View allAll Photos Tagged polychrome
A high-angle view of a mountainous landscape. The image shows a variety of colors and textures in the mountain slopes, including shades of brown, gray, and hints of orange and red. Patches of snow are visible clinging to the mountain sides, nestled in the valleys and crevices. The lower slopes are covered in a thick layer of green vegetation.
Multiple braided streams flow out of glaciers toward the East Fork of the Toklat River in the mountains south of Polychrome Pass. Denali National Park, Alaska - Shortly after Midnight in May.
Polychrome mask from an incense burner depicting the old god of fire, Huehuetéotl, one of the oldest deities in Mesoamerica. He was worshipped long before the establishment of Teotihuacan. In most representations, you can see his advanced age - here, his wrinkles are heavily stylized. Here he wears a feather crown (and huge earrings), but in many depictions, he wears a coal pan on his head. Huehuetéotl seems to have been a protection god for the home and fireplace.
Huehuetéotl's name literally means 'Old God'.
Teotihuacan, Mexico, ca. 450-750 CE. Ceramic and pigment.
Art Institute of Chicago (ARTIC 1962.1073)
In 2006, during conservation work at the Basilica Noniana in Herculaneum - constructed via donations from Marcus Nonius Balbus, a leading member of local ancient Roman society - this head from an Amazon statue was discovered. It preserves the red pigments that were underpainting for the final colors of the statue, the remains of which still lie inside the ancient basilica.
Amazon statues have categories, and this head is of the Sosikles or Sciarra type.
Roman, late 1st century BCE-early 1st century CE. The original Greek bronze statue that it's based on dates back to around 440-430 BCE.
Herculaneum Antiquarium (inv. SAP 87021)
A nuptial banquet takes place on a lavishly decorated and furnished couch (kline). The reclining man raises a wine jug, and the woman once played a lyre. Two child erotes join the young couple, and all participants are crowned with ivy leaves and wreaths. Exceptional for its three-dimensionality, ornate style, and preserved colors, this group (likely a grave offering) visualizes the semantic overlap in Greek thought and art between the bridal and the death kline as well as the role of lyre music as an expression of marital love.
Greek, Hellenistic, ca. 3rd-2nd century BCE.
Metropolitan Museum of Art, New York (2016.253)
Veronica, Spanish-flemish workshop, 15th century, polychrome wood, Santo Domingo de la Calzada Cathedral
This vessel, found in a tomb, has an open bottom.
South Italian/Italic, Early Hellenistic period, ca. 300 BCE. Attributed to the Group of the Skylla Askoi.
Said to be from the Italic city of Canosa/Canusium (and almost certainly made there), Apulia, Italy (Pleiades; PECS-Perseus).
Museum of Fine Arts, Boston, Massachusetts, USA
Henry Lillie Pierce Fund, 1899: 99.541
copyright: © FSUBF. All rights reserved. Please do not use this image, or any images from my photostream, without my permission.
From the Basilica's web site, "To the left of the altar stands Saint Peter with his keys, and the rooster, recalling Peter’s betrayal of Jesus, his master and friend on the morning of His suffering and death. Then the other two evangelists: John, holding a chalice symbolizing his love for the Eucharist, with the eagle, a sign of his far-seeing gospel, and Mark with his winged lion."
Polychromed wood, XIX century, Spanish school.
According to Wikipedia:
Junípero Serra y Ferrer, O.F.M., Catalan: Juníper Serra i Ferrer (November 24, 1713 – August 28, 1784) was a Roman Catholic Spanish priest and friar of the Franciscan Order who founded a mission in Baja California and the first nine of 21 Spanish missions in California from San Diego to San Francisco, in what was then Alta California in the Province of Las Californias, New Spain.
Serra was beatified by Pope John Paul II on September 25, 1988, in Vatican City. Pope Francis canonised him on September 23, 2015, at the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., during his first visit to the United States.
Because of Serra's recorded acts of piety combined with his missionary efforts, he was granted the posthumous title Apostle of California.
The declaration of Serra as a Catholic saint by the Holy See was controversial with some Native Americans who criticize Serra's treatment of their ancestors and associate him with the suppression of their culture.
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Mission Basilica San Diego de Alcalá, San Diego, California.
#AbFav_TOOLS_INSTRUMENTS_🎺
#AbFav_PHOTOSTORY
yes, when you visit this florist, your wrapping is assorted with your flowers!
So, how to take good care of your clients!
I am ready for ALL occasions! LOL
Coloured ribbons, me having some fun in the studio again.
Have a wonderful day, filled with love and beauty, M, (*_*)
And for more: www.indigo2photography.com
Please do not COPY or use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
decoration, ribbon, display, shop, colourful, reels, multicolour, round, circle, design, fun, black-background, colour, square, studio, Nikon D7000, "Magda indigo"
This is one of many ceramics and sculptures in the Metro Montage XX exhibition at the Marietta Cobb Museum of Art.
San Pedro & San Pablo
Early 19th Century
Baticuling, Polychrome and Gold Leaf
San Pedro:
H:39 1/2” x L:13 1/4” x W:9 1/4” (100 cm x 34 cm x 23 cm)
San Pablo:
H:39 1/2” x L:17” x W:11 1/2” (100 cm x 43 cm x 29 cm)
Opening bid: P 800,000
Provenance:
Northern Luzon, probably Pangasinan
Lot 74 of the Leon Gallery Auction on 9 September 2017. Please see leon-gallery.com/ for more details.
St. Peter, whose original name was Simon, was born in Bethsaida but settled in Capharnaum, where he was living with his mother-in-law in his own house. A fisherman with his own boat, he pursued his profitable occupation in Lake Genesareth. It was his brother Andrew, attracted by the Baptist's preaching of penance, who brought him to Jesus. The latter, upon seeing him, said: "Thou art Simon the son of Jona: thou shalt be called Cephas (Aramaic for rock, petrus in Latin.)" After the first meeting, Peter and the other early disciples remained with Jesus for some time, accompanying Him to Galilee, Judaea, and Jerusalem, then through Samaria back to Galilee, where Peter resumed his occupation of fisherman for a short time. He soon received the definitive call of the Savior to become one of His permanent disciples. Peter and Andrew were engaged at their calling when Jesus met and addressed them: "Come ye after me, and I will make you to be fishers of men". From then on, Peter remained always beside Our Lord and a little later Christ chose His Twelve Apostles as His constant associates in preaching the kingdom of God. Christ accentuated Peter's precedence among the Apostles, when, while journeying along with His Apostles, Jesus asked them: "Who do men say that the Son of man is?" The Apostles answered: "Some John the Baptist, others say Elias, while others Jeremias or one of the prophets". Jesus said to them: "But who do you say that I am?" Simon said: "Thou art Christ, the Son of the living God". And Jesus answering said to him: "Blessed art thou, Simon Bar-Jona: because flesh and blood hath not revealed it to thee, but my Father who is in heaven. And I say to thee: That thou art Peter and upon this rock I will build my church and the gates of hell shall not prevail against it.
And I will give to thee the keys of the kingdom of heaven, and whatsoever thou shalt bind upon earth, it shall be bound also in heaven: and whatsoever thou shalt loose on earth, it shall be loosed also in heaven". By the word "rock" the Savior meant Peter, and His wish to make Peter the head of the whole community of those who believed in Him as the true Messiah. Thus, Peter was personally installed as Head of the Apostles by Christ Himself. The statue above is that of San Pedro or St. Peter, the apostle. Being ranked first among the apostles in importance, his statue is often placed together with St. Paul on either side of the main portal in the façade of almost every church.
The pieces were made during the first half of the 19th century and closely resembles the huge statues in the main altar of the church of Calasiao, Pangasinan. It is of a size that must have originally been in the main altar of a chapel in a convent or an important visita or barrio chapel. The carving of the hair, particularly the curly beard, is admirable and displays the inventiveness of the santero.
The image is clad in a green tunic and a yellow cape, the liturgical colors of St. Peter, the gilding of which are largely intact. The image stands with one foot forward in typical Philippine stance and carries a book on his left hand and a pair of keys, signifying the Gates of Heaven, on his right.
Paul the Apostle, whose original name was Saul, was a Greek-speaking Jew from Tarsus, a major city in the Roman province of Syria by the time of Paul’s adulthood. Two of the main cities of Syria, Damascus and Antioch, played a prominent part in his life and letters. Considered one of the most important figures of the Apostolic Age, he founded several churches in Asia Minor and Europe and took advantage of his status as both a Jew and a Roman citizen to minister to both Jewish and Roman audiences. Prior to his conversion, Paul spent much of the first half of his life persecuting the early disciples of Jesus in the area of Jerusalem and was traveling on the road from Jerusalem to Damascus on a mission to "arrest them and bring them back to Jerusalem", when the resurrected Jesus appeared to him in a great light. He was struck blind, but after three days his sight was restored by Ananias of Damascus, and Paul began to preach that Jesus of Nazareth is the Jewish Messiah and the Son of God.
Following this revelation, which convinced Paul that God had indeed chosen Jesus to be the promised messiah, he went into Arabia, then returned to Damascus and, three years later, he went to Jerusalem to become acquainted with the leading apostles there. After this meeting he began his famous missions to the west, preaching first in his native Syria and Cilicia. During the next 20 years or so, he established several churches in Asia Minor and at least three in Europe.
During the course of his missions, Paul realized that his preaching to Gentiles was creating difficulties for the Christians in Jerusalem, who thought that Gentiles must become Jewish in order to join the Christian movement. To settle the issue, Paul returned to Jerusalem and struck a deal. It was agreed that Peter would be the principal apostle to Jews and Paul the principal apostle to Gentiles. Of the 27 books in the New Testament, 13 are attributed to Paul, and approximately half of another, Acts of the Apostles, deals with Paul’s life and works. Thus, about half of the New Testament stems from Paul and the people whom he influenced. Only 7 of the 13 letters, having been dictated by Paul himself, can be accepted as being entirely authentic. The others were written by followers in his name, who often used material from his surviving letters and who may have had access to letters written by Paul that no longer survive. The seven undoubted letters constitute the best source of information, and his epistles continue to be vital roots of the theology, worship and pastoral life in the Catholic and Protestant traditions of the West, as well as the Orthodox traditions of the East.
The statue above is that of San Pablo or St. Paul. He was not actually one of the twelve apostles, but was so zealous in spreading the Word of God that he is numbered among them. St. Paul is always portrayed carrying a book to signify his writings and a sword, the symbol of his martyrdom. The carving of the hair, particularly the long and flowing beard, is admirable and displays the inventiveness of the santero. The image is clad in a green tunic and a red cape decorated with estofado gilding, which is largely intact.
The green tunic, however, has discolored with age. The image stands with one foot forward in typical Philippine stance and carries a book on his left hand. The sword that he originally carried in his right hand is now missing.
-Martin I. Tinio, Jr.
Rectangular fragment (one of three) of a polychrome tomb-painting representing a banquet scene, divided into two registers: upper - three seated couples are attended by serving women and boys; lower - a group of women, seated apart from the men, are attended by a standing serving woman.
An entire wall of the tomb-chapel showed a feast in honour of Nebamun. Naked serving-girls and servants wait on his friends and relatives. Married guests sit in pairs on fine chairs, while the young women turn and talk to each other. This erotic scene of relaxation and wealth is something for Nebamun to enjoy for all eternity. The richly dressed guests are entertained by dancers and musicians, who sit on the ground playing and clapping. All the guests wear elaborate linen clothes.
The artists have painted the cloth as if it were transparent, to show that it is very fine. These elegant sensual dresses fall in loose folds around the guests' bodies. The words of their song in honour of Nebamun are written above them:
The earth-god has caused
his beauty to grow in every body...
the channels are filled with water anew,
and the land is flooded with love of him.
Egyptian, Thebes, 18th dynasty, ca. 1350 BCE.
British Museum, London (.37986)
Polychrome Pass is one of my favorite places in Denali National Park. Iron in the rhyolite rocks provide color all summer long. The fall colors add to the color in this shot.
"Polychrome Summer Snow" Polychrome Mountains, Denali National Park, Alaska. While backpacking in the park a July snow blanket fell upon the mountains. We had set up camp right at the breakover point from rain to snow. As we broke camp the spectacle was fantastic, looking in any direction and seeing mountains as they might appear in the winter with a clear line showing where summer still held its ground. I wanted to pause after every few steps to capture more images, but we had miles to go and arduous terrain to cover.
This tile once decorated the palace of Ramesses II in Piramesse, which he made into one of the greatest royal cities of ancient Egypt. Thanks to the royal favor and its strategic location, Piramesse soon became an important international trade center and a cosmopolitan metropolis, boasting a harbor, a military base, and temples dedicated to various gods like Amun-Re-Harakhty-Atum, Seth, Astarte, etc. Poems were written in the city's praise, and its name, which translates as "The House of Ramesses, Beloved of Amun, Great of Victories" when fully written, came to us through the Old Testament as ‘Raamses.’
The tiles bear the names of Seti I, Ramesses II and later Ramesside kings, who renovated the palace and changed its decoration through the reigns. New tiles were made, and the old tiles may be have been dismantled and buried together. Based on the tiles, we can still reconstruct quite a number of the features of the palace that are now completely lost, including throne podiums, steps, windows of appearance, and faience sculptures.
Pastoral and domestic scenes, including this pool liberally stocked with fish and waterfowl and ringed with papyrus and other marsh plants, are assumed to come from the private apartments of the Egyptian palace.
Polychrome faience, New Kingdom, Ramesside, ca. 1279–1213 BCE.
From Egypt, Eastern Delta, Qantir (Piramesse), Palace of Ramesses II, Private apartments.
Met Museum, New York (35.1.104)
The marble relief, with substantial remains of the original colour and gilding, shows a tauroctonia, the slaughtering of the bull by the god Mithras. It belonged to the sculptural decoration of the second phase of the Castra Peregrinorum Mithraeum, when the building was restored and the marble relief replaced the previous one in stucco.
Mithras’ flesh, Phrygian cap, and tunic cuffs are gilded, indicating divinity and possibly relating to his close relationship with Sol Invictus - the Unconquered Sun. As is usual with a tauroctony scene, Mithras is plunging his dagger into the shoulder of the bull, and a dog and snake lick up the blood; a scorpion feeds on the bull’s life-giving testicles. Mithras’ servants, Cautes - on the left, holding up his torch - and Cautopates - on the right, holding his torch downwards - are dressed almost identically to the god. The torch symbolism might have to do with sunrise and sunset or the spring and autumn equinoxes.
In the upper left of the relief can be seen the god Sol, rising into the sky in his chariot - the sun about to start its daily ride across the sky. In the upper left, we can see his sister Luna, the moon, descending in her chariot, as a new day begins. A black raven stands over the horses of Sol - the imagery is unclear.
Quite a bit of pigment and gilding survives on this relief. We can see that the tunics and leggings of Mithras and his servants were bright red, as well as the cape of Sol. The scorpion and raven were black, and the snake appears to have been yellow and red.
Rome, Basilica of Santa Stefano Rotondo, Mithraeum of the Castra Peregrinorum
End of the 3rd c. CE
Museo Nazionale Romano, Terme di Diocleziano (Baths of Diocletian, inv. 205837), Rome
From Polycrhome Overlook there is an expansive view of the tundra covered valley and Mount Pendleton and the colorful mountain range to the South.
I like the rich colors of the tundra and the mountain. The panorama helps give some scale to the enormity of the place.
OLYMPUS DIGITAL CAMERA
Priceless iconostasis made in 1801 and beautiful polychrome painted in 1895 from wooden Greek Catholic Orthodox church at the Ethnographic Park in the city of Nowy Sącz.
San Pedro & San Pablo
Early 19th Century
Baticuling, Polychrome and Gold Leaf
San Pedro:
H:39 1/2” x L:13 1/4” x W:9 1/4” (100 cm x 34 cm x 23 cm)
San Pablo:
H:39 1/2” x L:17” x W:11 1/2” (100 cm x 43 cm x 29 cm)
Opening bid: P 800,000
Provenance:
Northern Luzon, probably Pangasinan
Lot 74 of the Leon Gallery Auction on 9 September 2017. Please see leon-gallery.com/ for more details.
St. Peter, whose original name was Simon, was born in Bethsaida but settled in Capharnaum, where he was living with his mother-in-law in his own house. A fisherman with his own boat, he pursued his profitable occupation in Lake Genesareth. It was his brother Andrew, attracted by the Baptist's preaching of penance, who brought him to Jesus. The latter, upon seeing him, said: "Thou art Simon the son of Jona: thou shalt be called Cephas (Aramaic for rock, petrus in Latin.)" After the first meeting, Peter and the other early disciples remained with Jesus for some time, accompanying Him to Galilee, Judaea, and Jerusalem, then through Samaria back to Galilee, where Peter resumed his occupation of fisherman for a short time. He soon received the definitive call of the Savior to become one of His permanent disciples. Peter and Andrew were engaged at their calling when Jesus met and addressed them: "Come ye after me, and I will make you to be fishers of men". From then on, Peter remained always beside Our Lord and a little later Christ chose His Twelve Apostles as His constant associates in preaching the kingdom of God. Christ accentuated Peter's precedence among the Apostles, when, while journeying along with His Apostles, Jesus asked them: "Who do men say that the Son of man is?" The Apostles answered: "Some John the Baptist, others say Elias, while others Jeremias or one of the prophets". Jesus said to them: "But who do you say that I am?" Simon said: "Thou art Christ, the Son of the living God". And Jesus answering said to him: "Blessed art thou, Simon Bar-Jona: because flesh and blood hath not revealed it to thee, but my Father who is in heaven. And I say to thee: That thou art Peter and upon this rock I will build my church and the gates of hell shall not prevail against it.
And I will give to thee the keys of the kingdom of heaven, and whatsoever thou shalt bind upon earth, it shall be bound also in heaven: and whatsoever thou shalt loose on earth, it shall be loosed also in heaven". By the word "rock" the Savior meant Peter, and His wish to make Peter the head of the whole community of those who believed in Him as the true Messiah. Thus, Peter was personally installed as Head of the Apostles by Christ Himself. The statue above is that of San Pedro or St. Peter, the apostle. Being ranked first among the apostles in importance, his statue is often placed together with St. Paul on either side of the main portal in the façade of almost every church.
The pieces were made during the first half of the 19th century and closely resembles the huge statues in the main altar of the church of Calasiao, Pangasinan. It is of a size that must have originally been in the main altar of a chapel in a convent or an important visita or barrio chapel. The carving of the hair, particularly the curly beard, is admirable and displays the inventiveness of the santero.
The image is clad in a green tunic and a yellow cape, the liturgical colors of St. Peter, the gilding of which are largely intact. The image stands with one foot forward in typical Philippine stance and carries a book on his left hand and a pair of keys, signifying the Gates of Heaven, on his right.
Paul the Apostle, whose original name was Saul, was a Greek-speaking Jew from Tarsus, a major city in the Roman province of Syria by the time of Paul’s adulthood. Two of the main cities of Syria, Damascus and Antioch, played a prominent part in his life and letters. Considered one of the most important figures of the Apostolic Age, he founded several churches in Asia Minor and Europe and took advantage of his status as both a Jew and a Roman citizen to minister to both Jewish and Roman audiences. Prior to his conversion, Paul spent much of the first half of his life persecuting the early disciples of Jesus in the area of Jerusalem and was traveling on the road from Jerusalem to Damascus on a mission to "arrest them and bring them back to Jerusalem", when the resurrected Jesus appeared to him in a great light. He was struck blind, but after three days his sight was restored by Ananias of Damascus, and Paul began to preach that Jesus of Nazareth is the Jewish Messiah and the Son of God.
Following this revelation, which convinced Paul that God had indeed chosen Jesus to be the promised messiah, he went into Arabia, then returned to Damascus and, three years later, he went to Jerusalem to become acquainted with the leading apostles there. After this meeting he began his famous missions to the west, preaching first in his native Syria and Cilicia. During the next 20 years or so, he established several churches in Asia Minor and at least three in Europe.
During the course of his missions, Paul realized that his preaching to Gentiles was creating difficulties for the Christians in Jerusalem, who thought that Gentiles must become Jewish in order to join the Christian movement. To settle the issue, Paul returned to Jerusalem and struck a deal. It was agreed that Peter would be the principal apostle to Jews and Paul the principal apostle to Gentiles. Of the 27 books in the New Testament, 13 are attributed to Paul, and approximately half of another, Acts of the Apostles, deals with Paul’s life and works. Thus, about half of the New Testament stems from Paul and the people whom he influenced. Only 7 of the 13 letters, having been dictated by Paul himself, can be accepted as being entirely authentic. The others were written by followers in his name, who often used material from his surviving letters and who may have had access to letters written by Paul that no longer survive. The seven undoubted letters constitute the best source of information, and his epistles continue to be vital roots of the theology, worship and pastoral life in the Catholic and Protestant traditions of the West, as well as the Orthodox traditions of the East.
The statue above is that of San Pablo or St. Paul. He was not actually one of the twelve apostles, but was so zealous in spreading the Word of God that he is numbered among them. St. Paul is always portrayed carrying a book to signify his writings and a sword, the symbol of his martyrdom. The carving of the hair, particularly the long and flowing beard, is admirable and displays the inventiveness of the santero. The image is clad in a green tunic and a red cape decorated with estofado gilding, which is largely intact.
The green tunic, however, has discolored with age. The image stands with one foot forward in typical Philippine stance and carries a book on his left hand. The sword that he originally carried in his right hand is now missing.
-Martin I. Tinio, Jr.
The Diocesan Museum is in the former sacristy of the cathedral in Arezzo and contains these very fine C12 polychrome life sized crucifixes .
The roof tiles running along the eaves of ancient Greek and Etruscan buildings often ended in upright members called antefixes. These mold-made terracottas often took the form of heads, either of humans or mythological creatures. As well as being decorative, antefixes covered and protected exposed wooden parts of the architecture from the elements.
The petrifying head of the gorgon, with its staring eyes, grimacing mouth, protruding tongue, and snaky hair, had the ability to ward off evil. This antefix exploits the gorgon's protective power. An artisan added bright paint to the molded terracotta head to emphasize its effect and visibility. The meander pattern painted below the face is a common decorative motif. Stylistic features such as the rolls of tightly coiled curls on the forehead date the work to the early fifth century BCE.
Greek, ca. 500 BCE. Terracotta and pigments.
Getty Villa Museum (83.AD.211.1)
This mosaic appears to show a polychrome statue of a naked boxer in a niche, or in front of a balustrade. He wears two elbow-length boxing gloves known as cesti (cestus or caestus, singular), woven leather straps which frequently include padded leather knuckle protectors (which may also contain metal). There’s a red fence behind the pedestal and a blue background, so perhaps this is a window? Below the statue is a still life depicting a rooster, pinecone, a fig (or garlic?), and … a carrot? A beautiful frame of stylized palmettes is more frequently seen in frescos.
Villa San Marco, Stabiae (near Pompeii)
1st century CE
Museo Archeologico Nazionale, Naples (inv.
Polychromed wood, New Kingdom, 18th Dynasty, (1570 - 1293 BC)
Coffin lid of a womwn wearing a trpartite wigand usekh collar ending in lotuses from which the hands emerge Different funerary deities are depicted on the surface.
The Daughters of the Nile:Women in Ancient Egypt. The material for this exhibition comes from museums all over the world. However my photographic record, although comprehensive, is incomplete because not all the lending institutions permit photos!