There are many ways to express art. Everyone has different views on the understanding of any kind of art form. As a new form of art combining personalized expression and typical design, the art of ...wall painting plays a positive role in the progress of interior design in recent years. Its wide use can be seen in the degree of people's love for this way of expression. Moreover, with the continuous prosperity of computer Matlab simulation technology, the research of color automatic enhancement scheme based on sparse representation pattern has become a new situation of art evaluation and appreciation of interior wall painting1.
•New, useful information about the pigments used by artists of the time.•Spectroscopic techniques allow to unequivocally identify the chemical composition of pigments.•The most abundant colour in the ...paintings was red in various hues.•The techniques used by the artists is mezzo fresco and secco (with organic binders).
Fragments of a wall painting from a High Roman Empire building in Córdoba, southern Spain, were examined. The aim was not to extract archaeological information, but rather to precisely identify the materials from which the pigments were obtained and how they were applied. The mortar receiving the pigments was also analysed. Determinations were done by using X-ray fluorescence (XRF), micro-Raman (μ-Raman) and Fourier transform infrared (FT-IR) spectroscopies, X-ray diffraction (XRD) and scanning electron microscopy coupled to energy dispersive X-ray spectroscopy (SEM–EDS). The XRF technique allowed chemical elements to be identified and, in combination with SEM–EDS, their spatial distribution in the fragments to be elucidated. Similarly, μ-Raman spectroscopy and XRD allowed the chemical species in the mortar to be identified. The pigments found were typical of the Roman colour palette used in Hispania and included various types of ochre (yellow and red), mixtures containing green earths, white (calcium carbonate), black (carbon) and precious materials such as cinnabar and Egyptian blue. The mortar was found to have been prepared in the traditional manner from limestone and sand. The pigments were applied in solution or suspended in lime water, a technique that was latter named mezzo fresco. By exception, cinnabar and Egyptian blue were applied with the secco technique and the aid of an organic binder. Some fragments contained several paint layers. In any case, the paint was invariably applied directly on an unprimed wall.
This essay examines a corpus of drawings at the Yale Center for British Art, New Haven, that I discovered and attributed to John Carter (1748-1817) in 2010. Of Carter's seventy-five drawings in this ...collection that cover Westminster, four offer further detailed insights into the Painted Chamber's wall paintings and tapestries c.1800. Annotated by Carter, these drawings can be read alongside his other earlier drawings of the Painted Chamber found today in the Victoria and Albert Museum, and the British Museum in London. Not only do these drawings record a precious moment in late-Georgian London where some of the most remarkable medieval wall decorations were uncovered, but they also contextualize Carter's attitude to medieval architecture and their 'improvement' by his contemporaries.
A first overview on the ancient pigments used in Campania region was carried out from some study on ancient wall paintings located both in residential and funerary contexts. The technological skills ...in the individual use or mixing of pigments from the ancient painters is related to four archaeological contexts of Campania region, dated back from the 6th century BCE to the 1st century CE. The pigments were analysed by means of in–situ spectroscopic techniques and micro–destructive laboratory analyses. The multi–analytical approach revealed the use of pure (natural and synthetic) pigments and some admixtures, created by the ancient painters to obtain assorted colour shades. The same mixtures were found in different chronological contexts and made by a different manufacturer, suggesting an evident transmission of technological knowledge over time.
A major challenge toward construction robotization is a lack of a system that generates detailed behaviors of robots as part of the construction process based on information contained in building ...information modeling (BIM) and construction schedules. This study extends BIM to incorporate robot task planning and generate detailed motions conducting construction tasks. A prototype was built upon robot operating system (ROS), focusing on generating robot task plans for indoor wall painting. The prototype includes a converter that generates a ROS-compliant world file from industry foundation classes (IFC) file and sub-processes that conduct localization, navigation, and motion planning. A case study was conducted to demonstrate the system's capability to simulate behaviors of a painting robot and evaluate the performance within the context of the construction-related tasks. The case study demonstrates the proposed BIM-leveraged robot task planning can integrate construction and robotics domains to plan operations of autonomous robots in construction projects.
•A novel BIM-integrated construction robot task planning and simulating system was developed.•IFC-SDF converter was developed to extract and convey the information from BIM to ROS framework.•This study developed ROS nodes to simulate a mobile robot for indoor wall painting•This study contributed to strengthening and extending the current boundary of BIM and robotics in the construction.
In this work, we conducted a careful study of the mortar and paint in the Roman wall painting housed by the triclinium of the so-called Domus in the Road Safety Education Park of Córdoba, Spain. A ...combination of X-ray diffraction, Raman and X-ray fluorescence spectroscopies allowed the different substances used to obtain the pigments present in the painting to be identified. The painting was found to contain five different colours (red, yellow, blue, green and white) in various hues. The red pigment was obtained from hematite and the yellow pigment from goethite. The blue pigment, which was the least abundant, was prepared from Egyptian blue, and the green pigment from green earths. Finally, the white pigment came from lime. The binders used were identified by infrared spectroscopy and gas chromatography with mass spectrometry detection. The painting fragments studied contained vestiges of bee wax or its decomposition products, which suggests that the paint was applied encaustically.
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•New, useful information about the pigments used by local artists of the time•Raman technique allows to unequivocally identify the chemical composition of pigments.•The most abundant colour in the paintings was red in various hues.•The technique used by the artists is the encaustic.
•Mortars from the Roman Forum of Carthago Nova show a clear multilayered structure.•The mortars’ composition varies considerably across layers (top to bottom).•TG allows quantification of cerussite, ...whose origin is uncertain in Roman mortars.•Hydroxyapatite linked to combustion of animals’ bones was found in black pigments.•The materials are well preserved, and some mortars were likely coated (wax).
This paper aims to study the construction technique and characterisation of original mortars and wall paintings at the Roman Forum district of Carthago Nova (Spain). A multi-analytical approach was conducted on original fragments using Optical Microscopy (OM), Field Emission Scanning Electron Microscopy (FESEM), colour tests (CIE L*a*b*) and contact angle measurements. Besides, the chemical composition was studied by X-fluorescence (XRF), Thermogravimetry (TG), X-ray diffraction (XRD) and Infrared spectroscopy using attenuated total reflectance (ATR-FTIR). The mortars showed a multi-layered pattern consisting of three distinguishable layers that were decorated with low-thickness coatings. The top layer composition was eminently calcitic, while the central and bottom layers were probably elaborated with pozzolanic materials. It is worth noting that unusual minerals as cerussite (PbCO3) were identified in some layers, and probably associated to subsequent activities carried out in the site after Roman times. The top coating was made of hematite (Fe2O3) for red decoration, whereas graphite (C) and hydroxyapatite (Ca5(PO4)3(OH)) were identified in black coatings, which suggests the use of animal bones in the production of black pigments. In addition, the outer surface of some fragments was most likely coated with organic substances to enhance colour and durability. Finally, SEM examination and EDX analyses also confirmed some of the above findings and the existence of NaCl surface crusts due to natural weathering.
A lot of wall paintings demonstrates a complex representation of work during the Late Medieval and the Early Modern periods in Occidental Europe. In the Western Alps, sacred and secular images use ...the agricultural professional world as a “background” scenery, a lively landscape to help anchor the extraordinary lives of famous characters (like saints and elders) within the day-to-day reality. Various Piemontese examples allow one to analyse how the Quattrocento painters represent work – for example the characteristic Alpine cheesemongers. These images picture a form of specialisation from the artists with a precise knowledge of professional techniques and a shared alpine culture with their commissioners. Through legend or sanctification, the depictions illustrate finally an appreciation of the worker and their tasks, reaching a socio-political dimension and defining a certain idea of what work was supposed to be at that time.
•Tin and gold foils are used in gildings of Cave 171 in Kizil Grottoes.•Lac resin was identified for the first time as mordant for adhering gold foils.•Drying oil was applied as mordant in the tin ...gilding.
The present work reports the new characterization results of the gilding materials used in Cave 171 of Kizil Grottoes, China, which is dated between 5th and 7th Century, A.D. Tiny samples collected from four different gilding decorations were analyzed by scanning electron microscopy with element energy dispersive X-ray spectroscopy (SEM-EDS) to identify the gilding structure and inorganic materials. It was discovered that both tin and gold leaves were used as the gilding foils. Interestingly, different organic mordants were used under different foils. The pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) results show that drying oil was applied as the mordant for the adhesion of tin foils while lac resin was used for gold foils. The presence of lac resin has been further confirmed by liquid chromatography-electron spray ionization-mass spectrometry (LC-ESI-MS). Although lac dye has been detected as the red colorant in wall paintings of Buddhist grottoes, its use as gilding mordant is a new finding. These gilding materials found in the wall paintings of Kizil Grottoes may provide some evidence of painting materials and techniques exchange along the Silk Road.
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