جستجوی مقالات مرتبط با کلیدواژه "دیوارنگاره بوم پارچه" در نشریات گروه "علوم اجتماعی"

In the field of conservation (recognition, restoration, display, maintenance, preservation and bringing values), Canvas-Marouflaged Murals have not been given special attention and these artworks have not been studied separately as a historical artwork with unique characteristics, and the information about these works has been neglected. This negligence has led to wrong decisions and different approaches in the conservation of canvas-marouflaged wall paintings, which consequently resulted in the destruction of some latent values. Due to the existing problems in the conservation of canvas- marouflaged wall paintings, this paper deals with the replication of canvas- marouflaged wall paintings, the way of creation, identification and recognition of canvas- marouflaged wall paintings. This research is applied and in terms of method, it is qualitative. The data is collected through field and library studies and interview, which is used as a comparative-analytical method in the following. As a result of the studies, the criteria for identifying and recognizing the canvas-marouflage murals in terms of construction and method of implementation, the factors that promoted the use of this method in the past were presented. In order to complete the theoretical part of this research, the number of canvas marouflaged wall paintings created for the first time in Iran was identified and presented based on the the research results.

In previous studies on Indigenous Knowledge of canvas-Marouflaged murals, some researchers put these works in the group of easel paintings and other researchers categorized them as wall paintings whereas they are indeed the combination of easel painting and wall painting. In order to recognize canvas-Marouflaged murals in Iran, as well as for the proper protection of these works and analysis of conservation interventions and measures required for the future, it is necessary to explore the conservation approaches of these works. The aim of this research is to gain more recognition and conservation approaches of canvas-Marouflaged murals as well as analysis of conservation interventions on these works in Iran. Hence, the leading research is an applied-developmental research with the method of finding studying specialized texts; field studies and review and analysis of the results of these research have been done. Considering each of these approaches, we must pay attention to the dual characteristics of the canvas-marouflaged murals and take the necessary actions according to the works conditions.

There are specific forms of mural paintings in some Iranian Churches that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied until now. The aim of this paper is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Regarding limited literature in this field (especially in Persian language), the first stage of this study has focused on European textile Marouflage and in the second stage, textile Marouflage of Vank Cathedral, Madonna Church in Isfahan and Madonna Church in Tabriz are investigated. At the Renaissance period, some technical changes were occurred in operation process of large wall paintings and ceiling paintings that finally led to a new and different type that is noticed as Marouflage in this paper. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. In this paper, the process of formation of this type of wall painting in Europe was studied and present examples of this method in Iranian churches are introduced and explained.