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Artykuły w czasopismach na temat „Temple murals”

Autor: Grafiati

Data publikacji: 2 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

Li, Tian Tian. "Exploration on the Origin of Architectures Murals — Analysis on Geographical Features of Song, Liao and Jin Dynasty in Shanxi." Advanced Materials Research 838-841 (November 2013): 2870–74. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2870.

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Abundant historic buildings still exist in Shanxi, of which architectures built in Song, Liao and Jin Dynasty are in the majority, especially the number and area of murals in this period ranking first in the nationwide, which embody the essence of Chinese traditional culture with great artistic value. The constant abundance and development of culture and art in ancient China are represented on murals of this period, and valuable materials have been provided for our understanding towards the painting technique of ancient murals in Shanxi, which is beneficial for our study on the historical orig

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Avto, Goguitchaichvili, Morales Juan, Esparza López Rodrigo, María Soler Ana, Urrutia Fucugauchi Jaime, and Cervantes Solano Miguel. "Primer intento de datación de pinturas murales mesoamericanas." Arqueologia Iberoamericana 29 (January 8, 2016): 3–8. https://doi.org/10.5281/zenodo.1314980.

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Se reporta, por vez primera, el intento de datación de cuatro pinturas murales del centro de México: Templo de Venus (Cacaxtla), Templo Rojo (Templo Mayor, Tenochtitlan), Chapulines y Estrellas (Cholula). Estos sitios corresponden al periodo Clásico y Posclásico Temprano de la cronología mesoamericana. Las edades obtenidas para Chapulines (1105-1194 A. D.), Templo de Venus (1002-1308 A. D.) y Estrellas (340-649 A. D.) están dentro de la cronología y contexto arqueológico de los sitios estudiados. Sin embargo, la edad de Templo Rojo (1829-

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Mogarichev, Yuriy, and Alena Ergina. "Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 116–30. http://dx.doi.org/10.15688/jvolsu4.2020.6.8.

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Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was pu

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Yu, Yeong Gyeong, Ye Hyeon Lee, and Hwa Soo Lee. "Manufacturing Technique Characteristics of the ｢Shide (monk)｣ Mural Painting in Yeongsanjeon Hall, Seonunsa Temple, Gochang." Journal of Conservation Science 40, no. 2 (2024): 177–88. http://dx.doi.org/10.12654/jcs.2024.40.2.08.

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In this study, in order to understand the manufacturing technique characteristics of the ｢Shide (monk)｣ mural painting in Yeongsanjeon Hall, Seonunsa Temple, Gochang, we conducted microscopic, SEM-EDS, XRD, particle size analysis, FT-IR, and starch-iodine reactions. As a result of the study, the ｢Shide (monk)｣ mural painting reflects the manufacturing style of Joseon Dynasty temple murals that have been studied to date, in terms of the composition of the wall and the material characteristics, such as the pigments used. However, the fact that the middle layer has not been confirmed and that the

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5

Lee, Hwa Soo, Yeong Gyeong Yu, and Kyeong-Soon Han. "Material and Manufacturing Properties of Bracket Mural Paintings of Daeungjeon Hall in Gaeamsa Temple, Buan." Journal of Conservation Science 38, no. 1 (2022): 45–54. http://dx.doi.org/10.12654/jcs.2022.38.1.04.

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This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more per

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6

Li, Zhiyong, and Sitthisak Champadaeng. "Study of Cultural Heritage and Digital Preservation: The case of Murals of the Northern Yue Temple." International Journal of Education and Literacy Studies 13, no. 2 (2025): 262–68. https://doi.org/10.7575/aiac.ijels.v.13n.2p.262.

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The Beiyue Temple murals represent a significant cultural heritage that faces preservation challenges due to aging and limited accessibility. This study addresses these challenges through digital preservation methods while exploring their historical and cultural significance. The purpose of this research was to: (1) explore the social and historical origins and cultural value of Beiyue Temple murals, and (2) investigate the digital preservation and dissemination of Beiyue Temple murals. This study adopts qualitative research methods to study the literature and collect field data through survey

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7

Burhan, Mukhamad Agus, Hanggar Budi Prasetya, Suastiwi Triatmodjo, Endah Budiarti, and Ku Boon Dar. "Narrative Murals as a Form of Offerings and Evidence of Confucian Conggregation Participation in Maintaining the Temple." VISUAL REVIEW. International Visual Culture Review / Revista Internacional de Cultura Visual 17, no. 2 (2025): 37–49. https://doi.org/10.62161/revvisual.v17.5404.

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This study focuses on the question of why narrative murals are consistently present in temples, what these murals depict, and what themes they contain. A qualitative descriptive case study approach has been employed to answer these questions. Three types of data were used to study the murals: visual data in the form of the murals themselves, interviews, and documents. The findings of this study show that a narrative mural is intended as an offering to express gratitude to the gods or goddesses for the fulfilment of a family's prayers to demonstrate the congregation's participation in maintaini

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8

Lee, Na Ra, Yeong Gyeong Yu, and Hwa Soo Lee. "Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo." Journal of Conservation Science 37, no. 6 (2021): 701–11. http://dx.doi.org/10.12654/jcs.2021.37.6.09.

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This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the

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9

Chatakul, Paron, and Shusak Janpathompong. "Identifying plant species and their usage for landscape on the historical mural paintings of Nan, Thailand." Nakhara : Journal of Environmental Design and Planning 21, no. 3 (2022): 219. http://dx.doi.org/10.54028/nj202221219.

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Nowadays, marketing influences landscape design plant selection in Thailand, with less concern for ecology, culture, or local identity. Archaic murals showing historical contexts offer extraordinary evidence related to the effort to understand the history of plants in the geographic area. It is highly informative to study whether plants on murals correlate with plants that were part of daily life at the time that the murals were created. The study of Thailand's famous murals at Phumin and Nongbua temples is the first complete identification of plant species in Tid Buaphan's murals in Nan provi

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10

Suphaphimol, Nattaphon, Nakarin Suwannarach, Witoon Purahong, et al. "Identification of Microorganisms Dwelling on the 19th Century Lanna Mural Paintings from Northern Thailand Using Culture-Dependent and -Independent Approaches." Biology 11, no. 2 (2022): 228. http://dx.doi.org/10.3390/biology11020228.

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Lanna painting is a unique type of painting in many temples in the Northern Thai region. Similar to most mural paintings, they usually decay over time partly due to the activity of microbes. This study aimed to investigate the microorganisms from two Lanna masterpiece paintings in two temples that differ in the numbers of visitors using both culture-dependent and -independent approaches. The microorganisms isolated from the murals were also tested for the biodeterioration activities including discoloration, acid production and calcium precipitation. Most microorganisms extracted from the paint

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11

Wu, Meng, Minghui Li, and Qunxi Zhang. "Feature Separation and Fusion to Optimise the Migration Model of Mural Painting Style in Tombs." Applied Sciences 14, no. 7 (2024): 2784. http://dx.doi.org/10.3390/app14072784.

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Tomb murals are different from cave temple murals and temple murals, as they are underground cultural relics, their painting style is unique, solemn, and austere, and the performance image is characterised by simple colours, low contrast, and fewer survivors. During the digital restoration process, it is important to have sufficient reference samples to ensure the accuracy of the restoration. In addition, the style of mural paintings in the tombs varies greatly from other styles of murals and types of word paintings. Therefore, learning the unique artistic style of tomb murals, providing styli

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12

Yu, Yeong Gyeong, and Hwa Soo Lee. "Manufacturing Technique of the Buddhist Monk Bodhidharma Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 39, no. 1 (2023): 81–91. http://dx.doi.org/10.12654/jcs.2023.39.1.07.

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The manufacturing technique was studied through the structure and material characteristics of the Buddhist Monk Bodhidharma mural painting in Geungnakjeon Hall, Daewonsa Temple. The mural is painted connected to the earthen wall and the Joongkit. The earthen wall consists of an first layer, a middle layer, a finishing layer, and a painting layer. It was come to light that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine sand. The painting layer was colored after preparing a ground layer using a soil mineral pigment. It was come to light

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13

Zhang, Qiuying. "“Art world” of yunnan theravada buddhist murals from the perspective of art sociology: A case study based on murals in Jingzhen buddhist temple." MATEC Web of Conferences 395 (2024): 01074. http://dx.doi.org/10.1051/matecconf/202439501074.

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From the perspective of art sociology, this article adopts the research paradigm of “art world” and “cultural production” to carry out a case study on murals in Jingzhen Buddhist Temple in Xishuangbanna and explore the “production” and “autoproduction” process of Theravada Buddhist murals, thereby concluding that the “production” of Theravada Buddhist murals is not the achievement of individual painter, but proves to be co-generated by the “art world”, namely the cooperative network composed of members of the Buddhist Temple Affairs Management Committee, the village group, believers, and paint

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14

Sun, Pengyu, Miaole Hou, Shuqiang Lyu, et al. "Enhancement and Restoration of Scratched Murals Based on Hyperspectral Imaging—A Case Study of Murals in the Baoguang Hall of Qutan Temple, Qinghai, China." Sensors 22, no. 24 (2022): 9780. http://dx.doi.org/10.3390/s22249780.

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Environmental changes and human activities have caused serious degradation of murals around the world. Scratches are one of the most common issues in these damaged murals. We propose a new method for virtually enhancing and removing scratches from murals; which can provide an auxiliary reference and support for actual restoration. First, principal component analysis (PCA) was performed on the hyperspectral data of a mural after reflectance correction, and high-pass filtering was performed on the selected first principal component image. Principal component fusion was used to replace the origin

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15

Ma, Guoqiang. "Cultural Significance of the Baoning Temple Murals in Shanxi, China: Perspectives from Artists and Art Historians Influenced by Cultural Heritage." Herança 7, no. 1 (2023): 136–53. http://dx.doi.org/10.52152/heranca.v7i1.774.

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Culture and tradition have a crucial role in molding societies, safeguarding shared experiences, and fostering a sense of identity. They are the threads that connect us to our past, spanning the gap between our roots, values, and traditions. The objective of this research is to examine the paintings at Baoning Temple from the perspective of culturally astute artists and art historians. The purpose of the research was to better comprehend the murals' cultural significance by uncovering its historical background, artistic processes, symbolic representations, and engrained interpretations. A qual

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Pérez de Heredia, Eduardo, Péter Bíró, and Sylviane Boucher. "Maíz y balché. Una revisión de la iconografía de los murales de Tulum." Estudios de Cultura Maya 57 (January 27, 2021): 117–49. http://dx.doi.org/10.19130/iifl.ecm.57.2021.18655.

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In this paper we present a review about the murals located in the Temples of the Descending God (Temple 5) and the Frescos (Temple 16) at the pre-Columbian city of Tulum, Quintana Roo. We first study some of the characters dressed as gods, as Chahk, K’awil, Quetzalcóatl, and Xólotl. Secondly, we analyze the ritual paraphernalia, mostly composed of ceramic objects in the form of effigy urns, incense burners, idols, containers with offerings of corn in different preparations, and large jars used to contain liquids, presenting correspondences with the archaeological record. Afterwards, we analyze

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Yan, Zhang. "Research on the Architectures and Murals of DongYue Temple in Jin Memorial Temple." Advanced Materials Research 712-715 (June 2013): 827–30. http://dx.doi.org/10.4028/www.scientific.net/amr.712-715.827.

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DongYue Temple is an important part of Jin Memorial Temple, which has immeasurable cultural value. It is the indispensable supplement of various architecture artistic forms in Jin Memorial Temple. From the angle of the description of the hall buildings and murals, this article analyses the historical value, scientific value and aesthetic archaeological value of DongYue Temple.And fully reflects the Jin Memorial Temple is a rare ancient architectural complex, with the diversity of historical and cultural characteristics.

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18

Ringle, William M. "THE ART OF WAR: IMAGERY OF THE UPPER TEMPLE OF THE JAGUARS, CHICHEN ITZA." Ancient Mesoamerica 20, no. 1 (2009): 15–44. http://dx.doi.org/10.1017/s0956536109000030.

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AbstractThis paper reexamines the art and architecture of the Upper Temple of the Jaguars, Chichen Itza, in light of new unpublished digital images of Adela Breton's copies of the murals. Following discussion of the construction date of the building and previous interpretations of the murals, examination of costume, setting, and house form suggests that rather than depicting mythic or symbolic episodes, these murals illustrate actual military encounters between Chichen and its enemies. The occasion for their production seems to be the utilization of the Upper Temple of the Jaguars by a specifi

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Zhang, Peng. "Research on the Artistic Characteristics of the Xialu Temple Mural "Jie Zun·Xi Rao Qiong Nai"." Journal of Education and Educational Research 12, no. 3 (2025): 140–42. https://doi.org/10.54097/nqmhwy14.

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This paper takes the Xialu Temple mural "Jie Zun·Xi Rao Qiong Nai" as the research object, and explores its artistic characteristics and cultural connotations under the guidance of iconography, composition color and semiotics. The article first analyzes the image composition and symbols in the mural to reveal its unique position in the Xizang Buddhist art system; then, through a comparative study of composition and color, it explores its innovation in visual expression and traditional inheritance; finally, combined with cross-regional comparison, it discusses the impact of murals on the exchan

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Yu, Yeong Gyeong, Gyu-Seong Han, Hwa Soo Lee, and Kyeong Soon Han. "Study on the Gel Cleaning System for Removal of Poly (vinyl acetate) Fixative of the Mural Paintings of the Payathonzu Temple in Bagan, Myanmar (I) - Focusing on Properties and Removability of Gel Cleaners -." Journal of Conservation Science 37, no. 4 (2021): 370–79. http://dx.doi.org/10.12654/jcs.2021.37.4.06.

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In the past, PVAc [poly(vinyl acetate)] was used as a fixative for the conservation of the murals in the murals of the Payathonzu temple located in Bagan, Myanmar. In this study, attention was paid to gel cleaning as a method for stably removing such PVAc fixatives. Based on the recent research trend related to the cleaning of murals in Bagan ruins, 3 types of gelling agents (Nevek<sup>®</sup>, Laponite<sup>®</sup>RD, Carbopol<sup>®</sup>980) and 2 types of organic solvents (Acetone, Dimethyl carbonate) were selected. Six types of gel cleaners were prepared

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Zheng, Y. "Digital Technology in the protection of cultural heritage Bao Fan Temple mural digital mapping survey." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 495–501. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-495-2015.

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Peng Xi county, Sichuan province, the Bao Fan temple mural digitization survey mapping project: we use three-dimensional laserscanning, multi-baseline definition digital photography, multi-spectral digital image acquisition and other technologies for digital survey mapping. The purpose of this project is to use modern mathematical reconnaissance mapping means to obtain accurate mural shape, color, quality and other data. Combined with field investigation and laboratory analysis results, and based on a comprehensive survey and study, a comprehensive analysis of the historical Bao Fan Temple mur

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WU, Yuelin, Hong LIU, Yang DING, Justyna KOBYLARCZYK, and Peng CHANG. "NATIONAL IDENTITY IN TRADITIONAL CHINESE ARCHITECTURE AND WALL PAINTINGS: SYMBOLISM, TRANSFORMATION AND ARTISTIC EVOLUTION." International Journal of Conservation Science 16, Special Issue (2025): 395–408. https://doi.org/10.36868/ijcs.2025.si.03.

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The article examines aspects related to the expression of national features in traditional Chinese architecture and art. The generalisation of research data on historical pagodas, temples, small pavilions and murals determines what exactly became signs of national and regional identity in them. Using the examples of outstanding historical objects, it is traced how, under the influence of local traditions resistant to change, borrowed architectural forms, such as pagodas, were transformed and changes in art took place, which is proven by the examples of Buddhist murals in Dunhuang. It analyses

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Hawaldar, Asmita. "Absence of Nose Ornaments in the Paintings of Lepakshi Temple." Integrated Journal for Research in Arts and Humanities 4, no. 2 (2024): 117–21. http://dx.doi.org/10.55544/ijrah.4.2.18.

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In Andhra Pradesh, in the village of Lepakshi, there is a temple dedicated to Veerabhadra. This temple, from the Vijayanagara Empire, is located in the Hindupur taluk of the Anantapur district. The murals from the Vijayanagara Empire are a specialty of this place. If one wants to witness the amalgamation of Vijayanagara's art, architecture, and temple craftsmanship in one place, then this temple is the most suitable. Here, there are many paintings and sculptures depicting various subjects. In the glorious Vijayanagara Empire, the allure of adornments is evident on all men and women, but the no

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Mangkhang, Charin, Nitikorn Kaewpanya, Tongsukh Sombun, and Watchara Pangchan. "The Mahaboworn Model of Social Studies Learning Network Innovation to Develop of Indigenous History Learning Resources in Northern Thailand." Journal of Education and Learning 10, no. 5 (2021): 177. http://dx.doi.org/10.5539/jel.v10n5p177.

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The objective of this research is to 1) explore historical background through a participatory workshop on the legend of Phra Nang Malika of Wiang Malika in Lanna, and 2) create indigenous history learning resources through mural painting and picture book, the legend of Phra Nang Malika, in Mae Ai Luang Temple Chiang Mai Province. The samples included the following: 1) 22 community leaders, monks, school administrators, teachers, village philosophers, and youth representatives; 2) 8 indigenous technologists; and 3) 5 learning management specialists. Purposive sampling was used to choose a total

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Pyeon, Moo-yeong. "A case Study of Reincarnation Murals in Jogyesa Temple." East Asian Ancient Studies 43 (September 30, 2016): 209–35. http://dx.doi.org/10.17070/aeaas.2016.09.43.209.

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Cho, Myung-sun. "A case Study of Reincarnation Murals in Samkwangsa temple." East Asian Ancient Studies 49 (March 31, 2018): 293–319. http://dx.doi.org/10.17070/aeaas.2018.03.49.293.

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Kang, Young-Ju. "A Study on the Tiger Painting of Temple Murals." Journal of Buddhist Art 34 (October 30, 2022): 231–65. http://dx.doi.org/10.36620/bms.2022.34.8.

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Richardson, Sarah. "When Walls Could Talk." Archives of Asian Art 71, no. 2 (2021): 243–68. http://dx.doi.org/10.1215/00666637-9302528.

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Abstract How can visual texts, closed books, and painted images work together in Buddhist temples to reinforce one another and act upon viewers? The fourteenth-century murals at the Tibetan temple of Shalu integrate pictures with long passages of Tibetan texts and select inscriptions that explain the powers of seeing paintings. The murals combine and mix media—books, paintings, cloth—into expressive wholes that ultimately argue that walls are in fact much more than walls. The paintings find ways to make the temple's book collections more accessible. Here we find a public art effort that weaves

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Li, S. Y., M. L. Hou, P. H. Cao, and S. Q. Lyu. "EXTRACTION OF PAINT LOSS IN ANCIENT MURALS BASED ON 3D RESIDUAL NEURAL NETWORK." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-1/W1-2023 (December 5, 2023): 199–206. http://dx.doi.org/10.5194/isprs-annals-x-1-w1-2023-199-2023.

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Abstract. The ancient murals of Qutan Temple in Qinghai Province have a very serious loss of paint. Moreover, the main components of the base color paint layer in the paint loss area and the white patterns in the murals are both calcified, which are similar in color and spectral features. Thus, it is difficult to distinguish them by only using spectral features. A method of paint loss area extraction based on 3D residual network with multi-scale feature fusion is proposed. Firstly, the hyperspectral images with paint loss regions were collected by hyperspectral images. They are pre-processed t

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McBain, Paul. "Miraculous Amalgams: The In Khong Style Murals of the Fourth Reign (1851‒1868." Journal of the Siam Society 113, no. 1 (2025): 53–76. https://doi.org/10.69486/113.1.2025.4.

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In mid-19th century Bangkok, Siamese temple mural art saw the rise of the innovative “In Khong style”, characterized by three-dimensional landscapes and European-style buildings, departing from relatively two-dimensional Buddhist narratives. Proliferating during the Fourth Reign (Rama IV, 1851‒1868), this style extended beyond Khrua In Khong’s documented works. This article argues that the In Khong style was a modern art form unique to Siam, shaped by the development of a class of hired craftsmen inspired by imported wallpaper and prints. Reflecting Siam’s age of wonder and fascination with th

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Kim, Dong-Hun. "The distribution and significance of Buddhist remains in Central Asia." Central Institute of Cultural Heritage 45 (October 31, 2024): 91–116. http://dx.doi.org/10.20292/jcich.2024.45.91.

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Buddhist remains in Central Asia are found in five regions: Bactria-Toharistan region in southern Uzbekistan and in southwestern Tajikistan, Fergana region in eastern Uzbekistan and Sogdiana region in central Samarkand, Merv region in eastern Turkmenistan, and Semirechiye region in north-eastern Kyrgyzstan. They are dated from around the 1st century to the 9th and 10th centuries. Most of the Buddhist remains in the northern part of Bactria-Toharistan region are Buddhist temples, but there are only stupas remained without temple buildings such as the Jurmala Stupa and Airtam Stupa. The Karatepa

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Olena, Yakymova. "«Divine» and «Human» in Monumental Art of Eastern Halychyna in the First Third of the Twentieth Century: Image of Human Being." ВІСНИК Львівської національної академії мистецтв, no. 31 (May 10, 2017): 307–14. https://doi.org/10.5281/zenodo.573927.

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In this issue the image of a human being in monumental art including temple murals and stained glass windows was analyzing. The generalization of the «divine»and «secular»order images was made due to their place in the decoration of the temple (church) area. With defined into thematic groups images the penetration of profane characters into the sacred space of the church was researched. Also, based on achievements in the field of monumental art of M Sosenko, P. Holodnyj Sr., J. Butsmanyuk, Y.-H. Rosen et al, we determined the reasons of changes in the proportion of usage of these images in the

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Seastrand, Anna Lise. "History, Myth, and Maṭam in Southeast Indian Portraits". Cracow Indological Studies 24, № 1 (2022): 159–84. http://dx.doi.org/10.12797/cis.24.2022.01.08.

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Portraiture emerged as a major interest in literature, sculpture, and painting in early modern southeastern India. While this may, on one hand, reflect an interest in historical documentation, it is also indicative of the wider significance of mimetic representation across the arts. Pursuing one avenue of implication, this essay elucidates the relationship between historical, mythic, and ideal representations of unique individuals through portraiture, focusing on the murals at the great temple of Citamparam.

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Han, Kyeong Soon. "Study on the Conservation of Wooden murals from Shinrek Temple in Jaechun." KOREA SCIENCE & ART FORUM 28 (March 31, 2017): 301. http://dx.doi.org/10.17548/ksaf.2017.03.28.301.

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Kim, Chang Kyun. "A Study on the Murals Painting of Maitreya Hall in Geumsansa-Temple." Journal of Buddhist Thought and Culture 8 (December 2016): 35–69. http://dx.doi.org/10.33521/jbs.2016.8.0.35.

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Hao, Jie. "Research on the Murals of ShanShaan Temple in the Yellow River Basin." Art and Design 7, no. 1 (2024): 1. https://doi.org/10.31058/j.ad.2024.71001.

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Chen, Quanyuan, and Haibo Chen. "Chinese Elements in Thai Temple Murals During The Time of Rama III." Journal of Humanities, Arts and Social Science 7, no. 2 (2023): 369–72. http://dx.doi.org/10.26855/jhass.2023.02.021.

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Lim, Nam-Su. "The Theme and Function of the Sanctum Murals in Horyu-ji Temple." Misulsa Yeongu : Journal of Art History 46 (June 30, 2024): 125–55. http://dx.doi.org/10.52799/jah.2024.06.46.125.

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POOLSUWAN, SAMERCHAI. "The Buddha's Biography: Its Development in the Pagan Murals vs. the Later Vernacular Literature, in the Theravādin Buddhist Context of Southeast Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 27, no. 2 (2017): 255–94. http://dx.doi.org/10.1017/s1356186316000602.

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AbstractAn investigation is provided on the narration of the Buddha's biography in Burmese murals of the Pagan Period (eleventh to thirteenth century ce). It detects a development of the complete account on the subject in the oldest murals of the period at the Patho-hta-mya Temple, which probably predate the earliest known literary counterpart in Pāli, the Jinālaṅkāra, which was most likely composed in Sri-Lanka during the mid-twelfth century ce. The comparison is provided between the biographical account of the Buddha illustrated in Pagan murals and those found in the two main groups of much

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Amadori, Maria Letizia, Valeria Mengacci, Manuela Vagnini, et al. "Organic Matter and Pigments in the Wall Paintings of Me-Taw-Ya Temple in Bagan Valley, Myanmar." Applied Sciences 11, no. 23 (2021): 11441. http://dx.doi.org/10.3390/app112311441.

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Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient buildings were seriously damaged. As a part of the post-earthquake emergency program, a diagnostic pilot project was carried out on Me-taw-ya temple wall paintings to acquire further information on the materials and on their state of conservation. This article presents our attempts at characterising the painting materials at Me-taw-ya temple using non-invasive

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Lyu, S., J. Mao, and M. Hou. "MURAL LINEAR FEATURE ENHANCEMENT ALGORITHM COMBINING SEMI-SUPERVISED IMAGE SEGMENTATION AND DIMENSIONALITY REDUCTION." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 423–27. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-423-2021.

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Abstract. Due to the influence of natural and human factors, the linear features in the murals are partially blurred, which brings great challenges to the digital preservation and virtual restoration of cultural heritage. Taking the advantages of non-invasive measurement as well as the rich image and spectral information of hyperspectral technology, we proposed a linear feature enhancement method by combining semi-supervised superpixel segmentation with block dimension reduction. The main research work includes: (1) The true color composite image was segmented to obtain the label data by using

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Lee, Na Ra, Hwa Soo Lee, and Kyeong Soon Han. "Experimental Reinforcement Agent for Damaged Walls of Payathonzu Temple Murals in Bagan, Myanmar." Journal of Conservation Science 36, no. 4 (2020): 284–95. http://dx.doi.org/10.12654/jcs.2020.36.4.06.

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Wang, Nan, Zhuonan Wang та Hongyu Zheng. "Round Heaven and Square Earth, the Unity of the Pagoda and Statues—A Study on the Geometric Proportions of the Architectural Space, Statues, and Murals in Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County)". Religions 15, № 7 (2024): 802. http://dx.doi.org/10.3390/rel15070802.

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In Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County), Shanxi, there are statues set on each floor, and 26 exist in total, with six murals painted on the first floor. The pagoda was designed as a vertically rising Buddhist temple, and the interior space of each floor was customized for the statues. Based on previous research and through surveying and mapping of the architecture and statuary (including the murals on the first floor) combined with geometric design analysis, this paper proposes the following: First, there exists a clear geometric proportion

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MEROPI, KATSANTONI, GANETSOS THEODORE, THEOLOGOS ALEXANDRAKIS, and PANAGIOTIS DOUROS. "PIGMENTS IDENTIFICATION: COMPARATIVE EXAMINATION OF MATERIALS AND TECHNIQUES IN THE HERMITAGE ASCENSION IN PYTHION OF OLYMPUS, GREECE." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 03 (2023): 235–41. http://dx.doi.org/10.37602/ijrehc.2023.4319.

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Pythion is a settlement of the municipality of Olympus in the regional unit of Larissa. It is located on the southwest side of Mount Olympus, in an amphitheatre position at an altitude of about 725 meters. The word Pythion probably comes from the god Pythian Apollon of Greek mythology. Its oldest name was Selos. The village remains important during the Byzantine period, a fact that is proven by the PostByzantine Hermitages that survive there. These were practised by monks who later manned the monasteries of the area. The best-preserved hermitages are located on the hillside, where the hermitag

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Li, Z. Y., Y. Gu, and R. Zhang. "TOWARD A WIDER AUDIENCE, SYSTEMATIC APPROACH OF REINTERPRETATION AND REPRESENTATION OF THE EAST MAIN HALL OF FOGUANG TEMPLE BASED ON DIGITAL DOCUMENTATION AND 3D VISUALIZATION TECHNIQUES." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 395–402. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-395-2021.

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Abstract. Rebuilt in 857 AD, the East Main Hall of Foguang Temple is the highest ranking wooden architecture to survive from the Tang Dynasty, and is regarded as a rare cultural and architectural gem of China and of the world at large1. Since its rediscovery in 1937, extensive research on the East Main Hall of Foguang Temple has been conducted, mostly about its high values and methods applicable to its conservation and management, while less attention is given to its interpretation and representation, especially to the public audiences.Based on continued digital documentation and study of the

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Elsner, Jaś. "100 years of Dura Europos." Journal of Roman Archaeology 34, no. 2 (2021): 764–84. http://dx.doi.org/10.1017/s1047759421000507.

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It was more than 100 years ago, in March 1920, that British troops camping in the ruins of some unknown ancient fort on the Euphrates, named Al-Salihiyah in Arabic, during the skirmishing that followed the collapse of the Ottoman Empire in the aftermath of the First World War, dug a trench and excavated some astonishing wall paintings. The officers in charge, along with the Civil Commissioner, managed to call in an American archaeologist who happened to be in Syria at the end of April, James Henry Breasted, first director of the Oriental Institute in Chicago (founded the previous year, 1919).

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Sathish, Swapna. "Challenging the Canonical Framework of Indian Art History: Temple Murals as Popular Visual Culture." International Journal of Human Movement and Sports Sciences 2, no. 3 (2014): 41–45. http://dx.doi.org/10.13189/saj.2014.020302.

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Lee, Kyeong Min, Hwa Soo Lee, and Kyeong Soon Han. "Study on Application of Filling Material for Reinforcement of Soil Murals in Buddhist Temple." Journal of the Korean Conservation Science for Cultural Properties 29, no. 4 (2013): 395–406. http://dx.doi.org/10.12654/jcs.2013.29.4.10.

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Poolsuwan, Samerchai. "Buddhist Murals Illustrating Unusual Features in Temple 36 at Sale and Their Cultural Implications." Journal of Burma Studies 19, no. 1 (2015): 145–97. http://dx.doi.org/10.1353/jbs.2015.0000.

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Fischer, Eberhard, та Dinanath Pathy. "Drawings for the Renewal of Murals: Notes on Documents for Murals of the Kāḷikā Temple near Jayapur in the Koraput District, Orissa (India)". Artibus Asiae 62, № 1 (2002): 139. http://dx.doi.org/10.2307/3250283.

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