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Although the use of verditer, a synthetically produced copper carbonate pigment chemically analogous to azurite (Cu3(CO3)2(OH)2), in early modern wall paintings is regularly reported in grey literature, its detection in wall paintings is typically unavailable in a public forum. This article focusses on two particular samples (M9 and T1) initially suspected to contain copper blue pigments from decorative wall painting schemes in domestic houses across a range of status groups, in eastern and south-eastern England, dated to 1550-1650. Interest in verditer synthesis procedures is found in textual sources including both historic manuals and current scientific literature. The unreliability of the synthesis, particularly for blue verditer, however, is widely documented. Here, we report a multimodal study employing SEM-EDX, SR- μ PXRD mapping, and SR- μ XANES spectroscopy to characterise the phases present in two wall painting samples, one c. 1600/early 1600s (M9) and the other c. 1600 (T1). In addition to assessment of the presence of verditer, this study presents the first identification of rouaite, a synthetic copper hydroxynitrate mineral (Cu2(NO3)(OH)3), in wall painting samples. Rouaite, shown in a previous publication to be a common byproduct of replications of the historical verditer synthetic recipes, appears in combination with verditer and alone. Its infrequent identification in paintings and murals is considered in light of analytical challenges. The presence of copper hydroxychlorides is also discussed in the context of rouaite stability and degradation. These results represent a significant development in our knowledge of the early modern palette in England and historical verditer synthesis and advances our understanding of how these painting schemes may be best preserved in the future. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Computer Engineering & Applications is the property of Beijing Journal of Computer Engineering & Applications Journal Co Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the last twenty years, more research has been conducted on the application of nanolime as a consolidant. However, a limitation in consolidation with nanolime is the back-migration of the product to the absorption surface during the drying phase, resulting in insufficient product deposition in depth. In this paper, a solvent composition is adapted to the substrate properties to examine the theory that a nanolime with low kinetic stability should be applied to prevent back-migration to the absorption surface for a substrate with large pore size. The common solvent composition of 100% ethanol has a kinetic stability considered too high. Nanolime dispersions (CaLoSiL® E 20 g/L) with different ethanol:water (100:0, 95:5, 90:10, 80:20) ratios were tested on lime mortar samples. The treated samples were subjected to several test methods to evaluate the effectiveness of the consolidation treatment. After comparing the results, the theoretical propositions were substantiated: a back-migration was noticeable in samples treated with the nanolime containing 100% ethanol, while no back-migration was observed in the other solvent compositions. Samples treated with a nanolime dispersion with the addition of 10% deionised water showed promising results regarding mechanical strength, product deposition over the entire depth profile of the sample, and porosity properties. [ABSTRACT FROM AUTHOR]

This research aims at analyzing the effects that the Murals of Mogao Caves had on the concept of the Greek Revival style of architecture- a fusion of the eastern and the western art. In its attempts to provide an answer to the question, the study concentrates on the evaluation of the structural, aesthetic, and thematic properties of the Mogao murals that might have influenced the formation of the Greek Revival architectural style in the 18th and 19th centuries. Employing methods derived from the various disciplines, the research started with the identification of the crucial examples of the murals in Mogao Cave, for examples, the "Flying Sky" and "Xuanzang Westbound," and the Greek Revivial building such as the British Museum, and the Constantinople Cultural Centre. Using Panasonic 3D scanner E2022, detailed images of the murals are taken; the structural analysis is performed by SolidWorks 2006. To complement this analysis, statistical comparisons are made using the Statistical Package for the Social Sciences (SPSS ver. 17). 0 for geometrical perspective, colour combination and line placement. Overall, the analysis shows a strong resemblance between the element of construction, coloration, and distinctive line in the Mogao murals and the Greek Revival styles. More particularly, the research establishes that while adopting the premise of symmetry, geometric figures and integrating colours in balance as attributes of the Greek revival architecture, the architecture reflects visual and structural dependency on the Mogao Cave murals. This research adds another piece to the puzzle of studying cultural exchanges along the Silk Road and can be considered as offering new insights into the Chinese art that played a major role in shaping European architecture. The research findings may prove useful to scholars and practitioners concerned with cross-cultural impact on art and building design. [ABSTRACT FROM AUTHOR]

This article delves into the exploration of a significant sign, the "viśvavajra", found in the caisson ceilings of Buddhist esoteric art in Dunhuang's Mogao Caves. These caissons, featuring the viśvavajra sign in the center, were prevalent from the mid-Tang period to the Western Xia dynasty (ninth to thirteenth centuries) and are recorded by The Overall Record of Dunhuang Mogao Grottoes under description as "Jiaochu Jingxin". Similar caissons are also found in Western Buddhist Caves near Dunhuang, and Yulin Caves in Guazhou County, indicating a distinct regional character. Focusing on a well-preserved and intricately detailed example from Cave 361, this article aims to elucidate the specific tantric significance of the viśvavajra at the center of the caissons within the broader context of Buddhist art. Drawing from related tantras, the discussion explores how the sign and its surrounding compositions align with a particular homa (fire offering) maṇḍala, specifically the śāntika maṇḍala crucial to numerous Tantric Buddhist rituals. Furthermore, the article examines the evolution of caisson of this type of maṇḍala over time. By comparing the mid-Tang example from Cave 361 with the late Tang period's Cave 14, a noticeable shift in format becomes apparent. The viśvavajra sign takes on new significance, embodying "the samaya of all Tathāgatas". Ultimately, the article explores how the significance of the viśvavajra sign transforms into an allusion to Vairocana or Rocana under the Sino-Tibetan Esoteric Buddhist context in the Hexi Corridor during the early Northern Song and Western Xia dynasty. [ABSTRACT FROM AUTHOR]

In Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County), Shanxi, there are statues set on each floor, and 26 exist in total, with six murals painted on the first floor. The pagoda was designed as a vertically rising Buddhist temple, and the interior space of each floor was customized for the statues. Based on previous research and through surveying and mapping of the architecture and statuary (including the murals on the first floor) combined with geometric design analysis, this paper proposes the following: First, there exists a clear geometric proportion among the interior space and statues on each floor of the pagoda. Second, clear proportional relationships also exist among the statues on each floor, and each of the 26 statues has 'classical' proportion rules. Third, the height of the giant Buddha statue on the first floor is the module for not only the height of the statues on each floor but also the construction of the whole pagoda such that the height of the statue on the first floor is 1/6 of the total height of the pagoda (excluding the base). And the ratio of the pagoda's total height to the first floor's diameter, the ratio of the total height to the top-story height under the column capital, and all the other geometric proportions are closely related to the architectural modeling. And finally, in the construction of the pagoda, statues, and murals, the scale is deduced to be 1 chi 尺 (Chinese foot) = 29.5 cm. These values give clear scale logics not only to the construction but also to the details of the statues. Accordingly, the most frequently used proportions in the architectural space, statues, and murals of the Pagoda of Fogong Temple are 2 , 3:2, 5:3 (or 8:5), and 9:5, which are imbued with cultural messages, like Zhou Bi Suan Jing 周髀算經 (The Mathematical classic of the Zhou shadow-gauging instrument), Ying Zao Fa Shi 營造法式 (Treatise on Architectural Methods or State Building Standards), the ancient Chinese world view—tian yuan di fang 天圜地方 (the dome-shaped heaven and the flat, square earth) reflected from " yuan fang tu 圓方圖 (rounded-square map)" and "fang yuan tu 方圓圖 (squared-circle map)", ancient Chinese ideas that "san tian liang di er yi shu 參天兩地而倚數 ('three' is the number of the heaven and 'two' is the number of the earth, and all numbers are based on them)" and "jiu wu zhi zun 九五之尊 (nine and five are the numbers of the honorable central position)", and most probably related to the "mandala" of Esoteric Buddhism and to the Western "Golden Ratio", which all need further research in depth. [ABSTRACT FROM AUTHOR]

Expansive works of paleoart in natural history museums have the power to set the atmosphere in a gallery space. In this sense, the artwork can be described as atmospheric. Atmospheric paleoart is usually thematically associated with the surrounding objects on display, where it can enhance the exhibition narrative and become an independent display object itself. Atmospheric paleoart also plays a significant role in the public understanding of paleontology. The Paleozoological Museum of China in Beijing contains three large murals as part of its key exhibition narrative. These expansive paintings were installed for the public opening of the museum in 1994, but they are poorly documented. Each mural showcases one of the three ‘ages of life’– the Paleozoic, Mesozoic, and Cenozoic – as represented predominantly by prehistoric biotas from China. This paper provides a record of these important murals, focusing on their scientific and social value, while exploring perspectives on the development of paleoart in China.

Abstract The study of clan paintings reveals a shift in perspective from art aesthetics to cultural connotations to cultural identity, yet literature seldom discusses the relationship between art and kinship culture. Taking the murals of ancestral hall architecture in Guangzhou as an example, this paper utilizes text mining to identify factors influencing its decorative art. It reveals the traditional rites' artistic expression through dimensions of characters' demeanor and the transmission of content values, offering a fresh perspective for heritage value research. Findings: (1) themes and implications are mostly oriented towards positive value transmission, transitioning from idealistic layman life to the realism of lower-class existence, emphasizing humanization; (2) the extroverted portrayal of characters contrasts with the dignified, restrained etiquette of traditional rites, with some characters' portrayal and facial expressions exuding approachability; (3) murals conveying positive emotions are mostly related to longevity, auspiciousness, fortune, and heroic deeds, while those conveying negative emotions mainly involve elderly male figures, reflecting a content bias related to characters; (4) historical allusion murals with complex content reduce the emotional resonance and arousal efficiency of the viewer; (5) incomplete mural content increases negative emotions in perceivers, highlighting the impact of mural preservation on emotional resonance. To delve into the formation of clan painting art, it is essential not only to interpret the diversity of its patterns but also to demonstrate the representation of its social attributes in decorative art. The formation of clan painting decorative art exhibits kinship cultural attributes, epitomizing the essence of traditional ceremonial thought.

Abstract Ancient murals have suffered from continuous damage over time, and especially paint loss disease. Therefore, disease labeling, as the basis for ancient mural restoration, plays an important role in the protection of cultural relics. The predominant method of disease labeling is currently manual labeling, which is highly dependent on expert experience, time consuming, inefficient and results in inconsistent accuracy of the marking effect. In this paper, we propose a labeling framework for paint loss disease of ancient murals based on hyperspectral image classification and segmentation. The proposed framework involves first the extraction of features from the hyperspectral image, and then image segmentation is performed based on the spatial features to obtain more accurate region boundaries. Then, the hyperspectral image’s regions are classified based on their spatial-spectral characteristics, and the candidate areas of paint loss disease are obtained. Finally, by leveraging the true color image segmentation results, the proposed disease labeling strategy combines the results of classification and segmentation to propose the final paint loss disease labeling areas. The experimental results show that the proposed method can not only combine the hyperspectral space and spectral information effectively to obtain accurate labeling of paint loss disease, but can also mark the paint loss disease not easily observed using ordinary digital cameras. Compared with the state-of-the-art methods, the proposed framework could be promising for accurate and effective paint loss disease labeling for ancient murals.

The study of clan paintings reveals a shift in perspective from art aesthetics to cultural connotations to cultural identity, yet literature seldom discusses the relationship between art and kinship culture. Taking the murals of ancestral hall architecture in Guangzhou as an example, this paper utilizes text mining to identify factors influencing its decorative art. It reveals the traditional rites' artistic expression through dimensions of characters' demeanor and the transmission of content values, offering a fresh perspective for heritage value research. Findings: (1) themes and implications are mostly oriented towards positive value transmission, transitioning from idealistic layman life to the realism of lower-class existence, emphasizing humanization; (2) the extroverted portrayal of characters contrasts with the dignified, restrained etiquette of traditional rites, with some characters' portrayal and facial expressions exuding approachability; (3) murals conveying positive emotions are mostly related to longevity, auspiciousness, fortune, and heroic deeds, while those conveying negative emotions mainly involve elderly male figures, reflecting a content bias related to characters; (4) historical allusion murals with complex content reduce the emotional resonance and arousal efficiency of the viewer; (5) incomplete mural content increases negative emotions in perceivers, highlighting the impact of mural preservation on emotional resonance. To delve into the formation of clan painting art, it is essential not only to interpret the diversity of its patterns but also to demonstrate the representation of its social attributes in decorative art. The formation of clan painting decorative art exhibits kinship cultural attributes, epitomizing the essence of traditional ceremonial thought. [ABSTRACT FROM AUTHOR]

Ancient murals have suffered from continuous damage over time, and especially paint loss disease. Therefore, disease labeling, as the basis for ancient mural restoration, plays an important role in the protection of cultural relics. The predominant method of disease labeling is currently manual labeling, which is highly dependent on expert experience, time consuming, inefficient and results in inconsistent accuracy of the marking effect. In this paper, we propose a labeling framework for paint loss disease of ancient murals based on hyperspectral image classification and segmentation. The proposed framework involves first the extraction of features from the hyperspectral image, and then image segmentation is performed based on the spatial features to obtain more accurate region boundaries. Then, the hyperspectral image's regions are classified based on their spatial-spectral characteristics, and the candidate areas of paint loss disease are obtained. Finally, by leveraging the true color image segmentation results, the proposed disease labeling strategy combines the results of classification and segmentation to propose the final paint loss disease labeling areas. The experimental results show that the proposed method can not only combine the hyperspectral space and spectral information effectively to obtain accurate labeling of paint loss disease, but can also mark the paint loss disease not easily observed using ordinary digital cameras. Compared with the state-of-the-art methods, the proposed framework could be promising for accurate and effective paint loss disease labeling for ancient murals. [ABSTRACT FROM AUTHOR]

The purpose of the study is to explore the social and psycho-emotional influence of traditional Chinese national symbols on the contemporary wall-paintings in Chinese public art as the synthesis of aesthetics and politics expressed in fine art. The scientific and practical significance of the study lies in the description of the influence of traditional wall-painting and Western art styles on modern Chinese public art. The group of respondents consisted of 96 students and teachers from Chinese art universities. The researchers used the method of expert assessments (semi-structured interview with the use of a special questionnaire), the 'Health, Activity, Mood' method and the D. V. Liusin method for determining the level of emotional intelligence. Having analysed the study results, the researchers proved the hypothesis that the use of traditional national symbols in contemporary Chinese public art is a factor that determines the artistic, psycho-emotional and ideological impact of this art form. [ABSTRACT FROM AUTHOR]

• The processes and mechanisms of cracking and flaking damage in mural were studied. • A numerical method was used to investigate the moisture-induced cracking of mural. • The simulation result reproduced the process of surface shrinkage and cracking. • Nanoindentation test was used to measure the mechanical parameters of mural. Under various environmental conditions, including fluctuations in humidity, murals may undergo degradation processes, such as craquelures and flaking, reducing their cultural significance. This study employs the RFPA numerical simulation method, integrating humidity, stress, and damage factors to explore the response of the color layer of the Mogao Grottoes mural in China to moisture-induced cracking. To achieve this, a numerical model was constructed, encompassing both the color layer and the plaster layer. The simulation results accurately reproduce the surface shrinkage, cracking, and flaking. Findings indicate that the development of craquelures and flaking in the mural is linked to humidity gradient-induced shrinkage and material properties of the color layer and plaster layer. Moreover, factors like surface drying speed, color layer thickness, and binder content influence the cracking process. This research provides novel insights into the developmental processes and mechanisms underlying surface craquelures and flaking degradation in ancient cultural relics, such as murals. [ABSTRACT FROM AUTHOR]

Copyright of Jerash Journal for Research & Studies is the property of Jerash University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El proyecto de museografía permanente de la estación de metro de Cuatro Caminos en Madrid cuenta con dos murales de síntesis histórica cuyo instrumento metodológico principal es el dibujo de arquitectura. Además, plantean propuestas narrativas que utilizan recursos propios del cómic de vanguardia, con representaciones simultáneas del espacio y el tiempo en las que se llega incluso a manipular el sentido cronológico de la narración. Este artículo analiza los dos murales desde el marco conceptual del cómic en cuanto a la combinación de la visión simultánea del medio gráfico y las visiones parciales de sus contenidos. También reflexiona en torno a la utilización de estos recursos en la problemática de la transmisión de realidades complejas en trabajos de difusión patrimonial.

The most important thing that distinguishes art from all other human activities is that it goes beyond mere depiction of reality, as it contains a minimum of idealism, and transcends it on its familiar daily scale; This was one of the goals of the expressive abstract school, which appeared in the mid-fifties of the twentieth century in the United States of America, and then spread in Europe, and its most important components were that drawing or painting is based on a theory that says that colors, lines, and shapes, if used freely In an informal structure, I am more able to express and delight the eye than when it is used according to formal concepts or when it is used to represent things, and among its most prominent pioneers (Hans Hoffmann, Jackson Pollock, Wassily Kandinsky..). In the past, this artistic movement was based on surrealism, focusing on spontaneous or unconscious creativity, which is concerned with abstracting and simplifying lines, and all of this contributed to finding new plastic design solutions for artwork, which helped in creating a contemporary wall design for the square of Dakahlia Governorate in Mansoura. The mural design of the governorate square documents the history of Dakahlia, its landmarks, its monuments, the most important prominent personalities to which it belongs, as well as the important events that occurred throughout history, as well as the features of modernity that characterized the architecture in the new city of Mansoura, and the most important agricultural crops produced by Dakahlia such as (cotton The Egyptian and the rice...) and others, all of these elements came in a contemporary artistic composition dominated by the modern expressive abstract style in design and processing, in addition to the implementation of a group of murals using mosaic technology on wood for detailed parts of the artistic design, with Explanation of the method of preparation, implementation and materials used. It is one of the researcher's artistic experiments, in which she tried to benefit from the modern abstract expressive school in creating contemporary murals that combine originality and modernity in Dakahlia Governorate.

Introduction. The impact of street art on the state of space of the modern city is investigated. The object of the research is the modern urban environment considered in the context of the changing perception of street art by the urban population. The aspects of forming a favourable urban environment from the point of view of urban dweller’s stay in it are considered.Materials and methods. The methodological basis of the research is an analytical review of materials reflecting the interaction between art and the viewer in general, and street subculture and the urban dweller in particular. The focus of this paper is the concept of the functionality of the time-changing urban environment and its human perception. The research methodology is based on the analysis of the urban space of Ryazan through the prism of its perception by the urban population. The empirical base contains materials, including a statistical study of the opinion of the target audience of teachers, staff and students of the Ryazan Institute (branch) of the Moscow Polytechnic University regarding the existence of the social phenomenon of street art, its dynamics and impact on public opinion, an interview reflecting the view of the artist Alexander Sinitsyn on the state of the Street art movement in Ryazan and the authors’ own participation as artists in the social project “The City in Colours”, which took place in the summer of 2022. The concrete fence of the railway tracks in Moskovskaya street was the object of creativity.Results. The main factors influencing the perception of street art by the population are revealed, the data of statistical research of the state of public consciousness is carried out, reflecting aesthetic views, social activity, involvement in the processes of transformation of the urban environment, the dynamics of perception of the visual range contained in street art objects. The authors of the paper determined the average level of awareness of residents about the activities of street artists and various works of street art.Conclusions. Street art is a new direction that is undergoing transformation processes, adapting to new trends in the modern structure of society and people’s consciousness. Modern subculture of street art will be in demand on the territory of urban space, thanks to its informational, propaganda and aesthetic component.

The permanent museography project for the Cuatro Caminos metro station in Madrid features two historical synthesis murals whose main methodological instrument is architectural drawing. In addition, they offer narrative proposals that use resources of the avant-garde comic, together with simultaneous representations of space and time in which the chronological sense of the narrative is even manipulated. This paper analyses the two murals from the conceptual framework of the comic book in terms of the combination of the simultaneous vision of the graphic medium and the partial visions of its contents. Moreover, it ponders on the use of these resources when transmitting complex realities in heritage dissemination works. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The mural "Allegory of Housing" gives entrance to the Icona I pavilion (former pavilion of the "Obra Sindical del Hogar y la Arquitectura"), located at Casa de Campo in Madrid, Spain. This work, with a surface area of 42 m2, is made of glazed ceramic, with a representation of the city at a time of urban readjustment in the 1950s of the 20th century. Its outdoor exposure, the successive remodeling suffered over time and the subsequent abandonment from the 1990s onwards made a dent in this extraordinary artistic mural. The objective of this work has been the aesthetic recovery of the whole and the stabilization of the degradation processes based on criteria of minimum intervention. [ABSTRACT FROM AUTHOR]

In the city of La Plata, province of Buenos Aires, Argentina, there has been a presence of indigenous people of the Qom People since the early 1990s, with the Nam Qom Community being the first to settle. In this work we analyze a mural from this community in terms of heritage and the memories that are expressed in it. The ethnographic work sustained with this community for more than thirty years, as well as the dialogue with specific bibliography, allows us to point out that the mural expresses part of the history and memories of Nam Qom and materializes its utopian projects by bringing the past to the present of the community. community (his hunting ancestors, the mountain with its flora and fauna) to project himself into the future. Likewise, this artistic-cultural expression synthesizes knowledge and practices that are part of the “reference cultural heritage” of the Qom People and that have been selected from among a multiplicity of other goods and practices, due to the importance that the community attributes to them. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Društvena Istraživanja is the property of Institute of Social Sciences Ivo Pilar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most important eras in the development of Iran’s art and architecture, especially in the format of murals, is the Qajar era. The dominant attributes of this period are relations with the West and adopting its culture and art. Qajar’s mural art was represented in different buildings, including houses. Nasir al-Mulk House of Shiraz is one of the buildings of the Qajar era, and in its Shahneshin Hall, there are prominent and diverse ceiling paintings. Given that the existing paintings on the ceilings of this building provide a combination of Iranian and Western concepts and contents, the comparative study of their motifs becomes significant both for a better understanding of the visual and topical approaches of the ceiling painting art of the Qajar and also to fill the gap of the comparative information in this field.The ceiling painting of the aforementioned building was studied to answer the following question: What contents and representations do these paintings imply based on the iconographical comparative analysis?This research aims to identify, study, and carry out a comparative evaluation of the motifs in the ceiling of the Nasir al-Mulk House based on the iconography method.In addition to the library studies, this research was supplemented by data from field investigations, including in-site examination, documenting the paintings, and also describing and explaining them.The results of this research provoke the readers’ attention not only to the existing motifs in each mural but also to their latent concepts. The semantic perspective of the art of this era discloses the fact that despite the imitation and separation from originality, this art reached an individual identity that could be named as Qajar style. In the end, this research was an endeavor to provide a deep understanding of the existing concepts in the murals of this era in Shiraz and to discover the ontological viewpoints of individuals in this period.

In Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County), Shanxi, there are statues set on each floor, and 26 exist in total, with six murals painted on the first floor. The pagoda was designed as a vertically rising Buddhist temple, and the interior space of each floor was customized for the statues. Based on previous research and through surveying and mapping of the architecture and statuary (including the murals on the first floor) combined with geometric design analysis, this paper proposes the following: First, there exists a clear geometric proportion among the interior space and statues on each floor of the pagoda. Second, clear proportional relationships also exist among the statues on each floor, and each of the 26 statues has ‘classical’ proportion rules. Third, the height of the giant Buddha statue on the first floor is the module for not only the height of the statues on each floor but also the construction of the whole pagoda such that the height of the statue on the first floor is 1/6 of the total height of the pagoda (excluding the base). And the ratio of the pagoda’s total height to the first floor’s diameter, the ratio of the total height to the top-story height under the column capital, and all the other geometric proportions are closely related to the architectural modeling. And finally, in the construction of the pagoda, statues, and murals, the scale is deduced to be 1 chi 尺 (Chinese foot) = 29.5 cm. These values give clear scale logics not only to the construction but also to the details of the statues. Accordingly, the most frequently used proportions in the architectural space, statues, and murals of the Pagoda of Fogong Temple are 2, 3:2, 5:3 (or 8:5), and 9:5, which are imbued with cultural messages, like Zhou Bi Suan Jing 周髀算經 (The Mathematical classic of the Zhou shadow-gauging instrument), Ying Zao Fa Shi 營造法式 (Treatise on Architectural Methods or State Building Standards), the ancient Chinese world view—tian yuan di fang 天圜地方 (the dome-shaped heaven and the flat, square earth) reflected from “ yuan fang tu 圓方圖 (rounded-square map)” and “fang yuan tu 方圓圖 (squared-circle map)”, ancient Chinese ideas that ”san tian liang di er yi shu 參天兩地而倚數 (‘three’ is the number of the heaven and ‘two’ is the number of the earth, and all numbers are based on them)” and “jiu wu zhi zun 九五之尊 (nine and five are the numbers of the honorable central position)”, and most probably related to the “mandala” of Esoteric Buddhism and to the Western “Golden Ratio”, which all need further research in depth.

This article delves into the exploration of a significant sign, the “viśvavajra”, found in the caisson ceilings of Buddhist esoteric art in Dunhuang’s Mogao Caves. These caissons, featuring the viśvavajra sign in the center, were prevalent from the mid-Tang period to the Western Xia dynasty (ninth to thirteenth centuries) and are recorded by The Overall Record of Dunhuang Mogao Grottoes under description as “Jiaochu Jingxin”. Similar caissons are also found in Western Buddhist Caves near Dunhuang, and Yulin Caves in Guazhou County, indicating a distinct regional character. Focusing on a well-preserved and intricately detailed example from Cave 361, this article aims to elucidate the specific tantric significance of the viśvavajra at the center of the caissons within the broader context of Buddhist art. Drawing from related tantras, the discussion explores how the sign and its surrounding compositions align with a particular homa (fire offering) maṇḍala, specifically the śāntika maṇḍala crucial to numerous Tantric Buddhist rituals. Furthermore, the article examines the evolution of caisson of this type of maṇḍala over time. By comparing the mid-Tang example from Cave 361 with the late Tang period’s Cave 14, a noticeable shift in format becomes apparent. The viśvavajra sign takes on new significance, embodying “the samaya of all Tathāgatas”. Ultimately, the article explores how the significance of the viśvavajra sign transforms into an allusion to Vairocana or Rocana under the Sino-Tibetan Esoteric Buddhist context in the Hexi Corridor during the early Northern Song and Western Xia dynasty.

Murals recently gained popularity in Indonesia due to the case of mural bombardment in several regions in 2021 related to the effect of the covid-19 outbreak. There were a lot of murals and graffiti that criticized the President and the government in Jakarta and Surabaya. However, murals in Solo, especially on Gatot Subroto (Gatsu) street, tend to illustrate the picture of happiness rather than critics to others. Hence, people believe these murals have an impact on tourism in Solo. This case makes murals suddenly become popular, and as a consequence, people are curious about the function of the murals. This research focuses on the meaning of murals in Solo, which is different from other cities in Indonesia by using a qualitative methodology. For collecting the data, we conducted interviews, observation, documentation, and literature. Then, for data analysis, we used the Iconography-Iconology method from Erwin Panofsky which is divided into three steps such as pre-iconography, iconography analysis, and iconology interpretation. This research provides three meanings of Gatsu’s murals that consist of the styles, theme, and intrinsic meaning: (1) the actual meaning is that Gatsu’s murals use the eclectic style; (2) the conceptual meaning is a peaceful and positive theme which is caused by the reason that Gatsu used to be the center of the artwork; (3) the intrinsic meaning is to reborn creativity which tends to reactivate the creative mood in the city. In addition, it is an endeavor to resolve the dispute in Solo, particularly at Gatsu street, which has been traumatized by several conflicts (the G30SPKI incident, the central java riot, the revolution, and the national awakening party) that happened in the past.

In order to establish a complete and objective evaluation method in theory for property, a systematic study of silicone acrylic emulsion is carried out in this paper. The thermal stability, structure, morphology and particle size of silicone acrylic emulsion are characterized and analyzed. The relationship between the concentration of silicone acrylic emulsion with its viscosity and surface tension is investigated. In addition, to further verify the properties, the silicone acrylic emulsion is used for repairing the flaking and disrupting murals. The results show that the silicon acrylic emulsion is amorphous, the particles are nearly spherical without agglomeration, and its average particle size is 190 nm. The thermal stability and thermal aging resistance are improved effectively due to the introduction of Si-O-Si bond. With the increase of silicon-acrylic emulsion concentration, the surface tension decreases and the relative viscosity increases. Silicon-acrylic emulsion has good mechanical stability, storage stability, thermal stability and salt tolerance. Silicon-acrylic emulsion is used for restoration of the flaking and disrupting murals as cementing materials after aging experiment in various conditions. It is shown that silicone acrylic emulsion is a suitable material for mural conservation. All results indicate that silicon-acrylic emulsion can be used as a kind of excellent cementing material in repairing the flaking and disrupting mural. [ABSTRACT FROM AUTHOR]

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The murals of Ming Dynasty North Mosque in Linqing, Shandong Province, Eastern China, are of significant cultural and historical importance. Their final restoration date remains uncertain, making a comprehensive investigation critical before initiating preservation and renovation work. This research project examined the painting materials of the murals using various analytical techniques, including polarized light microscopy (PLM), scanning electron microscopy (SEM), X-ray energy spectrometer (EDS), X-ray diffraction (XRD), Fourier transform infrared spectroscopy (FTIR), microscopic Raman spectroscopy (M-Raman), X-ray photoelectron spectroscopy (XPS), and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) analysis. Results indicated that the pigments employed included ultramarine, emerald green, cinnabar, kaolinite, gypsum, and carbon black, while the gum binder used was protein-based adhesive materials. As synthetic ultramarine and emerald green were not introduced to China until the late Qing Dynasty, this suggests that these murals were restored no earlier than this period. The study also revealed that the mural materials used in the North Mosque mural were similar to those found in other architectural murals in China. Thus, the knowledge gained from the conservation and restoration efforts of similar architectural murals can be leveraged to enhance the conservation and restoration efforts of the North Mosque murals. [ABSTRACT FROM AUTHOR]

This paper addresses prehistoric murals content in the Balkans with special emphasis those in the territory of Kosovo. In Kosovo, murals are located in town of Ferizaj. The dominant figures in this mural are: the Goddess sitting on the Throne, Urns, anthropomorphic masks of the Neolithic period, geometric shapes in vases and various objects, e. The authors have made an interweaving between the figures and the compositional alignment, while the colors are completely independent of the figures. The purpose is to show the importance of prehistory as inspiration for modern artists. The murals that were taken for consideration are those, which artists have taken prehistoric onomastic elements. The paper examined the spiral, zigzag lines used mostly as elements in this mural. It is known that murals and graffiti have been illegal arts that were used to protest and express the revolt of a people. The main emphasis in this paper is also gender equality in Kosovo, because it deals with the figure of Queen Teuta, who was a very brave, independent woman. The goddess sitting on the throne is also presented, which represents the important prehistoric period of the Neolithic era where man had the will to become the God of nature. [ABSTRACT FROM AUTHOR]

This work addresses the art of graffiti and murals in Kosovo and Serbia. Is graffiti political or not political? Are the murals in Kosovo and Serbia addressing similar political subjects? How much influence do the works of art possess? Murals and graffiti express culture in both Kosovo and Serbia. In Serbia, depictions of war leaders are on the walls of buildings all over the country. In Kosovo, how are the topics of the last war presented? Do real social themes influence the depictions of the murals? The graffiti and mural works in Kosovo are different from those in Serbia. Serbs still depict war themes in both graffiti and murals but in Kosovo, the topics are freer, still maintaining their subjectiveness to current political, social, economic, and legal topics. Free speech is as free as it is in murals and graffiti in two neighboring states that are American to each other. [ABSTRACT FROM AUTHOR]

Abstract Hyperspectral imaging technology is a research hotspot in the field of cultural heritage protection. It can be used to quickly and noninvasively obtain detailed spectral information from the surfaces of cultural relics of different categories. We can intuitively analyse pigment compositions, line characteristics, painting skills and patterns using spectral information. Hyperspectral imaging has high scientific significance and application value for the protection, restoration and research of ancient murals and other cultural relics. In this study, a mural from Daheitian hall in the Qutan temple, Qinghai Province, China, was used as a sample. The hyperspectral data were acquired and analysed for several purposes. Pigment spectral matching and abundance inversion were carried out to obtain the pigment distribution. These data were enhanced by continuum removal and histogram stretching to obtain hidden information. The dark channel prior, Criminisi and Retinex methods were used to virtually restore the image of the mural. The results indicated that by using hyperspectral imaging data, the constructed pure pigment spectrum library and suitable approaches, the types and distributions of mural pigments can be quantitatively analysed, and the lines in murals can be extracted. Hyperspectral images are helpful for identifying information hidden by pigments or surface materials. Mural images can be enhanced, and hidden information can be highlighted using enhancement methods, such as continuum removal and histogram linear stretching. In addition, hyperspectral imaging data have unique advantages in the restoration of mural images, and the combination of defogging methods and image inpainting algorithms can realize the virtual restoration of mural images. In brief, hyperspectral imaging technology was found to have a highly favourable effect on pigment analysis, line extraction, information enhancement, hidden information extraction and the virtual restoration of ancient murals.

Problem statement. The study is aimed to explore how have transformed the traditional approaches of collaborative learning under the influence of new digital environment? And what are the ways of introducing online group activities, precisely icebreakers? Methodology . Authors choose Miro and Mural as the visual platforms for group work activities that enable users to collaborate and customize workspace to better suit their needs. They compared and tested both platforms across six categories: pricing, interface, templates, integrations, customization, collaboration. Results . Authors reach the conclusion that Miro has a significantly larger selection of templates, integrations and apps to choose from. The user interface has a design consistency that ties UI elements together with distinguishable and predictable actions and creates a great user experience overall. Mural offers more facilitation features, which undoubtedly also makes it a powerful tool. But if the price of the tool is also of great importance, Mural might be the right choice. Moreover, there have been considered the approaches of how to organize icebreaker games during the virtual meeting or workshop in Miro and Mural. Authors suggest several exercises: create own character, questions from a bucket, puzzle, world map, five common things, two lies - one truth, take a photo of the desk. Conclusion. Online-whiteboards like Miro and Mural effectively support warm-ups and collaborative visualization in the online environment and allow to achieve higher level of participation than in face-to-face communication.

Environmental Graphic Design (EGD) is one of the graphic design objects in an area. Its purpose is to provide information about the placement and identity of a place. EGD is usually used as a complement to interiors and architects. But that does not mean that EGD is underestimated, one of which is in the hospital area. Pondok Indah Group Hospital (RSPI) is a private hospital that manages three hospitals in Indonesia, one of which is RSPI-Puri. The main problem is the different EGDs of each branch. This makes the difference in the identity of the EGD from each RSPI, each hospital branch is unique and different in processing the EGD and one of the references for other branch hospitals is RSPI - Puri which is quite good, especially in the EGD of the pediatric clinic area. Therefore, research was conducted at RSPI - Puri on the interior area of the pediatric clinic. This research uses a descriptive method to be able to describe and classify the EGD and images that exist in the pediatric clinic area (Pediatric) RSPI-Puri. The purpose of this research is to describe the EGD and mural images that exist in the pediatric clinic at RSPI-Puri in terms of visual elements and functions. The benefit of this research is to add to the scientific treasure of EGD in hospitals. The result of the research is that there is a theme of wildlife and forest in the signage mural and sign system visualized in a continuous children's clinic. [ABSTRACT FROM AUTHOR]

The art of religious murals with themes of Ashura, narrations of prophets and Shiite imams, is a part of Qajar visual arts, which has adorned the space of holy places such as mausoleums, Takyehs and Hoseyniyehs. This art reflects the characteristics of popular culture such as religious beliefs, values, interests and social aspects in the Qajar era. During this era, due to the social changes which took place in it, art was extended to different layers of society and became a means of expressing the national and religious beliefs of the people. Mural painting grew a lot among the ordinary people and they entered the art scene with their own tastes. Large paintings on the walls or canvases with the themes of Shiite martyrs appeared, and in fact were the results of about eleven centuries of gradual development and evolution of Shiite mourning rituals. The phenomenon of religious murals in this era was created by preserving the logical values ​​of religious art, based on people's beliefs, needs and desires, because the Qajar era was the culmination of public Shiite religious ceremonies, which in turn was reflected in the visual arts. The epic themes of the murals show the support of the people of the liberation movements of this era. To evaluate the Qajar paintings, one must compare them with the versions of Ta'zieh, because as soon as the Ta'zieh was accepted by the common people, a number of believers performed the role of martyrs and sinners, and this was a step towards accepting the painting. Considering Iran’s cultural developments in the mentioned era and the emergence of new contexts for presenting paintings, it is necessary to study the impact of these developments on Qajar painters. The study and analysis of the factors affecting the creation of murals and their stylistic features have been the subject of numerous researches in recent decades. But, it seems that pondering on this subject, using philosophical approaches such as Hans-Georg Gadamer’s hermeneutics, which includes concepts such as tradition, conversation, semantic horizon and horizon fusion, can pave the way for achieving the neglected aspects of this art and hence the necessity of applying this approach becomes clear. The purpose of present research is to interpret and study the influence of the semantic horizon and horizon fusion in religious artworks by artists of Gilan and Isfahan in the Qajar era. The studied questions are: 1- What are the effects of horizon fusion in the works of artists in Gilan and Isfahan? 2- What are the commonalities and differences between their works? The research method was descriptive-analytical with philosophical hermeneutic approach of Gadamer. In this method, understanding occurs through the blending of horizons, which is dialectical, between preconceptions and information sources. What is needed here is understanding the context in which the text or dialogue has taken shape and given rise to different interpretations. These interpretations are created through the mixing of the text, its context and the horizons of the participants. The method of collecting information was using library resources as well as field study of mural works by taking photos of them. The statistical population was the murals of Gilan province and Isfahan city. Eight murals were introduced from the works of one Gilani artist (Aghajan Gilani) and two Isfahani artists (Seyed Abbas Aghamiri and the painter of the Khansari tomb); four of which had been analyzed. Sampling was done by judgmental method and based on the relationship between the works and the concepts under discussion. The method of analysis was qualitative and in order to measure the purpose of the research, first the concepts related to Gadamer's philosophical hermeneutics were described, then the regions, artists and their selected works were introduced and finally, the murals were analyzed dialectically based on understanding by merging horizons. The results of the research showed that the artist of murals, with the prejudices that belonged to the semantic horizon of his time, conversed with the past tradition and established a constructive interaction between the present and the past; in the sense that under the influence of the semantic horizon of the past, the context, its socio-cultural context, began to create works that were a new interpretation of tradition. At the same time, fusion of horizons has had a different effect on the artists of the two selected regions, and Gilani artist, due to the context of his residence, has been less influenced by the contemporary trends of painting than the Isfahani artist and has remained more loyal to the Iranian tradition.

Murals are considered as alternative for beautifying the architectural facade in the Qajar era. Therefore tiling as one of the main decorations of Iranian and Islamic architecture can be seen in most religious monuments such as Tekiyes, and Moaven-Al Molk’s Tekiye of Kermanshah is a manifestation of the adorable connection between architecture and tiling according to its good-looking tiles. The nature of the present research method is based on description and analysis. Data collecting was based on library and field research. Method of data analysis was qualitative. Findings and results of the research indicate that pre-Islamic visual and graphic art and the role of the mythical world in it, painting on tiles, iconography of Zand and Qajar schools and the role of painting allocated to it, illustration of lithographic books, photography, painting behind glass, Coffee-house painting, visual and graphic arts of Western countries, geometric and arabesque motifs in traditional arts, Safavid era miniature and calligraphy are some of the visual and graphic arts that have influenced murals. Artists in literature and the performing arts are also inspired by the Pardeh-khan(s) and Taziye; and artists in literature and poetry are inspired by literary texts and lithography, chronicles of the history of the Imams, and Qur'anic stories and narrations. Moaven-Al Molk’s Tekiye of Kermanshah connects the lost pieces of Iranian identity in the form of images and drawings and introduces them to present and future generations

John La Farge (1835–1910) is regarded as an innovator of American interior decoration. His materials and techniques successfully created unique and eye-catching effects across the interior surfaces of monumental buildings. The recent conservation treatment of the Newport Congregational Church in Newport, Rhode Island afforded the opportunity to perform the first comprehensive analysis of one such painted interior. Materials analyses of the media and pigments were carried out using Fourier transform infrared spectroscopy (FTIR), gas chromatography-mass spectrometry (GC-MS), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). In addition, reconstructions of La Farge's medium were prepared based on a number of available archival paint recipes in order to further inform the analysis and to help develop a better understanding of the materials La Farge likely used for specific passages and colors. The results of the project suggest that La Farge primarily achieved his varied surfaces with two mediums: distemper-bound passages juxtaposed with areas bound in a mixture of beeswax and larch balsam diluted with solvents. Analysis, archival research, and reconstructions were ultimately used to illustrate the vulnerabilities of La Farge's surfaces but also to reveal the artist's original intent and technique. [ABSTRACT FROM AUTHOR]

Hyperspectral imaging technology is a research hotspot in the field of cultural heritage protection. It can be used to quickly and noninvasively obtain detailed spectral information from the surfaces of cultural relics of different categories. We can intuitively analyse pigment compositions, line characteristics, painting skills and patterns using spectral information. Hyperspectral imaging has high scientific significance and application value for the protection, restoration and research of ancient murals and other cultural relics. In this study, a mural from Daheitian hall in the Qutan temple, Qinghai Province, China, was used as a sample. The hyperspectral data were acquired and analysed for several purposes. Pigment spectral matching and abundance inversion were carried out to obtain the pigment distribution. These data were enhanced by continuum removal and histogram stretching to obtain hidden information. The dark channel prior, Criminisi and Retinex methods were used to virtually restore the image of the mural. The results indicated that by using hyperspectral imaging data, the constructed pure pigment spectrum library and suitable approaches, the types and distributions of mural pigments can be quantitatively analysed, and the lines in murals can be extracted. Hyperspectral images are helpful for identifying information hidden by pigments or surface materials. Mural images can be enhanced, and hidden information can be highlighted using enhancement methods, such as continuum removal and histogram linear stretching. In addition, hyperspectral imaging data have unique advantages in the restoration of mural images, and the combination of defogging methods and image inpainting algorithms can realize the virtual restoration of mural images. In brief, hyperspectral imaging technology was found to have a highly favourable effect on pigment analysis, line extraction, information enhancement, hidden information extraction and the virtual restoration of ancient murals. [ABSTRACT FROM AUTHOR]

Artikel ini bertujuan untuk menganalisis identitas Bonek yang terbangun melalui seni mural di jalanan kota Surabaya. Selama ini Bonek adalah stigma bagi fan Persebaya yang suka membuat onar, penampilan yang gahar, suka menjarah, dan berbagai stigma lain yang melekat. Artikel ini juga ditulis untuk mengetahui hal-hal yang tersampaikan melalui pesan yang tersembunyi di mural Bonek, termasuk bagaimana relasi kuasa yang dimunculkan melalui persepsi visual tersebut. Pada penelitian ini, konsep identitas yang digunakan adalah studi komunitas sebagaimana yang dilakukan oleh Anthony Cohen (1985). Sedangkan untuk membongkar relasi kuasa dalam mural menggunakan konsep perilaku suporter sepak bola menurut Spaaij (2008) yang sejalan dengan Michel Foucault (1991). Penelitian ini menyimpulkan mengenai bagaimana mural yang dihasilkan merepresentasikan Surabaya yang semakin padat serta tekanan hidup yang semakin berat, menjadikan Bonek yang sebagian besar kelas pekerja menyandarkan harapannya pada Persebaya. Persebaya adalah harga diri bagi Bonek. Mural Bonek bukanlah sebagai pencitraan mengenai Bonek yang berubah atau alih-alih memberi semangat pada Persebaya. Mural yang dibuat oleh Bonek menyiratkan tentang kelas sosial yang dipandang sebagai liyan dalam konstelasi masyarakat Surabaya yang berdaya menghadapi tekanan. Sebagus apapun usaha yang dilakukan Bonek untuk citra positifnya, tetap saja Bonek akan dipandang pilihan negatif namun di sisi lain membanggakan.

This Mural Painting Community Service was carried out in collaboration with the Bandung Taruna Bakti Kindergarten School with Fine Arts Study Program, Maranatha Women's Family Association, and Spectrum Wall Paint Industry as a material sponsor. The purpose of this mural creation activity is to bring the colorful space closer to the children's play area during breaks so that it have a positive impact on the children mental development. Children at the golden age of 0-8 years old have a rapid growth in cognitive, motoric and psychosocial aspects. The results of the study stated that children who received color stimulation continuously at the age of golden age would grow up to be strong individuals in facing various challenges and problems of life. The method used in this community service was to sketch the stylized forms of flora and fauna directly onto the wall like graffiti painting by using permanent black graffiti spray paint. Furthermore, the sketches of flora and fauna stylized forms are filled with striking colors, various textures according to their respective creativity with tinting technology wall paint media that is resistant to weather. The success of this activity is expected to be a driving force for adults to care for the kindergartens at their early childhood, so the next generation would have higher quality in the future.

In recent years, a trend has emerged in the field of art conservation, the aim of which is to protect street art objects. Attempts to conserve murals face many problems. This is due to various factors – lack of time distance to this type of objects, difficulties in assessing their artistic value, frequent lack of interest of artists in the conservation of their works, material impermanence of murals, their often-occasional nature; also, the fact that most of these objects are not legally protected. The paper discusses the problems faced by an art restorer who wants to save murals. Examples of murals are presented, the conservation of which is not possible, among others, due to the fact that the houses on which they were painted are intended for demolition. There are also examples of murals whose rescue from destruction gained public approval and the conservation of which was carried out. The paintings are in a very poor condition. This is a feature of most murals, which are usually made on old, unrepaired plasters with low-quality paints. Their maintenance is a very difficult task. The presentation shows the various stages of conservation of works lacated in Warsow. The conservation of the murals is carried out in order to preserve street art facilities. Apart from the involvement of art conservators, social support for this type of activity is also important. However, one should be aware that most of murals have no chance of becoming a permanent part of the city landscape. Their fate will be determined by chance.

The development of the art of mural painting, relationship by architecture and solutions artistic by using glass aesthetics to followed on evolution of Schools and directions in mural painting and design evolution for glass and its association with art of mural painting. Where a technique appeared delle–de-verre. That is a technique require considerate to choose appropriate design for technique, then it requires with her formulate alternatives and solutions to the design problem with the aim of activating the ability to glass design executed with that technique. Which it could not with-it technical means of Pattern in technique application to display to highlight the aesthetic role of technique of delle-de -verre in finding solutions for the integrative vision to design for mural painting, and style and the aesthetics of the mural painting which implemented with technique delle- de- verre and Aesthetic values to it. And identification basic technical stages delle-de –verre to suit the features of the mural painting, and implement it application considerations. And the role of technique, ores and technique tools.With it distinguished the technique delle– de-verre of possibilities, what contain from light reflections, the role of color glass and technique methods. And benefit of heritage renovation and role of mural painting for renovation of aesthetic problems to architecture. It is a part of ingredients aesthetic, organic, methods and direction of glass design as part of mural painting. Also, technical methods depending on light and its reflection as an element basic for design, the aesthetic impact to diversity of color glass with intellectual development, qualitative and effect to role mural painting, and effect of necessities of aesthetic glass implemented by technique delle-de-verre and the relationship mural painting and light in technical unit. Impact aesthetic to diversity the material and its link certainly signification, design concept, intellectual dimensions, aesthetic to mural painting. And the methods used to application, design mechanisms, development of technique delle-de-verre, color, lines, refraction, reflection and aesthetic to confirm of role glass by technique delle -de- verre in the mural painting among of modern technology and taking from the traditional form.

The author points out landmarks for a correct and efficient reception of the texts from the mural paintings, defining and re-defining, structuring and commenting on the defining terms of the two notions: the text and the artistic-plastic reception. The emphasis is on the specifi city of the reception of the artistic-plastic image, which is epistemic and praxiologically different from the usual reception. At the same time, the perception of the visual space is highlighted, in which the images and the accompanying text are integrated. It addresses the relationship between the two notions of text and image in visual art works, their importance being enhanced by the status of the image, as a product of an interaction between sender and receiver and, at the same time, as a place of transition to the mentality that generated a. Being about representations included in an iconographic program, the defining features of the icon are highlighted - as an object of representation of a text and as an object-means of transmitting /communicating a written message/implicit to the genre.