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paintings</title> <meta name="description" content="Search results for: mural paintings"> <meta name="keywords" content="mural paintings"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="mural paintings"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 88</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: mural paintings</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">88</span> Exploring the Cultural Significance of Mural Paintings in the Tombs of Gilan, Iran: Evaluation of Drawn Figures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Mirabulqasemi">Zeinab Mirabulqasemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gholamali%20Hatam"> Gholamali Hatam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article discusses the significance of mural paintings in Iranian culture, particularly within the context of religious tombs known as Imamzadehs. These tombs, dedicated to Shiite imams and other revered religious figures, serve as important religious and communal spaces. The tradition of tomb construction evolved from early Islamic practices, gradually transforming burial sites into places of worship. In the Gilan region of Iran, these tombs hold a revered status, serving as focal points for religious observances and social gatherings. The murals adorning these tombs often depict religious motifs, with a particular emphasis on events like the Day of Judgment and the martyrdom of the Imams, notably the saga of Ashura. These paintings also reflect the community's social perspectives and historical allegiances. Various architectural styles are employed in constructing these tombs, including Islamic, traditional, local, and aesthetic architecture. However, the region's climate poses challenges to the preservation of these structures and their murals. Despite these challenges, efforts are made to document and preserve these artworks to ensure their accessibility for future generations. This research also studies tomb paintings by adopting a multifaceted approach, including library research, image analysis, and field research. Finally, it examines the portrayal of significant figures such as the Shiite imams, prophets, and Imamzadehs within these murals, highlighting their thematic significance and cultural importance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20ritual" title="cultural ritual">cultural ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiite%20imams" title=" Shiite imams"> Shiite imams</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=belief%20foundations" title=" belief foundations"> belief foundations</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20paintings" title=" religious paintings"> religious paintings</a> </p> <a href="https://publications.waset.org/abstracts/184218/exploring-the-cultural-significance-of-mural-paintings-in-the-tombs-of-gilan-iran-evaluation-of-drawn-figures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184218.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">55</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">87</span> The Image of Saddam Hussein and Collective Memory: The Semiotics of Ba'ath Regime's Mural in Iraq (1980-2003)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Pirdehghan">Maryam Pirdehghan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During the Ba'ath Party's rule in Iraq, propaganda was utilized to justify and to promote Saddam Hussein's image in the collective memory as the greatest Arab leader. Consequently, urban walls were routinely covered with images of Saddam. Relying on these images, the regime aimed to provide a basis for evoking meanings in the public opinion, which would supposedly strengthen Saddam’s power and reconstruct facts to legitimize his political ideology. Nonetheless, Saddam was not always portrayed with common and explicit elements but in certain periods of his rule, the paintings depicted him in an unusual context, where various historical and contemporary elements were combined in a narrative background. Therefore, an understanding of the implied socio-political references of these elements is required to fully elucidate the impact of these images on forming the memory and collective unconscious of the Iraqi people. To obtain such understanding, one needs to address the following questions: a) How Saddam Hussein is portrayed in mural during his rule? b) What of elements and mythical-historical narratives are found in the paintings? c) Which Saddam's political views were subject to the collective memory through mural? Employing visual semiotics, this study reveals that during Saddam Hussein's regime, the paintings were initially simple portraits but gradually transformed into narrative images, characterized by a complex network of historical, mythical and religious elements. These elements demonstrate the transformation of a secular-nationalist politician into a Muslim ruler who tried to instill three major policies in domestic and international relations i.e. the arabization of Iraq, as well as the propagation of pan-arabism ideology (first period), the implementation of anti-Israel policy (second period) and the implementation of anti-American-British policy (last period). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ba%27ath%20Party" title="Ba'ath Party">Ba'ath Party</a>, <a href="https://publications.waset.org/abstracts/search?q=Saddam%20Hussein" title=" Saddam Hussein"> Saddam Hussein</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=Iraq" title=" Iraq"> Iraq</a>, <a href="https://publications.waset.org/abstracts/search?q=propaganda" title=" propaganda"> propaganda</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20memory" title=" collective memory"> collective memory</a> </p> <a href="https://publications.waset.org/abstracts/76678/the-image-of-saddam-hussein-and-collective-memory-the-semiotics-of-baath-regimes-mural-in-iraq-1980-2003" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76678.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">326</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">86</span> Conserving History: Evaluating and Selecting Effective Restoration Methods for a Fragment Mural Painting from Amarna</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kholod%20Khairy%20Salama">Kholod Khairy Salama</a>, <a href="https://publications.waset.org/abstracts/search?q=Shabban%20Hassan%20Thabet"> Shabban Hassan Thabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mural%20paintings" title="mural paintings">mural paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=Tal%20Al-Amarna" title=" Tal Al-Amarna"> Tal Al-Amarna</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20microscope" title=" digital microscope"> digital microscope</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman" title=" Raman"> Raman</a>, <a href="https://publications.waset.org/abstracts/search?q=XRF" title=" XRF"> XRF</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR" title=" FTIR"> FTIR</a> </p> <a href="https://publications.waset.org/abstracts/174944/conserving-history-evaluating-and-selecting-effective-restoration-methods-for-a-fragment-mural-painting-from-amarna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174944.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">85</span> Exploring the Symbolic Depictions of Animals and Mythical Creatures in Gilan Tomb Wall Paintings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Mirabulqasemi">Zeinab Mirabulqasemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gholamali%20Hatam"> Gholamali Hatam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article discusses the rich tradition of mural art in Gilan, Iran, particularly focusing on its religious and cultural significance, with a specific emphasis on tombs and Imamzadehs (descendants of imams). It examines the presence of animals and supernatural beings in these murals, such as horses, lions, birds, snakes, and angels, each carrying symbolic meanings within the religious narratives depicted. It discusses the multifaceted symbolism of these creatures and their portrayal in various scenes, enriching the narrative and conveying spiritual themes. Moreover, the article delves into the geographical and cultural context of the Gilan region, where many of these murals are found, and the challenges posed by environmental factors on their preservation. The article concludes by emphasizing the importance of preserving these artworks as valuable cultural heritage and calls for further research into their social, religious, and artistic dimensions. It utilizes a multifaceted research approach involving library research, image analysis, field investigations, and interviews with local inhabitants to gain a deeper understanding of the significance of these murals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20ritual" title="cultural ritual">cultural ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiite%20imams" title=" Shiite imams"> Shiite imams</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=belief%20foundations" title=" belief foundations"> belief foundations</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20paintings" title=" religious paintings"> religious paintings</a> </p> <a href="https://publications.waset.org/abstracts/184300/exploring-the-symbolic-depictions-of-animals-and-mythical-creatures-in-gilan-tomb-wall-paintings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184300.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">84</span> Rock Paintings with Libyan Inscriptions of Grande Kabylia, Algeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Ait%20Ali%20Yahia">Samia Ait Ali Yahia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The rock paintings of Grande Kabylia contain a good number of Libyan inscriptions. Of the 54 sites discovered, 23 have inscriptions painted in red ocher. We find them in rock shelters, on blocks of sandstone in the northern part of Kabylia. Our job is to collect as many cave paintings as possible with Libyan inscriptions. Then we will make an analysis on the epigraphic level, the different forms of the characters and their frequencies. The other purpose of this research is to bring out the different characters used in these paintings and compare them with those of the Libyan steles of Grande Kabylia. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Grande%20Kabylia" title="Grande Kabylia">Grande Kabylia</a>, <a href="https://publications.waset.org/abstracts/search?q=Libyan%20inscriptions" title=" Libyan inscriptions"> Libyan inscriptions</a>, <a href="https://publications.waset.org/abstracts/search?q=Libyan%20stele" title=" Libyan stele"> Libyan stele</a>, <a href="https://publications.waset.org/abstracts/search?q=rock%20paintings" title=" rock paintings"> rock paintings</a> </p> <a href="https://publications.waset.org/abstracts/123113/rock-paintings-with-libyan-inscriptions-of-grande-kabylia-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123113.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">83</span> The Cave Paintings of Libyc Inscriptions of Tifra, Kabylia, Algeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Ait%20Ali%20Yahia">Samia Ait Ali Yahia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Tifra site is one of 54 sites with rock paintings discovered in Kabylia (Algeria). It consists of two shelters: Ifran I and Ifran II. From an aesthetic point of view, these two shelters appear poor. It shows a human silhouette, a hand, enigmatic designs and especially Libyc inscriptions. The paint used, is the natural red ocher. Today, these paintings are threatened by the frequentation of tourists to the sites as well as by the degradation which result from it. It is therefore vital to us to list and analyze these paintings before they disappear. The analysis of these paintings will be focused on the epigraphic and iconographic level and their meanings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cave%20painting" title="cave painting">cave painting</a>, <a href="https://publications.waset.org/abstracts/search?q=Libyc%20inscription" title=" Libyc inscription"> Libyc inscription</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=valorization" title=" valorization"> valorization</a> </p> <a href="https://publications.waset.org/abstracts/99412/the-cave-paintings-of-libyc-inscriptions-of-tifra-kabylia-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99412.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">155</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">82</span> The Rock Paintings and Engravings of Kabylia Region (Algeria): Sites of Azru Imeyazen (Tarihant)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Ait%20Ali%20Yahia">Samia Ait Ali Yahia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Rock paintings and engravings in the Kabylia region of Algeria have been extensively studied, with 54 sites identified. These artworks were primarily discovered by Poyto and Musso in the mid-1960s. The paintings are predominantly adorned with red ochre ornaments, while some engravings can also be found on sandstone rocks. These artistic expressions can be found in various locations, such as shelters, rocks, and sandstone blocks in the northern part of Kabylia. These sites showcase a diverse range of decorations, including human figures, animal silhouettes, enigmatic designs, symbolic drawings, engravings, and Libyan characters. The research will involve conducting fieldwork at the Azru Imeyazen site to identify and study the different paintings and engravings present. This research aims to provide a detailed description of the rock paintings and engravings found in Kabylia, specifically focusing on the Azru Imeyazen (Tarihant) site. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=rock%20paintings" title="rock paintings">rock paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=engraving" title=" engraving"> engraving</a>, <a href="https://publications.waset.org/abstracts/search?q=Kabylia" title=" Kabylia"> Kabylia</a>, <a href="https://publications.waset.org/abstracts/search?q=Tarihant" title=" Tarihant"> Tarihant</a>, <a href="https://publications.waset.org/abstracts/search?q=Azru%20Imayazen" title=" Azru Imayazen"> Azru Imayazen</a> </p> <a href="https://publications.waset.org/abstracts/169498/the-rock-paintings-and-engravings-of-kabylia-region-algeria-sites-of-azru-imeyazen-tarihant" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169498.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">81</span> The Effect of Gas Pollutants on Museum Environment: Case Study of an Oil Paintings in Ethnographic Museum, Egypt</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hagar%20%20Ezzat">Hagar Ezzat</a>, <a href="https://publications.waset.org/abstracts/search?q=Mostafa%20%20Attia"> Mostafa Attia</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20%20Bedeir"> Ahmed Bedeir</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdelrazek%20%20Elnagger"> Abdelrazek Elnagger</a>, <a href="https://publications.waset.org/abstracts/search?q=Matija%20%20Strlic"> Matija Strlic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ethnographic Museum in Cairo- Egypt is a place of valuable collections (manuscripts, paintings, textiles and other ethnographic materials), the museum experiences serious neglecting with unacceptable display and storage conditions, the museum is located in Tahrir sq., which consider a high traffic area where pollution levels exceed the acceptable levels in museums. The materials used in manufacturing the display cases are expected to be source of many pollutants which affecting the sensitive oil paintings objects in the galleries. 24 diffusion tubes (12 No2, So2 & 12 O3) have been used in "winter 2014 and spring 2014" for monitoring museum environment with three cases "outdoor & indoor and in the gallery display". A series of analytical techniques with scientific tools: Ion Chromatography have been used to assess measurements and effects of gas pollutants on the museum which help us to make good assessment for the damage of oil paintings objects and the condition of the museum and understand the effect of the museum environment on the deterioration of the sensitive oil paintings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=environment" title="environment">environment</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=paintings" title=" paintings"> paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnographic" title=" ethnographic"> ethnographic</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a> </p> <a href="https://publications.waset.org/abstracts/51332/the-effect-of-gas-pollutants-on-museum-environment-case-study-of-an-oil-paintings-in-ethnographic-museum-egypt" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/51332.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">242</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">80</span> Creating New Designs from Watercolor Paintings in Suan Sunandha Palace</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taechit%20Cheuypoung">Taechit Cheuypoung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research is done to create new compositions for designs finding inspirations from watercolor artworks displayed in SuanSunandha Palace. The researcher made a study in the history of the landmark, its importance, the paintings in the Palace, the types and characteristics of the flower painted, as well as the artistic elements and principles of designs that went into the paintings. The information obtained led to the creation of six totally new designs. The designs incorporated standard international designs and artistic principles, and still kept to the original style of the watercolor paintings in SuanSunandha Palace. Following the paintings, the designs are divided into three categories: Orchids, Roses and Flowers from Literatures. The researcher used the components of the flowers including: rounded-petal flowers, wavy-edged petals, flowers with pointed petals, leaves, vines, and branches. All of them represented in the original paintings. Upon the original, the researcher switched these elements and its proportion around to create a more modern designs. The original forms are used as references since they contain the characteristics of each flower species. The work created achieved an updated trait and simultaneously, reflects the charms and timeless beauty of the watercolor paintings displayed in SuanSunandha Palace, which still exists in today’s world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=watercolor" title="watercolor">watercolor</a>, <a href="https://publications.waset.org/abstracts/search?q=painting" title=" painting"> painting</a>, <a href="https://publications.waset.org/abstracts/search?q=flower" title=" flower"> flower</a>, <a href="https://publications.waset.org/abstracts/search?q=Suan%20Sunandha" title=" Suan Sunandha"> Suan Sunandha</a> </p> <a href="https://publications.waset.org/abstracts/17379/creating-new-designs-from-watercolor-paintings-in-suan-sunandha-palace" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17379.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">341</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">79</span> National Identity in Connecting the Community through Mural Art for Petronas Dagangan Berhad</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadiah%20Mohamad">Nadiah Mohamad</a>, <a href="https://publications.waset.org/abstracts/search?q=Wan%20Samiati%20Andriana%20Wan%20Mohd%20Daud"> Wan Samiati Andriana Wan Mohd Daud</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Suhaimi%20Tohid"> M. Suhaimi Tohid</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Fazli%20Othman"> Mohd Fazli Othman</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamad%20Rizal%20Salleh"> Mohamad Rizal Salleh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This is a collaborative project of the mural art between The Department of Fine Art from Universiti Teknologi MARA (UiTM) and Petronas Dagangan Berhad (PDB), the most leading retailer and marketer of downstream oil and gas products in Malaysia. Five different states in the Peninsular of Malaysia that has been identified in showcasing the National Identity of Malaysia at each Petronas gas station, this also includes the Air Keroh in Melaka, Pasir Pekan in Kelantan, Pontian in Johor, Simpang Pulai in Perak, and also Wakaf Bharu in Terengganu. This project is to analyze the element of national identity that has been demonstrated at the Petronas's Mural. The ultimate aim of the mural is to let the community and local people to be aware about what Malaysians are consists and proud of and how everyone is able to connect with the idea through visual art. The method that is being explained in this research is by using visual data through research and also self-experience in collecting the visual data in identifying what images is considered as the national identity and idea development and visual analysis is being transferred based upon the visual data collection. In this stage, elements and principles of design will be the key in highlighting what is necessary for a work of art. In conclusion, visual image of the National Identity of Malaysia is able to connect to the audience from local and also to the people from outside the country to learn and understand the beauty and diversity of Malaysia as a unique country with art through the wall of five Petronas gas station. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title=" fine art"> fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=mural%20art" title=" mural art"> mural art</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a> </p> <a href="https://publications.waset.org/abstracts/124086/national-identity-in-connecting-the-community-through-mural-art-for-petronas-dagangan-berhad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124086.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">207</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">78</span> The Effect of Artificial Intelligence on Decoration</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashraf%20Fayz%20Bekhet%20Abaskron">Ashraf Fayz Bekhet Abaskron</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research is done to create new compositions for designs, finding inspiration from watercolor artworks displayed in SuanSunandha Palace. The researcher made a study in the history of the landmark, its importance, the paintings in the Palace, the types and characteristics of the flowers painted, as well as the artistic elements and principles of designs that went into the paintings. The information obtained led to the creation of six totally new designs. The designs incorporated standard international designs and artistic principles and still kept to the original style of the watercolor paintings in SuanSunandha Palace. Following the paintings, the designs are divided into three categories: Orchids, Roses, and Flowers from literature. The researcher used the components of the flowers including rounded-petal flowers, wavy-edged petals, flowers with pointed petals, leaves, vines, and branches. All of them are represented in the original paintings. Upon the original, the researcher switched these elements and their proportions around to create a more modern design. The original forms are used as references since they contain the characteristics of each flower species. The work created achieved an updated trait and simultaneously reflects the charms and timeless beauty of the watercolor paintings displayed in SuanSunandha Palace, which still exists in today’s world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=craft" title=" craft"> craft</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=Oman" title=" Oman"> Oman</a>, <a href="https://publications.waset.org/abstracts/search?q=weaving%20watercolor" title=" weaving watercolor"> weaving watercolor</a>, <a href="https://publications.waset.org/abstracts/search?q=painting" title=" painting"> painting</a>, <a href="https://publications.waset.org/abstracts/search?q=flower" title=" flower"> flower</a>, <a href="https://publications.waset.org/abstracts/search?q=Suan%20Sunandhagolden%20ratio" title=" Suan Sunandhagolden ratio"> Suan Sunandhagolden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=Fibonacci%20numbers" title=" Fibonacci numbers"> Fibonacci numbers</a>, <a href="https://publications.waset.org/abstracts/search?q=textile%20design" title=" textile design"> textile design</a>, <a href="https://publications.waset.org/abstracts/search?q=designs" title=" designs"> designs</a> </p> <a href="https://publications.waset.org/abstracts/188567/the-effect-of-artificial-intelligence-on-decoration" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188567.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">34</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">77</span> Investigation of Buddhology Reflected from Wall Paintings in Sri Lanka</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20G.%20D%20Jayawardena">R. G. D Jayawardena</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Buddha was known by great wise men from 6th century B.C up to date as a superhuman being born in the world beyond the omnipotent. The Buddha’s doctrinal descriptions reflect his deep enlightenment about imperial and metaphysical knowledge. Buddhology undertaken for this study is an unexposed subject in metaphysical points. The Buddhist wall painting in Sri Lanka depicts deep metaphysical meaning than its simple perspective of estheticism. Buddhology, in some perspectives, has been interpreted as a complete natural science discovered by the Buddha to teach the way of honorable living in perfect happiness and peace of mind till death. Such interpretations which emphasized are based on textual studies. The Buddhology conducted through literal tradition is depicted in wall paintings in Sri Lanka are in visual art with specific techniques rules. The Buddhology, which is investigated on wall paintings, portrays the Buddha in the form of a superhuman being and as an unparalleled person among the Devas, Brahmas, Yakshas, Maras, and humans. The Buddha concept is known to Sri Lankan Buddhists as a person attained to full awakening of wisdom. In personality, the Buddha is depicted as a supernormal person in the world and a rare birth. In brief, the paper will discuss and illustrate the Buddha’s transcendental position and the reality of what he experienced and its authenticity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Buddhology" title="Buddhology">Buddhology</a>, <a href="https://publications.waset.org/abstracts/search?q=Metaphysic" title=" Metaphysic"> Metaphysic</a>, <a href="https://publications.waset.org/abstracts/search?q=Sri%20Lanka" title=" Sri Lanka"> Sri Lanka</a>, <a href="https://publications.waset.org/abstracts/search?q=paintings" title=" paintings"> paintings</a> </p> <a href="https://publications.waset.org/abstracts/143326/investigation-of-buddhology-reflected-from-wall-paintings-in-sri-lanka" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143326.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">205</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">76</span> Urban Art as an Identity Branding of Kampong Ketandan Surabaya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20A.%20Retno%20Hastijanti">R. A. Retno Hastijanti</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Agus%20Sagita"> David Agus Sagita</a>, <a href="https://publications.waset.org/abstracts/search?q=Arum%20Lintang%20Cahyani"> Arum Lintang Cahyani</a>, <a href="https://publications.waset.org/abstracts/search?q=Tectona%20Radike"> Tectona Radike</a>, <a href="https://publications.waset.org/abstracts/search?q=Andreas%20Suluh%20Putra"> Andreas Suluh Putra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Surabaya, is one of the oldest cities in Indonesia. Most of the old quarter city of Surabaya is an ancient Kampong. Ketandan is one ancient Kampong in the center of Surabaya, surrounded by a thriving trade area. These conditions make Kampong vulnerably degraded of environmental quality and tended to lose their cultural identity. Norms and values eroded by the rapid development of its local surroundings. Through Kampong conservation programs, Surabaya city government established Ketandan as one of the urban heritage. To achieve the ideal condition of urban heritage, public participation is required. One thing that can generate a motivation for Kampong Ketandan community participation is to rediscover the identity of Kampong Ketandan. This research aims to explore the appropriate method to rediscover the identity of Kampong Ketandan. Through qualitative research methods, based on observations and focus group discussions, it was concluded that mural mentoring program was the best method that can be accepted by the Kampong community to rediscover their identity. Mural as one of the urban art form, able to motivate Kampong community to express their self and bring an icon to their Kampong. The benefits of this research are to provide input to the city government and the private sector to preserve urban heritage, moreover, to transform an urban heritage into a productive space in urban areas in order to enhance city revenues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kampong" title="Kampong">Kampong</a>, <a href="https://publications.waset.org/abstracts/search?q=Kampong%20Ketandan" title=" Kampong Ketandan"> Kampong Ketandan</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=Surabaya" title=" Surabaya"> Surabaya</a>, <a href="https://publications.waset.org/abstracts/search?q=urban" title=" urban"> urban</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20heritage" title=" urban heritage"> urban heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20art" title=" urban art"> urban art</a> </p> <a href="https://publications.waset.org/abstracts/65678/urban-art-as-an-identity-branding-of-kampong-ketandan-surabaya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65678.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">75</span> Valorization and Conservation of Rock Painting and Engravings of Kabylia Region (Algeria)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Ait%20Ali%20Yahia">Samia Ait Ali Yahia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Algeria, the most impressive and most known prehistoric art is the painted or engraved rock art which is present with abundance in several regions. The existence of rock art in Great Kabylia region has been known for over sixty years. The main purpose of this research is to show the dangers facing these rock paintings and engravings and what are the arrangements for their protection and recovery. As every vestige destroyed is a part of the world's memory which disappears, some steps have to be taken in order to protect these historical and archaeological heritages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=rock%20paintings%20and%20engravings" title="rock paintings and engravings">rock paintings and engravings</a>, <a href="https://publications.waset.org/abstracts/search?q=preservation" title=" preservation"> preservation</a>, <a href="https://publications.waset.org/abstracts/search?q=valorization" title=" valorization"> valorization</a>, <a href="https://publications.waset.org/abstracts/search?q=Kabylia" title=" Kabylia"> Kabylia</a> </p> <a href="https://publications.waset.org/abstracts/35537/valorization-and-conservation-of-rock-painting-and-engravings-of-kabylia-region-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35537.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">456</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">74</span> Pictorial Multimodal Analysis of Selected Paintings of Salvador Dali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaza%20Melies">Shaza Melies</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Refky"> Abeer Refky</a>, <a href="https://publications.waset.org/abstracts/search?q=Nihad%20Mansoor"> Nihad Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20analysis" title="multimodal analysis">multimodal analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20analysis" title=" painting analysis"> painting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Salvador%20Dali" title=" Salvador Dali"> Salvador Dali</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20grammar" title=" visual grammar"> visual grammar</a> </p> <a href="https://publications.waset.org/abstracts/131544/pictorial-multimodal-analysis-of-selected-paintings-of-salvador-dali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">73</span> Mural Exhibition as a Promotive Strategy to Proper Hygiene and Sanitation Practices among Children: A Case Study from Urban Slum Schools in Nairobi, Kenya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdulaziz%20Kikanga">Abdulaziz Kikanga</a>, <a href="https://publications.waset.org/abstracts/search?q=Kellen%20Muchira"> Kellen Muchira</a>, <a href="https://publications.waset.org/abstracts/search?q=Styvers%20Kathuni"> Styvers Kathuni</a>, <a href="https://publications.waset.org/abstracts/search?q=Paul%20Saitoti"> Paul Saitoti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Provision of adequate levels of water, sanitation, and hygiene in schools is a strategic objective in achieving universal primary education among children in low and middle-income countries. However, lack of proper sanitation and hygiene practices in schools, especially those in informal settlement has resulted to an increased rate of school absenteeism thereby affecting the education and health outcomes of the children in those setting. Intervention or Response: Catholic Relief Services in Kenya supports five schools in informal settlements of Nairobi by painting of key hygiene messages on school walls to promote proper hygiene and sanitation practices among the school children. The mural exhibitions depict the essence of proper hygiene practices, proper latrine use, and hand washing after visiting the latrine. The artwork is context specific and its aimed at improving the uptake of proper hygiene and sanitation practices among the school children. Review of project related documents was conducted including interviews with the school children. Thematic analysis was used to interpret the qualitative information generated. Results and Lessons Learnt: 12 school children have interviewed on proper hygiene and sanitation practices and the exercise revealed that painted murals were the best communication platforms for creating awareness on proper sanitation on issues relating to water, sanitation, and hygiene in schools. The painting mural provided a strong knowledge base for the formation of healthy habits in both the school and informal settlement. In addition, these sanitation messages on the school walls empower the children to share these practices with their siblings, parents, and other family members thereby acting as agents of change to proper hygiene and sanitation in those informal settlements. The findings revealed that by adopting proper sanitation and hygiene practices, there has been a reduction of school absenteeism due to a decrease in disease related to inadequate sanitation and hygiene in schools. Conclusion: The adoption of proper sanitation in schools entails more than just a painted mural wall. Insights revealed that to have a lasting sanitation and hygiene intervention, there is a need to invest in effective hygiene educational programming that encourages the formation of proper hygiene habits and promotes changes in behavior. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education%20outcomes" title="education outcomes">education outcomes</a>, <a href="https://publications.waset.org/abstracts/search?q=informal%20settlement" title=" informal settlement"> informal settlement</a>, <a href="https://publications.waset.org/abstracts/search?q=mural%20exhibition" title=" mural exhibition"> mural exhibition</a>, <a href="https://publications.waset.org/abstracts/search?q=school%20hygiene%20and%20sanitation" title=" school hygiene and sanitation"> school hygiene and sanitation</a> </p> <a href="https://publications.waset.org/abstracts/79917/mural-exhibition-as-a-promotive-strategy-to-proper-hygiene-and-sanitation-practices-among-children-a-case-study-from-urban-slum-schools-in-nairobi-kenya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79917.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">254</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">72</span> The Guide Presentation: The Grand Palace</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nuchanat%20Handumrongkul%20Danaya%20Darnsawasdi">Nuchanat Handumrongkul Danaya Darnsawasdi</a>, <a href="https://publications.waset.org/abstracts/search?q=Anantachai%20Aeka"> Anantachai Aeka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To be a model for performing oral presentations by the tour guides, this research has been conducted. In order to develop French language teaching and studying for tourism, its purpose is to analyze the content used by tour guides. The study employed audio recordings of these presentations as an interview method in authentic situations, having four guides as respondents and information providers. The data was analyzed through content analysis. The results found that the tour guides described eight important items by giving more importance to details at Wat Phra Kaew or the Temple of the Emerald Buddha than at the palaces. They preferred the buildings upon the upper terrace, Buddhist cosmology, the decoration techniques, the royal chapel, the mural paintings, Thai offerings to Buddha images, palaces with architectural features and functions including royal ceremonies and others. This information represents the Thai characteristics of each building and other related content. The findings were used as a manual for guides for how to describe a tourist attraction, especially the temple and other related cultural topics of interest. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=guide" title="guide">guide</a>, <a href="https://publications.waset.org/abstracts/search?q=guide%20presentation" title=" guide presentation"> guide presentation</a>, <a href="https://publications.waset.org/abstracts/search?q=Grand%20Palace" title=" Grand Palace"> Grand Palace</a>, <a href="https://publications.waset.org/abstracts/search?q=Buddhist%20cosmology" title=" Buddhist cosmology"> Buddhist cosmology</a> </p> <a href="https://publications.waset.org/abstracts/19332/the-guide-presentation-the-grand-palace" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19332.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">500</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">71</span> Preservation of Artistic Heritage: Effect of Modernization on Antiquities and Traditional Murals in Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Uchenna%20Bella%20Onu">Uchenna Bella Onu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional art is one of Nigerian cultural heritage. It is an excellent instrument for documentation and identification. Antiquities are priceless and irreplaceable. They are basically preserved for future generations. Sadly, preserving these highly prized cultural heritage is becoming a serious challenge. This paper examines the extent modernization has affected the preservation of traditional art in Nigeria. Particularly hit is the antiquities and traditional murals of eastern part of Nigeria. Participatory visual methods were used for this study. Efforts were made to reach the few surviving and aged mural artists. Oral information was collected from them as well as first hand drawings and some photographs of their works. Findings indicate that modernization has seriously affected the preservation of Nigerian artistic heritage. Further findings show that traditional mural artists are gradually dwindling and dangerously going into extinct. Antiquities are indiscriminately destroyed due to sheer ignorance and the blind quest to fit into the so called modern world.   <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antiquities" title="antiquities">antiquities</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20heritage" title=" artistic heritage"> artistic heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20preservation" title=" cultural preservation"> cultural preservation</a>, <a href="https://publications.waset.org/abstracts/search?q=drawings" title=" drawings"> drawings</a>, <a href="https://publications.waset.org/abstracts/search?q=modernization" title=" modernization"> modernization</a>, <a href="https://publications.waset.org/abstracts/search?q=murals" title=" murals"> murals</a> </p> <a href="https://publications.waset.org/abstracts/49019/preservation-of-artistic-heritage-effect-of-modernization-on-antiquities-and-traditional-murals-in-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49019.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">70</span> Differential Diagnosis of an Asymptomatic Lesion in Contact with the Bladder</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Angelis%20P.%20Barlampas">Angelis P. Barlampas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> PURPOSE: Presentation of an interesting finding in an asymptomatic patient. MATERIAL: A patient came at hospital because of dysuric complaints and after a urologist’s prescription of a US exam of the urogenital system. The simple ultrasound examination of the lower abdomen revealed a moderate hypertrophy of the prostate and a solitary large bladder stone. The kidneys were normal. Then, the patient underwent a CT scan, which depicted the bladder stone and, as an incidental finding, a cystic lesion in contact with the upper anterior right surface of the bladder, with mural calcifications. METHOD: Abdominal ultrasound and abdominal computed tomography before and after intravenous contrast administration. RESULTS: The repeated US exam showed a cylindrical cystic lesion with a double wall and two mural hyperechoic foci, with partial posterior shadowing. Blood flow was not recognized on color doppler. The CT exam confirmed the cystic-like anechoic lesion, in the right iliac fossa, with the presence of two foci of mural calcifications. The differential diagnosis includes cases of enteric cyst, intestinal duplication cyst, chronic abscess, urachal cyst, Meckel's diverticulum, bladder diverticulum, old hematoma, thrombosed vascular aneurysm, diverticular abscess, etc. The patient refused surgical removal and is being monitored by ultrasound. CONCLUSIONS: The careful examination of the wider peri-abdominal area, especially during the routine ultrasound examination, can contribute to the identification of important asymptomatic findings. The radiologist must not be solely focused in a certain area of examination, even if the clinical doctor asks so, but should give attention to the neighboring areas, too. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=enteric%20cyst" title="enteric cyst">enteric cyst</a>, <a href="https://publications.waset.org/abstracts/search?q=US" title=" US"> US</a>, <a href="https://publications.waset.org/abstracts/search?q=CT" title=" CT"> CT</a>, <a href="https://publications.waset.org/abstracts/search?q=urogenital%20tract" title=" urogenital tract"> urogenital tract</a>, <a href="https://publications.waset.org/abstracts/search?q=miscellaneous%20findings" title=" miscellaneous findings"> miscellaneous findings</a> </p> <a href="https://publications.waset.org/abstracts/170430/differential-diagnosis-of-an-asymptomatic-lesion-in-contact-with-the-bladder" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170430.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">56</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">69</span> The Impact of Technology on Tourism, Hotels and Investments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andrew%20Hany%20Wahba%20Anis">Andrew Hany Wahba Anis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since Macau opened its door to international playing companies in 2002, Macau online casino lodge industry has been booming. Casino resorts are unique from the non-casino inns in the main income supply and services. The paper targets to analyze variations in personnel’ work stress and task pleasure throughout the online casino resorts and the non-casino resorts. through questionnaires, the paper investigates 200 personnel from casino resorts and two hundred personnel from non-casino inns. paintings strain and activity delight of employees in casino hotels and non-casino hotels are as compared. Statistic strategies together with descriptive statistics and one-way evaluation of variance (one-way ANOVA) are applied. The paper attempts to achieve the below aims: firstly, explore and examine the effect of gender, task function, marital status and fertility fame on personnel’ paintings strain and process delight. Secondly, explore the notion of work strain and activity pleasure throughout online casino motel and non-online casino resort employees. Thirdly, explore the relationship between paintings stress and process delight. The end result suggests there are not enormous differences in personnel’ work stress and task pleasure notion between unique genders, positions, marital situations and fertility conditions. The result confirms there are substantial variations in employees’ paintings pressure and task satisfaction perception between online casino and non-online casino employees. Furthermore, painting strain negatively affects job pride. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=strategic%20management" title="strategic management">strategic management</a>, <a href="https://publications.waset.org/abstracts/search?q=strategic%20tools" title=" strategic tools"> strategic tools</a>, <a href="https://publications.waset.org/abstracts/search?q=five-star%20hotels" title=" five-star hotels"> five-star hotels</a>, <a href="https://publications.waset.org/abstracts/search?q=resorts" title=" resorts"> resorts</a>, <a href="https://publications.waset.org/abstracts/search?q=downtown%20hotels" title=" downtown hotels"> downtown hotels</a> </p> <a href="https://publications.waset.org/abstracts/190109/the-impact-of-technology-on-tourism-hotels-and-investments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/190109.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">26</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">68</span> Numerical and Experimental Investigation of Fracture Mechanism in Paintings on Wood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Jamalabadi">Mohammad Jamalabadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Noemi%20Zabari"> Noemi Zabari</a>, <a href="https://publications.waset.org/abstracts/search?q=Lukasz%20%20Bratasz"> Lukasz Bratasz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Panel paintings -complex multi-layer structures consisting of wood support and a paint layer composed of a preparatory layer of gesso, paints, and varnishes- are among the category of cultural objects most vulnerable to relative humidity fluctuations and frequently found in museum collections. The current environmental specifications in museums have been derived using the criterion of crack initiation in an undamaged, usually new gesso layer laid on wood. In reality, historical paintings exhibit complex crack patterns called craquelures. The present paper analyses the structural response of a paint layer with a virtual network of rectangular cracks under environmental loadings using a three-dimensional model of a panel painting. Two modes of loading are considered -one induced by one-dimensional moisture response of wood support, termed the tangential loading, and the other isotropic induced by drying shrinkage of the gesso layer. The superposition of the two modes is also analysed. The modelling showed that minimum distances between cracks parallel to the wood grain depended on the gesso stiffness under the tangential loading. In spite of a non-zero Poisson’s ratio, gesso cracks perpendicular to the wood grain could not be generated by the moisture response of wood support. The isotropic drying shrinkage of gesso produced cracks that were almost evenly spaced in both directions. The modelling results were cross-checked with crack patterns obtained on a mock-up of a panel painting exposed to a number of extreme environmental variations in an environmental chamber. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fracture%20saturation" title="fracture saturation">fracture saturation</a>, <a href="https://publications.waset.org/abstracts/search?q=surface%20cracking" title=" surface cracking"> surface cracking</a>, <a href="https://publications.waset.org/abstracts/search?q=paintings%20on%20wood" title=" paintings on wood"> paintings on wood</a>, <a href="https://publications.waset.org/abstracts/search?q=wood%20panels" title=" wood panels"> wood panels</a> </p> <a href="https://publications.waset.org/abstracts/138220/numerical-and-experimental-investigation-of-fracture-mechanism-in-paintings-on-wood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138220.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">267</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">67</span> An Investigation of the Influence of the Iranian 1979 Revolution on Tehran’s Public Art </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Sohrabi%20Narciss">M. Sohrabi Narciss</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Urban spaces of Tehran, the capital of Iran, have witnessed many revolts, movements, and protests during the past few decades. After the Iranian Constitutional Revolution, the 1979 Revolution has had a profound impact on Tehran’s urban space. In 1979, the world watched as Iranians demonstrated en masse against the Pahlavi dynastdy which eventually led to its overthrow. Tehran’s public space is replete with images and artwork that depict the overthrow of the Pahlavi regime and the establishment of an Islamic government in Iran. The public artworks related to the 1979 Islamic Revolution reflect the riots, protests, and strikes that the Iranians underwent during the revolution. Many of these artworks try to revitalize the events that occurred in the 1970s by means of collective memory. Almost 4 decades have passed since the revolution and ever since the public artwork has been affected either directly or indirectly by the Iran-Iraq War, the Green Movement, and the rise and fall of various political forces. The present study is an attempt to investigate Tehran’s urban artwork such as urban sculptures and mural paintings organized and supervised by the government and the graffiti drawn by the critics or the opposition groups. To this end, in addition to the available documents, field research and questionnaires were used to qulaitatively analyze the data. This paper tries to address the following questions: 1) what changes have occurred in Tehran’s urban art? 2) Does the public, revolution-related artwork have an effect on people’s vitality? 3) do Iranians find these artworks appealing or not? <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20space" title="public space">public space</a>, <a href="https://publications.waset.org/abstracts/search?q=Tehran" title=" Tehran"> Tehran</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20art" title=" public art"> public art</a>, <a href="https://publications.waset.org/abstracts/search?q=movement" title=" movement"> movement</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20revolution" title=" Islamic revolution"> Islamic revolution</a> </p> <a href="https://publications.waset.org/abstracts/79635/an-investigation-of-the-influence-of-the-iranian-1979-revolution-on-tehrans-public-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79635.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">196</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">66</span> Costume Design Influenced by Seventeenth Century Color Palettes on a Contemporary Stage</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michele%20L.%20Dormaier">Michele L. Dormaier</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the research was to design costumes based on historic colors used by artists during the seventeenth century. The researcher investigated European art, primarily paintings and portraiture, as well as the color palettes used by the artists. The methodology examined the artists, their work, the color palettes used in their work, and the practices of color usage within their palettes. By examining portraits of historic figures, as well as paintings of ordinary scenes, subjects, and people, further information about color palettes was revealed. Related to the color palettes, was the use of ‘broken colors’ which was a relatively new practice, dating from the sixteenth century. The color palettes used by the artists of the seventeenth century had their limitations due to available pigments. With an examination of not only their artwork, and with a closer look at their palettes, the researcher discovered the exciting choices they made, despite those restrictions. The research was also initiated with the historical elements of the era’s clothing, as well as that of available materials and dyes. These dyes were also limited in much the same manner as the pigments which the artist had at their disposal. The color palettes of the paintings have much to tell us about the lives, status, conditions, and relationships from the past. From this research, informed decisions regarding color choices for a production on a contemporary stage of a period piece could then be made. The designer’s choices were a historic gesture to the colors which might have been worn by the character’s real-life counterparts of the era. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=broken%20color%20palette" title="broken color palette">broken color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20color%20research" title=" costume color research"> costume color research</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title=" costume design"> costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20history" title=" costume history"> costume history</a>, <a href="https://publications.waset.org/abstracts/search?q=seventeenth%20century%20color%20palette" title=" seventeenth century color palette"> seventeenth century color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=sixteenth%20century%20color%20palette" title=" sixteenth century color palette"> sixteenth century color palette</a> </p> <a href="https://publications.waset.org/abstracts/87451/costume-design-influenced-by-seventeenth-century-color-palettes-on-a-contemporary-stage" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87451.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">65</span> Material Analysis for Temple Painting Conservation in Taiwan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chen-Fu%20Wang">Chen-Fu Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lin-Ya%20Kung"> Lin-Ya Kung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder when the materials cannot be easily identified; therefore, it is essential that we take a more scientific approach to assist in conservation work. Paintings materials are high molecular weight polymer, and their analysis is very complicated as well other contamination such as smoke and dirt can also interfere with the analysis of the material. The current methods of composition analysis of painting materials include Fourier transform infrared spectroscopy (FT-IR), mass spectrometer, Raman spectroscopy, X-ray diffraction spectroscopy (XRD), each of which has its own limitation. In this study, FT-IR was used to analyze the components of the paint coating. We have taken the most commonly seen materials as samples and deteriorated it. The aged information was then used for the database to exam the temple painting materials. By observing the FT-IR changes over time, we can tell all of the painting materials will be deteriorated by the UV light, but only the speed of its degradation had some difference. From the deterioration experiment, the acrylic resin resists better than the others. After collecting the painting materials aging information on FT-IR, we performed some test on the paintings on the temples. It was found that most of the artisan used tune-oil for painting materials, and some other paintings used chemical materials. This method is now working successfully on identifying the painting materials. However, the method is destructive and high cost. In the future, we will work on the how to know the painting materials more efficiently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=temple%20painting" title="temple painting">temple painting</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20material" title=" painting material"> painting material</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=FT-IR" title=" FT-IR"> FT-IR</a> </p> <a href="https://publications.waset.org/abstracts/61781/material-analysis-for-temple-painting-conservation-in-taiwan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61781.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">64</span> New Chinese Landscapes in the Works of the Chinese Photographer Yao Lu</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xiaoling%20Dai">Xiaoling Dai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many Chinese artists have used digital photography to create works with features of Chinese landscape paintings since the 20th century. The ‘New Mountains and Water’ works created by digital techniques reflect the fusion of photographic techniques and traditional Chinese aesthetic thoughts. Borrowing from Chinese landscape paintings in the Song Dynasty, the Chinese photographer Yao Lu uses digital photography to reflect contemporary environmental construction in his series New Landscapes. By portraying a variety of natural environments brought by urbanization in the contemporary period, Lu deconstructs traditional Chinese paintings and reconstructs contemporary photographic practices. The primary object of this study is to investigate how Chinese photographer Yao Lu redefines and re-interprets the relationship between tradition and contemporaneity. In this study, Yao Lu’s series work New Landscapes is used for photo elicitation, which seeks to broaden understanding of the development of Chinese landscape photography. Furthermore, discourse analysis will be used to evaluate how Chinese social developments influence the creation of photographic practices. Through visual and discourse analysis, this study aims to excavate the relationship between tradition and contemporaneity in Lu’s works. According to New Landscapes, the study argues that in Lu’s interpretations of landscapes, tradition and contemporaneity are seen to establish a new relationship. Traditional approaches to creation do not become obsolete over time. On the contrary, traditional notions and styles of creation can shed new light on contemporary issues or techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20aesthetics" title="Chinese aesthetics">Chinese aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=Yao%20Lu" title=" Yao Lu"> Yao Lu</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20landscapes" title=" new landscapes"> new landscapes</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporaneity" title=" contemporaneity"> contemporaneity</a> </p> <a href="https://publications.waset.org/abstracts/161088/new-chinese-landscapes-in-the-works-of-the-chinese-photographer-yao-lu" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161088.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">79</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> Painting in Neolithic of Northwest Iberia: Archaeometrical Studies Applied to Megalithic Monuments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C%C3%A9sar%20Oliveira">César Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20M.%20S.%20Bettencourt"> Ana M. S. Bettencourt</a>, <a href="https://publications.waset.org/abstracts/search?q=Luciano%20Vilas%20Boas"> Luciano Vilas Boas</a>, <a href="https://publications.waset.org/abstracts/search?q=Lu%C3%ADs%20Gon%C3%A7alves"> Luís Gonçalves</a>, <a href="https://publications.waset.org/abstracts/search?q=Carlo%20Bottaini"> Carlo Bottaini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Funerary megalithic monuments are probably under the most remarkable remains of the Neolithic period of western Europe. Some monuments are well known for their paintings, sometimes associated with engraved motifs, giving the funerary crypts a character of great symbolic value. The engraved and painted motifs, the colors used in the paintings, and the offerings associated with the deposited corpses are archaeological data that, being part of the funeral rites, also reveal the ideological world of these communities and their way of interacting with the world. In this sense, the choice of colors to be used in the paintings, the pigments collected, and the proceeds for making the paints would also be significant performances. The present study will focus on the characterization of painted art from megalithic monuments located in different areas of North-Western Portugal (coastal and inland). The colorant composition of megalithic barrows decorated with rock art motifs was studied using a multi-analytical approach (XRD, SEM-EDS, FTIR, and GC-MS), allowing the characterization of the painting techniques, pigments, and the organic compounds used as binders. Some analyses revealed that the pigments used for painting were produced using a collection of mined or quarried organic and inorganic substances. The results will be analyzed from the perspective of contingencies and regularity among the different case studies in order to interpret more or less standardized behaviors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=funerary%20megalithic%20monuments" title="funerary megalithic monuments">funerary megalithic monuments</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20motifs" title=" painting motifs"> painting motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=archaeometrical%20studies" title=" archaeometrical studies"> archaeometrical studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Northwest%20Iberia" title=" Northwest Iberia"> Northwest Iberia</a>, <a href="https://publications.waset.org/abstracts/search?q=behaviors" title=" behaviors"> behaviors</a> </p> <a href="https://publications.waset.org/abstracts/159912/painting-in-neolithic-of-northwest-iberia-archaeometrical-studies-applied-to-megalithic-monuments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Effects of Sports Participation on Academics Performance of Students at Yaa Asantewaa Girls’ Senior High School</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alhassan%20Dramani%20Yakubu">Alhassan Dramani Yakubu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The primary purpose of this study was to analyze effects that participating in sporting activities has on academic performance among students at Yaa Asantewaa Girls’ Senior High School. To dig out the main objective of the study, descriptive survey design was employed. The study used 45 respondents comprising of 25 student – athletes and 20 non-student – athletes. The purposive sampling and stratified random sampling technique were used to sample population of 455 students involved. The academic performance of sports participants is compared with those of non – participants in terms of their outcomes in the form of grades from mathematics. Data was obtained from the sample by the use of questionnaire which was self - administered. The questionnaire sought information on level of student’s participation in sports and importance of sports participation to students. Results revealed that participation in sporting activities is associated with higher grades among students. The analysis reinforces the idea that apart from their health benefits for participants, sporting activities lead to the attainment of the performance goals to which higher institutions aspire. The findings also implies that, mathematics teachers and other subject teachers should not fend off students from participating in sporting activities with the trepidation that participating in sports inflame academic performance. This study recommend that, educational programs about sports should be provided for students’ through the educational system to bring about positive academic performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=physical%20activity" title="physical activity">physical activity</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20education" title=" physical education"> physical education</a>, <a href="https://publications.waset.org/abstracts/search?q=intra%20mural" title=" intra mural"> intra mural</a>, <a href="https://publications.waset.org/abstracts/search?q=extra%20mural" title=" extra mural"> extra mural</a> </p> <a href="https://publications.waset.org/abstracts/182543/effects-of-sports-participation-on-academics-performance-of-students-at-yaa-asantewaa-girls-senior-high-school" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182543.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">62</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Tracing Ethnic Identity through Prehistoric Paintings and Tribal Art in Central India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indrani%20Chattopadhyaya">Indrani Chattopadhyaya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper seeks to examine how identity – a cultural self-image of a group of people develops – how they live, they think, they celebrate and express their world view through language, gesture, symbols, and rituals. 'Culture' is a way of life and 'identity' is assertion of that cultural self-image practiced by the group. The way in which peoples live varies from time to time and from place to place. This variation is important for their identity. Archaeologists have classified these patterns of spacial variations as 'archaeological culture.' These cultures are identified 'self-consciously' with a particular social group indicating ethnicity. The ethnic identity as archaeological cultures also legitimizes the claims of modern groups to territory. In prehistoric research problems of ethnicity and multiculturalism, stylistic attributes significantly reflect both group membership and individuality. In India, anthropologists feel that though tribes have suffered relative isolation through history, they have remained an integral part of Indian civilization. The term 'tribe' calls for substitution with a more meaningful name with an indigenous flavour 'Adivasi' (original inhabitants of the land).While studying prehistoric rock paintings from central India - Sonbhadra (Uttar Pradesh) and Bhimbetka (Madhya Pradesh), one is struck by the similarity between stylistic attributes of painted motifs in the prehistoric rock shelters and the present day indigenous art of Kol and Bhil tribes in the area, who have not seen these prehistoric rock paintings, yet are carrying on with the tradition of painting and decorating their houses in the same way. They worship concretionary sandstone blocks with triangular laminae as Goddess, Devi, Shakti. This practice is going on since Upper Palaeolithic period confirmed by archaeological excavation. The past is legitimizing the role of the present groups by allowing them to trace their roots from earlier times. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethnic%20identity" title="ethnic identity">ethnic identity</a>, <a href="https://publications.waset.org/abstracts/search?q=hermeneutics" title=" hermeneutics"> hermeneutics</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Adivasi" title=" Adivasi"> Adivasi</a> </p> <a href="https://publications.waset.org/abstracts/58659/tracing-ethnic-identity-through-prehistoric-paintings-and-tribal-art-in-central-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58659.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">308</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Anatomy of the Human Mitral Valve Leaflets: Implications for Transcatheter and Surgical Mitral Valve Repair Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agata%20Krawczyk-Ozog">Agata Krawczyk-Ozog</a>, <a href="https://publications.waset.org/abstracts/search?q=Mateusz%20K.%20Holda"> Mateusz K. Holda</a>, <a href="https://publications.waset.org/abstracts/search?q=Mateusz%20Koziej"> Mateusz Koziej</a>, <a href="https://publications.waset.org/abstracts/search?q=Danuta%20Sorysz"> Danuta Sorysz</a>, <a href="https://publications.waset.org/abstracts/search?q=Zbigniew%20Siudak"> Zbigniew Siudak</a>, <a href="https://publications.waset.org/abstracts/search?q=Wieslawa%20Klimek-Piotrowska"> Wieslawa Klimek-Piotrowska</a>, <a href="https://publications.waset.org/abstracts/search?q=Dariusz%20Dudek"> Dariusz Dudek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Rapid development of the surgical and less-invasive percutaneous mitral valve repair procedures greatly increase the interest of the mitral valve anatomy. The aim of this study was to characterize morphological variability of the mitral valve leaflets and to provide the size of their particular parts. Materials and Methods: In the study, we included 200 autopsied human hearts from Caucasian individuals (25% females) with mean age 47.5 (±17.9) without any valvular diseases. The morphology of the mitral valve was evaluated. The intercommissural and aorto-mural diameters of the mitral annulus were measured. All leaflets and their scallops were identified. The base and the height of the posteromedial commissure (PM-C), anterolateral commissure (AL-C), anterior leaflet (AL) and posterior leaflet (PL) with their scallops were measured. Results: The intercommissural diameter was 28.0±4.8 mm, the aorto-mural diameter 19.7±4.8 mm, circumference of the mitral annulus 89.9±12.6 mm and the area of the mitral valve 485.4±171.4 mm2. Classical mitral valves (AL+AL-C+PL(P1,P2,P3)+PM-C) were found in 141 (70.5%) specimens. In classical type, the mean AL base and height were 30.8±4.9 mm and 20.6±4.2 mm, while mean PL base and height 45.1±8.2 mm 12.9±2.8 mm respectively. The mean ratio of the AL base to PL base was 0.7±0.2. Variations in PL were found in 55 (27.5%) and in AL in 5 (2.5%) hearts. The most common variations were: valve with one accessory scallop (AcS) between P3 and PM-C (7%); AcS between P1 and AL-C (4%); connections of P2 and P3 scallops (4%); connections of P1 and P2 scallops (3%); AcS in AL (2.5%). All AcS were smaller than the main PL scallops. The mean intertrigonal distance was 21.9±3.8 mm. Conclusions: In all cases, the mitral valve is built by two main leaflets with possible variants in secondary to leaflets scallops (29.5%). The variations are largely associated with PL and are mostly related to the presence of AcS. Anatomically the AL is not divided into scallops, and it occupies 34.5% of the mitral annulus circumference. Understanding the anatomy of the mitral valve leaflets helps to planning and performing mitral valve repair procedures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=accessory%20scallop" title="accessory scallop">accessory scallop</a>, <a href="https://publications.waset.org/abstracts/search?q=commissure" title=" commissure"> commissure</a>, <a href="https://publications.waset.org/abstracts/search?q=connected%20%20scallops" title=" connected scallops"> connected scallops</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20heart" title=" human heart"> human heart</a>, <a href="https://publications.waset.org/abstracts/search?q=mitral%20leaflets" title=" mitral leaflets"> mitral leaflets</a>, <a href="https://publications.waset.org/abstracts/search?q=mitral%20valve" title=" mitral valve"> mitral valve</a> </p> <a href="https://publications.waset.org/abstracts/65755/anatomy-of-the-human-mitral-valve-leaflets-implications-for-transcatheter-and-surgical-mitral-valve-repair-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65755.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">389</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Sports Fans and Non-Interested Public Recognition of the Problems of Sports in Egypt through Caricature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alaaeldin%20Hamdy%20Ahmed%20Mohammed">Alaaeldin Hamdy Ahmed Mohammed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: This study examines sports’ fans and non-interested public perception and recognition of the problems that have negative impacts upon the Egyptian sports, particularly football, through caricatures. Eight caricature paintings were designed to express eight problems affecting the Egyptian sports and its development. These paintings were distributed on two groups of the fans and the non-interested public. Methods: The study was limited to eight caricatures representing the eight issues which are: the impact of stopping the sports activity on athletes, the effect of clubs’ disagreement, fanaticism between the members of the ultras of different clubs, the negative impact of the mingling of politics into sports, the negative role of the clubs affects the professionalism of the promising players, the conflict between the national organization responsible for sports, the breaking in of the fans to the playgrounds, the impact of the lack of planning on the national team. The Results: The results showed that both sports fans and those who are not interested in sports recognized the problems that the caricatures refer to and criticizes exaggeration although the rate was higher for the fans. These caricatures contributed also in their recognition of the danger of the negative impact of these problems on the Egyptian sports, particularly football which is the most common at the Egyptian sports fans. Discussion: This finding echoes the conclusion that caricatures are distinctive in the adults’ facial stimuli that are either systematically exaggerated recognition of them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=caricature" title="caricature">caricature</a>, <a href="https://publications.waset.org/abstracts/search?q=fans" title=" fans"> fans</a>, <a href="https://publications.waset.org/abstracts/search?q=football" title=" football"> football</a>, <a href="https://publications.waset.org/abstracts/search?q=sports" title=" sports"> sports</a> </p> <a href="https://publications.waset.org/abstracts/29492/sports-fans-and-non-interested-public-recognition-of-the-problems-of-sports-in-egypt-through-caricature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29492.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">317</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=mural%20paintings&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=mural%20paintings&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=mural%20paintings&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a 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