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1
Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.
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Bellingham, David Charles. "Sympotic scenes in Romano-Campanian wall-painting." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525923.
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Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.
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Balmuth, Sara. "Raman analysis of a Maya wall painting." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29038.
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Ek’ Balam is a Maya archaeological site located in Yucatán, Mexico. Due to its considerable size, the
quality of its monumental architecture, and its substantial epigraphic record, archaeologists believe
that it was a powerful regional polity throughout the Late and Terminal Classic period. As part of
restoration projects conducted in the early 2000s, Vandenabeele et al. (2005a) employed Raman
spectroscopy using a traditional benchtop spectrometer as well as an early portable Raman
spectrometer to analyze thirty-three samples of a wall painting from Room 23 of the Ek’ Balam
Acropolis. In the present thesis, these same samples were analyzed using two new mobile Raman
spectrometers. The B&WTek i-Raman EX is a portable spectrometer that utilizes a 1064-nm excitation
source and a TE-cooled InGaAs detector, while the Bruker BRAVO is a handheld spectrometer that
uses a dual laser excitation source and employs a patented process known as Sequentially Shifted
Excitation (SSETM) to automatically subtract fluorescence. By comparing current results to the data
acquired in 2005, the performance of these two relatively new spectrometers was evaluated. The
results show that the new instruments successfully captured spectra of calcite, haematite, cinnabar,
Maya blue, and carbon black, all of which were reported in the original study. In addition, the new
data indicates the presence of limewash putty or slaked lime, as well as the possible presence of
oxalates. Although the new instruments showed some disadvantages with regard to spot size, focusing
capabilities, spectral resolution, and signal-to-noise ratio when compared to benchtop
instrumentation, the results indicate that the new mobile spectrometers show a great deal of promise
for future cultural heritage studies, especially in cases where sampling cannot occur or can only occur
sparingly; Resumo:
Ek’ Balam é um sítio arqueológico Maya localizado em Yucatán, no México. Devido ao seu tamanho, a
qualidade de sua arquitetura monumental e seu registro epigráfico substancial, os arqueólogos
acreditam o sitio Ek' Balam como evidencia duma política regional poderosa durante todo o período
clássico final e terminal. No âmbito de projetos de restauração conduzidos no início de 2000,
Vandenabeele et al (2005a) utlizou espectroscopia Raman usando um modelo de bancada tradicional,
bem como um espectrômetro Raman portátil antigo para analisar 33 amostras de uma pintura de
parede da Sala 23 da Acrópole Ek' Balam. Na presente tese, as mesmas amostras foram analisadas
usando dois espectrômetros Raman portáteis relativamente inovativos. O sistema B & WTek i-Raman
é um espectrômetro portátil que utiliza uma fonte de excitação de 1064 nm e detector InGaAs,
enquanto o Bruker BRAVO é um espectrômetro portátil que usa um sistema de laser duplo e emprega
um processo patenteado conhecido como Sequentially Shifted Excitation (SSETM) para subtrair
automaticamente a fluorescência. Ao comparar os resultados atuais com os dados mais antigos
adquiridos em 2005, o desempenho desses dois espectrômetros relativamente novos foi avaliado. Os
resultados mostram que os novos instrumentos capturaram com sucesso os espectros de calcita,
hematita, cinábrio, azul Maya e carbono, todos relatados no estudo original. Além disso, os novos
dados indicam a presença de massa de cal ou cal apagada, bem como a possível presença de oxalatos,
que não puderam ser detectados em 2005. Embora os novos instrumentos apresentem algumas
desvantagens em comparação com a instrumentação de bancada, incluindo o tamanho do ponto,
capacidades de foco, resolução espectral e relação sinal-ruído, os resultados indicam que os novos
espectrômetros portáteis mostram uma grande promessa para futuros estudos de patrimônio
cultural, especialmente em casos onde a amostragem não pode ocorrer ou pode ocorrer apenas com
moderação.
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Kristoff, Donna. "Wall works : painting as record and revelation /." Online version of thesis, 1992. http://hdl.handle.net/1850/11746.
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Baird, Kathryn. "Secular wall painting in the sixteenth and seventeenth centuries." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:bcc25824-3997-43ce-91d1-a58331519d68.
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Wall paintings survive in many houses dating from the late sixteenth and early seventeenth centuries yet, apart from recording the phenomenon, there has been very little written about them. This research explores how common wall paintings were, what sort of houses had them, when they were painted and most importantly, what was their significance in terms of what they can reveal about the lives of the people who chose to decorate their homes in this manner. Research has concentrated on the Welsh Marches although examples from elsewhere have been referred to. The research hypotheses are: - 1. Wall paintings were much more widespread than existing records suggest and were probably universal where there was money to spend on embellishing a house.
- 2. Following on from this, wall paintings would have been found in houses throughout the social scale, apart from the humblest dwellings.
- 3. The paintings were executed by itinerant painters who used pattern books as a source of design.
- 4. This form of decoration was most commonly found in the period 1550-1625, with few paintings prior to this date and a rapid decline in numbers after this period.
- 5. In some cases there is a connection between the content of the painting and the function of the room.
7
Reiss, Athene. "The Sunday Christ : Sabbatarianism in English medieval wall painting /." Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb371977705.
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D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.
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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.The Classics
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Gill, Miriam Clare. "Late medieval wall painting in England : content and context (c1330-c1530)." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246809.
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EGAN, EMILY CATHERINE. "The Stylistic Relationship Between Wall Painting and Vase Painting at the Palace at Knossos During the Neo- and Final Palatial Periods." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1213729817.
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Nichols, Marden Fitzpatrick. "Vitruvius and the rhetoric of display : wall painting, domestic architecture and Roman self-fashioning." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611534.
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西山, 要一, and Yoichi NISHIYAMA. "The conservation project of underground tomb with wall painting in Burj al Shamali, Tyre, Lebanon." 名古屋大学年代測定資料研究センター, 2012. http://hdl.handle.net/2237/18142.
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Mason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.
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This practice-led doctoral research has emerged out of dedicated figurative painting practice and interweaves Gilles Deleuze’s Sensation and Slavoj Žižek’s Event concepts. The Event is understood as a philosophical system and not a particular occurrence. As with Sensation, it is framed as an unseen destabilising force or rupture that can only be experienced through its effects. Utilising the heuristic value of oil paint’s materiality and examining approaches of capturing the idea of Evental rupture, emphasis was given to colour theory, art history, facture and the construction of figurative paintings, with particular attention to the quality of materials.
Key figurative painters Susanne Kühn and Neo Rauch, who originated from the East German city of Leipzig and gained prominence after the fall of the Berlin Wall, provide the lens through which these notions are interrogated and applied in this doctoral research. Although differing in styles, they share ideas, commitment to process surface quality, technical skill and a classical painting education at the venerated Hochschule for Grafik und Buchkunst in Leipzig (Academy for Graphic Design and Buch Art). The Leipzig painters draw heavily on the history of painting and past culture, which is evident in their large-scale, discordant theatrical compositions. By tracing the influences of the Leipzig painters through select case studies, I aim to show that this ancient medium has continued relevance in the 21st century and how painting from the past continues to be a crucial factor in informing the present.
The creative component of the research examines how devices and strategies in figurative painting can successfully visually manifest notions of Event and Sensation as a bodily experience using the mise-en-scéne genre or the staged event. Select historical painters are referenced throughout the research, but Francis Bacon appears as the third solid key figure, as Deleuze’s Sensation is embedded in his unorthodox painting practice. I critically analyse strategies and devices deployed in his work and align them with that of the Leipzig painters. Insights gained from this are generated in my painting practice.
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Hirschbichler, Monika. "Monuments of a syncretic society wall painting in the Latin lordship of Athens, Greece (1204-1311) /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3134.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Laurita, Cecilia. "Revitalising a historic knowledge resource: an archaeometric investigation of the Mora wall painting Sample Collection (ICCROM)." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/30159.
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This master's thesis focuses on the archaeometric investigation of the Mora wall painting Sample Collection, held at the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), in Rome, Italy.
The collection itself is considered as a unique resource for understanding ancient wall painting technologies. The overall aim of this study was to explore its potential value through the analytical investigation of samples and through the research of contextual information within the ICCROM's Archives.
The selected multi-analytical methodology consisted mainly of portable instru mentation (optical digital microscopes, spectrophotometer, FORS, h-XRF) and micro invasive techniques (micro-FTIR and micro-XRD).According to the acquired data, the chromatic palette of the analysed fragments consisted of red and yellow ochres, cinnabar, minium, green earth and Egyptian blue; the binding material revealed was calcite. The painting technique could be either fresco or a secco lime-painting, since stratigraphic information of the samples were lacking;
Resumo:
Revitalizar uma fonte de conhecimento hist6rico: investigação; ao arqueométrica da coleção de amostras de pinturas murais dos Mora (ICCROM).
0 presente trabalho é dedicado á investigação arqueométrica dos fragmentos de pin tura mural da Colecção Mora, conduzidas no Centro Internacional para o Estudo da Preservação e Restauração de Propriedade Cultural (ICCROM), em Roma, Itália.
A coleção de Paolo e Laura Mora e considerada única no âmbito de compreender as tecnologias utilizadas na execução de pinturas murais antigas.
0 objectivo principal desta investigação foi de explorar o potencial valor da colecção através da investigação analítica de amostras, em conjunto com a pesquisa de informação contextual presente no arquivo do ICCROM.
A metodologia multi-analítica selecionada para este trabalho consiste essencialmente no emprego de instrumentações portáteis (microscopia óptica, colorimetria, FORS e h-XRF) e tecnicas micro-invasivas (µ-FTIR e µ-XRD ).
De acordo com os resultados obtidos, nas camadas de pintura investigadas estavam presentes vermelho ocre e amarelo ocre, cinábrio, mínium, verde terra e azul egípcio. 0 material ligante foi identificado como calcita e nenhum material orgânico foi detectado. A técnica de pintura mural utilizada pode ter sido tanto a fresco como pintura a cal a secco.
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Kozub, Waldemar. "Mural – a contemporary architectural detail." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10571.
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Modern cities architecture has become the basic street art medium, primarily regarding graffiti and mural. The themes and forms of murals, which are designed independently of architects, constitute visual interference in the architectural space of the city. Murals should be related both contextually and formally to the place in which they are created, so as to enrich the surrounding space in terms of esthetic and ideological values. The author is trying to illustrate the phenomenon painting of murals as contemporary architectural details on the example of selected architectural objects from Gdansk, Katowice, Krakow, Poznan and Kielce.
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Marchiori, Maria Laura. "San Vincenzo al Volturno and the use of ornamental borders in Romanesque wall painting in central Italy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62557.pdf.
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Holzworth, Rebecca Joy. "The Apse Murals in San Agustin de Acolman: Augustinian Friars as the Foundation of the Roman Church in Sixteenth-Century New Spain." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193471.
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This thesis considers the apse murals in the sixteenth-century Augustinian mission church of San Agustin de Acolman. These murals feature three horizontal rows of enthroned popes, bishops, cardinals, and friars. I connect these murals to contemporary conflicts between the regular and secular clergy in the New Spanish church, arguing that the Augustinians at Acolman used their apse to hierarchically position themselves within the New Spanish church.The figures in these murals will be identified as an allegory of the Roman Church. Comparisons will be drawn between the murals and the Sistine Chapel, suggesting that Acolman's allegorical image of the Church connoted papal power. I also highlight the position of the friars in the lowest level of the murals. Through a comparison with retablos, I demonstrate that these friars are the foundation of the Church. Finally, I reflect upon the implications of allegorizing the Church as a collection of Augustinians.
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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.
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Thesis (M.A.)--Kent State University, 2010.Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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Kisiel, Marine. "La peinture impressionniste et la décoration dans les années 1870." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22985.
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Throughout their careers the Impressionists demonstrated a strong, but rarely examined, interest for decoration. A careful examination of both archival material and well-known artworks produced between 1870 and 1895 shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot and Caillebotte never ceased to explore the values of decoration and the decorative. Set in the context of the Third Republic’s passion for monumental decoration and deep interest in the decorative arts, the Impressionists’ experiments range from ceilings to ceramic tiles, and from never achieved projects to ambitious realisations (although none remain in their original location). One painter among those surveyed also engaged with theoretical thinking: Renoir wrote for the press and drew up the drafts of a Grammar mainly focused on the decorative arts. Along with a number of artworks explicitly designated as decorative that were predominantly exhibited at the Impressionist shows, the Impressionists further produced more than twenty decorative ensembles made for the interiors of amateurs who then became patrons. Renoir, who started his career as a painter on porcelain, worked in the 1870s for the Parisian homes of a Romanian aristocrat, prince Bibesco, and of a leading publisher, Georges Charpentier, but also for the country house of Paul Berard. Monet, in a similar fashion, painted for the department store magnate Ernest Hoschedé in his property of Montgeron. Initially publicised by the painters in the 1870s, the decade on which this thesis focuses, the Impressionists’ decorative works were subsequently undertaken more quietly though continuously. Morisot painted a chimney trumeau for her own salon, to which Monet gave a pendant (they were eventually used as overdoor panels). Monet and Renoir also painted door-panels for Durand-Ruel. None of these later schemes were actually promoted towards a wide public, showing how the Impressionists’ commitment to painting decorations went from a strategic (and partly commercial) vision to embody a deeper reflection on the essence of painting and its relation to the wall – a reflection that the larger dissertation submitted to the Université de Bourgogne embraces. The critics’ attention, however, went the opposite way. It grew from a relative but highly meaningful disinterest to making the decorative key to their approach at the turn of the century, but in all situations, mocking or praising, their comments shed a crucial light on the Impressionist’s enterprises and their relations to the society’s concerns. An analysis of the Impressionists’ decorative experiments and their critical reception encourages, as this thesis aims to demonstrate, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been discussed.
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Navickienė, Justina. ""SIENA"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100902_233152-68192.
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Mano diplominis darbas pavadinimu ,, Siena“. Kiekvieną dieną žmogus nor÷damas to ar ne, atsik÷lęs ryte pirmiausia išvysta kambario sienas. Taip pat ir mieste, gamtoje, neišvengiamai matome, tvoras, pertvaras, sienas. Vienos jų naujos, ką tik pastatytos, kitos nuo amžiaus pasenusios. Savo diplominį darbą sieju su aukštomis tarsi sienos tvoromis, kuriomis aptvertos statybų teritorijos, apleisti namai. Neretai tokios sienos ,,papuoštos“ grafiti raštais ar visaip aprašin÷tos. Diplominį darbą sudaro dvi dalys: praktinis darbas ir teorinis aprašas. Praktinį darbas sudaro vienas darbas. 1620mm x 2500mm, OSB plokšt÷, aliejus. Teorin÷je dalyje apžvelgiu temos paiešką, darbo priemones, darbo eigą.My thesis title ,,Wall“. Every day people order it or not, first rose up in the morning departs the room walls. Also in the city, naturally, inevitably, we see fences, walls. Some of them, new matches are constructed, the other from old age. Their associate degree work with a high wall like a fence that enclosed the construction site, abandoned houses. Often these walls, decorated with graffiti letters or dying painted. Thesis consists of two parts: practical work and theoretical description. Practical work is a job. 1620mm x 2500mm, OSB board, oil. I look in the theoretical topics search, work tools, work in progress.
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Piña, Torres Carmen Esther <1994>. "The wall painting in Santa Maria Assunta Basilica crypt: new insight on non-invasive analytical techniques for the analyses of traditional pigments." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20892.
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Within the archaeological works in the summer of 2020, a series of wall paintings were uncovered in the Santa Maria Assunta Basilica in Torcello, including the crypt, where a blue backgrounded mural with multicolored figures on the apse and removed from the wall fragments that remained behind the altar were exposed. The preserved decoration shows 3 overlayed painting layers.
A systematic cataloguing of the recovered fragments along with the use of non-invasive analytical techniques, hyperspectral imaging, Fiber Optic Reflectance Spectroscopy (FORS), Raman spectroscopy and Fourier Transform Infrared (FTIR) spectroscopy enabled the characterization of the materials used for the creation of the painting layers.
The hyperspectral imaging enabled the analysis of a higher number of fragments with minimum handling, and to reduce sampling as much as possible. The recording of the reflectance spectra by using FORS allowed the identification of certain pigments. Raman spectroscopy, as well as Fourier Transform Infrared (FTIR) spectroscopy techniques were used to identify the binders. All the information recovered from the techniques helped to identify the palette conformed mainly by earth pigments, its mineral composition, and the identification of the painting technique.
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Grimaldi, Dulce Maria. "Painting techniques and deterioration due to air pollution of the wall paintings of the Aztecs at the Great Temple of Tenochtitlan, in Mexico City." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0015/MQ52991.pdf.
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Miller, Lucy. "Egyptian imagery on Roman walls: The Relationship between Roman and Egyptian Elements in the First-century CE Roman Wall Painting Isiac Ritual Worship from Herculaneum." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23785.
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Incorporating Egyptian imagery in a Roman medium, Isiac Ritual Worship is a remarkable example of first-century CE Roman wall painting. Discovered in Herculaneum, it illustrates a ritual to the Egyptian goddess Isis. Discussions of Isiac Ritual Worship in modern scholarship position the wall painting as evidence of Isiac ritual practice in Roman Italy without conducting a close visual analysis and examining its combined use of Roman and Egyptian imagery. Therefore, in this thesis, I ask two pressing questions: How does Roman and Egyptian imagery coalesce in Isiac Ritual Worship? And why are the Roman and Egyptian motifs combined in certain ways in the wall painting? To answer these questions, I conduct a visual analysis of Isiac Ritual Worship, drawing upon ancient literary sources, Isiac and Egyptian imagery, and contemporaneous wall paintings.2020-09-06
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ORIOLO, FLAVIANA. "LA PITTURA ROMANA NELLA CISALPINA ORIENTALE : CONTESTI ARCHITETTONICI E SISTEMI DECORATIVI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1411.
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Il tema del progetto di ricerca è lo studio della pittura romana nell’area della Cisalpina orientale, con particolare riferimento alle problematiche connesse alla definizione dei processi formativi e delle peculiarità delle maestranze. L’ambito geografico considerato è compreso tra Altino e Trieste: all’interno di questo comparto territoriale Aquileia e Altino hanno costituito i due ambiti privilegiati della ricerca, anche per la possibilità di condurre un’indagine rigorosa su tutto il materiale pittorico conservato presso i Musei Archeologici. L’esame autoptico condotto con un approccio metodologico volto a considerare il supporto e la superficie dipinta è stato incrociato con l’analisi delle fonti documentarie inedite, che nel caso di Aquileia hanno rappresentato un imprescindibile strumento per la restituzione dei contesti: sono stati riqualificate nel senso topografico alcune partizioni edite, che assieme a numerose altre inedite vanno a restituire una nuova immagine alle abitazioni scavate nel secolo scorso.
Lo studio ha messo in evidenza un panorama ricco dal punto di vista quantitativo che ho offerto significativi spunti di analisi sui caratteri della produzione, soprattutto nell’ottica del riconoscimento delle peculiarità regionali elaborate dalle officine pittoriche operanti sul territorio.The subject of this research project is the study of Roman wall-painting in eastern Cisalpine Gaul, more specifically dealing with the aspects of the creation and development of the local workshops and their peculiar characteristics. The area taken into consideration is set between Altino and Trieste: within this territory Aquileia and Altino have represented the two privileged research fields, given the possibility to analyse thoroughly all the wall-painting evidence preserved in the Archaeological Museums. Direct examination, conducted with a specific attention to the plaster bearer and the painted surface, has been combined with the analysis of unpublished documentation which, in the case of Aquileia, has represented an indispensable instrument for the reconstruction of the original contexts. In this way it has been possible to re-define topographically some well known examples of wall-paintings which, together with many yet unpublished examples, contribute to give a new image of the private houses excavated during the last century. This research has revealed an outline very rich in respect of the quantities and which has offered interesting starting points for the analysis of the different aspects of the production, specifically aimed to the recognition of local peculiarities developed by the workshops operating in this area.
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ORIOLO, FLAVIANA. "LA PITTURA ROMANA NELLA CISALPINA ORIENTALE : CONTESTI ARCHITETTONICI E SISTEMI DECORATIVI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1411.
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Il tema del progetto di ricerca è lo studio della pittura romana nell’area della Cisalpina orientale, con particolare riferimento alle problematiche connesse alla definizione dei processi formativi e delle peculiarità delle maestranze. L’ambito geografico considerato è compreso tra Altino e Trieste: all’interno di questo comparto territoriale Aquileia e Altino hanno costituito i due ambiti privilegiati della ricerca, anche per la possibilità di condurre un’indagine rigorosa su tutto il materiale pittorico conservato presso i Musei Archeologici. L’esame autoptico condotto con un approccio metodologico volto a considerare il supporto e la superficie dipinta è stato incrociato con l’analisi delle fonti documentarie inedite, che nel caso di Aquileia hanno rappresentato un imprescindibile strumento per la restituzione dei contesti: sono stati riqualificate nel senso topografico alcune partizioni edite, che assieme a numerose altre inedite vanno a restituire una nuova immagine alle abitazioni scavate nel secolo scorso.
Lo studio ha messo in evidenza un panorama ricco dal punto di vista quantitativo che ho offerto significativi spunti di analisi sui caratteri della produzione, soprattutto nell’ottica del riconoscimento delle peculiarità regionali elaborate dalle officine pittoriche operanti sul territorio.The subject of this research project is the study of Roman wall-painting in eastern Cisalpine Gaul, more specifically dealing with the aspects of the creation and development of the local workshops and their peculiar characteristics. The area taken into consideration is set between Altino and Trieste: within this territory Aquileia and Altino have represented the two privileged research fields, given the possibility to analyse thoroughly all the wall-painting evidence preserved in the Archaeological Museums. Direct examination, conducted with a specific attention to the plaster bearer and the painted surface, has been combined with the analysis of unpublished documentation which, in the case of Aquileia, has represented an indispensable instrument for the reconstruction of the original contexts. In this way it has been possible to re-define topographically some well known examples of wall-paintings which, together with many yet unpublished examples, contribute to give a new image of the private houses excavated during the last century. This research has revealed an outline very rich in respect of the quantities and which has offered interesting starting points for the analysis of the different aspects of the production, specifically aimed to the recognition of local peculiarities developed by the workshops operating in this area.
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SASANI, Anahita. "Material and Technical Analysis of Armenian Wall Paintings in New Julfa, Isfahan." Doctoral thesis, Università degli studi di Ferrara, 2015. http://hdl.handle.net/11392/2389079.
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The 17th century is the time of new changes in Iranian relationship with the West and especially European countries. In that era, Armenian merchants, were one of the main channels for bringing European art styles, in particular, paintings to Iranian culture. Although many of such paintings and art works deteriorated during the last century due to the waves of modernization in Iran, some of them are preserved in Armenian churches and houses in New Julfa of Isfahan.
Reliable historical sources refer to some Armenian buildings in New Julfa which decorated with both oriental and European art works and wall paintings as well. In consequence, wall paintings in Armenian churches and houses of New Julfa form an important part of the Safavid cultural heritage in Iran. These art works explain how Iranian art was affected by European art of 17th- 18th centuries.
In the present study, specimens from the Armenian wall paintings decorating the walls and domes of three churches and one house in New Julfa- Isfahan, were analysed in order to identify the pigments used. In light of the fact that Armenian wall paintings have never before been fully investigated, this study reveals important information about the pigment pallet which have been used in Armenian buildings of New Julfa in 17th century. Accordingly, the pigment analysis was carried out chiefly to establish the palette of the Armenian wall paintings with respect to Iranian traditional palette and find out different influences of European artists as well.
The analytical techniques employed for the characterization of the pigments and materials were XRF (X-Ray Fluorescence), Micro Raman spectroscopy, and FTIR for all samples and SEM-EDX and XRD (X-Ray Diffraction) for some samples. This information contributes to a better understanding of Armenian wall paintings techniques and, ultimately, may aid conservators in their efforts to preserve these art works.
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Mulliez-Tramond, Maud. "Matière et couleur dans la peinture pariétale romaine de la fin de la République." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100018.
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L’art décoratif qui émerge à la fin de la République romaine sous la forme du trompe-l’œil architectural est fascinant par la technicité nouvellement éprouvée pour représenter un espace tridimensionnel. La perspective y est une composante majeure mais elle est assistée par d’autres innovations tout aussi essentielles. La connaissance de l’impact lumineux sur la matière et la capacité à suggérer les volumes contribuent efficacement aux exigences de la mimesis. D’autres usages picturaux restent mystérieux et leur fin se dérobe à nos regards trop jeunes de deux millénaires.La diversité et la richesse des matériaux rassemblés dans ces décors inspirés de plusieurs univers s’apparentent à la notion de varietas ou poikilia, ce goût délibéré pour la bigarrure. Pierres précieuses et métaux brillants, bois exotiques, écailles de tortues et ivoire, textile lourd et verre translucide y rivalisent avec la multitude des marbres polychromes imaginaires ou d’origine souvent lointaine. La valeur signifiante de ces parois imagées passe aussi par la distribution des couleurs – austeri ou floridi d’après la classification de Pline l’Ancien. Les lamentations de l’architecte passéiste Vitruve comme ses prescriptions pragmatiques nous permettent de saisir quelques aspects de la polysémie des couleurs. Souvent multiples par la combinaison d’éléments juxtaposés ou mêlées en une surface multicolore, elles daignent parfois endosser modestement le monochrome pour orner avec élégance une salle entière.La singularité de ce système décoratif appelé IIe style est accentuée par le fait qu’il apparaît subrepticement à l’aurore du Ier siècle avant notre ère pour disparaître tout aussi furtivement, avant même le trépas de ce siècle, avec l’émergence du nouveau langage visuel de l’art augustéenA new decorative art appears at the end of the Roman Republic: the architectural trompe-l'oeil. The new techniques used to represent the three dimensions of space are fascinating. Perspective is the major one, but other complementary innovations are just as essential. The perfect command of how light impacts on matter and the ability to suggest volumes efficiently meet the requirements of the mimesis. Certain other painting techniques however still remain mysterious to us after two thousand years.The diversity and magnificence of the materials gathered in these decors inspired from several sources evoke the concept of varietas or poikilia (the deliberate preference for the multi-coloured). Precious stones and shiny metals, exotic woods, tortoiseshells and ivory, heavy textile and translucent glass rival the multitude of polychromatic marbles either imaginary or often coming from far away. The meaning of these painted walls is also expressed through the distribution of colours - austeri or floridi according to Pliny the Elder's classification. Conservative Vitruvius' lament as well as his pragmatic advice enable us to understand some aspects of the colours' polysemy. Often multiple through the combination of various elements either side by side or mixed together, forming a multi-coloured area, they sometimes modestly condescend to monochrome and elegantly decorate a whole room.This decorative art is all the more singular that it appears furtively at the dawn of the first century and disappears as furtively even before the end of that same century, with the emergence of the Augustan art as a new visual language
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He, Weiling. "Flatness transformed and otherness embodied: a study of John Hejduk's Diamond Museum and Wall House 2 across the media of painting, poetry. architectural drawing and architectural space." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/36608.
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To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.
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Avlonitou, Lydia. "Techniques et matériaux utilisés dans les peintures murales, de l’époque classique jusqu'à l’époque romaine en Méditerranée Orientale : le décor végétal et géométrique des monuments funéraires de Macédoine." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100125.
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Ce travail de thèse a pour objectif d’étudier l’emploi des motifs géométriques, végétaux ou empruntés à l’architecture, dans le décor peint des monuments funéraires de Macédoine antique. Il s’agit d’une approche intégrale qui est effectuée à travers la documentation et l’analyse stylistique, technique et physico-chimique des motifs tels qu’ils apparaissent dans un riche corpus de soixante-huit monuments datés de l’époque hellénistique et le début de l’époque romaine. La thèse est organisée en trois parties. La première partie présente la documentation des motifs rencontrés, leur occurrence dans les monuments avec des observations sur le rendu, les combinaisons chromatiques et les pigments employés. Cette partie comprend une étude comparative des motifs dans l’art de l’antiquité en Grèce et ailleurs, et des commentaires sur l’origine et le symbolisme des motifs et leur transposition de la réalité ou de l’architecture dans la peinture.La deuxième partie concerne l’étude archéométrique des matériaux picturaux employés. Des prélèvements ponctuels ont été effectués sur le décor de vingt tombes et analysés au moyen de méthodes photographiques et physico-chimiques, in situ et en laboratoire. La présentation de la méthodologie et les résultats obtenus au cours de cette étude se fait de façon analytique et systématique. La troisième partie présente un catalogue illustré des tombes peintes de Macédoine classé selon leur type architectural, comprenant les données de fouille, la description du décor peint des surfaces pariétales et de l’aménagement intérieur et des informations concernant l’architecture et les matériaux picturaux. Les différents types de motifs ornementaux rencontrés et les types de moulures sur lesquelles ils sont réalisés sont présentés dans un lexique illustréThe objective of this thesis is the study of the architectural, geometric and vegetal motifs that decorate the funerary monuments of Macedonia. An integral approach has been applied, combining detailed documentation with the stylistic, technical and physicochemical analysis of the motifs, as they appear in a rich corpus of sixty-eight monuments that date in the Hellenistic and early Roman period. The thesis is organised in three parts. The first part provides the documentation of the motifs, their occurrence in the monuments, along with observations on their design, the chromatic combinations and the pigments employed. This part includes a comparative study of the motifs in the art of ancient Greece and elsewhere, as well as commentaries on their origin and symbolism or the transformation from real objects or architectural elements into painted motifs. The second part concerns the archaeometrical study of the painting materials used. Samples from twenty tombs have been collected and analysed by means of photographical and physicochemical methods, both in situ and in the laboratory. The methodology and the results obtained during this study are presented systematically and in detail. The third part consists of an illustrated catalogue of the painted tombs of Macedonia, according to their architectural structure, which comprises the excavation data, the description of the painted decoration on the walls surface and on the funerary pieces of furniture as well as information on the architecture and the painting materials. The different ornamental motifs and types of moulding on which they are painted, are presented in an illustrated glossary of terms
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Nunes, Michele Martins. "AMBIÊNCIAS NA PAREDE: CONCEPÇÕES ESPACIAIS EM PINTURA E DESENHO." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/5190.
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This master degree dissertation consider the individual plastic production entitled Ambiences on the Wall, composed of eight works that were produced during
the masters course. The plastic proposal starts in perceptions of a particular universe (home-intimacy), seeking its re-development through the creative process, bringing to the same level the relations between painting and drawing, color and achromatic, perennial and ephemeral, memory and present, real and fantastic. In these works, the house's rooms are represented by painting with nuances of gray and by black lines installed on white walls. Opposed to these scenarios are superimposed colored
pictures, composed of appropriated elements of cubism. The visual poetic investigation starts on the establishment of these works, focusing on different conceptions of space that they suggest: the represented spaces, the relationship with the common space and the perceptions of the house s environments. First is presented the proposal, which seeks to combine oil painting on canvas and drawing
on the wall with adhesive. The text deals with the representational systems that are chosen for such combination, and with the counterpoint chromatic x achromatic that the works present. Later, aspects of the works are considered, and also its relationship with the space around it. Finally, the text discusses the thematic issues related to the represented spaces and the figures that inhabit them.Esta dissertação busca estabelecer uma reflexão referente à produção plástica individual intitulada: Ambiências na Parede, composta por oito trabalhos que foram produzidos durante o curso de mestrado. A proposta plástica parte de percepções de um universo particular (casa-intimidade), buscando sua reelaboração através do processo criativo, trazendo ao mesmo plano as relações entre pintura e desenho, cor e acromático, perene e efêmero, memória e presente, real e fantástico. Nestas obras, os cômodos da casa são representados através da pintura em nuances de cinza e por linhas pretas instaladas sobre paredes brancas. Contrapondo-se a estes cenários, são sobrepostas figuras coloridas, compostas por elementos apropriados do cubismo. A investigação poética visual se dá a partir da instauração destes trabalhos, centrando-se nas diferentes concepções espaciais que estas obras sugerem: os espaços representados, a relação com o espaço comum e a percepção dos ambientes da casa. Primeiramente é apresentada a proposta, que busca combinar pintura a óleo sobre tela e desenho com adesivo sobre a parede. São abordados os sistemas representacionais escolhidos para tal combinação, bem como o contraponto entre cromático x acromático que as obras apresentam. Posteriormente são refletidos aspectos referentes à obra e sua relação com o espaço que a circunda. E por fim o texto discorre sobre as motivações temáticas referentes aos espaços representados e as figuras que neles habitam.
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Tessariol, Myriam. "La diffusion des schémas décoratifs de la peinture murale romaine chez les Bituriges Vivisques." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20117.
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Le contexte historique d'implantation du peuple des Bituriges Vivisques sur les pourtours de l'estuaire de la Garonne est relativement tardif, au lendemain de la conquête romaine, et pose de nombreuses questions quant à la réception de la culture romaine au sein d'une cité reconnue pour son identité culturelle forte. L'agglomération antique de Bordeaux, chef-lieu de la cité des Bituriges Vivisques, offre une grande diversité de décors peints fragmentaires entre le Ier siècle et le Ve siècle P.C. L'introduction de cet art et de modes ornementales typiquement italiennes dans la cité interroge alors sur le degré d'adhésion aux modèles romains. L'évolution des connaissances de la peinture murale antique et de la toichographologie permet désormais de répondre à des problématiques stylistiques, techniques et architecturales par le biais d'une approche pluridisciplinaire et de protocoles d'études raisonnés. Entre conservatisme et innovations, les décors de Burdigala traduisent une assimilation précoce du vocabulaire ornemental inspiré des schémas décoratifs italiens avec cependant quelques interprétations aboutissant parfois à des productions originales. Ce travail de synthèse régionale permet ainsi une meilleure connaissance et la classification des décors de la cité, en fonction du style, du cadre chronologique, du contexte architectural et socio-culturelThe historical context of establishment of Bituriges Vivisques people on the circumferences of the estuary of the Garonne is relatively late, the shortly after the Roman conquest, and raises many questions as for the reception of the Roman culture within a city recognized for its strong cultural identity. The ancient agglomeration of Bordeaux, chief town of Bituriges Vivisques' city, offers a great diversity of fragmentary decorations painted between Ist century and Vth century PC. The introduction of this art and typically Italian decorative modes into city questions then on the degree of adhesion to the Roman models. The evolution of knowledge of the ancient mural and the toichographology makes it possible from now to answer architectural, stylistics and techniques problems by the means of a multi-field approach and protocol studies reasoned. Between conservatism and innovations, the decorations of Burdigala represent an early assimilation of the decorative vocabulary inspired of the Italian decorative diagrams with however some interpretations leading sometimes to original productions. This work of regional synthesis allows a better knowledge thus and the classification of the decorations within Bituriges Vivisques' city, according to the style, of chronological framework, the architectural and sociocultural context
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Bowman, Michael R. "Creating the Elsewhere: Virtual Reality in the Ancient Roman World." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429644077.
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Didonè, Alessandra. "La pittura romana nella Regio X: dalla schedatura informatizzata all'analisi degli aspetti artistici e culturali." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424290.
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The study is part of the TECT project, which originated from the collaboration between research groups of the universities of Padova and Bologna. The goal is the creation of a database to systematically record the presence of Roman wall paintings in Cisalpine Gaul.
This research aims to analyze and examine all the Roman wall-paintings that have been recovered in Regio X, ranging from the 2nd century BC to the 4th century AD, using the database and the glossary developed for the TECT project.
The study aims to test the database through processing data which had never been analysed as a whole. This systematic classification was the prerequisite to highlight the specificity of the artistic production of the region. Indeed it was possible to stress the original traits of this production and also to identify its relations with others areas, particularly with central Italy and with transalpine regions.La presente ricerca si inserisce nel progetto TECT, nato dalla sinergia tra le Università di Padova e di Bologna, rivolto alla creazione di una banca dati della documentazione pittorica dell'area cisalpina. Servendosi dello strumento informatico e del glossario terminologico elaborato nell'ambito del progetto, di cui la scrivente è stata parte attiva, la ricerca è consistita nella catalogazione informatizzata delle pitture messe in luce nella Regio X all'interno di un arco cronologico esteso tra il II sec. a.C. e il IV sec. d.C. L'obiettivo è stato quello di verificare la validità della banca dati, che nel panorama nazionale si rivela uno strumento innovativo, raccogliendo e mettendo in sistema una mole di dati che non era mai stata analizzata complessivamente. La catalogazione sistematica delle attestazioni pittoriche ha costituito il presupposto indispensabile per far luce sulla specificità della produzione pittorica della regione, della quale sono stati indagati i caratteri di originalità e, al contrario, quelli che hanno permesso di individuare rapporti con altre aree geografiche, in particolare con l'area centro-italica, imprescindibile termine di confronto per abbondanza di documentazione, ma anche con le aree limitrofe transalpine e altoadriatiche
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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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Estrella, Rachel Joy Tancioco. "Lessons from the wall muralism and the art of empowerment /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324368911&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Neyme, Dorothée. "Décor et architecture des monuments funéraires de la fin du Ier siècle de notre ère à la fin du IIIe siècle à Cumes et en Campanie." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0550.
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Le sujet de ce doctorat prend comme point de départ les découvertes faites dans la nécropole romaine de la Porte Médiane de Cumes (Campanie, Italie), où les fouilles archéologiques du Centre Jean Bérard (CJB, 3133-CNRS-EfR) ont révélé des tombes monumentales d’époque antonine et sévérienne aux décors funéraires bien conservés. Ces données étaient précieuses car insérées dans un contexte archéologique parfaitement documenté, ce qui donnait l’occasion de reprendre le dossier de la peinture funéraire d’époque impériale en Campanie, méconnue, en raison notamment de sa position chronologique située entre les grandes découvertes des cités vésuviennes et l’essor des catacombes chrétiennes, qui ont attiré toutes les attentions jusqu’à une époque récente. Après avoir dressé un état de la situation de ce corpus longtemps négligé, l’étude a permis, sur la base du matériel inédit de Cumes, de préciser : le cadre chronologique, les caractéristiques iconographiques et techniques, et les liens qui unissent le décor et le contexte architectural. Des questionnements qui reflètent les aspirations des commanditaires, permettant une lecture sociale de l’époqueThis doctorate takes as its starting point the discoveries made in the roman necropolis of the Porta Mediana of Cumae (Campania, Italy), where the archaeological excavations made by the Centre Jean Bérard (CJB, 3133-CNRS-EfR) revealed monumental graves from Antonine and Severian times, whose funerary paintings well preserved.These pieces of information were really precious, as being inserted in a pretty well documented archaeological background, giving the chance to reopen the file of funeral painting from imperial ages in Campania, little known, especially because of its chronological position situated in between the vesuvian cities' great discoveries and the christian catacombs' rise, which until recent times have been focusing most of the attentions.After presenting the situation of this corpus disregarded for a long time, this study, based on the new material from Cumae, permitted to define : the chronological frame, the technical and iconographical features, and the link between the decoration and the architecture. Issues reflecting the graves owner ‘s aspirations, by offering a social reading of the age
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Ducret, Sophie. "La fabrique de la création artistique : Approche historiographique et épistémologique du processus de la commande au Moyen Âge : l’exemple des peintures murales du Midi de la France aux âges romans (XIe-XIIe siècle)." Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30047.
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La pratique de la peinture murale aux âges romans a bénéficié, depuis sa “redécouverte“ au XIXe siècle, d’une longue tradition d’études en France et en Europe. Cette historiographie s’établit dans les développements d’un champ d’études plutôt récent mais s’est enrichie des évolutions épistémologiques des disciplines connexes, comme l’histoire et plus généralement les sciences sociales. Dans la continuité des recherches récentes portant sur les acteurs de la création artistique, en particulier dans le domaine de la peinture murale, notre thèse s’intéresse à un acteur essentiel de la production désigné traditionnellement sous le terme de “commanditaire“. Sur la base d’un corpus de 30 ensembles conservés dans le Midi de la France, datés pour la majorité du XIIe siècle et face à un silence des sources historiques, nous nous sommes confrontée à la question de la “commande“. La démarche historiographique permet de mettre en perspective certains acquis sur le sujet et de proposer une nouvelle vision de la création artistiqueSince its 'rediscovery' in the 19th century, the practice of wall painting in the Romanesqueages has benefited from a long tradition of study in France and Europe. This historiography is based on developments in a fairly recent field of study, but has been enriched by epistemological developments in related disciplines, such as history and the social sciences more generally. Following on from recent research into the players involved in artistic creation, particularly in the field of mural painting, our thesis focuses on an essential player in production traditionally referred to as the 'patrons'. On the basis of a corpus of 30 ensembles preserved in the South of France, most of which date from the twelfth century, and faced with a silence in the historical sources, we have confronted the question of 'commissioning'. The historiographical approach enables us to put into perspective certain knowledge we have gained on the subject, and to propose a new vision of artistic creation
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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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Carrive, Mathilde. "Habiter le décor. Peinture murale et architecture domestique en Italie centrale et septentrionale, de la fin du Ier à la fin du IIIe s. ap. J.-C." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3008.
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Dans l'histoire de la peinture murale en Italie, la riche documentation campanienne, antérieure à l'éruption du Vésuve, a longtemps retenu l'attention des chercheurs, au détriment de la période comprise entre la fin du Ier et la fin du IIIe s. Nous avons choisi de nous intéresser à cette dernière, en l'abordant par le prisme du décor domestique. L'objectif principal était de replacer les évolutions stylistiques dans le contexte des maisons. Pour ce faire, nous avons développé une base de données qui a permis de mettre en relation le décor peint, les caractéristiques spatiales d'une pièce et les autres éléments de décor associés. A ainsi été mise en lumière la façon dont la peinture structure l'espace domestique tout au long de la période. Celle-ci montre une cohérence certaine d'un point de vue chronologique, sans bouleversement profond - au moins jusqu'au milieu du IIIe s., date après laquelle la documentation se fait rare. Les différences sont d'une autre nature. Les deux zones géographiques sur lesquelles nous avons centré nos recherches, l'Italie centrale et l'Italie septentrionale, connaissent en effet des évolutions divergentes, non seulement d'un point de vue stylistique, mais également dans la façon dont le décor structure l'habitat. La riche documentation d'Ostie, examinée dans le contexte plus large de l'Italie centrale, a également permis de mettre en lumière les écarts qui existent entre les différents milieux socio-économiques. Ainsi, en replaçant les peintures dans leur contexte, nous espérons leur avoir redonné toutes leurs dimensions, celles d'objets vivants, qui habitaient le quotidien de toute une sociétéFor a long time, studies on Roman wall paintings in Italy have been focusing their attention on the glorious Vesuvian documents, consequently overlooking evidence from the late 1st to the late 3rd c. AD. This thesis aims at exploring this neglected period and at understanding stylistic evolutions in relation to domestic architecture and decoration. In order to reach this objective, a relational database has been designed, bringing together data on wall painting, other elements of decoration, and architectural and spatial features of the room. This has enables us to bring to light how wall painting structured domestic space throughout the period. From the late 1st up to the mid 3rd c. (after which evidence become scarce), there are strong elements of continuity. But the zone under study can be divided in two main regions, Central Italy and Northern Italy, that experienced divergent evolutions, not only stylistically, but also in the way decoration structured domestic space. Furthermore, a particular focus on the rich evidence from Ostia, considered in the broader context of Central Italy, emphasised how the role assigned to decoration was also dependent on the socioeconomic bakcground of the occupant. By putting wall paintings back in its context, this study thus contributes to a better understanding of its evolution, function and status, at the heart of Roman everyday life
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Alcayde, Palanca Maria José. "Novel synthesis of calcium consolidants for the conservation of limestone in heritage." Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/298718.
Full textAbstract:
L’alteració dels materials constructius es deguda principalment a les condicions climàtiques i als contaminants ambientals. Dins dels diversos processos de degradació que poden afectar la pedra, emprada tant com material estructural com decoratiu, aquest treball es centra en la desintegració superficial. El tractament de conservació utilitzat per a la recuperació de la cohesió superficial de la pedra es la consolidació. L’objectiu d’aquest treball es sintetitzar i avaluar l’aplicació de consolidants efectius i compatibles amb la pedra calcària.
La compatibilitat és actualment un concepte de gran importància en els tractaments de conservació, per tal de mantenir la màxima estabilitat i durabilitat del tractament i per evitar que es modifiquen les propietats hídriques del suport y la creació d’estrès i envelliment diferencial.
Dos tipus de consolidants compatibles han estat proposats. El primer es basa en suspensions de nanopartícules de calç, en base alcohòlica i en base aquosa. La síntesi ha estat realitzada en microemulsions micel·lars inverses, millorant finalment la penetració del producte en la seva aplicació. La síntesi del segon consolidant consisteix en la formació de hidroxiapatatita mitjançant el procés de sol-gel. La investigació de nous precursors de reacció i la optimització del procés han portat a obtenir un producte amb resultats molt favorables en la seva aplicació.
El tractament amb els consolidants sintetitzats ha estat avaluat en comparació amb altres dos consolidants comercials, sobre pedres envellides artificialment i sobre morters de calç pintats. En la valoració dels assajos realitzats, les propietats petrofísiques, mecàniques i estètiques de la pedra han estat considerades.La alteración de los materiales constructivos se debe principalmente a las condiciones climáticas y a los contaminantes ambientales a los que se enfrenta. De entre las diversas formas de degradación que puede sufrir la piedra, empleada como material estructural o decorativo, este trabajo se centra en la desintegración superficial. El tratamiento de conservación recomendado para la recuperación de la cohesión superficial de la piedra es la consolidación. El objetivo de este trabajo es sintetizar y evaluar la aplicación de consolidantes efectivos y compatibles con la piedra calcárea. La compatibilidad es actualmente un concepto de gran importancia en los tratamientos de conservación. Con ello se pretende mantener la máxima estabilidad y durabilidad del tratamiento y evitar que se modifiquen las propiedades hídricas del soporte y la creación de stress y el envejecimiento diferencial. Se han propuesto dos tipos de consolidantes compatibles. El primero de ellos basado en suspensiones de nanopartículas de cal, en base alcohólica y en base acuosa. La síntesis se ha realizado en microemulsiones de micelas inversas, mejorando la penetración del producto en la aplicación final. La síntesis del segundo consolidante consiste en la formación de hidroxiapatita mediante el proceso de sol-gel. La investigación de nuevos precursores de reacción y la optimización del proceso han llevado a obtener un producto con resultados prometedores en su aplicación. El tratamiento con los consolidantes sintetizados ha sido evaluado en comparativa con otros dos consolidantes comerciales, sobre piedras envejecidas artificialmente y sobre morteros de cal pintados. En la valoración de los ensayos realizados se ha tenido en cuenta las propiedades petrofísicas, mecánicas y estéticas de la piedra.
The key factors in building material degradation are climatic conditions and atmospheric pollutants. Although there are the many processes which can alter stone in either a structural or decorative context, superficial disintegration is the process focused upon in this work. Consolidation is the recommended treatment for the recovery of the superficial cohesion of stone. The aim of this work is to synthetize and to evaluate the application of effective and compatible consolidants for limestone. Nowadays, conservation cures place significant importance upon compatibility in order to achieve the maximum stability and durability of the treatment, to avoid on one hand the modification of the stone’s hydric properties, and on the other, the creation of differential stress and ageing. Two types of compatible consolidants are proposed. The first consolidant is based in lime nanoparticles, in both alcohol and water suspensions. The synthesis has been conducted in inverse micelles microemulsions. The penetration depth in the final application of the product has been improved. The second consolidant synthesis consists in the formation of hydroxyapatite by sol-gel process. New reaction precursor research and the optimization of the process have led to the achievement of a product with promising results in its application. The assessment of the consolidation treatment performed with the synthetized product has been compared to commercial consolidants on artificially aged stones and on painted lime mortars. These test evaluations has been developed considering the petrophisic, mechanical, and esthetic properties of the stone.
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Purmale, Zané. "Habiller le mur : les relations entre la tapisserie et la peinture sous la Troisième République : le cas des Gobelins (1870-1925)." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30017.
Full textAbstract:
Sous la Troisième République, les quatre administrateurs successifs de la manufacture nationale des Gobelins, Alfred Darcel, Edouard Gerspach, Jules Guiffrey et Gustave Geffroy, cherchent à imprimer, chacun à leur manière, un renouveau à l’art de la tapisserie. Si les trois premiers cherchent à retrouver la vraie nature de la tapisserie, dont les principes peuvent être découverts en étudiant le passé, pour lui redonner une vigueur nouvelle dans le présent et augmenter ainsi son indépendance vis-à-vis de la peinture, le dernier cherche, au contraire, à faire entrer les Gobelins dans la modernité en rapprochant la tapisserie de la peinture. Cette thèse cherche à comprendre, de façon aussi complète que possible, la création artistique à la manufacture des Gobelins pendant cette période, qui se caractérise par une activité extraordinaire. Grâce à l’analyse du contexte intellectuel, il a été précisé les idées qui ont permis de donner l’impulsion et la direction à ce renouveau en détaillant également les conditions matérielles, institutionnelles et économiques qui permettent d’étudier les moyens dont dispose la manufacture. Ainsi sont révélés les impératifs imposés par les conditions matérielles et l’organisation du processus créatif impliquant un nombre d’acteurs et de procédures important, ralentissant et rendant contraignante toute démarche. Surtout il a été montré dans quelle mesure les moyens économiques étaient en totale inadéquation avec les objectifs de la manufacture. Malgré ces difficultés, la manufacture joue un rôle central dans le renouveau de la tapisserie. Si les progrès sont lents à émerger en raison de la nature même du fonctionnement des Gobelins, ils donnent une impulsion formidable à l’industrie privée grâce à son intense activité intellectuelle et artistique et le rayonnement international qu’ils exercent, et ceci malgré les critiques portant sur le choix des modèles. En effet, si les efforts de la manufacture sont justement reconnus, les choix esthétiques sont souvent remis en cause. Ainsi, la seconde partie de cette thèse étudie la politique artistique de chaque administrateur afin de comprendre comment cette dernière se concrétise, et quelles sont les principales lignes de l’action artistique de chacun des administrateurs. Ce travail s’appuie sur un catalogue exhaustif fait de notices approfondies et d’une iconographie abondante, retraçant l’historique des tentures murales en haute lisse et au point noué de Savonnerie réalisées à la manufacture des Gobelins, leurs cartons et maquettes mais aussi d’un nombre important de projets non aboutis, dessinant ainsi le panorama le plus complet sur la création à la manufacture des Gobelins dans les années 1870-1925During the French Third Republic, the four successive administrators of the National Gobelins’ manufactory, Alfred Darcel, Edouard Gerspach, Jules Guiffrey and Gustave Geffroy, sought to give an impulsion, each in his own way, in order to provoke a tapestry revival. The first three administrators seek to rediscover the true nature of tapestry, the principles of which can be discovered by studying the past, in order to give it new vigour in the present and increase its independence from painting. Geffroy, on the contrary, seeks to guide the Gobelins to modernity by imposing the tapestry to follow the paths of painting. This thesis makes understand the artistic creation at the Gobelins’ manufactory during this period of extraordinary activity. It specifies not only the intellectual context and ideas which give its direction to the tapestry revival, but also it takes into consideration the material, institutional and economic conditions of the manufactory. Thus are revealed the imperatives imposed by the material conditions of creation, its organization involving a large number of actors and highly restraining procedures, but, above all, economic means revealed to be in total inadequacy with the goals of the manufacture. Despite these difficulties, through intense intellectual and artistic activity, the manufactory plays a central role in the revival of tapestry. If progress is slow to emerge due to the very nature of the Gobelins' functioning and despite criticism of the choice of models, Gobelins gives a tremendous boost to private industry thanks to the international influence that the manufactory plays into tapestry field. Indeed, if the contemporary critics recognized the efforts of the manufacture to be in the right direction, very often this is not the case for the models. As in most of cases they are still unknown to modern art historians, the second part of this thesis studies the artistic policy of each administrator in order to understand how it was carried out and what were the main lines of the artistic action of each administrator. This work is accompanied of an exhaustive catalog records and images retracing the history of the conception of wall hangings in haute lisse (high-warp loom) and Savonnerie murals woven at the Gobelins’ manufactory and also their cartoons and preparatory models including abandoned projects, thus drawing a most complete panorama on artistic creation at the Gobelins manufactory from 1870 to 1925
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Ferraro, Séverine. "Les images de la vie terrestre de la Vierge dans l'art mural (peintures et mosaïques) en France et en Italie : des origines de l’iconographie chrétienne jusqu’au Concile de Trente." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL033/document.
Full textAbstract:
Ce travail de thèse est consacré aux images murales de la vie terrestre de la Vierge, une séquence iconographique composée de l’histoire de la jeunesse de Marie et des épisodes de la vie du Christ auxquels la Vierge est associée, jusqu’à la Pentecôte. La recherche s’inscrit dans un cadre chronologique étendu, depuis le premier art chrétien jusqu’au concile de Trente. Elle repose sur une abondante documentation iconographique qui comporte plus de 2300 images, peintures et mosaïques murales, conservées en France et en Italie. La première partie du mémoire est consacrée à l’analyse quantitative de la documentation iconographique, selon un triple point de vue. Une analyse thématique permet de déterminer trois séquences chronologiques dans le déroulement de la vie terrestre de la Vierge, tout en précisant l’importance quantitative de chacun des thèmes iconographiques étudiés. Une analyse de la répartition géographique des différents sites de conservation répertoriés révèle des caractéristiques spatiales propres à chacun des territoires étudiés, en lien avec l’histoire locale. Enfin, une analyse chronologique permet d’intégrer les images murales recensées aux grandes phases de l’histoire de l’art, tout en mettant en lumière les décors les plus emblématiques. La seconde partie du mémoire est dédiée à l’enquête iconographique à proprement parler. En forme de préambule, les différentes sources textuelles utilisées dans le cadre de cette recherche sont présentées. Elles ont été regroupées en trois catégories : les sources canoniques, les évangiles apocryphes et les textes médiévaux. L’analyse iconographique des différents thèmes qui composent la vie terrestre de la Vierge s’organise autour des trois séquences qui ont été déterminées : les épisodes qui précèdent la naissance du Christ (jeunesse de Marie et Incarnation), ceux de l’Enfance de Jésus (de la Nativité à Jésus parmi les Docteurs) et ceux de l’âge adulte du Christ dans lesquels Marie joue un rôle (des Noces de Cana à la Pentecôte). Cette analyse a pour objectif de déterminer les éléments constitutifs des différents thèmes iconographiques étudiés, de mettre en place une typologie propre à chacun, en soulignant les constantes et les points de rupture. La mise en exergue des liens qui existent entre les images et les sources textuelles constitue également un enjeu prioritaire de cette recherche. Des questions transversales, relatives au développement d’une iconographie proprement mariale, aux processus de diffusion des images, à la perception de la figure mariale comme un modèle édifiant et à l’étude du rapport entre les images et les textes ou leur emplacement dans l’espace ecclésial sont présentées sous la forme de réflexions conclusives. En parallèle, une sélection d’images murales de la vie terrestre de la Vierge, choisies pour leur exemplarité par rapport à l’argumentation de l’analyse, est présentée sous la forme de trois catalogues correspondant aux séquences narratives déjà évoquées. Ils s’accompagnent d’une bibliographie sélective concernant les différents sites de conservation présentés dans chacun des catalogues. D’autres outils bibliographiques sont mis à disposition dans un volume d’annexes. Un répertoire thématique, récapitulant toutes les images murales qui appartiennent à la documentation iconographique de l’étude, est également fournit en annexeThis thesis is devoted to wall images of the Virgin’s earthly life, an iconographic sequence composed of the young Mary’s history and episodes from Christ’s life which are related to the Virgin, until Pentecost. This research comes within the extended framework from the early Christian art to the Council of Trent. It is based on an abundant iconographic documentation which includes more than 2300 pictures, wall paintings and mosaics, preserved in France and Italy. The first part of the thesis is dedicated to the quantitative analysis of the iconographic documentation, according to a triple point of view. A thematic analysis identifies three phases in the chronological sequence of the Virgin’s earthly life, while specifying the quantitative importance of each of the studied iconographic themes. An analysis of the geographical distribution of different listed conservation sites reveals spatial characteristics which are specific to each territory studied, in connection with local history. Finally, a chronological analysis allows to integrate wall images from great phases of the art history, as well as to highlight the most emblematic decorations. The second part of the thesis is devoted to the iconographic investigation itself. As preamble, the various textual sources used in this research are presented. They are grouped into three categories : canonical sources, apocryphal gospels and medieval texts. The iconographic analysis of different themes about the Virgin’s earthly life are organized around three sequences : episodes preceding Christ’s birth (youth of Mary and Incarnation), those of Jesus’ Childhood (from the Nativity to Jesus among the Doctors) and those of adult Christ in which Mary plays a role (from Wedding at Cana to Pentecost). This analysis’ objective is to determine the different components of studied iconographic themes and to establish their specific typology, while stressing constants and breakpoints. The highlighting of the links between images and textual sources is also a priority of this research. Cross-cutting issues related to the development of Marian iconography itself, the process of images diffusion, the perception of the Marian figure as an edifying model and the study of the link between images and texts or their location in the ecclesial space are presented in the form of concluding reflections. In parallel, a selection of wall images of the Virgin’s earthly life, chosen according to the analysis arguments for their exemplary nature, is represented as three catalogues matching narrative sequences mentioned above. The selective bibliography on the various conservation sites is presented in each catalogue. Other bibliographic tools are provided in appendices volume. A thematic directory, listing all the wall images that belong to the iconographic documentation of the study, is also provided in appendix
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Puigarnau, Torelló Alfons. "Imago Dei y Lux Mundi en el siglo XII: La recepción de la teología de la luz en la iconografía del Pantocrátor en Cataluña." Doctoral thesis, Universitat Pompeu Fabra, 1999. http://hdl.handle.net/10803/7481.
Full textAbstract:
En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.
La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia.
El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte.
In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.
The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty.
The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court.
The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.
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Draycott, Catherine M. "Images and identities in the funerary art of Western Anatolia, 600-450 BC : Phrygia, Hellespontine Phrygia, Lydia." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:6654d163-aaca-4aca-a695-4ef8bec2d6dd.
Full textAbstract:
The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.
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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
Full textAbstract:
Master of Visual ArtsThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
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Chiu, Yen-Chean, and 邱延貞. "Rural Imagery and Environmental Aesthetics in Rural Wall Painting." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7m4rjw.
Full textAbstract:
碩士國立勤益科技大學
景觀設計系
106
Color painting is animmediate and economical approach to the environment enhancement. In the past decade or so, under the promotion of relevant government programs and the media reporting effect, many rural areas in Taiwan have successively used color painting for the environmental transformation. Although painting has made many communities burst into tourist spots, it has also caused many criticisms. For example, the content of paintings deviates from the characteristics of the community, neglects local culture, and lacks environmental aesthetic thinking.Thus, the main purpose of this study is to explore the impact of rural wall painting on rural imagery and environmental aesthetics, and to use the photo assessment method to investigate the views of the public. This study concludes that Taiwan's rural painting style can be roughly divided into 4 types: "3D interactive painting", "original illustration painting", "cartoon animation painting" and "rural landscape painting". The photos are extensively taken in thepainted villages ofthe middle and south of Taiwan. Eventually, 32 official measurement photos are selected (8 for each type of painting). In order to compare the public's cognition of the presence or absence of painting, and to explore the influence of background environment and painted patterns on rural imagery and environmental quality, each painted wall photo is restored to a "paintless wall" photo and divided into "background environment" and "painted pattern". Our research targets at the public by the method of conventional questionnaire and online questionnaire,which amounts to476 valid questionnaires. The result mainly shows: (1) Most of subjects consider that the paintless rural walls have more rural imagery, while the painted walls present higher environmental quality. (2) If the photos of paintless walls consist of higher proportion of landscape elements, such as red bricks and agricultural equipment, the cognition of rural imagery canpossiblyraise; whereas the iron plate, cement and artificial facilitiescan reducethe subject’s cognitionof rural imagery and environmental aesthetic perception. (3) Increasing the blending of painted patterns with surrounding environment, the rural imagery of painted patterns and background environment, and the interaction between patterns and viewers, can relatively enhance the subject's cognition of rural imagery with painted walls. (4) The subject's perception of aesthetic quality on painted wallscorrelates with factors such as the blending of painted patternswith surrounding environment, the quality of painted patterns and background environment, the preference of painted theme, and the painted creativity.(5) Among various painting styles, "rural landscape painting" can both display rural imagery and environmental quality, while "cartoon animation painting" tends to exhibitlow rural imagery and environmental quality. (6) The gender, age, occupation, education level, professional background, and timeperiod living in the countryside of the subjects have significant differences in rural imagery cognition and environmental aesthetic perception of painted walls.
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Donahue, Cristin J. Pullen Daniel J. "The importance of cloth Aegean textile representation in neopalatial wall painting /." 2006. http://etd.lib.fsu.edu/theses/available/etd-07062006-183736.
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Thesis (M. A.)--Florida State University, 2006.Advisor: Daniel J. Pullen, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Sept. 18, 2006). Document formatted into pages; contains xi, 125 pages. Includes bibliographical references.
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Sun, Huei-Jhih, and 孫徽之. "Reconstruction of the Historical Building to a Compound Restaurant with Wall Painting Creation-- The Wall Painting in the “MIYAHARA Ophthalmology Clinic” in Taichung as a Sample for Thesis." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/tjtk8u.
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碩士樹德科技大學
應用設計研究所
101
The old building has a vital value in modern life, because these old buildings possess a social cultural significance, having historical value and meeting the aesthetic and contemporary lifestyle ingredients. Besides, these historical buildings are also very important in education and in our life, which is also a growing awareness to people. The study is to investigate the building of a compound traditional pastry shop. This building, which is constructed during the period of Japanese occupation, was Dr. Miyahara Takekuma’s hospital, called “MIYAHARA Hospital” or “MIYAHARA Ophthalmology Clinic.” At that time, Dr. Miyahara Takekuma had previously studied in Germany before he served as a doctor of a public hospital in Taiwan. Then, in 1926 he resigned and started to run his own business, and founded MIYAHARA ophthalmology clinic in 1930. In addition, Dr. Miyahara Takekuma also served as a councilor in Taichung Prefecture before. After the surrender of the Empire of Japan in 1945, all the Japanese were withdrawn from Taiwan, including Dr. Miyahara Takekuma. His mansion then became the Governor of Taichung’s formal residence. As for MIYAHARA ophthalmology clinic, it was confiscated by the government, and changed into the Health Division of Civil Affairs Bureau of Taichung City, and then changed again into the Public Health Center of Taichung City in the following year, which was the original site of the Public Health Bureau of Taichung City Government. Then, Since the Public Health Bureau moved out here, the MIYAHARA ophthalmology clinic has been damaged by nature disasters over the years and has become a dangerous building. Fortunately, the signboard “The Public Health Center of Taichung City” was still preserved well. After reconstruction, this rickety historical building has been inserted perfectly with glass windows which create a communion between the old and new, that is nowadays’ DAWNCAKE flagship shop--- MIYAHARA ophthalmology clinic, opened by a pastry dealer. The shop named “MIYAHARA ophthalmology clinic” is opened by the well-known DAWNCAKE shop in Taichung. It has many chain stores such as Travelers Shop, Native Pineapple shop, Mother Nature Shop, Monastery Shop etc. And the one, MIYAHARA ophthalmology clinic, near Taichung train station is built as DAWNCAKE’s flagship shop. In fact, the building had already been bought before the government completely took it over. And owing to the owner of the building has a basic understanding on historic monuments, history and culture, and has great interest in literary language. Therefore, basing on these, the owner put a lot of efforts in the renovation of the interior decoration of the historical building. He wants to preserve the main structure of the old building and renovate with modern architecture to create a unique architectural style. Consequently, combining with the innovative idea of the building owner, the history at that time and the new architecture from the western, it brings an interesting atmosphere to customers when their eye are first caught by the seeming old and seeming new space. And without pressing a great deal of the posters, the building decorated with the wall painting instead to show the changes of the time and history in order to give the historical building a brand-new life.