Showing papers on "Mural published in 2020"

Influence of nostalgia on authenticity, satisfaction, and revisit intention: The case of Jidong mural alley in Korea

Abstract: The main purpose of the study is to examine the causal relationships among nostalgia, authenticity, satisfaction, and revisit intentions of tourists who visit the Jidong mural alley in Suwon, South...

Visiting Dark Murals: An Ethnographic Approach to the Sustainability of Heritage

Abstract: Political, war-themed and controversial murals aim to show the history of a community, making the intangible tangible, and, because these events are still recent, they stir people’s emotions. Visitors to this type of heritage have a mixture of artistic and dark interests that lead to what we call ‘dark mural attractions’. These political murals need a public strategy to be preserved, become better known and attract local economic development funds to make them sustainable. Therefore, the purpose of this paper is to analyse how communities could build a co-narrative around murals to generate a sustainable local development. To achieve this goal, an in depth study needs to be performed to establish what kind of narrative will enable political murals to attract dark visitors and examine how communities can build a sustainable co-narrative around a dark mural. As a case study, we analyse the Battle of Cable Street mural in London, located in the non-touristic borough of Tower Hamlets, by means of an ethnographic qualitative approach based on stakeholders’ opinions, among other sources. In this case, results show that dark murals have the potential to attract visitors, but they require a public strategy for the sustainability of heritage, based on a narrative of community solidarity for educational and discovery purposes.

From concrete walls to digital walls: transmedia construction of place myth in Ihwa Mural Village, South Korea:

Abstract: 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 ...

Musical Imagery and the Canon in Sighard Gille’s Gewandhaus Mural Gesang vom Leben

Abstract: Visitors to the Leipzig Gewandhaus in Germany can still admire its mural Gesang vom Leben by painter Sighard Gille today, but scholarship about this East German painting has been limited regarding its iconography and socio-political commentary. Such analysis, however, can help remember and reinterpret the German Democratic Republic and shed light on relationships between music and the fine arts. Through musical imagery, Gille commented on actually existing socialism by means of a dual approach including criticism and support of the system. Gille articulated his vision for the country by linking socio-political concerns with artistic expression and by alluding to controversial topics in the GDR’s (artistic) history. While positioning the Gewandhaus as closely tied to its locality and musical history, Gille also offered criticism of the musical canon as disseminated by GDR musicologists and performers. In this way, the artist becomes an agent in the development of socialism and its art. (JS)

RestoreVR: Generating Embodied Knowledge and Situated Experience of Dunhuang Mural Conservation via Interactive Virtual Reality

Abstract: In Dunhuang Mogao Grottoes, unique Buddhist murals of ancient China are preserved. Unfortunately, the exquisite murals are suffering from degradation. Experts have been trying to enhance public's awareness of mural protection, but there's no efficacious means to attract interest and popularize knowledge yet. In this paper, we propose RestoreVR, an interactive virtual reality (VR) system engaging users to experience Dunhuang mural restoration in a digital tour in the cave. Based on an online survey with the public and in-depth interviews with five Dunhuang experts, we derive a set of design requirements for generating embodied knowledge and situated experience in VR to bridge the gap between highly specialized experts and general audiences. Accordingly, we design RestoreVR and conduct a between-subjects user study to compare our system with traditional methods. The results suggest that RestoreVR significantly improves user experience and awareness of CH protection over existing methods.

Mural as a medium of language learning in preschool education

Abstract: The purpose of this research is to convert murals as a language learning medium for preschool children. The method of research used is qualitative with the technique of literature studies. Researchers use libraries to find data on subjects and research objects. The result of this study was the stage of the mural as a media-teaching medium for preschool children. The mural as a learning medium of preschool children must be able to represent the will of the child itself. Child behavior against murals is a hallmark of the success of message delivery. The illustration style of the preschool child mural must be adjusted to the needs of the child, such as cartoon illustration style. Color selection is also not to be separated from the needs of children, children tend to prefer a striking color. If there is a typeface applied in the mural then consider the use of round and open letters, not sharp corners or rectangles Key words: Mural, language learning media, preschool .

Art as a Message Realized Throught Various Means of Artistic Expression

Abstract: From the ancient times, art has performed not only aesthetic, but primarily informa­tional and ritual functions, since people have used artistic means to honour the divinities. In Ukraine, the instances of art have been known since the times of Trypillia culture, from the 5th century BC. Hereafter, art has used various means to deliver information. During the years of Kyivan Rus, there were mostly religious mural paintings and mosaic pictures in churches. They were not considered by the contemporaries as artworks, but only as images for worship. However, it should be noted that in St. Sophia’s Cathedral there are also some secular paintings of those times. Religious and secular murals used different art forms and means to convey information. An icon, restricted by the canon, illustrated a particular Christian dogma, whereas a secular pa­inting gave information about everyday human life and performed some political and ideological functions. These two genres are often combined in the so-called "Ukrainian folk painting". The Mother of God, the Lord and the saints are depicted against the Ukrainian landscape, and they have Ukrainian traits. The background of folk icons depicts scenes from the everyday life of the Ukrainians, and the icons are decorated with embroidered towels and dried flowers. In the Baro­que era, secular events and real people are included in canonical Christian plots. Today, we see a revival of techniques combining secular and religious painting, when icons depict the sacred participants of contemporary political events. Such icons do not meet certain requirements of the church canon, but constitute the society’s reaction to what is happening in Ukraine now. On the other hand, it is a kind of an attempt to bring Heaven closer to humans, to modernize canonical subjects and, at the same time, to promote educating the people in the spirit of patriotism. Despite the canonicity of the icon and the immutability of information conveyed through the sacred image, the methods of informative communication differed. Thus, although both the Byzantine icon and the icon of the Baroque era reported the same plot, the volume of the mes­sage that they conveyed was different. The Byzantine icon is an ascetic message-symbol, while the baroque icon is more secular and not only gives you purely religious information, but also information about the traditions, life and appearance of the people living in this period, and the political system of the state. In canonical religious art, a pictorial image is the only means of narration, whereas modern secular art often turns into a performance, with the simultaneous involvement of painting, sculp­ture, music and lighting effects, and avant-garde short films.

“What’s in a Name?”: The Aesthetics of Proper Name and Diasporic Identity in Darwish and Said

Abstract: Published in the same year, 1999, Edward Said’s Out of Place and Mahmoud Darwish’s “Mural” amplify eulogical voices of the dying self. Despite the sombre theme dominating both works as swansongs, D...

Revolutions of Mural Painting

Abstract: Mural painting is a decorative art on the walls of the building in order to convey messages to the society. The purpose of this study is to emphasize the sequence of mural paintings, in particular those related to elements in the design and types of murals corresponding to previous ones, and also to explore the background of murals based on previous mural paintings, originating with prehistoric cave paintings. Thus, understanding, recognizing and learning the context of past mural paintings can be as valuable as the present-day society. Moreover, the previous mural painting may be a perfect example and an inspiration for local artists to improve their ideas in terms of the style of application of the elements and the concept of mural painting. Thus, these mural paintings can be designed in a constructive manner and may provide both the artists and the universal society a strong and inspiring aesthetic value.

Arte urbano, política y memoria en 2019: Primeros pasos hacia la conformación de un archivo del muralismo político en Santiago de Chile.

Abstract: This essay was born from the concern about the volatility of graffiti as a work, image and intervention of urban space and seeks to be an exploration of what happens with mural graffiti in Santiago, Chile. It focuses on the political vocation of the latter considering as important precedents the Mexican muralism as well as the Ramona Parra and Elmo Catalan Brigades. The work emphasizes muralism with a political vocation and explicit messages leading them to what has been understood as the social role of art from authors such as Nelly Richard or Gaspar Galaz, referring to the work of graffiti artists such as Agotok, UFO or Aguarda Kiltro with important interventions in the southern area of ​​Santiago, a sector characterized by the popular habitat. At the methodological level, an exploration is carried out on Santa Rosa Avenue, one of the main arteries of the southern area of ​​Santiago, with a large number of works on its walls, concluding in the cultural center where the work “the goal of Chile” is located of the prominent muralist Roberto Matta. Emphasis is placed on the need for a photographic record of urban art, in order to form a properly organized fund for the conformation of an archive of urban art that would be a highly dynamic and constantly disputed field, being an interesting exercise to recover and strengthen the social historical memory. In conclusion, it is highlighted that this outline is presented as a first step, a reflective exercise on the need to register and file as a memory exercise that can result in outstanding experiences. Emphasis is placed on the need for a photographic record of urban art, in order to form a suitably ordered fund to create an archive of urban art that would be a highly dynamic and constantly disputed field, an interesting exercise to recover and strengthen the historical social memory. Finally, a long-term but highly relevant work is proposed around the creation of an archive of urban art with explicit political messages in Santiago, with the hard work involved.

Art intervention in the sub-urban area visual characteristic

Abstract: 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 in the work of José Ríos. From personal experience and glancing through history

Abstract: After an introduction to mural art and a glance through history for its contextualization, this article focuses on an interview with the artist Jose Fernandez Rios on the integration of his plastic work in contemporary architecture. This article draws attention to an aspect that often, in the world of art, takes second place to the work itself: the thoughts and words of those who create it. The paper takes a look at different forms of mural expression of civilization, from the first manifestations in caves to contemporary architecture, its techniques and styles, from classic mural art to clandestine graffiti, in order to establish analogies and differences. Walls are part of our daily landscape and streets and buildings have been increasingly transformed into a cosmos of pictures where citizens become viewers with ambivalent opinions. This kind of intervention is a modern way of expression that is increasingly extended and sometimes overwhelming. It can express protest and criticism and can function as a tool for social and educational integration (Martinez y Barba, 2013). Contemporary mural art, authorised, tolerated or clandestine is increasingly gaining ground in our culture, turning into a tourist attraction for many cities. This is the case in Berlin, Melbourne, New York, London, Rio de Janeiro, Bologna and Barcelona, among many others, where specialised companies offer urban art guided tours. Through this article we try to learn more about this phenome- non from the perspective of a creator: Jose Rios. DOI: https://doi.org/10.20365/disegnarecon.24.2020.10

Mural Painting in Britain 1630–1730 : Experiencing Histories

Abstract: This book illuminates the original meanings of seventeenth- and early-eighteenth-century mural paintings in Britain. At the time, these were called ‘histories’. Throughout the eighteenth century, though, the term became directly associated with easel painting and, as ‘history painting’ achieved the status of a sublime genre, any link with painted architectural interiors was lost. Whilst both genres contained historical figures and narratives, it was the ways of viewing them that differed. Lydia Hamlett emphasises the way that mural paintings were experienced by spectators within their architectural settings. New iconographical interpretations and theories of effect and affect are considered an important part of their wider historical, cultural and social contexts. This book is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.

Murals as the newest tourist resources: the case of Kyiv

Abstract: 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.

Tribute to Bach (1956): Approximation to the Oteizian Mural Emptiness as a Silent Music Score

Abstract: The artist Jorge Oteiza (Orio, Spain, 1908-2003) is considered one of the main sculptors of the 20th century Jorge Oteiza won the International Sculpture Prize at the IV Sao Paulo Biennial, held in 1957, which elevated him internationally Oteiza's conceptual evolution as a sculptor moves him towards a special relationship with the unoccupied space, the void, seeking a metaphysics of space through absence or negativity, where light also plays a prominent role, being incorporated into the sculptural process These ideas are concretized in the negative relief mural that he calls Direct Relief / Homage to Bach (1956) This exceptional work from the limited production of his mural works provides an interesting field of study that helps complete the understanding of his thinking and the keys to his aesthetics Nevertheless, this work is not only close to a plastic-spatial dimension The work also conveys the special relationship of the Oriotarra sculptor with music in general and Baroque in particular and his concern for serialist avant-garde music and its possibility of plastic representation The present article tries to make an approach to the interpretation of this work, studying in an analytical and synthetic way the artistic, musical and plastic thought of the artist

Análisis de imágenes digitales con DStretch como soporte a la restauración virtual de una pintura mural histórica en San Cristóbal de la Laguna

Abstract: This paper proposes the use of the DStretch image analysis tool applied to the study and formal analysis of eighteenth-century mural paintings in the San Agustin Church of San Cristobal de La Laguna, a World Heritage city in Spain. Thanks to the technification of digital documentation, it has been possible to recover virtually this pictorial group that currently is almost completely lost due to a fire occurred in 1964. A work methodology that aims to achieve a reliable and rigorous recreation is proposed, supported by free software DStretch. This tool, which is conceived for research on rock art, is based on decorrelation processes, used in digital image treatment, which improve the readability of an image. The method offers an interesting applicability to the study of the historical mural painting analyzed and enhance the objectivity of its virtual reintegration. Received: 2018-12-9Revised: 2019-4-4Accepted: 2019-4-23Online: 2019-5-31Publication: 2020-7-31

Demirci Küpeler Köyü Camii Duvar Resimleri

Abstract: As a result of the increasing relations of the Ottoman Empire with the West as of the 18th century, a new art environment was born, and a new type, called mural, emerged in the decoration art. This decoration approach, which primarily became popular in the palace and its environment in Istanbul, spread all over Anatolia in the course of time. Contrary to Istanbul, it is observed that, especially mosques were adorned with plaster and engravings in Anatolia. In these decorations, made by painted decoration masters or master groups, western influenced motifs as well as various religious and symbolic depictions were also included. Since many of these masters performing their art by traveling from village to village refrained from putting their signatures on their works of art, their names are generally unknown. However, it is possible to come across some masters’ names, though not many. In the Demirci Kupeler Village Mosque, which we studied, it is noteworthy that the names of the master builder, as well as the illuminator and calligrapher who performed the engravings, were given. Although the mosque has a plain exterior appearance, its interior is adorned with a rich painted decoration. Religious calligraphy scripts were also used along with decorations. In our study, the building is discussed in detail, with respect to its plan and characteristics.

After CriticismMahmoud Darwish’s Mural for Enlightenment

Abstract: A question drives my reading of Mahmoud Darwish’s Mural, chronicling a poet’s quest for his own becoming while facing death: What rhythms of freedom—or what forms of enlightenment—may a person inhabit when facing life’s end? I argue that to this question Mural responds with an ethical striving, guided by a principle Darwish calls “evanescence.” I contingently identify evanescence as an “ethics of oneness” oriented to composite unity, which Darwish practices on a series of dualities inhabiting his life in death’s company. In contrast to enacting sovereignty, this ethos solders opposites together. In digging under the separation required by any act of criticism, Darwish’s Mural reaches beyond criticism to attain the courage required for living with death.

Breaking Bars: Community-Based Art Therapy Mural Project

Abstract: 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...

Art Fun Groups Approach in Learning Mural Painting

Abstract: This research is a basic introduction to the creation of fine art in learning to paint murals in elementary schools by using innovative, creative, and fun approach. The aim is to create collaborative work between Elementary School students at Labschool UPI and Fine Arts Education college students at FPSD UPI. The benefits of research as the development of the basic learning concepts of fine arts, and the results of his work will be replicated to the arrangement of the beauty of the school as an art education for students. This research uses a descriptive qualitative approach, with an innovative practice approach in accordance with real and natural phenomena, and an experimental method is needed in the form of developing fine arts learning that leads to the ability to make mural paintings that are suitable for students at elementary school. The results of this study indicate the realization of cooperation between elementary school students and fine arts education college students in a fun learning process that is able to create creative and innovative mural drawings, as well as foster awareness of arrangement the beauty of the school environment as a comfortable and enjoyable

Developing Creative Students Who Embrace Malaysian Diverse Cultures: The Case of Learning Art through Wall Mural Activities

Abstract: The program called Program Sekolah Penyayang Setia: Alam Semula Jadi, Persekitaran dan Sekolah was an activity-based project that focused on the ‘caring for school’concept, the aims of which were to instill the feeling of love and caring, nurture a sense of togetherness, create an awareness of the importance of virtuous values, and develop strong unity among students. In this program, a series of activities called Wall Mural: Integrated Cultural Activity was carried out to create murals by focusing on aspects that would help enhance a sense of strong appreciation and respect of the major races in Malaysian, namely Malays, Chinese, and Indians by learning and using relevant cultural symbols of motifs for murals. This study was based on a qualitative approach involving a study sample consisting of several primary school students of the second level. They were briefed of the objectives of this program and were given exposure to the use of various symbols and motifs to help them understand the importance of national integration of diverse cultures of various races of Malaysia. Through this program, these students were able to learn the cultural symbols of design motifs of the diverse cultures of Malaysia and to gain first-hand aesthetical experience in using such symbols in the mural activities. By displaying such artistic works, their teachers and friends would also be able to learn and appreciate the various symbols of motifs and their cultural meanings. In summation, all involved in this creative program, either directly or indirectly, would have learned some cultural aspects of the various races of Malaysia, the appreciation and respect of which could help create a caring, respectable community at the school level.

Mural resource management system based on big data analysis

Abstract: The invention discloses a mural resource management system based on big data analysis. The problems that existing outdoor wall paintings, especially roadsides or some places with large pedestrian volume, are prone to being written and stained disorderly and affected by temperature and humidity, consequently, the wall paintings are damaged, watching of the wall paintings is affected, and existing wall resources cannot be utilized in time are solved. The system comprises a data acquisition module, a server, an information publishing module, a data receiving module, a painter matching module, a painting degree analysis module, a data acquisition module, a mural maintenance module, a restoration distribution module, a picture uploading module, an auditing module and a restoration statistics module. A registered user finds out a place needing to be repaired on the mural, and the place is photographed and sent through the mobile phone terminal, so that a worker for repairing the mural can repair the mural in time, and the phenomenon that the mural cannot be repaired in time due to smudginess, disordered writing, disordered painting, fading and the like, and watching of the mural is influenced is avoided.

Ancient mural holographic imitating and copying manufacturing method and holographic imitating and copying ancient mural obtained therethrough

Abstract: The invention provides an ancient mural holographic imitating and copying manufacturing method and a holographic imitating and copying ancient mural obtained therethrough The method comprises the following steps that data analysis and arrangement are performed according to cultural relic experimental investigation data so as to obtain a high-definition scanning image and a picture with the size ratio of 1:1 to an original mural as well as materials and structures used in an ancient mural original base layer and pigment used in the original wall painting; the high-definition scanning image isdivided into a plurality of parts, the size of each part is determined, image line drawing and copying are carried out, and bottom frame split manufacturing is carried out according to the size of each part; after a bottom frame is manufactured, single surface laying of a bottom lining plate is carried out, and then pure linen cloth is stretched and bound on the frame; according to the materials and the structures used in the ancient mural original base layer, a base layer and a surface layer are manufactured on the stretched linen cloth; pigment is selected according to the pigment used in the original wall painting, and a pigment blending liquid is prepared; the traditional drawing performance technique is applied to carry out ancient mural image information coping; and manufactured mural imitating and coping works are subjected to combined installation and gap filling