Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales

Since the late 19th century the wall paintings of Sant Miquel in Terrassa have drawn attention due to their singularity. From the early studies of Josep Puig i Cadafalch (1867–1956) to the present, both the iconographic program and the chronology of the paintings have fueled controversy among scholars. In particular, chronological estimates range from the time of Early Christian Art to the Carolingian period. However, a recent technical study of the paintings seems to confirm an early date around the 6th century. This new data allows us to reassess the question in other terms and explore a new possible context for the paintings. First, it is very likely that the choice of iconographic topics was related to the debates on the Arian heresy that took place in Visigothic Spain during the 5th and 6th centuries. Secondly, the paintings of Sant Miquel should be reconsidered as a possible reception of a larger 6th-century pictorial tradition linked to the Eastern Mediterranean, which is used in a very particular way. However, thus far we ignore which were the means for this artistic transmission as well as the reasons which led the “doers” of Terrassa to select such a peculiar and unique repertoire of topics, motifs, and inscriptions. My paper addresses all these questions in order to propose a new Mediterranean framework for the making of this singular set of paintings.

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Technical study of Germolles’ wall paintings: the inputof imaging technique

Virtual Archaeology Review ◽

10.4995/var.2016.5831 ◽

2016 ◽

Vol 7 (15) ◽

pp. 1 ◽

Cited By ~ 4

Author(s):

Christian Degrigny ◽

Francesca Piqué ◽

Nutsa Papiashvili ◽

Julien Guery ◽

Alamin Mansouri ◽

...

Keyword(s):

Data Management ◽

Imaging Technique ◽

Analytical Techniques ◽

Courtly Love ◽

Wall Paintings ◽

Significant Information ◽

Painting Technique ◽

Conservation Condition ◽

Technical Study ◽

Scientific Documentation

The Château de Germolles is one of the rare palace in France dating from the 14th century. The noble floor is decorated with wall paintings that are a unique example of courtly love spirit that infused the princely courts of the time. After being concealed sometime in the 19th century, the paintings were rediscovered and uncovered in the middle of the 20th century and partly restored at the end of the 1990s. No scientific documentation accompanied these interventions and important questions, such as the level of authenticity of the mural decorations and the original painting technique(s) used in the medieval times remained unanswered. The combined scientific and financial supports of COSCH Cost Action and DRAC-Burgundy enabled to study Germolles’ wall paintings using some of the most innovative imaging and analytical techniques and to address some of the questions raised. The study provided significant information on the material used in the medieval times and on the conservation condition of the paintings. The data collected is vast and varied and exposed the owners of the property to the challenges of data management.

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A technical study of the materials and manufacturing process used in the Gallery wall paintings from the Jokhang temple, Tibet

Heritage Science ◽

10.1186/s40494-018-0182-5 ◽

2018 ◽

Vol 6 (1) ◽

Cited By ~ 4

Author(s):

Yan Song ◽

Feng Gao ◽

Austin Nevin ◽

Juwen Guo ◽

Xiao Zhou ◽

...

Keyword(s):

Manufacturing Process ◽

Wall Paintings ◽

Technical Study

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The Wall-Paintings of Pompeii

Scientific American ◽

10.1038/scientificamerican03311877-1032bsupp ◽

1877 ◽

Vol 3 (65supp) ◽

pp. 1032-1032

Keyword(s):

Wall Paintings

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Nawalgarh Haveli Wall Paintings: The Theme Depended on Avataras

PARIPEX-INDIAN JOURNAL OF RESEARCH ◽

10.15373/22501991/mar2014/48 ◽

2012 ◽

Vol 3 (3) ◽

pp. 136-139

Author(s):

Dr. Madan Lal Rajyora ◽

Keyword(s):

Wall Paintings

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O̅TA GYU̅ICHI. «SHINCHŌ-KŌ KI», BOOK IX (COMMENTED TRANSLATION INTO RUSSIAN)

Journal of the Institute of Oriental Studies RAS ◽

10.31696/2618-7302-2020-3-229-248 ◽

2020 ◽

pp. 229-248

Author(s):

S. A. Polkhov ◽

Keyword(s):

Political Ideology ◽

Russian Translation ◽

Wall Paintings ◽

Pure Land ◽

Military Leaders ◽

Unique Information

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.

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