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The Elamites have assigned specialized names for different types of ceramics, signaling a specialized approach to ceramic production during the Middle and Neo-Elamite periods. They were pioneers in the use of glazed ceramics on the Iranian Plateau. This investigation focuses on the examination of 29 samples of glazed ceramic bodies originating from the Middle-Elamite (~ 1500–1100 BCE) and Neo-Elamite periods (~ 1100–539 BCE). The objective of this analysis, centered on the earliest instances of glazed ceramic bodies in Iran, is to obtain a comparative examination of the ceramic bodies. Such an approach can be useful for understanding the diverse production techniques used by Elamites in the Middle-Elamite and Neo-Elamite periods. To achieve this purpose, X-ray diffraction and petrography was used to determine the mineralogical characteristics of the ceramic bodies. Further insight into the chemical analysis of the samples was obtained through Electron Probe Micro-Analysis. The experimental data allowed the classification of the samples into four distinct groups. Particularly noteworthy in this categorization is the diversity observed in the Neo-Elamite samples. This diversity of Neo-Elamite ceramic bodies can be attributed to two primary factors. Firstly, the Neo-Elamite period witnessed a more varied array of techniques for producing glazed ceramic bodies compared to the Middle-Elamite period. Unlike the Middle-Elamite glazed ceramics, which were solely utilized for architectural decoration (glazed bricks) and were locally produced, the Neo-Elamite period marked the first instance of glazed ceramic vessels being used in the southwest of Iranian plateau, leading to a higher technological diversity. Secondly, the frequency of trade and importation of glazed ceramics from other regions to the southwest of Iran was notably higher during the Neo-Elamite period compared to the Middle-Elamite one. A notable distinction emerges in the Middle-Elam period, where exclusively quartz-based ceramic bodies were referenced, setting it apart from other sample types. [ABSTRACT FROM AUTHOR]

Ultra-High Performance Concrete (UHPC), with its excellent tensile properties, can be used as an alternative to decorative materials that are heavy in cross-section, enabling architectural decoration field to develop in the direction of light weight and changeable shape. However, the extremely low water-binder ratio of UHPC produces obvious autogenous shrinkage, which leads to the development of many micro-cracks. When the micro-cracks develop to a certain extent, they can have a very negative impact on the finishing of the architecture. This paper studies the influence of medium-burnt quicklime dosing on the hydration process and mechanical properties of UHPC cured at room temperature and elucidates the mechanism by which medium-burnt quicklime reduces autogenous shrinkage in UHPC. The results show that the crystal growth pressure generated by the hydration of f-CaO (free calcium oxide) can significantly compensate the autogenous shrinkage of UHPC. The dosage of 3 % medium-burnt quicklime can make the mechanical properties and shrinkage properties of UHPC reach the relative optimum, and the autogenous shrinkage of UHPC can be reduced to 181.36 με. Although the medium-burnt quicklime reduces the hydration products by delaying the hydration of UHPC, it also can reduce the porosity and the percentage of the multi-harmful pores, and refine the pore aperture. In addition, the interfacial transition zone between the UHPC matrix and the steel fibres can be reduced due to the extrusion of Ca(OH) 2 crystal growth pressure on the surrounding crystals, resulting in a tighter lapping between the crystals. [ABSTRACT FROM AUTHOR]

“Ribat”, an Arabic word, means “keeping watch along the border to prevent enemy attacks”. In the history of Islamic architecture, it was used for the structures where soldiers tied their horses and kept watch along the borders. In addition to military training, worship and scientific activities were also important in ribats. Volunteer soldiers, called Muraabituun, would spend their time outside of military training with Qur’an reading, worship and dhikr, and prepare themselves for jihad. Therefore, the military function and the spiritual dimension were intertwined from the beginning. The masjids of the ribats are of great importance when evaluated in this context. The first ribats were built in Central Asia from the VIII century onwards. The Great Seljuks built ribats following the Samanids and Ghaznavids. Ribati Sherif, which is the subject of the research, is one of the most mature examples of the Great Seljukid ribats. Kâtib Ali al-Mansûr Asad b. Muhammed es-Sarahsî was the architect of the caravanserai, which is thought to have been built by the governor Şerefü’d-Dîn Ebû Tâhir b. Sa’d b. Ali b. İsa al-Kûmmî, in 1114-1115 and later became the vizier of Sultan Sanjar. Within the scope of this study, the architectural features and decorations of the two masjids of Ribati Sherif were analysed and evaluated within the architectural heritage of the Great Seljuks. As a result of the research in which literature review and field research methods were used as data collection methods, it is seen that the details of the Great Seljuk plan scheme, building technique, and ornamentation art can be called standardised spread over a large area. [ABSTRACT FROM AUTHOR]

Magnesium slag (MS) and fly ash (FA) are industrial wastes that must be utilized in a clean, effective, and massive method to avoid environmental pollution. In this study, the preparation of diopside-augite-based glass-ceramics was theoretically analyzed and experimentally conducted by disposal of MS and FA with chromium oxide (Cr 2 O 3) as a nucleating agent. The thermodynamics analysis first indicated that pyroxene could be the main crystal phase of the target glass-ceramics for the co-utilization of both wastes. The experimental results indicated that the main phase in prepared glass-ceramics samples was diopside ([Ca(Mg, Fe, Al)(Si, Al) 2 O 6 ], and the degree of glass network polymerization was enhanced with the FA in raw material increasing from 50 wt% to 65 wt%. Plus, the crystal size of the prepared glass-ceramics was gradually refined by increasing the FA. The optimized conditions were given as controlling nucleation at 790 °C for 2 h and crystallization at 929 °C for 2 h of the parent glass that derived from 40 wt% MS and 60 wt% FA as raw materials, 1 wt% Cr 2 O 3 as nucleating agent. The resulting glass-ceramics had excellent properties and chemical stability, such as a density of 3.11 g cm−3, bending strength of 101.98 MPa, acid resistance of 98.34 %, and alkali resistance of 99.53 %. This study provided a route to produce eco-friendly glass-ceramics material for architectural decoration by high-efficiency utilization of MS and FA. [ABSTRACT FROM AUTHOR]

Nikkō Tōshōgū, a mausoleum and place of worship for the deified spirit of the first Tokugawa shogun, Tokugawa Ieyasu (1542-1616), is famous for its sacred spatial sites, sumptuous architectural and sculptural decorations, and political and religious significance for the Tokugawa shogunate. Interestingly, the shrine holds several ritual objects sent by Joseon kings in the 17th century and still displays a large Joseon bell engraved with the writings of Joseon officials (sent in 1643) in front of the Yōmeimon, the entrance to the inner shrine complex. More significantly, Japan requested that these specific items be sent from Joseon, and that they be presented as voluntary gifts. This article aims to examine the uniqueness inherent in the Joseon gifts on display at Nikkō Tōshōgū and the conflicts of interest surrounding them. With a thorough analysis of this gift-giving process--during which both countries, operating from disparate perspectives and driven by their respective needs and interests, engaged in and navigated constant deliberations and negotiations--this article suggests that these gifts, while seemingly a peaceful gesture, actually conceal a complex and contentious history and are a result of both countries' fierce and desperate struggle to address their practical needs. [ABSTRACT FROM AUTHOR]

Over 200 samples from colourants appeared in 50 monuments in Iran dated back to the 11th century up to the 15th century were identified using micro‐X‐ray fluorescence (μ‐XRF), micro‐Raman spectroscopy (μ‐Raman), polarized light microscopy (PLM), and scanning electron microscopy–energy dispersive X‐ray spectrometry (SEM‐EDS). Whereas red ochre, red lead, vermilion, and an organic red dye were identified as red colourants, ultramarine blue, azurite, and indigo were the blue colourants occurred in the wall decorations. In addition, atacamite was the only green pigment identified on the wall paintings and stucco decorations, and carbon black was identified as black pigment. We also show that gold leaf and tin foil have been used in gilding decorations. Furthermore, we were able to discern yellow ochre together with orpiment, natrojarosite, and crocoite in a number of architectural decorations. Moreover, we show that huntite and gypsum are used as white preparation layer of the wall decorations in Iran. Periods of emergence of particular pigments have been discussed and regional preferences in the use of certain pigments are argued. An extensive discussion is provided to compare the colourant appeared on wall decoration with those appeared on illuminated manuscripts in the Persianate world. [ABSTRACT FROM AUTHOR]

The reuse of construction materials has been a consistent practice throughout the history of architecture, especially prevalent during periods of transition when it was preferred for its ability to simplify installation and reduce construction costs. This practice was particularly common in late Roman urban contexts, where construction materials, especially ashlar and sculptural elements, were abundant following the abandonment of temples and public buildings. However, there are occasions when the use of spolia, or reused materials, goes beyond simple material recycling. The reuse and display of certain pieces carry complex implications involving symbology, cultural appropriation, or collective memory exercises that convey messages through new buildings. In this paper, we focus on the unique case of Hispanic Christian architectural sculptures that were "recycled" in new buildings during the first centuries of Islamic domination of the Iberian Peninsula, specifically within places of worship. Through a general analysis and review of some examples, we aim to reflect on the motivations and intentionality behind the use of certain sculptural pieces and their placement in new buildings, which is not arbitrary. [ABSTRACT FROM AUTHOR]

• THM-Py-GC/MS procedure to distinguish two types of gum benzoin were developed. • Various materials were identified simultaneously by THM-Py-GC/MS in ancient architectural paintings from Shuxiang temple. • For the first time, gum benzoin was detected as binding media in ancient Chinese architectural paintings. Animal glue, pine resin, starch, and tung oil were commonly used as binding media in ancient architectural decoration in China. Gum benzoin was also recorded in ancient Chinese literature but has not been detected in Chinese architectural decoration yet. To obtain comprehensive information on ancient binding media, this study investigated two types of gum benzoin using pyrolysis–gas chromatography/mass spectrometry with thermal-assisted hydrolysis and methylation (THM–Py–GC/MS). Subsequently, organic binding media used in the architectural decoration of Shuxiang Temple, which is a Royal Manchu temple in the Qing dynasty, were analyzed. Heat-boiled tung oil was identified as the major binding medium in architectural decoration. In addition, animal glue, blood, starch, pine resin, and gum benzoin from Styrax benzoin Dryand and Qi (urushiol-based lacquer) were also determined. For the first time, gum benzoin was detected as a binding medium in architectural decoration in China. The identification of various organic binding media used in the architectural decoration can provide scientific support to the ongoing conservation project related to Shuxiang Temple. [ABSTRACT FROM AUTHOR]

Wood carving is a traditional visual art that serves as architectural decoration in various cultures worldwide. However, issues involve the three-dimensional wood carvings of buah buton on traditional houses in Luak Tanah Mengandung, believed to symbolize one's status in Adat Perpatih. This article aims to analyze the relationship between buah buton and social status within the Adat Perpatih society in this region. To achieve this, the article employs qualitative research methodology, highlighting two approaches: field studies targeting four traditional houses in Luak Tanah Mengandung, Negeri Sembilan, and interviews involving six informants from diverse backgrounds. The findings indicate that buah buton can only be found on houses inhabited by individuals of high status. Furthermore, the number and positioning of buah buton vary among these houses. The application of buah buton in each house depends on specific spaces and is closely linked to Adat Perpatih. This is reinforced by the positioning of these elements, whether inside or outside the house, being associated with influential owners in the tradition. In conclusion, buah buton is not merely a house ornament; it symbolizes the owner's status within Adat Perpatih. The study's implications also highlight the significance of symbolism in influencing the social structure and community of this tradition. Therefore, the article suggests further research to expand the scope of comparing and contrasting buah buton within this customary society. This endeavor not only enriches the understanding of customs and culture but also aids in the preservation and conservation processes in the face of modernity. [ABSTRACT FROM AUTHOR]

With the rapid development of machine learning technology, it has become possible to automatically identify cultural heritage elements in traditional buildings. This research aimed to develop a machine learning model based on the YOLOv4 architecture to identify the traditional Chinese porcelain inlay pattern in the Lingnan region. The researchers collected and annotated a large quantity of Lingnan Chinese porcelain inlay image data and then used these data to train the studied model. The research results show that (1) the model in this study was specifically adjusted to effectively identify a variety of Chinese porcelain inlay pattern types, including traditional patterns such as plum blossoms and camellias. (2) In the 116th epoch, the model showed excellent generalization ability, and the verification loss reached the lowest value of 0.88. The lowest training loss in the 195th epoch was 0.99, indicating that the model reached an optimal balance point for both recognition accuracy and processing speed. (3) By comparing different models for detecting Chinese porcelain inlay images across 581 pictures, our YOLOv4 model demonstrated greater accuracy in most classification tasks than did the YOLOv8 model, especially in the classification of chrysanthemums, where it achieved an accuracy rate of 87.5%, significantly outperforming YOLOv8 by 58.82%. However, the study also revealed that under certain conditions, such as detecting apples and pears in low-light environments, YOLOv8 showed a lower missing data rate, highlighting the limitations of our model in dealing with complex detection conditions. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents the results of the mineralogical, petrographic and chemical study of different archaeological samples related to terracruda sculptures and other elements that were part of the architectural decoration of the Buddhist sites of Tepe Narenj and Qol‐e‐tut (Kabul, Afghanistan; fifth to 11th centuries CE). The main objective of the study was to characterize the samples using an archaeometric approach. The study helped to better understand the materials involved in the modeling of Afghan sculptures and their processing, such as the different nature of the clay layers and the finishing 'stucco' coating. The results further indicate that similarities exist among the manufacturing process of the studied samples and that used today by an ancient caste of clay artists in West Bengal (India), suggesting the existence of a continuous technological tradition that deserves to be further explored in the future. [ABSTRACT FROM AUTHOR]

Different methodologies for studying Islamic era art have led to diverse and sometimes contradictory results. Despite the great body of theoretical literature, there is a lack of monographic and instance research. This study aims to investigate comparatively the two methodologies of Historicism and traditionalism for studying Islamic era art with an emphasis on architectural elements and decorations of Soltanieh dome. Traditionalism is a well-known method to study Islamic art. It relies on transhistorical and mystical facts to understand the meanings in Islamic era art. Historicism suggests that to understand the meaning of Islamic architecture (and Soltanieh dome, in particular), the architecture should be studied in various (locational, Historical, Situational, Social and Political) contexts. The main objective of this study is to compare the feasibility of the two methods to study the Soltanieh dome. After critical analysis of traditionalist studies of Soltanieh dome, it is studied using Historical approaches. The results indicate the lack of feasibility for the traditionalism to study the Soltanieh dome. Historicism criticizes the traditionalists' inattention to the contexts influencing the formation of Soltanieh dome meanings and generalization of religious concepts within a historical complex. Historicism considers Soltanieh arg and dome as the instances of political, religious and economic pillars of power which are structured in a syntagmatic manner and reflect the outline of the power structure and network. [ABSTRACT FROM AUTHOR]

This paper aims to synthesize recent knowledge about the churches built between 1492 and 1918 in the Kaštela area and present its characteristics obtained by research in the doctoral thesis of the first author. The research covered 18 churches located in the coastal area. Fourteen churches have been preserved, two were pulled down, while the existe nce of two other churches was detected on old maps and in written documents. After a genealogical and catalogue study, a typological and stylistic analysis of the churches has been made. The longitudinal aisleless churches as a dominant shape vary in dimensions, type of construction, construction solutions and elements of architectural decoration. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gulzar script is one of the many types of decorative scripts in the history of Persian calligraphy. Most of the works that created in this way belong to the late Qajar era. However, the formal and visual bases of this type of calligraphy go back to the pre-Qajar centuries; this research aims to identify, introduce and determine the origin of its formation based on the available evidences. Therefore, the main question is: When has the Gulzar script been formed? The sampling method of the 23 architectural arrays is Convenience Sampling that based on library and field studies. The samples are in the historical monuments of Samarkand, Mashhad, Farumad, Taybad, Soltanieh, Qom, Tabriz, Yazd, Isfahan and Oshtorjan. The date of construction of these monuments includes from the Seljuk period (429-590 AH/1037-1194 AD) to the end of the Safavid period (906-1135 AH/1501-1736 AD). The results indicate that the early examples of Gulzar can be seen in the form of an architectural decoration so called "Kalouk-band" in the Seljuq and Ilkhanid periods. Its use extends to at least the beginning of the 12th century AD. In addition, this method of decoration is used in the Square Kufic Inscriptions and include the geometrical, herbal and written motifs. The result shows that the use of Gulzar style in calligraphy pieces on paper has been influenced by architectural decorations, because the oldest examples of this type are several centuries after the squared Kufic inscriptions in Jame Mosque of Isfahan, Pir Bakran's tomb, Chalabioglu's tomb etc. The decoration of the inner surface of Squared Kufic inscriptions started from the end of the Seljuk era and continued until the 17th century AD. One of the changes made in the design of decorating the surface of the inscriptions is the use of written motifs in the form of "Kalouk-band" decorated with words (in Oshtorjan and Qom). Another change was the forming of a kind of nested square Kufic which has appeared in the Jame Mosque of Isfahan and Amir Chakhmaq Mosque in Yazd. This method has been continued later in Isfahan's Hakim Mosque (17th century AD) and Nimavard School in Isfahan (18th century AD). In the Safavid era, an example of square Kufic in the western entrance hall of Imam Mosque in Isfahan was decorated with Arabesque motifs, which shows the first use of this kind of ornaments in inscriptions. About 80 years before the formation of this inscription, Zain al-Din Mahmoud Mozahheb created a piece that inspite of having many distinctive features some similarities can be seen in them. The latter work is the oldest known piece that carried out the tradition of ornament on the calligraphic surface on paper. Despite the major difference in the structure of these two works, both of these works are decorated with herbal motifs (Arabesque and Khatai). [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Prehistoria y Arqueologia is the property of Cuadernos de Prehistoria y Arqueologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The palace of Said Halim pasha is considered among the most important palaces in Egypt that dates back to the 19th-century. It still stands proudly at Champollion St., Cairo, keeping some of its older glamour. Despite being empty from its collection, the pink marble palace is highly appraised due to its unique architectural style and decorations. It is a typical representation that reflects the elite lifestyle of its period. Unfortunately, its current status of abandonment and neglect might cause the loss of such architectural masterpiece that forms a part of Egypt's rich heritage. Consequently, this paper presents a proposal to safeguard Said Halim's palace and maintains it as a cultural heritage property through converting it into a "Museum of Egyptian Education". Suggestions for the rehabilitation of the palace to serve as a museum and a cultural hub as well as the means of building up a museum collection that would suit the character of the palace and deliver its aimed message are discussed thoroughly in this paper. The paper seeks to direct attention to this largely abandoned heritage and attract responsible parties to undertake this initiative and contribute jointly to save the palace from further deterioration in the future. [ABSTRACT FROM AUTHOR]

In the nineteenth century, as European countries reacted to industrialization, art and burgeoning industries intertwined in a myriad of new ways. From this union, several major changes occurred in building construction, decorative arts and sculpture. The career and oeuvre of Jean-Baptiste Plantar, French ornamentalist and sculptor des Bâtiments du Roi, illustrate the new relationships forged between traditional architectural patterns and industrial artistic production. Despite holding a central role in their establishment, Plantar has been largely unheeded both by his contemporaries and later writers. This article reasserts Plantar's significance in the creation of a visual – essentially Parisian – landscape in the first half of the nineteenth century. [ABSTRACT FROM AUTHOR]

Likewise, he argues that the I pseudipteros i , exceedingly rare in Hellenistic Greek architecture, became popular in Italy as a way of incorporating columns around an entire structure akin to Greek peripteroi, while still retaining the frontality of Italian temple architecture (79). One finds little discussion, for example, of the theater-temple complex phenomenon, taken since Fasolo and Gullini's work at Praeneste ( I Il santuario della Fortuna Primigenia a Palestrina i [Rome 1953]) as a key component of Hellenistic architecture in Italy (see now A. D'Alessio, "Spazio, funzioni e paesaggio nei santuari a terrazze italici di età tardo-repubblicana. This book briefly mentions, but never really treats, another significant innovation in the earliest use of marble in temple architecture in Italy. [Extracted from the article]

Chapter 5 takes a wider view regarding the political, administrative, and religious organization of central Adriatic Italy during the Republican period, distinguishing the three geographic spheres of the Praetutii, the Piceni, and the Ager Gallicus. Many material testimonies, such as altars, votives, and architectural decoration, illustrate the spread of allochthonous ritual and cultic traditions in central Adriatic Italy, from the very beginning of the third century B.C.E. onwards. The idea that Latin élites participated fully in the choices Rome made during the conquest, organization, and integration of central Adriatic Italy in the course of the three final centuries of the Republic is now widely accepted by scholars of the subject. [Extracted from the article]

This exciting new building phase is treated in Chapter 4, "Monumental Aspirations: Poggio Civitate's Archaic Phase" (97-145). At Poggio Civitate, "Archaic" is ca. 600 to ca. 525 B.C.E. This final phase of construction seems to crystalize elements from the Intermediate Phase into a monumental, unified complex. Moreover, Poggio Civitate has been an unusual and complex site from the very start of excavations in 1966. There is good evidence for communal banqueting at Poggio Civitate and such large gatherings could have taken place in the northern wing of the structure. [Extracted from the article]

New material to be inserted in the corpus of vases incudes L.'s ongoing catalog of attested Etrusco-Corinthian figured vases (527-552) and recently published references to the entries in Szilágyi's two catalogs (571-596). L.'s comments on the taphonomy, usage or symbolism of Etrusco-Corinthian vases should stimulate more scrutiny into social aspects of these vases, for instance phenomena such as placing two vases, especially I olpai i , in a tomb, one Corinthian and one Etrusco-Corinthian. The Tarquinian port of Gravisca has furnished many examples of Corinthian imports and Etrusco-Corinthian vases of the same shape, especially plates (315-321). [Extracted from the article]

The article focuses on the evolution of the image of the snake in the architectural decoration of the Christian churches in Caucasus during the medieval period. The origins of the image in the more ancient cultures of the Mesopotamia and of the Mediterranean world are studied. An attempt is made to trace the continuity in the image and meaning of the snake from ancient times up to the present day (according to ethnography and folk art). A rare iconographic type of a snake was revealed, which appears in the Middle Byzantine period in the remote mountainous regions of the Caucasus (the upper reaches of the Ksani and Liakhvi rivers, Racha, Svaneti, Upper Kartli). [ABSTRACT FROM AUTHOR]

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reviews the exhibition "Recycling Beauty" organized by Salvatore Settis and Anna Anguissola, with Denise La Monica at Fondazione Prada in Milan, held from November 17, 2022, to February 27, 2023.

Composite samples obtained based on gypsum and jersey were subjected to bending tests. The jersey fabric was made of para-aramid filament and polyacrylonitrile yarn with a Lastic 1+1 interlacement. The fiber strength was found to have no significant effect on the strength of the gypsum matrix composite. It was shown that, unlike unreinforced gypsum, the studied knitted composite does not break upon cracking, continuing to accept increasing bending deformations under higher loads. This feature is important for the manufacture and restoration of architectural decorations. [ABSTRACT FROM AUTHOR]

Today, throughout antiquity, myriad ethnic collectives have inhabited Liaoning Province, China, significantly shaping the historical trajectory of the nation and fostering a multitude of esteemed architectural and cultural legacies. ShengJing Imperial Palace is in Shenyang, Liaoning Province, China. ShengJing Imperial Palace is a royal building built in the early Qing Dynasty 500 years ago. The information value shown by its architectural decoration needs to be further developed. This paper takes architectural decoration images as the research content. It uses the methodology of practical aesthetics, conducts field research on ShengJing Imperial Palace, and analyzes the three elements of visual impact form, political decoration, and national practice to obtain a single evident, idealized local decoration image characteristics. In conclusion, the visual layout of the rational representation of the Shengjing Palace building decoration is clear and distinct, and the visual feeling of the subject is strong and full of impact. These characteristics can be summarized as strong qualitative architectural decoration image characteristics. Under the Qing rulers' politically strict ideology, the image experience category of architectural decoration showed ethical characteristics. This study can be a reference for adapting traditional architectural decoration to modern design. [ABSTRACT FROM AUTHOR]

Purpose: Social sustainability is one of the influential concepts in architecture and urban planning that is formed under the influence of individual and physical factors. In such a way that its effects on the spatial architecture and decorations can be studied. The issue of social sustainability also plays an important role in the quality of life and examines the place of thinking of a society. On the other hand, the study of this issue in the historical cities is a subject that provides the basis for studying the city of Dezful as a bed with a valuable historical background. Therefore, the purpose of this study is to explain and evaluate the components of social sustainability in the historical architecture. Methodology: This research is a combination of Delphi and descriptive-analytical methods that have been identified using field studies, libraries and interviews. Also, the effective components in social sustainability are evaluated by Delphi and then the subject is explained by describing each component. Result: Findings based on the research framework show that there is a different level of social sustainability. This issue is based on the macro criteria of social participation, security and quality of life and has different components. Conclusion: The conclusion of the research shows that the effective components in the sustainability of historical houses in Dezful, plays a significant role in personal and physical relationships and create satisfaction and attachment to the architectural structure. This issue is created by strategies based on sustainability of components and preserves the identity of architecture. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Restoration techniques were explored for the patterns, materials, and surface pigments of the pigments decoration art of Kaiping Diaolou and Villages, a world cultural heritage site in southern China. Field investigation was supplemented by scanning electron microscopy, microscopic Raman spectroscopy characterization, colorimetric tests, and tensile tests. Materials and concepts for the restoration of the Kaiping Diaolou pigments were analyzed. Raman spectroscopy was used to characterize the surface pigments display of pigments decorative patterns. The main colors of restoration included green, red, white, and blue. The green color was a mixture of colored copper arsenate minerals. The red color was made of hematite (Fe2O3). White was calcite, and blue was lapis lazuli or synthetic ultramarine. SEM revealed both pigments show similar flake flocculent section morphologies. UV accelerated aging experiments showed that the Ultraviolet absorber and antioxidants effectively inhibited the degradation of the interface matrix. The interface was less prone to cracking. The tension test showed that the bond stress reached a maximum value of 0.193 MPa at a curing temperature of 20 °C under 95% ambient humidity. The results provide strong evidence for pigment restoration in Kaiping Diaolou. This study also provides a scientific reference for the pigment conservation of other architectural decorations from the same historical period. [ABSTRACT FROM AUTHOR]

This study explored the overall visual elements of arcade buildings and streetscapes from the perspective of tourists and then evaluated their influence on the identity and emotion of places. The scope of the research was to take the arcade building in the port area of Shantou Small Park in Guangdong, China, and apply the eye-tracking experiment method and semantic difference method. This entailed collecting the eye-tracking data of 16 people, implementing 334 questionnaires for evaluation, verifying the correlation between the visual elements and place identity emotions, and then screening out the visual elements that affect place identity through correlation analysis and multiple linear regression analysis. The results show that plaque text morphological richness (p = 0.045 < 0.05, and the regression coefficient B = 0.146), the color brightness of plaque text (p = 0.031 < 0.01, and the regression coefficient B = 0.171), window morphological richness (p = 0.038 < 0.05, and the regression coefficient B = 0.106), window color brilliance (p = 0.047 < 0.01, and regression coefficient B = 0.094), and plant color brilliance (p = 0.029 < 0.05, and the regression coefficient B = 0.154) are five visual element evaluation factors that have a significant correlation with the identity and emotion of places. Although the fineness of architectural decoration is negatively correlated with place identity, it is not obviously significant. The research results provide reference for the visual control design of arcade buildings. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the Chinese Ceramic Society is the property of Bulletin of the Chinese Ceramic Society Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reexamines the function, decoration, and political and artistic significance of the Torre de la Estufa of Charles V in the Alhambra, a steam room decorated between 1528 and 1539 with topographic landscapes of the conquest of Tunis and paintings of grotesques. Challenging the traditional focus on the tower’s debt to the Italian Renaissance, this essay brings attention to its pre-existing Islamic framework, arguing that its overall architectural language, specific decorative elements, and intended function reveal Charles V’s will to engage formally and conceptually with the preexisting palace as a means of advancing imperial ideology. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Engineering Management / Gongcheng Guanli Xuebao is the property of Journal of Engineering Management Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bamboo weaving is an intangible cultural heritage in China. Exploring people's aesthetic preferences for bamboo weaving patterns to better serve the design of bamboo architectural decoration can help promote the upgrading of traditional crafts. This study explored the differences between genders in the oculomotor indicators in different bamboo weaving patterns through an eye-movement experimental study combined with a subjective questionnaire to explore whether different genders have aesthetic preferences for people's pictures of bamboo weaving patterns. The results showed that both males and females preferred less visually striking and softer corrugated patterns, with males paying more attention to the more 'angular' hexagonal and triangular patterns, while females were more interested in the more regular and uniform brickwork and diagonal patterns. [ABSTRACT FROM AUTHOR]

Under the background of big data and the Internet of Things, different design elements in domestic architectural design are becoming more and more abundant. During the integration of different elements, traditional elements are an important part of the domestic building decoration industry. In the integration of the entire architectural style, it is integrated with the entire architectural style. It reflects the deep heritage of traditional culture. Many scholars have conducted in-depth research on this phenomenon, but how to better apply big data technology to promote the application of traditional elements in the field of architecture is still blank. This paper establishes a scientific evaluation model according to the different proportions in the application of traditional architectural elements and its proportion in the external display of actual buildings, which opens up new ideas for research in this field. This article studies the application and development prospects of the traditional elements of the architectural decoration industry in my country, and explores the innovative development of traditional decorative elements in the modern architectural decoration industry. Study the development needs of modern aesthetic design in the current stage of the building decoration industry. Through the rich and innovative application survey of traditional elements, the vitality in modern architectural decoration that stimulates traditional culture, and continuously enriches the extensive development and innovative development of the domestic building decoration industry. Stimulates the importance of traditional architectural decoration elements. This article conducts statistics and analysis of the big data and decoration requirements of the domestic decoration industry, applies the computing and evaluation model in the field of architecture, and evaluates the application of traditional elements in the field of architectural decoration more coordinated development. Looking at the existing research results, they all put forward suggestions for development at a macro level, but there is a blank on how to choose the ratio of various traditional factors more scientifically. In order to solve this problem, the research has created a scientific calculation model. Traditional factors are used for assignment and big data is used for calculation, which provides new ideas for research in this field. [ABSTRACT FROM AUTHOR]

This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural sculpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models. [ABSTRACT FROM AUTHOR]

The foliate head is a common motif in the architectural decoration of Norwegian stave churches. It is commonly used in doorways, where beast's heads are disgorging foliage or are spewing stems with vine. The artistic style of wooden church decoration in Norway from the eleventh and twelfth centuries clearly shows inspiration from Viking art. This legacy has led to the belief that Christianity inherited the foliate head from a heathen past. This understanding is mainly due to a need for more convincing explanations for this motif. However, it is also due to the high status of trees in Old Norse society, especially Yggdrasill, the great tree that in Norse mythology constituted the center of the world. The article traces the sources for the motif in Norwegian architectural sculpture and the notion of the Green Man in the scholarly tradition in Norway. The Green Man was absent in Viking art, and the motif first appeared in Scandinavia in Romanesque architectural stone sculpture in the early twelfth century. [ABSTRACT FROM AUTHOR]

In the architectural works of the Turkish-Islamic societies constructed in Anatolia, it is seen that pre-islamic beliefs and both vital and artistic traditions related to these beliefs can smoothly be compatible and integrated with the Islamic belief and the customs derived from it. While the architectural work is being formed, it needs some conditions such as a common language, a common taste, and a common cultural environment. While creating an architectural texture in a unique geography like Anatolia, the richness of style and meaning stemming from the interaction of societies, nourished by diversity and variety draws attention. In this study, the oil lamp motifs used in Menteseogullari mosques are discussed in the context of the concept of symbolism, which is one of the foundations of religious art; material, technical and iconographic meanings will be discussed comparatively. [ABSTRACT FROM AUTHOR]

In Islam, as in all religions, people have built places where they can worship. These religious structures have undergone changes and developments in the future with their plan schemes and construction materials. As with all religions, each worship structure has different names. In Islam, mosques are sacred places for Muslims, as they are considered the house of Allah. The development of mosques has continued since the time of the Prophet Muhammad. Mosques in all Islamic countries show different features from each other in terms of architectural features and decorations. Mosque structures in Islamic countries differ both according to historical chronology and according to regions. During the Ottoman Empire, religious architecture was formed as a continuation of Ottoman culture. The religious architecture of the Ottoman Empire has changed and developed over the centuries. In the Ottoman period, Manisa became a political city where Ottoman princes prepared for the reign from the middle of the 15th century until the end of the 16th century. 16 princes, including "Murad II, Fatih Sultan Mehmet, Suleyman the Magnificent, Selim II, Murad III, Mehmet III and Mustafa I", served as the governor of the sanjak in Manisa. During the period when the princes lived in Manisa, many foundation works such as mosques, madrasahs, inns, baths, soup kitchens, fountains, hospitals, bridges and libraries were built by the princes and their family. Few of these buildings have survived to the present day. Within the scope of the study, the architectural features of the Hatuniye Mosque belonging to the middle of the 15th century in Manisa were examined. The place and architectural features of Manisa Hatuniye Mosque among the 15th and 16th century Manisa mosques were examined. [ABSTRACT FROM AUTHOR]

Summary: More than fifty years after the discovery of the first remains from Pozo Moro, new research has begun to question the arrangement, until now agreed upon, of the tower‐shaped monument. The recent paper by García Cardiel and Olmos (2021) employs iconography to sketch the possibility that the reliefs and sculptures encountered in said necropolis do not belong to a single monument, but two or more. In this paper we delve into this possibility by studying a fragment of architectural moulding from Pozo Moro, which allows us to conclude the possible existence of a pillar‐stele datable between 425–300 BC, when the necropolis was at its floruit. To reach this conclusion special attention is paid to Iberian architectural ornaments, a subject seldom yet studied. [ABSTRACT FROM AUTHOR]