View allAll Photos Tagged polychrome
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Maya Culture polychrome vase
Classic period (250-900 CE)
Tikal Maya citadel
Guatemala City: Museo Nacional de Arqueología y Etnología (Museum of Archaeology and Ethnology)
Standing draped women represent one of the most common types of terracotta figure from the 4th through 2nd century BCE - the Hellenistic era - throughout the Greek world. Recent studies have suggested that they are not simply ladies of fashion but that their meaning has to do with marriage. The variant with one arm akimbo may have a specific social connotation.
She's wearing a pale blue peplos with a long overfold, and has a pink himation (cloak) wrapped around her forearms and held behind her back. Additionally, she wears a pilos - a brimless hat - and an ivy leaf wreath around her head, colored blue-green. She has reddish-orange hair and we can still see the blush in her cheeks. Small remnants of her pink skin can be seen here and there.
These statuettes were painted to imitate the bright colors and embroidered decoration of women's clothing, made of fine wool or linen. Their faces were highlighted with colors that represented the cosmetics in use, including face powder made of lead soaked in vinegar, rouge from seaweed or mulberries, and black eyeliner made with soot. Many Hellenistic women enjoyed affluent lifestyles, although they played limited roles in public life.
Greek, South Italian, Tarentine (part of Magna Graecia, Great Greece - the Greek colonies on the Italian peninsula). Early 3rd century BCE.
Met Museum, New York (11.212.16)
Polychrome Seed jar, 2013 by Barbara Cerno (born 1951). A dynamic combination of Hopi and Acoma pottery. Born Hoipi and married to a member of the Acoma tribe.
A lively menagerie of animals, insects, floral and geometric patterns is depicted.
Photographed at the Jordan Schnitzer Museum of Art on the campus of the University of Oregon in Eugene, Oregon.
I took this while trying to get around the sheep on Polychrome Pass. We'd decided to take a walk up the road and the sheep blocked our path, after an hour or so of taking their photos they moved to where we could get around them.
They live with pretty spectacular scenery on Polychrome Pass.
polychrome aluminium
Tate Modern
London, UK
en.wikipedia.org/wiki/Tate_Modern
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medievalpoc: att. Hermann Kessel Reliquary Bust of Saint Gregory the Moor Germany (c. 1683) Polychrome and Gilded Wood, 53 cm. The Image of the Black in Western Art Research Project and Photo Archive, W.E.B. Du Bois Institute for African and African American Research, Harvard University
Die Grotte des Tiberius bei Sperlonga gilt allgemein als die Anlage, in der laut Sueton und Tacitus der Kaiser Tiberius beinahe durch einen Steinschlag ums Leben gekommen wäre. Die Grotte wurde erst 1959 entdeckt und die dort gefundenen, schwer beschädigten Skulpturen wurden in ein 1963 neu errichtetes Museum verbracht. Die Rekonstruktionsarbeiten waren äußerst mühsam, denn Mönche, die sich im 16. Jahrhundert hier angesiedelt hatten, betrachteten die Skulpturen als heidnisches, teuflisches Blendwerk und schlugen sie in tausende von Stücken.
Polychrome tiles like these are typical of Qajar architecture. They're not usually all mixed randomly like this though. It reminded me of Wat Arun in Bangkok, all covered in smashed porcelain.
Polychrome Glacier, Denali National Park, Alaska, USA. Photographed on 18 August 2009.
Joint ©© Arthur D. Chapman and Audrey Bendus.
4325 MuzUO Oplakivanje krista Drvo Polikromirano Rezbareno Lamentation of Christ Polychrome Carved Wood Istočno- alpsko područje kraj XV. Stoljeća iz Kapele sv. Stjepana Prvomučenika Drivenik Stephen or Stephan (Greek: Στέφανος, Stephanos; Latin: Stephanus), traditionally venerated as the Protomartyr or first martyr of Christianity.
Stephen or Stephan (Greek: Στέφανος, Stephanos; Latin: Stephanus), traditionally venerated as the Protomartyr or first martyr of Christianity, was according to the Acts of the Apostles a deacon in the early church at Jerusalem who aroused the enmity of members of various synagogues by his teachings. Accused of blasphemy, at his trial he made a long speech fiercely denouncing the Jewish authorities who were sitting in judgment on him and was then stoned to death. His martyrdom was witnessed by Saul of Tarsus, a Pharisee who would later himself become a follower of Jesus.
The only primary source for information about Stephen is the New Testament book of the Acts of the Apostles. Stephen is mentioned in Acts 6 as one of the Greek-speaking Hellenistic Jews selected to participate in a fairer distribution of welfare to the Greek-speaking widows.
The Catholic, Anglican, Lutheran, Oriental Orthodox and Eastern Orthodox Churches venerate Stephen as a saint. Stephen's name is derived from the Greek language Stephanos, meaning "crown". Traditionally, Stephen is invested with a crown of martyrdom; artistic representations often depict him with three stones and the martyr's palm frond. Eastern Christian iconography shows him as a young, beardless man with a tonsure, wearing a deacon's vestments, and often holding a miniature church building or a censer.
2015 S 2468 MuzUmOb_011
Hasselblad 500 C/M with ROLLEI Infrared IR 400 and developed in Pyrocat-HD.
Printed on Tetenal -TT Baryt Sepia.
Moersch SE15 Polychrome (Lith & Siena)
Polychrome Mountain is made mostly of an iron rich rhyolite, the same rock that gave Yellowstone it's name. Here the light and the fall colors seems to accentuate the colors.
One of the many superb and tantalising fragments of Winchester's lost medieval sculpture displayed in the cathedral museum in the south transept triforium. This painted figure fragment was part of the originally sculptural scheme of the great altar screen, all of which would have originally been coloured.
Winchester Cathedral is one of our most rewarding churches, a treasure house of art and history that is also a textbook in stone of architectural styles, from the Romanesque period to the last flowering of Gothic. It also epitomises the English preference for length over height, being the longest medieval church in Europe.
The earliest parts of the present building are 12th century Romanesque, begun in 1079 to replace the smaller Saxon cathedral (whose foundations can be traced in the churchyard) and comprise the unusually squat central tower and both transepts. The Norman crypt also survives under the choir, but suffers frequently from flooding.
The Norman nave also partially survives, but is totally unrecognisble since the late 14th century remodelling of the western limb, which now appears entirely of that date. This Gothic makeover was an immense success internally, beautifully proportioned with a magnificent sweeping vault studded with foliate bosses.
By comparison the choir is much shorter, and is the result of seperate 14th and 15th century rebuildings. It too has delicate vaulting with bosses, though here all is of wood. The dominant feature by far is the towering altar screen reredos dating from 1455-75. It's original statues were destroyed at the Reformation and are now replaced with Victorian figures; fragments of some of the original 15th century figures survive in the cathedral museum and show them to have been of very high quality indeed, a grevious loss.
Behind the great altar screen in the retrochoir stood the shrine of St Swithin, lost at the Reformation but today marked by a more modest modern replacement. This part of the building with it's chapels dates mainly from the 13th century, with the main Lady chapel remodelled in the 15th century (still possessing a sequence of early 16th century murals, hidden today under modern reproductions).
The cathedral is packed with items of interest, from the superb and amazingly preserved choir stalls of c1308 to a sequence of magnificent chantry chapels, mostly ornate late medieval creations and the largest collection in any English cathedral, the Wykeham, Beaufort , Fox and Waynflete chantries being among the finest examples of the English Perpendicular style. The Gardiner chantry is also of interest as the very last, showing a transition from Gothic to Renaissance forms.
Earlier works of art in the cathedral include the 12th century black marble font, carved with scenes from the life of St Nicholas, and some superb late 12th/early 13th century murals in the chapel of the Holy Sepulchre and the vault of the Guardian Angels chapel. Most famous of all is the exquisite Winchester Bible, one of the finest of 12th century illuminated manuscripts, on show in the cathedral library. Visitors to the library can also access the museum in the south transept gallery which contains many superb fragments of medieval sculpture.
Most of the stained glass is Victorian, the medieval glass having been mostly destroyed during the Civil War. The huge west window still shows the patchwork of fragments installed at this time, and other pieces from the 14th and 15th centuries can be found scattered throughout the building. More substantial work however survives in several of the higher choir windows but is very hard to see; the east window is still largely filled with the fine early 16th century glass installed by Bishop Fox, somewhat restored but surprisingly complete (some figures not in situ, brought from other windows to fill gaps) and remains largely unappreciated because of it's inaccessibility.
More recent artworks include some beautiful glass made to designs by Edward Burne Jones by Morris & Co in the north transept chapel. More recent still are the striking series of nave banner paintings that are often hung from the nave pillars with rich batik designs on a theme of Creation and Redemption by the late Thetis Blacker.
The former monastic buildings have mostly disappeared, the site of the cloister is still apparent on the south side (where modern buttresses were built as part of the campaign to secure the cathedral's failing foundations in the 1900s) and a nearby group of Norman arches are all that remain of the chapter house. the cathedral is still fortunate though in being seperated from the city by the relative peace of the Cathedral Close.
Ceramic and polychrome, Achaemenid (Persian), 8th-7th century B.C.E.
This object reflects an Achaemenid tradition of silver and gold vessels incorporating animal forms. Fluted vessels with two animal handles are known in metal, but few with a single animal survive.
From the collection of the Metropolitan Museum of Art, New York.
Even changing the original strong crimson of the gerberas to a less demanding shade of yellow failed to pull this one together - but I post it for comparison, and hopefully an opinion!
Keble College Chapel
Keble College Chapel is the final "triumph" of the Oxford movement, for its architect William Butterfield his magnum opus. At a cost of £50,000 the chapel and environs were certainly was well funded. The style is a mass of polychrome brickwork patterns, bands and chequers. The style is similar to those on a work ten years prior to Keble , All saints Church , Margaret Street, St Marylebone (1859). Here and there there are stone details but in as city of golden limestone Keble is a grand exception to the rule. The chapel is built into the NE corner of the quadrangle yet totally dominates it both in its height and its "restless patterning."The famous chapel hardly needs any introduction to those familiar with Oxford's diverse architecture. Goodhart-Rendel described the chapel as "one of the three or four buildings in Oxford of most architectural importance." Nikolaus Pevsner states "this is not beautiful, in fact it is actively ugly. Younger scholars have recently denied that, but in the face of what is happening in architecture at the moment it is difficult not to believe that ugliness can be an ideal." The college was founded in 1868. Butterfield was a follower of the Oxford Movement, so as with St Barnabas in Jericho, Tractarian principles dictated the architecture, the chapel was opened in 1876, following the laying of its foundation stone in 1873. The building was designed to seat far more than the college at the time admitted, the council refused to have the chapel concecrated, much to the dismay of the then Bishop of Oxford, and according to Christoper Hibbert's "The Encyclopedia of Oxford" it it remains un-concecrated to this day. To the south of the main chapel is a small addition built to house Pre Raphaelite painter William Holman Hunt's "The Light of The world" donated to the college by Thomas Combe's widow. It was Combe who had St Barnabas built prior to the work beginning on Keble. This side chapel is by T.J. Micklethwaite 1895, it blends unobtrusively into the south transcept and it would be hard to detect this was not by Butterfield or according to his original plan.. the interior of Keble College chapel is perhaps more fully realised than St Barnabas (Jericho) and its materials are much more expensive and durable. The chapel was supported by the wealthy Victorian donor William Gibbs of Tynetesfield who had made a fortune from the guano trade from the South Atlantic. The stained glass and mosaic decoration that adorn the chapel are by A.Gibbs, the scheme is bold but the mosaics are perhaps a little gaudy and are mostly in primary colours the best that can be said is that they are good in parts although as an overall scheme, they fail to really work as the light source is uneven to say the least. Other details and fittings are by Butterfield, including the lavish polychromatic marble reredos. Butterfield shared many of the ideas proposed by The Ecclesiologist especially those of Beresford Hope. The south transcept is really no more than a huge organ chamber, the north wall has a severe verticality, the windows are high and set among the quadripartite rib vaulting. Now a hundred and thirty years have elapsed, we are perhaps entering a period when Butterfield's work will once again be appreciated for its boldness and strength and not its idiocyncracies.
12-story building designed by New Orleans-born New York author and architect, Herman Lee Meader (1875-1930), soon after starting his own practice • "spectacular example of the use of polychrome terra cotta. The base consists of golden terra cotta tiles with white floral relief work and green diamonds with blue surrounds," -Columbia University Preservation Studio • polychrome terra cotta used in spite of the fact it was generally considered garish at the time
Meader also designed Cliff Dwelling, 243 Riverside Drive, and Waldorf Building, 2 West 33rd St. where he lived in a roof-top home with Italian garden • in 1945 a B-25 aircraft crashed into neighboring Empire State Building, fell onto Waldorf's roof
"Happpiness is most easily attained by being contented with one's surroundings, but to be contented with most people's surroundings would require a degree of complacency that would reflect discredit on a hog." -Reflections of the Morning After, written and illustrated by Herman Lee Meader, 1903 •
Multicolored mountains and braided rivers grace this amazing view.
Denali National Park, Alaska
July 29, 2003
Tiles in full polychrome like this were at their best in the Fulham period, when De Morgan had years of experience and better kilns. The border tiles are from the same period, 1888-1898.
If you are interested in this sort of thing, perhaps the Tiles & Architectural Ceramics Society is up your street - take a look at tilesoc.org.uk/tacs/
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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A polychrome Gothic statue of a pregnant Virgin Mary (Nossa Senhora do O) (from 15th century) is located in the Cathedral of Évora (Portuguese: Sé de Évora) in Portugal. Centuries ago, priests — hoping to convert local pagans who worshipped mother goddesses — likely thought they'd have greater success if they kept the focus on fertility.
Plaster masks seem to have been particularly popular in Middle Egypt. They develop of course from Egyptian traditions, but appearances could be strongly individualized and Roman fashions of hairstyle, dress and jewelry were followed to varying degrees. This mask is very similar to a group from Meir and almost certainly came from that site. The woman is represented as if lying flat upon her bier. She wears a long Egyptian-style wig made of plant fibers, a deep-red tunic with black clavi (stripes), and jewelry that includes a lunula (crescent pendant), and snake bracelets. At the lower edge of her tunic are two holes, which were used for attaching the mask to the mummy.
The back of her head is then represented as resting on a decorated support. Over the top of her head is a gilded wreath encircling a scarab beetle that represents the sun appearing at dawn, a metaphor for rebirth. The interstices and surrounding area are filled with a complex patterned ground, with the sides filled by a register of tyet knots and djed pillars, symbols of Isis and Osiris. A main register runs around the edge of the mask which centers on the god Osiris, the source of regenerative power, who is flanked by Isis and Nephthys. To the right of Osiris and the two goddesses are Horus, Amun, Thoth, and Re. To the left are Anubis, Tefnut, Hathor, and Seshat. These gods serve as witnesses to the deceased's resurrection.
Romano-Egyptian, from Egypt, Roman period, ca. 60-70 CE. Possibly from Meir, Middle Egypt.
L. 63 cm (24 13/16 in)
W. 33 cm (13 in)
H. 53 (20 7/8 in)
Met Museum, New York (19.2.6)
Uluru–Sky Australis D4SC1max standard Red+Blue
This proposition takes on findings or recent design tests based on a full polychrome palette (max 6); dividing 4 divisions of field with gold horizon diamond (fimbriation); Uluru arc for abstract Earth + Sky references to the 'Great Southern Land' of (terra australis) and previous designers (Hundertwasser 1986 and Mark Tucker 1993 for Ausflag); an original dynamic Southern Cross device integrating a Commonwealth Star "as an Epsilon" – intentionally bending Rules of Tincture (white on gold) to intensify the axial centre focus – with horizontal and vertical symmetry; innovative use of Green + Gold (National Colours) as upper feature, Blue (warm-purple or french-blue) + Red (Ochre-Orange or standard-red), to hang in tandem beside ATSI flags, while symbolising inclusivity, cultural diversity and an aspirational neutrality.
NOTE: The "visual" merging of the 7 point Federation Star with the 4 point gold axis references acknowledgment of the Eureka Flag 8 point star motif as our earliest flag devised by late colonial Australians).
©2015 mpathesii CC NC ND This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Australia License creativecommons.org/licenses/by-nc-nd/3.0/au/