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whencyclopedia · 3 months ago

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Carthaginian Art

The art of the Carthaginians was an eclectic mix of influences and styles, which included Egyptian motifs, Greek fashion, Phoenician gods, and Etruscan patterns. Precious metals, ivory, glass, terracotta, and stone were transformed into highly decorative objects ranging from everyday utensils to purely ornamental pieces. Just as the Carthaginians imported and exported all manner of trade goods, so too their art reflected their vast network of contacts across the ancient Mediterranean but they would eventually produce their own distinctive art which uniquely blended elements from other cultures. The distinctive qualities of Punic art can be best seen in their stelae, jewellery, sculpture, and masks.

Surviving examples of Carthaginian art are sadly few in comparison to contemporary cultures, and they are further limited in scope by the fact that the majority of artefacts come from a burial context and so are predominantly small in scale and of a religious nature. Secular art and objects produced exclusively for their aesthetic value are rare indeed. Nevertheless, enough examples survive of jewellery, figurines, ceramics, and stonework to hint that the Carthaginians were not as artistically impoverished as earlier historians saw fit to claim.

Influences

Carthage was founded in the 9th century BCE by colonists from the Phoenician city of Tyre. This fact and the city's continued close ties with the mother country meant that art was heavily influenced by that of Phoenicia, at least in its formative years. Just as Phoenicia was itself a melting pot of diverse cultures, its wealth based as it was on maritime trade, so too Carthage would become a cosmopolitan city with visitors, residents, and artists from across the ancient Mediterranean. Egyptian art was particularly influential and many motifs are seen in Carthaginian art such as the goat with head looking backwards beneath a sacred tree or rigid standing female figures. Near Eastern art was another strong influence, seen especially in figurines of the god Melqart/Baal. The influence of Etruscan artists is seen especially in Carthaginian pottery decoration from the 4th century BCE.

Above all, though, Carthage's art took inspiration from the Greek world from the 5th century BCE onwards. Not only were the Carthaginians appreciative collectors of Greek art, taking fine art as booty from their campaigns in Sicily, but they also produced imitative art. There was a large Greek community at Carthage, and many of these must have worked as skilled craftsmen in the workshops of the city. In turn, they would have taught local artists or the next generation. We know of at least one artist whose father was a Greek immigrant but who signed his work as 'Boethus the Carthaginian' and who became so appreciated that his work was dedicated at Olympia.

There is a general problem of identifying the exact origin of many art pieces which is exacerbated by the Punic habit of copying foreign motifs and styles. Traditionally, historians had favoured the view that, at least in general, finer pieces were imported and more rustic art was locally made. This unflattering view is steadily being revised following the discovery of large workshop areas in the city suggesting a healthy export trade and by new archaeological discoveries so that the position that all of the fine art was imported is becoming increasingly untenable.

#History #3rdcenturyBCE #4thcenturyBCE #5thcenturyBCE #WHE #[#]

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mybeingthere · 3 months ago

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South African artist and ceramic sculptor Simphiwe Mbunyuza (b 1989) creates masterful objects and vessels combining stoneware, leather, fabric and steel.

Mbunyuza’s richly textured, ceramic objects feature traditional African iconography and cultural symbols. Mbunyuza utilizes a coiling technique that has been employed by the Xhosa people for centuries. The Xhosa people are descendants of the Nguni, who migrated from central and northern Africa to settle in southern Africa. Embracing historical references and traditional forms, Mbunyuza crafts a story predicated upon the notion of sharing.

Mbunyuza creates a metaphorical sharing circles. Sculptures are arranged like women in the field surrounded by corn. The pots are representative of the woman and sisters working together. The pieces symbolize his female ancestors. The women traditionally did the field work while the men went to Johannesburg to work in the gold mines. Historically, peeled boiled corn was eaten communally as information was shared. The process of sharing the corn became a warm and welcoming pastime.

Mbunyuza’s forms have an earthy, magical quality. The warm light brown clay body wrapped in bold color with striking geometric lines and patterns evoke a sense of immediacy and the beginning of time; a place where the history of human beings began. Elegant and graphic, Mbunyuza’s forms and colors exemplify the timeless in contemporary art- a bridge to the past.

https://mindysolomon.com/.../simphiwe-mbunyuza-inkobe.../

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ghostinthegallery · 10 months ago

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“This isn’t the end” for Tarzyn/Orikan (bonus points for necrontyr era)

Next prompt request! CW for discussion of cancer/oncological stuff.

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The ink pot shattered when it hit the floor, spilling a pool of black across the stone tiles. Trazyn cursed, began reaching down to pick up the ceramic remains, but his long sleeve caught the edge of the paper on which he had been writing. That fell too, landing in the dark puddle. Ink saturated the page, erasing hours of calligraphic work.

”Damn it,” Trazyn swore. “Damn it, damn it, damn it!”

Most of his blasphemy was not towards the ruined page, although that was frustrating. No, primarily he cursed at his hand which refused to stop shaking.

“It will only get worse, I am afraid,” the oncomancer had said. “Motor function will fail first.”

First, which implied something else had to fail second. Trazyn tried to forget the whole conversation as he grabbed a rag to clean his mess. It was well past midnight, so he could not summon a servant to deal with this. He had come to the palace’s library this late specifically for privacy. So that no one would see the difficulty he had holding a pen or a brush. He wanted to be able to take his time, wait out the tremors and maybe finish some of his work before he—

“Having some difficulty, old man?”

Trazyn’s heart sank. Of course if anyone had to see him like this, hunched on his knees, turquoise robes stained with black splotches it would be him.

”Orikan.” Trazyn sat up, tucked his hand into his sleeve to hide its quivering. “You’re up awfully late. Are the stars going to tell you about the weather next decan? Or perhaps some scion has asked to pick out their most auspicious marriage prospect? I hear you’ve become quite an adept matchmaker lately.”

Orikan’s brow wrinkled in annoyance, disturbing the single eye tattooed across his forehead. There were other such marks, cryptek nonsense, scrawled like tears down his cheeks, around his neck, and along his arms. Those were the only ones Trazyn had seen, though he imagined there were more, hidden under the white and blue robes draped loosely over Orikan’s frame.

”You lords are a petty sort,” Orikan said. “That I am forced to indulge you is a trial, but one well worth it given the benefits to my actual work. And at least I am not stuck copying old poetry like some temple scribe.”

Normally, Trazyn would have come up with some retort. Pointed out that he was in fact reproducing the last illustrated copy of the The Book of Sixes, the earliest recorded example of necrontyr poetry written in hexameter. And Orikan would have rolled his eyes and they would have argued until some other scholar came and shushed them, but tonight Trazyn could hardly summon the will to speak at all.

“Perhaps it is a waste of time,” he said, looking at the ink-soaked page. “When one doesn’t even know how much time is left.”

“I see old age has made you melancholy,” Orikan scoffed.

Trazyn did not feel as if he had been alive enough to be called old. Just a handful of decades. How could that be considered old? The Old Ones, damn them, had lived millennia and more. They were old. Not him.

He had outlived so many of his contemporaries and still it was not enough.

“You will no doubt be thrilled to hear that barring unexpected circumstances you will be the victor in our rivalry,” Trazyn said. “I will not be able to defend myself from the tomb.”

“Stop raving.” Orikan walked past the shelves of datascrolls and paper manuscripts to stand over him. “I always did suspect the sun was taking your wits.”

”Not my wits just yet.” Trazyn lifted his hand and let the silk fall away to reveal his trembling fingers.

Orikan’s eyes went wide. “What is this?”

“They say the sun attacks the limbs of the worker, the heart of the warrior, and the brain of a scholar..” Trazyn let out a bark of mirthless laughter. “The oncomancers say the larger turmor is growing against the nerve center governing voluntary muscle function. That will go first. Once I can barely move, my memory will likely desert me next, then speech, and then—”

“Stop.”

To Trazyn’s shock, Orikan dropped to his knees. He seized Trazyn’s quivering hand, tightening his grip until it was almost painful. Dark ink soaked the diviner’s white robe.

“Coward,” Orikan hissed. “You think you can escape our conflict so easily? A martyr, taken in his prime by sunsickness. How convenient for you.”

Despair shifted into anger. “I did not develop a brain tumor to spite you, astromancer,” Trazyn snapped. “Nor can I will it away.” His breath hitched. “I am going to die. I am going to die soon, with so much left unfinished.”

“You are not going to die.” Orikan leaned forward, dropped his voice so low Trazyn struggled to hear him.

“Is that what the stars tell you?” Trazyn said. “I fear they’ve deceived you.”

“You are not going to die,” Orikan repeated. “None of us are.”

The scent of perfumed incense filled Trazyn’s nose. Orikan always smelled of incense and clean night air. It was one of the most irritating things about him. He was uncouth, uncultured, abrasive, spiteful. And brilliant. Tenacious. Beautiful. Half of the time Trazyn wasn’t sure if he wanted to strangle him or—

“Orikan—” Trazyn began.

Orikan grabbed the beaded front of Trazyn’s robe and yanked him forward. Their lips crashed together. The kiss took him off guard, but he did not pull away, even as the force of it pressed painfully against his teeth. The warmth of Orikan’s mouth, the taste of him, drove out all other thoughts. For a brief second he forgot anger and despair and death.

”What do you mean,” he muttered against Orikan’s lips. “None of us will die?”

”The Silent King has a plan,” Orikan replied, wrapping his hand around Trazyn’s neck, deepening the next kiss. “He has found the power to take the secrets of immortality denied to us. He has asked me to read the plan’s future, but he is sure it will work. And when it does…” Orikan looked into Trazyn’s eyes, his gaze piercing and green. “This isn’t the end. Don’t you dare leave me or let that damned tumor take you because this is not the end.”

“Why Orikan,” Trazyn said. “I didn’t realize you cared.”

“I care about proving once and for all that you are a vainglorious fool.” Orikan huffed. “I cannot do that if you retreat into death.”

Trazyn pressed his hand against Orikan’s cheek, drew him back into another kiss. More gentle this time.

“I’d best survive until then,” Trazyn said.

His knees hurt from being forced against the stone floor, but Trazyn did not care. There was always a little pain when it came to Orikan. He wouldn’t know what to do with himself without it.

It seemed too good to be true. An end to death, to suffering, all the time Trazyn could ever want. Alongside a rival who would ensure not a single moment of immortality was dull. He was not sure he believed it. Coming from anyone else he would have considered it madness. But this was Orikan. The stargazer was a fool in many ways, but in this moment, Trazyn believed him.

For the first time in years, Trazyn felt true hope. This would not be the end. Not of him. Not of his work. Not of the necrontyr.

And, as Orikan dragged him up from the floor with a strength that belied his slender frame, Trazyn realized this was not the end of their night together either.

#prompts #necrons #wh40k #trazyn the infinite #orikan the diviner #orizyn #surely this moment of hope will not end terribly for anyone #this is my first time writing necrontyr era stuff for these two #had to remember they still have skin and clothes and stuff XD #writing an actual kiss was fun tho #can't really do that if your face is all metal #answering asks

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gemsofgreece · 11 months ago

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Can you make a post about the evolution of Greek art from the ancient times until now in modern age?

Because we often talk about the evolution of art but unfortunately we don't appreciate after ancient times the other art movements Greece went through the centuries.

That’s true! I am sorry for taking ages to answer this but I don't know how it could take me less anyway hahaha I made this post with summaries about all artistic eras in Greek history. I have most of it under a cut because with the addition of pictures it got super long, but if you are interested in the history of art I recommend giving it a try! I took advantage of all 30 pictures that can be possibly attached in a tumblr post and I tried to cover as many eras and art styles as possible, nearly dying in the process ngl XD I dedicated a few more pictures in modern art, a) because that was the ask and b) because there is more diversity in the styles that are used and the works that are available to us in great condition in modern times.

History of Greek Art

Greek Neolithic Art (c. 7000 - 3200 BC)

Obviously, with this term we don’t mean there were people identifying as Greeks in Neolithic times, but it defines the Neolithic art corresponding to the Greek territory. Art in this era is mostly functional, there are progressively more and more defined designs on clay pots, tools and other utility items. Clay and obsidian are the most used materials.

Clay vase with polychrome decoration, Dimini, Magnesia, Late or Final Neolithic (5300-3300 BC).

Cycladic Art (3300 - 1100 BC)

The art of the Cycladic civilisation of the Aegean Islands is characterized by the use of local marble for the creation of sculptures, idols and figurines which were often associated to womanhood and female deities. Cycladic art has a unique way of incidentally feeling very relevant, as it resembles modern minimalism.

Early Cycladic II (Keros-Syros culture, 2800–2300 BC)

Minoan Art (3000-1100 BC)

The advanced Minoan civilisation of Crete island was projecting its confidence and its vibrancy through its various arts. Minoan art was influenced by the earlier Egyptian and Near East cultures nearby and at its peak it overshadowed the rest of the contemporary cultures and their artistic movements in Greece. Colourful, with numerous scenes of everyday life and island life next to the sea, it was telling of the society’s prosperity.

The Bull-leaping fresco from Knossos, 1450 BC.

Mycenaean Art (c. 1750 - 1050 BC)

Mycenaean Art was very influenced by Minoan Art. Mycenaean art diverged and distinguished itself more in warcraft, metalwork, pottery and the use of gold. Even when similar, you can tell them apart from their themes, as Mycenaean art was significantly more war-centric.

The Mask of Agamemnon in the National Archaeological Museum of Athens. The mask likely was crafted around 1550 BC so it predates the time Agamemnon perhaps lived.

Geometric Art (1100 - 700 BC)

Corresponding to a period we have comparatively too little data about, the Geometric Period or the Homeric Age or the Greek Dark Ages, geometric art was characterized by the extensive use of geometric motifs in ceramics and vessels. During the late period, the art becomes narrative and starts featuring humans, animals and scenes meant to be interpreted by the viewer.

Detail from Geometric Krater from Dipylon Cemetery, Athens c. 750 BC Height 4 feet (Metropolitan Museum, New York)

Archaic Art (c. 800 - 480 BC)

The art of the archaic period became more naturalistic and representational. With eastern influences, it diverged from the geometric patterns and started developing more the black-figure technique and later the red-figure technique. This is also the earliest era of monumental sculpture.

Achilles and Ajax Playing a Board Game by Exekias, black-figure, ca. 540 B.C.

Kroisos Kouros, c. 530 B.C.

Classical Art (c. 480 - 323 BC)

Art in this era obtained a vitality and a sense of harmony. There is tremendous progress in portraying the human body. Red-figure technique definitively overshadows the use of the black-figure technique. Sculptures are notable for their naturalistic design and their grandeur.

The Diskobolos or Discus Thrower, Roman copy of a 450-440 BCE Greek bronze by Myron recovered from Emperor Hadrian’s Villa in Tivoli, Italy. (British Museum, London). Photo by Mary Harrsch.

Terracotta bell-krater, Orpheus among the Thracians, ca. 440 BCE, The Metropolitan Museum of Art.

Hellenistic Art (323 - 30 BCE)

Hellenistic art perfects classical art and adds more diversity and nuance to it, something that can be explained by the rapid geographical expansion of Greek influence through Alexander’s conquests. Sculpture, painting and architecture thrived whereas there is a decrease in vase painting. The Corinthian style starts getting popular. Sculpture becomes even more naturalistic and expresses emotion, suffering, old age and various other states of the human condition. Statues become more complex and extravagant. Everyday people start getting portrayed in art and sculpture without extreme beauty standards imposed. We know there was a huge rise in wall painting, landscape art, panel painting and mosaics.

Mosaic from Thmuis, Egypt, created by the Ancient Greek artist Sophilos (signature) in about 200 BC, now in the Greco-Roman Museum in Alexandria, Egypt. The woman depicted in the mosaic is the Ptolemaic Queen Berenike II (who ruled jointly with her husband Ptolemy III) as the personification of Alexandria.

Agesander, Athenodore and Polydore: Laocoön and His Sons, 1st century BC

Greco-Roman Art (30 BC - 330 AD)

This period is characterized by the almost entire and mutually influential merging of Greek and Roman artistic expression, in light of the Roman conquest of the Hellenistic world. For this era, it is hard to find sources exclusively for Greek art, as often even art crafted by Greeks of the Roman Empire is described as Roman. In general, Greco-Roman art reinforces the new elements of Hellenistic art, however towards the end of the era, with the rise of early Christianity in the Eastern aka the Greek-influenced part of the empire, there are some gradual shifts in the art style towards modesty and spirituality that will in time lead to the Byzantine art. During this era mosaics become more loved than ever.

A mosaic from the island of Kos (the birthplace of Hippocrates) depicting Hippocrates (seated) and a fisherman greeting the god Asklepios (center) as he either arrives or disembarks from the island. Second or third century CE.

Introduction to Byzantine Art

Byzantine art originated and evolved from the now Christian Greek culture of the Eastern Roman Empire. Although the art produced in the Byzantine Empire was marked by periodic revivals of a classical aesthetic, it was above all marked by the development of a new aesthetic defined by its salient "abstract", or anti-naturalistic character. If classical art was marked by the attempt to create representations that mimicked reality as closely as possible, Byzantine art seems to have abandoned this attempt in favor of a more symbolic approach. The subject matter of monumental Byzantine art was primarily religious and imperial: the two themes are often combined.

Early Byzantine Art (330 - 842 AD)

The establishment of the Christian religion results in a new artistic movement, centered around the faith. However, ancient statuary remains appreciated. Most fundamental changes happen in monumental architecture, the illustration of manuscripts, ivory carving and silverwork. Exceptional mosaics become integral in artistic expression. The last 100 years of this period are defined by the Iconoclasm, which temporarily restricts entirely the previously thriving figural religious art.

Mosaics in the Rotunda of Thessaloniki, 4th - 6th century AD.

Macedonian Art & Komnenian Age (843 - 1204 AD)

These artistic periods correspond to the middle Byzantine period. After the end of the Iconoclasm, there is a revival in the arts. The art of this period is frequently called Macedonian art, because it occurred during the Macedonian imperial dynasty which generally brought a lot of prosperity in the empire. There was a revival of interest in the depiction of subjects from classical Greek mythology and in the use of Hellenistic styles to depict religious subjects. The Macedonian period also saw a revival of the late antique technique of ivory carving. The following Komnenian dynasty were great patrons of the arts, and with their support Byzantine artists continued to move in the direction of greater humanism and emotion. Ivory sculpture and other expensive mediums of art gradually gave way to frescoes and icons, which for the first time gained widespread popularity across the Empire. Apart from painted icons, there were other varieties - notably the mosaic and ceramic ones.

Paris Psalter, 10th century AD. Prophet Isaiah from the Old Testament in the company of the symbolisms for night (clear inspiration drawn from the ancient deity Nyx) and morning (Orthros, not to be confused with the mythological creature).

Palaeologan Renaissance (1261 - 1453)

The Palaeologan Renaissance is the final period in the development of Byzantine art. Coinciding with the reign of the Palaeologi, the last dynasty to rule the Byzantine Empire (1261–1453), it was an attempt to restore Byzantine self-confidence and cultural prestige after the empire had endured a long period of foreign occupation. The legacy of this era is observable both in Greek culture after the empire's fall and in the Italian Renaissance. Contemporary trends in church painting favored intricate narrative cycles, both in fresco and in sequences of icons. The word "icon" became increasingly associated with wooden panel painting, which became more frequent and diverse than fresco and mosaics. Small icons were also made in quantity, most often as private devotional objects.

Detail of Anástasis (Resurrection) fresco, c. 1316–1321, Chora church, Constantinople (Istanbul) (photo: byzantologist).

Cretan School (15th - 17th century)

Cretan School describes an important school of icon painting, under the umbrella of post-Byzantine art, which flourished while Crete was under Venetian rule during the Late Middle Ages, reaching its climax after the Fall of Constantinople, becoming the central force in Greek painting during the 15th, 16th and 17th centuries. By the late 15th century, Cretan artists had established a distinct icon-painting style, distinguished by "the precise outlines, the modelling of the flesh with dark brown underpaint, the bright colours in the garments, the geometrical treatment of the drapery and, finally, the balanced articulation of the composition". Contemporary documents refer to two styles in painting: the maniera greca (in line with the Byzantine idiom) and the maniera latina (in accordance with Western techniques), which artists knew and utilized according to the circumstances. Sometimes both styles could be found in the same icon. The most famous product of the school was the painter Domenikos Theotokopoulos, internationally known as El Greco, whose art evolved and diverged significantly in his later years when he moved in Spain and was involved in the Spanish Renaissance, and though it often alienated his western contemporary artists, nowadays it is viewed as an incidental early birth of Impressionism in the mid of the Renaissance’s peak.

Icon by Andreas Pavias (1440-1510), Cretan School, from Candia (Venetian Kingdom of Crete). The Latin inscription suggests the icon was meant for commercial purposes in Western Europe. National Museum, Athens. (Source: https://russianicons.wordpress.com/tag/cretan-school/)

Crucifixion (detail), El Greco (Doménikos Theotokópoulos), ca. 1604 - 1614.

Heptanesian School (17th - 19th century)

The Heptanesian school succeeded the Cretan School as the leading school of Greek post-Byzantine painting after Crete fell to the Ottomans in 1669. Like the Cretan school, it combined Byzantine traditions with an increasing Western European artistic influence and also saw the first significant depiction of secular subjects. The center of Greek art migrated urgently to the Heptanese (Ionian) islands but countless Greek artists were influenced by the school including the ones living throughout the Greek communities in the Ottoman Empire and elsewhere in the world. Greek art was no longer limited to the traditional maniera greca dominant in the Cretan School. Furthermore, the Heptanesian school was the basis for the emergence of new artistic movements such as the Greek Rocco and Greek Neoclassicism. The movement featured a mixture of brilliant artists.

Archangel Michael, Panagiotis Doxaras, 18th century.

Greek Romanticism (19th century)

Modern Greek art, after the establishment of the Greek Kingdom, began to be developed around the time of Romanticism. Greek artists absorbed many elements from their European colleagues, resulting in the culmination of the distinctive style of Greek Romantic art, inspired by revolutionary ideals as well as the country's geography and history.

Vryzakis Theodoros, The Exodus from Missolonghi, 1853. National Gallery, Athens.

The Munich School (19th century Academic Realism)

After centuries of Ottoman rule, few opportunities for an education in the arts existed in the newly independent Greece, so studying abroad was imperative for artists. The most important artistic movement of Greek art in the 19th century was academic realism, often called in Greece "the Munich School" because of the strong influence from the Royal Academy of Fine Arts of Munich where many Greek artists trained. In academic realism the imperative is the ethography, the representation of urban and/or rural life with a special attention in the depiction of architectural elements, the traditional cloth and the various objects. Munich School painters were specialized on portraiture, landscape painting and still life. The Munich school is characterized by a naturalistic style and dark chiaroscuro. Meanwhile, at the time we observe the emergence of Greek neoclassicism and naturalism in sculpture.

Nikolaos Gyzis, Learning by heart, 1883.

Rallis Theodoros, The Booty, before 1906.

20th Century Modern & Contemporary Greek Art

At the beginning of the 20th century the interest of painters turned toward the study of light and color. Gradually the impressionists and other modern schools increased their influence. The interest of Greek painters, artists changes from historical representations to Greek landscapes with an emphasis on light and colours so abundant in Greece. Representatives of this artistic change introduce historical, religious and mythological elements that allow the classification of Greek painting into modern art. The era of the 1930s was a landmark for the Greek painters. The second half of the 20th century has seen a range of acclaimed Greek artists too serving the movements of surrealism, metaphysical art, kinetic art, Arte Povera, abstract excessionism and kinetic sculpture.

Yiannis Moralis, Two friends, 1946.

Art by Giannis Gaitis (1923-1984), famous for his uniformed little men.

By Yorghos Stathopoulos (1944 - )

Art (detail) by Nikos Engonopoulos (1907 - 1985)

Folk, Modern Ecclesiastical and Secular Post-Byzantine Art

Ecclesiastical art, church architecture, holy painting and hymnology follow the order of Greek Byzantine tradition intact. Byzantine influence also remained pivotal in folk and secular art and it currently seems to enjoy a rise in national and international interest about it.

A modern depiction of the legendary hero Digenes Akritas depicted in the style of a Byzantine icon by Greek artist Dimitrios Skourtelis. Credit: Dimitrios Skourtelis / Reddit

Erotokritos and Aretousa by folk artist Theophilos (1870-1934)

Example of Modern Greek Orthodox murals, Church of St. Nicholas.

Ancient Greek philosophers depicted in iconographic fashion in one of Meteora’s monasteries. Each is holding a quote from his work that seems to foreshadow Christ. Shown from left to right are: Homer, Thucydides, Aristotle, Plato and Plutarch. This is not as weird as it may initially seem: it was a recurrent belief throughout the history of Christian Greek Orthodoxy that the great philosophers of the world heralded Jesus' birth in their writings - it was part of the eras of biggest reconciliation between Greek Byzantinism and Classicism.

Prophet Elijah icon with Chariot of Fire, Handmade Greek Orthodox icon, unknown iconographer. Source

If you see this, thanks very much for reading this post. Hope you enjoyed!

#greece #art #europe #history #culture #greek art #artists #greek culture #history of art #classical art #ancient greek art #byzantine greek art #christian art #orthodox art #modern art #modern greek art #anon #ask

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lizzisimss · 2 years ago

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Cutesy Family Home CC List:

Pique Earth in Willow Creek 30 x 20 4 bed, 3 bath $174,210

Aira – https://www.patreon.com/airacc

Colorful Erases

Daisy Mug

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Vanilla Utensil Holder

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Kitchenrack

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Steezy Skis

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The Lighthouse Collection merged

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Fayun

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Orjanic

Bafroom Merged

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Harluxe Merged

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Livin’Rum Merged

The Kitchen

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Brutalist Bathroom

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Lyne half blinds v2

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Bayside bedroom set merged

Creta kitchen

Elsie bedroom basics

Futura merged

Hamptons retreat merged

Hinterlands bedroom

Hudson bathroom

Kitayama dining merged

Kitayama living merged

Mid-century eclectic merged

Mina kitchen merged

Roarsome kids bedroom merged

Strangerville build mode add on

Vara office

Bowed

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Precious Promises

Calderone bedroom

MCM

Oak House

The Office mini kit

Tidying up

Auntie Vera bathroom

Coldbrew Coffeeshop

Domaine Du Clos

Living room mini kit

Winter Garden

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Art attack

Smarts content

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Cottage roman curtain

Loloi contemporary rugs 2

Painting indigo 2021

RHdhdblbed

RHshadeA

Round jute rugs

RPC Cotswolds rug

RPCdblbed

Taishio merged all

Tot barn curtains

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Breeze of Greece

Lilla Kids Bedroom

Artz

Home Office

Kids Room

Lux Bath

Retro Vibes

Small Spaces

Summer Camp

Teen Room

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Cereal Bowl

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Fall out baby

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Bonbon

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Cassandra Bathroom

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Elsa Kids Room

Jade Build

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Busy Bee

Cat Milk No1 Reloaded

Cozy Casita

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2nd Wave Merged

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ceramiccity · 6 months ago

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Minimalist Porcelain Vase Decor

Hee dining Paper porcelain vase. via haynorge - Modern chair with potted plant, minimalist style, indoor greenery, sleek lines, contemporary decor. Follow Ceramic City on Tumblr Source: https://www.pinterest.com/theceramiccity/

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stellabarak · 1 year ago

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Adventures with Tenmoku

Tenmoku or Tenmokuyu or even Temoku, is a general term used for a glossy, deep brown iron glaze in ceramics and pottery.

I was introduced to Tenmoku from my early days working with clay, over two years now. Initially I didn't really like it, finding it sometimes too dark, but not quite black, either. The endearing power of the glaze, however, is that it has a depth and range of browns. Depending on how it is applied, it varies from dark brown, to warmer brown, to translucent even when applied thinly. I have used it on many occasions, especially for my coil pots.

Below you can see the results when I used it for my large coil pot, Rosey, (seen below) combined with a commercial raspberry glaze (Mayco). The result was a range of dark purples and browns, that give depth to the surface of the pot. I particularly like the glossy finish as this reflects light and adds an element of sophistication to my work.

The history: Tenmoku glazes originate from Japan, where they have a very long history. Popularised by tea bowls, initially, Tenmoku referred to both the shape of the tea bowl and the dark, glossy glaze that covered these bowls.

Introduced by Japanese monks and priests that came back from China, after visiting the sacred Tianmu Mountain, in the Heian Period (794-1185). At this time, tea drinking was reserved for the rich and the Emperor. With the rise of the popularity of tea drinking, however, by the middle ages (Kamakura and Muromachi periods) so too, the popularity of the tenmoku teabowls spread amongst the larger population.

The example below is typical example of the tea bowl, known for its distinct dark brown colour. This one is from the Kyoto National Museum,

In England, it was introduced in the 1950's by Bernard Leach and the Leach Pottery in St.Ives, Cornwall, after the visit of Japanese master potter Shoji Hamada, at St. Ives. It has been widely used since in function ware, especially coffee mugs, jugs and other tableware.

Below, you can see two examples of Tenmoku, the one on the left, is the Tenmoku tea bowl, by master Shoji Hamada, in the collection of Tate Museum, whilst the one on the left, is currently on display at the exhibition, The Art of the Potter: Ceramics and Sculpture 1930's to now, at the Hepworth, Wakefield and belongs to the potter David Leach, of the Leach family.

It has been criticised often for being old fashioned, however what draws me to this glaze its history and notoriety as well as the fact that it has withstood the test of time and remains, remarkably, a staple glaze for many pottery studios today.

During my residency at Rochester Square Arts, over the summer and autumn this year, I sought to make my own batch of Tenmoku.

Not knowing what I would get myself into, I began my adventures with iron oxides. Having only done a very short course in making my own custom glazes, equipped with raw materials like iron oxide, manganese oxide and fluxes, like nepheline syenite, cornish stone and potash feldspar, I began my very first tests.

The first recipe I tested was of the iconic Bernard Leach tenmoku. This did give some interesting results but I was disappointed, as the application of the glaze was uneven in areas and didn't yield the deep, rich browns I was hoping for.

The second recipe I tried, was from the contemporary Florian Gadsby, the ceramicist based in North London. It comes complete with a YouTube video, for fool-proof testing. 😀

I was drawn to the simple three ingredients of this recipe: definitely a lot of Cornish Stone (85%) Whiting (15%) and quite a bit of the Red Iron Oxide (16%). This one, finally, gave me the sleek, mirror-like surface of the finish I was hoping for. However, for my taste, the 16% red iron oxide is too much. Below, you can see my test tile results of this on B17 stoneware clay and Porcelain.

I found this one way too dark, so I made another test batch, with a recipe from The Glaze Book, by Stephen Murphitt.

FInally, as a last tester I tried my own former teacher's Tenmoku, Chris Crawford, at Sunken Studios.

I am not sure I got the mix quite right here as there are some delicate balances, and this one contains a lot more ingredients than the above. In the classic Bernard Leach, Potash Feldspar is used as the flux, whilst here I do like the substitution of Potash with Nepheline Syenite.

The verdict? I really like the glossy, mirror like finish that the Gadsby's Cornish Stone recipe gives. It also avoid the pin-holing that can occur with Tenmoku recipes.

I think I will settle for this one, with the Iron Oxide at 12% instead of 16%.

Further links and reading:

#ceramics #glazing #contemporary art #fine art #women in art #custom made #kyoto #japan #bernardleach #tenmoku #artscouncilfunding #dycpfunding #arthousewakefield

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bobochen-3344-blog · 7 months ago

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Peacock Flower Pot Succulents Planter Pot Plants Vase Pot Flower Vase Ornament for Home and Office Decoration https://foreverceramic.com/product/peacock-flower-pot-succulents-planter-pot-plants-vase-pot-flower-vase-ornament-for-home-and-office-decoration/

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olivehomeaccents · 1 year ago

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Tea Time Bliss: Unveiling the Beauty of Tea Cup Sets

There's something enchanting about the ritual of sipping tea from an exquisitely crafted tea cup set. The world of tea cup sets offers a delightful array of designs, colors, and materials, each reflecting a unique charm that enhances the tea-drinking experience. As we embark on this journey through the world of tea cup sets, we cannot overlook the brand Olive Home Accents, known for its artistry and quality, which adds its own special touch to the timeless tradition of tea drinking.

Forest Green Tea Set: This enchanting tea set brings the essence of nature to your teatime. The deep, rich forest green hues of the cups and saucers, adorned with delicate gold leaf accents, create a harmonious blend of elegance and tranquility.

Grey Moroccan Tea Set: Transport yourself to the bustling markets of Morocco with this mesmerizing tea set. Its intricately patterned grey ceramic cups and pot are a testimony to the exquisite artistry and cultural heritage of Morocco.

Cherry Blossom Porcelain Tea Set: Embrace the delicate beauty of cherry blossoms with this porcelain tea set. The soft pink hues and graceful floral designs adorning the cups and teapot evoke a sense of serenity and grace.

Vintage Floral Bone China Tea Set: Step back in time with this vintage-inspired tea set. Crafted from fine bone china, its classic floral patterns in pastel colors evoke a sense of nostalgia, perfect for an elegant afternoon tea gathering.

Modern Minimalist Glass Tea Set: For those who appreciate contemporary aesthetics, this glass tea set is a true masterpiece. With its sleek, minimalist design, it allows you to fully appreciate the colors and textures of your favorite tea blends.

In this world of tea cup sets, Olive Home Accents emerges as a brand that epitomizes quality and artistry, enriching the tradition of tea drinking with its exceptional creations. So, whether you prefer the charm of vintage designs or the allure of contemporary elegance, a well-chosen tea cup set is sure to make your tea time an experience of blissful beauty.

Visit Olive Home Accents' website https://olivehomeaccents.com/ for exclusive tea cup sets.

#home decor #tea sets

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dustedmagazine · 1 year ago

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Sonny and the Sunsets — Self Awareness Through Macrame (Rocks in Your Head)

Self Awareness Through Macrame by SONNY & THE SUNSETS

Sonny Smith spent the COVID pandemic about the way you’d expect him to, writing loosely arranged but carefully articulated story songs that capture the moment.The man who once wrote and recorded 100 singles for imaginary bands, complete with art and backstory, had no trouble figuring out what to do with his free-floating time and anxiety.He laid down ten songs, matter of fact on their surface but magically surreal underneath, with a friends—Josiah Flores, Ava Lynch, Tahlia Harbour and Rusty Miller—in a few sensibly masked sessions.

Smith has never gotten the ink that Bay Area contemporaries like Kelley Stoltz or Ty Segall or Sic Alps or The Ohsees have garnered, but he’s master of barbed but breezy guitar pop.“Signs” busts out with Kinks-y exuberance, hammering the piano and harmonizing the chorus, as Smith reads the omens.“Waiting” wheedles with vintage organ sounds, jangles with giddy guitar.It starts out chronicling the lockdown in a matter of fact way.Smith’s son is in his room sewing costumes to keep the boredom at bay.But like most Smith songs, it spins out in magic realism, imagining a UFO landing and taking the boy away.He’s a master of twisting realism into gentle fantasy, so that it’s hard to say where the grit leaves off and the fairy dust starts.

The most intriguing song, lyrically, is “How to Make a Ceramic Dog,” where Smith imagines constructing canines in exacting detail.The process is involved—making ears, making snouts, making tails—and it serves as a kind of bulwark against an awful world.“Try not to think about politics.Try not to think about fascists.Just think about dogs,” mutters Smith, in his cracked, half-melodic way, like the boy in “Waiting” using art to stave off anger, despair, tedium.

These songs are well-made, bouncy and infectious, with sunny hooks and buoyant choruses, like 1960s pop but hand-made, with some of the stitches showing. “Memory Lane” is especially catchy, with its bounding bass and rumbling drumbeat; if TVP sounded like the Beatles but cracked, then this one sounds like TVP through a broken mirror, surreal but jaunty, carefree but accomplished.

And anyway, how did you spend the lockdown? Watching the Sopranos again?Banging pots at 7 o’clock for the doctors, and celebrating another day of not dying?Zooming for happy hour with a slight air of hysteria?Sonny Smith made a Sunsets record that both memorializes those months and transcends them.

Jennifer Kelly

#sonny and the sunsets #self awareness through macrame #rocks in your head #jennifer kelly #albumreview #dusted magazine #lo-fi #guitar pop #covid

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designdekko · 2 years ago

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Side table Home decor ideas

The side table might seem trivial, but it is a mighty piece of furniture that can (literally) transform your space. Like seriously, who doesn’t wanna go off-beat with bright and brilliant decor pieces that impact the style of the home? Yep, everyone does.

And if you do, too, an accent side table is what you’re missing out on! There are several ways to style a side table, from sleek sculptures to scented candles and elegant vases filled with fresh flowers. Whatever your taste is, eclectic bohemian or minimalist modern, there’s no shortage of inspiration to enhance the ambience of your home with a side table decor.

Also Read | Kareena Kapoor Khan’s new home in Bandra with European styled decor & wooden detailin

But do you like cameras flashing every time someone enters your home? If you don’t, this blog ain’t for you ‘cause the side table decor schemes we will discuss will create a visual interest so solid that your visitors (can’t stop) won’t stop taking pictures of it. So, without further ado, let’s start with the first side table decor idea!

1. Simplify with a minimalist style

Add a shimmer of shine to your space with a minimalist side table. We kid you not; simplifying with a minimalist side table can be a holy grail for your home decor. A single statement piece as the centrepiece – decorated with a succulent plant, beautiful flowers, or refined sculptures, can create a lasting impression. However, we suggest you keep the colour scheme neutral and avoid cluttering the table with unnecessary items. Also, your resistance game’s gotta be strong. Resist the urge to over-decorate when going minimal because like they say – less is always more with minimalist decor!

Use negative space to create visual interest

If you’re a sucker for the whole “business in the front, chill in the back” vibe, use negative space to create visual interest. Like c’mon, do you want a cluttered table with too many objects lying around, making people wonder if this is a part of home decor or a lazy lifestyle? No, right – so, choose items that draw attention and leave large portions of the side table empty.

Also Read: Easy Guide To Choose A Color Palette For Your Space

Design it with a simple sculpture or vase to make the minimalist side table a statement piece. When you allow plenty of room to breathe for your furniture (and yourself), you can formulate an asymmetrical, functional, and aesthetically pleasing balance. So, my dearest – embrace negative space to enhance your side table from practical decor to fine art!

Utilize functional décors like coasters and lamps

Want a home decoration that instantly raises the spirits and makes you feel outdoors? If yes, take the so-called functional side table as an opportunity to add identity and quality to your home decor. Because let’s face it, side tables ain’t just for function but aesthetics. Adding coasters is a great way to augment the side table decor while protecting it from water rings. Consider adding aesthetic lamps for a pop of colour or pattern. Choose contemporary, minimalist, or boho chic coasters and lamps that complement the decor. And there you have it – by utilizing functional items like coasters and lamps, you can formulate a functional yet minimalist decor, the very representative of tropical destinations!

Incorporate natural elements like plants and stones

Think of beachy-tropical exotic places – you know, like Bali, Hawaii, or the jungles of the Caribbean. What is it that occurs to that beautiful head of yours? That’s right, natural elements – cool breeze, lush foliage, sand and stones, and more. If you want that dramatic feel in your interiors, adorn your side table with a beautiful selection of natural elements such as plants and stones.

Also Read: Easy Guide To Choose A Color Palette For Your Space

A small succulent plant in a ceramic pot or polished stones can help bring a touch of the outdoors into your living room. Combining colours and textures can create a peaceful oasis, inviting visitors to slow down and appreciate nature.

2. Add a pop of colour

Conjure the beauty of faraway locales without venturing out the door by adding a pop of colour to your side table decor scheme. For an unexpected twist that cudgels the brain to fall in love, incorporate a splurge of colour on the side table or the wall above. For instance, a small vase filled with bright yellow flowers or planters with pink peonies adds a cheerful touch. Or if you are the I-am-miss-sophisticated, opt for deep purple irises or succulents in vibrant hues. Also, consider hanging colourful wall art above your side table.

Use a bold-coloured lamp or decorative accessory

All-gorgeous home decor doesn’t take much – just a few decorative accessories and the ultimate game-changer, a bold-coloured lamp. Whether you prefer a funky ceramic accent piece or a dark red table lamp, using a unique element can create an exciting display. Don’t shy away from mixing and matching colours – however, keep it minimal and cohesive. For instance, a polished table lamp with a radiant blue shade next to a rustic vase filled with fresh flowers can formulate an attractive combination.

Incorporate colourful artwork or books

Incorporate colourful artwork or books into your side table decor for an inescapable modern island vibe that will keep every moment of your living room relaxed and you utterly chilled out. Adorn your side table with rich artwork and books to create a lively atmosphere.

Also Read | Shiro Kuramata’s Samba-M shines again with Ambientec at the supersalone in Milan

Indian-culture-inspired wall art in bold hues of red and blue against a stack of vintage hardcovers with faded spines can furnish an inviting space for relaxation and inspiration. Or a delicate porcelain vase with a bouquet of freshly picked wildflowers against muted tones can uplift the artful arrangement even better!

Add a colourful vase with fresh flowers

Classic and timeless, adding a colourful vase with fresh foliage or flowers can (literally) bring life to your space. The delicate petals dancing gently in the breeze and their sweet fragrance filling the room create a soft and intimate vibe, breaking up the monotony and instilling peace (and, might I say, romance?) Besides, incorporating a vase with sophisticated patterns and bright hues immediately draws attention to the stunning display, radiating joy and positivity!

3. Mix and match textures

A trendy look is about mixing different elements and creating something exceptionally excellent! Adorn your side table with a combination of unique and visually appealing textures. Bring smooth finishes like metal or polished wood and natural elements like stones or bricks to create an interesting contrast. Consider adding an exciting touch of softness by including wool or linen fabric. Besides, experiment with colours and mixed materials to furnish depth and dimension. Be creative – the possibilities are endless!

Experiment with different materials like wood, metal, and glass

Differentiating metal, wood, and glass accents can bestow texture and dimension to the side table decor. Consider adding a bold statement piece such as a metal sculpture or hanging wooden elements with metal detailing. A sleek glass vase with fresh flowers mounted on a wooden panel will complete the existing furniture and instantly bring a new splurge of energy.

Also Read | MERAKI: New Adhesive Wall Coverings Designed by Artists From Quebec

Play around with different textures and materials – however, maintain a balance. And voilà, here we go with your island-inspired greens and tropical-oasis wooden accents complementing the side table decor!

Use textured fabrics for tablecloths or coasters

Textured fabrics create all the difference in the decor. Not only do they make the space feel cosy and comfortable, but they also add depth and dimension. The colourful contrast contributes to the playful yet formal spirit of the room.

Also Read | Five interesting ways to redefine your kitchen

So, instead of choosing plain, flat fabrics for tablecloths and coasters, add a touch of texture. Use a roll of woven jute, soft chenille, or nubby linen to create a tactile experience for anyone touching them. So, when decorating your side table, DO NOT forget the power of texture!

Incorporate woven baskets or textured ceramics

If you wanna feel less lonely, incorporate textured ceramics or woven baskets to add a rustic charm to the side table decor. Why, simply because – the basket’s natural, earthy tones complement the table’s warm wood tones, and the textured ceramics bestow an intriguing contrast, which is to live for! Whether used as an accent piece or a storage solution, these will add warmth and comfort to your space!

4. Incorporate personal touches

There are tons of theories applied in planning and designing home decor, but what better than to incorporate personal touches? A side table is perfect for showcasing your true personality and adding personal touches. Whether you have a minimalist or maximalist style, there are many ways to style your side table. Here’s how you can do it:

Display sentimental items like family photos or mementoes

We love anything that evokes a sense of emotion, and so a side table accented with sentimental items that hold meaning to you can help create a warm and welcoming atmosphere. Displaying cherished trinkets, family pictures, and souvenirs from special events can assert a story about who you are and what matters to you. Whether it’s a memento from your travels, a framed photograph of a loved one, or a childhood toy, placing these items on a side table can be fun for you and your guests. So next time when you wanna spruce up your home decor, add a sentimental flair to your side table!

Showcase a favourite hobby or interest

Are you an avid reader and have a well-curated book collection? What better way to display your favourite interest than on a fancy side table? By showcasing books, paintings, or other forms of literature, you can add personality and sophistication through a thoughtful layout and fun motifs. The key to creating the perfect side table is all about blending the niceties to establish a naturally-freshened and energetic space while keeping the vibe cool and classy. Top it off with an aesthetic lamp or a small sculpture to showcase your literary passions.

Incorporate personal items like jewellery or heirlooms

If you don’t wanna play with bold hues and tons of patterns but appreciate personal aspects and tasteful colour pops, display meaningful heirlooms or jewellery. A burst of historical or vintage accents can add a refreshing look for you to wake up to. For instance, a cherished trinket, a vintage brooch, or a family photo displayed on a small stand can be an authentic injection, adding warmth to the space. Mix in some candles, fresh tulips, or books to balance the potentially overwhelming display of personal items!

5. Embrace Symmetry

When discussing side table decor ideas, symmetry is a powerful tool, ladies! A simple and effective way to embrace symmetry is by placing matching accent pieces, allowing a Scandinavian and sophisticated vibe. For instance, placing two identical side tables on either side of a large piece of furniture or matching items on either side of the table. The key is to create balance and harmony that elevates your side table decor game!

Use pairs of items to create balance

Create an attraction that attracts eyes with perfect balance and symmetry. Use pairs of items, such as two identical lamps or potted plants, to add dramatic interest. To make the arrangement more welcoming, add similar textures, shapes, and colours to tie everything together.

Arrange items symmetrically on the table

If you wanna create a masterpiece, adorn your side table with a symmetrical arrangement of items. Place stacked books beautifully aligned or a vase of fresh flowers flanked by two matching candles on either side. You may also install a little library cart to highlight stylish storage.

Use matching frames or décor items

Matching frames or decor items are all the CRAZE right now! If you want to create exquisite, expensive-looking side table decor, adorn it with matching frames or decor items with cherished memories. You see, it all comes down to creating a functional space that’s attractive at its best. Choose matching portraits or accent pieces for your side table to achieve a cohesive and polished look.

Wrapping up

Creating luxe-looking home decor seems daunting, yes – but with just the right accent pieces, furniture items, and decor ideas, you can create glamorous home designs and surprise yourself! To furnish a functional and fashionable space, you don’t need to plough all your money into buying exemplary decor equipment – a few statement pieces will suffice, just like a side table. And with India Circus, you can get just that! So, implement these ideas and live your dream – all day, every day!

Also Read | Holt Renfrew Ogilvy dazzles as a sustainably forward luxury flagship

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#interior design #home design #home decor #home & lifestyle #home decore #home #interiors

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