#Geometric Greek art

[jareckiworld]

Kostas Iliadis (1903-1991) — Ode to Cyprus [marouflage and oil paint, on three canvases, 1985]

[lionofchaeronea]

A figure holding two tridents stands between horses. The scene has been interpreted as ritual horse-sacrifice, though this is not certain. Ancient Greek pottery fragment in the Geometric style, dating to the Archaic period (8th century BCE) and located in the Archaeological Museum of Argos. Photo credit: Zde/Wikimedia Commons.

[literarydesire]

Got to work on these badboys yesterday!

[monogreek]

Apollo series # 1(1969) by Theo Hios (1908-1999)

[stargazerlillian]

Pain and Panic as they appear in "Hades: Horn of Plenty" (Part 1).

(Source)

[wellthebardsdead]

Kaidan: *walking at the head of the group, watching Aurorwren fly overhead* hm? Oh fock, bandits up ahead.

Inigo: how many?

Kaidan: enough to be a prob-

*Terrified agonised screaming echoing from an unseen source*

The bandits: *all look around in a panic before running off and hiding*

Aurorwren: *lands putting his death whistle away* they shouldn’t be a problem now.

Lucien: I???? What? How did you do-

Kaidan: you were the one screaming?! Are you hurt?!

Aurorwren: what? No *pulls the whistle back out* it’s an Ayleid death whistle. They were used in battle to frighten our enemies but were mainly implemented by slavers to terrify the nedes. Mine came in good use when Morihaus needed to get through the main gates of what’s now the imperial city, so I cleared a path for him by scaring my own kin out of the way. You blow into it and it sounds like someone screaming in pain.

Kaidan: I- that is. Terrifying.

[homerstroystory]

Attic Late Geometric krater depicting a mourning scene (c. 750-735 BCE), attributed to the Hirschfeld Painter, from the Dipylon (Athens)

On display at the National Archaeological Museum (Athens, Greece)

[northroadtattoo]

#northroadtattoo #brighton #statue #greek #roman #classical #time #ancient #tattoos #geometric #tattoo #tattooart #art #bn1 #northlaine #tattooist #northlaines #tattooer #brightontattooshop #brightontattooartists #brightontattoostudio #tattooideas #tattoostyle #tattoolife @rapidotat2 @north_road_tattoo_brighton (at North Road Tattoo) https://www.instagram.com/p/CocWRyDouNk/?igshid=NGJjMDIxMWI=

[blueiscoool]

A GREEK BRONZE FINIAL

GEOMETRIC PERIOD, CIRCA 750 B.C.

3 3/8 in. (8.6 cm.) high.

[passqs]

""Epic quest for winning and soul..."" by passqs on INPRNT

[mollysunder]

Lunari Heritage in Zaun

This is gonna be a reach, but from the little we've seen of Vi and Jinx's mom and younger Silco, I'd guess they were both from the same ethnic group.

In a place like Zaun, where the people are left with scraps, any piece of jewelry sticks out. Vi's mom and Silco are both wearing similar pieces of jewelry. Silco's bracelet could likely be fitted as a necklace since it twice wraps over his wrist. Neither are wearing anything of high quality, but the necklace and bracelet in their respective pictures seem decently maintained if not worn. That's when I thought, these are probably heirlooms.

In fact they looked pretty similar too, but in smaller scale of the princess's own pendants. I wouldn't bring this up if it weren't for the fact that Piltovans prioritize elaborate art-deco aesthetics, the more elaborately geometric the better (Councilor Shoola). So you would assume even the simplest jewelry would be a square pendant or a straight line. But no, big plain circles, and then I remembered we saw that before, on the princess Ambessa killed. Big bronze circles.

And when we look at young Vi , you notice that she's wearing jewelry too. A simple necklace with a green (it looks green) gem. And I realized that the princess's necklace was also adorned green gems.

I'm pulling from scraps, but it's interesting that small things these Zaunites have to adorn themselves (though not for long with the time skips) are similar versions if not simpler version's of the princess's.

At first I thought this meant that many of the cast were actually of Ionian descent. But then in the Princess's scene a thought kept coming back to me, "Why is Mel wearing purple?". Mel, a skilled diplomat from a young age, typically wears the main colors of the nations she hosts and is hosted by. White for Piltover, Black for Noxus (Ambessa), and always with her signature accents of gold. So if Mel followed her mother to Ionia ,where green is a culturally significant color, why purple? It's because Mel and Ambessa weren't in Ionia, they were in Targon fighting the Lunari.

The Lunari are Rakkor tribal people in the Targonian region who worship the moon, and are persecuted for it by the Solari, the religious order that worships the sun. While technically Mt. Targon is influenced by Mt. Olympus and Greek mythology aesthetic, that's more the case for the Solari. Overtime the Lunari aesthetic has been mixed it's originally nomadic culture with East Asian influences. The prominent colors of the Lunari happen to be turquoise, silver, black and purple. It was such a little thing to remember but it made me see connections I hadn't thought about.

Suddenly everything starts to connect. The bronze coins represent the 3 moons that exist in Arcane's Runeterra. How do we know there are 3 moons, because the Valdiani piece Jinx stole was depicting their planet. In the Valdiani there are 3 orbits circling the Earth, meaning 3 moons (or satelites). Now the engraving on the gold of the princess's necklace makes sense, because it's supposed to resemble the gates at the peak of Mt. Targon. The pendant itself is shaped like the mountain with the gates fitted at the top.

Frankly, it works for the Princess to have been Lunari and waves of descendants of the Lunari to arrive in Piltover and end up in Zaun. In Arcane, Piltover was created as a safe haven to escape the Rune Wars 200 years from the start of the show. Even after the Rune Wars ended the shipping port has likely seen waves of migrant labor and refugees from the ongoing crisis that occur in Runeterra (*cough*Noxus*cough*). It's likely that many of the current generation of Zaunites are of mixed heritage of the various fleeing people's.

It creates a whole new dynamic of the ways in which Piltover's laws, their Ethos, strips the people of Zaun from their identity and reducing them to tools for the mines. Magic is inherently a part of religious ceremonies and religion in general in Runeterra, especially for the Lunari. How do you practice your religion in a place that has banned the means by which it's conducted? There must have been more people like the Lunari who didn't have a problem with their magic, their problem was that they were being persecuted.

The remnants of family keepsakes brought over as communities fled were clung to as best as possible especially as they had to let go of part their spiritual identity. But even that doesn't seem to have lasted either. Vi doesn't keep her necklace, her mother is dead, so lost is her necklace, and we never see Silco wear his bracelet. They could have been stolen, or at best, hidden for safe keeping, maybe Enforcers get suspicious at the hint of mysticism and suddenly they want to talk.

Finally, maybe a little less related, it is interesting how prominent Piltovans and Zaunites take on day and night aspects. The sun shines over Piltover at their best, begins to set at times of uncertainty. While in the cover of night with moon above, the strongest Zaunites strike hardest. One more thing, it is interesting how Arcane's Jinx has taken on darker tones of purple rather than stick with neon pink. I always have to go back and look at a reference to remember that her pants are purple-er than I recall.

Update: I wanted to include that the large doodle Jinx made on her cup actually looks similar to the Lunari's sigil. And the sigil remains on the cup into the timeskip, also the center moon is made smaller within the crescent like in the necklace. I also noticed Jinx's cup later has more violent bomb imagery around it.

Update 2: With the final season approaching I'm noticing this is getting some attention again. I would like to say that if I could write this from scratch again I'd say it's more likely the princess is from Ionia now, which doesn't up end the Lunari theory.

Previous League canon confirms the Lunari faith does have ties to Ionia. A good portion of the Lunari are Ionian in descent, and Diana, their aspect of the moon (essentially their demigod), currently lives in Ionia. League even created skinline for Ionians blood moon worshippers, an edgy offshoot of the Lunari faith. It's all very interesting and a bit complicated because Riot loves to drop plot points in the lore and never come back. I'll try to clean something up for a longer explanation later. What's crazy is the Medardas are still the aggressors because Noxians and Solarians, which the Medardas are both, terrorize Ionians and Lunaris respectively.

[pddngchi-artblog]

Posting my portrait series now! I honestly had fun doing this last year (˵ •̀ ᴗ - ˵ ) I only did the first years, second years and the vice dorm leaders as I made a separate model sheet for the dorm leaders (which I’ll be posting soon!)

Some headcanons and design notes under cut!

- I was inspired by Lili’s (aka koutingmiao/zvevdacito) design of the first years based on her own headcanons so I used some of her art as a reference in drawing Sebek, Epel, and Jack.

- I really wanted to show the stylization of everyone’s eyes in my rendition for the first years! Ace’s eyes are more so based off Tanjiro’s eyes (KNY) while Deuce has spade shaped pupils. Epel’s are more sparkly and wide to really show his “cute” side, Ortho’s eyes are similar to camera lenses or targets, while Jack and Sebek’s are more geometrical.

- As for their facial features, it’s more based on my ethnicity headcanons for them! Ace is Filipino-English, Deuce is Korean, Jack is Carribbean (Jamaican specifically), Epel is Norweigan, Sebek is Chinese-Welsh, and Ortho is Greek-Russian!

[nobrashfestivity]

Massimo Scolari, Addio Melampo, project Oblique projection, 1975 Massimo Scolari used images to manipulate form without using Renaissance or neoclassical styles. His drawings are pure fantasy and often defy explanation. In Urban Passage, geometric forms resembling a house seem to be projected onto a mythical landscape by the sky. In Addio Melampo, these forms emanate from the earth itself. Its title refers both to the name of a dog in an Italian novel and to a mythical Greek man who can see the future and understand the voices of animals, although for Scolari there is not necessarily a connection between the title and the image of a drawing. Addio Melampo is clearly a drawing born from imagination." Bevin Cline and Tina di Carlo in "The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection" (New York: The Museum of Modern Art, 2002). Color ink, watercolor, and graphite on board 11 7/8 x 10" (30.2 x 25.4 cm) Museum of Modern Art (New York, N.Y.)

[thoodleoo]

reading an article about depictions of horse care in greek art and im obsessed with these funky little geometric horses at their mangers

[monogreek]

Apollo series #4 (1973) by Theo Hios (1908-1999)

[talonabraxas]

The Flower of Life

There really is some deep rooted symbolism behind this captivating image. Some say it’s representative of the union of the sacred Masculine and the Divine Feminine, the connectedness of all living things, and others see it as the cycle of life, death and rebirth. Let’s explore the depths of the topic.

Origins & Symbolism The origins of the Flower of Life trace back to the dawn of civilisation, where it is believed to have emerged as a symbol of cosmic order and divine harmony. Its precise origins are shrouded in mystery, with some attributing its creation to ancient cultures such as the Egyptians, where it was found in the temple of Osiris and said to contain a ‘secret code’ (underpinning the basic building blocks of the universe), and also the Sumerians, and the Greeks.

At its core, the Flower of Life is composed of multiple evenly-spaced, overlapping circles, forming a mesmerising geometric pattern reminiscent of a flower in full bloom. Within this pattern lies a myriad of geometric shapes, including triangles, hexagons, and pentagons, each imbued with its own symbolic significance.

The Flower of Life is often associated with sacred geometry, a branch of mathematics concerned with the study of geometric forms and their spiritual, philosophical, and symbolic meanings. It is believed to represent the interconnectedness of all living beings, the fundamental unity of existence, and the underlying order of the universe.

Spiritual Significance In spiritual traditions around the world, the Flower of Life holds profound significance as a symbol of creation and interconnectedness. It is often regarded as a visual representation of the divine blueprint of the cosmos, with each circle representing a stage in the process of creation.

Within the Flower of Life, one can find various sacred symbols, including the Seed of Life, the Tree of Life, all 7 Chakra systems, and the Metatron's Cube, each carrying its own symbolic meaning and spiritual power. These symbols are believed to hold the keys to unlocking higher states of consciousness, facilitating spiritual growth, and connecting with the universal source of energy and wisdom.

Healing & Transformation Beyond its spiritual significance, the Flower of Life is also associated with healing and transformation. It is believed that meditating upon the pattern of the Flower of Life can help to harmonise the mind, body, and spirit, promoting health, balance, and inner peace.

In recent years, the Flower of Life has experienced a resurgence in popularity, with many people incorporating its imagery into their spiritual practices, artwork, and jewellery. Its intricate beauty and profound symbolism continue to inspire awe and fascination, serving as a potent reminder of the interconnectedness of all things and the infinite possibilities that lie within the universe.

Modern Interpretations In the modern era, scientists, mathematicians, and artists have continued to explore the mysteries of the Flower of Life, uncovering new insights into its geometric properties and mathematical significance. Through computer simulations and mathematical algorithms, researchers have gained a deeper understanding of the complex patterns and symmetries inherent in the Flower of Life, shedding light on its underlying principles of order and harmony.

Furthermore, the Flower of Life has found its way into various fields beyond spirituality and art, including architecture, design, and technology. Its geometric principles have been applied in the construction of sacred buildings, the development of advanced engineering techniques, and the design of innovative products and structures.

The Flower of Life: Mysteries of Sacred Geometry: