Bibliografías temáticas / Greek Mural painting and decoration

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Literatura académica sobre el tema "Greek Mural painting and decoration"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Greek Mural painting and decoration"

1

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

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In the considerable creative legacy of the Ukrainian artist Modest Sosenko (1875–1920), the murals and sacred easel paintings he created for more than ten Galician churches deserve special attention. His contemporaries noted that the artist’s sacred works were characterised by his own ‘Sosenko style’, which boldly and organically combined Byzantine traditions reinterpreted by 16 th – and 17 th – century masters with modern European stylistic requirements of the turn of the 19 th and 20 th centuries. He was a pioneer who paved the way for the development of modern church art, which was helped by the circumstances of his life. After acquiring a thorough European professional education during his studies in Kraków as well as in Munich and Paris thanks to a scholarship funded by Metropolitan Andrey Sheptytsky, Sosenko returned to Galicia and, continuing his mentor’s activities in the field of museums, became a full-time employee of the Church (later National) Museum. His direct contact with old monuments of iconography, manuscripts and incunabula, and folk art allowed him to gain a deep understanding of the peculiarities of Ukrainian national art. Thus, the combination of his personal talent, professional knowledge and museum experience, as well as his close relationship with the head of the Greek Catholic Church – Andrey Sheptytsky, who directed all his efforts towards the revival of the high culture of decorating the sacred space of Eastern Rite churches, gave birth to an intellectual artist, ready to take up the challenge of the present day. However, it is not possible to appreciate Sosenko’s achievements in their entirety. The warfare in the region during the two world wars of the 20 th century, the years of Soviet rule, which was intolerant of cultural, national and spiritual heritage, and even the first years of Ukrainian independence, were not conducive to the preservation of the churches and their decoration. As a result, researchers are forced to conclude that most of Sosenko’s works have been irretrievably lost. The artist’s sources of inspiration, the specific composition of his monumental artworks, the range of colours, the ideological and aesthetic programme can only be reconstructed on the basis of the decorations of two churches in the Lviv region: St. Michael the Archangel in the village of Pidberizci and the Holy Resurrection in the village of Poliany, by making comparisons with fragments of lost murals recorded in archival photographs, and by adding the decoration, already after restoration toning, of the artist’s last sacred object – St. Nicholas Church in Zolochiv. Even such scattered data make it possible to observe many of the author’s characteristics, to determine the process of the formation of Sosenko’s distinct individual artistic style, to which this study is dedicated.
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Shpak, Larisa Yu. "Comparative study of anthropological aspects of greek vase painting and etruscan murals". Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), n.º 3 (23 de agosto de 2023): 98–110. http://dx.doi.org/10.32521/2074-8132.2023.3.098-110.

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Introduction. The fine arts of archaic Greece and Etruria experienced a noticeable influence of the East. The transition from archaic to classical time influenced the forms of depicting the morphological features of a person in antique art. Comparative study of the anthropological features of the antique population of the Mediterranean on the greek painted pottery and etruscan murals of the archaic and classical times was the purpose of our study. Materials and methods. The material was collected in the online-collections of ancient collections of museums. We used the method of a composite portrait in a digital version, the calculation of the frequency of features in our study. Studied features was – beard growth, hair color and nature of the hair. Results and discussion. On the etruscan murals of the archaic period, the frequency of depicting straight nature of the hair in women is the highest (7,7 %) in all samples; for different groups of painted pottery, it does not exceed 7 %. The degree of beard growth according to vase painting and etruscan murals is characterized by a strong and very strong growth. A greater manifestation of hair pigmentation polymorphism according to painted pottery is noted in the images of the classical period. Dark hair predominates in all groups, grey-haired was depicted only in male characters. Hair depigmentation on painted pottery is observed in images of the classical and late classical periods and did not exceed 6 % in the total sample. Pigmentation on etruscan murals indicates a lightening of the hair in the group towards reddish-red shades, depigmentation does not exceed 8%. Features of the depiction of pigmentation in to vase painting and murals, despite the different technique and coloring, reveal common tendencies of variability characteristic of the Mediterranean groups. Composite portraits based on painted pottery reflect the historical transformation of the anthropo-aesthetic ideas of the greeks through the fine arts of the archaic and classical times. Conclusion. Color in greek painted pottery performs not only a decorative function, but is also an artistic means of conveying morphological variability. Involvement of antique written sources of the description of population and the philosophy of color in antique culture can help in the anthropological reading of vase painting and further study of pigmentation polymorphism. @ 2023. This work is licensed under a CC BY 4.0 license
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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating". Zograf, n.º 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.

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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.
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Lampakis, Dimitrios, Ioannis Karapanagiotis y Olga Katsibiri. "Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings". Applied Spectroscopy 71, n.º 1 (20 de julio de 2016): 129–40. http://dx.doi.org/10.1177/0003702816654151.

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The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.
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D’Angelo, Tiziana. "Jerome J. Pollitt (ed.) The Cambridge History of Painting in the Classical World." Journal of Greek Archaeology 4 (1 de enero de 2019): 508–19. http://dx.doi.org/10.32028/jga.v4i.513.

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Reconstructing a single coherent history of painted images over almost two and a half millennia and across a wide variety of cultural contexts in the Mediterranean and Europe is a daunting task, especially today, at a time when the notions of diversity and multiplicity play a crucial role in the study of classical antiquity. The editor Jerome J. Pollitt introduces this study as the first attempt, after Mary Hamilton Swindler’s 1929 Ancient Painting, to provide a comprehensive and up-to-date survey of ancient Greek and Roman panel and mural painting from the Bronze Age to Late Antiquity, and to offer a critical assessment of past and current research on the paintings’ style, technique, iconography and sociocultural context. This ambitious study gathers nine essays by world-leading experts in different areas of ancient painting and is an essential tool for both students and specialists.
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Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)". Zograf, n.º 38 (2014): 123–41. http://dx.doi.org/10.2298/zog1438123t.

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This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the representations of the deceased Saviour and Christ the Great Archpriest - are compared to various liturgical sources and visual analogies (monumetal painting and liturgical textiles) in the medieval art of Serbia and Byzantium.
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Lysun, Yaryna. "Monumental painting in stone Catholic churches of Eastern Galicia in the second half of XVIII century. Topography, compositional types and techniques of illusionistic monumental art". Almanac "Culture and Contemporaneity", n.º 1 (31 de agosto de 2021): 200–204. http://dx.doi.org/10.32461/2226-0285.1.2021.238622.

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The purpose of the article is to analyze compositional types, topography, methods, and techniques used in the formal solution of mural compositions in the Catholic churches of Eastern Galicia in the second half of the XVIII century. The methodology lies in the usage of art historical methods of stylistic analysis and generally scientific methods of analysis, synthesis, induction, deduction. The scientific novelty of the research is in the analysis of methods and techniques used by Galician masters in the second half of XVII century for implementation of mural compositions that were interpreted, adapted to local artistic traditions. The research can be used in the attribution of saved samples of the monumental art. Conclusions. The monumental painting in the Polish-Lithuanian Commonwealth, in particular in Galicia, developed in the context of artistic trends in West and Central European countries. Chronologically, the development of monumental painting in Galicia ranged from the thirties until the late XVIII century. As for the formal characteristics of monumental art, in the territory of the Commonwealth, the most common were three compositional types of polychrome: local variation of Italian «quadro riportato», illusionistic and panoramic. The basis of the first is the method of placing of the image on the vault area, framed with imitated or sculpted frame, the second is based on the quadrature and other methods and techniques of illusionistic monumental art, the third includes a panoramic image on the vault. In Galicia, the third type of vault decoration has not become widespread. Visiting masters were the bearers of these trends. They implemented the polychrome in local cathedrals, using a wide variety of methods and techniques for the formal solutions of mural compositions, typical for European art schools. Later, local artists adopted this experience, creating polychromes with certain interpretations of compositional types.
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Chumak, Maria. "An Expressionist Painter of the Fourteenth Century". OPEN JOURNAL FOR STUDIES IN ARTS 4, n.º 2 (29 de diciembre de 2021): 47–62. http://dx.doi.org/10.32591/coas.ojsa.0402.02047c.

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Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophanes. The artistic heritage of Theophanes stands between the short vibrant period of the Palaeologan Renaissance when the Byzantine Empire went through a terminal crisis, and the European Proto-Italian Renaissance. The artist seized the opportunity to unleash his creative work in the ancient Russian cities, unfolding his talent in the creation of large mural paintings. Characterized by his contemporaries as “Theophanes the Greek, icon painter and philosopher”, he enjoyed a high reputation in medieval Russian society. Present article questions Theophanes’ belonging to the hesychast movement and the attribution of the Muscovite icons and manuscripts to the painter. Considering the impact of Theophanes on Russian visual art, D. Talbot Rice stated: “It was thanks to the teaching of Greek immigrants like Theophanes that a sound foundation was established Russian painting, and it was on this basis that local styles were founded.” And it was in the Russian principalities that Theophanes developed his very distinctive style, enjoying carte blanche from the princes and boyars (aristocracy) to apply his creativity in various domains.
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Starodubcev, Tatjana. "The depiction of the Virgin with the Christ in a niche on the western façade of the Church of the Transfiguration in Novgorod and the question of the painter's origin". Zograf, n.º 34 (2010): 137–52. http://dx.doi.org/10.2298/zog1034137s.

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The paper deals with a presentation of the Virgin with the Christ Child, in the niche above the archivolt of the western portal of the Church of the Transfiguration, in Novgorod. The fresco is assumed to have belonged to the painted ensemble in the church narthex, none of which has survived. It is also believed that like Theophanes the Greek, who headed the group painting the naos in the church, the zographos who worked on the decoration of the narthex, had arrived from Constantinople.
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Mezzadri, P. y J. Russo. "THE CASE OF CAPOGROSSI IN ROME: COLLECTING DATA WITH DIFFERENT TECHNOLOGIES ON A CONTEMPORARY MURAL PAINTING". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (15 de mayo de 2017): 211–18. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-211-2017.

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This paper focuses on the presentation of a part of the main thematic data documenting the pathologies and the degradation problems of a contemporary mural painting, which was designed and carried out by the italian artist Giuseppe Capogrossi in 1954. This forgotten masterpiece is developed on the ceilings of the main double stairscase at the entrance of the Airone, an ex-cinema-theatre in Rome (Italy). In time, the original project was completely damaged and now the Airone cinema is abandoned since 1999; the decoration, strictly connected to the function of the original project, has been completely covered by synthetic coatings. The documentation of the observed pathologies and the original materials of the lower ceiling takes place during a restoration project in 2015–2016 and was accomplished by utilizing different technologies in order to facilitate the collecting of the main data within several graphic thematic tables. The challenge of this documentation was to create a contact point, and perhaps also a contamination, between the practices of CAD graphic documentation, restoration and GIS technology.
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Tesis sobre el tema "Greek Mural painting and decoration"

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Schizas, Nicholas. "A theological study of the frescoes painted by Spyridon Papaloukas in the cathedral of Amfissa". Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683253.

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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /". *McMaster only, 2001.

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress". Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress". University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Damiani, Piergiovanni. "L'oratorio dei confratelli di Civo religiosità popolare ed arte in Valtellina tra Quattro e Cinquecento /". Sondrio : Società storica valtellinese, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53878936.html.

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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.
The fifth hypothesis was widened during the course of the research to examine the significance of wall paintings generally. In trying to find out what wall paintings signified to the owners of houses, this research has attempted to look at all the facets of their life and environment which may have a bearing on this. This includes an understanding of the buildings themselves, exploring who the people were who might have lived in them and placing these people in their social and cultural contexts. Always the emphasis has been on the small and local rather than on the bigger picture. as this is what touched people at the vernacular level most closely. In order to do this, the research has adopted a wide-ranging and multidisciplinary approach which cuts across traditional fields of knowledge. Therefore, the study combines library and documentary-based evidence with extensive fieldwork, in order to investigate diverse kinds of evidence. This includes research on the wall paintings themselves, the buildings in which they were found and the social, religious and cultural circumstances in which they were created. The research synthesises a wide range of methods for gathering and interpreting data: study and analysis of contemporary literature and documents, the study of a wide range of published and unpublished research, and a substantial fieldwork survey. First the context in which wall paintings were created is explored, in terms of physical environment, cultural and social characteristics of the period, and the church. Then the key findings arising from the fieldwork are discussed, looking at the sorts of houses that have wall paintings, the people who lived in them, and in detail at the characteristics of the paintings found. 233 wall paintings were recorded in 188 buildings. The hypotheses about universality and status are explored by investigating the vernacular qualities of wall painting in terms of materials and techniques required, who was doing the paintings, and their cost. Through the identification of a range of iconography, and the classification of paintings, possible sources for wall painting designs are explored. Finally the key issue of the significance of painted decoration at the vernacular level is discussed drawing on the various strands of the research in order to understand why particular forms of decoration might have been chosen, and what social and cultural meanings they may have had. The findings of the research indicate that wall paintings were very widespread. They were found throughout the area of study in houses of all but the very poor. Whilst the majority of paintings surveyed were in houses of the gentry or better-off members of society it is argued that this reflects the differential rate of survival of vernacular buildings. A technical analysis of wall paintings and an assessment of their total cost reveals the vernacular qualities of the wall paintings. This also suggests that wall paintings were only ever intended as short term decoration as some of the pigments used were very fugitive. Further evidence for this has been found in the practice of overpainting one scheme with another within a short period, which was revealed through microscopic analysis of paint samples. The contemporary aesthetic included striking yet crude designs which were capable of being executed by local craftsmen. These findings indicate that wall paintings could have been extensive lower down the social scale. Whilst painted decoration throughout the sixteenth and seventeenth centuries was examined, it is submitted that the majority of paintings were executed during the late sixteenth and early seventeenth centuries - a period of considerable change during the transition from a medieval to an early modern society. The paintings dating from this period have a character quite distinct from the limited number found earlier and later than this period. The significance of wall paintings is closely bound up with issues of status. This period of transition was characterised by outward expressions of status by means of display in a variety of forms. It is argued in this research that wall paintings were an element of such display. Iconography included decorative as well as figure subjects and it is this that holds the key to the significance of the paintings. The higher status houses had the more complex figurative and ornamental schemes whilst, for the most part, the humbler houses had simpler ornamental schemes. Also the simpler, decorative schemes seem to have been more common in halls whilst more sophisticated paintings appear to have been in the more private rooms of the house. The iconography and the context of the wall paintings can provide an important insight into some of the more intangible and elusive aspects of vernacular life. Social and cultural values of the period are particularly difficult to access as surviving indicators of these are limited. Literary sources have limited value in a society which expressed itself in a predominantly non-literate fashion. Vernacular buildings can provide a major source of information and this research argues that wall paintings were a key element in vernacular buildings at a specific time during the transition from a medieval to an early modern society and are, therefore, a crucial record of changing social and cultural values.
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /". Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Olsson, Melinda. "The Casa della Venere in Bikini (I 11, 6-7) at Pompeii : its decoration and finds /". Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09pha733.pdf.

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Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989?
Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).
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Segal, Marcelle. "Street art commentary as inspiration for jewellery design". Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.

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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.
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Libros sobre el tema "Greek Mural painting and decoration"

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Triantaphyllopoulos, Dēmētrēs D. Die Nachbyzantinische Wandmalerei auf Kerkyra und den anderen Ionischen Inseln: Untersuchungen zur Konfrontation zwischen ostkirchlicher und abendländischer Kunst, 15.-18. Jahrhundert. [Germany]: Institut für Byzantinistik, Neugriechische Philologie und Byzantinische Kunstgeschichte der Universität München, 1985.

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Greece) Chrōstēres (Conference) (2013 Akrōtēri. Paintbrushes: Wall-painting and vase-painting of the second millennium BC in dialogue = Chrōstēres. Editado por Vlachopoulos Andreas G. editor y Panepistēmio Iōanninōn. Athens: University of Ioannina, 2018.

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Rouveret, A. Histoire et imaginaire de la peinture ancienne: Ve siècle av. J.-C.-Ier siècle ap. J.-C. [Roma]: Ecole française de Rome, 1989.

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Frigerio-Zeniou, Stella. L' art "italo-byzantin" à Chypre au XVIe siècle: Trois témoins de la peinture religieuse : Panagia Podithou, la Chapelle latine et Panagia Iamatikē. Venise: Institut hellénique d'études byzantines et post-byzantines, 1998.

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Frigerio-Zeniou, Stella. L'art "italo-byzantin" à Chypre au XVIe siècle: Trois témoins de la peinture religieuse : Panagia Podithou, la Chapelle latine et Panagia Iamatikê. Venise: Institut hellénique d'études byzantines et post-byzantines, 1998.

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Falaschi, Eva. Peri graphikēs: Pittori, tecniche, trattati, contesti tra testimonianze e ricezione. Milano: LED Edizioni universitarie di lettere economia diritto, 2019.

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Politismou, Greece Hypourgeio, Vyzantino Mouseio (Athens Greece) y Centro mostre di Firenze (Italy), eds. Affreschi e icone dalla Grecia (X-XVII secolo): Palazzo Strozzi, 16 settembre-16 novembre 1986. Atene: Ministero greco della cultura, 1986.

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Thera), International Symposium on the Wall Paintings of Thera (1st 1997. The wall paintings of Thera: Proceedings of the first international symposium, Petros M. Nomikos Conference Centre, Thera, Hellas ... 1997. Athens: Thera Foundation, 2000.

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Manolēs, Chatzēdakēs y Kentro Ereunas tēs Vyzantinēs kai Metavyzantinēs Technēs, eds. Hē mnēmeiakē eklektikē zōgraphikē stē Rodo sta telē tou 15ou kai stis arches tou 16ou aiōna: Mnēmē Manolē Chatzēdakē, Akadēmia Athēnōn, 29 Phevrouariou 2000. Athēna: Akadēmia Athēnōn, Kentro Ereunas tēs Vyzantinēs kai Metavyzantinēs Technēs, 2000.

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century, Theophanēs active 16th, ed. Theophanēs ho Krēs: Koryphaios zōgraphos tou 16ou aiōna. Thessalonikē: Ekdoseis Kyriakidē, 2016.

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Capítulos de libros sobre el tema "Greek Mural painting and decoration"

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Trinkl, Elisabeth, Stephan Karl, Stefan Lengauer, Reinhold Preiner y Tobias Schreck. "Cross-Modal Search and Exploration of Greek Painted Pottery". En The 3 Dimensions of Digitalised Archaeology, 109–28. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-53032-6_7.

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AbstractThis paper focuses on digitally-supported research methods for an important group of cultural heritage objects, the Greek pottery, especially with figured decoration. The design, development and application of new digital methods for searching, comparing, and visually exploring these vases need an interdisciplinary approach to effectively analyse the various features of the vases, like shape, decoration, and manufacturing techniques, and relationships between the vases. We motivate the need and opportunities by a multimodal representation of the objects, including 3D shape, material, and painting. We then illustrate a range of innovative methods for these representations, including quantified surface and capacity comparison, material analysis, image flattening from 3D objects, retrieval and comparison of shapes and paintings, and multidimensional data visualization. We also discuss challenges and future work in this area.
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Kriza, Ágnes. "Depicting Orthodoxy in Rus". En Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.

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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the prepared throne (Hetoimasia) in the Novgorod Sophia image, its light symbolism, and the development of anti-Latin ecclesiological iconographies in Novgorod.
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Lather, Amy. "A Beautiful Mind: Patterns of Thought and the Decoration of Textiles". En Materiality and Aesthetics in Archaic and Classical Greek Poetry, 18–63. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474462358.003.0002.

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This chapter inaugurates the study because it focuses on the manufacture of poikilia in textiles, the material with which this quality is most frequently associated in literary sources, and because it examines how the poikilia of textiles is represented across different media (statuary, painting, texts, and textiles themselves). It thus establishes as fundamental to poikilia a fluid set of exchanges between minds and materials in the construction of elaborate and polychromatic patterns. What these different manifestations of poikilia have in common is an awareness of how the sensory richness afforded by elaborate decoration contributes to the animation and perceptual immediacy of material artifacts.
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Hoffmann, Herbert. "Deep Play". En Sotadies, 141–46. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150619.003.0014.

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Abstract According to a fairly prevalent Greek view, instability and risk are the very essence of existence, or reality (hyparxis). Heroism is dangerous, but it is through danger that life ceases to be banal. Both tragedy and comedy depend on this insight for their substance and effect. In the following I shall draw on Athenian vase-painting and the evidence of Sophokles and three Presocratic philosophers to explore the Greek attitude to risk, a focal anthropological concept and culturally conditioned idea. My point of departure will be two joining bowl fragments of a Sotadean cup-skyphos in a Swiss private collection. As chance would have it, the two fragments preserve most of the vessel’s picture decoration (Fig. 79, Cat. C3).
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"of the house, both practically and symbolically — a role which links women, not only with the traditional concept of hearth and home, but also indicates her authority and control in that sphere (Bonomi & Ruta Serafini 1994). Keys and women are further symbolised in religious iconography, as we will see later. Sex The depiction of love-making, on both beds and chairs, is very graphically represented in situla art (fig. 6). Boardman wrote that "love-making has iconographie conventions like any other . . . whether the intention is pleasure, display, procreation or cult" and indeed all these explanations have been offered as explanation for such scenes in situla art. I would concur with Boardman and Bonfante that these depictions are purely secular (Boardman 1971; Bonfante 1981), rather than ritual, as suggested by Kastelic and Eibner. The scene on the Castelvetro mirror (fig. 6, 1), which, as we have seen, is for Kastelic a hieros gamos, could, perhaps, be more plausibly can be read in the form of a strip cartoon, in which a rider arrives on horseback, a prostitute is procured, with price being negotiated between a man and a woman — with the women holding up two fingers the man one — and the act subsequently carried out after further arrangements between a woman and a seated man. In all probability this was a recognisable story, perhaps related to the one about the inn-keeper's daughter still celebrated in Italian popular song, or, if we take into account the link between this and Etruscan mirrors, perhaps even some myth or legend. Even though the bed is in the form of the Urnfield bird-headed sun-boat, since the latter is such a common decorative motif, it cannot be used to interpret this as a religious image. The fact that this 'tale' is depicted on a mirror, which one presumes was a female item, is rather surprising and suggests that, either it was intended as a gift for a high class prostitute, or can be seen a rather crude allusion to sex on a gift for a more respectable woman. Whatever the interpretation, there is surely some relationship between the mirror, as an object of self adornment, and the subject matter depicted on it, which again follows the tendency of situla art to relate decoration to the function of the object. This and other depictions of love-making, rich in the sensuous detail of vibrating mattresses and pubic hair, indeed are more redolent of an earthy Italic sense of enjoyment than any religious allusion to sacred marriage. Such sexually explicit designs are comparable with Eruscan tomb painting and may reflect the open sexuality held to be characteristic of Etruscan women, which was commented on by Theopompus in the 4th century BC (Bonfante 1994). We can conclude that women may be shown in mainly subservient roles on the situlae because these were used in the context of male entertainment and festivals, but on the rattle they appear in a more productive light. The mirror, certainly belonging to someone with wealth, if not respectability, carries a more uncertain message. On Greek red figure drinking cups, objects of male use, we sometime find a duality of the representation of the hetairai and the virtuous wife, sometimes on the same cup, with the latter, incidentally, often engaged in spinning or weaving (Beard 1991: 28- 9). Female deities The representation of a goddess with the keys, as well as animals, is found in situla art on five votive plaques probably found in a hoard near Montebelluna (Fogolari 1956) (fig. 7). The figure, accompanied by both plants and animals, is, according to Fogolari, probably a fertility goddess, Pothnia theron — a Venetic equivalent of Demeter — carrying the key to both the opening of the fertility of plants and help in the birth of animals and women (Fogolari 1956). Keys, however, as we have seen, are also found in female graves in the area, where they suggest the role of women as keepers of the household, a role which may also have been sanctioned in the supernatural world (Bonomi & Ruta Serafini 1994)." En Gender & Italian Archaeology, 162–65. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-25.

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Actas de conferencias sobre el tema "Greek Mural painting and decoration"

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Saihoo, Nam-oi. "THE STUDY OF COLOR SCHEME OF MURAL PAINTING AND DECORATION IN INTERIOR ARCHITECTURE (CASE STUDY: TEMPLES IN KHONKAEN)". En International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4103.

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Kruk, MiroslawKruk. "STS CONSTANTINE CYRIL AND METHODIUS AS PATRONS OF THE KINGDOM OF POLAND". En THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.06.

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In 1436 Zbigniew Oleśnicki (1423–1455), Bishop of Kraków, mentioned that Saint Cyril and Saint Methodius, were the patrons of the Polish kingdom. This event remains highly mysterious, as because the bishop was rather famous for his activities in the field of strengthening the role of the Roman Catholic Church, and nothing is known of his other manifestations of sympathy for the Orthodox Church, its patrons and saints. 108 Intriguing in this context are the plans for the introduction of ecclesiastical union which were supposedly presented by Gregory Tsamblak, an envoy of Władysław Jagiełło, King of Poland, at the Council of Constance in 1418, as well as a number of his foundations of orthodox frescoes in the Catholic churches of Lesser Poland. A separate issue is the memory of the “Solun Brothers” in nineteenth-century Krakow, evidenced by a painting by Jan Matejko in 1885 and his contribution to the painting decoration of the Greek Orthodox Church in the former Catholic Church of St. Norbert in Krakow.
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