View allAll Photos Tagged polychrome
Chinese Emperor, Carved and Polychromed.
An early Chinese Qing Dynasty style carved and polychromed wood figure of an emperor seated on a throne holding a ruyi (scepter) in his right hand with perhaps a human hair beard,
I bought him in Huangshan, China. Since buying this item I have seen many similar.
The damage on the throne happened in transport to the UK.
From China
Size 8½'' high
Age unknown
Treasures of Wisdoms private collection.
About the Ruyi
Ruyi, literally "according to your wishes", is a curved decorative object that is a ceremonial scepter in Chinese Buddhism or a talisman symbolizing power and good fortune in Chinese folklore. Some experts speculate that the Ruyi came to China along with the Buddhism from ancient India in the Eastern Han Dynasty.
Another one of the popular places in Denali really shines on a sunny day like yesterday.
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This white marble portrait head of a woman has detachable black marble hair. These types of portraits were written about in antiquity - it made changing out hairstyles to reflect the current styles easier than re-carving an entire bust or statue.
The head is possibly Annia Aurelia Galeria Lucilla (148 or 150 – 182 CE), daughter of Marcus Aurelius, sister of Commodus, and wife of the co-emperor Lucius Verus (who was also the adoptive brother of her father, with whom he shared rule over the Roman empire). When she was involved in a bungled plot to assassinate her unstable brother, who had ascended to the throne after their father's death, she and her daughter were exiled to the island of Capri. Within the year, Commodus sent a centurion to the island to execute them both. In 1964, Sophia Loren portrayed Lucilla in the movie 'The Fall of the Roman Empire'; in the 2000 movie 'Gladiator', Lucilla is portrayed by Connie Nielson.
The bust (torso) is modern, probably 18th century. It's composed of two differently colored types of striated alabaster, where dozens of pieces have been attached and carved into the folds of her palla (cloak) and tunic). The alabaster might be spolia from an ancient tomb or civic building (not sure a good trade in exotic alabaster had resumed by the 18th c.).
This portrait bust was gifted by Pope Benedict XIV to the newly public Musei Capitolini (Capitoline Museums) in 1750, as you can see written on its socle (base).
Roman
ca. 150-160 CE (the Capitoline also uses a 160-180 CE date)
No findspot known, but certainly around Rome
Musei capitolini, Palazzo Nuovo, Sala degli imperatori (inv. MC469)
Alexander McQueen
Dress, autumn/winter 2006-7
Cream and polychrome silk brocade
On background of Portobello Wallpaper
On electrum gilded paper by the de Gournay
Taken in the 'China: Through the Looking Glass' exhibition (May-September 2015).
This exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.
From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.
The exhibition features more than 140 examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.
[Exhibition description]
In the Metropolitan Museum of Art, 5th Avenue, New York
First I put on a basic dark gull gray and slightly-lightened-black paint job, black for the instrument panel in front and the control panels on the sides.
I painted the sides of the ejection seat black, with gray for the metal pan and seat bottom. A lot of military airplane 'seats' are really buckets into which the pilot's parachute pack and/or rescue dinghy or other useful stuff goes, and serves as "padding". The parachute, etc, are strapped securely to the pilot, then the pilot and equipment are strapped into the seat. The padding value of a compressed dinghy or parachute is somewhere between slim and non-existant, I've read.
Then I dry-brushed white to find and highlight the knobs and instrument bezels supplied as part of the kit parts, and edges of the little lumps and bumps of styrene I'd glued on. Consulting reference photos, I then dry-brushed color over the white- red, yellow and green, and painted-in an emergency oxygen bottle, green, on the ejection seat.
My observation is that cockpits have red on important stuff, less often green on things that might be re-assuring, and occasionally yellow for handles and other stuff that needs to be found in poor lighting.. (
WWII RAF have red, blue and yellow for engine oil temp, pressure and water tem guagesp, and also for radio knobs
There will be almost always be red safety covers over some switches- the master "arm" switch for weapons, jetison switch for stuff hung under the airplane, etc. You can find the covers in any photo of the cockpit, b&w or color. Red is also popular for fuel tank selectors, and the wheel-shaped knob that lowers and raises the undercarriage.
Handles to crank the canopy open or switches for hydraulic or pneumatic power versions will be yellow or yellow with black stripes. Ejection seat face-curtain rings at the top of the seat, squeeze handles on the arm-rests or pull-up loops between the pilot's legs are usually yellow with black stripes.
Oxygen bottles after about 1950 will be bright, apple-green, as will the
"safe range" markings on dials and so forth.
Instruments tend to have black faces, with white or greenish-white luminescent hands and numbers.
Artificial Horizons, post 1950, tend to have a half blue or light-gray 'sky' over a light brown or dark gray 'earth'
Warning placards tend to be black and white with red to draw attention- the highest contrast helping readability, the red to draw attention.
Knobs (that are twisted, like radio volume and station select) tend to be dark gray which shows easily against the near-black of the control pannels. Light gray or near-black for contrast if the panel is dark gray.
Straight toggle switches usually have bare metal, often steel, sometimes nickel or other plating, for the handle and for the mounting hardware
Push button switches come in your choice of colors. Circuit breakers tend to be black with white markings...
Cheers!
IMG_5566
Folded from one regular heptagon of light blue kami. The basic design principles are generalizable to any polygon, in theory; they work best on the heptagon however.
The background is just some more food for thought-- logarithmically sized pleats, using a regular grid for spacing. It made for a nice composition so I left it in. Both of these are ideas that have been bouncing around inside my head for a couple days...
Nampeyo (Hopi-Tewa), polychrome jar, c. 1930s, clay and pigment, 13 x 21 cm (National Museum of the American Indian, Smithsonian Institution)
Polychrome paintings of hunting scenes.
The paintings were discovered by Juan Jiménez Llamas in 1914, and caused great interest amongst specialists in prehistoric art on account of the huge number of figures and their thematic and stylistic variety. The Minateda paintings are located in five caves. Animal-based hunting themes predominate. They are dated between 6,000 and 1,000 BC. They have the World Heritage designation as part of Mediterranean Prehistoric Rock Art.
Nampeyo (Hopi-Tewa), polychrome jar, c. 1930s, clay and pigment, 13 x 21 cm (National Museum of the American Indian, Smithsonian Institution)
Polychrome paintings of hunting scenes.
The paintings were discovered by Juan Jiménez Llamas in 1914, and caused great interest amongst specialists in prehistoric art on account of the huge number of figures and their thematic and stylistic variety. The Minateda paintings are located in five caves. Animal-based hunting themes predominate. They are dated between 6,000 and 1,000 BC. They have the World Heritage designation as part of Mediterranean Prehistoric Rock Art.
Polychrome paintings of hunting scenes.
The paintings were discovered by Juan Jiménez Llamas in 1914, and caused great interest amongst specialists in prehistoric art on account of the huge number of figures and their thematic and stylistic variety. The Minateda paintings are located in five caves. Animal-based hunting themes predominate. They are dated between 6,000 and 1,000 BC. They have the World Heritage designation as part of Mediterranean Prehistoric Rock Art.
Nampeyo (Hopi-Tewa), polychrome jar, c. 1930s, clay and pigment, 13 x 21 cm (National Museum of the American Indian, Smithsonian Institution)
Polychrome paintings of hunting scenes.
The paintings were discovered by Juan Jiménez Llamas in 1914, and caused great interest amongst specialists in prehistoric art on account of the huge number of figures and their thematic and stylistic variety. The Minateda paintings are located in five caves. Animal-based hunting themes predominate. They are dated between 6,000 and 1,000 BC. They have the World Heritage designation as part of Mediterranean Prehistoric Rock Art.
An overlook of the Polychrome mountains, Denali National Park and Preserve, Alaska
One has to take a bus to go inside the Denali National Park and Preserve and see Mt. McKinley, the tallest peak in North America. We had a 10 min stop to look at this beautiful range. I was there at the worst lighting conditions of the day. I made the best of available time and lighting.
This image is a straight JPG, shot (intentionally over exposed) with a Leica APO-Telyt-R 4/280 at f/8 handheld. The lens is around ~ 4lb and makes it non-trivial to shoot in a handheld fashion. I will rework this image from the RAW file, but for a straight JPG image, the lens is astounding.
There was not much to include to bring a sense of scale to this image, but this is a 6 degree field of view for a 280mm lens.
Nampeyo (Hopi-Tewa), polychrome jar, c. 1930s, clay and pigment, 13 x 21 cm (National Museum of the American Indian, Smithsonian Institution)
Polychrome pot with zoomorphic decoration representing a water bird. It was recovered from the Las Sepulturas section.
Copán Ruínas: Museo Regional de Arqueología.
Text by Slava Vasileva for the Getty exhibition catalogue
The technique of added colors and details in relief is attested on various types of vessels, among them exceptional works with complex multifigure compositions. Polychrome decoration was not resilient, however, and the vases could not be used actively in everyday life. Most finds from the Black Sea, Macedonia, and the eastern Mediterranean come from burials. The necropolis of Apollonia displays a pronounced preference for the squat lekythos, an elegant vase for oils and perfumes with rounded body, tall neck, and flaring trumpet mouth. Scenes from the circle of Aphrodite and Eros are best attested-simplified versions of the idyllic compositions set in the "garden of Aphrodite" popular during the Pelopon-nesian War. They variously depict the goddess and her son, nymphs, and personifications from their circle, as well as wor-shippers. These scenes often create an impression of the merging of the worlds of gods and mortals. They illustrate offerings or nuptial rituals but more often lack a clear narrative.
This large lekythos is a good example of a rich composition with well-preserved colors. The scene unites the thematic circles of Aphrodite and Dionysos. The goddess flies in a chariot drawn by winged Erotes, arriving before Dionysos, who reclines on a couch. A maenad with a red tympanon (drum) and dancing satyrs indicate the god's realm. The blue, white, and gold on the Erotes' wings, the pink chitons of Aphrodite and the maenad, and the red, white, and gold on the tympanon provide a glimpse of the vessels' original appearance.
The impressive number of polychrome lekythoi in Apollonia is related to the ever more pronounced specialization of the markets for painted pottery in the Late Classical period, These luxury goods of ritual function form a homogeneous group dated between 375 and 325 BCE. They were specific to the Greek way of life and beliefs, and they were not exported to the Thracian interior.
Greek, made in Athens, 360-350 BCE. Terracotta with polychrome decoration and gilding. Found in the necropolis of Apollonia Pontica (Sozopol), Burgas Province, Bulgaria, in 2005.
Sozopol Archaeological Museum (3186)
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Photographed at the Getty Villa Museum, part of the 'Ancient Thrace and the Classical World: Treasures from Bulgaria, Romania, and Greece' exhibition.
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Polychromed woodcarving of a negro slave by Luiz Paulino da Cunha.
The Negro was uprooted from his land and sold as merchandise, enslaved. In Brazil he arrived as slave, object; from his land he departed as a free man. During the journey, the slave traffic, he lost his personality, but his culture, his history, his landscape, his experiences; they came with him.
300-year history of Negro enslavement in Brazil has made an impact on this country. Candomblé is one such impact, a religion filled with many secrets, symbols and rituals known only to initiates but it is also a vital part of cultural expression in Brazil. There are no definitive numbers on how many people in Brazil follow Candomblé. The government estimates, conservatively, that there are more than 300,000 centers of worship for Brazil's Afro-Brazilian religions, which include Candomblé. Those participating in these faiths are thought to make-up at least one-third of Brazil's near 170 million inhabitants. Many practice both Catholicism and Candomblé.
Maya Culture polychrome bowl
Guatemalan highlands
Late Classic period (550-925 CE)
Guatemala City: Museo Nacional de Arqueología y Etnología (National Museum of Archaeology and Ethnology)
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.
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Polychrome Pass - Denali National Park - Alaska
The different layers and colors were formed 100 million years ago due to multiple volcanic eruptions in the McKinley Range.
#denali #mtmckinley #denalinationalpark #polychromepass #alaska #thelastfrontier
Polychrome Terra Cotta ornament on the corner roofline of a building on Chicago Avenue in the West Town area of Chicago, Illinois. The domes in the background are part of Holy Innocents Catholic Church.
A polychrome statue from Burgos Cathedral of St Raphael, one of the archangels whose feast is today, 29 September.
Detail of a polychrome glazed tile. An Assyrian king holding a gold bowl and a bow, and with sword in his belt, is followed by attendants.
Assyrian tile from Kalhu (Nimrud), c.875-850.
The British Museum, London
www.britishmuseum.org/explore/highlights/highlight_object...
A Roman polychrome mosaic showing with a "carpet" pattern of overlapping circles and crosses.
From Roman Carthage. Dated by the British Museum to the 4th or 5th century CE. (Cat. Mosaics 41).
Fall in Denali finds the Dall sheep migrating from the inner ranges to the outer ranges to find better winter feed and weather. It's one of the few times you can see them at lower elevations.
One typically enters the darkened church at Cheadle and the details and colour are lost in the gloom, but as the lights very gradually and slowly come on, they reveal the splendour of the church and for several moments one is stunned into silence, and then one slowly begins to explore the richness of the building. I watched this happen when I visited St Giles' recently and it seemed to me a parable of sorts, pointing to our longed-for visio Dei. For Purgatory is surely an adjustment to the glory of God, as our eyes, darkened by sin become attuned to the light, colour and splendour of the beatific vision and we "behold Him as He really is", and then we explore the beauty of holiness, of God who is blest "in his angels and in his saints".
From the 'Catholic Herald': "We look up at the ceiling. Before, its decorative features were covered over in a dull grey. Now they are an exquisite gold, blue, red and green (over 3,000 books of gold leaf have been used). This, says Convery, was the archbishop’s idea. Next we turn to the pillars. Before, they too were grey; now they are decorated with ribbons of blue and gold. They are plaster, but have been painted to look like stone. “I had to insist on this,” the archbishop explains, “because the architect [Justin Fenton] said it would look false.” He nudges my arm mischievously. “It was when the principal adviser to Historic Scotland came on my side that he buckled.”"
Glasgow's Catholic Cathedral has just opened after a £4.5 million restoration project.
Polychromed woodcarving of an Orixá by Luiz Paulino da Cunha.
The Negro was uprooted from his land and sold as merchandise, enslaved. In Brazil he arrived as slave, object; from his land he departed as a free man. During the journey, the slave traffic, he lost his personality, but his culture, his history, his landscape, his experiences; they came with him.
300-year history of Negro enslavement in Brazil has made an impact on this country. Candomblé is one such impact, a religion filled with many secrets, symbols and rituals known only to initiates but it is also a vital part of cultural expression in Brazil. There are no definitive numbers on how many people in Brazil follow Candomblé. The government estimates, conservatively, that there are more than 300,000 centers of worship for Brazil's Afro-Brazilian religions, which include Candomblé. Those participating in these faiths are thought to make-up at least one-third of Brazil's near 170 million inhabitants. Many practice both Catholicism and Candomblé.
Bahia, the state with the largest percentage of Blacks, is the capital of this religion, which closely follows its African roots and traditions among the Yoruba people of Nigeria and the Bantu people of Angola and the Congo. Yoruban traditions, including the most commonly used names of the Orixás (gods of the African pantheon), predominate.
Today Candomblé is officially recognized and protected by the government of Brazil. However, during the period of slavery and for many decades following its abolition in Brazil in 1888, Candomblé practices were banned by the government and by the Catholic church, and its practitioners were severely punished.
One of the more spectacular views on our journey through Denali Nat. Park...it's hard to catch the scale of things when your taking a photo in such a location but we were standing approx. 250 meters above the valley floor when I took this 4 image panorama...If you're ever in Alaska I highly recommend a day or two here...the park runs a very efficient shuttle service that runs the entire 150km of road that winds through the mountains...you can get off and on whenever you desire...shuttles are usually 1/2 hour apart...heading for Anchorage in a little while...the drive will take us through the coastal mountains and hopefully stunning seascapes...