Relevant bibliographies by topics / Sand painting

Contents

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

Academic literature on the topic 'Sand painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Sand painting"

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Chang, Chin-Chen, and Ping-Hao Peng. "Sand Painting Generation Based on Convolutional Neural Networks." Journal of Imaging 10, no. 2 (2024): 44. http://dx.doi.org/10.3390/jimaging10020044.

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Neural style transfer is an algorithm that transfers the style of one image to another image and converts the style of the second image while preserving its content. In this paper, we propose a style transfer approach for sand painting generation based on convolutional neural networks. The proposed approach aims to improve sand painting generation via neural style transfer, which can address the problem of blurred objects. Furthermore, it can reduce background noise caused by neural style transfers. First, we segment the main objects from the content image. Subsequently, we perform close–open
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Lee, Hwa Soo, Yeong Gyeong Yu, and Kyeong-Soon Han. "Material and Manufacturing Properties of Bracket Mural Paintings of Daeungjeon Hall in Gaeamsa Temple, Buan." Journal of Conservation Science 38, no. 1 (2022): 45–54. http://dx.doi.org/10.12654/jcs.2022.38.1.04.

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This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more per
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Kostner, Anna. "Painting as Drama. Staging Dialogue in Anselm Kiefer." Analele Universității de Vest. Seria Științe Filologice 61, no. 1 (2023): 175–91. http://dx.doi.org/10.35923/autfil.61-1.12.

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It has frequently been pointed out that Paul Celan’s poems have a dialogic impulse. In this respect, Anselm Kiefer’s paintings can be considered the pictorial extension of Celan’s poetic structures. I will argue that with the inscriptions on his paintings, Kiefer exhibits dialogic moments, relating different perspectives to one another, thereby attempting to understand painting as drama; that is, to create a place for visual experience where no epic narrative is told, but an ongoing and dramatic conflict is acted out. This will be illustrated by a closer look of two of Kiefer’s paintings: The
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Wu, Tao, Xia Chen, and Liqiong Lu. "Field Coupling-Based Image Filter for Sand Painting Stylization." Mathematical Problems in Engineering 2018 (2018): 1–18. http://dx.doi.org/10.1155/2018/3670498.

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Sand painting is a very new and popular performance art technique, and it has important meaning for the artistic creation. Computer-aided sand painting is now in the ascendant, whose fully automated mechanism is still an attractive challenge. Image data field, inspired from short-range nuclear force in physics, is introduced into sand painting stylization. With preserving edges and features, a fully automatic image filter pipeline based on image field coupling is proposed, which consists of three main steps, including image data field generating, multiscale field coupling, and additional detai
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Yu, Yeong Gyeong, Bong Goo Jee, Ran Young Oh, and Hwa Soo Lee. "Manufacturing Technique of the Avalokitesvara Bodhisattva Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 38, no. 4 (2022): 334–46. http://dx.doi.org/10.12654/jcs.2022.38.4.08.

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The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt
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Hui, Fan, Chen Zheng, and Li Jinjiang. "Image Sand Style Painting Algorithm." Applied Mathematics & Information Sciences 8, no. 2 (2014): 765–71. http://dx.doi.org/10.12785/amis/080237.

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Khachibabyan, S. S., and I. R. Khanamiryan. "SAND PAINTING AS A STIMULATOR FOR DEVELOPMENT OF IMAGINATION AMONG JUNIOR SCHOOL CHILDREN." Modern Psychology 2, no. 1 (3) (2019): 16–25. http://dx.doi.org/10.46991/sbmp/2019.2.1.016.

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This article focuses on the study of role of sand painting in the process of development of creativity. The article covers the course of an experiment conducted with the aim of development of creative qualities; the data and analysis thereof received as a result of study of one of the creative qualities, i.e. imagination; as well as the description of the sand painting project applied in the design stage of the experiment. The article is aimed at showing the role of sand painting in the process of development of creativity among junior schoolchildren upon analyzing such role within the context
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Hoyer, Jennifer M. "Painting Sand: Nelly Sachs and the Grabschrift." German Quarterly 82, no. 1 (2009): 24–41. http://dx.doi.org/10.1111/j.1756-1183.2009.00037.x.

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Sana, Ashraf T. "KERALA MURAL ART AND ITS TRADITIONAL PROCEDURES TO PAINT ON WALLS BY USING NATURAL MATERIALS." International Journal of Interdisciplinary Research in Arts and Humanities (IJIRAH) 5, no. 2 (2020): 4–8. https://doi.org/10.5281/zenodo.4013959.

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Mural paintings are usually seen in the walls and ceilings of temples and churches. Earlier Mural forms used natural materials and vegetative colors such as herbal dyes, fruits juices, and also chemicals obtained from stones and roots etc. Five colors are majorly used red, yellow, green, black, and white. Painting brushes are prepared by taking from grass and bamboos. Wooden utensils are used to mix colors and roller stone is to grind the mudstones to make pigment paste. Wall for traditional murals is done in three stages. The brick wall is a plastered mixture of lime and clean sand, different
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Kaczmarek, Romuald. "Silesian painter Johann Lichtenstein (1610 – after 1672) and his epitaph for Johann von Götz und Schwanenfließ, president of the city council of Wrocław." Quart, no. 3(73) (December 17, 2024): 64–103. https://doi.org/10.19195/2449-9285.73.8.

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The Wrocław painter Johann Lichtenstein has been rediscovered thanks to an extensive autobiographical inscription he placed on one of his own paintings in the Church of St. Mary on the Sand in Wrocław. It tells us that he was born in Kąty Wrocławskie (German: Canth), that he left Wrocław in 1633, where he probably took his first painting lessons, and that in the course of his travels he visited the home of Peter Paul Rubens in 1636, and then, still on the move, served various mighty lords. Although he returned to Wrocław in 1648 and was active here afterwards, he did not abandon his expedition
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Dissertations / Theses on the topic "Sand painting"

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Molnar, Valerie Anne. "If Your Love Were A Grain Of Sand Mine Would Be A Universe Of Beaches." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/685.

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Each stitch is a piece of me that I give, a moment of my life and a unit of my love, meticulously culminated into a universal visual language. The optimist in me knits for the cause, while my formalist counterpart works to make the images that sell my thoughts. I knit for the lovers.I make these objects as a practice and a confirmation of my optimism. I make these images to communicate and persuade as a serious contender while at the same time retaining my own optimism and sanity by promising to never take myself too seriously.
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Mathias, Manon Hefin. "'Apprendre à voir' : the quest for insight in George Sand's novels." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.

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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine
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Ardelius, Blane Mercedes. "Ordmånglarens Brunn Wordmonger’s Well." Thesis, Kungl. Konsthögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-533.

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In my essay I am looking at the common heritage of written signs and images through my own experience of attention deficiency and mental illness. Through this lens of experience in which words and images are vividly transformed and merged, I am reflecting on language and art and their overlapping. Throughout the text I reference early written entirely pictorial languages, the painterly terms of thought disorders, as well as how the images that gave name to the characters in the phonetic alphabet is still lurking in the very letters themselves. I also exemplify how attention deficiency can evok
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Perkins, Aaron M. "Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.

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This practice-led research project investigates the potential for a philosophically defined and criterial notion of fiction to function within the medium of painting. It develops Kendall L. Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of imagining in its viewer. Although painting has not art-historically distinguished between fiction and non-fiction, the research demonstrates the intuitive usefulness of such a classification. The research then ar
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Dayman, Karen. "The Ngurrara artists of the Great Sandy Desert: painting to claim native title." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/17632.

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This thesis explores the forces that brought two vast collaborative paintings known as Ngurrara Canvases I & II into being. The larger of the two works, Ngurrara Canvas II sits firmly amongst a small number of celebrated, politically charged Indigenous Australian artworks. Despite this, the production of these two works has had scant attention. Unlike the work of artists from desert communities to the south east, very little has been written about the emergence of painting practice amongst those from the Great Sandy Desert who drifted north, from the mid 1950s, towards cattle stations and the
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Wang, Momo. "Multi-analysis of the Wood Painting "Polyptych of the Virgin" by Antonio Vivarini and Stefano da Sant' Agnese in Church of San Zaccaria." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31197.

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Introduction: The Polyptych of the Virgin studied by this thesis, is composed of five tempera paintings. They’re painted by two different artists, Antonio Vivarini and Stefano da Sant’Agnese. Currently, this Polyptych of the Virgin has been commissioned by ICR for restoration. In so far, there have been no attempts to analyze this “Polyptych of the Virgin.” Therefore, the scientific results can help understand the artist’s techniques and the material used to understand the paintings better. In this thesis, the objects will be studied mainly by image analysis (IR\UV\radiographic) and in-situ XR
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Marquès, Balagué Mercè Esther. "Sant Climent de Taüll: La restauració de les pintures murals i les aportacions a l’estudi del monument." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/399996.

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El projecte de la tesi doctoral sorgeix després de la realització de les campanyes de restauració de la pintura mural fetes a l’església de Sant Climent de Taüll. El treball d’investigació dut a terme en el marc de la tesi se centra en l’estudi de les pintures murals però també fa una aproximació a l’estudi de les fases de configuració constructiva de l’església. Es presenta un compendi dels models de les decoracions monocromes simples, associades al carreuat constructiu i es reclama l’atenció sobre la decoració cromàtica pintada a les façanes exteriors de la torre del campanar i dels absis. E
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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.

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Bibliography: p. 206-228.<br>Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an exten
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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school ove
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Zhou, Yang. ""Sposalizio di S. Caterina" of Adriaen Isenbrant: diagnostic analyses of the painting with the aid of restoration." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27682.

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Abstract: This study investigates the conservation status, previous intervention, executive techniques and pigment materials of the painting “SPOSALIZIO DI S. CATERINA”, attributed to Adriaen Isenbrant back to 16th century. The analysis was carried out based on the combination of scientific examination and restoration exploration. The scientific examination includes both in-situ non-invasive techniques and laboratory micro-destructive techniques. Non-invasive examination consists of the application of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false color (IRFC
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Books on the topic "Sand painting"

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Bradford, Will. The sand painting. Chivers, 1991.

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Amslinger, Ingrid. Sand und Asche: Hannsjörg Voth, Ingrid Amslinger : Materialbilder, Fotografien, Marha-Ebene 1987-2006. Museum Moderner Kunst Wörlen, 2018.

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Young, Michael. Michael Young: Sand paintings. Runkel-Hue-Williams, 1989.

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Art, Austin/Desmond Fine, ed. The prose of painting: The work of seven figurative artists who studied at the Slade School of Art, London, in the '70'sand 80's. Austin/Desmond Fine Art, 1991.

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U, Sang-gi. U Sang-gi = Woo, Sang-ki. Chŏnbuk Yesul Hoegwan, 2006.

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Chang, Un-sang. Mokpul Chang Un-sang: Mokpul Chang Un-sang ŭi yesul. [Yi Sin-ja], 2012.

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U, Sang-gi. U Sang-gi. Tŏgwŏn Misulgwan, 1995.

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Sukra, I. Wayan. The paintings of Ni Nyoman Sani. Kotakotak Pub., 2006.

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Parkington, John. Cederberg rock paintings. Living Landscape Project, 2003.

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Issam, El-Said. Issam El-Said: Artist and scholar. Issam El-Said Foundation, 1989.

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Book chapters on the topic "Sand painting"

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Urbano, Paulo. "The T. albipennis Sand Painting Artists." In Applications of Evolutionary Computation. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-20520-0_42.

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Davis, Whitney. "The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45KA) at Wadi Defeit, Egypt." In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_11.

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AbstractThe paper reports the discovery in 2018 of a Middle Paleolithic painted rock shelter (dubbed “The Hunter’s Shelter”) in the remote upper reaches of the Wadi Defeit in far southeastern Egypt (just north of the climatologically significant latitude 22° N) by a team from the University of California at Berkeley. The paintings depict two elephants being attacked by encircling human beings wielding spears, in dangerous procedures documented by ethnohistorical accounts of indigenous elephant hunts in central Africa. One of the elephants is partly superimposed on a running or leaping lion (no
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Goodson, Caroline J. "The Devotional Paintings." In Walls and Memory: The Abbey of San Sebastiano at Alatri (Lazio), from Late Roman Monastery to Renaissance Villa and Beyond. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.dm-eb.4.00006.

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Edwards, Howell G. M. "The Life and Death of Raphael Sanz di Urbino." In A Raphael Madonna and Child Oil Painting: A Forensic Analytical Evaluation. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-72271-4_2.

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Meibauer, Jörg. "Chapter 3. As ‘objectively’ as possible. On truth and objectivity in photographic early-concept books." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.03mei.

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Photographic picturebooks appear to have a special relationship to reality. In contrast to paintings and drawings, photos are often said to convey true and objective information about the world. Drawing on recent work in picture theory and the philosophy of pictures, the question is posed as to what extent this general picture is correct. This chapter contributes to the theoretical debate by analyzing The First Picture Book (1930) by Mary Steichen Calderone and Edward Steichen (phot.), viewed as a photographic archetype. Moreover, the differences to The Second Picture Book (1931) by the same a
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Fradenburg, L. O. Aranye, and Eileen A. Joy. "Unlearning." In The Pedagogics of Unlearning. punctum books, 2016. https://doi.org/10.21983/p3.0140.1.08.

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Probably most of us would agree that, however expert we might become in this or that specialty, we are not richly educated until we have experience of a wide range of disciplines and method-ologies — a range that includes critique and creativity, analysis and immersion, learning and unlearning. To our sorrow, this conception of education is rapidly losing favor with the citizen-ry. There are, of course, pushbacks. San Francisco took to the courts to defend the nature of its City College’s (CCSF) course offerings from the so-called “student success” movement, which preaches efficiency and “prog
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Mastroiacovo, Tanja, Maria Pilar Soriano Sancho, and José Luis Regidor Ros. "Design of Tables with Unified Criteria for the Preliminary Phases of the Study of Cultural Heritage: Risk Indicators and Priorities." In Springer Proceedings in Archaeology and Heritage. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-85655-6_14.

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Abstract This investigation presents the results derived from the design and use of registry tables drawn up according to unified criteria on the preliminary phases of diagnosing cultural heritage, presenting the advantages, limitations and improvement margins obtained after the first application experiences. This project emerged from the need to find a useful operating method to be applied in conditions with limited resources and a large number of works or elements. The aim is to provide an objective approach to comprehension of the general and specific conservation state of said works, thus
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Maconie, Robin. "Communication." In The Concept of Music. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198162155.003.0001.

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Abstract Seeing a strange footprint in the sand, the castaway understood the most fundamental of human messages: that he was no longer alone. The message was unintentional, unexpected, but none the less utterly unmistakable. Somebody had passed by that way. Someone else was on the island. The tide had not washed the print away; wind and rain had not dispersed it. It had to be recent; it had to mean somebody nearby. Impressions taken from life are extraordinarily vivid. A thumb print on an ancient pot, or a paw print on a medieval floor tile, are written in a universal language which transcends
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Aarts, Bas. "Introduction." In Syntactic Gradience. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199219261.003.0001.

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Abstract Eubulides of Megara’s celebrated Paradox of the Sorites (or Heap) brings to the fore the problems we face in setting up boundaries in the world around us: when can we call a collection of grains a heap? When we have one or ten or fifty? Is there a cut-off point such that a certain number of grains of sand form a heap, but n– grains do not? What about a man with three hairs; is he bald? What if he has one thousand hairs? And again, is there a point at which we can say ‘a man with n hairs is bald, but a man with n+1 hairs is not’? Similarly, if we line up the Mona Lisa in the Louvre wit
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Hewison, Robert. "Critic of contemporary art." In John Ruskin. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199213498.003.0003.

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Abstract Turner, Gothic architecture, and the Pre-Raphaelites were the topics of Ruskin ’s four Edinburgh lectures of 1853, published the following year in revised form as Lectures on Architecture and Painting. A writer for the Edinburgh Guardian recorded this impression of Ruskin’s first public appearance as a lecturer: Mr Ruskin has light sand-coloured hair; his face is more red than pale; the mouth well cut, with a good deal of decision in its curve, though somewhat wanting in sustained dignity and strength; an aquiline nose; his forehead by no means broad or massive, but the brows full and
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Conference papers on the topic "Sand painting"

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Li, Xiuyang, Yahao Wang, and Gonjin Chen. "Sand Painting Manipulator Based on Adaptive Iterative Learning Algorithm." In 2024 9th International Conference on Intelligent Computing and Signal Processing (ICSP). IEEE, 2024. http://dx.doi.org/10.1109/icsp62122.2024.10743987.

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Shalaby, H. M., F. Al-Sabti, and K. Al-Muhanna. "Atmospheric Corrosion Mapping of Kuwait." In CORROSION 2007. NACE International, 2007. https://doi.org/10.5006/c2007-07342.

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Abstract Bare carbon steel (CS), galvanized steel (GS), copper and anodized aluminum (Al) as well as painted CS and Al were exposed to the atmosphere of Kuwait at 85 sites. The exposure was for six and five years for the bare and painted metals, respectively. Polyurethane, acrylic water-based and acrylic solvent-based enamel paints were used in painting CS, while sprayed polyester powder was used for Al. The performance of the bare metals was evaluated through weight loss measurements, while the performance of the paints was evaluated by measuring loss in gloss. Rust grade and rust creepage at
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Hu, Mengjie, Meng Yang, Jiayou Xu, Lei Lei, Qi Su, and Xinzhu Huang. "Multi-touch Simulation System for Sand Painting." In 2020 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2020. http://dx.doi.org/10.1109/icvrv51359.2020.00057.

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Yang, Meng, Shu Ding, Xiaoyu He, et al. "Algorithm of Sand Painting Simulation Based on Kinect." In 2016 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2016. http://dx.doi.org/10.1109/icvrv.2016.77.

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Yang, Meng, Mengjie Hu, Lei Lei, et al. "Colored Sand Painting Simulation Based on Detail Preservation." In 2020 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2020. http://dx.doi.org/10.1109/icvrv51359.2020.00037.

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Wu, Tao, Xia Chen, and Limin Zhang. "Cloud model-based algorithm for uncertain strokes of interactive sand painting." In 2017 13th International Conference on Natural Computation, Fuzzy Systems and Knowledge Discovery (ICNC-FSKD). IEEE, 2017. http://dx.doi.org/10.1109/fskd.2017.8392977.

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Li, Fangfang, Dong Sun, De Zhu, Yunsheng Duan, and Yixiang Lu. "Computer Generated Algorithm of Sand Painting Based on Convolutional Neural Network." In 2019 11th International Conference on Intelligent Human-Machine Systems and Cybernetics (IHMSC). IEEE, 2019. http://dx.doi.org/10.1109/ihmsc.2019.10116.

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Gunji, Manami, Taiga Shoen, Hirohisa Mieno, and Yasuo Kawaguchi. "Proposal and Verification of Estimation Method for Turbulent Frictional Drag of Irregularly Roughened Surface From the Roughness Curve Measurement." In ASME 2016 Fluids Engineering Division Summer Meeting collocated with the ASME 2016 Heat Transfer Summer Conference and the ASME 2016 14th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/fedsm2016-7728.

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The relationship between the pressure drag of a Tayler-Couette flow over rough structures including semi-sphere shaped, conically-shaped and painting irregularly distributed on a wall surface was investigated experimentally. A concentric cylinder device composed of an inner test cylinder and an outer cylinder was employed. The 2-dimensional roughness height of painting surfaces are measured by inline profile measuring instrument, and the roughness curve and the probability density function (PDF) of 2-dimensional roughness height can be obtained at the same time. Then, the 3-dimensional roughne
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Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to ch
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Grigorova, Totka. "THE THEME OF CYRIL AND METHODIUS IN THE WALL-PAINTINGS AT THE ARAPOVO MONASTERY." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.22.

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The following paper is an attempt at a complete analysis of the theme of Cyril and Methodius in the iconography at the Arapovo Monastery. In 1864 in the cella of the “St. Nedeliya” church, ten paintings, depicting the work of the Slavic teachers, were painted. They have been examined numerous times over the years, but different publications offer different interpretations of depiction for each of the scenes. The paper presents the current condition, as well as content, of said depictions. An attempt has been made to provide a background for the scenes depicted, based on available texts from th
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