scholarly journals Presencia y valor de los círculos rojos en murales teotihuacanos / Presence and value of red circles in teotihuacan murals

Revista Trace ◽  
2021 ◽  
pp. 66
Author(s):  
Verónica Ortega Cabrera ◽  
Gloria Dolores Torres Rodríguez
Keyword(s):  
Research Paper ◽  
Visual Pattern ◽  
Artistic Expression ◽  
Mural Painting ◽  
Wall Paintings ◽  
Mots Clés ◽  
Mural Paintings ◽  
Ancient City ◽  
Forme Géométrique ◽  
The City

En la pintura mural prehispánica se plasmaron símbolos, escenas reales y ficticias, que nos permiten penetrar el universo ideológico de sus creadores. En Teotihuacán, durante los siglos XIX y XX se recuperó una gran cantidad de vestigios de pintura mural cuyo registro forma parte de la memoria arqueológica de la ciudad. Este trabajo hace un breve recuento de los hallazgos de pintura mural en la urbe del Clásico, hasta los albores del siglo XXI. Gracias al registro detallado, visualizamos la presencia constante de una forma geométrica que podría portar un simbolismo particular: el círculo rojo. Se presenta entonces un recorrido por la arquitectura que ostentó este diseño, para lograr un primer acercamiento al patrón visual que los artistas teotihuacanos alcanzaron con esta forma y al posible valor iconográfico de los círculos rojos en el discurso mural de la ciudad. Abstract: In Teotihuacan during the XIX and XX century many remains of wall paintings were recovered from the inside of houses and public buildings. The goal of this research paper is to give a brief account of the mural paintings discovered at the ancient city till the beginning of the XXI century, we have implemented a systematic registration project, which in the end will constititute one of the most complete memories of this artistic expression. Thanks to the detailed surveys, we have been able to recognize the constant presence of geometric shapes that could carry a particular symbolism: the Red Circle. There is then a tour of the architecture that held this design, whit the aim of achieving a first approach to visual pattern that Teotihuacan artists succeeded whit this form, and the possible iconographic value the red circles in the discourse mural in the city. Keywords: Teotihuacan; architecture of Teotihuacan; mural painting; red circles; solar theme. Résumé : À Teotihuacán, au cours des XIXe et XXe siècles, de nombreux vestiges de peintures murales ont été retrouvés, dont l'archivage fait partie de la mémoire archéologique de la ville. Cet ouvrage retrace brièvement l’évolution des découvertes de la peinture murale dans la période classique de la ville jusqu’a l’aube du XXIe siècle. Grâce à ce registre détaillé, nous visualisons la présence constante d’une forme géométrique pouvant porter un symbolisme particulier: le cercle rouge. Une visite guidée de l’architecture qui a mis en lumière ce dessin est présentée, a fin de réaliser une première approche du motif visuel que les artistes de Teotihuacan ont élaboré avec cette forme et de la valeur iconographique des cercles rouges dans le discours mural de la ville. Mots-clés : Teotihuacan ; architecture Teotihuacan ; peinture murale ; cercles rouges ; thème solaire.

scholarly journals Applying Mural Paintings to Restore the Luster of Archeological Parks in Alexandria, Egypt

2017 ◽  
Vol 1 (1) ◽  
pp. 5
Author(s):  
Eman Ahmed Ramzy Elgendy
Keyword(s):  
Cultural Heritage ◽  
Mural Painting ◽  
Street Vendors ◽  
Mural Paintings ◽  
Architectural Styles ◽  
Ancient City ◽  
Painting Process ◽  
The City ◽  
Over Time

Historical, archeological parks such as Antoniadis garden, Al-shallalat gardens and the zoo are important assets in the city of Alexandria, Egypt. These parks suffer from severe neglect, damage and encroachments of street vendors. This study aims to find aesthetic solutions to improve these parks as part of Alexandria’s cultural heritage on the national and global levels. Mural paintings could be used to beautify the entrances of these parks along with the seating units, garbage bins, and water tap basins. This mural painting process could be well suited with the architectural styles of these parks to preserve their identity and still fit within the history and civilization of the ancient city of Alexandria. This will protect the historical features of these parks and make them touristic destinations instead of being abandoned and neglected over time.

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.

"Gebt mir eine Wand"

2020 ◽  
Author(s):  
Conny Dietrich
Keyword(s):  
Mural Painting ◽  
German Empire ◽  
New Town ◽  
Mural Paintings ◽  
History Of ◽  
The University ◽  
University Of Leipzig ◽  
First Time ◽  
The City ◽  
Source Materials

With the mural paintings in the auditorium of the University of Leipzig, in the city councillors’ assembly hall of the New Town Hall in Chemnitz as well as the unrealised painting of the staircase in the Museum of Visual Arts in Leipzig, Conny Dietrich for the first time addresses the so far neglected group of works of German artist Max Klinger (1857–1920). In her comprehensive study the renowned Klinger expert describes his path to mural painting, portrays the making of the three projects, analyses them in depth and puts them in the context of monumental painting in the German Empire. The study is based upon extensive source materials and is a major contribution to the history of mural painting in the years of the emergence of modernity.

I.—The Wall-Paintings at Longthorpe Tower near Peterborough, Northants

Archaeologia ◽  
1955 ◽  
Vol 96 ◽  
pp. 1-57 ◽  
Author(s):  
E. Clive Rouse ◽  
Audrey Baker
Keyword(s):  
Fourteenth Century ◽  
The Other ◽  
Mural Painting ◽  
Wall Paintings ◽  
Medieval Period ◽  
Mural Paintings

The paintings which were fully uncovered during 1946 in the Great Chamber of the house known as Longthorpe Tower near Peterborough, are the most important domestic mural paintings of the medieval period in England. Here is preserved a unique example of the appearance of the private apartment of a man of means and taste in the early fourteenth century, and some indication also of the learning and moral ideas of his period. By means of painstaking research scholars have recovered much information about the paintings in Westminster and the other royal palaces. (See in particular T. Borenius, ‘The Cycle of Images in the Palaces and Castles of Henry III’, in Journ. of the Warburg and Courtauld Insts. vi (1943), 40–50.) There are also a few mentions of paintings of a secular character in other buildings, but almost nothing now survives. The uncovering of the magnificent series of paintings at Longthorpe Tower, which is not a particularly large or important dwelling, suggests that mural painting of a hitherto unimagined richness and elaboration must have been usual in the castles and great houses of the English nobility during the medieval period.

The Big Picture

2019 ◽  
Author(s):  
Simon James
Keyword(s):  
British Empire ◽  
Significant Contribution ◽  
Wall Paintings ◽  
Military Presence ◽  
Ancient City ◽  
Big Picture ◽  
Roman Military ◽  
New Generation ◽  
The Military ◽  
The City

It is now twenty years since Fergus Millar highlighted the importance of the spectacular archaeological discoveries made at the ancient city known today as Dura-Europos. While praising the energy of the original excavators, he set out the shortcomings of the limited available publications, and called for ‘the entire corpus of material from Dura’, published and unpublished, ‘to be systematically reviewed’ (Millar 1998, 474). Research and publication had, in fact, never entirely ceased, and a new generation of scholars was already busy on both archive and site when Millar wrote. Since then, both the scale and pace of work have sharply increased, effectively developing into a renaissance in Dura studies. It is hoped that what follows will constitute a significant contribution to this wider current enterprise, regarding a key aspect of the city in the final century of its existence: the highly obtrusive Roman military presence. Imperial soldiers were always central to the story of Dura- Europos on the Syrian Euphrates. Founded by soldiers of one empire, it was eventually destroyed in conflict between those of two more, and was even revealed to modern scholarship by troops of a fourth. In 1920 Indian soldiers of the British empire, on what we would now call counter-insurgency operations, camped in the ruins known as Salhiyeh, the ancient name of which was unknown. They started digging defensive trenches, and were surprised to discover wall paintings, one of which depicted a Roman auxiliary regiment making sacrifice (Breasted 1924). The military tribune Julius Terentius, named in Latin, is seen offering incense before three Palmyrene gods, and the Tychai of Palmyra and Dura. Thus the name—as it turned out, one of the twin names—of the city was rediscovered, as was the fact that it had a Roman garrison, here on the eastern fringe of Rome’s empire. Subsequent scientific excavations revealed its other name given by its original Macedonian soldier-settlers: Europos. They also revealed that, in the decades before Dura’s violent destruction by the Sasanians (AD c.256) and permanent abandonment, one of the most prominent features inside its walls was a sprawling Roman military base.

MURAL, KEKUATAN MODAL, DAN MASYARAKAT

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Communication Media ◽  
Mural Painting ◽  
The People ◽  
The Media ◽  
Mural Art ◽  
The City ◽  
The Voice ◽  
Special Region

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.

The Resilient City

2005 ◽  
Keyword(s):  
World War Ii ◽  
Los Angeles ◽  
San Francisco ◽  
World Trade Center ◽  
Religious Faith ◽  
Oklahoma City Bombing ◽  
Late 20Th Century ◽  
Ancient City ◽  
Trade Center ◽  
The City

In 1871, the city of Chicago was almost entirely destroyed by what became known as The Great Fire. Thirty-five years later, San Francisco lay in smoldering ruins after the catastrophic earthquake of 1906. Or consider the case of the Jerusalem, the greatest site of physical destruction and renewal in history, which, over three millennia, has suffered wars, earthquakes, fires, twenty sieges, eighteen reconstructions, and at least eleven transitions from one religious faith to another. Yet this ancient city has regenerated itself time and again, and still endures. Throughout history, cities have been sacked, burned, torched, bombed, flooded, besieged, and leveled. And yet they almost always rise from the ashes to rebuild. Viewing a wide array of urban disasters in global historical perspective, The Resilient City traces the aftermath of such cataclysms as: --the British invasion of Washington in 1814 --the devastation wrought on Berlin, Warsaw, and Tokyo during World War II --the late-20th century earthquakes that shattered Mexico City and the Chinese city of Tangshan --Los Angeles after the 1992 riots --the Oklahoma City bombing --the destruction of the World Trade Center Revealing how traumatized city-dwellers consistently develop narratives of resilience and how the pragmatic process of urban recovery is always fueled by highly symbolic actions, The Resilient City offers a deeply informative and unsentimental tribute to the dogged persistence of the city, and indeed of the human spirit.

scholarly journals Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing

2019 ◽  
Vol 5 (9) ◽  
pp. 72
Author(s):  
Kamel Mouhoubi ◽  
Vincent Detalle ◽  
Jean-Marc Vallet ◽  
Jean-Luc Bodnar
Keyword(s):  
Infrared Thermography ◽  
Cultural Property ◽  
Wall Paintings ◽  
Non Destructive Testing ◽  
Property A ◽  
Destructive Testing ◽  
Mural Paintings ◽  
Works Of Art ◽  
Optical Effects ◽  
Non Destructive

Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of thermograms post-processing called PPT (pulse phase thermography) is described. The possibilities offered by the PPT in terms of reducing the optical effects associated with the pictorial layer are highlighted first with a simulation, and then through experiments. This approach can significantly improve the study of painted works of art such as wall paintings.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

Territorial Governance Rehabilitation of Old Cities: Taza City Example: الحكامة الترابية وتأهيل المدن العتيقة: حالة مدينة تازة (المغرب)

2020 ◽  
Vol 4 (3) ◽  
Author(s):  
El-bazoui Jaouad, Mohamed Chouitar, Abdelouaed Bouberria
Keyword(s):  
Cultural Heritage ◽  
Building Block ◽  
Effective Strategy ◽  
Urban Fabric ◽  
Historical Monuments ◽  
Ancient City ◽  
Historical Heritage ◽  
The City

The reality of historical cities of Morocco today .which is reflected in the fading and deterioration of its built framework and the loss of many of its social and economic functions has prompted many actors in the field of cultural and historical heritage to take a series of measures in order to rehabilitate them to cope with the pace of development, witnessed by its urban and social surrounding. In this context, the city of Taza is one of the ancient Moroccan cities that have a glorious history, an integrated urban fabric, and unique historical monuments. it is an essential building block of Morocco’s cultural heritage, which has played its part throughout history and withstood all the challenges it has faced. However; despite its importance the city has not received the attention it deserves for its historical value, its historical monuments are currently suffering from the continuous deterioration and fading, which necessitates the search for an effective strategy that evokes the criteria of governance as a gateway to the rehabilitation of its ancient heritage. To address this issue we will try to answer the following questions: To what extent is the territorial governance a mechanism for the rehabilitation and development of the ancient city of Taza? What are the most important rehabilitation projects of the ancient city of Taza?

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