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This study aims to describe the function and style of the mural by Arnis Muhammad. Mural as art in public space, which means that the space for movement and the target audience for the audience and audience is the general public. As a two-dimensional work of art, mural is also inseparable from style. Visually, the style in a work of art is the selection of objects, techniques, colors, and environmental conditions, time, era, and environmental conditions in which an artist creates his work. The population in this research is that all of Arnis Muhammad's mural works for the 2017-2019 period are 51 works. In this study the authors took samples using purposive sampling technique. The reason for taking samples is the number of mural works that still exist and are still intact. There are 10 mural works in the research location. In this case, the writer examines these mural works based on their function and style. The method used in this research is descriptive qualitative method. The function of the mural by Arnis Muhammad is a personal function as a reflection of the resonance of the environment in which he lives. Social function, as a form of concern for the environment and the surrounding community in everyday life. Physical function, as an aesthetic value enhancer and the various ways the general public use it. Arnis Muhammad's murals tend to have a surreal and decorative style.

Purpose: This work is a trial study for International Airports esthetics developments. The work was introduced to explore the disparity and activities of that airports as well as its benefit to tourism growth internationally. All that in order to give a clear understanding and appreciation of the importance of mural and artistic works in the architecture of international airports, all of which are beneficial to the aesthetic, visual, technical and psychological benefits of travelers and visitors, as well as the benefits to tourism and culture of the country in which there are airports. Materials and methods: The practical experience of the researcher is based on three main axes, through which it deals with some aspects of the Yemeni environment to be applied within some of the wall works in Yemen airports. All murals are decorated with glass mosaic materials and ceramics on large wooden panels. The 1st axis: murals inspired by the ancient heritage of Yemeni architecture. The 2nd axis: Murals inspired by the picturesque Yemeni nature. The 3rd axis: murals inspired by the social and psychological state of the Yemeni human being. Conclusion: Many Yemeni institutions' buildings are decorated with murals, paintings, and other subjects related to that region or community. We note that the government of Yemen has taken care of this type of architecture, such as the art of murals. Recommendations: The mural art works are not suitable for placing in international airport halls except with basic points that are supposed to be taken into account in the mural work to be placed inside airports, where it is recommended to take into account the three main axes: the environment, the design, and the materials in which these murals were completed. Keywords: mural, airports, Yemeni airports, esthetics.

“Everybody should paint” is equivalent to “All Lives Matter” when creating a Black Lives Matter (BLM) community mural. Not often, as an elementary art teacher, do I find myself limiting student opp...

This Study Aims to illuminate the correlation between civic engagement and community-engaged arts. As art and politics often correlate to each other, in the early 1990's "new genre public art" has developed out of the previous traditional public art movements with decoration purposes (Lacy, 1995). These New genres have functioned as social intervention channels. this essay will carry out the study of the correlation between the new socio-political phenomenon and public art practices as: (participatory art, dialogic art, community-based art, activist art). Using Art-based research methodology the researcher intends to investigate contemporary community-based art practices and its contribution to local communities’ development. A case study on the city of Philadelphia’s Mural Arts Program is carried out in this research.

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

Through picking the Desert as the artistic subject by the researcher to deal with it technically using different mural materials, to reach through the applying and recruitment of different techniques to designing solutions that express the pictorial elements according to the artist visionary and his desire to find plastic art relations of different textures and colouring and pictorial rhythm , to achieve that purpose the artist recruit diversities of materials to gain integration between them inside the border of each piece , the applied techniques varies from flat coloured glass to fused glass in electrical oven in degrees that range between 850 to 950 Celsius above handmade glazed terracotta slabs or above surfaces of manufactured ceramics ,recruitment of mosaic was also applied representing the attaching units working between the glazed terracotta slabs and the colours flat glass adjacent to it in some of the art works , other material that was also applied is the ceramic colours that were fused above glazed ceramic and mixed with fused glass and mosaics in the same art piece, the exhibition also includes series of pieces that combine living elements derived from the desert environment represented by the camels heads painted and treated with varnishes and epoxies materials above coloured glass plates fused over glazed ceramic, the design construction of the exhibition art works in total ,the artist seek through it to benefit from the unique glass colours veins to recruit it as a main attaching unit that express the desert environment and formations, and also to innovate plastic relations triggered from the fusing reactions of coloured glass with the black glazing layers in high temperatures, the desert as an artistic subject provides a good chance to recruit mural materials to express it ,due to the natural fundamental and constructive formations of different textures that the desert environment includes varying between rocks and sand dunes and hills configurations. Research Problem:- how to recruit technical diversities of mural materials having different textures and thermal properties to achieve plastic consisting and harmonic editing of the artistic subject. - how to merge mural materials of different depth levels inside the same art work in a method that doesn’t spoil the design unification. - How to express about the artistic subjects derived from the natural domestic environment through recruiting mural materials to reach designing and technical solutions that evoke the artist visionary. Objectives: -Mixing between different mural materials to reach plastic art relations that benefit from the diversity in their textures and depth and what emerge from their surface dimensions differentiation to enrich the art work by variegation the rhythm that dominate the vision of the work formulating elements. -Benefiting from the possibilities that the mural materials can provide ,especially the coloured glass due to the colourful veins and textures that it includes , which give a plastic sensation that provide rich opportunity for over glazed painting of plastic art elements that integrate with it in both colour and design scheme. Results: -the desert as an artistic subject provides a suitable space for recruiting mural materials to express about it, due to the natural and compositing structure of the desert which contains elements with diversities of textures of smooth sand dunes and hills compositions, that give opportunity for the artist to recruit coloured glass and fusing techniques of electric ovens, and also recruiting mosaics and ceramic colours to achieve a wide range of this effects by applying different mural painting techniques.- Coloured glass once fused in high temperatures, the reactions that appears on its surface differs according to the type of the glass panel and its chemical composition, and those results varies between apparent cracks of different density or diversities and variances in textures roughness and smoothness, also in the amount of fused coloured veins integration and its reaction with the glazed ceramic tiles underneath it

The article analyzes the murals of Kharkiv that appeared in the city during 2008–2020. They are considered as mediators of historical memory, retransmitting various narratives/discourses: Soviet-nostalgic, regional, national. 24 art objects located in the urban space have been analyzed, the context of their creation, the practice of their instrumentalization by various agents of historical memory have been revealed. The city authorities are the initiators of the appearance of murals representing the Soviet-nostalgic discourse. Most of these images appeared in the city in 2013, on the eve of the celebration of the City Day and the celebration of the 70th anniversary of liberation from German occupation. The city leaders initiated the Pride of Kharkiv project, in the framework of which in the city appeared murals depicting Kharkiv residents, whose life and work are directly connected with the events of the Great Patriotic War. Among them are V. Grizodubova, G. Zhukov, K. Shulzhenko, P. Naboychenko. These and other images illustrate the Soviet-nostalgic and regional dimensions of the city’s public space. They are often combined with each other, latently or directly actualizing the phantom pains of the "first capital". Such images are always personalized. Criteria for choosing a person include being a native and resident of Kharkiv, known at the All-Union level (L. Gurchenko, I. Bugrymova, etc.). Since 2014, in the city we have observed the appearance of images of nationwide symbols, which can be interpreted as an attempt to fit Kharkiv into the national narrative, to demonstrate the city’s presence in the core of the Ukrainian political project. Such murals are personalized and abstract-symbolic (T. Shevchenko, Krut’s warriors-heroes, the coat of arms of Ukraine, Petrykivka painting, vyshyvanka (embroidered shirt) (ornament), motanka doll, etc.). The initiators of the creation of these murals are the city authorities and the city community. It should be noted that the national narrative was almost never combined with the regional one. However, there are cases when Soviet-nostalgic, regional and national discourses were projected in one image. Thus, there is a mural depicting both soldiers who died during the war in Afghanistan and during the anti-terrorist operation. This may indicate the multi-layered historical memory of the region’s inhabitants. To sum up, the analysis of murals as mediators of a certain image of the past in space of Kharkiv showed that out of 24 murals created during 2008-2020, which have a pronounced ideological coloring, 13 retransmit the Soviet-nostalgic narrative in Kharkiv, 12 – regional, 10 – national.

El objetivo del presente artículo es analizar el mural Dualidad del pintor oaxaqueño Rufino Tamayo. La finalidad consiste en la elaboración de una ficha de obra que contenga la descripción de los elementos del mural; con base en fuentes historiográficas, el contexto histórico, social y cultural en que se creó y la técnica empleada por el artista.

Street art murals are an artistic expression strictly interwoven in the urban landscape, and in recent years have received increasing attention as cultural heritage at risk. Today there is intense debate regarding the value assessment and choices related to the conservation of urban art; however, the evaluation of the stability of modern paint materials in outdoor environment is preliminary to any possible preservation strategy. In particular, the identification of the materials constituting a street artwork is critical for the preservation of these non-permanent heritage elements and to define the best restoration approaches. In this work, we performed a set of analyses of microsamples based on spectroscopy, analytical pyrolysis, gas and liquid chromatography, and mass spectrometry to identify paint materials (binders, pigments, additives, degradation products and conservation/restoration materials) of a selection of mural paintings, covering 60 years of history (1953–2014). The goal of this work was to identify the materials used to produce different mural paintings and to relate and compare their different compositions with previous studies in order to describe the evolution of the materials during the last 60 years. The collected knowledge and the limited data available in literature were exploited to increase the scientific background on the materials used by street artists, and to fill the lack of knowledge on this emerging topic.

El ensayo se centra en El rapto de Perséfone, pintura mural de la Tumba I de Vergina, y forma parte de una investigación más amplia en que me he propuesto analizar las estructuras pictóricas de las escasas obras griegas que se han conservado y llegado a nuestros días. Mediante la reconstrucción de los procesos de creación artística, el artículo intenta desvelar los conocimientos del oficio de pintar de la época. Los resultados del análisis permiten demostrar que fueron los talleres helenos los que pusieron las bases de las herramientas de comunicación visual que más utilizamos actualmente, como también la representación de la forma, de la luz y de la sombra, del espacio e incluso el uso de la perspectiva lineal. El texto se dirige tanto a los especialistas en el tema como a un público más amplio. Las imágenes gráficas elaboradas por el autor facilitan la comprensión del alto nivel pictórico de la obra.

Beautifying the environment is one form of our concern as creatures who depend on an environment to live. By beautifying an environment will create a comfortable impression and atmosphere to be in that environment. One of the actions that can beautify the environment is to do mural activities on walls or walls that are less attractive in appearance. Mural is an activity of painting or drawing on flat media, walls, walls or large surfaces that are permanent in nature. Based on the results of observations that have been made in the Astagina Field, which is located on Jl. Mt. Tangkuban Perahu No.291, Padangsambian Klod, Kec. Denpasar Bar., Denpasar City, Bali 80117, has one corner of the large wall that is unkempt and unattractive. So that the Bali Design and Business Institute will carry out mural creation activities in Astagina Field to beautify the environment as well as an embodiment of community service programs.

The purpose of this report is to provide an overview of the preparation and implementation of Community Service activities at the Bali Institute of Design and Business in making murals at the Astagina Padangsambian Klod Denpasar field. The benefit of this report is that it provides an overview of the process of preparing and working on a mural as a form of cultural re-interpretation which also supports the vision and mission of Denpasar City as a cultural-minded creative city. The method used in the process and work of this Community Service is to prepare designs inspired by Balinese culture such as kite, congklak, tajog, Barong dance, etc. which are then visualized through a mural with a flat design with attractive colors. The results of the Community Service activities through the reinterpretation of Balinese culture on the mural at Astagina Field, Padangsambian Klod, give a new color to the Astagina field walls as well as provide cultural education to the local community and the general public.

Community Service Activities were also organized by IDB Bali (Bali Design and Business Institute), in the form of mural design activities located in Astagina Court, Padangsambian Klod Village, Denpasar City. In this community service, a mural with a cultural and aesthetic function was created. The cultural function is manifested by presenting the unique and distinctive culture of Denpasar City, some of which are Legong dance, Baris Dance, Genggong traditional music, Janggan kites, traditional children's games, and etcetera. This mural is not just an art medium without a message, but its also able to bring out the identity of Denpasar City. The aesthetic function is displayed in a contemporary design that were displayed as a contemporary impression so that it can encourage and increase comfort for Astagina Court’s users. The implementation method used in the activities includes sketching the initial image first. This sketches aims to make it easier for students to get an initial picture before creating the mural on the wall. This mural design has the theme of a typical Denpasar culture. In the site of the implementation, students and lecturers began cleaning the wall area and amplifying the walls. Followed by basic paint on the wall, and made sketches on the wall. Then the next day continued with coloring and finishing using Dulux paint. This activity was carried out by IDB Bali students who are members of an art club called “Perkamen”, involving 40 students and 45 lecturers from IDB Bali (Bali Design and Business Institute) and New Media College.

This paper focuses on the reintegration treatments studied for a contemporary mural painting, which was designed and carried out by the Italian artist Giuseppe Capogrossi in 1954. This forgotten masterpiece is located on the ceilings of the main double staircase at the entrance of the Airone, an ex-cinema theatre in Rome, which was designed and planned during the Fifties by the famous architects Adalberto Libera, Eugenio Montuori and by the engineer Leo Calini. After a brief introduction based on the conservation history of the building and on the painting itself, it will be described criteria and limits in the reintegration process of a sample area of this highly degraded polyvinyl acetate (PVAc) based mural. The materials selected in the reintegration project, based on natural polymers and synthetic polymers, will be theoretically compared with one another and it will be explained why some of these could be appropriate and effective, while others could not chromatically work in this particular case.

This article details a community-based art therapy mural project with young people involved in New York City’s justice system. To address the racial and economic oppression they confront, the proje...

The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under the influence of street art. In the process of researching the murals as a tourist resources of cities, we have introduced the term “conceptual tourist resources”, which in our opinion most accurately reflects their semantic charge. Murals are the alternative resources towards traditional tourism resources (natural, historical, cultural, socio-economical or socio-historical) that are widely used in the classifications of leading researchers in the tourism industry (Kvartal’nov V., Smal’ I., Beidyk O., Mal’s’ka M., Kuzyk S., Liubitseva O., Pankova Ye., Stafiichuk V., etc.). The study identified the 32 biggest murals in Kyiv and found that the murals are the relevant forms of street art that focuses on social, cultural, and historical topics. Mural paintings have been found to be motivating objects to visit and affect the formation of city’s new symbols. In the route we have developed, we have selected 24 representative murals made in different styles, dedicated to several topics: milestones of Ukrainian history, the fight between good and evil, friendship and devotion, freedom and equality. Thus, the involvement of murals in excursion routes allows residents and guests of the capital city to track the change in the image of the urban environment under the influence of street art. In the course of the study, it was found that murals are ambiguously perceived in society. The analysis showed that the appearance of modern murals on the streets of the capital began in the mid-2000s, a sharp increase in their number occurred during 2015 - 2017. It was determined that the main factors that influenced the development of muralism in Ukraine were the demands of society and the organization of art festivals, including Muralissimo, City Art, Dynamic Urban Culture Kyiv, Mural Social Club, Art United Us, Mural Social Club Back to school! Ukraine, French Spring, etc. The largest art festivals include City Art 2015, Dynamic Urban Culture Kyiv 2015, Mural Social Club 2016, 2017, Art United Us 2016, 2017, within which 88 works were created. The results of the study identified the trend in the development of muralism in Ukraine, which consists of the gradual change from spontaneous, anonymous street art to the development of concerted and commissioned by state bodies paintings, which are spread not only on the walls of industrial sites, residential buildings, but also on the walls of educational institutions, government institutions and the police department. Kyiv is the first city in the world where a mural was created on the walls of the police department. The study found that since the mid-2010, the murals began to establish in the central part of the city, and since 2014 they have spread to the so-called “gray” residential areas of Sviatoshyno, Darnytskyi, Desnyanskiy and Solomianskyi districts and Obolon’, etc. Today, the total number of murals in the capital is 160.

Many buildings of the 1940s to the 1970s are decorated with monumental facade artworks. These murals, mosaics, and integral sculptural reliefs sometimes gain in cultural value even if the buildings...

Media representation is not a neutral site for reflection of reality, but a process through which discourses are constructed and circulated. When presented in media, urban space is re-mediated and its meanings are newly configured. Discursive currents do not simply remain in the media sphere, but reshape the cultural economy of certain places by attracting tourists and inducing property value increases. This article examines the process in which Ihwa Mural Village, a disenfranchised residential neighborhood in South Korea, has become one of the ‘best photo spots’ for tourists through representation via three distinct types of media – murals, popular culture, and Instagram. The analyses focus on the double functions of each medium: branding function to create particular place meanings, on the one hand, and power to create distance between representation and community realities on the other. This dual tendency is reinforced by transmedia dynamics. When featured in diverse media, images of Ihwa Village proliferate, attracting more participants and enabling further transmedia interactions. Yet, transmedia image flows accentuate only visual and aesthetic qualities of place. The expansive and subtractive transmedia construction consolidates the place myth, while the same process advances its detachment from the reality of the place.

This mural research aims to find out how people recognize the identity of their artists from the experiences and opinions of the public when viewing and reading mural works that are in the public room. The object of the mural that the researchers chose was Methodos's mural on the wall of one of the food stalls located in Mrisen Village, RT. 007, Panggungharjo Village, Sewon District, Bantul, Yogyakarta. This study uses qualitative research and interview methods to find information from the experience of the arts community on mural art.

Urban art in Italy is experiencing a remarkable evolution that has quickly modified urban spaces, especially in suburban areas. More and more often, we are witnessing the birth of works of art that have been commissioned by festivals, or institutional projects next to spontaneous street artworks. These large projects, often defined as “urban renewal”, when carried out through a well-thought-out design, can become real open-air museums. The proliferation of these creative and legal projects has raised the question of whether street art should be preserved over time. The conservation, or even restoration, of urban art has recently become a controversial topic in scientific debate. In Italy, different associations of researchers are developing new methodologies for preserving street artworks, everyone agrees on the importance of the implementation of good conservation practices. The documentation of the existing condition of a work of art is the first step to start taking care of it. In this article we introduce SCIMA (Scheda Conservativa Informatizzata Mural Art), a digitizing conservation data report that is specific for mural art. The aim of SCIMA was to define the existing condition of the work of art, starting with the socio-cultural and artistic importance, to describe its environment, to define the materials used and its deterioration problems, to suggest conservative interventions. It was born as an analogical tool (sheet) but we are working on digitizing it (database) in order to maintain access to the data recorded for the future.

Schools are important spaces for mental health promotion, prevention and early intervention. This chapter describes a study that used mural art created by young people to translate knowledge about first episode psychosis and pathways to mental healthcare. Our interest was in gauging reactions to the mural by using forms of expression via a ‘graffiti wall’ medium. A number of ‘graffiti walls’, blank scrolls of paper positioned near the mural, were created for secondary students to record their reactions to the mural. Cognitive and affective reactions to viewing and engaging with the mural installation were collected. Over 600 textual and visual responses were recorded on the walls across multiple school settings. Our analysis was inspired by new materialism theory, which helped us to explicate the role played by the graffiti walls as non-human actors within mural-wall-respondent assemblages. We used an interpretive thematic analysis, attending to the relational connections, affective forces and agential capacities generated within mural-wall-respondent assemblages. The graffiti wall afforded diverse agential capacities both inwards, in the form of affective forces and proliferating interpretations of the work, and outwards, in the form of creating relational connections between the artists and the students, and among the students themselves. Implications for youth-centred education and mental health awareness are discussed.

Indonesia Art Institute of Yogyakarta is one of well- known art college in Indonesia. This institution has graduated many Indonesian famous artists. Located at Sewon, Bantul, this institution has a significant effect on the suburban area development of the institution surrounding area. The art atmosphere of surrounding area shaped by Art-activities that happened there. Many formal or informal artspace also located there stimulate the activities to become intense and sustain. Beside that One thing that enriching the art atmosphere is mural drawing that done in private properties in the public spaces. The mural drawing spreading around the suburban area surrounding the college building. 20 mural has been recorded only in one village, and its enrich the visual aspect of the sub-urban area and beautifully blending to the suburban area. The mural draws also expresses a message for people who have seen it as a sightseeing object and makes the suburban area as a public artwork gallery. This research aims to know the factors how the mural drawing can be blend to the area and strengthen the place identity of the area by knowing the relationship between mural drawing and where it is made. Observation has been done in the sub-urban area surrounding the Indonesia art institute of Yogyakarta. The concept of the mural is contextual to the site. Its usually represent the social or environmental issue that happens there. The space and sensitivity of selection the mural drawing theme not only make the artwork blended naturally with the area but improve place-identity of the area. Furthermore the phenomena have potential to be a theme of this suburban area development.

Mural art does not only function as decoration but it is an art activity that impact social life. Decorating villageswith murals has become an art movement across Java. Creation of mural in these villages involves manystakeholders (government, universities, students, artists), which can be considered as participatory art, thatemphasize on collaboration and shared experiences. In participatory art, artists’ and facilitator role is to encouragecommunity creativity. This research focuses on art community murals using participatory action researchapproach. This research aim to analyze collaborative art creation models, and examine how art canempower a community.

An attempt has been made to identify the sociocultural phenomenon of mural, which integrates various forms of fine arts into the street. Modern Art uses the principle of collecting information from different times and generations. It allows it to display a picture of the world in historical interaction on the surface of some object . Murals are a street art genre. In the context of the Theory of Art Criticism Murals are divided into graphic, artistic, decorative, which have a versatile genre palette. It is stated that the language of the murals is a universal and public access code for urban communication. So modern kind of street art will solve the problems of the urban environment, to change the architectonics of cities, to harmonize them and to bring them to one stylistic form.

En este artículo se presentan algunas aproximaciones al fenómeno del muralismo urbano en San Cristóbal de Las Casas, Chiapas. Se efectuó un análisis de las características generales de la intervención urbana gráfico-pictórica y de los procesos creativos a través de entrevistas a los creadores y del acercamiento a sus obras, lo que hizo posible vislumbrar los proyectos, ideas y discursos que emanan de la práctica creativa en esta ciudad, para así aproximarse a algunos de los sentidos y significados que permiten concebir el muralismo urbano como práctica juvenil, artístico-social, colectiva y comunitaria.

Painting, among the different arts and crafts practised in Tibet, appears to play a particularly important role in both religious centres and the daily life of ordinary Tibetans. By observing Tibetan Buddhist painting in action and attending a variety of exhibitions, art workshops, and other resources both at home and abroad, this study investigates the traditional techniques, procedures, and materials utilised in Tibetan Buddhist painting. The examination of Tibetan painting's technical aspects is mostly based on the general use of materials, as well as the manner and sequence in which they are applied, which applies to the majority of types of mural paintings in Tibet, but which are less widely recognised in the West. This paper tries to illustrate a diverse and rather complicated range of Tibetan Buddhist art approaches and materials.Finally, the author hopes that it provides more evidence of the potential influence of Tibet's traditional artistic wealth on contemporary artists working in relation to this culture.

The article presents the analysis of artistic murals in the environment of modern cities, drawing on examples from Ivano-Frankivsk city, author’s reflections as well as on published sources. Particular attention is paid to stylistic features and ideological codes of the wall paintings. The paper deals with traditional, conceptual and religiously-themed murals, illuminates issues of their correlations with urban spaces, highlights main modern styles and artistic practices used in the process of mural design. The research reported here contributes to the urban studies and understanding of effective forms of art integration into environments of modern cities.Keywords: mural, urban environment, artistic practices, wall painting, visual space.

As one of the cultural forms of human beings, ceramic murals transcend the dimension of time and space and transcend the single cognition of materialism in the sense of purely material materials. The emergence of computer vision technology has also provided conditions for developing ceramic murals in terms of concepts and technical forms. This article first studies the visual communication language research in ceramic mural art, at the same time comprehensively analyzes the design principles of ceramic mural art, and interprets the visual form of ceramic mural art from the perspective of actual projects in the thesis; then, it boldly analyzes the future of ceramic mural art Development trend. Finally, this article analyzes the composition in ceramic mural art, the graphics in ceramic mural art, the color in ceramic mural art, the scale in ceramic mural art, the lighting in ceramic mural art, and the design principles in ceramic mural art. The experimental results show that there are significant differences in the artistic design principles of ceramic muralsP<0.05, and there are significant differences in the artistic design principles of ceramic muralsP<0.05. Therefore, the artistic design principles of modern ceramic murals should mainly follow elegant and prominent forms.

The National School of Fine Arts represented a pluralistic sector of the national culture through a heterogeneous aesthetic-pedagogical proposal, whith a radical and political (non-partisan) purpose, fully engaged with the popular social sectors. Even before the reform of its study plan in the 1960s, it became a centre of research in mural art at the Mosaic Laboratory, led by Miguel Angel Pareja, a germ that gained space and developed through university extensions. While this work does not include all that has been done, nor mention all the people who have participated in these collective creations, it illustrates the spirit that inspired them and explores the background that allowed us to understand the assumed definitions that distinguish them. These were, among others, the original university contributions of the Reform of Cordoba, contributions provided by art education and a view of history which left a particular hallmark from the outset. All this has helped the development and preservation of a mural painting tradition at the School of Fine Arts, which made its activity a substantial part of urban art committed to the social theme, clearly defined ethically and politically, which contributed to the building of its identity.

This article explores how a series of street art in Tehran that address the restriction of the right of women to stadium, challenge the official discourse of femininity in the semiotic landscape of Tehran. It investigates how through techniques of carnivalistic satire, these imageries subvert the gender orders that dominate the official visual discourse of femininity in the urban space. The article proposes that the function of this street art series as a form of resistance, is enacted both by their internal generic structure, and in relation to the official mural landscape of the city., SAUC - Street Art and Urban Creativity, Vol 7 No 2 (2021): The Future of Urban Creative Studies

Since the 1990s citizens have had a huge importance in the development of muralism in Uruguay. They is key in the creation process in public mural spaces, which aims to bring art and culture towards society, encouraging, among other things, a process of cultural democratisation and identification. After analysing primary and secondary sources obtained by SFUCM, three trends were found in this mural style: a regionalisation process, a beautification process and community educational muralism. Sometimes ten or more murals can be painted at the same time, in massive works. The first mural environment created was the Open-air Museum of Ibero-American of San Gregorio de Polanco (Museo Abierto de Arte Iberoamericano) in 1993. It was an inspiration to other rural zones, giving rise to new public mural spaces. Other mural styles are linked to the underground scene, such as graffiti and post-graffiti, also called street art as well. These kinds of mural production are promoted by both the street art artists and writers of Graffiti themselves. The scope of painting is not only no longer massive, but it is also more individual than before. In some instances, however, these artists also participate in huge painting calls, such as Pinto La Teja in 2016.

The commemoration of victims of violence Street art, activists and their messages of positivity The present article analyses how street art and activism intertwine in public spaces addressing wider audiences with messages of growing positivity. Via the comparative analysis of two cases revolving around the ‘no mafia’ sign on the outskirts of Palermo (Capaci) and the mural dedicated to Carlo Giuliani at the entrance of the Garbatella area within Rome’s Ostiense quarter of Rome, we explore the genesis of both works, their specific spatial setting and the role of social actors in the conservation of the mural paintings, as well as in the commemoration of victims of violence. Our analysis will draw on key theoretical findings conceptualized within memory studies, sociology and research on visual arts. ispartof: Incontri : Rivista Europea di Studi Italiani vol:35 issue:2 pages:69-81 status: published

A collaborative research project called JAL explored the role and potential for the arts to support water security activities in Rajasthan. The intent was to learn about some of the challenges facing people in rural Rajasthan and to draw on the region’s heritage toward arts-led research, practice and thinking to help address critical water issues. One project that emerged from the fieldwork took its inspiration from the murals of Shekhawati and the ancient phad (painted scroll with stories) storytelling tradition of Rajasthan. It involved local artists who painted a wall with water stories in the village Jhakhoda. The artists also painted a scroll that a local storyteller could use to share with other villages. This article offers a report of the mural project, its process and outcome and the insights gained from a close engagement with the community in the village. The experiences signal the rich potential of collaboration with communities and across disciplines, as well as the role of the arts and artists in engaging with and addressing critical global challenges, such as water security.

A study on diversification of Kerala mural paintings was conducted by making different variety of products with different styles of design. Rather than confining Kerala murals on wall, nowadays several mediums are used to increase its aesthetic value and attract the potential customers. In this paper, the development of traditional and contemporary mural products is discussed. A survey was conducted first to know about the preferences of the potential customers on Kerala Mural products and products to be produced were selected according to this survey. Later, another survey was conducted to test the visual appearance and price range of the developed mural products. The study concludes by learning that people are showing interest in technological advancements in mural painting and its diversification for special purposes like social issues.

This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural. This analysis illustrates how digital humanities might bridge traditional art-historical methods and forensic visualization.

The research model of mural painting in the children's ward of Fatmawati Hospital is interesting not only as a beauty but also the beauty it gives to patients. The model of mural painting as a form of instrumenta art works that aims and serves as the beauty of a child's inpatient room to further provide calm, coolness and peace to the pediatric inpatients. By using Terry Barrett's interpretation research method, the interpretation research method must include the contextualization of substantial creative work. And the development model of Borg and Gall, Dick and Carey. As a method that is integrated as a representation of mural painting. Thus the study would like to see interpretations and models of mural paintings in inpatients at Fatmawati Hospital, as part of direct treatment that can alleviate and provide healing to patients indirectly. The model of mural painting in the children's ward of Fatmawati Hospital is part of the value of painting that has an influence on pediatric patients in the inpatient room. Conclusion The model of the value of mural painting as part of identity, sign and character as well as part of participation in involving the public in an awareness of the beauty of mural painting as a value of socio-cultural reality. The value model of mural painting is based on the ability of affective aspects, where the experience of taste and spirit becomes a strength in providing life force for children.

Reconstructing space with the use of computer generated imagery (CGI) is commonly used in moviemaking to enhance the depicted pro-filmic reality, creating virtual spaces in which layers of the narrative that are more difficult to represent via realistic mise-en-scene, such as emotional conditions, can become visually explicit. In the 2003 film Politiki Kouzina / A Touch of Spice / Baharatin Tadi, the Istanbul-born Greek filmmaker Tasos Boulmetis digitally combines heterogeneous elements to reconstruct a virtual experience of his own sense and memory of Istanbul: the urban landscape in the film is a hybrid of on-location scenes of the modern city, CGI and enhanced coloring, digitally fused into a mural of historical and personal memories. By deliberately conveying a strong emotional tone to the audience, the film equates the notion of place with the experience one has of it: as the memory of mid-Twentieth century Istanbul is digitally recomposed, the city dissolves under the pressure of its emotionally charged reflection, and the general concept of “location” is redefined through individual perception. Digital technology is used not simply to bring to life a past urban setting, but becomes a tool for affect, thus revealing invisible layers of the filmic narrative.

Depictions of didactic-dogmatic images in the mural paintings in two Bohemian parish churches are unique in the Czech environment, and their possible meaning, function, and use in pastoral practice...

El grafiti y el street art se han emplazado profusamente durante los últimos años en cientos de portones, cerramientos, muros de contención, mobiliario y señalética urbana por toda Bogotá. Este artículo busca dar a conocer características y reacciones en torno a estos tipos de comunicación gráfica alternativa retomado bases conceptuales provenientes de la estética de la recepción, de la semiología y de la historia del arte. Para la recolección de datos se privilegió laetnografía multilocal. Se presentan dos experiencias que dan cuenta de la vinculación del receptor y su participación en los territorios que cohabita. Una de ellas hace referencia a los coloridos macromurales con formas y metáforas sugestivas sobre cerros de la ciudad; la otra, a la intervención mural, creativa y social que viene desarrollando el proyecto Atrapasueños en algunos colegios públicos de Bogotá.