scholarly journals Organic materials in the wall paintings in Pompei: a case study of Insuladel Centenario

2012 ◽  
Vol 6 (1) ◽  
Author(s):  
Antonella Casoli ◽  
Sara Santoro
Keyword(s):  
Organic Materials ◽  
Wall Paintings

Identification of Organic Materials Used in Gilding Technique in Wall Paintings of Kizil Grottoes

2020 ◽  
Vol 5 (2) ◽  
pp. 818-822 ◽  
Author(s):  
Zhibo Zhou ◽  
Ling Shen ◽  
Na Wang ◽  
Xiaoxu Ren ◽  
Jie Yang ◽  
...  
Keyword(s):  
Organic Materials ◽  
Wall Paintings ◽  
Materials Used

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.

REPRESENTING, OBJECTIFYING, AND FRAMING THE BODY AT LATE BRONZE AGE KNOSSOS

2013 ◽  
Vol 56 (1) ◽  
pp. 1-25 ◽  
Author(s):  
ELLEN ADAMS
Keyword(s):  
Bronze Age ◽  
The Body ◽  
Late Bronze Age ◽  
Complex Relationship ◽  
Wall Paintings ◽  
Human Form ◽  
The World

Abstract This paper explores how the human form is depicted, objectified and contextualized, in order to clarify the complex relationship between ‘representation’ and ‘reality’, and to investigate the various ways the body is bounded. Part one argues that objectification is not always a passive process, but that the body is deliberately presented to the world to be observed and evaluated. Part two focuses on the configuration of bodily boundaries, and how the body is framed, for example, by clothing, architecture and the mortuary context. The wealth and range of evidence (wall paintings, seals and sealings, figurines, stone vases and burials) render Knossos an excellent case study for this approach. This paper asks not who the Knossians were, in terms of identity and ethnicity, but rather how they wanted to be presented to the world and each other.

scholarly journals INTEGRATING HETEROGENEOUS DATASETS IN HBIM OF DECORATED SURFACES

2019 ◽  
Vol XLII-2/W15 ◽  
pp. 981-988 ◽  
Author(s):  
M. Reina Ortiz ◽  
C. Yang ◽  
A. Weigert ◽  
A. Dhanda ◽  
A. Min ◽  
...  
Keyword(s):  
Laser Scanning ◽  
Wall Painting ◽  
Wall Paintings ◽  
Dimensional Approach ◽  
Building Information Model ◽  
Heterogeneous Datasets ◽  
Building Information ◽  
The Temple ◽  
Opening Up

<p><strong>Abstract.</strong> There are multiple conservation challenges related to decorated surfaces, the majority are intimately linked to its documentation. This paper draws on wall paintings as a representative of decorated surfaces, arguing the importance of considering its fourthdimensionality &amp;ndash; space and time &amp;ndash; in its conservation and documentation. To that end, we propose the use of Building Information Model (BIM) as a platform to consolidate this approach together with various documentation techniques used for the conservation and management of wall paintings. This paper exemplifies this method with a case study of Myin-pya-gu Temple in Old Bagan (Myanmar); firstly, reviewing the different techniques used to document the temple and wall painting (photography, photogrammetry, laser scanning, reflectance transformation imaging (RTI); and secondly, discussing the data integration within a BIM environment. This position proposes a transition from a two-dimensional to a four-dimensional approach in wall painting conservation, potentially opening up possibilities of documentation, monitoring, simulation, or dissemination. Ultimately, the case study of Myin-pya-gu has the objective to introduce the use of HBIM as a platform for consolidating the documentation of decorated surfaces.</p>

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