scholarly journals Wall paintings facies and their possible genetic correlates in the ancient Pompeii: A bio-anthropologic message from the past?

Gene ◽  
2016 ◽  
Vol 589 (2) ◽  
pp. 151-156
Author(s):  
Giovanni Ponti ◽  
Marco Manfredini ◽  
Cristel Ruini
Keyword(s):  
Wall Paintings ◽  
The Past

scholarly journals Between the past and the present: the Ixil Maya and the discovery of rare mural paintings in Guatemala

2014 ◽  
Vol 34 ◽  
pp. 169-185
Author(s):  
Jarosław Źrałka ◽  
Katarzyna Radnicka
Keyword(s):  
Colonial Period ◽  
Cultural Continuity ◽  
Wall Paintings ◽  
The Past ◽  
The North ◽  
Mural Paintings ◽  
History Of ◽  
Maya Area ◽  
Distinct Features ◽  
North Western

The Ixil Maya area is located in Quiche Department of the north-western part of the Guatemalan Highlands. It has witnessed a continuous occupation since the 1st millennium BC till today. This archaeologically interesting region has provided many important discoveries of rare cultural mixture, with distinct features typical for both Maya Highlands and more distant Lowlands. Recently, the scholarly interest has focused on Chajul where a few years ago, in one of the local houses, well preserved wall paintings dated to the Colonial period were exposed by the house owner during the process of its renovation. With this extraordinary finding a question emerged - are we able to confirm the cultural continuity between the pre-Columbian settlers and modem Ixil who claim «to be always here»? This paper presents a brief outline of the history of the Ixil Maya. It also presents results of some recent and preliminary studies conducted by Polish scholars in this region.

scholarly journals IMAGES IN ARCHITECTURE – FROM MURALS TO ILLUMINATING PROJECTIONS

2007 ◽  
Vol 31 (1) ◽  
pp. 54-61
Author(s):  
Małgorzata Bąkowska
Keyword(s):  
New Media ◽  
Urban Space ◽  
Mural Painting ◽  
Wall Paintings ◽  
Architectural Space ◽  
The Past ◽  
Mural Paintings ◽  
Artistic Quality

As in every other domain of art, in contemporary mural painting it is possible to indicate great projects and realizations as well as failures. However, many examples confirm the thesis of an especially significant role of depicting in architectural and urban space. After all, like in other kinds of painting, the main feature here is the talent of an artist. Artistic quality of depicting in architectural scale is so important because of its aesthetical, ethical and education role. It is hard to answer the question about the future of mural paintings and the role of the new media of transmitting color and illusion in architectural space. Nowadays, in the time of instant development of science and technology, increasing tempo of life and continuous need of changes, it may turn out that the digital and hologram pictures better fulfil the expectation of the present recipient. It is not unlikely that the practical values of these techniques – their energetic and light features – might cause the elimination of traditional wall paintings which have accompanied architecture for so many ages. On the other hand, we could observe in the present culture evident “retro” tendencies – the growth of interest in the past, the recognition of traditional forms of expression, and a desire for their continuation. Materiality, touchable texture, and some mysterious load of energy executed by artists in traditional techniques are the elements acting to the advantage of old- fashioned painted walls. Paveikslai architektūroje – nuo freskų iki šviečiančių projekcijų Santrauka Sienų tapyba, kaip architektūros elementas, per amžius turėjo įvairių paskirčių: magišką, simbolinę, estetinę. Freskos suteikė vietai prestižo, perdavė religinio turinio žinias ir įamžino svarbiausias įvykius. Kadangi sienų tapyba visuomet egzistuoja architektūriniame kontekste ir perima architektūrinės formos specifiką, jos negalime suvokti kaip visiškai autonomiško meno. Dėl savo masto, spalvos, simbolinės prasmės ir tam tikrais atvejais aukštos meninės vertės freskos yra išraiškingi orientyrai miesto erdvėje, padedantys geriau susivokti „kognityviuose žemėlapiuose“. Šalia tradicinės sienų tapybos neseniai architektūrinėje aplinkoje ėmė atsirasti naujomis technologijomis – skaitmenine, lazerine ar hologramomis – atlikti paveikslai. Jų meninė vertė yra ypač svarbi dėl jų estetinės, etinės ir edukacinės reikšmės.

Late Roman Iconography and Style

2021 ◽  
pp. 199-221
Author(s):  
Susanna McFadden
Keyword(s):  
Visual Culture ◽  
Late Antiquity ◽  
Fourth Century ◽  
Wall Paintings ◽  
Work Of Art ◽  
The Past ◽  
The Church ◽  
Late Roman

Discussions of late Roman style and iconography sometimes tend to emphasize the liminality of visual culture in late antiquity; monuments representative of the period such as the Arch of Constantine are neither fully “classical” nor “medieval” in their form and content; hence, the instinct to compare its style and iconography with that of the past or future monuments is hard to resist. The result of this lure to dichotomize is often a focus on what a late Roman work of art is not, rather than what it is (i.e., how an artwork or monument functions in its contemporary moment). This chapter therefore presents the wall paintings from the late third- to early fourth-century domus underneath the Church of Ss. Giovanni e Paolo on the Caelian Hill in Rome as a case study of a particular moment in late Roman visuality so as to better understand how engagements with iconography and style in the context of the late Roman home activate “modern” meanings and experiences.

scholarly journals СУЧАСНІ МУРАЛИ У КОНТЕКСТІ СТРІТ-АРТУ МАРОККО

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Northern Africa ◽  
Street Art ◽  
Wall Paintings ◽  
Architectural Space ◽  
The Past ◽  
Art Works ◽  
The City ◽  
International Festival

Розглянуто традиційні й інноваційні особливості стінописів на території Королівства Марокко; наведено оглядпублікацій, у яких досліджено особливост і урбаністичного мистецтва країн Північної Африки. Висвітлено специфікурозвитку вуличного мистецтва у містах Рабат, Марракеш, Ес Сувейра, Асіла, Шефшауен, Лараш, Аль Душейрапротягом десяти останніх років на прикладі творчості світових і місцевих райтерів . Увагу приділено муралам,створеним у рамках міжнародних фестивалів вуличного мистецтва «Jidar. Toiles de Rue» (м. Рабат), «Міжнароднийфестиваль вуличного мистецтва Асіла» та «Remp’Arts» (м. Аземур). Проаналізовано своєрідність сюжетів й образносимволіч не значення стріт арт творів. Виявлено творчість українських митців у стріт арті згаданої держави.Ключові слова: архітектурний простір, стріт-арт, Марокко, стінопис, мурали, графіті. In this article the traditional and innovative features of wall paintings in the territory of the Kingdom of Morocco areconsidered. In particular, an overview of publications exploring the peculiarities of street art in northern Africa is given.Separately highlighted features of the development of street art in the cities of Rabat, Marrakech, Essaouira, Asila, Chef-Shauen, Larache, Al-Dusheira on the example of works of world and local artists over the past ten years. Particular attention is paid to the murals that were created at the international festivals of street art «Jidar. Toiles de Rue» in the city of Rabat, the «Asil International Festival of Street Art» and «Remp’Arts» in Azemur. The peculiarity of the plots and the symbolic significance of street art works in the specified territories is analyzed. It is shown that most of them highlight the ethnic characteristics and traditions of this region. Separately highlighted the work of Ukrainian artists on street art of this state.Key words: architectural space, street art, Morocco, Murals, graffiti.

scholarly journals Murals as Memory Carriers. Analysis of the Meanings Given to Them and the Attitudes of Their Creators

2021 ◽  
Vol 63 (11) ◽  
pp. 49-72
Author(s):  
Adriana Krzywik
Keyword(s):  
Family History ◽  
Public Space ◽  
Mexican Revolution ◽  
Social Involvement ◽  
Wall Paintings ◽  
Politics Of Memory ◽  
The Past ◽  
Historical Awareness

The phenomenon of wall paintings has been developing in public space since the Mexican Revolution. Murals are used, among other purposes, to capture memories. Moreover, they are one of the most popular forms of representation of the past in public space, commonly called memory carriers. In the discussion of the research being carried out, the opportunities associated with the formation of historical awareness and attitudes towards society’s past through commemorative murals will be highlighted.The research was conducted from July to November 2020. It was based on the analysis of the existing materials – photographs of commemorative murals (significant and marked elements) and interviews with semi-structured memory agents. The first stage of the described research focused on the authors of commemorative murals.The aim of the research was to determine the meaning and values that the creators of murals have given in general and in particular to the commemorative murals made by themselves.The research allowed, among other things, to answer questions concerning the artistic path of the creators (graffiti environment), what factors influenced the process of making mural (family history, one’s own past, finances, social involvement), worldview and values of the declared creators (patriotism) and attitude to the politics of memory.

scholarly journals The “Sant’Angelo in Criptis” Cave Church in Santeramo in Colle (Apulia, South Italy): A Multidisciplinary Study for the Evaluation of Conservation State and Stability Assessment

Geosciences ◽  
2021 ◽  
Vol 11 (9) ◽  
pp. 382
Author(s):  
Anna Garavelli ◽  
Gioacchino Francesco Andriani ◽  
Giovanna Fioretti ◽  
Vincenzo Iurilli ◽  
Antonella Marsico ◽  
...  
Keyword(s):  
National Park ◽  
Management Strategy ◽  
Conservation Management ◽  
Karst Cave ◽  
Wall Paintings ◽  
Stability Assessment ◽  
South Italy ◽  
The Past ◽  
Multidisciplinary Study ◽  
The Stability

Sant’Angelo in Criptis (Santeramo in Puglia, South Italy) is a karst cave located in the Alta Murgia National Park (aspiring geopark), presently degraded, but with signs of intense past visiting activity for worship, as testified by the beautiful wall paintings and the large number of inscriptions and engravings on the cave walls. With the aim to permit the desirable restoration and the following fruition of this ancient geo-cultural heritage, a multidisciplinary investigation of the cave was carried out in this study. The 3D cave model permitted a detailed map of the area and highlighted that the cave vault, although very regular, somewhere presents chimneys that develop upwards, indicating areas where the rock thickness is now very small. The stability analysis indicates that presently, the cave does not show remarkable signs of instability, but block failures, toppling and roof collapse are possible. Archaeometry investigations confirmed the past importance of this holy site, as testified by the overlapping in the paintings of three different pictorial cycles and the use of precious pigments, thus confirming the necessity of preservation through a conservation management strategy for a full future fruition of the cave.

scholarly journals Pigments—the palette of organic colourants in wall paintings

2021 ◽  
Vol 13 (10) ◽  
Author(s):  
Maurizio Aceto
Keyword(s):  
Chemical Nature ◽  
Wall Paintings ◽  
Present Contribution ◽  
Identification Methods ◽  
Tyrian Purple ◽  
The Past ◽  
Diagnostic Studies ◽  
Inorganic Supports ◽  
Identification Techniques ◽  
The Way

AbstractThe present contribution deals with the use of organic colourants in wall paintings, polychrome pottery and painted stone artworks, i.e. painted artworks on inorganic supports. The term organic colourants is referred to the chemical nature of these compounds but not to the way of application; therefore, organic colourants can be dyes, lakes or pigments. The use of organic colourants in wall paintings has been given little attention in the past, perhaps on the assumption that they were rarely used by ancient artists. Recent diagnostic studies, however, brought evidence that their use was not fragmentary; on the contrary, there seems to be continuity in the centuries, at least with regard to the most widely used such as madder, Tyrian purple and indigo. Sources, alteration phenomena, identification methods and analytical evidence is given for the main organic colourants with concern to red, yellow, green, purple and blue hues. Drawbacks and issues are discussed with concern to the identification techniques.

Rich beyond the dreams of Avaris: Tell el-DabcA and the Aegean world – a guide for the perplexed

1998 ◽  
Vol 93 ◽  
pp. 199-219 ◽  
Author(s):  
Eric H. Cline
Keyword(s):  
Present Article ◽  
Wall Paintings ◽  
The Past ◽  
Pertinent Data ◽  
Past Half ◽  
Half Decade

The excavations at Tell el-Dabca/Avaris have produced exciting finds for the past 30 years, but none more riveting than the so-called ‘Minoan’ frescoes of the past half-decade. The publication of these fragmentary wall paintings has been commendably fast, but has also involved dramatic changes in the hypotheses put forth by the excavators. The present article attempts to summarize the situation by charting the discoveries announced between 1992 and 1996, and relating these to the changes in opinion of the excavators over that same period of time. Given the bombshell dropped most recently by Bietak, namely that the wall paintings may not be associated with the Hyksos period at all, but rather with the early 18th Dynasty Egyptian reoccupation of the site, it is here suggested that the spate of literature published by secondary authors (i.e. those not immediately involved in the excavation and interpretation of the site) be brought to a temporary halt, until Bietak and his team have completed their exploration of the relevant areas of Tell el-Dabca and have published all of the pertinent data, to both their satisfaction and ours.

Observations of the continuum near the galactic centre

1967 ◽  
Vol 31 ◽  
pp. 405
Author(s):  
F. J. Kerr
Keyword(s):  
Galactic Centre ◽  
The Past ◽  
Centre Region ◽  
The Continuum

A continuum survey of the galactic-centre region has been carried out at Parkes at 20 cm wavelength over the areal11= 355° to 5°,b11= -3° to +3° (Kerr and Sinclair 1966, 1967). This is a larger region than has been covered in such surveys in the past. The observations were done as declination scans.

The Origin of the Moon and its Relationship to the Origin of the Solar System

1962 ◽  
Vol 14 ◽  
pp. 133-148 ◽  
Author(s):  
Harold C. Urey
Keyword(s):  
Solar System ◽  
The Moon ◽  
The Past ◽  
The Earth ◽  
Short Period ◽  
Origin Of The Moon

During the last 10 years, the writer has presented evidence indicating that the Moon was captured by the Earth and that the large collisions with its surface occurred within a surprisingly short period of time. These observations have been a continuous preoccupation during the past years and some explanation that seemed physically possible and reasonably probable has been sought.

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