Artykuły w czasopismach na temat „Spanish Mural painting and decoration”

The aim - to study the main characteristics of the tour "Street art Zhitomir" and its strategy to promote on the urban tourism market. Research methodology includes a system of methods and techniques: monographic, methods of market research (applied in the study of the existing demand for the proposed type of travel products and attitudes of local people to the street art), interviews with experts (used in collecting information about sightseeing objects), the method of field research (used in the study of the actual state of excursions subjects in real-world conditions of the area). Research results. Reviewed the role of street art in urban space rethinking the example of prominent projects in the world. Established terminological meaning of "street art", "mural", "graffiti" and so on. The benefits of increasing the popularity of street art are noted. Wall painting or mural (in Spanish muro - "wall", "masonry") - a kind of monumental and decorative painting, performed directly on the wall or plaster, in which the images and decorative ornaments are subordinated to architectural forms. It allows to improve urban landscapes in combination with post-Soviet architecture. Other positives of street art are: creating landmarks, designing space, marking space, and more. A separate positive of the Murals: they help attract more tourists to the cities. The text of the publication gives examples of murals in famous tourist centers, which have helped to transform the urban space. The article discusses the importance of street art as one of the most popular and fastest growing types of contemporary art in shaping the space of the urban tourism environment of Zhytomyr. It defines the role of murals as the most common direction of Zhytomyr street art. The results of the study of the most famous and significant murals of the city of Zhytomyr by available sources of information are presented, the possibility of their involvement in the excursion program is analyzed. The main components of the excursion product "Street Art Zhytomyr" in the publication are developed. The tools for promoting the proposed excursion product to the urban tourism market are identified. The scientific novelty of the work: an innovative city excursion product was developed. The excursion program includes fifteen locations. The content of the tour is designed for both professional artists and those who are not experts in the field of art. The practical significance of the work: this excursion product can be introduced into the tourism market and it will contribute to the formation of a positive tourist image of the city of Zhytomyr.

This study analyzes the techniques and decorative motifs of several works made using barniz de Pasto, highlighting their characteristics in order to establish comparisons with artistic phenomena of Asia and Europe. A possible link can be observed between barniz de Pasto and the Namban and Pictorial style Japanese export lacquer works of the 17th and 18th centuries. A search for similarity is justified by the documentary and material evidence of Japanese works created in these styles being transported from Japan to the Viceroyalty of New Spain by Manila galleons via the trade route between Acapulco and Callao. Additionally, traces of the Spanish culture have been recognized in barniz de Pasto. For example, printed images that circulated in the Viceroyalty of Peru have been observed on a coffer. This appropriation, also observed in the mural painting of a Central Andean church, and the presence of the image of Amaru, a Quechua deity, on the same coffer, marks the Central Andes as one of the possible places where the practice of barniz de Pasto could have been established. All of this points to Central and South America’s great ability to appropriate foreign cultures and fuse them with their own during the viceregal period, as manifested in the art of barniz de Pasto.

The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.

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.

<p>Recovery of the Roman wall painting in the southeast Spanish is done, by a party's own excavations in the archaeological site, where you can find this mural in two ways, still located in the walls of Roman villas or at the foot of these walls collapsed, fragmented and even buried, making it necessary cooperation in the recovery work of the archaeologist and restorer. You can also recall Roman wall paintings in the collections of archaeological museums, as many boxes remain innumerable multitude of fragments of mural pieces found in excavations and record stored there pending further study, grading and restoration. Examples of the above are discussed.</p>

Resumen Durante los años 60 y 70, la pintura mural en el espacio urbano se convierte en una expresión artística que recorre el panorama internacional al calor de los acontecimientos políticos y movimientos sociales que acontecen en diversos países. España forma parte también de esa tendencia que discurre en paralelo, y con especial intensidad, durante los últimos estertores del franquismo y el desarrollo de la Transición. El Colectivo Plástico de Zaragoza es uno de los nombres propios de esta corriente, poniendo en práctica un nuevo modo de entender la creación artística, tanto en su concepción material como en el proceso de creación. Abstract During the 60s and 70s, mural painting in urban spaces becomes an artistic expression across the international scene and in the middle of the events and social movements that took place in different countries. Spain is part of that trend that runs during the last death throes of Franco’s regime and the first steps of the Transition. The Colectivo Plástico de Zaragoza is one of the main characters of this artistic scene, putting into practice a new way of understanding artistic creation, both in its material conception and the creation process. Keywords Mural painting, poster, sticker, Spanish Transition, Social Movements, resident’s association, neighbourhood.

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.

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.

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.

The paper offers a revision of the current knowledge concerning elderly Maya women, based on Maya and Spanish colonial sources, as well as iconographic artefacts such as vessels, figurines and mural painting. The main objective is to determine whether information derived from the above sources is congruent and whether it coincides with the current notions about these women. Moreover, special attention is paid to certain roles played by the elderly Maya women, which distinguish them from other female members of the community and, at the same time, bring them almost on a par with men.

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&amp;ndash;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.

This article tries to approach the mural painting in Los Realejos. With a small group of preserved works, the three frescoes by Francisco Bonnín Guerín (1874-1963) in one of the corridors of the La Gorvorana mansion stand out. The hacienda is a good example of the large properties linked in entailment that in the 19th century became the property of bourgeois returned from the Spanish Caribbean. In these works, the painter shows the influence on Bonnín of other insular artists. In the same way, we delve into its promoter, José Leal y Leal, his life, artistic sensitivity and his portrait.

This article tries to approach the mural painting in Los Realejos. With a small group of preserved works, the three frescoes by Francisco Bonnín Guerín (1874-1963) in one of the corridors of the La Gorvorana mansion stand out. The hacienda is a good example of the large properties linked in entailment that in the 19th century became the property of bourgeois returned from the Spanish Caribbean. In these works, the painter shows the influence on Bonnín of other insular artists. In the same way, we delve into its promoter, José Leal y Leal, his life, artistic sensitivity and his portrait.

Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.

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.

Do Maya sacred artistic manifestations in sixteenth to eighteenth-century Franciscan convents, churches, and chapels reflect native ideological persistence, a Maya and Christian amalgamation, or a European Catholic subsumed spiritual meld? This study explores the sculptural and painted expressions that adorn Colonial religious architecture found in the Yucatan Peninsula. Ethnohistoric sources, historic documents, physical geographical location, and spatial layout for these buildings, their sculptural programs and mural painting iconographic motifs, and spiritual spaces surrounding those edifices erected by natives subsequent to European contact, conquest, and colonization provide a more complete basis from which to address such philosophical and anthropological concepts of religious permanence, syncretism, and/or fusion. These particular evidentiary aspects assess Maya sacred built space environments found in the Cehpech, Cochuah, Cupul, and Tases provinces prior to European contact and conquest. This paper will focus on twospecific areas: the municipal seat church and convent complex in one autonomous political jurisdiction near the Spanish viceregal administrative seat in Mérida, and will then compare/contrast those area-specific religious representations with built spaces and interior/exterior embellishments near the Spanish viceregal enclave at Valladolid, Yucatan, as well as in other indigenous community visita churches under this and Tizimin’s Missions ecclesiastical jurisdiction in the northeastern rural peninsular Maya hinterlands. Combined data sets from both regions suggest a more autonomously derived divine substrate to characterize viceroyalty period Maya religious practice, rather than a Roman Catholic and Maya syncretism or Catholic synthesis of autonomous ideological philosophy, and point to an unfinished evangelical conquest that flew under the ecclesiastical and Spanish administrative radar at that time. In some select cases these same hallowed essence and practices continue to present. Those spiritual expressions that embellish built environments with autonomous religious undercurrents also help to explain the repeated yet unsuccessful Franciscan endeavors to ultimately quash idolatry in the peninsular region.

En el área surandina, en la Ruta de la Plata entre Cusco, Potosí y Arica, se dio un importante tránsito de artistas, estilos arquitectónicos y ornamentales que es posible apreciar actualmente en portadas de piedra, etablos de madera y pintura mural de los templos, en los pueblos donde transitaron trajinantes llevandola plata hacia el puerto de Arica y víveres hacia la villa de Potosí. En los siglos XVII y XVIII, caciques, cofradías indígenas, maestros cantores y doctrineros asumieron estas construcciones, reconstrucciones y alhajamiento con devoción y compromiso, encargando obras a los talleres artísticos de la zona, como también a artistas locales e itinerantes que difundieron el estilo barroco surandino, adaptándolo a la realidad de las circunstancias sociales de cada comunidad e incorporando iconografías y ornamentos locales. Abstract This article focuses on the cultural universe formed around the silver route, linking artistic and religious expressions that arose there. Collaboration and sharing practiced by indigenous communities before the arrival of the Spaniards made possible the construction and decoration of temples in this commercial circuit. In this sense, the Andean temples are a symbol of the strong relationship between different peoples, as well as their creativity and religiosity. Under Spanish rule, these communities adapted Western models, incorporating iconography and local ornaments. Finally, this South Andean Baroque style spread its influence to different places throughout the region, creating a valuable cultural universe.

The article explains the role of extra-musical factors in the creation of the compositions, caused by the action of the art synthesis as a cross-cutting theme of the composer’s creativity in the European tradition. In the academic art, this phenomenon has acquired the status of the program method, which to some extent has directed the listeners’ perceptions. The actualization of the present topic and its predetermined task is to determine the degree of the correlation of the semantics of a new composition to its artistic original, since it is precisely on the “artistic type translation” that both the programmability and the ways of its implementation by means of the performing interpretation depend. The object of the article is the programmability as a condition of the composer’s idea; the subject is the author’s concept of “The Ancient Kiev Frescoes” by A. Stashevsky for the accordion, implemented in the genre-stylistic system of the individual and national-musical thinking. The purpose of the article is to identify the genre-stylistic factors of the author’s conception of the selected composition, which reflects the sound-poetic ideas about the ancient history of the native land, while forming the national memory of the modern Ukrainian. Analysis of the recent publications on the research topic. Among the fundamental works devoted to programmability, we should point out the works by V. Konen, which trace the tendency to expand the limits of programmability in music at the expense of non-musical influences, as well as those by M. Lobanova, who characterizes the synthetic genres (opera, theatre music, ballet, program symphony) in the historical dimension. G. Khutorskaya owing to the introduction of the category “interspecific translation” into the scientific circulation explains the means of the synthesis of arts in vocal compositions [5]. The interspecific interaction of the theatre, painting, dance, poetry and literature contributes to the reproduction of the complete picture of the world in music. The material for the development of the problem is the composition for the accordion called “The Ancient Kiev Frescoes” by A. Stashevsky, one of the bright representatives of the modern accordion school of Ukraine. Observing the author’s premieres (in particular, the accordion compositions) in the quality of a professional listener, one can state that his creativity has become an important part of the musical culture of the Slobozhanska Ukraine. As a multifaceted personality – an accordion performer, teacher, composer, and scientist – he embodies new ideas, genre-style models and corresponding techniques of the performing skills in his activities. A comprehensive analysis of the genre stylistics and a personal view of the performance dramaturgy of the interpretation of the program cycle have been given. “The Ancient Kiev Frescoes” by A. Stashevsky (2005), besides the program name, have a genre refinement of the “suite-notebook”, which contains the key to understanding the essence of the stated program. First, the notebook (the album) is holistic, and contains information about interrelated events of a certain era, arranged in a timeline (the linear sequence). Secondly, the pages of the notebook can be represented as the planes where the images are located – the frescoes of St. Sophia Cathedral in Kiev. The most valuable decoration of the cathedral is the mural, which has been preserved for centuries and is an example of the skill and artistic taste of ancient Ukrainians. In general, St. Sophia Cathedral embodies the philosophical credo of the era with its national idea, the expression of the spirituality of the Christian worldview. There are nine parts in the suite-notebook, each with a program title. The author’s idea is realized, on the one hand, through the programmability of the picture type, when the parts of the suite cycle constitute a single composition that is associated with a multi-figured mural (with its mosaic, stained glass). It is impossible to capture it at one glance, so getting acquainted with it implies a consistent arrangement of the fragments of the whole in time. On the other hand, there is a pervasive narrative throughout the cycle: all the parts sound attacca. The pages of the chronicle seem to be expanded in the temporal axis; there is also a general logic of changing the various musical murals that is subordinate to the latent programmability: from “Intrada” to the climax in Part 8 and Part 9 an associate connection (a story line) is established. Programmability-driven musical stylistic contains repetitive segments of the author’s language focused on archaic styling. Because of the singing type of thematism, the ostinato nature and variability of the means of its development, the expanded fret and tonal nature, the mosaic principle of the stringing of the motives, and their combining. In the conclusions it is emphasized that in the program composition for the accordion A. Stashevsky skillfully realized his plan as a projection on historical, musical-performing and picture-everyday images-echo. The incarnation of the ancient history of Kievan Rus by means of the fret-harmonious, texture-timbre and compositional-dramatic means fully presents the author’s conception of the composition – the harmony of a man and history, the updating of the Past, in order to understand one’s own mental foundations, self-awareness in the national cosmos and logo.

Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory?s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint?s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease. For that reason, the Emperor found a large house, in which he established and fully equipped a xenon (hospital, ?????), whereas Sampson was appointed as the skeuophylax of the Great Church. The Blessed continued to work there until his death. His venerable leipsana, which rested in the church of Saint Mokios, constantly issued the cures. His feast was celebrated in the hospital founded by him. Long time had passed between the period in which the Saint had lived and the epoch in which his earliest hagiography was compiled. During that time, some events could have fallen into oblivion and accounts of other events could have been invented. Accordingly, the results of the researchers of Saint Sampson?s xenon?s history are valuable. The hospital was housed in Sampson?s home, where he provided not only health care, but also food and bed. It was presumably founded in the fourth century. The xenon was burned in the Nika riots in 532 and Emperor Justinian had it renovated and expanded. Based on some documents issued in the Empire of Nicaea, it may be concluded that the xenon had vast estates. The Crusaders first sacked it, to subsequently use it for their own needs, as they established the Order of Saint Sampson. The hospital soon received many properties in Constantinople and its environs, Hungary and Flanders. It seems that after the liberation of Constantinople, the activities of Saint Sampson?s hospital were ceased and that there was a monastery at its place in the Palaiologan period. Anyway, the reputation of its holy founder persisted throughout the thirteenth century. Constantine Akropolites wrote the already mentioned Hagiography, and in one of his letters he spoke of the Saint, who was also mentioned in a poem by Manuel Philes (died around 1345). In Constantinople, the veneration of Saint Sampson had two centres - the hospital named after him and the church of Saint Mokios, where his leipsana rested. According to the synaxaria of the Typikon of the Great Church and the Church of Constantinople, the feast dedicated to the Saint was celebrated at his xenon. The former text informs us that the service was held by the Patriarch, whereas Symeon Metaphrastes relates that the vigil on the eve of the feast took place over the relics in the church of Saint Mokios. The Patriarch celebrated the feast dedicated to Saint Sampson with hospital clergy in the church within the xenon, both mentioned by Metaphrastes. It was either this church or a shrine from a later period that housed the iconostasis noted down by Constantine Stilbes, an eyewitness of the Latin capture of the Byzantine capital. Written sources and archaeological finds are consistent in that the hospital was located between the churches of Saint Sophia and Saint Irene. However, the first excavations carried out at the site of the xenon were not properly documented, whereas archaeologists involved in further investigations could not rely on reliable data, though they carefully examined all finds. The question arises why Saint Sampson was at first usually depicted in the company of Saint Mokios, a presbyter who died a martyr?s death in Constantinople (May 11), and later, together with Saint Diomedes, the physician who died in Nicaea (August 16). Therefore, this paper briefly presents the hagiographies of the two saints and the churches in the Byzantine capital where their relics rested - the monastery of Saint Mokios, which did not exist in the mid-fourteenth century, and Saint Diomedes, which was counting its last days in the fourteenth century, reduced to a small monastery. Dobrynja Jadrejkovic (subsequently Antony, archbishop of Novgorod) noted down around 1200 that the saint?s stick, epitrachelion and robes were kept at the hospital of Saint Sampson, whereas in the church of Saint Mokios, under the altar, rested Saint Mokios and Saint Sampson. He also mentioned that water flew from the latter?s grave, as well as that the church of Saint Diomedes was near the Golden Gate and that the relics of Saint Diomedes rested there. However, the Russian pilgrims who visited Constantinople during the Palaiologan period mentioned neither Saint Sampson?s hospital, not the church of Saint Mokios, whereas the church of Saint Diomedes, but not his relics, was noted down only by an unknown traveller who described the pilgrimage undertaken between the late 1389 and the early 1391. The answer to the question of what happened to the leipsana that once laid in these churches is not possible to provide. The fate of the relics of Saint Sampson, previously kept in his xenon, is not known, nor is it known where the commemorations of the three saints were held in the capital during the Palaiologan period. Anyway, the depictions of Saint Sampson accompanied by Saint Diomedes - whose oldest examples are preserved in Arilje - indicate that the connection of these two priest-physicians had already begun by the time when the church was painted (1295/1296), but, judging by the available sources, the only evidence on the process is given by the paintings. Although Saint Sampson founded the hospital which was probably the oldest in Constantinople, and though his leipsana, kept in the church of Saint Mokios, had healing powers, while his relics in the xenon were visited by pilgrims, it seems that the respect for this saint in the Byzantine capital was not reflected in the frequency of his images among holy physicians: he was fairly rarely shown among them. As a matter of fact, the earliest representations of Saint Sampson originated from Constantinople. They can be found on lead seals made for the hospital in the second half of the sixth and during the seventh century. On the other hand, there is no any known preserved depiction of this saint in the mural decoration of the early churches. Accordingly, it may be assumed that the veneration of Saint Sampson was initially limited to Constantinople, and that it was only later, since the time when his short hagiography was included in the synaxarium and his extensive hagiography was written for the Metaphrastes?s comprehensive work, that it was adopted in other areas of the East Christian world. It may seem paradoxical that the preserved images of the Saint dating from the period when his xenon flourished are less numerous than those from the time when the hospital, in all probability, did not exist. It seems that after the liberation of Constantinople from Latin rule, Saint Sampson was earnestly honoured and that the believers frequented the monastery at the site of the old xenon, though the hospital did not exist anymore. The former assumption is corroborated by the writings of Constantine Akropolites and Manuel Philes, whereas the latter is supported by the coins from the Palaiologan period found in the sacral building within the complex that once belonged to Saint Sampson?s hospital. Although his miraculous leipsana rested in the church of Saint Mokios, the posthumous miracles of Saint Sampson, described in later hagiographies, mostly took place in his xenon, which housed the relics that were visited by pilgrims and where commemorative services dedicated to him were held. The veneration of the Saint was long fostered within the institution founded by him - the ancient hospital where trained doctors worked - i.e. it was nurtured between the reputation of medical skills based on secular knowledge and miraculous healings.

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve “Kyiv-Pechersk Lavra”. The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition “Ascension of Panagia” on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the Kyiv-Pechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.

The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The continuity principle is defined as the basis of the connection between the original (the 18th century) and renewed (1894; Daniil Davydov) decoration of the Cross Exaltation Church. The pictorial compositions analogies to the paintings of the compartments of Lavra Great Church (Dormition Cathedral) according to the programme of the 1720s are observed. Secondary analogies with some compositions in the Lavra Trinity Gate Church are also indicated. Along with analogies, the differences in the thematic, compositional, and stylistic interpretation of the paintings have been investigated. The academicism features in the mural painting of 1894 have been analysed. The originality of themes and plots addition in the mural paintings with icons in the iconostasis and the altar has been revealed. Conclusions. The mural painting programme’s primary source of the Cross Exaltation Church of the Kyiv Pechersk Lavra has been the programme of painting the interior of Lavra Great Church (Dormition Cathedral) in the 1720s. The renewed mural paintings of 1894 inherited the original decoration of the Cross Exaltation Church. Analogies with the paintings of the Great Church can be traced to the theme and general compositional schemes. A partial analogy to the mural painting of the Trinity Church narthex has been used as a component for another theme. Innovations in the paintings of the Cross Exaltation Church have been manifested in the formation of a peculiar thematic hierarchy, a change in compositional elements, and a transition from the baroque style to the traditions of academic sacred painting. The originality is manifested in the presentation of emotionally saturated subjects in the altar icons and paintings, due to which a calm and sublime rhythm of the wall compositions are created. Some icons are a plot addition to the murals. Several thematic lines are revealed in the mural painting, namely the sacrifice of the Saviour on the cross, the sacrifice of a man to God, the meeting of a man with God, the Divine Liturgy and Church of Christ. The main theme of the church painting decoration is the glorification of Christ’s atoning sacrifice and the Precious and Life-giving Cross of the Lord as the instrument of His victory and our salvation. The ideological basis of the mural paintings theological programme is a line from the Epistle of the Apostle Paul to the Hebrews [Hebrews 19:39–40, 20:1–2]. Keywords: sacral culture, Orthodoxy, academic painting, baroque painting, mural painting, sacral painting, Ukrainian painting, Great Church, Dormition Cathedral, Cross Exaltation Church, Holy Trinity Gate Church, Daniil Davydov.

The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilii Voloshynov during 1837–1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral).

The purpose of the article is to introduce into scientific circulation, to attribute modern compositions of the academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra, to study their genesis. The research methodology consists in the complex application of historical and cultural analysis, art study, diachronic ones, as well as empirical observation. The scientific novelty of the study. The materials of the survey and proposals for restoration (1998) the compositions of academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra of the late 19th – early 20th centuries have been introduced into scientific circulation. The academic mural painting in the Dormition Cathedral, the 21st century, has been introduced into scientific circulation. Its attribution has been performed. The names of the artists have been introduced into scientific circulation and it has been detailed who among them is the author of the project, who painted the holy images and who painted the ornaments. The dating of the compositions in different compartments of the Cathedral and the technique of their performance have been determined. The main thematic and plot lines have been revealed. The thematic, plot, iconographic, decorative, coloristic connections of the modern academic mural painting with the murals of the late 19th – early 20th centuries and with visual records have been studied. The similarities and differences of the academic compositions of 1897–1901 and 2018–2022 have been analysed. The principle of forming the colouring of modern academic murals has been revealed. Conclusions. In the modern decoration of the Dormition Cathedral of the Kyiv-Pechersk Lavra, the Academicism painting (1897–1901) is presented in the apse of the southern nave (diaconicon). In this compartment, authentic fragments of academic compositions have been restored, the painting system has been revived based on archival photos, and some new academic compositions have been introduced to it. Mural paintings have been performed by artists under the supervision of Oleksandr Pashkovskyi in 2018–2019. They also performed new murals in the academic tradition in the altar part of side-altar of the Saint Apostle Andrew the First Called in the southern part of choirs in 2020–2021. In the northern part of the choirs, paintings have been started and then suspended in 2022. In the new murals complex the artists cite in extenso or in part the compositions of the late 19th – early 20th centuries using archival photos. The murals have been performed in mixed techniques: holy images in oil, ornaments in acrylic paints. The composition ‘Glorification of Theotokos’ differs in the techniques; it is painted with oil on canvas. In the modern interpretation, the cited compositions can keep or change the primary location. The colouring of the new murals is formed on the basis of fragments of authentic compositions. A considerable part of the decoration is occupied by stylised ornaments as well as in murals of 1897–1901. The new and primary mural painting combine same academic principles of visual language, iconographic and colour principles, thematic and plot lines. Same general thematic lines are such as Theotokos theme, the theme of the Last Judgment, the Christianization of Ancient Rus, images of the saints of Ancient Rus and saints associated with the Kyiv-Pechersk Lavra. Keywords: sacral culture, Orthodoxy, academic painting, mural painting, sacral painting, Ukrainian painting, Dormition Cathedral.

The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 1845–1847, 1890–1900s has been revealed according to the text and visual records introduced into scientific circulation. The dominant role of the main iconostasis for the image of side-altars’ new iconostasis has been determined. The conservatism of religious personages who wanted to preserve the features of the previous iconostasis (height, number of tiers, the old icons, etc.) has been proved. It is determined that the sacred value of some icons was more important as a stylistic priority and it barely led to the replacement of the material of the iconostasis (silver instead of marble that traditional for Byzantine iconostases). Published photos of the Big iconostasis and the approved draft of the main iconostasis with the author of autographs (photos from the collection of the National Reserve “Kyiv-Pechersk Lavra”). It has been found out distinguished Ukrainian art historian H. Pavlutskyi in one of them. The autonomy of the iconostases style of the mural paintings style in the Great Pechersk Church decoration has been proved. Conclusions. The attempt to realize the idea of the Byzantine iconostasis in the Kyiv-Pechersk Lavra’s Great Church in 1845–1847 created a precedent of the inconsistency of the artistic style of iconostasis and mural painting. The Byzantine style iconostasis hypothetically could exist in the spacious Baroque plastic art. Conversely, the complex of Baroque iconostases existed independently of the wall form performed in accordance with the Byzantine tradition at the turn of the 19th and the 20th century. The polemic pointed around the main iconostasis, a new іmage of other iconostases designed in a complex with it. The baroque tradition was implemented in the new iconostasis projects. The monks perceived a change in mural paintings but they considered some icons by sacral constants in the Great Church. The Big iconostasis without upper tiers with the Byzantine cross was the victory of the Baroque tradition. The preservation of Baroque iconostases was a testimony of their stylistic autonomy from the mural painting decorated in Byzantine style. Key words: sacral culture, Orthodoxy, Byzantine art, Baroque art, iconostasis, sacral mural painting, KyivPechersk Lavra, Dormition Cathedral.

The purpose of the article is to introduce into scientific circulation documents presenting the factual system of sacred compositions 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Dormition Cathedral (Great Church). The research methodology is synthesis of historical and cultural analysis, as well as art study analysis. Scientific novelty. The author has introduced the album of drawings by the artist Andrii Lakov into scientific circulation: “V. І. Vernadsky National Library of Ukraine. Lakov A. A. The album of plans and detailed drawings the inside of the Kyiv-Pechersk Lavra’s Great Church showing the locations of sacred images. 1905. Paper, mixed technique. 19 sheets”. Based on this document, the author has performed three research tasks using examples. First, she reconstructed the system of sacral murals of the Church’s compartment. Second, she revealed the difference between the project and the actual mural. Third, she improved and determined the location of a number of compositions. The author has revealed the important theoretical and practical significance of the album as a presentation of the factual system of sacred compositions of 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral). Conclusions. The album of drawings by the artist Andriі Lakov (1905) presents the factual system of sacral mural painting of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral) of the late 19th – early 20th century. The album permits the determination of the compositions’ location on architectural surface. It is the evidence that artists partially changed the project in terms of the location of some compositions. This album provides an opportunity for the authentic historical reconstruction of the Cathedral’s painting decoration. Keywords: sacral culture, Orthodoxy, sacral mural painting, Ukrainian painting, Kyiv-Pechersk Lavra, Great Church, Dormition Cathedral, Andrii Lakov.

The purpose of the article is to present the visual sources of the original Baroque mural paintings of the Dormition Cathedral, as well as to discover the reason for the absence of murals in some compartments of the upper tier before 1843. The research methodology is based on historical, cultural analysis, and art study analysis. Scientific novelty. The author specifies which compartments of the upper tier in the Great Church (Dormition Cathedral) remained without paintings until the 1840s. The reason (the confidentiality of preservation of the Lavra treasury) for which these compartments were not painted in the late 1720s-1730, in 1772-1777 is established. The author reveals and attributes the compositions of the original Baroque decoration of the Church painted in the late 1720s-1730, and conducted the art historical analysis. Conclusions. According to archival documents, the upper side-altars of the Saint Apostle Andrew the First Called (altar part), of the Transfiguration of the Lord (altar part), of the Venerable Anthony of Pechersk and of the Venerable Theodosius of Pechersk were not painted in the 18th century. The absence of murals in these compartments was due to the will to have secret places to keep the Lavra treasures. Fragments of the compositions in the photos (1898; the collection at the National Preserve “Kyiv-Pechersk Lavra”) are murals of the Great Church of the late 1720s – 1730. Key words: sacral culture, Orthodoxy, sacral mural painting, Ukrainian Baroque painting, Kyiv-Pechersk Lavra, Dormition Cathedral.

The purpose of the article is to study the factor of traditionalism in the development of the complex of murals of the Great Church (the Dormition Cathedral) in the 18th – 21st centuries. The research methodology is based on historical, cultural and art historical analysis. Scientific novelty of the study. Traditionalism is defined as a factor in the development of mural painting of the Kyiv-Pechersk Lavra’s Great Church (the Dormition Cathedral) in the 1720s–2020s. The author reveals that traditionality was implemented in the principle of continuity in the formation of new murals. The imitation of a number of thematic and narrative lines of the seventeenth-century murals in the decorations of the 1720s, as well as the murals of the 1720s and 1770s in the compositions of 1811 and the decorations of the late nineteenth century is studied. The author proves that the main visual source of the reconstruction of the twenty-first century painting was not the painting of the 1720s but of 1840-1843 and some compositions of the 1770s and 1811. The change in the location of traditional subjects is identified as one of the means of innovation in the programmes of new paintings. The continuity of a wide range of compositions, including the themes of the Baptism of Rus and the Pechersk Monastery, is traced. Conclusions. Traditionalism had a significant impact on the development of the monumental painting of the Great Assumption Church in the 18th-21st century. The programmes of the new paintings of the 1720s and especially of 1894 show the imitation of thematic and narrative lines from the previous paintings. During the renovation of the entire church interior (1772–1777, 1840–1843) and exterior (1809), as well as the renovation of certain compositions (for example, in 1811), he imitation of paintings was almost unchanged (this was a requirement of the Kyiv metropolitans). According to the principle of continuity in the XXI century, artists created a baroque image of the Great Church, using archival sources of paintings from 1840-1843, 1811, and 1772-1777. The continuity provided a historical connection between the murals of different centuries in the Dormition Cathedral. Key words: sacral culture, Orthodoxy, sacred monumental painting, Ukrainian painting, Kyiv‑Pechersk Lavra, Dormition Cathedral.

AbstractPrevious studies have established the use of various blue pigments, including both local and imported varieties, in the decoration of architecture in ancient China. However, the application of these pigments in local religious architecture has been understudied. In this study, the chemical analysis of ultramarine blue pigments was conducted on a mural painting retrieved from Yongle Taoist Temple in ancient China. The results showed that both imported and local pigments were used individually in the initial drawing period of the Yuan Dynasty (AD 1271‐1368), while they were mixed in a later restoration in the Qing Dynasty (AD 1636‐1912). Of particular significance, the analysis revealed the presence of lapis lazuli in a local religious relic of the Yuan Dynasty for the first time. Further analysis of the elemental proportions and associated minerals led to speculation about the origin of the lapis lazuli, which is believed to have come from Badakhshan, the north‐eastern region of Afghanistan, and been transported to Central China through the Silk Road. This finding shed light on the trade routes and usage of these pigments in the construction of religious architecture from the Yuan to the Qing dynasties.

Early scholarship on the colonial arts of the Andes assumed that the Spanish conquest and its accompanying missionary activity resulted in a complete destruction of Inca artistic tradition, and that the indigenous conception of art and representation had little to no effect on works produced during the colonial period. Since then, scholars have recognized a tremendous amount of indigenous influence on the stylistic, iconographic and representational aspects of colonial art forms. My paper examines the influence of two aspects of indigenous culture in particular, identified by the words huaca (sacred thing) and qillca (surface decoration), which were used by the Quechua, an Andean indigenous ethnic group, to describe religious objects in the pre-Hispanic era. They were then in turn appropriated and discouraged by colonial missionaries in an attempt to make their imported Catholicism more understandable to new converts. In examining the multiple, ambiguous meanings of these words in the minds of the Quechua people and colonial missionaries as evidenced in contemporary sermons and miracle tales, I will argue that they influenced the indigenous conception of colonial religious statuary. I will then conduct a visual analysis of ‘The Virgin of Cocharcas’, an 18th century Peruvian ‘statue painting’ (two dimensional depiction of a statue) to demonstrate how concepts of huaca and qillca influenced the aesthetics of colonial statuary.