Search results for: mural paintings

Authors: Liping Qiu, Xiaofeng Zhang

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In its long history, precious tomb murals suffered from various diseases due to natural and man-made destruction. The key to how to protect tomb murals is how to strengthen and protect the tomb murals. In order to maximize the life of the tomb murals, the artistic, historic, and scientific values of the tomb murals can be continued. In this paper, four kinds of traditional reinforcement materials (silicone acrylic lotion, pure acrylic lotion, polyvinyl acetate lotion, and B72) are selected to reinforce the ground support layer of tomb murals, and the reinforcement effect of each reinforcement material on the ground support layer of murals is compared and analyzed, and the best protection material is obtained.

Keywords: mural, destruction cycle, reinforcement material, disease

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Authors: Donna Banks

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In 1998 Winston James called for more research on the Caribbean diaspora and this ethnographic study, incorporating participant observation, interviews, and archival research, adds to the scholarship in this area. The research is grounded in the discipline of cultural studies but is cross-disciplinary in nature, engaging anthropology, psychology, and urban planning. This paper centers on community murals and their contribution to a more culturally diverse and representative community. While many museums are in the process of reassessing their collection, acquiring works, and developing programming to be more inclusive, and public art programs are investing millions of dollars in trying to fashion an identity in which all residents can feel included, local artists in neighborhoods in many countries have been using community murals to tell their stories. Community murals serve a historical, political, and social purpose and are an instrumental strategy in creative placemaking projects. Community murals add to the livability of an area. Even though official measurements of livability do not include race, ethnicity, and gender - which are egregious omissions - murals are a way to integrate historically underrepresented people into the wider history of a country. This paper draws attention to a creative placemaking project in the port city of Bristol, England. A city, like many others, with a history of spacializing race and racializing space. For this reason, Bristol’s Seven Saints of St. Pauls® Art & Heritage Trail, which memorializes seven Caribbean-born social and political change agents, is examined. The Seven Saints of St. Pauls® Art & Heritage Trail is crucial to the city, as well as the country, in its contribution to the de-racialization of public spaces. Within British art history, with few exceptions, portraits of non-White people who are not depicted in a subordinate role have been absent. The artist of the mural project, Michelle Curtis, has changed this long-lasting racist and hegemonic narrative. By creating seven large-scale portraits of individuals not typically represented visually, the artist has added them into Britain’s story. In these murals, however, we see more than just the likeness of a person; we are presented with a visual commentary that reflects each Saint’s hybrid identity of being both Black Caribbean and British, as well as their social and political involvement. Additionally, because the mural project is part of a heritage trail, the murals' are therapeutic and contribute to improving the well-being of residents and strengthening their sense of belonging.

Keywords: belonging, murals, placemaking, representation

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Authors: Carlos Riobo

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This paper analyzes literature and art in Argentina from the nineteenth to the twenty-first centuries as these media used the figure of the white female captive to define a developing national identity. This identity excluded the Indians whose lands the whites were taking and who appeared as the aggressors and captors in writing and paintings. The paper identifies the complicit relationship between art and history in crafting national memory. It also identifies a movement toward purity (as defined by separation of entities) and away from mestizaje (racial and cultural mixtures).

Keywords: Argentina, borders, captives, literature, painting

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Authors: Lise Alonso, Audrey Dubost, Patricia Luis, Thomas Pommier, Yvan Moënne-Loccoz

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The Lascaux Cave in South-Est France is an archeological landmark renowned for its Paleolithic paintings dating back c.18.000 years. Extensive touristic frequenting and repeated chemical treatments have resulted in the development of microbial stains on cave walls, which is a major issue in terms of art conservation. Therefore, it is of prime importance to better understand the microbiology specific to the Lascaux Cave, in comparison to regional situations. To this end, we compared the microbial community (i.e. both prokaryotic and eukaryotic microbial populations) of Lascaux Cave with three other anthropized Périgord caves as well as three pristine caves from the same area. We used state-of-the-art metagenomic analyses of cave wall samples to obtain a global view of the composition of the microbial community colonizing cave walls. We measured the relative abundance and diversity of four DNA markers targeting different fractions of the ribosomal genes of bacteria (i.e. eubacteria), archaea (i.e. archeobacteria), fungi and other micro-eukaryotes. All groups were highly abundant and diverse in all Périgord caves, as several hundred genera of microorganisms were identified in each. However, Lascaux Cave displayed a specify microbial community, which differed from those of both pristine and anthropized caves. Comparison of stains versus non-stained samples from the Passage area of the Lascaux Cave indicated that a few taxa (e.g. the Sordiaromycetes amongst fungi) were more prevalent within than outside stains, yet the main difference was in the relative proportion of the different microbial taxonomic groups and genera, which supposedly supports the biological origin of the stains. Overall, metagenomic sequencing of cave wall samples was effective to evidence the large colonization of caves by a diversified range of microorganisms. It also showed that Lascaux Cave represented a very particular situation in comparison with neighboring caves, probably in relation to the extent of disturbance it had undergone. Our results provide key baseline information to guide conservation efforts in anthropized caves such as Lascaux and pave the way to modern monitoring of ornamented caves.

Keywords: cave conservation, Lascaux cave, microbes, paleolithic paintings

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Authors: Emine Yılmaz Bolat

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Early childhood is a very important period in terms of identifying and developing early skills and abilities. It is likely that the child's development will be in the same direction in the future. This study was conducted with 26 children for the purpose of examining pictures of children of five years old. In the survey, children were asked to draw a picture with pastel dyes. The drawings were collected and evaluated by the researcher. At the end of the research, it was found that the children used the yellow color (N = 17, 16,34%) and the least gray color (N = 1, 0,96%). When the features of children's pictures are examined, the children's paintings have been found to have hierarchy, transparency, completion, the use of vivid colors, and the presence of vertical and horizontal painting lines.

Keywords: early childhood, kindergarten, pictures of children, features of pictures

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Authors: John Yahng, Riteesh Bookun

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Popliteal artery aneurysms (PAAs) are the most common arterial aneurysm of the periphery. It is defined as focal dilation of the artery more than 50% of the normal vessel diameter which usually varies between 7 mm to 11 mm. The most common presentation for PAAs is claudication due to luminal stenmosis secondary to mural thrombus or acute limb ischaemia due to occlusive thrombosis or distal thromboembolism. It is less common for patients to present with non-ischaemic symptoms secondary to mass effect and compression of adjacent structures, and of these, presentation with common peroneal nerve compression is particularly uncommon. We present a rare case of a 92-year-old female patient presenting with 4-month history of left foot drop with radiological evidence of common peroneal nerve compression secondary to PAA of 22 mm by21mm in size. To the best of our knowledge, this is the smallest reported popliteal aneurysm presenting with foot drop. We also present the endovascular treatment option taken in our case.

Keywords: aneurysm, foot drop, peroneal nerve, popliteal

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Authors: John Yahng, Hansraj Riteesh Bookun

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Popliteal artery aneurysms (PAAs) are the most common arterial aneurysm of the periphery. It is defined as focal dilation of the artery more than 50% of the normal vessel diameter which usually varies between 7 mm to 11 mm. The most common presentation for PAAs is claudication due to luminal stenosis secondary to mural thrombus or acute limb ischaemia due to occlusive thrombosis or distal thromboembolism. It is less common for patients to present with non-ischaemic symptoms secondary to mass effect and compression of adjacent structures, and of these, presentation with common peroneal nerve compression is particularly uncommon. We present a rare case of a 92-year-old female patient presenting with 4-month history of left foot drop with radiological evidence of common peroneal nerve compression secondary to PAA of 22 mm by 21mm in size. To the best of our knowledge, this is the smallest reported popliteal aneurysm presenting with foot drop. We also present the endovascular treatment option taken in our case.

Keywords: aneurysm, foot drop, peroneal nerve, popliteal

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Authors: Lina Sun

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Chinese traditional drawings related to buildings and construction apply a unique geometry differentiating with western Euclidean geometry and embrace a collection of special terminologies, under the category of tu (the Chinese character for drawing). This paper will on one side etymologically analysis the terminologies of Chinese traditional architectural drawing, and on the other side geometrically deconstruct the composition of tu and locate the visual narrative language of tu in the pictorial tradition. The geometrical analysis will center on selected series of Yang-shi-lei tu of the construction of emperors’ mausoleums in Qing Dynasty (1636-1912), and will also draw out the earlier architectural drawings and the architectural paintings such as the jiehua, and paintings on religious frescoes and tomb frescoes as the comparison. By doing these, this research will reveal that both the terminologies corresponding to different geometrical forms respectively indicate associations between architectural drawing and the philosophy of Chinese cosmology, and the arrangement of the geometrical forms in the visual picture plane facilitates expressions of the concepts of space and position in the geometrical cosmology. These associations and expressions are the collective intentions of architectural drawing evolving in the thousands of years’ tradition without breakage and irrelevant to the individual authorship. Moreover, the architectural tu itself as an entity, not only functions as the representation of the buildings but also express intentions and strengthen them by using the Chinese unique geometrical language flexibly and intentionally. These collective cosmological spatial intentions and the corresponding geometrical words and languages reveal that the Chinese traditional architectural drawing functions as a unique architectural site with subjectivity which exists parallel with buildings and express intentions and meanings by itself. The methodology and the findings of this research will, therefore, challenge the previous researches which treat architectural drawings just as the representation of buildings and understand the drawings more than just using them as the evidence to reconstruct the information of buildings. Furthermore, this research will situate architectural drawing in between the researches of Chinese technological tu and artistic painting, bridging the two academic areas which usually treated the partial features of architectural drawing separately. Beyond this research, the collective subjectivity of the Chinese traditional drawings will facilitate the revealing of the transitional experience from traditions to drawing modernity, where the individual subjective identities and intentions of architects arise. This research will root for the understanding both the ambivalence and affinity of the drawing modernity encountering the traditions.

Keywords: Chinese traditional architectural drawing (tu), etymology of tu, collective subjectivity of tu, geometrical cosmology in tu, geometry and composition of tu, Yang-shi-lei tu

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Authors: Shatarupa Thakurta Roy

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Along the limelight of mainstream academic practices in Indian art, exist a significant lot of habitual art practices that are mutually susceptible in their contemporary forms. Narrative folk paintings of regional India has successfully dispersed to its audience social messages through pulsating pictures and orations. The paper consists of images from narrative scroll paintings on ‘Ramayana’ theme from various neighboring states as well as districts in India, describing their subtle differences in style of execution, method, and use of material. Despite sharing commonness in the choice of subject matter, habitual and ceremonial Indian folk art in its formative phase thrived within isolated locations to yield in remarkable variety in the art styles. The differences in style took place district wise, cast wise and even gender wise. An open flow is only evident in the contemporary expressions as a result of substantial changes in social structures, mode of communicative devices, cross-cultural exposures and multimedia interactivities. To decipher the complex nature of popular cultural taste of contemporary India it is important to categorically identify its root in vernacular symbolism. The realization of modernity through European primitivism was rather elevated as a perplexed identity in Indian cultural margin in the light of nationalist and postcolonial ideology. To trace the guiding factor that has still managed to obtain ‘Indianness’ in today’s Indian art, researchers need evidences from the past that are yet to be listed in most instances. They are commonly created on ephemeral foundations. The artworks are also found in endangered state and hence, not counted much friendly for frequent handling. The museums are in dearth of proper technological guidelines to preserve them. Even though restoration activities are emerging in the country, the existing withered and damaged artworks are in threat to perish. An immediacy of digital achieving is therefore envisioned as an alternative to save this cultural legacy. The method of this study is, two folded. It primarily justifies the richness of the evidences by conducting categorical aesthetic analysis. The study is supported by comments on the stylistic variants, thematic aspects, and iconographic identities alongside its anthropological and anthropomorphic significance. Further, it explores the possible ways of cultural preservation to ensure cultural sustainability that includes technological intervention in the form of digital transformation as an altered paradigm for better accessibility to the available recourses. The study duly emphasizes on visual description in order to culturally interpret and judge the rare visual evidences following Feldman’s four-stepped method of formal analysis combined with thematic explanation. A habitual design that emerges and thrives within complex social circumstances may experience change placing its principle philosophy at risk by shuffling and altering with time. A tradition that respires in the modern setup struggles to maintain timeless values that operate its creative flow. Thus, the paper hypothesizes the survival and further growth of this practice within the dynamics of time and concludes in realization of the urgency to transform the implicitness of its knowledge into explicit records.

Keywords: aesthetic, identity, implicitness, paradigm

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Authors: Van Huong Mai, Kanokwan Nithiratphat, Adool Booncham

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The Movement of Contemporary Life consisted of two purposes, which were to study the movement and development of the modern life and to create the visual arts, which were paintings expressed via the form of apartment buildings was used from mixed media (digital printing and acrylic painting on canvas) which conveyed the rapid pace of modern life leading to diverse movements in viewer’s feeling. The operation of this creation was collected field data, documentary data, and influence from creative work. The data analysis was analyzed in order to theme, form, technique, and process to satisfy of concept and special character of the pieces.

Keywords: movement, contemporary life, visual art, acrylic painting, digital art, urban space

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Authors: Rune Bjerke

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Psychologists incline to see creativity as a mental and psychological process. However, creativity is as well results of cultural and social interactions. Therefore, creativity is not a product of individuals in isolation, but of social systems. Creative people get ideas from the influence of others and the immediate cultural environment – a space of knowledge, situations, and practices. Therefore, in this study we apply the systems theory in practice to activate creativity processes in the production of our novel and screenplay writing. We, as storytellers actively seek to get into situations in our everyday lives, our systems, to generate ideas. Within our personal systems, we have the potential to induce situations to realise ideas to our texts, which may be accepted by our gate-keepers and can become socially validated. This is our method of writing – get into situations, get ideas to texts, and test them with family and friends in our social systems. Example of novel text as an outcome of our method is as follows: “Is it a matter of obviousness or had I read it somewhere, that the one who increases his knowledge increases his pain? And also, the other way around, with increased pain, knowledge increases, I thought. Perhaps such a chain of effects explains why the rebel August Strindberg wrote seven plays in ten months after the divorce with Siri von Essen. Shortly after, he tried painting. Neither the seven theatre plays were shown, nor the paintings were exhibited. I was standing in front of Munch's painting Women in Three Stages with chaotic mental images of myself crumpled in a church and a laughing x-girlfriend watching my suffering. My stomach was turning at unpredictable intervals and the subsequent vomiting almost suffocated me. Love grief at the worst. Was it this pain Strindberg felt? Despite the failure of his first plays, the pain must have triggered a form of creative energy that turned pain into ideas. Suffering, thoughts, feelings, words, text, and then, the reader experience. Maybe this negative force can be transformed into something positive, I asked myself. The question eased my pain. At that moment, I forgot the damp, humid air in the Munch Museum. Is it the similar type of Strindberg-pain that could explain the recurring, depressive themes in Munch's paintings? Illness, death, love and jealousy. As a beginning art student at the master's level, I had decided to find the answer. Was it the same with Munch's pain, as with Strindberg - a woman behind? There had to be women in the case of Munch - therefore, the painting “Women in Three Stages”? Who are they, what personality types are they – the women in red, black and white dresses from left to the right?” We, the writers, are using persons, situations and elements in our systems, in a systems theory perspective, to prompt creative ideas. A conceptual model is provided to advance creativity theory.

Keywords: creativity theory, systems theory, novel writing, screenplay writing, sources of creativity in social systems

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Authors: Shaik Jilani Basha, Inavolu Avinash, Alla Venu Sai Reddy, Bitragunta Taraka Ramu

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We can use the neural style transfer technique to build a picture with the same "content" as the beginning image but the "style" of the picture we've chosen. Neural style transfer is a technique for merging the style of one image into another while retaining its original information. The only change is how the image is formatted to give it an additional artistic sense. The content image depicts the plan or drawing, as well as the colors of the drawing or paintings used to portray the style. It is a computer vision programme that learns and processes images through deep convolutional neural networks. To implement software, we used to train deep learning models with the train data, and whenever a user takes an image and a styled image, the output will be as the style gets transferred to the original image, and it will be shown as the output.

Keywords: neural networks, computer vision, deep learning, convolutional neural networks

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Authors: Bárbara Dantas

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Nicolas-Antoine Taunay had everything to have a quiet life with his numerous family, his colleagues from the Paris Academy of Art, and as a renowned painter of the French Court, but the conjuncture was quite complicated in those final years of the eighteenth century and first decades of the 19th century. The painter had to adapt to various political and social ruptures: from royalty to the French Revolution, from the empire of Napoleon Bonaparte to the empire of King John VI. According to the method of analysis that involves the idea of "political iconography" from Carlo Ginzburg and the concept of "representation" associated with Georges Didi-Huberman, this work wishes to insert Taunay in its context through the analysis of his portrait made by a colleague of the profession and of a Brazilian landscape painted of his own (1816-1821) and, in which he represented himself. Finally, the intention is to find in these two paintings how Nicolas-Antoine Taunay faced himself and in the middle that surrounded him in the traffic that was forced to make it between Paris and Rio de Janeiro.

Keywords: Nicolas-Antoine Taunay, politic iconography, French art, Brazilian art, 19th century

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Authors: Francesco Arese Visconti

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The purpose of this paper is to question the methodological challenges that practice-based research on recent Italian migrants in Switzerland can pose. The entire development of the work has moved from the theorization to the production and back in a continuous exchange which is at the base of failures and successful results. The theoretical background leads to reflect on practical solutions to produce photographic portraits in the attempt to depict the cultural identity of a specific population. Thus, a series of key points of this challenging, visual, and intimate journey are discussed and developed. While analyzing, in the first stance, the psychological challenges resulting from the encounter of the photographer, the sitter, and the spectator, the challenges of the representation of a group of people with individual photographic portraits will secondly be highlighted. The paper underlines how previous work can be precursory of subsequent research and why the inclusion of the landscape versus maintaining a neutral background has links with paintings from the Italian Renaissance.

Keywords: photography, migration, Italians, Switzerland

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Authors: A. N. Roslen, S. A. Syed-Sahil, A. Musavir

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In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers.

Keywords: art, fashion, inspiration, local artist

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Authors: Angelis P. Barlampas

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PURPOSE: The purpose of this paper is to demonstrate the important role of taking an appropriate and detailed history, in order to reach the best possible diagnostic conclusion. MATERIAL: A patient presented to the emergency department due to the sudden onset of continuous abdominal pain, during the last hour and with the clinical symptoms of an acute abdomen. During the clinical examination, signs of peritoneal irritation and diffuse abdominal tenderness were found. The rest of the clinical and laboratory tests did not reveal anything important. From the reported medical history, nothing of note was found, except for the report of a large liver cyst, for which he was advised not to take any further action, except from regular ultrasound examination . METHOD: A computed tomography examination was performed after per os administration of gastrografin, which revealed a hyperdense ascitic effusion, similar in density to that of gastrografin within the intestinal tract. The presence of a large cyst of the left hepatic lobe was confirmed, contacting and pushing against the stomach. In the area of the contact between the liver cyst and the pylorus, there were extraluminal air bubbles and local opacity of the peritoneal fat, with a small hyperdense effusion. Result : The above, as well as the absence of a history of stomach ulcer or recent trauma, or other pathology, argue in favor of acute pyloric perforation, due to mural necrosis, in response to chronic external pressure from the pre-existing large liver cyst.

Keywords: perforation, stomach, large liver cyst, CT abdomen, acute abdominal pain, intraperitoneal leakage, constrast leakage

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Authors: Von Jerick Tenorio, Jonald Lucero, Marivic Vestal, Edwin Tiempo

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In patients with hostile aortic neck anatomy, the risks of proximal seal complications and stent migration remain with EVAR despite improved endograft technology. This case report discusses how the technical challenges of the hostile neck anatomy, proximal penetrating atherosclerotic ulcer (PAU) and tortuous femoral access were addressed. The CT aortogram of a 63-year-old hypertensive and diabetic man with recurring abdominal discomfort revealed a fusiform infra-renal aneurysm measuring 8.8 cm in length and 5.7 cm in diameter. The proximal landing zone only has a 3 mm healthy neck with a conicity of > 10% and a thrombus of 4 mm thick. Proximal to the aneurysm is a PAU with a circumferential mural thrombus. The right femoral artery is tortuous with > 90o angulation. A 20% oversized Endurant II endograft and Aptus Heli-FX EndoAnchors were deployed as prophylaxis for type I endoleaks and endograft migration consequent to the conical neck and proximal aneurysm extension consequent to the PAU. A stiff Backup Meier guide wire facilitated the deployment of the endograft. Coil embolization of the right internal iliac artery was performed as prophylaxis for type II endoleaks. EndoAnchors can be used as an adjunct to EVAR as prophylaxis for proximal seal complications and stent migration in patients with hostile aortic aneurysm neck anatomy and concomitant proximal PAU.

Keywords: endoAnchors, endoleaks, EVAR, hostile neck

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Authors: Lin Chang

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Birmingham, England was a town in the late-eighteenth century and became the nation’s second largest city in the late nineteenth century. The city expanded rapidly in terms of its population and size. Three generations of artists from a local family, the Lines, made a large number of drawings and paintings depicting the growth and changes of their city. At first sight, the meaning of the pictures seems straight-forward: providing records of what were torn down and newly-built. However, except for being read as maps, the pictures reveal a struggle in vision as to whether unsightly manufactories and their smoking chimneys should be visualized and how far the borders of the town should have been positioned and understood as they continued to grow and encroached upon its immediate countryside. This art-historic paper examines some topographic views by the Lines family and explores how they, through unusual depiction of rural and urban scenery, manage to give form to the borderlands between the country and the city. This paper argues that while the idea of the country and the city seems to be common sense, the two realms actually pose difficulty for visual representation as to where exactly their borders are and the idea itself has dichotomized the way people consider landscape imageries to be.

Keywords: Birmingham, suburb, urban fringes, landscape

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Authors: Rachel Healy

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This paper builds on the speaker’s recent identification of an early sixteenth-century painting in the National Gallery of Ireland as containing rare portraits of Giorgio Cornaro (brother of Caterina, Queen of Cyprus) and his son Cardinal Francesco. It resolves similar long-standing confusion regarding the identities of sitters in related works by Titian, Raphael and Bernini, in works such as the Cornaro Triple Portrait in the National Gallery of Art, Washington DC, Man with a Falcon in The Joslyn Art Museum, Omaha, Head of a Cardinal, Wilton House, Wiltshire and The Cornaro Chapel, Santa Maria della Vittoria, Rome, by using an overlooked seventeenth-century painted Cornaro family tree, from Palazzo Corner-Mocenigo, as a tool for identifying these and other sitters in disputed portraits of one of Renaissance Venice’s wealthiest and most influential patrician families. In so doing, it will cast new light on Titian’s development as a portraitist and the extent to which important paintings commissioned by the Cornaro survived fires at two family palaces in Venice in the 1530s. It will also showcase the associations Raphael had with the Cornaro cardinal and will present new evidence relating to the likenesses Bernini fashioned for the Cornaro Chapel in 1647-52.

Keywords: Venice, portraits, titian, genealogy, Bernini, family tree, Raphael, venetian family, cornaro, sixteenth century Venice, portraiture

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Authors: Donna L. Roberts

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Beyond the fundamental question of what is (and what isn’t) art, one then moves to the question of what about art, or a specific artwork, matters. If there is an agreement that something is art, the next step is to answer the obvious, ‘So what? What does it mean?’ In answering these questions, one must decide how to focus the proverbial microscope –i.e., what level of perspective is relevant as a point of view for this analysis- the artwork itself, the artist’s intention, the viewer’s interpretation, the artwork’s reflection of the larger artistic movement, the social, political, and historical context of art? One must determine what product and what contexts are meaningful when experiencing and interpreting art. Is beauty really in the eye of the beholder? Or is it more important what the creator was trying to say than what the critic or observer heard? The fact that so many artists –from Rembrandt to Van Gogh to Picasso- include among their works at least one self-portrait seems to scream their point –I matter. But, Is a piece more impactful because of the persona behind it? Or does that persona impose limits and close one’s mind to the possibilities of interpretation? In the popular art text visual culture, Richard Howells argues against a biographical focus on the artist in the analysis of art. Similarly, abstract expressionist Mark Rothko, along with several of his contemporaries of the genre, often did not title his paintings for the express purpose of not imposing a specific meaning or interpretation on the piece. And yet, he once said, ‘The people who weep before my pictures are having the same religious experience I had when I painted them,’ thus alluding to a desire for a shared connection and revelation. This research analyzes the arguments for differing levels of interpretation and points of view when considering a work of art and/or the artist who created it.

Keywords: art analysis, art interpretation, art theory, artistic perspective

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Authors: Karolina Siejka, Monika Piekarska, Monika Zbroja, Weronika Cyranka, Maryla Kuczynska, Magdalena Grzegorczyk, Malgorzata Nowakowska, Agnieszka Brodzisz, Magdalena Maria Wozniak

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Crohn’s disease is one of chronic inflammatory bowel diseases. It is increasing in prevalence worldwide, especially with young people. The disease usually occurs in the second to the fourth decade of life. Traditionally is diagnosed by clinical indicates, endoscopic, and histological findings. Magnetic Resonance Enterography (MRE) can demonstrate mural and extramural inflammatory signs and complications, which make it a valuable diagnostic modality. The study included 76 adults and 36 children diagnosed with Crohn’s disease. Each patient underwent MRE with intravenous administration of a contrast agent. All the studies were performed using Siemens Aera 1.5T scanner according to a local study protocol. Whenever applicable, MR Enterography findings were verified with endoscopy. Forty adults and all 36 children had an active phase of Crohn’s disease; five adults had a chronic phase of the disease; one adult had both chronic and active inflammatory features. Thirty adults have no sings of pathology. In both adult and pediatric groups the most commonly observed manifestation of active disease was thickened edematous ileum wall (26 adults and 36 children). Adults had Bauhin’s valve edema in 58% cases (n=23) and mesenteric changes in 34% cases (n=9). To compare, 32 children had Bauhin’s valve edema (89%) and, in 23 cases, was found inflammatory infiltration of the peri-intestinal fat (64%). The involvement of the large intestine was more common among children (100%). Complications of Crohn’s disease were found commonly in adults (40% of adults, 22% of children). There were observed 18 fistulas (14 adults, four children) and six abscesses (2 adults, four children). MRE is a reliable method in the evaluation of Crohn’s disease activity, especially of its complications. The lack of radiations makes MRE well-tolerated modality, which can be often repeated, particularly in young patients. The disease had different medical sings depending on age – children often had a more active inflammatory process, but there were more complications in the adult group.

Keywords: Crohn's disease, diagnostics, inflammatory bowel disease, magnetic resonance enterography, MRE

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Authors: Anahita Shahrokhi, Hamed Kazemzadeh

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Various issues are included in cultural relations between societies. Art styles along with architectural similarities are by far one of the most noticeable cultural-historic relations. The Dagestan Republic located in the south of Russia Federation in the North Caucasus has had cultural relations with historical Iran since long ago and is considered as a part of the Islamic world. From Sassanid era and Islamic Empire prior to Tsars’ government, such relations had been maintained largely due to Iran and Islam’s political and social dominance over the region. The presence of the Iranians, mostly for business and commerce, is evident through not only written documents but also other cultural elements including architecture and art. Southern Dagestan and northern provinces of Iran, not distant from each other by sea, have a lot of artistic and cultural aspects in common. The architecture used in some structures such as religious centers, Tekie and Saqa Nafars strongly resembles religious centers in the south of Dagestan. The majority of these similarities lie in the wooden carvings, engravings, and paintings of the interior decorations on the pillars, capitals, walls, and ceilings, as well as the similarity of the plans. Such designs were formed in Safavid dynasty first in Mazandaran and later in Dagestan so that this style is currently named Persiski, meaning Persian, in the Dagestan Republic. These similarities indicate the relationship between the artists and educated people from Iran and Dagestan and the Iranians’ role on the religious and cultural development of Dagestan from the 17th and 18th centuries.

Keywords: wooden works, Mazandaran, Dagestan, Saqa Nafar, ritual and Islamic architecture

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Authors: Constance Kirker

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While there is general agreement that food itself can be beautiful, thousands of still-life masterpieces over the years attest to this, depicting the act of eating, actually placing food in one’s mouth and chewing is seemingly taboo. The environment created around consumption -dining rooms, linens, china, flowers- is consciously choreographed to provide a pleasing aesthetic experience. Yet artists, from Roman frescoes painters to contemporary photographers, create images from feasts to solitary subjects that rarely show food or drink touching lips, chewing, or swallowing. Of the countless paintings of the Last Supper, the food remains on the table. Rarely is Adam or Eve shown taking a bite of the apple, initiating Original Sin. In the few examples that do depict food-in-mouth, Goya’s Saturn Devouring His Son, or the ubiquitous photos of the “wedding smash” with brides and grooms pushing wedding cake into each other’s mouths, the images are seemingly intended to be particularly ugly or humorous in a distasteful way. This paper will explore theories that include the rules of etiquette, some determined hundreds of years ago and still followed today, that imply eating is a metaphor for gluttony, implicit sexuality of eating, the distortion of the face while eating and the simple practicality of the difficulty of an artist’s model maintaining a chewing position. If art is a reflection of society, what drives the universal impulse to hide this very human function?

Keywords: aesthetics, senses, taboo, consumption

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Authors: Mohammad Abdel Fattah Mohammad Kewisha

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Microbial deterioration of ancient materials became one of the biggest problems facing the workers in the field of cultural heritage protection because the microbial deterioration of artifacts causes detrimental effects on the aesthetic value of the monuments due to colonization, whether they are made of inorganic materials such as stone or organic like wood, textiles, wall paintings, and paper. So, the early identification of the bacterial strains that caused deterioration is the most important point for the protection of monument objects. The present study focuses on the Bacillus spp. group, which was isolated from some biodeterioration monuments from different areas of Egypt. The investigated objects in this study were made from organic materials (cellulose), paper, textile, and wood. Isolated strains were identified up to the species level biochemically. Eleven bacterial isolates were obtained from collected samples. They were taken from different archaeological objects, four microbicides, cetrimonium bromide, sodium azide, tetraethyl ammonium bromide, and dichloroxylenol, at various concentrations ranging from 25 ppm to 500 ppm. They were screened for their antibacterial activity against the Bacillus spp. isolates, and detection of Minimum inhibitory concentration (MIC). It was also necessary to indicate the ideal Minimum inhibitory concentration for each strain for the purpose of biotreatment of the infected monuments with less damaging effect on monument materials.

Keywords: microbial deterioration, ancient materials, heritage protection, protection of monuments, biodeteriorative monuments

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Authors: Rosy Saikia, Krishna Barua

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The evolution of visual art can be traced back from “pre-historic” humans, from the age of Paleolithic, Neolithic, and Metal Age. Mesopotamians and the Egyptians were the pioneers of art, in the first period of history. But the field of art first flourished in the west during the Renaissance. Since then, art represents a continuous yet varied tradition till present day. Until the early 19th century art focused chiefly on representational, religious and classical motifs, but gradually art became more abstract and conceptual approaches gained popularity. Rainer Maria Rilke (1875-1926) was one of the leading poets cum art critic of European modernism. This paper addresses the relationship between Rilke's poetry and visual art, which involves an intimate transference of aesthetic means and definitions of form in the creative process of writing. Rilke’s connection with Auguste Rodin made him learn that a person who can “see” things could realize the beauty of a “thing” and could subsequently write. To “see” the “thing” or “object” rather than representing emotion was considered as more important by Rodin and that was the way he cracked the old aesthetic mould. Rilke himself agreed that his correspondence with the artists made him acquainted nothing but a new way of seeing. Rilke admitted to the constant reference to the Bible, the books of the Danish poet Jens Peter Jacobsen and Auguste Rodin, who all had given him the experience of the essence of creativity, its depths and eternity. Rilke’s association with philosophers such as Nietzhche and artists, starting from Worpweders and Rodin to Cezanne’s paintings, made him almost an apprentice in visual art.

Keywords: seeing, gaze, aesthetic, beauty, visual art, Rilke

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Authors: Nalinee Sophatsathit

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The objectives of memorabilia of Suan Sunandha are to develop a general knowledge presentation about the historical royal garden through interactive graphic simulation technique and to employ high-functionality context in enhancing interactive user navigation. The approach infers non-intrusive display of relevant history in response to situational context. User’s navigation runs through the virtual reality campus, consisting of new and restored buildings. A flash back presentation of information pertaining to the history in the form of photos, paintings, and textual descriptions are displayed along each passing-by building. To keep the presentation lively, graphical simulation is created in a serendipity game play so that the user can both learn and enjoy the educational tour. The benefits of this human-computer interaction development are two folds. First, lively presentation technique and situational context modeling are developed that entail a usable paradigm of knowledge and information presentation combinations. Second, cost effective training and promotion for both internal personnel and public visitors to learn and keep informed of this historical royal garden can be furnished without the need for a dedicated public relations service. Future improvement on graphic simulation and ability based display can extend this work to be more realistic, user-friendly, and informative for all.

Keywords: interactive user navigation, high-functionality context, situational context, human-computer interaction

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Authors: Aleksandra Kondraciuk

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The reconstruction of post-war architecture in Warsaw is an important and complex project that requires physical restoration and cultural preservation. The incorporation of 18th-century art within the renovated structures of the urban area forms a crucial aspect of the reconstruction procedure. Information was gathered by interviewing current residents, examining additional data, and researching archival materials. This form of art was once a thriving cultural centre in Warsaw, playing a significant role in its history. Adding it to the rebuilt structures links them to the city’s vibrant past, making them more meaningful for locals and visitors. The reconstructed buildings showcase 18th-century art forms, including sketches, drawings, and paintings, accurately replicating the original buildings’ architectural details and decorative elements. These art forms elevate the buildings from mere functional spaces to works of art themselves, thus augmenting the beauty and distinctiveness of the city, setting it apart from other cities worldwide. Furthermore, this art form symbolises the city’s tenacity in adversity and destruction. Revitalising Warsaw requires rebuilding its physical structures, restoring its cultural identity, and preserving its rich history. Incorporating 18th-century art into the post-war architectural reconstruction process is a powerful way to achieve these goals and maintain the city. This approach acknowledges the city’s history and cultural significance, fostering a sense of continuity between the past and present, which is crucial for the city’s future growth and prosperity.

Keywords: 18th-century art, building reconstruction, cultural preservation, post-war architecture

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Authors: Olivia Rybak-Karkosz

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This paper aims to present the results of scientific research on methods of forging art prints and their elements, such as signature or provenance and forensic science methods that might be used to verify their authenticity. In the last decades, the art market has observed significant interest in purchasing prints. They are considered an economical alternative to paintings and a considerable investment. However, the authenticity of an art print is difficult to establish as similar visual effects might be achieved with drawings or xerox. The latter is easy to make using a home printer. They are then offered on flea markets or internet auctions as genuine prints. This probable ease of forgery and, at the same time, the difficulty of distinguishing art print techniques were the main reasons why this research was undertaken. A lack of scientific methods dedicated to disclosing a forgery encouraged the author to verify the possibility of using forensic science's methods known and used in other fields of expertise. This research methodology consisted of completing representative forgery samples collected in selected museums based in Poland and a few in Germany and Austria. That allowed the author to present a typology of methods used to forge art prints. Given that one of the most famous graphic design examples is bills and securities, it seems only appropriate to propose in print verification the usage of methods of detecting counterfeit currency. These methods contain an examination of ink, paper, and watermarks. On prints, additionally, signatures and imprints of stamps, etc., are forged as well. So the examination should be completed with handwriting examination and forensic sphragistics. The paper contains a stipulation to conduct a complex analysis of authenticity with the participation of an art restorer, art historian, and forensic expert as head of this team.

Keywords: art forgery, examination of an artwork, handwriting analysis, prints

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Authors: Sherif A. Abu El-Magd, Ahmed M. Sefelnasr, Ahmed M. Masoud

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Groundwater modeling is the way and tool for assessing and managing groundwater resources efficiently. The present work was carried out in the ancient Egyptian archeological site (Abydos) fromDynastyIandII.Theareaislocated about 13km west of the River Nilecourse, Upper Egypt. The main problem in this context is that the ground water level rise threatens and damages fragile carvings and paintings of the ancient buildings. The main objective of the present work is to identify the sources of the groundwater recharge in the site, further more, equally important there is to control the ground water level rise. Numerical modeling combined with field water level measurements was implemented to understand the ground water recharge sources. However, building a conceptual model was an important step in the groundwater modeling to phase to satisfy the modeling objectives. Therefore, boreholes, crosssections, and a high-resolution digital elevation model were used to construct the conceptual model. To understand the hydrological system in the site, the model was run under both steady state and transient conditions. Then, the model was calibrated agains the observation of the water level measurements. Finally, the results based on the modeling indicated that the groundwater recharge is originating from an indirect flow path mainly from the southeast. Besides, there is a hydraulic connection between the surface water and groundwater in the study site. The decision-makers and archeologyists could consider the present work to understand the behavior of groundwater recharge and water table level rise.

Keywords: numerical modeling, archeological site, groundwater recharge, egypt

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Authors: Dana Craciun, Daniela Dascalu, Adriana Isvoran

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Phthalates are a class of plastic additives that are used to enhance the physical properties of plastics and as solvents in paintings and some of them proved to be of particular concern for the human health. There are insufficient data concerning the health risks of phthalates and further research on evaluating their effects in humans is needed. As humans are not volunteers for such experiments, computational analysis may be used to predict the biological effects of phthalates in humans. Within this study we have used some computational approaches (SwissADME, admetSAR, FAFDrugs) for predicting the absorption, distribution, metabolization, excretion and toxicity (ADME-Tox) profiles and pharmacokinetics for the most common used phthalates. These computational tools are based on quantitative structure-activity relationship modeling approach. The predictions are further compared to the known effects of each considered phthalate in humans and correlations between computational results and experimental data are discussed. Our data revealed that phthalates are a class of compounds reflecting high toxicity both when ingested and when inhaled, but by inhalation their toxicity is even greater. The predicted harmful effects of phthalates are: toxicity and irritations of the respiratory and gastrointestinal tracts, dyspnea, skin and eye irritations and disruption of the functions of liver and of the reproductive system. Many of investigated phthalates are predicted to be able to inhibit some of the cytochromes involved in the metabolism of numerous drugs and consequently to affect the efficiency of administrated treatments for many diseases and to intensify the adverse drugs reactions. The obtained predictions are in good agreement with clinical data concerning the observed effects of some phthalates in cases of acute exposures. Our study emphasizes the possible health effects of numerous phthalates and underlines the applicability of computational methods for predicting the biological effects of xenobiotics.

Keywords: phthalates, ADME-Tox, pharmacokinetics, biological effects

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