Slog in tehnika srednjeveškega stenskega slikarstva na Slovenskem

Scientific analytical methods are becoming increasingly more important for a truly comprehensive understanding and better-grounded interpretation of the works of visual arts. Art historians, restorers, chemists and physicists have been more and more frequently joining their efforts in order to fully apprehend a given monument not only in terms of its artistic form but also in terms of its material structure and execution technique. In Slovenia such interdisciplinary research is, however, still in its early stages. One case in point is the study of mediaeval wall painting, which has been, by and large, narrowly focusing on stylistic classification, on resolving open questions of iconography and on establishing closer ties between particular mural cycles (and hence, at least implicitly, personal contacts between individual painters) by the traditional means of formal analysis. With the exception of a few specialists, mostly restorers, little attention has hitherto been paid to the actual techniques of execution. The present book focuses primarily on the latter aspect.

Given the astonishingly large number of wall-painting cycles surviving on the territory of the present-day Slovenia, only some of the most telling examples, encompassing the time span between the end of the 13th and the end of the 15th centuries, have been chosen for closer analysis.