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

Autor: Grafiati

Data publikacji: 26 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

Castillo Alcantara, Gonzalo, Daniel Cosano Hidalgo, Alicia Fernández Díaz, Juan Manuel Román Rodríguez, Fernando Lafont, and José Rafael Ruiz Arrebola. "Archaeological and Archaeochemical Analysis of the Painting in the Baths in Julián Besteiro Square, Carmona (Seville, Spain)." Heritage 8, no. 2 (2025): 67. https://doi.org/10.3390/heritage8020067.

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This paper addresses the archaeological and archaeochemical study of the fragments of mural painting recovered from the excavation of the baths in Julián Besteiro Square in Carmona. The analysis of the fragments allowed us to associate them with the first phase of the building’s decoration, one of the few examples of urban mural painting currently known in Carmona. It was dated between the first half and the middle of the first century AD. The archaeochemical study identified the composition of the mortar and the pigments of the fragments belonging to the middle and upper zones of the wall, co

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Tober, Barbara. "The hierarchical use of stucco decoration and wall painting in a representative building in Palmyra." Syria V (2019): 255–64. http://dx.doi.org/10.4000/12cjd.

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In the ancient city of Palmyra, a building with a big courtyard provides a unique context for interior stucco decoration and wall painting. The distribution of stucco- and wall paintings is clearly concentrated in certain areas of the building. The stucco decoration comprises nine different friezes and additional elements like a shell-shaped conch, borders of niches, fragmentary statues, appliquéd masks and other objects. Pre-fabricated, gilded fish and other sea creatures were nailed to wooden furniture, room equipment or a ceiling. The stucco cornices show a rich repertoire and are organized

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ERGINA, ALENA S., and OLGA B. ELKAN. "BYZANTINE ORNAMENT IN MURAL PAINTING OF CAVE TEMPLES OF MOUNTAINOUS SOUTHWESTERN TAURICA OF THE 13TH-15TH CENTURIES." Университетский научный журнал, no. 83 (December 29, 2024): 43–53. https://doi.org/10.25807/22225064_2024_83_43.

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The article analyses and systematises ornamental motifs in the decoration of cave temples in mountainous southwestern Taurica. As a result of analytical work with materials from archaeological research of the early 20th century and modern field research, artistic connections between southwestern Taurica and various regions of the Byzantine Empire of the 13th-14th centuries are discovered.

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

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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we

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Lampakis, Dimitrios, Ioannis Karapanagiotis, and Olga Katsibiri. "Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings." Applied Spectroscopy 71, no. 1 (2016): 129–40. http://dx.doi.org/10.1177/0003702816654151.

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The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from speci

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Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)." Zograf, no. 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 repres

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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", no. 1 (August 31, 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

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Mezzadri, P., and 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 (May 15, 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 comp

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Yannis, Varalis. "THE NATIVITY OF CHRIST ON LATE ANTIQUE IVORIES." After Constantine: Stories from the Late Antique and Early Byzantine Era, no. 1 (June 1, 2021): 55–64. https://doi.org/10.5281/zenodo.8158547.

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The scene of the Nativity in late antique monumental painting, i.e. the fresco decoration of the catacombs and the mural mosaics and paintings of Early Christian churches, is very rare. The scene is considerably more frequent on stone sarcophagi, mainly in the west part of the late Roman Empire, but as has been aptly observed, sarcophagi were not easily accessible nor were all their sides visible. How was portrayed the scene of the birth of Jesus, the central figure of the Christian religion? Which components of the representation of the Nativity showed the human and the divine natures of the

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Kyawt, Hmu Aung. "Buddhist Art of Temple No. 1152 at Bagan (Late Bagan Period )." Dagon University Research Journal Vol.6, no. 2014 (2019): Pg.181–188. https://doi.org/10.5281/zenodo.3547193.

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Temple No. 1152 is a kind of small single-storey temple. It is situated at the east of Kyauk-myet-hmow-Zedi-gyi (No. 1158), south of Myinkaba, coordinates– N: 44.265, E: 5.860. Its plan has square central shrine, 2.25 2.32 m. Vestibule and porch on north face, Niches on east, south and west foreparts were found. At the exterior of temple, stucco mouldings were found such as ornate cornice and pediments, friezes with triangle, plasters, urn-profiled base, and tasseled friezes with pointed obovals on north forepart. The interior decoration of this small temple consisted of wall paintings o

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Sánchez Pórfido, María Elisabet, and Andrea Mónica Núñez. "Cacerías y paisajes. José Speroni en el Museo de La Plata." Revista del Museo de La Plata 9, Especial (2024): 63–70. https://doi.org/10.24215/25456377e223.

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The artist José Speroni worked in painting, graphic arts, restoration and decoration. He created three oil paintings for the Museo de La Plata, which are located in the central rotunda at the entrance to the building. One of them is a large mural called La caza del guanaco (The Hunt for the Guanaco), which features a vast territory with sparse vegetation extending towards a distant horizon, interrupted by the drama of a hunting scene: a group of natives using bolas to attack a group of animals whose meat and fur would be used. The other two paintings are smaller in size, they represent the geo

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Pavlova, Anna L. "Alexander Maksimovich Kolchin as a Church Artist of the Classical Era." Observatory of Culture 21, no. 5 (2024): 526–39. http://dx.doi.org/10.25281/2072-3156-2024-21-5-526-539.

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New Age church art is one of the most dynamically developing areas of contemporary Russian art history. The constant process of reconstruction and restoration of churches requires a scientific approach and documentary substantiation. The artistic merits of church art in the Classical era are highly appreciated by specialists, but biographies of masters of mural painting and iconography are rarely published and are little known. The study of biographies and works of painters who devoted themselves entirely to temple decoration is important for compiling an objective picture of Russian culture o

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Giugea, Gheorghiţa Daniela. "REPRESENTATIONS OF THE LAST SUPPER SCENE IN ROMANIAN MEDIEVAL AND WESTERN RENAISSANCE MURAL PAINTING." International E-Journal of Advances in Social Sciences (IJASOS) 10, no. 28 (2024): 36–48. https://doi.org/10.5281/zenodo.10979616.

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<strong>Abstract:</strong> The Last Supper is established as one of the representative scenes of Byzantine iconography, one that was retrieved in the Romanian medieval mural painting as well. Its iconography is historical, and appears represented in the nave in the Passion area, or liturgical, being exhibited in the main apse, with an emphasis on the Holy Eucharist. It is generally included in the Passion cycle. Apart from the display on the wall, as a mural, it can also be displayed on a wooden support, on canvas or on paper. Over time, the way it is represented has changed, and this depends

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Taher, Shamal, and Huda Halawachy. "“You don’t have to say much; paint it then!”: A Thematic Analysis of Mural Arts in Iraq (Mosul and Erbil as a Case)." International Journal of Linguistics, Literature and Translation 7, no. 9 (2024): 233–50. http://dx.doi.org/10.32996/ijllt.2024.7.9.23.

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People find themselves in need of adding some inspiration indoors; interior designers likely let their customers immerse in the charm of some wall art decor with sweet family room wall quotes like “Love begins at home”. The art of filling walls exceeds the interior spaces for decoration, including outdoor spaces where different forms of artistic expression are used. This wall art matters among populations globally as it conveys different messages to the public and the decision-makers as well. The current article investigates Mural Arts (MAs) in Mosul and Erbil, Iraq. The researchers aim to (1)

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Этингоф, О. Е. "Mosaics of the Basilica of the Nativity in Bethlehem and Crusader monumental painting in the Holy Land in the 12th century." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 96–111. http://dx.doi.org/10.46748/arteuras.2024.02.007.

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Статья посвящена исследованию мозаик базилики Рождества Христова в Вифлееме. Построенный в IV веке в эпоху императора Константина Великого храм остается одним из важнейших святилищ христианского мира. На его стенах и в крипте сохранился уникальный ансамбль мозаик, созданных в XII веке в период владычества Латинского королевства в Иерусалиме. В 2015–2019 годах итальянскими специалистами была предпринята масштабная реставрация декорации базилики. Впервые почти за тысячу лет мозаики на стенах храма и росписи на колоннах были расчищены. Это открывает новые возможности для анализа столь выдающегося

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Pencakowski, Paweł. "The lamented Coronation of Virgin Mary by Włodzimierz Tetmajer in the Cathedral Church in Sosnowiec." Modus Prace z Historii Sztuki 24 (2024): 97–112. https://doi.org/10.4467/25453882mod.24.008.20665.

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The text presents significant and previously overlooked aspects of the iconographic program of the Young Poland-era mural decoration by Kraków painters Włodzimierz Tetmajer and Henryk Uziembło in the Church of the Assumption of the Blessed Virgin Mary in Sosnowiec. The murals were created in the main city of the Silesian- Dąbrowa Basin during the turbulent years of 1904–1906. An analysis of the program’s elements indicates that the depiction of the Coronation of Mary at the center of the church deviates from traditional and unequivocal representations. The interpretation of the iconography rev

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Tyshchyk, V. "Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 33–49. http://dx.doi.org/10.34064/khnum1-55.03.

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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 b

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Starodubcev, Tatjana. "Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting." Zograf, no. 39 (2015): 25–46. http://dx.doi.org/10.2298/zog1539025s.

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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

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Bardik, Maryna. "The Great Pechersk Church’ Mural Paintings of the Late 19th Century as the Interpretation of Its Old Russian Image." National Academy of Managerial Staff of Culture and Arts Herald, no. 3 (November 16, 2021). http://dx.doi.org/10.32461/2226-3209.3.2021.244412.

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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 scientif

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Bardik, Maryna. "Theological Programme, Analogies, Innovations in Mural Painting of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894." Almanac "Culture and Contemporaneity", no. 2 (December 20, 2023). http://dx.doi.org/10.32461/2226-0285.2.2023.293872.

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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 conti

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OUSTERHOUT, Robert. "Byzantine mural painting in its architectural setting." Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, August 4, 2021, 135–56. http://dx.doi.org/10.12681/dchae.26190.

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This paper explores the architectural setting of monumental imagery in Byzantine churches. A close analysis reveals that the collaboration between masons and painters cannot be taken for granted. The lack of coordination, however, could lead to innovative solutions. By paying closer attention to the relationship between architecture and wall decoration, we may gain a better understanding of changes in the Byzantine conceptions of sacred space and the aesthetic choices underpinning the creation of new formats of monumental imagery.

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Bardik, Maryna. "Compositional analogies in the Kyiv-Pechersk Lavra’s churches painting at the beginning of the 21st century." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (July 14, 2024). http://dx.doi.org/10.32461/2226-3209.2.2024.308360.

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The purpose of the article is to enucleate and analyse the compositional analogies in the Kyiv-Pechersk Lavra’s churches new painting, the early 2000s. The research methodology is based on historical and cultural analysis, art study analysis, and empirical observation. The scientific novelty of the study. The author performed the art study analysis of compositional analogies in the Kyiv-Pechersk Lava’s church decorations created according to new programmes in the early 2000s. In the paintings and icons of the Church in Honour of the Icon of the Mother of God ‘The Life-Giving Spring’, she obser

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Bardik, Maryna. "Some Features of Painting Decorations of the Kyiv-Pechersk Lavra’s Churches at the Late 19th – the Early 20th Century." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 27, 2025). https://doi.org/10.32461/2226-3209.1.2025.327950.

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The purpose of the article is to consider common features of the painting decorations of the Kyiv-Pechersk Lavra’s churches in 1890s – 1910s. The research methodology consists in the complex applying to historical and cultural analysis, art study and diachronic one, empirical observation. The scientific novelty of the study. Based on little-known records, visual sources including introduced into scientific circulation, the author identified and analysed the common features of the painting decoration of the Kyiv-Pechersk Lavra’s churches in 1890s – 1910s. She considered the common image, compos

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Bardik, Maryna. "Classicism Style in Mural Painting of Kyiv-Pechersk Lavra Churches." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 16, 2024). http://dx.doi.org/10.32461/2226-3209.1.2024.302062.

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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

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Bardik, Maryna. "Academicism in the Kyiv-Pechersk Lavra Mural Painting the Late 19th and Early 21st Centuries." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (December 20, 2023). http://dx.doi.org/10.32461/2226-3209.4.2023.293722.

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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

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Bardik, Maryna. "To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries." Almanac "Culture and Contemporaneity", no. 2 (December 27, 2021). http://dx.doi.org/10.32461/2226-0285.2.2021.249250.

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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 184

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Bardik, Maryna. "“Sacred Images” in the Interior of the Kyiv-Pechersk Lavra’s Great Church: the Factual System of Sacral Murals, 1897 – 1901." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 25, 2023). http://dx.doi.org/10.32461/2226-3209.3.2023.289826.

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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 Grea

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Bardik, Maryna. "Baroque Painting of Great Pechersk Church: Unknown Compositions and Spatial Pauses." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (September 3, 2023). http://dx.doi.org/10.32461/2226-3209.2.2023.286880.

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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

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Yanda, Du, and Prathabiai Suwanthada. "Creative Applicability of Dunhuang Floral Tiles in Architectural Modern Interior Decoration." Journal of Ecohumanism 4, no. 1 (2025). https://doi.org/10.62754/joe.v4i1.6084.

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Dunhuang art encompasses a variety of art forms. The production of interior furnishings in conjunction with Dunhuang floral tile art through moulding, painting, or carving methods was designed. Local artists' participants were interviewed and observed while recording data using a camera, video, and group discussion. There are 419 architectural models and mural replicas at the Dunhuang murals, which are ongoing at the Mogao caves’ grottoes in Gansu province. Temples of Dunhuang: Buddhist Art on China’s Silk Road, Dunhuang floral tiles with patterns are unique in shape, novel in conception, rigo

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Ali, Mona F., and Marian M. Youssef. "AN ANALYTICAL STUDY OF A MURAL WITH COLORFUL GEOMETRIC DECORATION, COPTIC MUSEUM, CAIRO, EGYPT: A CASE STUDY." July 31, 2020. https://doi.org/10.5281/zenodo.3956807.

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In the present study, a comprehensive investigation has been undertaken into an Egyptian Coptic fresco with geometric decoration and the reasons for its damage. It dates back to the 6th century AD and was initially located in the Saint Apollo monastery south Egypt in Asyut, and currently it is found at the Cop-tic Museum, Cairo. The analytical instruments used for investigation were portable digital microscope, Fourier transforms infrared coupled with attenuated total reflectance FTIR-ATR, scanning electron mi-croscopy with EDX, X-ray diffraction and Optical microscope. The results indicated t

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Bardik, Maryna. "Traditionalism in Development of Painting Decoration of the Kyiv-Pechersk Lavra’s Great Church in the 18th – 21st Centuries." Almanac "Culture and Contemporaneity", no. 1 (September 1, 2023). http://dx.doi.org/10.32461/2226-0285.1.2023.286792.

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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 imitati

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Garkusha, A. "The Book of Genesis in the wall painting of the Transfiguration Cathedral (11th century), Chernihiv." September 8, 2020. https://doi.org/10.5281/zenodo.4018346.

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The purpose of this publication is to consider in detail and describe the monumental painting of the upper part of the central (main dome) and northern nave of one of the oldest temples of the Trans Dnipro region – the Transfiguration Cathedral (11th century) Chernihiv, to show the logical consistency of frescoes, plot sequence and the integrity of the overall artistic design, as well as once again to draw attention to the mural, created in the first quarter of the nineteenth century, as an important interior decoration of the ancient temple. The methods on which the research is basedwer

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Zheng, Yihua, Weijia Guo, Luke Li, et al. "Exotic blue pigments in the polychrome interior of Yongle Taoist Temple: A case of international trade during the Yuan and Qing Dynasties." Archaeometry, September 12, 2023. http://dx.doi.org/10.1111/arcm.12916.

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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 la

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Garkusha, Alla. "«GIVING MOSES THE DIVINE LAW» OR «SINAI LEGISLATION» IN THE SAVIOUR-TRANSFIGURATION CATHEDRAL (XI с.) CHERNIHIV". Siverian chronicle (2021) 6 (23 грудня 2021). https://doi.org/10.5281/zenodo.5802096.

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<em>This studio is a kind of continuation of the </em><em>research </em><em>of the wall oil painting</em> <em>complex which was created in the </em><em>Spaso-Preobrazhenskiy Cathedral</em><em> (XI c.)</em><em> in </em><em>Chernihiv in the first quarter of the XIX c. and to which the author has dedicated a number of previous publications.</em> <strong><em>The purpose</em></strong><em> of this publication is to consider and describe in detail the monumental composition which is located on the west wall of the central nave of the cathedral and is one of the largest, to find out the mean

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