To the Issue Concerning a Byzantine Iconostasis in the Kyiv-Pechersk Lavra, the 19th – Beginning of the 20th Centuries

The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 1845–1847, 1890–1900s has been revealed according to the text and visual records introduced into scientific circulation. The dominant role of the main iconostasis for the image of side-altars’ new iconostasis has been determined. The conservatism of religious personages who wanted to preserve the features of the previous iconostasis (height, number of tiers, the old icons, etc.) has been proved. It is determined that the sacred value of some icons was more important as a stylistic priority and it barely led to the replacement of the material of the iconostasis (silver instead of marble that traditional for Byzantine iconostases). Published photos of the Big iconostasis and the approved draft of the main iconostasis with the author of autographs (photos from the collection of the National Reserve “Kyiv-Pechersk Lavra”). It has been found out distinguished Ukrainian art historian H. Pavlutskyi in one of them. The autonomy of the iconostases style of the mural paintings style in the Great Pechersk Church decoration has been proved. Conclusions. The attempt to realize the idea of the Byzantine iconostasis in the Kyiv-Pechersk Lavra’s Great Church in 1845–1847 created a precedent of the inconsistency of the artistic style of iconostasis and mural painting. The Byzantine style iconostasis hypothetically could exist in the spacious Baroque plastic art. Conversely, the complex of Baroque iconostases existed independently of the wall form performed in accordance with the Byzantine tradition at the turn of the 19th and the 20th century. The polemic pointed around the main iconostasis, a new іmage of other iconostases designed in a complex with it. The baroque tradition was implemented in the new iconostasis projects. The monks perceived a change in mural paintings but they considered some icons by sacral constants in the Great Church. The Big iconostasis without upper tiers with the Byzantine cross was the victory of the Baroque tradition. The preservation of Baroque iconostases was a testimony of their stylistic autonomy from the mural painting decorated in Byzantine style. Key words: sacral culture, Orthodoxy, Byzantine art, Baroque art, iconostasis, sacral mural painting, KyivPechersk Lavra, Dormition Cathedral.

The Great Pechersk Church’ Mural Paintings of the Late 19th Century as the Interpretation of Its Old Russian Image

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve “Kyiv-Pechersk Lavra”. The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition “Ascension of Panagia” on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the Kyiv-Pechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.

Physical and Chemical Characterisation of the Pigments of a 17th-Century Mural Painting in the Spanish Caribbean

The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.

The Passion Cycle in the Sanctuaries of the Saxon Fortified Churches in Southern Transylvania

"This paper aims to reconstitute the pictorial program of some medieval Saxon churches’ sanctuaries, which are Mălâncrav, Curciu, Râşnov and Sibiu, with particular interest on the images regarding the Passion Cycle. The article will try to bring a stylistic and iconographic analysis of the Passion Cycle in the sanctuary, episodes that usually appear on the northern choir wall. Therefore, we aim to highlight the reasons why this Passion narrative was chosen to decorate this part of the sanctuary and what was its role both regarding the place that it occupies, that is near the most sacred place of the church, and also the role it had in the religious services. Given the complexity of the narrative programs and the strong link with the biblical texts, the paintings have a double role, both educational and devotional. Keywords: Passion Cycles, mural painting, fortified churches, iconography "

Unveiling the mural painting art of Almada Negreiros at the Maritime Stations of Alcântara (Lisbon): diagnosis research of paint layers as a guide for its future conservation

This paper reports the diagnostic research of deteriorated paint layers from three mural panels made by Almada Negreiros found in the Alcântara Maritime Station in Lisbon. The aim was to understand the main decay phenomena to aid future conservation works. The methodology comprised in-situ analyses by technical photography in Vis, Vis-RaK and UVF, p-OM and h-EDXRF; micro sampling; OM, SEM-EDS, μ-XRD, μ-Raman, µ-FT-IR and Py-GC/MS. Preliminary results show that all the paint layers analyzed are affected by salts (alkali sulphates) that over time have caused flacking, lack of cohesion, erosion, and lacunae. The light greenish/greenish bluish paint layers in all three panels are the most affected. No organic binders were identified, only the presence of vinyl polymer in glossy paint surfaces.

Mural Painting to Collect Sensitizing Data and Encourage Research Participation Among U.S. Latinos

Purpose To describe a mural-based intervention that can be implemented in partnership with community members in Latino neighborhoods in order to improve awareness of barriers to recruitment/retention of U.S. Latinos in clinical research, while augmenting researchers’ access to sensitizing concepts critical for rigorous study design. Background Latinos in the United States suffer disproportionately from several chronic illnesses but are underrepresented as researchers and participants in National Institutes of Health–funded research. This lack of representation inhibits a nuanced awareness of the health needs of U.S. Latinos and hampers efforts to address a persistent lack of health equity among U.S. Latinos and other communities of color. Art-based interventions implemented in Latino communities are increasingly being recognized for their ability to bridge this gap and positively affect the quality and quantity of research partnerships between clinical researchers and U.S. Latinos. Method This article describes a mural-based intervention piloted in two predominantly Latino neighborhoods between 2016 and 2020. The design of this method was guided by community partnered participatory research practices and involved an Assessment–Diagnosis–Planning–Implementation–Evaluation approach. Results Mural painting addressed many of the participation challenges often associated with underrepresentation of Latinos in academic research and allowed for sensitizing interviews with key community members surrounding topics of interest to the research team. Conclusion Research methods that acknowledge traditional art forms, such as mural painting, create a space for building trust and spark interest in future research participation, while augmenting researchers’ access to sensitizing concepts that may improve the cultural competence of future studies, projects, and interventions.

Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.

FROM 2D (TO 3D) TO 2.5D – NOT ALL GRIDDED DIGITAL SURFACES ARE CREATED EQUALLY

The surface of most heritage objects holds important clues about their creation. To answer specific research questions about a 16th-century mural painting located in the Bischofstor of Vienna's St. Stephen's Cathedral, the three-dimensional (3D) geometry of the entire painted surface was digitised in minuscule detail using thousands of overlapping photographs. Although this article provides image acquisition and processing specifics, it aims to assess which image-based modelling workflow can achieve the most detailed, noise-free, two-and-a-half dimensional (2.5D) raster surface of this mural painting. Other than their full 3D counterparts and in contrast to the focus of most academic research, 2.5D raster surfaces are ideally suited for visualising and analysing sizeable, detailed surfaces. They are, therefore, still the preferred surface encoding of many heritage projects that want to leverage digital surface approximations to further heritage insights (and not just use them as mere eyecatchers). In the end, only a combination of different 2.5D rasters was able to accurately represent the variable surface of this mural painting with the right amount of spatial detail.

Rare Biogeochemical Phenomenon Associated to Manganese Patinas on Mural Painting and Granite Ashlars

This article discloses a rare and outstanding type of Mn-rich black-blue patina found on mural painting and granite ashlars located in the church of Sta. Marinha, north of Portugal, and conjectures the phenomenon associated to the appearance of such patinas in different surface materials. This Mn-patina reported on mural painting and their origin is probably assigned to manganese leaching from building materials (i.e., granite and phyllites). Stained mural painting and granite examined by XPS and SEM have showed patinas enriched with manganese (IV) oxide, potentially catalysed by a microbiota, like fungi, observed in SEM micrographs. The pigments used to depict mural painting and groundwater were also analysed by micro-Raman and ICP-MS, respectively, indicating that they are unlikely manganese sources. Unstained building materials, such as granite ashlars, historic joints, mortars and phyllite rocks, were also analysed by ICP-MS showing that historic joints and mortars present significant concentrations of manganese, possibly associated to their absorbing feature. The main materials with potential to impart manganese to Mn-rich patinas are granite ashlars and phyllites. The aim of this investigation is to reveal and ascertain the hypothetical sources and the phenomenon responsible for the Mn-rich black-blue patina appearance, both on mural painting and granite ashlars.