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whencyclopedia · 4 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 · 4 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 · 11 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 · 1 year 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

Dogi Pot

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Ghibli Painting

Heart Rug

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Vanilla Egg Tray

Vanilla Utensil Holder

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Kitchenrack

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Steezy Skis

Laundry Made Essentials

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The Lighthouse Collection merged

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M&S Constructions

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Soak merged

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Fayun

Georgian Set

Gothic Revival Interior

London Interior

Shop the Look Season 1

house of harlix - https://www.houseofharlix.com

Orjanic

Bafroom Merged

Baysic Bafroom Merged

Harluxe Merged

Jardane

Livin’Rum Merged

The Kitchen

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Brownstone Collection merged

Brutalist Bathroom

DU Windows Updated

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Porto

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ColourTalk DiningStuff

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Lyne half blinds v2

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peacemaker - https://peacemaker-ic.tumblr.com/TS4O...

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

Deco Timer

Fall out baby

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Bonbon

Galileo

Laundry

Nathalie

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Cassandra Bathroom

Eliza Walk In Closet

Elsa Kids Room

Jade Build

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Busy Bee

Cat Milk No1 Reloaded

Cozy Casita

Cozy Cochina

Kawaii Kidz

Mellow Mini

Mellow Moods

Petits Pirates

Xfest22

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Modern Wood Floor

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2nd Wave Merged

Beam Parte2 v01 merged

Cross merged

Ind merged

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Apartment therapy inspired stuff v2 merged

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Eliza set 4 paintings

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k00318579 · 9 days ago

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Seminars Response

Drawing

I found the drawing seminar to be extremely valuable, just as important as the process of drawing itself. It was fascinating to observe how artists from both past and contemporary cultures used drawing to record and refine their ideas, the examples of works from various artists were inspiring.

Composition

I found the composition seminar to be helpful. while listening to it, I created a few sketches with interesting (in my opinion) compositions that I later used in my zine.

Concept Development

One of our first seminars of the year focused on concept development, which I found incredibly helpful while working on my project. Even though the information presented wasn’t entirely new, I felt much more confident about my work and ideas after hearing about the importance of collecting all your thoughts and building on what you already have, rather than waiting for a great idea to come to you out of nowhere. In line with this, I consistently tried to incorporate my previous pieces into my new work while developing my project.

3D Studies

Although I am not particularly interested in sculpture or 3D art, I found this seminar to be helpful as I realise that exploring expanded practices and conducting 3D studies could be really helpful. I took several notes and made sketches during the seminar, especially focusing on the fashion designer Iris van Herpen.

Clay

This seminar was interesting in the way it showed the progressions of ideas from 2D to 3D in ceramics. I enjoyed the student group project Forest of Pots, where students created pots in various shapes and sizes and projected a video of moving colourful patterns onto them.

Colour Theory

In this seminar, we learned about Pantone colours and their CMYK creation process. We compared a shade of yellow on white and grey, noting the visual differences, and examined the 1908 London Underground map to discuss how sign colours indicate road types, like blue for motorways. We also explored how colour relates to identity in flags. I found the seminar fascinating, as colour is my favourite aspect of drawing and painting, and I started using more vibrant colours in my project.

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bobochen-3344-blog · 8 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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ceramiccity · 7 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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