Old Testament, Solomon has been an important figure not only in Hebrew history but also in Christian and Islamic traditions. The purpose of this study is to make an iconographical evaluation of Solomon’s depictions in mural paintings and mosaics of Christian tradition and Ottoman illuminated manuscripts with regard to the typology and evolution of an idealized sense of imperial rule.

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