Search Results (30)

This article examines the role of visual and plastic art as a key instrument for constructing and interpreting cultural space. The study synthesizes a corpus of diverse theoretical works on the interaction between art and landscape, systematizes the principal issues within the field, and proposes avenues for further discussion. It investigates how art not only reflects but also physically, visually, and semantically transforms the landscape. Functioning as a mediator between spiritual, material, and symbolic realities, art creates distinctive forms of spatial experience. Through artistic practices, the aesthetics of a landscape are formed, along with visual and semantic codes, and new centers and loci that alter the perception of the environment. On a theoretical level, the research draws upon the semiotics of space, the philosophy of art, and the concept of landscape as text. The mechanisms through which landscape is endowed with meaning—via architecture, sculpture, painting, and literature—are examined, with a focus on narrative and symbolic modes of artistic interpretation. Particular attention is paid to art as a tool for shaping cultural memory, from memorial complexes to heritage museums, which become spaces of a different temporality and “reservations” of meaning. The cultural landscape is a site of interaction between the sacred and the profane, tradition and innovation, and elite and mass art. Art forms the codes for reading the landscape, translating visual characteristics—color, form, the vertical, the horizontal—into the realm of cultural significance. Thus, art is presented as a form of world reconstruction: an instrument for the spiritual and semantic appropriation of space, one that transforms the landscape into a text perpetually rewritten by culture. Full article

Polychrome paintings on wooden artifacts are vital elements of cultural heritage, where plant-derived binders play a crucial role in color formation and durability. This study aims to systematically compare the chemical, optical, and surface characteristics of two traditional natural adhesives—acacia gum (AG) and tragacanth gum (TG)—to better understand their influence on the preservation and reproduction of wood-supported polychrome coatings. Fourier-transform infrared spectroscopy (FTIR) confirmed their polysaccharide-rich structures, with distinct ester and glycosidic linkages, while rheological tests demonstrated that TG exhibited higher viscosity at 1–3% concentrations, whereas AG showed a sharper increase at 5%, reflecting different molecular architectures. Colorimetric analysis combined with two-way ANOVA revealed that gum type significantly influenced color development in blue and red coatings (p < 0.001), while yellow and green coatings remained largely unaffected. Gum concentration (1–5%) generally showed no significant effect on color. All coatings exhibited a matte appearance (<3 GU), with statistical analysis indicating that gloss was mainly determined by pigment particle distribution rather than adhesive type. Surface roughness increased notably with gum concentration (p < 0.001), demonstrating that binder content strongly affects coating microtexture. Overall, pigment type was the dominant factor for color, whereas gum concentration critically influenced surface morphology. These findings provide practical guidance for optimizing natural adhesives in the conservation of traditional polychrome artifacts. Full article

In this study, to address the problems of fading and cracking of ancient architectural paintings caused by environmental aging, a weather-resistant nano-coating material was prepared using self-made nano-zinc oxide as the UV agent and water-based fluorocarbon coating as the binder. Taking slides and painted wooden boards as the coating objects, respectively, the transparency, ultraviolet absorption capacity, and weather resistance of the coating were detected by ultraviolet-visible spectrophotometer and ultraviolet light weather resistance test chamber. The test results show that the coating material not only has high transparency but also has obvious color retention and crack resistance effects on the painted layer. At present, this coating material has been successfully applied in the experimental research on the protection of painted cultural relics in Xianyang Museum and Zhaoren Temple in Changwu. Full article

This study focuses on the nameplate of Vila D. Bosco, a modern building in Macau from the time of Portuguese rule, and looks at the types of metal materials and surface coatings used, as well as how they corrode due to the tropical marine climate affecting the building’s metal parts. The study uses different techniques, such as X-ray fluorescence spectroscopy (XRF), scanning electron microscopy/energy dispersive spectroscopy (SEM-EDS), X-ray diffraction (XRD), attenuated total internal reflectance Fourier transform infrared spectroscopy (ATR-FTIR), and cross-sectional microscopic analysis, to carefully look at the metal, corrosion products, and coating of the nameplate. The results show that (1) the nameplate matrix is a resulfurized steel with a high sulfur content (Fe up to 97.3% and S up to 1.98%), and the sulfur element is evenly distributed inside, which is one of the internal factors that induce corrosion. (2) Rust is composed of polycrystalline iron oxides such as goethite (α-FeOOH), hematite (α-Fe₂O₃), and magnetite (Fe₃O₄) and has typical characteristics of atmospheric oxidation. (3) The white and yellow-green coatings on the nameplate are oil-modified alkyd resin paints, and the color pigments are TiO₂, PbCrO₄, etc. The surface layer of the letters is protected by a polyvinyl alcohol layer. The paint application process leads to differences in the thickness of the paint in different regions, which directly affects the anti-rust performance. The study reveals the deterioration mechanism of resulfurized steel components in a subtropical polluted environment and puts forward repair suggestions that consider both material compatibility and reversibility, providing a reference for the protection practice of modern and contemporary architectural metal heritage in Macau and even in similar geographical environments. Full article

Archaeology is a well-established discipline that sheds light on human history and uncovers the mysteries of materials, their origins, production methods, and areas of use. It provides significant insights into various topics such as the production history of glass and other materials, trade routes, manufacturing processes, degradation mechanisms, regional usages, and coloring com-positions. Glass, an ancient yet contemporary material, can transmit, absorb, and reflect light. Appreciating glass art requires recognizing its rich history, offering artists technical and aesthetic possibilities in modern life and architecture. This study examines the influence of archaeological research and the artistic character of ancient glass on contemporary glass art. Archaeological findings from Turkey and around the world have been reviewed, with a particular focus on the Phrygian Valley, located in and around Eskişehir, an important region for the Phrygian civilization. Artifacts unearthed through excavations and sur-face surveys conducted in the Phrygian Valley, and preserved in the Eskişehir Eti Archaeology Museum, have been analyzed. The museum houses approximately 22.500 artifacts, including sculptures, steles, ceramics, glass vessels, metal objects, jewelry, and coins. Inspired by these artifacts and Phrygian culture, original glass designs have been created using techniques such as stained glass, lampworking, and glass painting. The aim of the study is to interpret Phrygian art and culture through innovative designs. Full article

The Gigantomachy depicted on the west pediment of the Late Archaic temple of Apollo at Delphi marks a significant milestone in early Greek architectural sculpture. Crafted from porous stone and enhanced with plaster and paint, the surviving fragments differ markedly from the marble figures of the east pediment of the same temple. Among the preserved figures of the Gigantomachy are a standing male figure, possibly representing Apollo or Dionysos, a warrior female identified as Athena, and a recumbent male, likely symbolizing the Giant Enkelados. This study aims to investigate the polychromy of the west pediment through a thorough investigation of the remnants of the original decoration. The adopted methodology includes exclusively non-destructive techniques and advanced imaging methods, such as portable X-ray fluorescence spectrometry, visible-induced luminescence (VIL), and 3D microscope observation. Analytical results confirmed the presence of extensive traces of once-vibrant colors on the plaster’s surface, which were often invisible to the naked eye. Specifically, our data support the employment of pigments like Egyptian blue, cinnabar, ochre-based reds and yellows, as well as copper-based green. Notably, these pigments were applied over a white calcium-rich layer, which served as a primer for the porous stone. Ongoing research on the Gigantomachy promises to deepen our understanding of color usage and painting techniques in Archaic Greek art. Full article

Portugal’s architecture reflects a rich history influenced by Roman, Moorish, Neoclassical and Romantic styles, with the 20th century marked by Art Deco and colonial influences. Regional styles vary, with white-painted buildings commonly experiencing color changes due to biofilm formation. Visually striking are the red-colored biological patinascommon in the coastal areas. A survey of 120 historical buildings affected by bio-colonization helps to understand the reasons for the patinas’ growing, which beyond natural factors, is often linked to construction defects. A characterization of four samples utilizes Next-Generation Sequencing (NGS) to identify the microorganisms composing the red biofilm, while the SEM-EDS, FTIR-ATR and XRD techniques provide further insights into the biofilm and substrate features. The comprehensive data of biochemical characterization indicate a wide variety of microorganisms, including bacteria and fungi, some of which exhibit potential as producers of a UV-tolerant red/yellow pigment (carotenoid) responsible for the macroscopic coloration of bio-colonization. Full article

Architectural color painting is one of the cultural heritages of the Tibetan people. To address the issues of “loss” and “variation” in architectural color paintings during the renovation of traditional Tibetan timber dwellings in Yunnan, it is essential to organize and categorize the forms and cultural content of ethnic minority timber architectural paintings. This approach will help supplement foundational research on the subject. This study, based on linguistic research findings, focuses on the Diqing South Locus Dialect Region as the research area, conducting field investigations in over 30 settlements (involving more than 80 dwellings). This study analyzes patterns, colors, and forms across various architectural elements to develop a detailed atlas of decorative painting patterns. A combined analysis of historical documentation reveals three primary folk causes behind the architectural color paintings of Tibetan timber buildings in Yunnan: (1) primitive worship under animism; (2) decorative norms guided by religious beliefs; and (3) cultural fusion resulting from ethnic heritage. This will help people understand the cultural essence behind architectural paintings, avoiding the cognitive limitation of knowing only their form but not their meaning. This paper aims to raise awareness of the cultural heritage of regional timber buildings, providing a basis for typological accumulation and model references for the protection and transmission of regional timber architectural color paintings. Full article

The pigments of cultural color paintings have faded with the passage of time. Color segmentations are essential for digital color reconstruction, but the complexity of color paintings makes it challenging to achieve high-precision segmentation using previous methods. To address the challenges of color painting segmentation, an optimized strategy based on U-Net is proposed in this paper. The residual blocks of a residual network (ResNet) are added to the original U-Net architecture, and a UR-Net is constructed for the semantic segmentation of color paintings. The following steps are taken. First, datasets of color paintings are obtained as training and test samples and are labeled with the two following pixel colors: earth red and ultramarine blue. Second, residual blocks are improved and added to fit the U-Net architecture. Then, a UR-Net is constructed and trained using the samples to obtain the semantic segmentation model. Finally, the effectiveness of the trained UR-Net model for segmenting the test samples is evaluated, and it is compared with the K-means clustering algorithm, ResNet, and U-Net. Data from several studies suggest that the segmentation accuracy of the UR-Net model is higher than that of other methods for the color segmentation of painted images, and the IoUs of the segmented earth red and ultramarine blue pixels are 0.9346 and 0.9259, respectively, achieving the desired results. The proposed UR-Net model provides theoretical and methodological support for further in-depth research on color recognition and segmentation of cultural color paintings. Full article

Caisson paintings are an integral part of the unique interior decoration ceiling of traditional Chinese architecture. There are a large number of Yuan Dynasty caisson paintings in the Puzhao Temple, in Hancheng, Shaanxi Province, China. These caisson paintings have exquisite patterns and rich colors, which are rare artistic treasures of the Yuan Dynasty. In the history of nearly 700 years, due to various environmental and human factors, the caisson paintings have experienced various degradation; for example, the paper of the caisson paintings is acidified, the surface is polluted, the color is faded, mottled, and it is difficult to identify. Therefore, their protection is vital. In order to ensure the scientific and targeted development of the protection scheme, this study conducted a comprehensive and in-depth analysis of the paper fibers, pigments, adhesives, wood supports, and pollutants of the caisson paintings and carried out a series of protection experiments in the field and laboratory, providing a step-by-step review of the protection treatment application for the caisson paintings. Mechanical and wet cleaning were used to remove the pollutants. The caisson painting was deacidified with a barium hydroxide ethanol solution, and the paper and pigments of the caisson painting were strengthened with water-based fluorine. Several conservation problems, such as the removal of pollutants, the deacidification of acidified paper, and the reinforcement of flaking paper and pigments, were solved. Meanwhile, good conservation and restoration results for caisson paintings were obtained. This research method of combining theory and practice has greatly improved the scientificity and success rate of conservation work. These research results provide valuable experience and reference for other caisson paintings in similar environments. Full article

The appropriate preservation and color rendering of paintings and art pieces are a pending subject in architectural heritage, since, in most of the cases, lighting systems are not really focused on the conservation and suitable perception of these heritage resources, due to the limitations of standard LED lamps and lighting configurations. In this context, a multichannel luminaire system is proposed in the case study of the Cathedral of Seville, providing a variable and rich spectral distribution, which allows an excellent color perception linked to the daylight conditions, while the short-wavelength light is minimized in order to reduce photodegradation. Two scenarios are addressed: Museum of the Cathedral and Evangelist Chapel. The multichannel luminaire system is tested by means of subjective surveys and objective procedures (Farnswoth-Munsell and Natural Color System tests). The results show that the proposed spectral distribution of the multichannel system provides a better color discrimination in comparison with typical lighting systems, as well as a better preservation, defining a suitable lighting technology for architectural heritage. The novelty of this study lies in the multi-parameter approach, taking care of color rendering while photodegradation is minimized. Full article

Color paintings such as painted facades and interiors are important decoration elements of ancient Chinese architectures. The color of the paintings usually fades over time due to exposure to strong light, high humidity, high temperatures, and other environmental factors. In order to restore or reproduce the color appearance of ancient architecture paintings correctly, it was necessary to study the color degradation process of such paintings. To meet the needs of on-site colorimetric measurement of the paintings on ancient Chinese architectures, we propose using a digital color camera and the CDS (Color Design System) to measure and evaluate the colors of such paintings. The CDS is a color order system recommended by the Chinese national technical committee for color standardization (SAC/TC 120) in 2017 (GB/Z 35473-2017). The current version of the CDS atlas contains about 2740 samples which were uniformly distributed on the whole color space, and can be used to set up the colorimetric characterization model for the digital camera. Particularly, the digital CDS lookup table contains over 400 thousand samples, and it can be used to express the color of paintings on ancient Chinese architectures. In the experiment, a digital color camera was used to capture the colors of the paintings on the ancient Chinese architectures of different years based on the CDS and polynomial transform method. Moreover, a linear interpolation method was proposed for calculating and predicting the color degradation of such paintings. The experimental results show that with the increase in years, the color hue of the paintings changes slowly, while the lightness and the chroma of them fade obviously. In the future, more ancient architectures of different years and from different places should be selected as experimental samples to improve the method and the results of the paper. Full article

(1) Background: This paper illustrates an innovative methodological approach chosen to study and map the colors of the medieval wall painting of Santa Maria Antiqua in the Roman Forum, one of the pilot sites of the EHEM project (Enhancement of Heritage Experiences: The Middle Ages). Digital Layered Models of Architecture and Mural Paintings over Time). (2) Methods: Two methods were employed to gather information about colors and mapping. Specifically, colorimetry was utilized for spot measurements, and hypercolorimetric multispectral imaging (HMI) was employed to map the same colors sampled through colorimetry. (3) Results: Chromatic data for all colors in the wall paintings were obtained in the CIELAB color space. Additionally, chromatic similarity maps were generated using the innovative HMI system, a multispectral imaging technique capable of obtaining color data information through advanced calibration software named SpectraPick^® (Version 1.1). This comprehensive approach facilitates a thorough understanding of color characteristics and distribution. (4) Conclusions: The color measurements and mapping represent significant advancements in the interpretation of medieval wall paintings, which are often fragmentary and stratigraphically complex. This research sheds new light on the colors used and enhances our understanding of the original appearance of the iconographic patterns. Furthermore, it enables the reconstruction of colors that closely resemble the originals. Full article

This study analyzes the pigments and binders used in the painted wooden structure of DaZhong Gate in the Confucius Temple in Qufu, Shandong Province, China. Five samples were collected from the building and analyzed using techniques such as polarized light microscopy (PLM), energy-dispersive X-ray spectroscopy (EDX), micro-Raman spectroscopy (m-RS), and Fourier-transform infrared spectroscopy (FT-IR). The findings reveal that the red, yellow, green, and blue pigments are identified as lead red, lead chromate yellow, emerald green, and ultramarine, respectively. The white pigment is determined to be a combination of chalk and lead white or anglesite. Considering the production period of the yellow and green pigments, it is inferred that architectural paintings underwent restoration or repainting during the late Qing Dynasty. The analysis of the binder in the pigment using pyrolysis–gas chromatography/mass spectrometry (Py-GC/MS) reveals that the binder employed is a protein-based glue. Additionally, the detected presence of Heat-bodied tung oil suggests a potential connection to traditional Chinese painting techniques on wooden surfaces. This discovery not only contributes to the historical research of the Confucius Temple but also provides crucial data for the conservation and restoration efforts of this culturally significant heritage site. Full article

Anyuan Temple, constructed in the 29th year of the Qing Dynasty (1764), serves as a repository of numerous Sanskrit inscriptions and Hexi color paintings from the Qing era. Among its collections, the green Tara Buddha statue, exquisitely carved from wood, is recognized as a national first-class cultural relic. This edifice is instrumental in advancing our comprehension of painting artistry in royal temples. The current research focused on the pigments and binders utilized in the color paintings within Anyuan Temple, located in Chengde. An investigative process entailed collecting four samples from the paintings adorning the temple’s beams. These samples underwent comprehensive analysis using a variety of techniques, such as Scanning Electron Microscopy and Energy-Dispersive Spectrometry (EDS), Micro Raman Spectroscopy (m-RS), and X-ray Diffraction (XRD). The examination revealed that the paintings comprised pigments of lead white, cinnabar, malachite, and azurite, corresponding to the colors white, red, green, and blue, respectively. The enduring stability and aesthetic appeal of these pigments suggest their suitability for use in future conservation efforts. Additionally, Pyrolysis Gas Chromatography/Mass Spectrometry (Py-GC/MS) analysis identified animal glue as the binding agent in the wood component paintings. These insights are pivotal for the forthcoming restoration endeavors of Anyuan Temple, offering essential guidance in selecting the appropriate materials for restoration. Full article