Wall painting

Age in Spain and the archaeological site of “Tos Pelat” located in Moncada (Valencia, Spain) is a singular case. We aim with this work to carry out an identification of pigments from these Iberian wall paintings (beginning of the 4th century B. C.) that conserves remains of red, and blue colors.
Small wall fragments with pigment decoration and red lumps found in ceramic vessels were analyzed by non destructive Energy Dispersive X-Ray Fluorescence spectrometry
(EDXRF) in order to characterize the inorganic elements of the pigments. Additionally, small size samples scraped off from the paint surface were analyzed by Scanning Electron Microscopy with coupled X-ray microanalysis (SEM-EDS), Optical Microscopy (OM) and X-Ray powder diffraction (XRD) to identify the crystalline phases. The results of the analysis have led to the identification of the blue pigment as Egyptian blue and the red pigments as hematite and vermilion, all of them applied over a preparation layer of calcium carbonate and quartz. These analyses are very important to compare the materials used in domestic wall painting with the pigments used in sculptures, temples or tombs.

Tü lü n Deg ˘irmenci* Among the spaces conveying rich information on Anatolian social structure, mosques occupy a special place. In pre-modern societies, village and small-town mosques were not only places of worship, but served as foci of education and sociability, hosting visitors or travellers on occasion. While the architecture of village mosques is usually very simple, the furnishings can be elaborate, turning these modest structures into mirrors reflecting village culture, and thereby the culture of the Ottoman periphery. The present article focuses on eighteenth-and nineteenth-century painted mosques in the Turkish province of Denizli and environs, which display a remarkable unity of style and iconography. In the secondary literature, these works of art usually appear as products of so-called`Westernization called`Westernization'. By contrast, this study argues that they are outputs of Ottoman popular culture. Tangible from the seventeenth century onwards, the sociocultural dynamics and life practices specific to the Ottoman periphery have given this artwork its peculiar form. Thus, this study encourages researchers to rethink Anatolian conservatism, as it demonstrates that in the pre-modern era, mosques were not the well-protected spaces, distant from everyday life that they are today. Rather, in the period under study, village mosques could be 'ambiguous' spaces seamlessly joining varying spheres of life and belief.

Dentro del actual proceso de restauración de la colegiata de Santa María la Mayor, en Calatayud, iniciada con la actualización y revisión del Plan Director en 2011, se inscribe la reciente actuación del Instituto del Patrimonio Cultural de España, que ha atendido a la recuperación del ábside y del cuerpo de sacristía. Elementos con una compleja historia constructiva, han sido objeto de trabajos de muy diversa naturaleza en respuesta a las patologías, también diversas, y en especial, de tipo estructural, que presentaban. Las obras y su paralelo estudio histórico y arqueológico han permitido un mejor conocimiento de la historia del edificio y facilitado la interpretación de algunos de los problemas de conservación diagnosticados.

The current restoration process of the Collegiate Church of St. Mary Major, in Calatayud, which was initiated with the updated and revised Master Plan in 2011, includes the recent intervention of the Cultural Heritage Institute of Spain in the recovery of the apse and the vestry. The elements have a complex structural history and the work carried out on them has been diverse in nature in response to their varied pathologies and, in particular, structural types. The works, and their parallel historical and archaeological study, have provided a better understanding of the history of the building and enabled the interpretation of some of the conservation problems identified.
Keywords: structural consolidation, apse, vestry, Calatayud, structural history.

The paintings on the south aisle of Santa Maria of Taüll located in the second bay, just after the
bell tower, concentrate several themes related to the Eucharist : the appearing of Gabriel to
Zechariah, the Divine Lamb, a nimbed figure dressed in liturgical garments and two fish flanking a
cross. The first theme is particularly significant since it includes two clues that clarify the thinking
of the designer : a chalice stands on the altar and it is the archangel who holds the censer and not
the father of John the Baptist.
As in several other Catalan churches, it is therefore the censing of the Oblates that refers to the
sacrifice of the Mass. We can therefore assume that an altar was erected near these images and
that it was dedicated to the angels, because the paintings above the appearing of Gabriel represent
warrior angels and that this scene is adjacent to the bell tower.
As in many elevated places of worship dedicated to Saint Michael or to the angels, two themes have
therefore been connected with these winged beings. There are consequently high probabilities that
the singular iconographic program of Taüll was intended to accompany the cult of the angels
celebrated in the nave, in the tower or in both places.

Regions and interregional connections – A group of frescoes in the Kingdom of Hungary from around 1420
By Zsombor Jékely, Budapest
Summary

This study focuses on an a few examples of fresco decoration commissioned by aristocrats in the Kingdom of Hungary during the first decades of the 15th century. Despite geographical, regional differences, these frescoes are related to each other in many ways: stylistic, iconographic and conceptual.
The first monument to be analyzed is the fresco decoration of the castle chapel at Siklós. The castle chapel of Siklós is located in the eastern wing of the castle, a wing entirely built under the Garai family in the early fifteenth century. In the nave of the chapel, on each of the side walls, there is a wall niche decorated with wall-paintings. The niche in the southern wall is decorated with the figures of two standing saints: Saint Leonard and Saint Ladislas. The eastern wall of the niche contains an image of the Man of Sorrows, while the vault is decorated with the Lamb (Agnus Dei); a chalice and the host next to it. The back wall of the northern niche contains an image of the suffering Job, accompanied by his wife and three of his friends. The commission of these frescoes can be tentatively connected with the 1415 captivity and release of János Garai during a Bosnian military campaign. Based on their style, the frescoes of both niches are here dated to around 1420. Their patron then must have been Miklós Garai, together with his brother, János. The learned and personal aspect of the frescoes and the importance of inscriptions on them (as seen on the Job-scene) relate them to a group of frescoes dating from around 1415-1430. In all cases, the commission of the frescoes can be connected to aristocratic patrons.
The most interesting of such cycles can be found in the southern aisle of the basilica of Štitnik in Gemer County. The subject of the frescoes includes the Parable of the Talents, the Seven Sacraments and a depiction of the Seven Liberal Arts. These frescoes can also be dated to the 1420s, when the town was in the property of László Csetneki, canon at Esztergom at later the bishop of Nitra (1439-1448). The complex iconography of the frescoes pays tribute to the well-educated and highly successful László Csetneki, one of King Sigismund’s trusted confidants. Another church in the Gemer region deserves our attention for its particular iconography. At Kyjatice, the north wall of the nave is decorated with a large, circular Last Judgment fresco. An inscription in minuscule script dates the frescoes to 1426. At that time, Kyjatice was under the patronage of the Derencsényi family. A comparable monument is known from the far-away church of Suatu in Transylvania, datable to the same period. The patrons of this church were members of the Suki family, as documented by the coats of arms can on the capitals supporting the vault. Both of these large Last Judgment compositions are probably based on manuscript sources, and well express the concerns of their commissioners about the afterlife.
In all of the frescoes discussed, the iconography is unusual, containing various references to the commissioners or simply exhibiting a sophistication and detail not seen in other monuments. The learned aspect of the frescoes and the importance of inscriptions on them also connect the works. From the appearance of this type of decoration in many parts of the country at around the same time, it is reasonable to suggest that they reflect a style and manner of decoration favored in the center of the country, more specifically in the royal court. The examination of these frescoes seems to reinforce earlier observations regarding aristocratic patronage of the period, which demonstrated for example that in the designs of their castles and in the character of their tombs, aristocrats closely followed the model of the royal court. Crossing regional and even international borders with the ease of their commissioners, aristocratic commissions constitute a fairly consistent group of buildings, carvings, and frescoes. Thus in the reign of Sigismund, just as a particular kind of art was practiced in the towns – perhaps less dependent on the art of the royal court – another stratum can be detected in aristocratic patronage.

This paper deals with the iconographic motif of vine pecking birds in eastern and western art. It occurs occasionally on Nabataean bowls and wall painting. Its origins ought to be sought in Oriental art, adopted in late Hellenistic architectural decoration at the same time in Italy and Arabia. As a decorative element of ambiguous symbolism, the vine pecking birds occur in numerous genera of early Christian and Muslim art.

PhD Dissertation
Yale University, 2003
Advisor: Walter Cahn

This dissertation provides an in-depth analysis of the former Augustinian church at Siklós in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklós and its church, and outlines the problems discussed in the dissertation. Part I. focuses on the history and architecture of the church. The Augustinian canons settled at Siklós in the early fourteenth century, invited by the Siklósi family. Their first church, dedicated to St. Anne, stood near Siklós castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled.
Part II. surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III. focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family’s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklós, including the castle and its frescoed chapel, as well as the tombstone of Miklós (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.

A potted history providing an overview of exhibitions abroad that have showcased indigenous Indian art, in the exhibition catalogue: Warli: An Artists' Exchange (to accompany an exhibition of Warli art titled The Tales We Tell, Victoria and Albert Museum of Childhood, London, exhibition dates: 14 November 2015 - 3 July 2016).

Publication date: Apr 2016

There are few Wall Paintings remained from the Parthian and Sassanid era in Iran.These limited examples play a major role in the development of the study and our knowledge on pre-Islamic Iranian painting. The present paper examined two of these remains, one a Parthian Wall Painting in Kuh-e Khwaje in Sistan and the other a unique sample of early Sasanians Wall Painting in Firuzabad, Fars province, dating back to two different times in two different sites, they reveal evident similarities in the style. Also considering the vast painted surfaces in both sites and the characteristic specifications of the sites, one can see the high artistic capabilities applied for painting them.Althoughboth paintings demonstrate the application of different methods, they are well adapted with the host structure in functional conception, in a strong harmony with the echo system of the site and acknowledging the cultural diversity of the creating civilization.Studying these wall paintings in terms of subject and style shows the Sasanian Painting despite of the influences of Hellenistic art, also has been affected by Parthian painting style from east of Iran.

This text summarizes the history of wallpainting since the cave paintings and discusses the phenomenon philosophically from the perspective of its resumption in late 20th century avant-garde art. It was originally written on commission of bkSM (beeldende kunst Strombeek / Mechelen) for the exhibition Wall Painting 1+9/9+1, held from October 12 through December 14 2008 at Cultuurcentrum Strombeek (Belgium, near Brussels) and published in its accompanying catalogue. I would like to thank Luk Lambrecht for his invitation to participate in this manner in his exciting project.

An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with t...

“Norşuntepe Höyüğünde Bir duvar Resmi: Geyik mi? Yanardağ mı?” (A Wall-painting in Artificial Hill of Nonshuntepe: Is it Deer or Volcano?), IX. Ortaçağ Ve Türk Dönemi Kazıları Ve Sanat Tarihi Araştırmaları Sempozyumu, 21–23 Nisan 2005, Atatürk Üniversitesi Fen Edebiyat Fakültesi Erzurum, (s. 217-223).

Over more than ten years, a team of expert archaeologists at Brown University have lead the excavation works of one of the most important architectural complexes in the ancient capital of the Nabataean kingdom. The Great Temple of Petra houses various structures whose purpose and function are still unknown. We will try to show here the results and discoveries that have been carried our, tryings to shed some assumptions which bring us closer, perhaps, to understand this extraordinary building.

wall painting SAINT CYRIL AND METHOD
author / attribution: R. Rajnik (h) 89. date: 1889.
dimensions: height 260 cm, width 140 cm
location / county: Virovitica - Podravina
town / place: Kloštar Podravski
owner: church of Sv. Benedict the Abbot and Our Lady of Sorrows
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zidna slika SVETI ĆIRIL I METOD
autor/atribucija: R. Rajnik (h) 89. datacija: 1889.
dimenzije: visina 260 cm, širina 140 cm
lokacija/županija: Virovitičko - podravska
grad/mjesto: Kloštar Podravski
vlasnik: crkva Sv. benedikta opata i Žalosne Gospe

ABSTRACT An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region.

Des sondages ponctuels réalisés par l’INRAP (hiver 2013-2014) dans le cadre d’un projet de mise en valeur du temple d’Izernore (Ain) ont été l’occasion de faire le point sur la documentation ancienne sur cet édifice (vestiges en place, pièces erratiques et enduits peints). Le temple du second état a toujours été en partie visible et dès le XVIIIe s. on avait remarqué l’existence d’une phase monumentale précédente (un premier temple ?). Les interrogations sont pourtant nombreuses sur la restitution des deux monuments, leur environnement, l’identité de la (ou les) divinité honorée, la chronologie… Comme pour d’autres édifices en Gaule romaine, l’intérêt actuel du temple d’Izernore réside dans son architecture mixte, qui emprunte des éléments classiques ajoutés à des particularismes.

The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and rural houses demonstrate that the custom of decorating exteriors was widespread in Slovenia from the Middle Ages onwards. This segment of open-air artistic heritage is usually badly exposed to harmful natural and human environmental factors and is therefore one of the heritage types most at risk. With a suitably methodologically supported protection strategy it is possible to monitor the extent, state of conservation and risk status of wall paintings and take timely steps to protect them. To this end an experimental project has been designed, within the framework of which a model of an integrated approach to conserving wall paintings has been developed and applied. The result of the collection of data in the field and in historical records is an extensive database on the state of conservation and the risk status of more than 200 medieval wall paintings on the exteriors of more than 130 buildings. Some of the more important data on the condition of this segment of heritage are presented in this paper. The model is sufficiently broad to be applicable to both interior and exterior wall paintings and, with suitable adjustments, to other segments of art heritage. It can be linked to the methodologies of related disciplines (architecture, ethnology, archaeology, etc.) and its results can be incorporated into a corresponding cultural heritage information system.

L’auteur remet a jour les decouvertes faites en 1978 par l’equipe ouzbeke lors de l’examen en laboratoire des peintures d’Afrasiab qui revela de nombreux details invisibles et permit la realisation de releves sur calque tres precis non publies jusqu’ici. Ceux-ci apportent de nombreuses informations sur la technique adoptee par les artistes sogdiens et revelent de nouveaux details concernant la composition, les personnages representes ou des elements pouvant etre mis en relation avec les temoignages archeologiques tels que les vetements, les parures ou les armes.

V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za likovno umetnost Univerze v Ljubljani restavrirali pet večjih fragmentov srednjeveških fresk, ki jih že desetletja hrani Oddelek za umetnostno zgodovino Filozofske fakultete v Ljubljani. Fragmenti izvirajo iz p. c. Marijinega oznanjenja v Crngrobu in p. c. sv. Kancijana v Vrzdencu pri Horjulu, kot so pokazale kasnejše raziskave, na Filozofsko fakulteto pa so morali priti za časa Franceta Steleta. Bili so v zelo slabem stanju in hranjeni v neprimernih razmerah, zato je bil skrajni čas za njihovo restavriranje in boljšo prezentacijo, na katero pa še čakajo.

""In 1999 a set of wall paintings from the 13th and 14th centuries was brought to light in the south transept of the Old Cathedral of Salamanca, so underlining the leading role of this city in the development of Gothic painting.
Some of them decorated the tomb of Dean Alfonso Vidal (d. 1288 or 1289), a prominent member of the cathedral chapter. Alfonso Vidal chose for his burial place a proper depiction of the 'Last Judgement' which includes an astonishing image of a bleeding Virgin, intended to express the role of Mary in the task of Redemption.""

11 fragments of wall painting from the Beroe fortress, Romania (4th –6th century) were analysed through Raman spectroscopy. The yellow-brown pigment on the fragments is jarosite and/or Na-jarosite. Other than at 445 cm-1, the Raman lines of all the spectra are identical. This Raman line is slightly shifted in different spectra, and this fact proves the presence of both jarosite and Na-jarosite.