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Showing papers on "Mural published in 2018"


Journal ArticleDOI
TL;DR: The problem of mural-painting dating is formulated into a problem of drawing-style classification, and a deep convolution neural network is designed to encode the implicit drawing styles.
Abstract: Cultural heritage is the asset of all the peoples of the world. The preservation and inheritance of cultural heritage is conducive to the progress of human civilization. In northwestern China, there is a world heritage site – Mogao Grottoes – that has a plenty of mural paintings showing the historical cultures of ancient China. To study these historical cultures, one critical procedure is to date the mural paintings, i.e., determining the era when they were created. Until now, most mural paintings at Mogao Grottoes have been dated by directly referring to the mural texts or historical documents. However, some are still left with creation-era undetermined due to the lack of reference materials. Considering that the drawing style of mural paintings was changing along the history and the drawing style can be learned and quantified through painting data, we formulate the problem of mural-painting dating into a problem of drawing-style classification. In fact, drawing styles can be expressed not only in color or curvature, but also in some unknown forms – the forms that have not been observed. To this end, besides sophisticated color and shape descriptors, a deep convolution neural network is designed to encode the implicit drawing styles. 3860 mural paintings collected from 194 different grottoes with determined creation-era labels are used to train the classification model and build the dating method. In experiments, the proposed dating method is applied to seven mural paintings which were previously dated with controversies, and the exciting new dating results are approved by the Dunhuang experts.

17 citations


Posted Content
TL;DR: Wang et al. as mentioned in this paper formulated the problem of mural-painting dating into a problem of drawing-style classification, and a deep convolution neural network was designed to encode the implicit drawing styles.
Abstract: Cultural heritage is the asset of all the peoples of the world. The preservation and inheritance of cultural heritage is conducive to the progress of human civilization. In northwestern China, there is a world heritage site -- Mogao Grottoes -- that has a plenty of mural paintings showing the historical cultures of ancient China. To study these historical cultures, one critical procedure is to date the mural paintings, i.e., determining the era when they were created. Until now, most mural paintings at Mogao Grottoes have been dated by directly referring to the mural texts or historical documents. However, some are still left with creation-era undetermined due to the lack of reference materials. Considering that the drawing style of mural paintings was changing along the history and the drawing style can be learned and quantified through painting data, we formulate the problem of mural-painting dating into a problem of drawing-style classification. In fact, drawing styles can be expressed not only in color or curvature, but also in some unknown forms -- the forms that have not been observed. To this end, besides sophisticated color and shape descriptors, a deep convolution neural network is designed to encode the implicit drawing styles. 3860 mural paintings collected from 194 different grottoes with determined creation-era labels are used to train the classification model and build the dating method. In experiments, the proposed dating method is applied to seven mural paintings which were previously dated with controversies, and the exciting new dating results are approved by the Dunhuang expert.

9 citations


Journal ArticleDOI
TL;DR: This paper found that the illustrations of virtues in Coptic art went through some developments and that the scarcity of their portrayal, in comparison to the stereotypical themes, such as the depictions of Jesus and the Virgin Mary, is interesting.
Abstract: Coptic artists relied on monastic literature and religious sources, which described popular religious figures. Such sources represented virtues, as well as symbolic representations in the mural paintings of Bawit and Saqqara. It is noteworthy to find that the illustrations of virtues in Coptic art went through some developments. They may not have been remarkable, but the scarcity of their portrayal, in comparison to the stereotypical themes, such as the depictions of Jesus and the Virgin Mary, is interesting.

8 citations


Journal ArticleDOI
TL;DR: In this paper, the authors studied the method of conserving bracket murals in Daeungjeon of Jikjisa Temple through the scientific way, and evaluated the conservation status at the braket mural paintings, most serious damage is structural damage like cracks, breakage, and delamination.
Abstract: This report does studied for making the method of conserving bracket murals in Daeungjeon of Jikjisa Temple, through the scientific way. Results of evaluated the conservation status at the braket mural paintings, most serious damage is structural damage like cracks, breakage, and delamination. After optical investigation, a characteristic point wasn't found such as underdrawing or traces of a coat of paint. The ultrasonic examination speed by each wall painting was measured from about 195.8 m/s to 392.7 m/s, according to the location of the surface, and it was able to compare the surface properties according to the location. In Infrared-thermal image measurement shows that wall layer separation and paint layer delamination are closely detected, therefore it was able to judge of damage on the objective way. Material analysis revealed that the walls were made by sand and weathering soil. The wall layer combined sand with less than fine sand size by nearly 5:5, and the finishing layer was found to have mixed medium sand and fine sand at approximately 6:4 rates. However, In case of finishing layer, mixing ratios of sizes less than very fine sand were found to be significantly lower than wall. 108 | 보존과학회지 Vol.34, No.2, 2018 Therefore, it is estimated that the plysical damage such as the separation between the layers of the walls created in the braket mural paintings, is continuously caused by changes in the internal stresses and volume ratio caused by the density differences between the wall and the finishing layers.

8 citations


Journal ArticleDOI
TL;DR: In this paper, the authors explore how their scholarly training as an anthropologist informs the way they produce and understand what they do as a traditional Thai temple muralist, thinking about personhood and con...
Abstract: In this article, I explore how my scholarly training as an anthropologist informs the way I produce and understand what I do as a traditional Thai temple muralist. Thinking about personhood and con...

8 citations


Journal ArticleDOI
TL;DR: The Style Empire offers a unique laboratory to study the dynamics of stylistic transformation, since it is the last attempt to create a new French court style, devised consciously by Napoleon, like the court ceremonial he reinstated, as a successor to the styles of the Bourbons as mentioned in this paper.
Abstract: The Style Empire offers a unique laboratory to study the dynamics of stylistic transformation, since it is the last attempt to create a new French court style, devised consciously by Napoleon, like the court ceremonial he reinstated, as a successor to the styles of the Bourbons. At the same time it is a revival of Greek and Roman forms, but renewed by the discovery of Herculaneum and Pompei, Napoleon’s Egyptian expedition, and nourished by Piranesi’s widening of the range of classical forms to include Etruscan, Republican Roman or Egyptian forms. Taking as its focus one of the best-preserved monuments of the Style Empire, the Hotel de Beauharnais in Paris, this essay will argue that its revival of past styles is not simply a matter of nostalgia, or a historicist desire to imitate the past. Instead it should be understood as a particular approach to composition. Its rationale can best be understood by tracing successive transformations of forms developed in the cosmopolitan Hellenistic architecture of Alexandria and Petra, taken up and preserved in Pompeian interior design and mural painting, and resurfacing in Piranesi’s furniture design. This essay singles out the particular approach to composition developed by Piranesi, and its ancestry in Pompeian mural painting and Hellenistic architecture and poetry, as a defining characteristic of the Style Empire. Thus it argues for a new consideration of historicising styles in terms of a poetics of appropriation and transformation.

7 citations


Book
30 Jan 2018
TL;DR: A comprehensive survey of Rivera's complete mural oeuvre, including newly discovered works, can be found in this article, where the authors present a large-scale survey of 27 frescoes at the Detroit Institute of Art in Michigan.
Abstract: A veritable folk hero in Latin America and Mexico's most important artist - along with his wife, painter Frida Kahlo - Diego Rivera (1886-1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera's most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan. This lavish volume - the first book to feature Rivera's complete mural oeuvre, including newly discovered works - features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera's work since his death. The texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera's oeuvre; finally, a half-century after Rivera's death, his work is the subject of the sweeping retrospective it deserves.

7 citations


Proceedings ArticleDOI
04 Dec 2018
TL;DR: This work proposes a systematic restoration framework, which is based on Generative Adversarial Network (GAN) technique, for these high-resolution but deteriorated mural textures, and restores a set of high- resolution yet color-inconsistent textures patch-by-patch and a set that combines them to get the final high- Resolution and color-consistent result.
Abstract: As time goes by, the art pieces inside Dunhuang Grottoes have suffered from tremendous damage such as mural deterioration, and they are usually difficult to be repaired. Although we can achieve digital preservation by modeling the caves and preserving mural as textures in virtual environment, we still cannot have a glimpse of how the grottoes look like without damage. In this work, we propose a systematic restoration framework, which is based on Generative Adversarial Network (GAN) technique, for these high-resolution but deteriorated mural textures. The main idea is to make the machine learn the transformation between deteriorated mural textures and restored mural textures. However, the resolution of training texture images (i.e. 8192×8192) is too high to be applied with GAN technology directly due to GPU RAM limitation. Instead, our method restores a set of high-resolution yet color-inconsistent textures patch-by-patch and a set of low-resolution but color-consistent full textures, and then combines them to get the final high-resolution and color-consistent result.

5 citations


Journal ArticleDOI
TL;DR: In Orihuela in the province of Valencia, Spain, there is a festival of mural painting in honour of local poet Miguel Hernandez, who died in a fascist jail in 1942 as mentioned in this paper.
Abstract: Each March in Orihuela in the province of Valencia, Spain, there is a festival of mural painting in honour of local poet Miguel Hernandez. For long the poet, who died in a fascist jail in 1942, had...

5 citations


Proceedings ArticleDOI
01 Jul 2018
TL;DR: A line drawing generation method named Mural2Sketch (MS) for ancient mural paintings that first utilizes heuristic routing to detect the outer edge of a stroke, and then high frequency enhancement filtering is used to extract the information inside the stroke.
Abstract: Line drawing is a unique drawing technique developed over millennia in China. Since ancient murals have line drawings of beautiful form and vast history, it is incredibly important to digitally curate these pieces. In this paper, we propose a line drawing generation method named Mural2Sketch (MS) for ancient mural paintings. MS first utilizes heuristic routing to detect the outer edge of a stroke, and then high frequency enhancement filtering is used to extract the information inside the stroke. A complete stroke is then generated by collaborative representation. MS is capable of outputting the result in vector form and producing different artistic styles. Experimental results show that our method is simple but effective. This research has the potential to support digital mural copying, mural protection, as well as related cultural research and application.

5 citations


Journal ArticleDOI
18 Dec 2018
TL;DR: This document is intended to help clarify the role of acronyms in the history of this type of document.
Abstract: The aim of this paper is to define the specific nature of graffiti and murals and to study the characteristic features of the adaptation and development of these areas of urban art in the urban culture of Ukraine of the 21st century.Research methodology. Scientific provisions of the research are based on a set of general scientific methods of knowledge (analytical, source study, historical) and cultural approaches: typological and evolutionary methods, as well as the method of system analysis of synthesis. Results. The specific nature of the adaptation and trends of the development of graffiti and murals in the urban culture of Ukraine of the 21st century is explored. It was revealed that at the present stage, the centres of urban art are Kyiv, Lutsk, Lviv, Odessa and Kharkiv, which is explained by the corresponding level of the dynamics of urban space development. It is emphasized that graffiti gradually loses its relevance, and the practices of urban art, which previously favoured classical graffiti, are implemented in the field of mural art. The main characteristic features of the mural, which correspond to the functional purpose in the area of residential areas of modern cities of Ukraine, as well as the themes to which the artists sought to attract the attention of the public were determined.Novelty. An attempt is made at identifying the concept of «graffiti» and «murals» in the context of the specific features of modern homeland socio-cultural space; their features and differences as separate areas of independent practice of contemporary art are determined.The practical significance. The material in this article may be used in developing lectures by specialists in cultural studies.Keywords: graffiti, mural, street art, modern urban culture, homeland socio-cultural space.

Proceedings ArticleDOI
BC Biermann1
12 Aug 2018
TL;DR: This talk will provide general insight into the progression of AR art, discuss prominent digital artists currently working in this space, and deliver a practical workflow of how to create works in the new medium of interactive AR art.
Abstract: An overview of how AR art has evolved and, in particular, how Heavy Projects' work has transitioned from guerrilla-style AR street art interventions to large scale, interactive, public space murals working with such clients as the University of Geneva, Qualcomm, SXSW, Google I/O, and San Francisco Design Week. This talk provides workflow examples of "Digital Neuron" AR mural [Geneva, 2016], "Parabola" AR mural [San Francisco, 2017], and "Evolution of an Idea," the largest AR mural in the world [185'x25', San Diego, 2015]. In illuminating these projects, this talk outlines best practices for other digital artists to create outdoor AR artworks. In short, this talk will provide general insight into the progression of AR art, discuss prominent digital artists currently working in this space, and deliver a practical workflow of how to create works in the new medium of interactive AR art.

Proceedings ArticleDOI
11 Jun 2018
TL;DR: A deep learning network is proposed to perform mural-to-sketch prediction by combining meaningful convolutional features in a holistic manner and a style-aware image fusion approach is designed by detecting the specific feature region in a mural, from which the artistic style can be maximally preserved.
Abstract: Sketch is one of the most important art expression forms for traditional Chinese painting. This paper presents a complete sketch generation framework for ancient mural paintings. First, we propose a deep learning network to perform mural-to-sketch prediction by combining meaningful convolutional features in a holistic manner. A dedicated mural database with fine-grained ground truth is built for network training and testing. Then we design a style-aware image fusion approach by detecting the specific feature region in a mural, from which the artistic style can be maximally preserved. Experimental results have demonstrated its validity in extracting style mural sketch. This work has the potential to provide a computer aided tool for artists and restorers to imitate and restore time-honored paintings.

Journal ArticleDOI
08 Dec 2018
TL;DR: In this article, the author discusses the issue of somatic aspects of street art and discusses murals as a source of multi-sensual experience for citizens and also a medium of urban participation.
Abstract: The article covers the issue of somatic aspects of street art. The author discusses murals as a source of multi-sensual experience for citizens and also a medium of urban participation. Street art is being presented there as a sphere of dialogue between objectified and social sphere of urban life and private, embodied experience of citizens.


DissertationDOI
01 Jan 2018
TL;DR: The Navicella mosaic is most famously an artwork created by Giotto di Bondone as mentioned in this paper, and it was used in the construction of the New St. Peter's basilica.
Abstract: The Navicella mosaic is most famously an artwork created by Giotto di Bondone. Evidence for the appearance and dating of this giant mural is discussed in this dissertation with the conclusion that it was made in 1298 and its composition is best recorded in a Parri Spinelli drawing preserved in the Musee Conde in Chantilly, France. It was admired by untold numbers of worshipers who visited the grand Constantinian basilica of Old St. Peter’s in the Vatican in Rome. The Navicella was located on the facade of Santa Maria in the Towers, an important chapel as well as the gatehouse affording entrance into the beauteous atrium of the church. Beginning in the sixteenth century and continuing into the seventeenth century Constantine’s building was gradually demolished and replaced by New St. Peter’s basilica, but this was not the end for Giotto’s masterpiece. A copy of the mosaic can be seen today in the narthex above the central entrance into the church, comparable to its original location. Just as Giotto’s Navicella was reconstructed for the new basilica, it is argued here that Giotto’s mosaic was the replacement for a mosaic mural that had existed on the gatehouse probably since the middle to late fifth century and that was eventually destroyed in 1167. That the subject matter of this ancient mosaic was, like Giotto’s Navicella , a scene of St. Peter being raised up from the Sea of Galilee by the hand of Jesus Christ is accepted to be a strong likelihood. Although Old St. Peter’s basilica is no more, its atrium was the last feature to be demolished, continuing to exist into the early-seventeenth century, and the subject of detailed architectural surveys and visual documentation. This evidence for reconstructing the old atrium, and the late-sixteenth-century copies of the Navicella , is considered together with the inscription beneath the mosaic, exegetical material on Matthew 14:22-36 (the verses which describe the event depicted in the Navicella ), and writings on the symbolism of the mosaic’s iconography in order to discuss the signification of the mural for worshiper’s at Old St. Peter’s during the late Renaissance.

31 May 2018
TL;DR: In 2014, several Portuguese muralists painted murals about the Carnation Revolution in order to celebrate its 40th anniversary, and as discussed by the authors argued that when analyzing those murals, they show that the memory of the Revolution generated a discursiveness represented by hegemonic masculinity, which also conforms to the gendered discourse of the neoliberal agenda.
Abstract: In 2014, several Portuguese muralists painted murals about the Carnation Revolution in order to celebrate its 40th anniversary. The initiative aimed at reviving the memory of the murals and graffiti painted in Portugal during the 1970s. These murals represent the memory of struggles in which the figure of the hero lends substance to the narrativity of the popular revolution that overthrew the New State dictatorship in 1974. This article argues that when analyzing those murals, they show that the memory of the Revolution generated a discursiveness represented by hegemonic masculinity, which also conforms to the gendered discourse of the neoliberal agenda. Feminism and negritude were hardly ever empowered as alternative forms of masculinity for representing the revolutionaries and were relegated to (quasi-)invisibility. The figures represented in those male-authored murals located in the center of Lisbon convey hegemonic masculinity and most have already been washed off. Those representing negritude and feminism, as alternative forms of masculinity, emerge - though not exclusively - in the urban periphery. In the periphery, they resist time and convey an interventive discourse of memory of resistance, showing what the prevailing memory discursiveness has not considered central in the Revolution.

Journal ArticleDOI
TL;DR: In this article, the authors report a comprehensive magnetic survey on two major murals of the Palace of Quetzalcoatl, which represent an initial stage of the Teotihuacan archaeology.


Journal ArticleDOI
Chongfeng Li1
03 Apr 2018
TL;DR: The early Buddhist murals preserved in the cave-temple complexes and even free-standing monastic sites in South Asia and China were predominantly produced between the fifth and seventh centuries as mentioned in this paper.
Abstract: The early Buddhist murals preserved in the cave-temple complexes and even free-standing monastic sites in South Asia and China were predominantly produced between the fifth and seventh centuries ce...


Journal ArticleDOI
TL;DR: In this paper, the authors investigate the rationale that lies behind, and the rhetorical and pragmatic content of the social and political wall murals created between the late 60s and early 70s in Sardinia, as well as the representational function they have played not only as an instrument to describe class conflicts, but also the active role they have served in efforts to catalyze cultural support for the organization of political goals.
Abstract: This study, part of an ongoing research project based on identity and authenticity in building the image of Sardinia in international tourist discourse, will focus on the active roles played by the ‘language’ (both visual and verbal) to “narrate the story of the many Sardinian identities and myths: rebellion against authority, ethnic uniqueness and strenuous protection of local values” (Fodde, in print). The study tries to investigate the rationale that lies behind, and the rhetorical and pragmatic content of the social and political wall murals created between the late 60s and early 70s in Sardinia, as well as the representational function they have played not only as an instrument to describe class conflicts, but also the active role they have served in efforts to catalyze cultural support for the organization of political goals. Initially introduced in the late 60s to reproduce scenes of everyday life, wall murals quickly became the striking medium used by political activists to express themes beyond local events: criticism of the capitalist society, denunciation and social conquest, accompanied by a sensibility and by a feeling of disillusion concerning the Italian government’s centralization policy. Therefore, a political, social and historical analysis of the main events that have led to this mural production is necessary to understand the wider context in which the factors and the dynamics of this form of “artification” (Cozzolino: 2014: 167) has acted. The methodology refers to modality as one of the key dimensions of “social semiotics” (van Leeuwen 2005: 91) and aims at analyzing the ways in which the symbolic contents of Sardinian murals create a communal self-identification, legitimizing this form of narrative to further ideological and political goals. In more specific terms, attention is called to the concept of epistemic modality of mural images, with the scope of providing a systematic and comprehensive account of the grammar of their visual design. By analyzing the formal elements and the structures of the murals’ design, that is colour, perspective, framing, composition, and the texturing of their texts, this contribution aims to examine the ways in which mural images communicate meaning and create the truth or reality values of their representations.

DOI
10 Dec 2018
TL;DR: In this paper, Tziovas et al. examined how and why this black-and-white mural has been discussed often controversially from different kinds of recipients, leading to an ardent public debate within Greek society from a cross disciplinary point of view: 1) semiotics, 2) design, and 3) cultural studies.
Abstract: The campus of the National Metsovian Polytechnic in central Athens has been a signi cant cornerstone in the socio-political landscape of the city. Within the history of modern Greece, Polytechneio is regarded as a symbol of resistance against the Greek military dictatorship (junta) in 1973. In March 2015 and during times of austerity politics, the west facades of the Polytechneio were covered by a “black-and-white mural” (Tziovas 2017: 45). This paper examines how and why this black-and-white mural has been discussed often controversially from di erent kinds of recipients, leading to an ardent public debate within Greek society from a cross disciplinary point of view: 1) semiotics, 2) design, and 3) cultural studies. For our analysis, we use data from primary and secondary sources. Primary data sources include photographic documentation of the eld. Secondary data sources include photographic material and newspaper articles circulated online, as well as, relevant academic literature.First, we examine how this mural was integrated into the constructions and intersubjective experiences of public space from the perspective of semiotization of space. Second, we discuss the practicalities involved for the ful lment of this mural from the perspective of design-scope. And third, we advance the discussion around the issues of cultural preservation and heritagization of street art and gra ti. Our goal in this paper is to avoid binary interpretations, and instead, to induce in an intermediary way the signi cance of public dialogue, which this mural achieved to trigger. (Less)

Book ChapterDOI
01 Jan 2018
TL;DR: In the former East Berlin, the facade of the House of Teachers at Alexanderplatz as mentioned in this paper contains two monumental murals by prominent DDR Socialist Realism artists: Womacka's Our Life and Max Lingner's Construction of the Republic.
Abstract: Socialist Realism in Art is a term primarily associated with the Cold War period and the ideological connection with the Soviet Union, specifically the Communist Party visual ideology. Socialist Realism murals or paintings were placed in public space or used to decorate the interiors of public buildings to remind and teach, to deliver the socialist message. This section features two monumental murals by prominent DDR Socialist Realism artists, Walter Womacka’s Our Life on the facade of the iconic building House of Teachers at Alexanderplatz, former East Berlin’s central square, and Max Lingner’s Construction of the Republic mural on the rear wall of the portico of the Federal Ministry of Finance in Berlin (former House of Ministries during the DDR era). This unit also includes the monumental larger than life bronze statue of Marx and Engels, the work of the Ludwig Engelhardt art collective from the early 1980s and a symbol of the East German regime, and Television Tower by Hermann Henselmann and Jorg Streitparth, built as the pinnacle of the New International architecture of the Alexanderplatz area in the 1960s.


Journal ArticleDOI
01 Jun 2018
TL;DR: In this article, a broader investigation into the catechetical function of mural painting in the churches of the old Ruta de la Plata between Potosi and Arica is presented.
Abstract: The following article is part of a broader investigation into the catechetical function of mural painting in the churches of the old Ruta de la Plata between Potosi and Arica Here it is proposed to identify the ornamentation of wall paintings of the church of Copacabana Andamarca located in the Ruta de la Plata the formal origin function and meaning of the decorative elements of the main scenes of the murals programs Flowers trees birds cats and dogs and frameworks among other elements decorate and link the main scenes of the murals but also may contain iconographic meanings that provide relevant information for the study and analysis of Andean society and culture of the century XVIII We believe that the symbolic image of the tree of life could have a special role in the decoration of Copacabana Andamarca However its symbolic value has not always been identified as such on numerous occasions simply it has been interpreted as a decorative forest alluding to a paradise or ideal oasis amid the arid highlands Through an iconographic analysis we aim to provide information that reinforces the idea that this tree of life image was intended to illustrate the fate reserved for those who accept the Christian faith

01 Jan 2018
TL;DR: A visual essay of a community-based art education mural between two universities and a local community, following a tragic hate crime, is presented in this paper, where the authors discuss the impact of hate crime on art education.
Abstract: A visual essay of a community-based art education mural between two universities and a local community, following a tragic hate crime.

24 Apr 2018
TL;DR: The authors analyzes the linguistic features of public space and mural paintings in public place, as well as issues related to the creation of public-space murals in Chongqing, and explores public space mural painting forms which are different from the traditional regionalism mode.
Abstract: Murals are attached to architecture and landscape, and are closely linked to people in the environment. Today in Chongqing, designers of public space mural paintings are facing increasing challenges. This paper analyzes the linguistic features of public space and mural paintings in public place, as well as issues related to the creation of public space murals. Through introducing the concept of critical regionalism which can guide the creation of public space murals in Chongqing, and exploring public space mural painting forms which are different from the traditional regionalism mode, this paper aims to clarify the relationships among people, public space and mural paintings.

Book Chapter
01 Feb 2018
TL;DR: In this paper, the authors examine the various modes of sartorial elegance represented in Siena cathedral frescoes and consider the role that dress plays in communicating meaning within the decorative program.
Abstract: Opening directly off the massive, romanesque interior of Siena cathedral, the renaissance Piccolomini Library shimmers like a bejewelled casket. Its vault and walls are enlivened with intricate, colourful frescoes by Bernardino Pinturicchio and his workshop. The main component of the painted scheme is a commemoration of the life of the patron’s uncle, Pope Pius II (1458-64), presented in ten, large narrative murals. In keeping with early-renaissance naturalism, great attention is paid to the careful depiction of contemporary dress. Focusing on a small selection of the murals, the aims of this paper are to examine the various modes of sartorial elegance represented there and to consider the role that dress plays in communicating meaning within the decorative programme. Using visual analysis in combination with studies of the history of dress, local Sienese socio-economic context, papal politics and the dynastic agenda, it is demonstrated that the representation of costume plays an important part in the frescoes. It underscores the role of rhetoric, and in particular epideictic oratory, in the mural scheme, elucidates attitudes to local sumptuary laws, and reinforces the celebratory crescendo with which the narrative of Pius’s life closes. It will be shown, moreover, that this culminating triumphalist message is rather more optimistic than was actually the case!

Journal ArticleDOI
TL;DR: Wang et al. as discussed by the authors found that the art style of East India appeared in Dunhuang during from the late Tang Dynasty to the early period of Northern Song Dynasty, probably propagated from the ways other than Tubo, and this art style was deemed as the one has nothing to do with Tibet's art.
Abstract: During A.D. 776 to 848, Dunhuang was occupied and ruled by Tubo political power, a special painting style, spread via the Tibetan silk road, appeared at same time, and which is related to the art style of India and Nepal; It is worth noting that the Tibetan painting style during this period have no relative unified model actually, especially the mural and the silk painting preserved in Library Cave, the painting style of which had obvious difference between each other, and the reason behind this is very hard to explain. Until the late Tang Dynasty (A.D. 848-907), sheer Pala style of eastern India appeared in Dunhuang, however, whether those East India painting style still belong to Tubo remain for further discussion. The art style of East India appeared in Dunhuang during from the late Tang Dynasty to the early period of Northern Song Dynasty, probably propagated from the ways other than Tubo, and this art style was deemed as the one has nothing to do with Tibet’s art in this study.