Shape Numbers Vs. Etched Patterns Shape Number Etched Pattern Illustration 938 Vase Acanthus 938 Vase Bird #1 1932 Catalog, Dimitroff Fig
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, Ca
University at Albany, State University of New York Scholars Archive Anthropology Honors College 5-2013 Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E. Donovan Adams University at Albany, State University of New York Follow this and additional works at: https://scholarsarchive.library.albany.edu/honorscollege_anthro Part of the Anthropology Commons Recommended Citation Adams, Donovan, "Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E." (2013). Anthropology. 9. https://scholarsarchive.library.albany.edu/honorscollege_anthro/9 This Honors Thesis is brought to you for free and open access by the Honors College at Scholars Archive. It has been accepted for inclusion in Anthropology by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. Cypriot Religion of the Early Bronze Age: Insular and Transmitted Ideologies, ca. 2500-2000 B.C.E. An honors thesis presented to the Department of Anthropology, University at Albany, State University of New York in partial fulfillment of requirements for graduation with Honors in Anthropology and graduation from the Honors College. Donovan Adams Research Advisor: Stuart Swiny, Ph.D. March 2013 1 Abstract The Early Bronze Age of Cyprus is not a very well understood chronological period of the island for a variety of reasons. These include: the inaccessibility of the northern part of the island after the Turkish invasion, the lack of a written language, and the fragility of Cypriot artifacts. Many aspects of protohistoric Cypriot life have become more understood, such as: the economic structure, social organization, and interactions between Cyprus and Anatolia. -
THE PASSAGE of LOTUS ORNAMENT from EGYPTIAN to THAI a Study of Origin, Metamorphosis, and Influence on Traditional Thai Decorative Ornament
The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000) Original papers Received November 13, 2013; Accepted April 8, 2014 Original paper THE PASSAGE OF LOTUS ORNAMENT FROM EGYPTIAN TO THAI A study of origin, metamorphosis, and influence on traditional Thai decorative ornament Suppata WANVIRATIKUL Kyoto Institute of Technology, 1 Hashigami-cho, Matsugasaki, Sakyo-ku, Kyoto 606-8585, Japan Abstract: Lotus is believed to be the origin of Thai ornament. The first documented drawing of Thai ornament came with Buddhist missionary from India in 800 AD. Ancient Indian ornament received some of its influence from Greek since 200 BC. Ancient Greek ornament received its influence from Egypt, which is the first civilization to create lotus ornament. Hence, it is valid to assume that Thai ornament should have origin or some of its influence from Egypt. In order to prove this assumption, this research will divine into many parts. This paper is the first part and serves as a foundation part for the entire research, showing the passage, metamorphosis and connotation of Thai ornament from the lotus ornament in Egypt. Before arriving in Thailand, Egyptian lotus had travelled around the world by mean of trade, war, religious, colonization, and politic. Its concept, arrangement and application are largely intact, however, its shape largely altered due to different culture and belief of the land that the ornament has travelled through. Keywords: Lotus; Ornament; Metamorphosis; Influence; Thailand 1. Introduction changing of culture and art. Traditional decorative Through the long history of mankind, the traditional ornament has also changed, nowadays it can be assumed decorative ornament has originally been the symbol of that the derivation has been neglected, the correct meaning identifying and representing the nation. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Plant Motifs on Jewish Ossuaries and Sarcophagi in Palestine in the Late Second Temple Period: Their Identification, Sociology and Significance
PLANT MOTIFS ON JEWISH OSSUARIES AND SARCOPHAGI IN PALESTINE IN THE LATE SECOND TEMPLE PERIOD: THEIR IDENTIFICATION, SOCIOLOGY AND SIGNIFICANCE A paper submitted to the University of Manchester as part of the Degree of Master of Arts in the Faculty of Humanities 2005 by Cynthia M. Crewe ([email protected]) Biblical Studies Melilah 2009/1, p.1 Cynthia M. Crewe CONTENTS Abbreviations ..............................................................................................................................................4 INTRODUCTION ......................................................................................................................................5 CHAPTER 1 Plant Species 1. Phoenix dactylifera (Date palm) ....................................................................................................6 2. Olea europea (Olive) .....................................................................................................................11 3. Lilium candidum (Madonna lily) ................................................................................................17 4. Acanthus sp. ..................................................................................................................................20 5. Pinus halepensis (Aleppo/Jerusalem pine) .................................................................................24 6. Hedera helix (Ivy) .........................................................................................................................26 7. Vitis vinifera -
BY ORDER of the SECRETARY of the AIR FORCE AIR FORCE INSTRUCTION 36-2803 18 DECEMBER 2013 Personnel the AIR FORCE MILITARY AWAR
BY ORDER OF THE AIR FORCE INSTRUCTION 36-2803 SECRETARY OF THE AIR FORCE 18 DECEMBER 2013 Personnel THE AIR FORCE MILITARY AWARDS AND DECORATIONS PROGRAM COMPLIANCE WITH THIS PUBLICATION IS MANDATORY ACCESSIBILITY: Publication and forms are available for downloading or ordering on e-Publishing website at: http://www.e-publishing.af.mil. RELEASABILITY: There are no releasibility restrictions on this publication. OPR: AFPC/DPSIDR Certified by: AF/A1S (Col Patrick J. Doherty) Supersedes: AFI36-2803, 15 June 2001 Pages: 235 This instruction implements the requirements of Department of Defense (DoD) Instruction (DoDI) 1348.33, Military Awards Program, and Air Force Policy Directive (AFPD) 36-28, Awards and Decorations Program. It provides Department of the Air Force policy, criteria, and administrative instructions concerning individual military decorations, service and campaign medals, and unit decorations. It prescribes the policies and procedures concerning United States Air Force awards to foreign military personnel and foreign decorations to United States Air Force personnel. This instruction applies to all Active Duty Air Force, Air Force Reserve (AFR), and Air National Guard (ANG) personnel and units. In collaboration with the Chief of Air Force Reserve (HQ USAF/RE) and the Director of the Air National Guard (NGB/CF), the Deputy Chief of Staff for Manpower, Personnel, and Services (HQ USAF/A1) develops policy for the Military Awards and Decorations Program. The use of Reserve Component noted in certain chapters of this Air Force Instruction (AFI) refers to the ANG and AFR personnel. Refer recommended changes and questions about this publication to the Office of Primary Responsibility (OPR) using the AF Form 847, Recommendation for Change of Publication; route AF Form 847s from the field through the Major Command (MAJCOM) publications/forms managers. -
Coverpage Final
Symbols and Objects on the Sealings from Kedesh A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Paul Lesperance IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Andrea Berlin August 2010 © Paul Lesperance, 2010 Acknowledgements I have benefitted greatly from the aid and support of many people and organizations during the writing of this dissertation. I would especially like to thank my advisor, Professor Andrea Berlin, for all her help and advice at all stages of the production process as well as for suggesting the topic to me in the first place. I would also like to thank all the members of my dissertation committee (Professor Susan Herbert of the University of Michigan, as well as Professors Philip Sellew and Nita Krevans of the University of Minnesota) for all their help and support. During the writing process, I benefitted greatly from a George A. Barton fellowship to the W. F. Albright Institute of Archaeological Research in Jerusalem in the fall of 2009. I would like to thank the fellowship committee for giving me such a wonderful and productive opportunity that helped me greatly in this endeavour as well as the staff of the Albright for their aid and support. I would also like to thank both Dr. Donald Ariel of the Israel Antiquities Authority for his aid in getting access to the material and his valuable advice in ways of looking at it and Peter Stone of the University of Cincinnati whose discussions on his work on the pottery from Kedesh helped to illuminate various curious aspects of my own. -
An Investigation Into the Exchange of Artistic Motifs Between the Aegean, Egypt, and the Near East In
THE AEGEAN AND THE EAST An Investigation into the Exchange of Artistic Motifs - between the Aegean, Egypt, and the Near East in the Bronze Age by J.L. CROWLEY B.A.(Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy UNIVERSITY OF TASMANIA HOBART 1977 THE AEGEAN AND THE EAST VOLUME I TEXT VOLUME II PLATES This thesis contains no material which has been accepted for the award of any other degree or diploma in any university nor does it include any copy or paraphrase of material previously published or written by another person except when due reference is made in the text. Signed: Date: THE AEGEAN AND THE EAST TABLE OF CONTENTS VOLUME I TEXT VOLUME II PLATES THE AEGEAN AND THE EAST VOLUME I TEXT Content6 Page ACKNOWLEDGEMENTS (1) LIBRARY ABSTRACT - Summary of the Thesis (ii) ABBREVIATIONS (iv) Intnoduction 1. INTRODUCTION AND CHRONOLOGY 1 Pala I The Moti64 2. MOTIFS COMMON TO THE AEGEAN AND THE EAST Heraldic Poses 15 Antithetical Group 23 Mirror Reverse 27 Contest Scenes, Struggling Hero, and Master of Animals 30 Mistress of Animals 35 Sphinx 41 Griffin 47 Dragons and Crocodiles 55 Thoueris and the Minoan Genius 59 Sacred Tree, Sacred Pillar 65 Palm, Palmette 72 Papyrus, Lotus 76 Rosette 83 Quatrefoil 89 Scale Pattern 92 Guilloche, Linked Circles, Quirk 95 Spiral 100 Flying Gallop 107 Page 3. OTHER MOTIFS IN EASTERN OR AEGEAN ART Smiting Figure, Pharaoh and Weather God 113 Star Disk in Crescent 116 Winged Sun Disk 119 Scale Mountain 120 Duel 121 ' Bull Sports 124 Fish, Dolphin, Octopus, Nautilus 126 Tricurved Arch 128 Rocky Landscape, Glen 129 Marbling, Colour Waves 130 4. -
Junior High-High School Edition)
1 Glossary for the Virtual Tour (Junior High-High School Edition) A Acanthus – Representation of Acanthus plant leaf used in architecture and decorative arts as an ornamental motif, specifically in Classical architecture of the Greeks and Romans. Also used in the capital of the Corinthian order. Ad valorem taxes – Ad valorem is a Latin phrase meaning “according to the value,” meaning it is a tax proportional to the value of the underlying asset. Usually a type of property tax. Alabaster – A type of fine-grained gypsum that has been used for statuary, carvings, ornaments, church fittings, and monuments. Normally snow-white in color, however, it can be dyed or even be translucent depending on the treatment. Ante-chamber – A room that serves as a waiting area and entry to a larger chamber. Anthemion – A decoration in architecture consisting of radiating petals and used widely in Classical architecture. Arch – A curved structure, usually a doorway or gateway, that serves as support for a structure. Architect – A skilled person in the art of building, who designs complex structures such as government buildings, monuments, housing, etc. Architecture – The art and technique of designing and building. Architrave – In Classical architecture, the lowest section of the entablature (see entablature) directly above the capital of a column. Art Nouveau – Meaning “new art,” Art Nouveau is a style of art and architecture that was popular in the late 19th and early 20th centuries. It is known by its floral designs, flowing lines, and curved tendrils. Attic – Denotes any portion of a wall above the main cornice (see cornice). -
Ancient Greek Art Teacher Resource
Image Essay #2 Beak-Spouted Jug ca. 1425 B.C. Mycenaean Glazed ceramic Height: 10 1/4” WAM Accession Number: 48.2098 LOOKING AT THE OBJECT WITH STUDENTS This terracotta clay jug with a long beak-like spout is decorated in light-colored glaze with a series of nautilus- inspired shell patterns. The abstract design on the belly of the jug alludes to a sea creature’s tentacles spreading across the vase emphasizing the shape and volume of the vessel. A wavy leaf design on the vase’s shoulder fur- ther accentuates the marine-motif, with the curves of the leaves referring to the waves of the sea. Around the han- dle and spout are contour lines rendered in brown glaze. BACKGROUND INFORMATION Long before Classical Greece flourished in the 5th century B.C., two major civilizations dominated the Aegean in the 3rd and 2nd millennia B.C.: the Minoans on Crete and the Mycenaeans on the Greek mainland. The prosper- ous Minoans, named after the legendary King Minos, ruled over the sea and built rich palaces on Crete. Their art is characterized by lively scenes depicting fanciful plants and (sea) animals. By the middle of the 2nd millennium B.C., Mycenaean culture started to dominate the Aegean. It is known for its mighty citadels at Mycenae and else- where, its impressive stone tombs, and its extensive trading throughout the Mediterranean world. Beak-spouted jugs were popular in both the Minoan and Mycenaean cultures. They held wine or water, and were often placed in tombs as gifts to the deceased. -
Design Characteristics of Culturally-Themed Luxury Hotel Lobbies in Las Vegas: Perceptual, Sensorial, and Emotional Impacts of Fantasy Environments
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2020 Design characteristics of culturally-themed luxury hotel lobbies in Las Vegas: Perceptual, sensorial, and emotional impacts of fantasy environments Qingrou Lin Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Recommended Citation Lin, Qingrou, "Design characteristics of culturally-themed luxury hotel lobbies in Las Vegas: Perceptual, sensorial, and emotional impacts of fantasy environments" (2020). Graduate Theses and Dissertations. 18025. https://lib.dr.iastate.edu/etd/18025 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Design characteristics of culturally-themed luxury hotel lobbies in Las Vegas: Perceptual, sensorial, and emotional impacts of fantasy environments by Qingrou Lin A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS Major: Interior Design Program of Study Committee: Diane Al Shihabi, Major Professor Jae Hwa Lee Sunghyun Ryoo Kang The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2020 Copyright © Qingrou Lin, 2020. All rights reserved. ii TABLE OF CONTENTS Page LIST OF FIGURES ...................................................................................................................... -
Chapter IV: Rosettes
H. J. Kantor - Plant Ornament in the Ancient Near East, Chapter IV: Rosettes CHAPTER IV ROSETTES1 Rosettes are among the most commonly found and most widely discussed ornamental motives. The term, which can be used to cover all radially symmetrical circular designs (all the radial elements of which are frequently identical in form), is usually considered to denote decorations derived from plant forms.2 In Egypt rosettes are, according to the available materials, sparse in the Old and Middle Kingdoms; on the whole each specimen represents a different variety and it is not possible to differentiate many typological groups. It is only the New Kingdom that yields material sufficiently abundant to enable several different strains to be distinguished. The major problem presented by these motives is stated succinctly by Petrie when he says that the rosette “..is treated so conventionally that it can hardly receive any precise name ... it fluctuated between the geometrical and the natural so as to defy details.”3 Although there are a number of cases in which rosettes are shown in a representative context or are given in a form detailed enough to guarantee their vegetal character, there also exist numerous circular patterns the 1 A distinctive type of rosette, the volute rosette derived from Cyperus alopecuroides Rottb. , is discussed in Chapter V. The five-pointed hieroglyph for star is also a common design on temple ceilings and elsewhere (Dec. Art, p. 88; Hilda Petrie, Egy. Hieroglyphs (London, 1927), Pl. XXI, 490-492. Gardiner, Egyptian Grammar, p. 475, N 14. Calverley, Temple of Sethos I at Abydos (London and Chicago, 1933-38), I, Pl.