Relevant bibliographies by topics / Mural paintings and decoration, Korean

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Academic literature on the topic 'Mural paintings and decoration, Korean'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mural paintings and decoration, Korean"

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Park, Eun-Kyung. "Mural Paintings of the Korean Buddhist Temples - Decorating elements and expressional realms from different time periods." Journal of Buddhist Art 28 (October 30, 2019): 371–97. http://dx.doi.org/10.36620/bms.2019.28.15.

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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.

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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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Dahmani, Fatma. "A Reassessment of the Location of the Mural Paintings in the Caliphal Palace of Samarra." Der Islam 97, no. 2 (2020): 367–404. http://dx.doi.org/10.1515/islam-2020-0026.

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AbstractThe mural paintings discovered in the Caliphal Palace of the ʿAbbāsid city of Samarra constitute a rare example of figural decoration in an urban Islamic palace as well as one of the most important testimonies to Medieval mural paintings that have come down to us from the region. However, as with the rest of the Samarra finds, these paintings suffered significant damage and were published several years after their excavation (Herzfeld, E., Die Malereien von Samarra, Berlin 1927). Although valuable in many respects, this publication presents a breach of methodology, as it does not attend to either the archaeological or architectural contexts. It also contains several information gaps and inaccuracies. One of the main issues not properly addressed is the exact location of the paintings within the building. Researching various archival and museum collections and taking into account studies on the interpretation of the palace layout, this analysis has shown that the location of the paintings is much more complex than indicated in the publication; these were found in both private areas of the complex and in a few public ones too. This is confirmed by some medieval texts, which provide important information for the study of this material.
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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 specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.
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Plante, Michael. ""Things to Cover Walls": Ellsworth Kelly's Paris Paintings and the Tradition of Mural Decoration." American Art 9, no. 1 (1995): 37–53. http://dx.doi.org/10.1086/424232.

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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating." Zograf, no. 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.

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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.
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Naydenova, Mellie. "Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire." Antiquaries Journal 86 (September 2006): 179–205. http://dx.doi.org/10.1017/s000358150000010x.

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This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.
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Ha, Jin-Wook, and Sang-Jin Lee. "Identification of natural inorganic pigments used on 18th century Korean traditional mural paintings by using a portable X-ray fluorescence." Journal of Industrial and Engineering Chemistry 28 (August 2015): 328–33. http://dx.doi.org/10.1016/j.jiec.2015.03.011.

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Meijer, Bert W. "Lambert Sustris in Padua: fresco's en tekeningen." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 3–16. http://dx.doi.org/10.1163/187501793x00072.

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AbstractThe Amsterdam painter Lambert Sustris stayed in Padua in the 1540s. During this period he worked, among other things, on a number of murals in palazzi and ville suburbane, and also in villas outside Padua and near Vicenza. Some of these murals still exist, others have vanished. A few drawings by Sustris associated with lost murals have however survived. In Padua, Sustris first worked in a subordinate position under Domenico Campagnola and Gualterio Padovano; later, having attained an independent status, he collaborated with the latter and with Andrea Schiavone, among others. Most of the buildings and mural decorations were designed to recreate and renew Classical Antiquity. Some were influenced by Raphael and the artistic climate in Rome and Mantua after 1530, in which followers such as Giulio Romano figured so prominently. Before going to Padua, Sustris had very likely been in Rome and perhaps in Mantua as well. His patrons in Padua, men like Alvise Cornaro and Marco Mantova Benavides, were members of the city's humanist circles, which were strongly orientated towards Rome and Classical Antiquity. The Amsterdam artist is largely responsible for the importance of the landscape in these paintings with their air of antiquity, paintings which in the case of the villas represent the earliest phase of villa decoration in the Veneto. Sustris' landscapes and figures alike clearly bear witness to a connection with Titian, whose paintings Sustris had probably furnished with landscapes earlier on. Further influences on Sustris' work during this period were primarily Raphael, Francesco Salviati and Parmigianino. Partly on the basis of the murals and drawings attributed here to Sustris, there are justifiable grounds for concluding that in recent decades the influence and position of Giuseppe Porta Salviati in Venice and Padua has been overestimated, to Sustris' disadvantage. Except for during his Padua period, the Amsterdam artist received few public commissions. He consequently sank into almost total oblivion fairly soon after his death. From as early on as the late sixteenth century some of his paintings, by virtue of their style and high quality, were taken for masterpieces by Titian.
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김건희. "A Study on the Origin of Korean Ideal Worlds Identified based on the Taoist-Buddhist Mixed Perspective on Afterlife Found on Mural Paintings of Ancient Tombs from the Goguryo Dynasty - With a Focus on the Buddhist Elysium and Land of Hermits with Mysterious Powers on Mural Painting of the Goguryo Ancient Tombs -." Journal of Korean Studies ll, no. 43 (2012): 285–311. http://dx.doi.org/10.17790/kors.2012..43.285.

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Dissertations / Theses on the topic "Mural paintings and decoration, Korean"

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Meyers, Julia Isabell. "Prehistoric Wall Decoration in the American Southwest: A Behavioral Approach." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194060.

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Major social and demographic changes occurred during the Pueblo IV Period (AD 1300-1600) in the American Southwest. Small scattered communities aggregated into large settlement centers with more complex social organization during this period. Mural paintings created at this time are dramatically different stylistically from murals created before the social and demographic shift. At Homol'ovi in northeastern Arizona, these mural changes were accompanied by changes in plastering behaviors, including the development of distinct pigment use patterns.The hypothesis of the present study is that the visual performance characteristics of Hopi wall decorations, such as pigment sources, wall plaster colors and mural painting motifs, were part of a complex communicative system that changed as social power relationships changed and new rituals were established to support and legitimize the new social organization.Using inexpensive optical plaster and mural analysis techniques and XRF analysis of pigment samples from the ancestral Hopi sites of Homol'ovi I, Homol'ovi II and Chevelon, this research demonstrates the significance of wall decorations as social and political indicators marking transitions that occurred during the Pueblo IV and contact periods.
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Li, Chun-tung, and 李俊彤. "Envisioning authority: the Mongol imperium and the Yonglegong mural paintings and architecture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48079911.

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This thesis addresses the question of how the Mongol imperium’s patronage in combination with Quanzhen Taoist proselytism inspired the mural paintings and architectural forms of the Yonglegong永樂宮. The Taoist temple of Yonglegong was constructed during the Yuan dynasty (1279-1368) on the site of the former residence of the Taoist immortal L? Dongbin呂洞賓. During the period of the temple’s construction from 1244 to 1358, the Quanzhen 全真order, to which the Yonglegong was affiliated, thrived under the Mongol imperium. Previous scholarship has emphasized the Quanzhen order’s autonomous and exclusive role in the formation of Yonglegong. An analysis of the development of the Quanzhen from its establishment in late Jin dynasty (1115-1234) to its rise to prominence during the Yuan suggests that it received significant imperial supports and thus was not wholly autonomous. The Quanzhen order’s development was intertwined with and propounded by imperial patronage. The Yonglegong’s status as one the three holiest patriarch halls of the order ensured its centrality as a showpiece of the Mongol-Quanzhen collaboration. This study explores the iconographic innovations of Chaoyuantu 朝元圖 (Paying homage to the Origins), a representation of the Taoist universe, a subject that existed in pre-Yuan art; and the Hagiography of L? Dongbin, a new category of Taoist imagery. These two mural painting programs show different modes of appropriation. In the Chaoyuantu, the Mongol imperium altered the scheme of depiction and inserted new iconography in order to register their claims over established traditions of representation. As for the depiction of L? Dongbin, prior to Yonglegong, the immortal was only represented in single scenes, not in a fully developed biographical narrative. The Hagiography of L? Dongbin represents arguably a new genre of narrative depiction that facilitated an alternative ideology. Such alterations are regarded in this thesis as evidence that illustrates the shared interests of the Mongol imperium and the Quanzhen order as they intersected. In comparison with the mural paintings, the Yuan dynasty architectural structures’ significance has not been adequately recognized in earlier scholarship. This thesis reexamines the implications of the architectural features’ parameters and the unique alignment of structures in the Yonglegong. As such this study acknowledges the Yonglegong’s multiple identities as a complex that serves both the imperial and religious interests. It also evaluates the extent to which the architectural structures directed the organization and presentation of the mural paintings they housed. Through the reclamation of Yongleong’s historical context, aligned as it was with a Mongol-Quanzhen collaboration, this study recognizes the larger significance of the temple complex. The Mongol imperium in combination with the Quanzhen order have given rise to a new formulation of Taoist mural paintings and architecture with new iconography, themes and modes of representation.
published_or_final_version
Fine Arts
Master
Master of Philosophy
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Guerry, Emily Davenport. "The wall paintings of the Sainte-Chapelle." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608270.

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Şerifaki, Kerem Böke Hasan. "Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/." [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.

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Loon, Gertrud J. M. van. "The gate of heaven wall paintings with Old Testament scenes in the altar room and the h̲ūrus of Coptic churches /." Istanbul : Leiden : Nederlands Historisch-Archaeologisch Instituut te Instanbul [sic] ; Nederlands Instituut voor het Nabije Oosten, distributor, 1999. http://catalog.hathitrust.org/api/volumes/oclc/43423978.html.

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Books on the topic "Mural paintings and decoration, Korean"

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1952-, Yi T'ae-ho, ed. Early Korean art and culture: Koguryo tomb paintings. Society for Korean and Related Studies, 2011.

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To-hwa, Pak, та Kim Kwang-u, ред. Sachʻal pyŏkhwa: Hanʾguk Pulgyo sachʻal e kŭryojin kŭrim. Misul Munhwa, 1999.

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Kkot tam. Taewŏnsa, 1989.

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Kkottam. Taewŏnsa, 1989.

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Pangmulgwan, Kungnip Kwangju. Koguryŏ kobun pyŏkhwa mosado: The replicas of Goguryeo tomb paintings. Tʻongchʻŏn Munhwasa, 2005.

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Sin, Hyŏng-sik. Chiban Koguryŏ yujŏk ŭi chosa yŏngu. Kuksa Pʻyŏnchʻan Wiwŏnhoe, 1996.

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Chŏn, Ho-tʻae. Kobun pyŏkhwa ro pon Koguryŏ iyagi. Pʻulpit Chʻulpʻansa, 1999.

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Sin, Hyŏng-sik. Chiban Koguryŏ yujŏk ŭi chosa yŏngu. Kuksa Pʻyŏnchʻan Wiwŏnhoe, 1996.

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Koguryo tomb murals. ICOMOS-Korea, 2004.

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Yebindo e poin Koguryŏ: Tang Yi Hyŏn myo yebindo ŭi chougwan ŭl ssŭn sajŏl e taehayŏ. Sŏul Taehakkyo Chʻulpʻanbu, 2003.

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