The recent techniques of mural paintings in Iran have changed during several years but as a research projects we try to renew the old method of paintings again. So we try to find and determine one of old methods of mural paintings in Iran, specially from Safavid era so called "Tala Chasban" or Gilded oil painting, The most important thing is that the support and coating soft layer in Iranian mural painting is not like European fresco technique. The most popular masonry for Iranian artists was gypsum not lime and they paint on dry support layer. Also it seems a lot of people in recent years are not familiar with the methods and techniques of these valuable art works. In the other hand with recognition of the mural painting's method, we can understand the advantages and disadvantages of method too, so these results will be useful for conservators, restorers and specially contemporary artists and painters. By recognition of disadvantages and removing them at present time we can achieve two goals at the same time: 1. The historical methods that sometimes are the character of the special part of art and cultural heritage will be alive. 2. By innovation in topics and removing the faults of techniques, artists have more chances to prepare a stable position and long life period for their art works. In this poster we want to introduce one of the most important Iranian techniques for mural paintings, and for this reason we will show, step by step, all parts of creation the mural painting, materials and method of their preparation in old method.
Study and Methodology of Iranian Mural Painting
SASANI, Anahita;PETRUCCI, Ferruccio Carlo;VACCARO, Carmela
2012
Abstract
The recent techniques of mural paintings in Iran have changed during several years but as a research projects we try to renew the old method of paintings again. So we try to find and determine one of old methods of mural paintings in Iran, specially from Safavid era so called "Tala Chasban" or Gilded oil painting, The most important thing is that the support and coating soft layer in Iranian mural painting is not like European fresco technique. The most popular masonry for Iranian artists was gypsum not lime and they paint on dry support layer. Also it seems a lot of people in recent years are not familiar with the methods and techniques of these valuable art works. In the other hand with recognition of the mural painting's method, we can understand the advantages and disadvantages of method too, so these results will be useful for conservators, restorers and specially contemporary artists and painters. By recognition of disadvantages and removing them at present time we can achieve two goals at the same time: 1. The historical methods that sometimes are the character of the special part of art and cultural heritage will be alive. 2. By innovation in topics and removing the faults of techniques, artists have more chances to prepare a stable position and long life period for their art works. In this poster we want to introduce one of the most important Iranian techniques for mural paintings, and for this reason we will show, step by step, all parts of creation the mural painting, materials and method of their preparation in old method.I documenti in SFERA sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
