Mortars, pigments and binding media of wall paintings in the ‘Carrera del Darro’ in Granada, Spain

2000 ◽  
Vol 1 (1) ◽  
pp. 19-28 ◽  
Author(s):  
Eloisa Manzano ◽  
Ana G Bueno ◽  
Antonio Gonzalez-Casado ◽  
Monsalud del Olmo
Keyword(s):  
2016 ◽  
Vol 71 (1) ◽  
pp. 129-140 ◽  
Author(s):  
Dimitrios Lampakis ◽  
Ioannis Karapanagiotis ◽  
Olga Katsibiri

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.


2012 ◽  
Vol 3 (3) ◽  
pp. 136-139
Author(s):  
Dr. Madan Lal Rajyora ◽  
Keyword(s):  

Author(s):  
S. A. Polkhov ◽  

The article provides a Russian translation of the book IX of «Shincho̅-ko̅ ki». This part of the chronicle narrates the renewal of the war between Nobunaga and Honganji Temple. The followers of the True School of Pure Land besieged in Ozaka managed to inflict painful counterattacks against the forces of the “unifier of Japan”. Nobunaga detachments, trying to capture the Kizu fortress on the outskirts of Ozaka were surrounded and defeated. Ban Naomasa, one of his prominent military leaders, was killed, the army from Ozaka attacked the Tenno̅ji fortress, and only the help immediately rendered by Nobunaga saved the garrison from death. After that, Nobunaga blocked Ozakа on land and at sea. However, the fleet of the Mo̅ri house, which joined the ranks of Nobunaga opponents, and the allies of Mo̅ri were able to defeat the naval forces of Nobunaga and deliver provisions to Ozaka, which allowed Honganji to continue the struggle. Book IX also contains a description of the construction of Azuti Castle and its main tower (tenshu), Nobunaga’s residence. The unique information of the chronicle formed the basis for the further reconstruction of the tenshu’s appearance. The castle became the personification of the wealth and omnipotence of Nobunaga, a reflection of his claims to the role of supreme ruler of Japan. The wall paintings of the main tower halls manifest the influence of Confucianism, Buddhism and Taoism. The key symbols of the images are taken from Chinese political ideology.


2018 ◽  
Vol 12 (3) ◽  
pp. 48-58
Author(s):  
Mofida Weshahy ◽  
Ezzat Kadous ◽  
Khaled Alpasuoni ◽  
Sara Halim
Keyword(s):  

2002 ◽  
Vol 80 (1) ◽  
pp. 13-21 ◽  
Author(s):  
Sascha Beutel ◽  
Kerstin Klein ◽  
Gabi Knobbe ◽  
Peter Königfeld ◽  
Karin Petersen ◽  
...  
Keyword(s):  

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