• Journal of Integrative Natural Science
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• v.7 no.1
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• pp.50-56
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• 2014

To explore effects on each the emotional awareness, emotional expression, emotional empathy, and emotional regulation, of the sub-factors of the child's emotional intelligence, to mural preference, emotion cultivation, and community connection, the hierarchical multiple regression analyses are performed(as in Table 1, 2, and 3). As the results, we found the following facts. Children's mural preference, emotion cultivation, and community connection were expressed by the following equations in order, respectively. Mural Preference = $.170{\times}$[Emotional Awareness](t=2.118, $p=.036^*$) - $.025{\times}$[Emotional Expression](t=-.275, p=.783) + $.088{\times}$[Emotional Empathy](t=.938, p=.350) + $.139{\times}$[Emotional Regulation] (t=1.529, p=.128). Mural Emotion Cultivation = $-.021{\times}$[Emotional Awareness](t=-.294, p=.769) - $.205{\times}$[Emotional Expression](t=-2.573, $p=.011^*$) + $.265{\times}$[Emotional Empathy](t=3.156, $p=.002^*$) + $.192{\times}$[Emotional Regulation](t=2.361, $p=.019^*$). Mural Community Connection = $-.001{\times}$[Emotional Awareness](t=-.007, p=.995) - $.132{\times}$[Emotional Expression](t=-1.478, p=.141) + $.172{\times}$[Emotional Empathy](t=1.732, $p=.027^*$) + $.098{\times}$[Emotional Regulation](t=1.072, p=.285).

• 보존과학연구
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• s.13
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• pp.59-68
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• 1992

Some pigments of Kumsansa mural painting and Dan-Chong were analyzed by X-ray diffraction spectrometry. Red colour of mural painting and Dan-Chong are all of hematite based quartz and calcite. White blue were found to lead sulphate based calcite on mural painting. Blue pigment on mural painting was found to be quartz, albite, calcite, gypsum and talcwhile Dan-Chong lazurite and gypsum.* Dan-Chong : Exterior painrig with various colours and desingns.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.83-91
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• 2015

This research considered the city design and public arts theory. As a result, planning ability lacks in the existing mural arts. It were discovered to not coincide with the demands of time. This research attempted practical approach by expanding to public spaces rather than being limited to artistic section. For one of the case, the mural of Jurye Girl's Middle School located in Busan was selected. As a result, the mural that included culture discovered that mural matches well with city's public environment. We conducted survey. 107 participants was randomly selected as students and neighbors in Jure girl's middle school. The results of it reveals that environmentally friendly tendency and cultural implication are relatively higher than others. Mural arts have been focused as space where people live along with the progress of civilization and development of our society. It is important how the relationship between modern public environment space and mural arts shall harmonize. This research proposes social values that can replace the special mood by adding vitalization and liveliness to public environment through various mural contents.

• Journal of Conservation Science
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• v.38 no.4
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• pp.334-346
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• 2022

The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.

• SUVANNABHUMI
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• v.1 no.2
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• pp.1-20
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• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.

• Imaging Science in Dentistry
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• v.41 no.1
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• pp.29-33
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• 2011

A 46-year-old man was referred to our hospital for treatment, complaining of swelling on the right mandibular molar region. Radiographic examination revealed a well defined multilocular radiolucent lesion with root resorption of right lower anteriors and molars. Following biopsy, a diagnosis of unicystic ameloblastoma of mural type was made and hemimandibulectomy was performed under general anesthesia. Histopathological examination of the surgical specimen exhibited a unicystic ameloblastoma of luminal, intraluminal, and mural type. Intraluminal proliferation was of plexiform pattern and mural proliferation showed unusual histopathological findings, which revealed follicular, acanthomatous areas coexisted with desmoplastic areas. This mural picture was similar to the so-called 'hybrid lesion of ameloblastoma', whose biological profile is not elicited due to the lack of adequate published reports. Two years follow up till date has not revealed any signs of recurrence.

• Korean Journal of Veterinary Pathology
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• v.7 no.1
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• pp.5-9
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• 2003

Malignant catarrhal fever (MCF) is a systemic disease of ruminants caused by a gamma herpesvirus, ovine herpesvirus 2 (OvHV-2). Four 1-year old goats (Capra hircus), which were infected with MCF virus, OvHV-2, by being housed together with MCF virus-infected seep, were referred with a I-month history of chronic dermatitis. On the other hand, MCF virus-negative goats, which were isolated for negative control, had not those kinds of skin problems. Examination of the affected goats revealed generalized alopecia, patchy erythema, and superficial erosions with histologic evidence of mural folliculitis. Fungal culture tests and external parasite tests with the scraping skin samples were negative. However, polymerase chain reaction revealed the existence of MCF virus DNAs in the lesion. These results suggested that MCF virus may induce mural folliculitis and alopecia in goat.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.30 no.2
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• pp.178-181
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• 2008

Much has been written about the possibility that the lining of a dentigerous cyst might undergo neoplastic transformation to an ameloblastoma which is defined as mural ameloblastoma. Mural ameloblastomas are estimated to constitute 5% of all ameloblastomas. 85% of the mural ameloblastomas were associated with dentigerous cyst, all of which were observed before the age of 30. The frequency of recurrence after simple enucleation of the cyst containing this lesion is considerably lower than that for ameloblastomas in general that are treated in a similar manner. Therefore, further and more extensive surgery is not required for mural ameloblastoma. We diagnosed a cystic appearance of a 17 year-old female as dentigerous cyst and undergone marsupialization. For 2 years of period, no significant change was observed and therefore enucleation was undergone and diagnosed as ameloblastoma. We report this case with a review of related literatures.

• Journal of the Korean Society of Food Culture
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• v.30 no.5
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• pp.596-610
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• 2015

This study is on the alcohol beverage utensils represented on the Chinese tomb mural paintings of Song, Liao, Jin, and Yuan those countries had foreign exchange with Koryo Dynasty. These mural paintings are distributed in the areas such as Hebei, Henan, Inner mongolia, Shanxi, Shaanxi, Peijing. etc. The Alcohol beverage vessels were classified mainly into storage vessel, pouring vessel, drinking vessel and ladles according to the purpose. The storage vessels of Song, Liao and Jin were called Jiuping, Jingping, Jiuzun as well as Meiping. Pouring vessels are basically one set of Zhuzi, Wenwan and Jiuzhu, or Zhuhu and Zhuwan. On the mural paintings of Yuan Dynasty, Meiping as storage vessels disappear, and a variety of shapes of pouring vessels such as Mayu and Yuhuchunping appear. This trend indirectly indicates the new arrival of distilled liquor, which seems to have affected transition of the alcohol beverage utensils.

• Journal of Conservation Science
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• v.38 no.4
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• pp.327-333
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• 2022

Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al₂O₃) and silicon dioxide(SiO₂) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics of clay pigment samples, we go over previous pigment analyses of mural paintings in Sri Lanka. Kaolin is identified after the 17^th century, yellow and red ochre are applied in early periods, Classic and Late Classic styles. The change in raw materials of pigments occurred in the 17^th century.