View allAll Photos Tagged polychrome
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome terracotta puteal (wellhead) from the Iron Age, late 6th century BCE. Excavated near the Temple of Victory on the Palatine Hill in Rome.
Palatine Museum, Rome.
Terracotta Attic gilded polychrome hydria with lead lid showing battle of Greeks and Amazons (Amazonomachy). The vase had been used as a cinerary urn. While the Hellenistic excelled in jewelry and architecture, vase painting degenerated at the end of the Classical Period. Late Classical, c. 325 BC - 300 BC. Kastri (Amphipolis), Greece. From the Archaeological Museum, Amphipolis. Special Exhibition: Pergamon and the Hellenistic Kingdoms of the Ancient World. Metropolitan Museum. New York, New York, USA. Copyright 2016, James A. Glazier.
160 806 Cunault
Pieta (église prieurale Notre-Dame de Cunault)
Notre-Dame de Pitié ; pierre polychromée ; XVIè siècle.
This Etruscan life-size polychrome terracotta statue of Hercules (Etruscan Hercle) and the Golden Hind probably faced the famous Apollo of Veii statue on the roof of the Temple of Apollo in the Portonaccio sanctuary at Veii. His arms and much of his head and the head of the deer have not survived, but a great deal of the original pigments are intact.
These sculptures are credited to the 'Master of Apollo', who may have been Vulca - or someone working in his circle - made immortal by Vitruvius describing his work on the Temple of Jupiter Optimus Maximus on the Capitoline Hill in Rome.
Etruscan, Veii, Latium, Italy, ca. 510-500 BCE. Terracotta with pigments.
Museo Nazionale Etrusco di Villa Giulia, Rome
Polychrome terracotta figure of a boy, his right hand by his side, his left hand muffled in his himation (cloak) and lying across his chest. His himation reaches to the ground and is pinned on his right shoulder by a leaf-shaped clasp. The boy carries a quiver full of arrows on his upper back decorated with a pommel in the shape of a swan- or goose- head; he has short curly hair worn in a fringe on his forehead, and his features are large and crude with heavily lidded eyes.
Brown clay (with a little mica), white slip coating, with a vibrant rose-madder pigment on the himation, and orange pigment on the boy's flesh. On the back is the signature of the terracotta-maker Diphilos.
Hellenistic, Roman Imperial, made in and said to be from Myrina, Asia Minor (modern Turkey), ca. 50 BCE-30 CE.
Height: 24 cm (9.45 in.)
British Museum, London (1893,0915.3)
Polychrome tile decoration inside Qavam House in Eram Garden, a historic Persian garden and now designated UNESCO World Heritage site, situated in Shiraz, the capital of Fars province of Iran.
Eram Garden (Bagh-e Eram), also known as Paradise Garden, located along the northern shore of the Khoshk River in Shiraz, is one of the most famous and beautiful Persian gardens in all of Iran. It should be noted that the word ‘Eram’ is the Persian version of the Arabic word ‘Iram’ which means heaven in Islam’s most holiest of books, the Qur’an. With its beautiful grounds, lush plant life and aesthetic attractions, it’s easy to see why Eram evokes such a description.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
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Excavations have revealed 12,000 m2 of polychrome friezes (300-850 AD), the largest iconographic program ever excavated in South America. Themes revolve around the myths and ritual practices of the Moche. As these high-relieve friezes were undergoing excavation, their conservation became a paramount issue. The conservation of adobe architecture also requires innovative techniques. Hundreds of archaeologists and conservators, chemists, structural engineers, imaging experts, specialists in pigment, metals, ceramics and even charcoal, both Peruvians and foreign, participated in this research. During the excavations, human remains were uncovered in patios and plazas. Studies by bioarchaeologists, geneticists and pathologists concur that they were human sacrifices, which until then had only been known to us through visual representations on Moche ceramics.
The Huacas de Moche site is located 4 km outside the modern city of Trujillo, near the mouth of the Moche River valley. The Huaca de la Luna, though it is the smaller of the two huacas at the site, has yielded the most archaeological information. The Huaca del Sol was partially destroyed and looted by Spanish conquistadors in the 17th century, while the Huaca de la Luna was left relatively untouched. Archeologists believe that the Huaca del Sol may have served for administrative, military, and residential functions, as well as a burial mound for the Moche elite. The Huaca de la Luna served primarily a ceremonial and religious function, though it contains burials as well.
Today the Huaca de la Luna is colored the soft brown of its adobe brickwork. At the time of construction, it was decorated in registers of murals which were painted in black, bright red, sky blue, white, and yellow. The sun and weather has since utterly faded these murals away. Inside the Huaca are other murals created in earlier phases of construction. Many of these depict a deity now known as Ayapec. Ayapec is a pre-Quechua word translating as all knowing. "Wrinkle-Face" is the name given to another deity by the later Inca because of the deity's appearance.
Many of the later bricks used in the structure bear one of over 100 different markings, perhaps corresponding to groups of laborers from different communities. Each "team" was maybe assigned a mark to put on their bricks, and these were used to count the number of bricks laid for financial as well as (presumably) competitive purposes.
The Huaca de la Luna is a large complex of three main platforms, each one serving a different function. The northernmost platform, at one time brightly decorated with a variety of murals and reliefs, was destroyed by looters. The surviving central and southern platforms have been the focus of most excavations. The central platform has yielded multiple high-status burials interred with a variety of fine ceramics, suggesting that it was used as a burial ground for the Moche religious elite. The grave goods found at the Huaca del Sol suggest it may have been used for the interment of political rulers.
The eastern platform, black rock and adjacent patios were the sites of human sacrifice rituals. These are depicted in a variety of Moche visual arts, most notably painted ceramics. After the sacrifice, bodies of victims would be hurled over the side of the Huaca and left exposed in the patios. Researchers have discovered multiple skeletons of adult males at the foot of the rock, all of whom show signs of trauma, usually a severe blow to the head, as the cause of death.
The World Monuments Fund has been working at Huaca de la Luna to support needed conservation work. This includes ongoing assessments, documentation, stabilization, and consolidation of excavated architectural and decorative elements.
The deceased, cloaked, crowned, and adorned with jewels, reclines on the lid of the sarcophagus, holding a patera for libations. Near his head lies a folded liber linteus—a book written on linen cloth, possibly a sacred text. A sphinx is also positioned near his head.
The bas-relief carved on the casket surface depicts the funeral procession. The deceased is shown riding a biga (two-horse chariot); in front of the chariot there are his wife, musicians (playing the tibia, lyre, and horn), dancers, a cloaked figure, and a priest holding a lituus—a curved staff resembling a pastoral crook.
The iconography blends the innovation of the funeral procession with themes from archaic tradition: the banquet, music, dance, and the presence of the married couple participating in the ceremony.
The sarcophagus was discovered in Cerveteri, in the Banditaccia Necropolis, inside a painted chamber tomb known as the Tomb of the Sarcophagi.
Limestone Etruscan sarcophagus
Casket: height 60 cm; length 190 cm; width 66 cm
Lid: height 40 cm; length 195 cm; width 60 cm
400 - 375 BC
From Cerveteri, Banditaccia Necropolis
Rome, Vatican Museums, Museo Gregoriano Etrusco – Inv. 14949
A polychrome stucco relief, with a woman holding a box, standing in an open doorway; the stairs below her are stucco and project outwards from the relief by a good 1.5” - very realistic). Another much smaller woman is sitting on a balustrade against a blue background. On the right side is an image of Herakles.
Pompeii, House of Meleager, VI 9, 2-13, tablinum 8.
62-79 CE
Museo Archeologico Nazionale di Napoli (inv. 9595)
Taken from the Denali Park Road as it approaches Polychrome Pass. Here a wall of Basalt and Rhyolite show off the colors that give the pass its name.
family, am i right? The Holy Kinship, South German, polychromed wood, c. 1480/1490, @ngadc. #johnkrasinski #nga #artmuseum #artgallery #exhibition #gallery #museum #artnerd #arthistory #instaart #ngadc #artwork #artsy #galleryart #masterpiece #creative #artoftheday #art #culture #germanart #ArtWatchers_United #sculpture #statue #gold #figurative #medieval #medievalart #ihavethisthingwithmuseumpics
Terracotta South Italian polychrome plate showing A war elephant with mahout with goad and Indian soldiers. Charmingly, the elephant leads a baby elephant. Rosette and grape-vine borders. Late Classical, c. 325 BC - 300 BC. Greek, Southern Italy (Magna Grecia). Special Exhibition: Pergamon and the Hellenistic Kingdoms of the Ancient World. Metropolitan Museum. New York, New York, USA. Copyright 2016, James A. Glazier.
یک قاب 24 قطعه ای کاشی، قرن 18 یا 19 میلادی
POLYCHROME POTTERY TILE PANEL, PERSIA, 18TH/19TH CENTURY
composed of twenty-four tiles, decorated with a scene of courtly male figures hunting, one on horseback, the other two on foot, set in a rocky landscape with distant palaces, the border with a succession of oblong cartouches enclosing further scenes of the chase, framed
148.5 x 101.5cm.
Polychrome tile decoration on front facade of Qavam House in Eram Garden, a historic Persian garden and now designated UNESCO World Heritage site, situated in Shiraz, the capital of Fars province of Iran.
Eram Garden (Bagh-e Eram), also known as Paradise Garden, located along the northern shore of the Khoshk River in Shiraz, is one of the most famous and beautiful Persian gardens in all of Iran. It should be noted that the word ‘Eram’ is the Persian version of the Arabic word ‘Iram’ which means heaven in Islam’s most holiest of books, the Qur’an. With its beautiful grounds, lush plant life and aesthetic attractions, it’s easy to see why Eram evokes such a description.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Polychrome tile decoration on front facade of Qavam House in Eram Garden, a historic Persian garden and now designated UNESCO World Heritage site, situated in Shiraz, the capital of Fars province of Iran.
Eram Garden (Bagh-e Eram), also known as Paradise Garden, located along the northern shore of the Khoshk River in Shiraz, is one of the most famous and beautiful Persian gardens in all of Iran. It should be noted that the word ‘Eram’ is the Persian version of the Arabic word ‘Iram’ which means heaven in Islam’s most holiest of books, the Qur’an. With its beautiful grounds, lush plant life and aesthetic attractions, it’s easy to see why Eram evokes such a description.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Painted (polychrome) terracotta antefix molded with a female head set within an elaborate frame. One of three nearly identical antefixes, all from the same temple. When they were new, they were brightly painted, the faces probably white or pale pink, the hair and details of the eyes black. The architecture of temples in Etruria and early Latium was closely akin, often using similar building materials and designs.
The roofs of temples were covered with alternating rows of flat terracotta tiles (tegulae) and semicircular cover-tiles (imbrices), which capped the adjoining edges of the flat tiles. Decorative antefixes were set along the eaves to mask the openings at the ends of the rows of cover-tiles.
Etrusco-Latin, ca. 520-470 BCE, Lanuvium, Latium.
British Museum, London (1892,0614.1)
These decorative panels of polychrome glazed brick come from the palace of Darius I at Susa. On a blue-green ground, a pair of winged lions with bearded human heads sit facing each other, their heads turned backward. Above them hovers the winged disc of Ahura-Mazda. This complex traditional iconography is rendered in a pure Persian style
Independent panels
The few surviving fragments of this panel were discovered in the north-east corner of the central court of Darius's palace. The panel consisted of moulded bricks glazed all over, including the sides. Unlike friezes of archers or lions, this scene represented a single element in a series of individual panels. It is clear that it was not set into the wall itself, but rather was applied to some projecting feature (perhaps a pilaster of the same width), and placed in a prominent position, such as in a niche or above a door. The arrangement of the two scenes facing each other and their decorated edge indicate that these were "free-standing" panels.
A symmetrical composition, rich in colour
Two sphinxes, hybrid creatures with the body of a winged lion, sit facing each other, their human heads turned back in profile. A wing, curving upward at the tip, springs from the foreleg of each, and the head rises from an ambiguous part of the body at a region that seems part human torso, part leonine breast The complexion of the face is dark. The eye is shown frontally. A long square-cut beard covers the lower part of the face. The hair emerges from beneath the headdress to be drawn back into a bulky mass at the neck, revealing a bull's ear wearing an ear-ring identical to those worn by archers. The cylindrical ceremonial headdress is endowed with three tiers of horns intended to demonstrate the divine nature of the sphinx.
Above the two sphinxes is a disc with a yellow center surrounded by concentric rings of blue and white, flanked by two great outspread wings with a bird's tail beneath. From the meeting point of each wing and the tail there extends a ribbon, tightly curled at the end.
A traditional iconography
The winged disk was the symbol of Ahura-Mazda, "greatest of the gods," a divine emblem ensuring royal and dynastic authority. This motif was borrowed from Egypt, from where it spread to the Levant and Assyria. It is often found in Syrian reliefs of the second millennium BC, where it is the symbol of the god Assur; Achaemenid artists, then, did not have to look far for their inspiration. The theme of paired animals, either facing each other or back to back, is three thousand years old. Having first appeared in the Uruk Period, it was more extensively employed in the first millennium, especially in gold work, ceramic vessels and ivories. The seal-cutters of the Achaemenid period also made use of the motif. Human-headed animals made their appearance in Early Dynastic reliefs in the form of human-headed bulls, which appear again in two steatite statuettes of the Neo-Sumerian period. Much later, the imposing guardians of the doors of Assyrian palaces probably served as a model for those of the Gate of All Nations which marks the principal entrance into Persepolis. All wear the divine headdress, and their benevolent expressions confirm their role as beneficent spirits. The serene expressions of the sphinxes here seem to have been inspired by the royal model, conforming to the stereotype established in all the brick reliefs at Susa, and in the later stone reliefs at Persepolis. This face recalls the regular features of Darius as depicted on other monuments, which in turn are indistinguishable from those of his son Xerxes and their successors. The same royal canon, more idealized than realist, was applied to them all as evidence of the greatness of the empire. These sphinxes are thus both guardian deities and embodiments of the royal person.
Nampeyo (Hopi-Tewa), polychrome jar, c. 1930s, clay and pigment, 13 x 21 cm (National Museum of the American Indian, Smithsonian Institution)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome mosaic panel showing a mule collapsing under the weight of fat, drunk old Silenus, who's holding a thyrsus
(staff of giant fennel). Two slaves try to lift the animal by pulling it by the ears and the tail. The Romans would have thought this a comedy riot, and in fact it may depict a scene from a theatrical comedy.
Pompeii, House of Paquius Proculus (1 7, 1). From a room in the south-west corner of the peristyle. First half of the 1st century CE.
Museo Archeologico Nazionale di Napoli (inv. S.N. - which means no inventory number)
Although this Hellenistic figure has no wings, an almost identical winged statuette from the same provenance helps to identify it as Eros.
Several visible pigment traces remain: the yellow of the lion's body, the blue in the shadows of his mane, the pink and black of Eros' himation, and the orange in his hair.
Greek, South Italian, said to be from Tarentum, late 4th or 3rd century BCE.
Met Museum, New York (12.232.16)