El arte y las culturas amazónicas despertaron en mí el interés para investigar sobre el kené, elemento de identidad, simbólico y espiritual, de la cultura shipibo-konibo, que a su vez se convierte en cultura viva y en Patrimonio Cultural Inmaterial del Perú. La presente investigación busca visualizar el arte tradicional del kené y cómo se está adaptando a nuevos soportes que se han incorporado como producto de la migración y la globalización. En un nuevo contexto para la cultura nativa, se da paso a un diálogo entre la tradición y la cultura actual citadina en relación a la producción, representación y la significación, y cómo en torno a ellas se generan nuevas prácticas con el fin de estar en relación a las nuevas condiciones de producción y mercados. Así, busco desarrollar un documental participativo que muestre la nueva forma de producción y las redes de circulación que se dan alrededor del kené mural, a través de una comparación con la producción tradicional y el mural, visibilizando procesos de hibridación cultural. Para esto me enfocaré en los murales kené que comenzaron a producirse de manera constante en la ciudad de Lima en espacios públicos (tren Línea 1) y espacios de arte (Lugar de la Memoria- LUM). Las madres artesanas shipibo-konibo de Cantagallo innovan constantemente la representación del kené sobre nuevos soportes: en la moda, la pintura, los murales y otros soportes tecnológicos. Esto permitirá cuestionar sobre la identidad y representación del kené, su futuro como Patrimonio Cultural Inmaterial del Perú, la identidad shipibo-konibo y sobre los nuevos soportes de producción del kené, como también de las prácticas sociales y los nuevos espacios de circulación. El kené como objeto de diseño ha permitido a la cultura shipibo-konibo desarrollarse en diferentes niveles artísticos, sociales, económicos y, por supuesto, tener el reconocimiento y la distinción de su cultura en la sociedad limeña, peruana y mundial. / Tesis

Diss.--Basel, 1966. / Vita.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.

In this study, two sample sets from Zeugma Archaeological Area had been examined. The sample Set I includes 7 sediment, 18 stone, 4 brick/roof tile, 9 mortar, 4 plaster samples and the sample Set II consists of 24 mural painting samples. Samples were examined to get their raw material characteristics, mineralogical and chemical compositions, and microstructural properties using various analytical techniques such as Optical Microscopy, XRD, FTIR, PED-XRF, SEM-EDX and Raman Spectroscopy. In addition, mikroclimatic monitorings for temperature and relative humidity were also performed in that area. Sediments were calcereous soils of Eocene. Rock types of stones were mainly limestone which had 3 subgroups: micritic, biomicritic and recrytallised micritic limestones. The source of the limestones should be from the local formation. The firing temperature of brick/roof tile samples were estimated as 800-850&deg / C. Binder of mortar samples were mainly lime. Aggregate materials of brick/roof tiles, mortars, plasters and mural paintings may come from the river deposites of Euphrates. Mural painting samples have one intonaco layer, and single or double arriccio layers. The mural painting technique was fresco technique. Calcite was common mineral identified for all pigments. The sources of white, black and green coloured pigments were found as vaterite, graphite and malachite respectively. The sources of yellow coloured pigments were identified as ankerite, siderite and goethite. The red colours were identified as hematite, jasper and red earth/ochre. Jasper and vaterite, jasper and calcite, red earth/ochre and calcite, and hematite were the colour forming minerals of pink coloured pigments.

ABSTRACT URBAN FISSURE: RECONCEPTUALIZATION OF THE LAND WALLS WITHIN THE URBAN MILIEU OF ISTANBUL Bas B&uuml / t&uuml / ner, Funda Ph.D. Department of City and Regional Planning Supervisor: Assoc. Prof. Dr. Baykan G&uuml / nay Co-Supervisor: Assist. Prof. Dr. Namik Erkal December 2010, 306 pages The major intention of this thesis is to introduce a new concept &ndash / urban fissure- to discuss the positionality and spatiality of city walls within contemporary urban milieus. Besides being an architectural defense structure, covering a considerable amount of land in cities, city walls have always been an important urban component. Land Walls has been a unique example of city walls that have existed for 15 centuries as an untouchable object in a metropolitan city like Istanbul. After the Ottoman Conquest in 1453, Land Walls lost their major defense purpose, and became a part of civilian life. From that time until the mid-20th century they loosely marked the west edge of the city. However, in the second half of the 20th century, with the enormous expansion of Istanbul, Land Walls have remained in the middle of the city. Throughout their history, they have produced a diversity of spaces, uses and traditions. Their unusual structure, and their complex spatiality including spaces adjoining and around them have generated several challenging processes. They have raised uncertainties and sometimes problems not only in spatial terms, but also in regulations and implementations. In this respect, regarding their current positionality and spatiality, this thesis argues Land Walls and walled zone as an urban fissure which is supposed to make them legible within the urban milieu of Istanbul.

Thesis (Ph.D.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (p. 310-320). Also available on the Internet.

This thesis addresses the question of how the Mongol imperium’s patronage in combination with Quanzhen Taoist proselytism inspired the mural paintings and architectural forms of the Yonglegong永樂宮. The Taoist temple of Yonglegong was constructed during the Yuan dynasty (1279-1368) on the site of the former residence of the Taoist immortal L? Dongbin呂洞賓. During the period of the temple’s construction from 1244 to 1358, the Quanzhen 全真order, to which the Yonglegong was affiliated, thrived under the Mongol imperium. Previous scholarship has emphasized the Quanzhen order’s autonomous and exclusive role in the formation of Yonglegong. An analysis of the development of the Quanzhen from its establishment in late Jin dynasty (1115-1234) to its rise to prominence during the Yuan suggests that it received significant imperial supports and thus was not wholly autonomous. The Quanzhen order’s development was intertwined with and propounded by imperial patronage. The Yonglegong’s status as one the three holiest patriarch halls of the order ensured its centrality as a showpiece of the Mongol-Quanzhen collaboration. This study explores the iconographic innovations of Chaoyuantu 朝元圖 (Paying homage to the Origins), a representation of the Taoist universe, a subject that existed in pre-Yuan art; and the Hagiography of L? Dongbin, a new category of Taoist imagery. These two mural painting programs show different modes of appropriation. In the Chaoyuantu, the Mongol imperium altered the scheme of depiction and inserted new iconography in order to register their claims over established traditions of representation. As for the depiction of L? Dongbin, prior to Yonglegong, the immortal was only represented in single scenes, not in a fully developed biographical narrative. The Hagiography of L? Dongbin represents arguably a new genre of narrative depiction that facilitated an alternative ideology. Such alterations are regarded in this thesis as evidence that illustrates the shared interests of the Mongol imperium and the Quanzhen order as they intersected. In comparison with the mural paintings, the Yuan dynasty architectural structures’ significance has not been adequately recognized in earlier scholarship. This thesis reexamines the implications of the architectural features’ parameters and the unique alignment of structures in the Yonglegong. As such this study acknowledges the Yonglegong’s multiple identities as a complex that serves both the imperial and religious interests. It also evaluates the extent to which the architectural structures directed the organization and presentation of the mural paintings they housed. Through the reclamation of Yongleong’s historical context, aligned as it was with a Mongol-Quanzhen collaboration, this study recognizes the larger significance of the temple complex. The Mongol imperium in combination with the Quanzhen order have given rise to a new formulation of Taoist mural paintings and architecture with new iconography, themes and modes of representation. / published_or_final_version / Fine Arts / Master / Master of Philosophy

Objective: Endothelial cell (EC)-induced mesenchymal cell (MC) differentiation toward a mural cell phenotype requires transforming growth factor beta (TGF-β), cell contact and connexin 43 (Cx43)- or Cx45- heterocellular gap junction intercellular communication (GJIC). However, the identity of the communicated signal, the features of Cx43 required, and the possible regulatory mechanisms have not been elucidated and were investigated herein. Methods & Results: To determine whether channel functionality and the major regulatory domain (the carboxyl terminus, CT) of connexin Cx43 are necessary to support EC-induced differentiation, Cx43 deficient MCs (incapable of undergoing EC-induced mural cell differentiation without re-expression of Cx43 or Cx45) were transduced with wild-type (Cx43wt), channel dead, or truncated (Cx43tr-residues 258-382 deleted) versions of Cx43 and their ability to support EC-induced differentiation was assessed. Our data indicate that both channel functionality and presence of the CT domain are both necessary for EC-induced mural cell differentiation. Moreover, expression of Cx40 did not restore ability of MCs to undergo EC-induced mural cell differentiation, despite supporting GJIC. To determine whether (and which) specific regulatory sites in the carboxyl terminus are necessary for EC-induced mural cell differentiation, constructs of Cx43 with serine to alanine substitutions at the mitogen activated protein kinase (MAPK) or protein kinase C (PKC) target sites were introduced into Cx43 deficient MCs and their ability to undergo EC-induced differentiation was tested. The data indicated that the MAPK targeted serines (S255,279,2982) are necessary, while the PKC targeted serine (S368) is dispensable, for this process. To determine whether calcium ions might be the messengers communicated between ECs and MCs, we investigated whether elevation in EC free intracellular calcium concentration (with ionomycin treatment) can replace Cx43-mediated GJIC, activate TGF-β and induce differentiation. Conclusions: Channel functionality, CT domain and the MAPK target sites in Cx43 are all necessary, and neither alone is sufficient, for Cx43-mediated, EC-induced mural cell differentiation. Unlike Cx43, Cx40 is not capable of supporting EC-induced differentiation, despite supporting GJIC. Calcium is unlikely to be the messenger critical to TGF-β activation during EC-induced differentiation, but similar signaling pathways can be initiated. Taken together, these data support a role for connexins in EC-induced differentiation that is complex and goes beyond that of a simple conduit.

No description available.

This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources. / The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.