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Mahobia, Usha. "COLOR COMBINATION IN MUGHAL PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3667.
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The history of Indian painting has been very rich and detailed since ancient times. Prior to Muslim aggression, Jain, Buddhist and Hindus donated their yoga in the field of painting. Ajanta painting is famous in the world, and these paintings were made in the Gupta period on which naturally made colors have been used.Significant changes took place in painting in the medieval period, Iranian influence is seen in the painting of the Sultanate period. Vibrant colors were used in paintings of courtly paintings, veena, sitar, dress, ornaments etc. With which the pictures appear to be lively, lively. And blue, green, and golden colors have been used beautifully in these paintings.
प्राचीन समय से ही भारतीय चित्रकला का इतिहास बहुत समृद्ध विषाल एवं विस्तृत रहा है। मुस्लिम आक्र्रमण से पूर्व जैन, बौद्ध एवं हिन्दुओ ने चित्रकला के क्षंेत्र में अपना योग दान दिया। अजंता चित्रकला विष्व में प्रसिद्ध है, और इन चित्रो का निर्माण गुप्त काल मेे हुआ जिन पर प्राकृतिक रूप से बने रंगो का प्रयोग किया गया है।मध्यकाल मे चित्रकला मै महात्वपूर्ण परिवर्तन आये, सल्तनत काल की चित्रकला मै ईरानी प्रभाव देखने को मिलता है। दरबारी चित्र, वीणा, सितार, वेषभूषा, आभूषण आदि के चित्रो में सजीव रंगो का प्रयोग किया गया । जिनसे चित्र सजीव, जीवंत प्रतीत होते हैै। और इन चित्रो में नीले, हरे, और सुनहरे रंगो का प्रयोग बंेहद खूबसूरती से किया गया है।
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Storey, H. Wayne. "Painting (and Writing) over Dante." Romanic Review 112, no. 1 (May 1, 2021): 158–80. http://dx.doi.org/10.1215/00358118-8901851.
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Abstract With the advent of studies in the area of mise-en-page and the increased interest in the relationships among text, image, and material structures in medieval manuscripts, the inherent problems of interpretation and “intentionality” have often been concentrated in critics’ assignment of meaning and cultural “readings” to medieval illuminators. Yet numerous sources, especially the instructions to illuminators that remain still visible in unfinished manuscripts, confirm that methods of work in the illustrating of medieval texts were guided by very different criteria than interpretation. Instead, the material and mechanical realities of reproducing medieval texts, among them Dante’s Commedia, were often subject more to production efficiency, cost effectiveness, taste, and scribal and cultural norms. Examining the instructions to the illuminator of an unfinished copy of a uniquely edited Veneto copy of the Commedia, initially produced in the 1340s (Codex Italicus 1 of the University Library and Archives of Eötvös Loránd University in Budapest), this essay investigates the systems and constructions imposed on the Commedia by a new scribal culture in the reproduction and “visual glossing” of the poem.
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Chmil, L. V., N. V. Khamaiko, O. M. Buhay, V. M. Bilyk, A. V. Shulzhenko, A. O. Sushko, and V. A. Nesterovskyi. "CERAMIC RAW MATERIAL ANALYSIS FROM KYIV POST-MEDIEVAL POTTERY CENTERS." Archaeology and Early History of Ukraine 44, no. 3 (August 28, 2022): 316–30. http://dx.doi.org/10.37445/adiu.2022.03.20.
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According to written and archeological sources, there were 12 pottery-making sites in the nowadays territory of Kyiv. During the last 50 years, seven pottery production sites have been archaeologically discovered (kilns, clay pits, outbuildings, warehouses, semi-finished product stocks, etc.). In general, we have information on at least about 27 pottery kilns and a stock of semi-finished products. All of them can be dated to different times from the turn of the 16th—17th centuries to the middle 19th century.
Pottery production sites were rather big, with high-quality production using various decoration and glazing techniques, and a wide selection of products; some of them used underglaze painting. Numerous potsherds, both ready-to-use and semi-finished products, were discovered in the filling of kilns and related structures. Used for ceramic paste clay was exceptionally good, mainly light — from white to yellowish or pinkish colors, but sometimes the examples of darker colors can be met, like reddish or brownish. The red color was used for the decoration of unglazed white ware; white, green, and red colors were applied for underglaze painting ceramics.
We have analyzed the chemical composition of 38 samples from five sites with the PIXE and XRD methods. According to the analyses, not all clays are pure kaolinite, some are a mixture of hydromica and kaolinite. Iron can be present in different clays. Components that are present in small amounts are characteristic of clays from the Ukrainian Shield. The presence of phosphorus in pigments is associated with the addition of bone meal. Calcium in those cases, where it is insignificant, is part of the clay, and where there is a lot of it, it is obviously associated with lime plaque on the surface of the watering.
Some of the products were decorated with paintings. Red paint was used for it on the unglazed ware and white, green, brown, red — for glazed paintings. These paints were also analyzed. Fragments of ceramics after the first firing are covered with a white engobe, over which the painting is applied, but they do not yet have a covering layer of glaze, which made it possible to determine the composition of dyes without the admixture of glaze.
For the painted dishes white kaolin clay was used as an engobe base for painting. Probably red iron clay was used as pigments for painting non-painted ware (erratum). For glaze painting, additional iron oxide was added to brown and black paints — possibly bog ore. The paints with the addition of copper after the first firing have a gray color with a greenish tint, and when re-fired under watering, they acquire a bright green color.
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Mohanu, Dan, Ioana Gomoiu, Ileana Mohanu, and Marin Șeclăman. "Corbii de Piatră. Conclusions of a research." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 3 (2012): 119–33. http://dx.doi.org/10.47950/caieteara.2012.3.12.
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The aim of the research undertaken during 2008-2010 at Corbii de Piatră church in the rock was to provide the scientifi c background needed for an adequate approach of conserving the medieval site, especially the valuable mural painting ensemble. Starting from cross-disciplinary approach of conserving mural paintings inside the rock-hewn church, our project created a researchmonitoring-
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Fras, Eva Marija. "Challenges of Conservation and Restoration of a Medieval Wall Painting in the Church of Saint Leonard in Mala Ligojna and the Question of Its Authorship." Acta Academiae Artium Vilnensis, no. 108 (March 20, 2023): 158–91. http://dx.doi.org/10.37522/aaav.108.2023.154.
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The Church of Saint Leonard is positioned on a hill above a small village called Mala Ligojna in central Slovenia. The Baroque architecture shows elements of medieval origins. Under many secondary whitewashes, fragments of an approximately 500-year-old secco wall painting were discovered. The conservation and restoration project started in the year 2020 by removing the secondary coatings of limewash on the northern wall. During the work process, some challenges regarding the original painting were addressed and possibilities for uncovering and consolidating preserved intonaco and the paint layer were explored. Research on the binder, pigments, and the substrate was executed, which led to the use of a specific consolidation system. During the work process we researched the authorship of the painting. The research included the review of different Gothic stencils, brocade and border patterns, and the system of transferring the drawings and identifying the incisions. The patterns show similarities to some known Gothic wall painters in Slovenia, who inherited their knowledge from the masters of the international Gothic style. By carrying out projects like this, the church’s history is being revealed and the knowledge of the medieval wall paintings in Slovenia is expanding.
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Newman, Richard. "Binders in Paintings." MRS Bulletin 21, no. 12 (December 1996): 24–31. http://dx.doi.org/10.1557/s0883769400032085.
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Many naturally occurring adhesive materials have been used throughout history to bind pigments in paintings. A number of synthetic materials have been added to these during the twentieth century.Availability and tradition can influence the choice of binders made by artists. Probably the most widely used medium throughout history, animal glue, is also the most easily obtained. Glues made from the connective tissues or skins of local animals were major media in ancient Egyptian painting and in Chinese and Japanese painting, as well as in many other cultures throughout world history. In many cases, a variety of natural binders were available, and additional factors influenced the choice of binder by a culture. Different media have highly variable properties that affect how they are used in painting. Among these properties are solubility, the transparency or depth of color that is obtainable with a given pigment, and handling properties–how the paint flows, how quickly it dries, whether it can be applied in very thick and very thin layers, etc. Knowledge of the media utilized in paintings can help us understand the intentions of artists. Medieval European painting can be used as an example.
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Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.
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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
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Scott, David A. "Pigments of English Medieval Wall Painting." Studies in Conservation 50, no. 1 (January 2005): 77–78. http://dx.doi.org/10.1179/sic.2005.50.1.77.
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Sadan, Ronah. "Processing the Raw." Periskop – Forum for kunsthistorisk debat, no. 30 (November 29, 2023): 150–69. http://dx.doi.org/10.7146/periskop.v2023i30.142015.
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In 1883, a late-medieval wall painting of the Last Judgment was discovered under white-wash in the vault of Sædinge Church in Lolland, Denmark, and then quickly covered up again. The painting depicted, in part, a hell scene deemed too offensive to display. A documentary drawing executed upon the painting’s uncovering contains within it the conflicted reception that this scandalous image received within the aesthetic and devotional context of the nineteenth century. Through this case of an image’s uncovering, documentation, and concealment, this article examines various understandings of negativity: as damnation, as aesthetic insufficiency, as devotional decadence, and finally, as absence.
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Ruta, Nicole, Alistair Burleigh, and Robert Pepperell. "Space and Scale in Medieval Painting Reflects Imagination and Perception." Gestalt Theory 44, no. 1-2 (August 1, 2022): 61–78. http://dx.doi.org/10.2478/gth-2022-0006.
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Abstract Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space.
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Dulal, Lok Nath. "Wall Painting of Pujari Math of Bhaktapur: An Exploration." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 2 (December 5, 2023): 124–43. http://dx.doi.org/10.3126/craiaj.v6i2.60252.
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Historical evidences prove that painting is considered as the mother of all other forms of art and crafts. While artists start to sculpture the icon and any art objects, very first, they sketch the drawing of concerning deities and specimens, therefore, a painting is said to be the mother of all other sculpture arts. Therefore, the history of creation of painting is older than other forms of arts. On the basis of creating materials, mediums, instruments, technologies, and nature, painting can be classified into three different forms such as fresco, miniature and painted scroll. This article has analyzed the fresco painting of Pujari Math of Bhaktapur. This is an example of polychrome painting which displays an excellent craftsmanship of the artist. Through the perspectives of religion, culture, social values, art skill and technology this art object is known as the representative fresco paintings of Nepal which reveals the fine handiworks of the artists of the medieval period. In painting where people can observe several secular and religious figures of deities and social events associated with the myths of religious scriptures especially Ramayan and Mahabharata the great epics of Hindu. Despite all its amusing qualities, unfortunately, this painting is still not properly considering as the subject of research and study. It is its academic problem and research gaps as well. Thus, raising the research questions such as what types of paintings are painted on the walls and beams of Pujari Math? Why the painting of Pujari Math is considered wonderful work of art? And what are the major features of the painting of Pujari Math? Likewise, this paper fulfills the certain specific objectives such as to examine the paintings of Pujari Math; to explore the significance of the work of art and to analyze the major features of the fresco paintings. It is qualitative research based on primary data and secondary information. Primary data have been obtained from the field using observation and interview method whereas the required secondary information has been collected from different reliable literatures such as journals, documents, books, published and unpublished relevant reports. Thus, for fulfilling the research gaps and problems this paper has been prepared.
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Varenov, A. V. "Three Medieval Chinese Paintings about Girls Leaving for Foreign Lands and Their Historical Background." Vestnik NSU. Series: History and Philology 22, no. 4 (April 14, 2023): 88–101. http://dx.doi.org/10.25205/1818-7919-2023-22-4-88-101.
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The article deals with three Chinese paintings, created in the 13th century. All three scrolls depict different personages living at different times, however the general plot remains the same: an enforced departure of a girl to a foreign land.Zhang Yu’s painting “Wenji returns to Han” tells of an Eastern Han poetess Cai Yan (Cai Wenji), who was a Xiongnu captive for 12 years, redeemed at the beginning of the 3rd century AD by a famous Chinese warlord, poet and politician Cao Cao. Gong Suran’s scroll “Ming-fei leaves the fort” illustrates a legendary story of Wang Zhaojun, one of the “four great beauties of ancient China” and a concubine of the Western Han Emperor Yuan-di, who married a Xiongnu chieftain in the last third of the 1st century BC to save her country from nomad invasion. The third painting looks the most realistic, however the reason for the creation of “Nomads” by Hu Huan is unknown. The author argues that all three paintings, in various artistic form, reflect the same historical event which happened in 1214. This was the enforced marriage of a Jin Empire princess Qi to the Mongolian chieftain Genghis Khan as a condition set by him to raise the siege of the Jin capital. Paintings by Zhang Yu and Gong Suran treat this event allegorically and Hu Huan’s “Nomads” – realistically.
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Darwish, Mahmoud Ahmed. "Two Armenian Bibles with Arabic Influences of miniature painting (Gregor Tatevatsi 1346-1410)." International Journal for Innovation Education and Research 4, no. 8 (August 31, 2016): 72–100. http://dx.doi.org/10.31686/ijier.vol4.iss8.578.
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About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art had been conducted a unique historical panorama of the art of illumination, embracing more than thirteen centuries has been given.The heritage of a number of miniature schools and their outstanding representatives has been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although, most of them illuminated, many have not yet been published. Among the best examples of medieval Armenian illumination are those of the following two manuscripts, where the researcher published (28 miniatures) from the Gospel of folios paper in Matenadaran of Mashtots, for the first time: 13th, dated (1297) and (1378), the miniatures were executed by Grigor Tatevatsi and his pupil in (1378), and15th, dated in the end of 14th century and beginning of 15th century, the scribe is Grigor Tatevatsi and the anonymous painter of Syuniq. The research deals two Armenian bibles with Arab Influences by Grigor Tatevatsi (1346–1410), it begins with an introduction for Armenia with a focus on Syuniq which produced the two manuscripts, and includes three sections:1st. Study of Armenian miniatures with a focus on Grigor Tatevatsi school, where the proportion of miniature paintings, his pupil or anonymous painter of Syuniq.2nd. Analytical study.3ed. The influences of the Arabic miniature painting.
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Batirov, Jahongir Sobirovich, and Sherali Naimovich Avezov. "THE CURRENT IMPORTANCE OF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEV GOGICAL VIEWS OF MEDIEVAL THINKERS ON AR AL THINKERS ON ARTOF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEVAL THINKERS ON ART." Scientific Reports of Bukhara State University 4, no. 4 (August 28, 2020): 293–96. http://dx.doi.org/10.52297/2181-1466/2020/4/4/4.
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In the article, there is a growing demand for critical learning and implementation of all the best in painting in schools in Uzbekistan and the Commonwealth countries, all of which summarize the history and development of Oriental miniature art and, therefore, provide a historical overview. It is said that the stylistic essence of art, its aesthetic power, is directly related to modern requirements.
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Vlková, Markéta. "Renesanční nástěnné malby na zámku v Moravském Krumlově." Opuscula historiae artium, no. 1 (2023): 2–21. http://dx.doi.org/10.5817/oha2023-1-1.
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Renaissance wall paintings have recently been discovered at the château in Moravský Krumlov. The most significant of these is a painted decoration of the walls and illusive coffering on the vaulting in one of the spaces in the original medieval tower. This is just the torso of the decoration, which originally probably extended into all the representative rooms of the south wing of the château. By finding appropriate comparison locations in this country and abroad, as well as graphic examples in the work of Sebastiano Serlio, it was possible to determine a possible time frame for the creation of these paintings, which probably originated between the end of the 1530s and the beginning of the second half of the 16th century. In addition, stylistic interpretation of the revealed paintings also points to a possible manifestation of the so-called hybrid style, both through the placing of sophisticated Renaissance motifs in the vaulted spaces of the original medieval tower, and the use of the quick, cheap stencil painting technique.
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Wang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.
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The field of Leonardo da Vinci Studies has seen rapid advancement in recent years. Multiple research projects have been conducted on Leonardo’s observation of the natural world in relation to his inventions and painting techniques. Nonetheless, there lacks a consensus on how nature has impacted Leonardo’s interpretation of religious icons, such as the Virgin and the Christ Child. Therefore, this paper emphasizes Leonardo’s recreation of visual narrative using symbolism and natural setting within his series of icon paintings. The study opens with an inspection of the preceding Byzantine style and late-Medieval icon painting as a comparative reference, then discusses early experimentations that introduce symbolic themes in conjunction with natural elements. This is followed by visual analyses of the Paris Virgin of the Rocks and The Virgin and Child with Saint Anne. Evaluations will be performed on the two paintings’ intentions in remodeling theological narratives with compositional symbolism, technical enrichment, and geological presentations. The study reveals Leonardo’s use of a recreated natural environment as a manifestation of divinity, which functions in concert with his humanized divinity to realize a personalized view of sacred iconography. This aesthetic privatization ultimately transforms icon painting from a collectivized liturgical tool to an individualized interpretation of godhood.
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Salvador González, José María. "Domina Paupertas: the praise of voluntary poverty by St. Francis of Assisi and its reflection in late medieval Spanish painting." SIGNUM - Revista da ABREM 14, no. 2 (February 1, 2014): 105. http://dx.doi.org/10.21572/2177-7306.2014.v14.n2.06.
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As is well known, St. Francis of Assisi heroically embraced evangelical poverty, renouncing material goods and living in abject poverty, in imitation of Jesus Christ. Furthermore, through his writings and oral testimonies collected by his disciples, the saint fervently urged Christians to live to some degree voluntary poverty , of which Christ was the perfect model. By basing this reading on some Poverello’s quotations, this paper intends to show the potential impact that these exhortations from San Francisco to poverty may have had in the late medieval Spanish painting, in some iconographic themes so significantly Franciscan as the Nativity and the Passion of the Redeemer. Through the analysis of a large set of paintings representing both issues, we will attempt to put into light if the teachings of St. Francis on evangelical poverty are reflected somehow in Spanish painting of the late Middle Ages.
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Casagrande, Gino, and Christopher Kleinhenz. "Literary and Philosophical Perspectives on the Wheel of the Five Senses in Longthorpe Tower." Traditio 41 (1985): 311–27. http://dx.doi.org/10.1017/s0362152900006930.
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The medieval wall paintings of Longthorpe Tower (near Peterborough, England), discovered by fortunate accident over thirty years ago, have been the object of several critical investigations; because of their delicate and fragmentary condition, however, it has been impossible to arrive at an exact interpretation of the entire program. Two of these fourteenth-century paintings appear to treat the Seven Ages of Man and the Labors of the Months. Of particular interest is a third large painting (see plate), which depicts the wheel of the five senses. Much attention has been given to elucidating the significance of the five animals positioned on the rim of the wheel and to interpreting the meaning and function of the male figure who stands behind the wheel and appears to govern its motion. The problem of interpretation is not new. Indeed, the unknown artist provided a written guide to these wall paintings, but unfortunately the remnants of these inscriptions, found by the circumference and spokes of the wheel, are now indecipherable. Critics are in general agreement that the painting represents the five senses, and most cite the passage in Thomas of Cantimpré's Liber de natura rerum, which pairs specific animals with individual senses.
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Woziński, Andrzej. "Co wspólnego ma Wniebowzięcie Marii z Ostatnią Wieczerzą, czyli o genezie formy i ikonografii późnośredniowiecznego obrazu ze zbiorów Muzeum Narodowego w Poznaniu,(...)." Porta Aurea, no. 19 (December 22, 2020): 57–76. http://dx.doi.org/10.26881/porta.2020.19.02.
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The late medieval panel painting of the Assumption of Virgin Mary from the Collection of the National Museum in Poznań was most likely created in Greater Poland (Wielkopolska), probably in Poznań, in the early 16th century. Scholars have pointed out the connection of its iconography with several other art pieces from the area of Greater Poland. In the light of these findings, our painting seemed to be traditional in the terms of form, as well as of content. This paper shows that some formal solutions and motifs used in the painting from Poznań differ from a typical iconographic practice, and it has only partial coverage in literary sources. The Apostles’ behaviour not fully corresponding to the subject and the chair in which an unidentified Apostle is sitting in a strangely complicated pose by the sarcophagus are the exceptional traits of the Poznań painting. The reason for their presence is the fact that the painter quoted a large part of the copperplate engraving of the Netherlandish Master IAM of Zwolle on a completely different subject: the Last Supper. The painter repeated selected elements quite accurately, without trying too much to adopt them to the new context. The Poznań painting is one of the countless examples of the use of prints as a pattern in the late medieval workshop practice. But at the same time, it belongs to the smaller in number works that were created in a more sophisticated way, through a compilation of motifs taken from various sources, combined with iconographic transformations. The paintings of Jörg Stoker, active in Ulm, and the prominent Antwerp artist Joos van Cleve analysed in the paper, are the examples of the application of a similar creative procedure. The last part of the text is devoted to the reception of the copperplate engraving by Master IAM of Zwolle, which determined so markedly the form and iconography of the painting at the National Museum in Poznań. The range of impact of this pattern, including Northern France, Greater Poland, Austria, Southern Germany (?), Northern Italy, Sardinia and Castilla, illustrates how universal, despite all the regional differences, the visual culture of Latin Europe was at the time.
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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.
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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.
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Rasiņa, Madara, Ojārs Spārītis, Jiřina Přikrylová, Martin Racek, Ivana Kopecká, Eva Svobodová, and Richard Přikryl. "The Recent Discovery, Research, and Restoration of Medieval and Renaissance Frescoes in Riga Castle—A Treasure to the Baltic Region." Heritage 6, no. 3 (February 23, 2023): 2435–52. http://dx.doi.org/10.3390/heritage6030128.
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One of the most important castles of the medieval Teutonic Order—Riga Castle in Latvia—is currently undergoing extensive reconstruction work. This study attempts to summarize recent information about the medieval fresco in the chapel and decorative paintings (17th century CE) on the vaults and vault consoles of the refectory that were found during this work. The restorers acquired a combined knowledge of the materials during the pre-restoration research as well as during the restoration process. This, together with the art historian’s viewpoint, and analytical study conducted by chemical technologist of art restoration and material scientists, allowed for an understanding of the materials present, as well as for a determination of the most probable techniques used for the creation of the frescoes. Based on the results presented in this study, the investigated fresco was mostly created using local materials for the plaster and imported ones for pigments, specifically azurite, malachite, and cinnabar. The restoration works, and the possible iconographic meaning of the remaining fragments of the medieval painting, are also discussed.
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Lakey, Christopher R. "The Materiality of light in Medieval Italian Painting." English Language Notes 53, no. 2 (September 1, 2015): 119–36. http://dx.doi.org/10.1215/00138282-53.2.119.
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Philippova, O. S., A. Yu Dmitriev, T. J. Tsarevskaya, A. M. L. Makarova, and A. B. Grebenshchikova. "Medieval mural painting: A look through the centuries." Journal of Cultural Heritage 62 (July 2023): 460–69. http://dx.doi.org/10.1016/j.culher.2023.07.004.
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Bankov, Mikhail S. "TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 29–48. http://dx.doi.org/10.36340/2071-6818-2021-17-4-29-48.
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The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.
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Zubin Ferri, Tea, Emina Pustijanac, Ines Kovačić, and Josipa Bilić. "Micro-analytical Evidence of Copper-Based Pigment and Fungal Contamination of Medieval Mural Paintings in Beram, Croatia." Microscopy and Microanalysis 25, no. 6 (September 27, 2019): 1471–81. http://dx.doi.org/10.1017/s143192761901496x.
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AbstractThe aim of the present study was to map the painting materials, degradation processes, and biological features present on the mural painting in the church of St. Mary in Beram (Croatia) to study their possible interaction and produce information helping the preservation of this valuable painting. The research was conducted on micro samples of painting materials taken from different sites along the painting and the characterization of the present fungal species was carried out. The painting samples, together with observable patinas and degradation products, were studied by optical microscopy (OM), scanning electron microscopy, energy-dispersive spectroscopy (SEM/EDS), Fourier-Transform Infrared spectroscopy, and powder X-ray diffraction. Fungal diversity was studied using cultivation methods followed by OM and SEM analyses in addition to molecular analysis. The results contribute to the characterization of the original painting materials, successively added materials and occurred interventions, to the understanding of degradation progressions and fungal biotransformation processes. A mineral, cumengite, a copper-based pigment extremely rarely used in art, was found. Its occurrence together with barium sulfate, gypsum, and calcium oxalate possibly produced by microbiological activity was studied and information was added regarding the composition of painting materials in St. Mary church mural cycle.
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Pogliani, Paola, Claudia Pelosi, Luca Lanteri, and Giulia Bordi. "Imaging Based Techniques Combined with Color Measurements for the Enhancement of Medieval Wall Paintings in the Framework of EHEM Project." Journal of Imaging 10, no. 7 (June 29, 2024): 159. http://dx.doi.org/10.3390/jimaging10070159.
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(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the medieval wall painting of Santa Maria Antiqua in the Roman Forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The Middle Ages). Digital Layered Models of Architecture and Mural Paintings over Time). (2) Methods: Two methods were employed to gather information about colors and mapping. Specifically, colorimetry was utilized for spot measurements, and hypercolorimetric multispectral imaging (HMI) was employed to map the same colors sampled through colorimetry. (3) Results: Chromatic data for all colors in the wall paintings were obtained in the CIELAB color space. Additionally, chromatic similarity maps were generated using the innovative HMI system, a multispectral imaging technique capable of obtaining color data information through advanced calibration software named SpectraPick® (Version 1.1). This comprehensive approach facilitates a thorough understanding of color characteristics and distribution. (4) Conclusions: The color measurements and mapping represent significant advancements in the interpretation of medieval wall paintings, which are often fragmentary and stratigraphically complex. This research sheds new light on the colors used and enhances our understanding of the original appearance of the iconographic patterns. Furthermore, it enables the reconstruction of colors that closely resemble the originals.
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Fulop, Michael. "Winter Evening, and: The Ocean Sky Off South Carolina." Colorado Review 51, no. 1 (March 2024): 77–78. http://dx.doi.org/10.1353/col.2024.a922471.
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Jakutowicz, Joanna. "Between centre and periphery. Late medieval paintings from the church of St. Nicholas in Sząbruk, Warmia." Porta Aurea, no. 22 (December 29, 2023): 64–87. http://dx.doi.org/10.26881/porta.2023.22.03.
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The article addresses the issue of late Gothic wall paintings from the Parish Church in Sząbruk, Warmia, created around 1500–1510, which have not yet been the subject of an in‑depth analysis. In the course of the research it was possible to verify the iconography of the cycle, partially establish its graphic patterns, as well as to analyse its provenance and determine its place in the region’s late‑mediaeval art. The paintings show a Dutch influence, which had probably reached the province through Gdańsk. Its mediation is also indicated by the scene of the Last Judgment referring to Memling’s composition. The time of the paintings execution indicates an early example of inspiration from Gdańsk, since the influence of this artistic centre on the art of Warmia came to full expression in the modern era. At the same time, the rather mediocre quality of workmanship situates these paintings between the excellent art models taken from the major centres of the region (and, by extension, of northern Europe) and the provincial painting technique rooted in the local style.
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Warner, Lyndan. "Kinship Riddles." Genealogy 6, no. 2 (May 12, 2022): 43. http://dx.doi.org/10.3390/genealogy6020043.
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In the medieval to early modern eras, legal manuals used visual cues to help teach the church laws of consanguinity and affinity as well as concepts of inheritance. Visual aids such as the trees of consanguinity or affinity helped the viewer such as a notary, law student or member of the clergy to do the ‘computation,’ or reckon how closely kin were related to each other by blood or by marriage and by lines of descent or collateral relations. Printed riddles in these early legal manuals were exercises to test how well the reader could calculate whether a marriage should be deemed incest. The riddles moved from legal textbooks into visual culture in the form of paintings and cheap broadside prints. This article examines a riddle painting ‘devoted’ to William Cecil when he was Elizabeth I’s principal secretary, before he became Lord Burghley and explores the painting’s links to the Dutch and Flemish kinship riddles circulating in the Low Countries in manuscript, print and painting. Cecil had a keen interest in genealogies and pedigrees as well as puzzles and ciphers. As a remarried widower with an eldest son from a first marriage and children from his longer second marriage, Cecil lived in a stepfamily typical of the sixteenth century in England and Europe. The visual kinship riddles in England and the Low Countries had a common root but branched into separate traditions. A shared element was the young woman at the centre of the images. To solve the riddle the viewer needed to determine how all the men in the painting were related to her as if she were the ego, or self, at the centre of a consanguinity tree. This article seeks to compare the elements that connect and diverge in the visual kinship riddle traditions of the sixteenth and seventeenth centuries in the Low Countries and England.
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Degrigny, Christian, Francesca Piqué, Nutsa Papiashvili, Julien Guery, Alamin Mansouri, Gaëtan Le Goïc, Vincent Detalle, et al. "Technical study of Germolles’ wall paintings: the inputof imaging technique." Virtual Archaeology Review 7, no. 15 (November 15, 2016): 1. http://dx.doi.org/10.4995/var.2016.5831.
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<p class="VARAbstract">The <em>Château de Germolles</em> is one of the rare palace in France dating from the 14<sup>th</sup> century. The noble floor is decorated with wall paintings that are a unique example of courtly love spirit that infused the princely courts of the time. After being concealed sometime in the 19<sup>th</sup> century, the paintings were rediscovered and uncovered in the middle of the 20<sup>th</sup> century and partly restored at the end of the 1990s. No scientific documentation accompanied these interventions and important questions, such as the level of authenticity of the mural decorations and the original painting technique(s) used in the medieval times remained unanswered. The combined scientific and financial supports of COSCH Cost Action and DRAC-Burgundy enabled to study Germolles’ wall paintings using some of the most innovative imaging and analytical techniques and to address some of the questions raised. The study provided significant information on the material used in the medieval times and on the conservation condition of the paintings. The data collected is vast and varied and exposed the owners of the property to the challenges of data management.</p>
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Meliksetyan, Gor. "MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/." JOURNAL FOR ARMENIAN STUDIES 2, no. 61 (April 28, 2023): 98–107. http://dx.doi.org/10.24234/journalforarmenianstudies.v2i61.51.
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Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.
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Li, Yue, and Galina V. Alekseeva. "“Formula of Water” in the Iconography of Landscape Painting in Medieval China." Observatory of Culture 20, no. 5 (November 2, 2023): 550–59. http://dx.doi.org/10.25281/2072-3156-2023-20-5-550-559.
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The theme of the sea in traditional Chinese painting is associated with the last decades of the development of the country’s artistic life, in particular with painting on the theme of the sea and ocean. The aim of the study is to determine the peculiarities of the embodiment of the image of the sea element in Chinese painting of the Middle Ages as a basis for the development of the marina genre in modern art. In the works of masters of the Song (960—1279), Yuan (1271—1368) and Ming (1368—1644) dynasties one can notice the repetition and interpretation of those “formulas” used by painters in medieval China. Such “formulas” are the established ways of depicting water surfaces with pen and ink, formed during the Song dynasty and developed in the Yuan and Ming eras until the seventeenth century. Particular emphasis is placed on the systematization of schemes for the embodiment of the sea in different states in Ma Yuan’s work, their sources, and how they were embodied and transformed by painters in subsequent periods. The use of schemes for depicting water made it possible to achieve the effect of dynamism. This was conditioned, among other things, by the specificity of artistic tools and materials used by masters, who had in their arsenal scarce artistic means. The artists endeavoured to invent and form their own method of execution for each theme. The article has theoretical and practical value. It supplements the history of the development of landscape painting in ancient China by analysing the origin and formation of the previously little-studied motif, which in the space of Chinese painting of the 20th — 21st centuries has taken a strong position.
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James, Carolyn. "Book Reivew: Painting in Late Medieval & Renaissance Siena." Forum Italicum: A Journal of Italian Studies 39, no. 1 (March 2005): 266–68. http://dx.doi.org/10.1177/001458580503900121.
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Altenburgera, Petra, Peter Kämpferb, Athanasios Makristathisc, Werner Lubitza, and Hans-Jürgen Bussea. "Classification of bacteria isolated from a medieval wall painting." Journal of Biotechnology 47, no. 1 (June 1996): 39–52. http://dx.doi.org/10.1016/0168-1656(96)01376-4.
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Novák, Antonín. "Ars sine scientia? Practical Geometry of the Medieval Painting." Průzkumy památek 27, no. 1 (June 15, 2020): 143–56. http://dx.doi.org/10.56112/pp.2020.1.11.
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Andrei, Talia J. "The Elderly Nun, the Rain-Treasure Child, and the Wish-Fulfilling Jewel: Visualizing Buddhist Networks at the Grand Shrine of Ise." Religions 13, no. 7 (June 23, 2022): 585. http://dx.doi.org/10.3390/rel13070585.
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The nunnery Keikōin was a powerful Buddhist institution, famous in late-medieval Japanese history for its vigorous and successful fundraising campaigns on behalf of the Grand Shrine of Ise. Much is known about the nuns’ fundraising activities, but very little is known about their religious practice. A recently discovered painting, I believe, sheds some light on this long-standing question. It depicts an elderly nun invoking the deity Uhō Dōji in the form enshrined at Kongōshōji, a temple situated at the top of Asama Mountain, to the east of Ise’s Inner Shrine. Based on several of the iconographic elements, I argue the nun portrayed in the painting is from Keikōin and that she is shown engaging in esoteric Buddhist practices related to those carried out at Kongōshōji. Comparative analysis with other paintings and the historical record has, moreover, led me to propose that the Keikōin nuns performed these esoteric practices at Ise’s Kora no tachi, the hall where young shrine maidens prepared the daily food offerings for Ise’s deities.
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Gladkova, D. V., and D. Yu Dorofeyev. "A visual-acoustic duet of painting and music in medieval aesthetics." E3S Web of Conferences 266 (2021): 05006. http://dx.doi.org/10.1051/e3sconf/202126605006.
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The purpose of this work is to study the visual and acoustic relationship of painting and music in the Middle Ages. When writing the article the authors focused on modern sources and used such important for the socio-humanitarian sciences methods of research as comparative, phenomenological, semiotic, art history, cultural studies and visual anthropology, which determined the interdisciplinary nature of the study, which focuses of the aesthetic specificity of the perception of the phenomenal image. The significance of the study lies in the fact that the results obtained allow to better understand the cultural foundations of the non-verbal way of perception, the peculiarities of medieval culture and aesthetics of Western Europe and its semiotic and symbolic forms, primarily in the perspective of the interaction of painting and music in the sacred and everyday spaces of the existence of medieval man.
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Dorofeev, Daniil Yu, Roman V Svetlov, Mikhail I Mikeshin, and Marina A Vasilyeva. "Iconography of Plato in antiquity and in medieval orthodox painting." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 1 (2021): 31–52. http://dx.doi.org/10.25205/1995-4328-2021-15-1-31-52.
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The article is devoted to the topic of visualization, which is relevant for the modern world in general and scientific knowledge in particular, investigated through the image of Plato in Antiquity and in medieval Orthodox painting. Using the example of Plato’s iconography as a visual message, the authors want to show the great potential for the development of the visual history of philosophy, anthropology and culture in general, as well as the new visually oriented semiotics and semantics of the image. This approach reveals expressively and meaningfully its relevance for the study of Plato’s image, together with other ancient philosophers’ images, in Orthodox medieval churches in Greece, Serbia, Romania, Bulgaria and, of course, ancient Russia in the 15th-17th cc, allowing to see the great ancient Greek philosopher from a new perspective.
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Zdravkova Djeparoska, Sonja. "Performance and Religion: Dancing Bodies in Macedonian Orthodox Fresco Painting." Arts 10, no. 4 (December 20, 2021): 88. http://dx.doi.org/10.3390/arts10040088.
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Although dance as a topic has been explored through various theoretical and thematic discourse, little attention has been paid to the presence of dance motifs in Christian imagery. An examination of Orthodox Macedonian medieval fresco painting provides a fascinating point of entry into this overlooked subject. Analysis reveals the presence of two dominant approaches, conditioned primarily by the position of dancing in the philosophical-ethical discourse present in the Bible and other late antique and medieval theological texts. Some frescoes and icons show the body as a channel through which the Lord is glorified. Others show it as an instrument and reflection of immorality instigated by demonic powers. As in each approach, the bodies have differing semantic qualities, valuable information can be obtained about the performing practices present in this historical period.
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Kriznar, Anabelle. "Material and Technical Analysis as a Support for Art-Historical Characterization of Selected Mural Paintings in Austria around 1400." Colorants 2, no. 3 (July 4, 2023): 471–86. http://dx.doi.org/10.3390/colorants2030022.
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Several medieval mural cycles in Austria were studied from the material and technical point of view, aiming to confirm (or reject) the art-historical hypothesis of their stylistic and workshop connection. These paintings can be found in the churches of Rust (“Fischerkirche”), Marz (Virgin’s Coronation parish church), Kobenz (St. Ruprecht parish church), Ofenbach (St. Veid parish church), and St. Johann am Steinfelde (St. John parish church). They were carried out around 1400 in the International Gothic style. Their workshop connections based on the style are doubtful, therefore, a material and technical study was carried out. Results showed different plaster composition, similar pigment palette, and diverse painting procedures. The murals in Marz, St. Johann, and the older register in Rust reveal important similarities such as plaster composition, predominant a fresco painting technique, the use of natural inorganic pigments, as well as many aspects of the painting procedure and modeling. On the contrary, those in Kobenz, Ofenbach, and the younger register in Rust differ considerably. The second group reveals lower quality in plaster composition, larger a secco parts, addition of synthetic pigments (Kobenz), and a rougher color modeling, indicating less skilled artists. The lower quality also results in a worse conservation state of these murals. The obtained results confirm the same workshop, but different artists in the first group, while in the second group no clear workshop/artist connection could be established.
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Stoia, Adrian. "Medieval Liturgical Vestments Depicted in the Iconographic Programs of Southern Transylvanian Churches (14th to 16th centuries)." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 27–55. http://dx.doi.org/10.1515/ress-2016-0003.
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Abstract This work sets out to list and describe the liturgical vestments present in panel and mural paintings of churches located in southern Transylvania. The surviving body of such vestments on display in the ”Brukenthal” National Museum of Sibiu and that of the Black Church of Brașov not only confirms their use in religious services, but also the fact that they served as models for Transylvanian ecclesiastical painting. Of Western derivation, this type of vestment reflects a way of thinking and stands testament to social status or to the different hierarchies within the church. It is, at the same time, an indication of the development of this kind of craft, produced by specialized workshops.
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Vojvodic, Dragan. "The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren." Zograf, no. 40 (2016): 95–116. http://dx.doi.org/10.2298/zog1640095v.
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Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.
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Emel'yanov, Andrei Sergeevich. "Anthropology in colors: from icon to Painting." Философия и культура, no. 1 (January 2023): 45–63. http://dx.doi.org/10.7256/2454-0757.2023.1.37836.
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Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered.
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Valcheva, Gergana, and Teodora Pashalieva. "DRAWING ON A STONE. THE ANCIENT STONE INSCRIPTIONS AN INTERDISCIPLINARY LESSON FOR CONTINUITY III – VII GRADE." Education and Technologies Journal 12, no. 2 (August 1, 2021): 341–43. http://dx.doi.org/10.26883/2010.212.3448.
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The lesson „Drawing on a stone. The ancient stone inscriptions“ is a successful combination of knowledge in the subjects Bulgarian language and literature, Natural sciences, History with the ability to draw and the desire to have fun. Elementary stage students love to draw. By their drawings, children express thoughts, emotions, experiences. Drawings reflect the child’s imagination, represents its dreams and desires. During classes by interests, the third graders gladly accepted to draw about a certain topic. We used their enthusiasm to present to them the basis of medieval Bulgarian country in a fascinating way. For the lesson we chose to do painting on stones. That way we could connect painting with ancient stone inscriptions. The lesson is considered to be interdisciplinary because it combined the subjects Arts, Bulgarian language and literature, Natural sciences, and History. Starting with a discussion about the stone as part of inanimate nature, we moved to the meaning of the word stone and ended with the purpose of the stone in antiquity and in the Middle Ages. Leading the lesson are the elementary school teacher, the history teacher and three seventh-graders, who with fun and games direct the attention of third-graders to the Bulgarian Middle Ages. The main goal of the lesson is the third grade students to comprehend the role of arts and the power of speech by making a connection between historical events and their reflection in art. The idea is to make third-graders feel like they’re creators of history by painting on stone, to consolidate their knowledge of the medieval Bulgarian country and to receive new information about the importance of the stone inscriptions in the Bulgarian medieval past.
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Álvarez-Romero, Carla, Ana García-Bueno, Teresa López-Martínez, Rafael Turatti-Guerrero, Noemí Montoya, and María Teresa Doménech-Carbó. "New Insights into the Medieval Hispano-Muslim Panel Painting: The Alfarje Found in a Balearic Casal (Spain)." Molecules 28, no. 3 (January 27, 2023): 1235. http://dx.doi.org/10.3390/molecules28031235.
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Hispano-Muslim culture flourished during the Middle Ages in the Iberian Peninsula and Balearic Islands. During the restoration of a Balearic nobiliary building (casal), several panels with polychrome decoration on the back side were found. They were part of an old Muslim wooden ceiling (alfarje). A multi-technique strategy including optical microscopy, infrared and μRaman spectroscopies, field emission scanning electron microscopy-X-ray microanalysis (FESEM-EDX), focused ion beam (FIB-FESEM-EDX), atomic force microscopy nanoindentation (AFM-NI), and gas chromatography-mass spectrometry (GC-MS) has been applied in the analysis of these panel paintings and has provided morphological and compositional data that have led to the identification of the materials and artistic technique as well as the alteration mechanisms due to the natural aging and the adverse conditions of conservation. As a novelty, this study has confirmed the use of indigo as a blue pigment, an unusual material in Hispano-Muslim panel painting. Apart from the notable change in the visual appearance observed in the paintings, the study has also confirmed a change in the mechanical resistance in the paint layers. These changes have been induced by the combination of the chemical and microbiological alteration mechanisms identified.
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Rajbhandari Kayastha, Swosti. "Exhibition Review: Painting Exhibition on Art through the Ages by Hari Prasad Sharma." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (July 6, 2023): 100–108. http://dx.doi.org/10.3126/sirjana.v9i1.56274.
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Nepal through the Ages: Reviving Ancient and Medieval Culture and Architecture: A Painting Exhibition of the Complete Works of Senior Artist, Hari Prasad Sharma organized by Nepal Heritage Society, Himal Association and Social Science Baha on September 6 – 26, 2019 at Nepal Art Council, Baber Mahal
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Varenov, A. V., and T. A. Pan. "Medieval Chinese Painting “Nomads” and the Problem of its Attribution." Vestnik NSU. Series: History and Philology 21, no. 4 (April 17, 2022): 21–41. http://dx.doi.org/10.25205/1818-7919-2022-21-4-21-41.
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Ratté, Felicity. "Architectural Invitations: Images of City Gates in Medieval Italian Painting." Gesta 38, no. 2 (January 1999): 142–53. http://dx.doi.org/10.2307/767186.
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Pajic, Sanja. "Representations of medical instruments and equipment in Serbian medieval painting." Zograf, no. 38 (2014): 59–76. http://dx.doi.org/10.2298/zog1438059p.
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The paper topic is identification of medical instruments and equipment using the images preserved in Serbian medieval painting. This topic has not been the subject of special study in the Serbian science. Medical instruments and equipment make an integral part of iconography of saint physicians. The following medical instruments have been displayed: knives, probes, spoons, tweezers, as well as various carrying boxes for equipment (square-like and cylindrical) and cases, and glass vessels for medical lubricants. Identification has been carried out owing primarily to late Roman remains of medical instruments and equipment, while such remains originating from Byzantine period are very rare.
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Jacobus, Laura. "Poetics and Painting in Late-Medieval and Early Renaissance Italy." Art History 33, no. 5 (November 16, 2010): 910–15. http://dx.doi.org/10.1111/j.1467-8365.2010.00787.x.
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