Search Results : ceramic

• Babylonians techniques, science, medicine, astronomy and law.

  Posted on October 20, 2017 3:13 pm by Elena

  Fundamental contributions of the Babylonians in terms of technique, science, medicine, astronomy and law.

  Technology in antiquity:Refers to advances in the development of tools and utensils for practical or decorative use, as well as the ability to use products of good quality for better results and production on a larger scale.

  Babylonians were very skills in different techniques that contribute to make great advances in their civilization. Among those advances are:

  – The prevention and contagion of diseases with the application of personal hygiene measures that included frequent ablutions, hand washing, water boiling and elaboration with this one of both medicinal and common use beverages. They detailed on the tablets the symbols and signs that correspond to the different diseases known to them and how to treat them effectively.

  – Creation and implementation of the first criminal code of laws to govern the behavior of people.

  – Creation of religious cults that propagated with modified versions towards other cultures in antiquity.

  – They were able to obtain alloys of metals with which they produced tools, weapons and elements of decorative and utilitarian character like metal sculptures, jewels, metal vessels, shields, swords, bracelets etc.

  – Advanced knowledge in the use of irrigation for agriculture, recycling of land and crops.

  – The use of cuneiform writing on cylinders and slabs of baked clay technique inherited from the Sumerians, has provided valuable information with which it could document aspects of its history, traditions and culture.

  – Amazing technique for the elaboration of vitrified bricks used for the decoration of palaces and temples.

  – Advanced mathematical and astronomical knowledge about the constellations, distance from the earth to the sun, the solstices and equinoxes, which the earth’s orbit was elliptical, placed the sun as the center of the galaxy, the number of planets in our galaxy among others.

  – The creation of the wheel in Sumeria and extensive use of it in all Mesopotamia.

  The Babylonians and medicine.

  The Babylonians achieved important results in the treatment of diseases from natural organic compounds such as honey and medicinal plants. The prevention and contagion of diseases with the application of measures of personal hygiene that included frequent ablutions, washing of the hands, boiling of water and elaboration with this one of both medicinal drinks and those with common use.

  The Babylonian physicians were able to operate their patients fairly effectively and were punished if their patients died as stipulated in their code of laws.

  In Mesopotamia all as it was in Babylon were introduced over time concepts of disease diagnosis and prognosis of patients’ health status, as well as the study of possible complications, based on previous experiences recorded on their ceramic tablets in cuneiform script.

  These tablets; that came to form a kind of compilation or book on the subject reflected in detail, descriptions containing symbols and signs that corresponded to the different diseases, known by them and how to treat them effectively.
  

  The cleaning of the city was seen by the Mesopotamian cultures as an important element for the prevention of diseases. From where they obtained that knowledge? That still remains a mystery, especially if it’s consider that we are talking about human conglomerates that conformed civilizations in the Neolithic period. Their advances are equivalent to thousand of years of observation, so it is remarkable and curious they have
  all this knowledge suddenly from the beginning of their civilization. This opens more questions that need to be investigate seriously.
  

  Works with metal in Babylon and Mesopotamia.

  

  
  They were able to obtain metal alloys with which they produced tools, weapons as well as decorative and utilitarian elements such as metal sculptures.
  Techniques like “The granulation”, of fine appearance and great variety, as well as the system consistent of embossing the metal; with exquisite mastery in the results. This objects were widely used in jewelry, decoration of arms, shields to use in war, metallic vases etc.
  They did not make these objects for their own personal consumption only, but were marketed else where too, having a wide demand for their quality, even in geographically remote areas. Their technique of applying beads of Chalcedony was very popular at that time as well as their beautiful works in the applications of Lapis lazuli Technique.
  

  Babylonian system of laws.

  
  The city of Babylon reaches its maximum splendor with the figure of king Hammurabi, more important of the first dynasty of Babylon, that reigned between the years 1792 and 1750 A.C. He cemented and forged the foundations of the Babylonian Empire.
  The code of laws of Hammurabi, is the first legislation that is known in history, has an amazing property and is its ability to be understood, its wisdom and understanding of human behavior. More can be found in the article about Hammurabi and the code of Laws.

   

  

   

  The glazed bricks of Babylon.

  Among the techniques developed by the Babylonians is the elaboration of vitrified bricks used for the decoration of palaces and temples. It highlights the decoration of the entrance of the city known as “The Gate of Istar” in which many vitrified bricks colored with intense shades of blue and other colors give us representations of animals that were supposed to protect the entrance to the city .

  This technique imitated by other cultures has unfortunately disappeared and despite attempts to reproduce it, at present the attempts have been unsuccessful. It is a mystery how they managed to produce these vitrified bricks in substantial quantities. The pigments used from nature’s own materials were diluted in exact, millimeter quantities and reproducing this on a large scale required a knowledge of chemistry and properties of the natural compounds that is truly a mystery how they manages to achieved, or how they obtain that knowledge, that even today has not been able to be reproduced.

   

  

   

  Advanced knowledge of astronomy and creation of astrology in Mesopotamia.

  One of the great mysteries that this culture presents to us is, how it was possible for them, the Sumerians and the Assyrians to know advanced elements of astronomy as if they could have contemplated the cosmos from an external perspective to the earth and not a simple contemplation of the stars from the surface of the planet and obtaining that knowledge during only the short time that this culture arose, later developed and was extinguished.

  They knew the number of planets of the solar system.In a relief it is shown a representation of the solar system with the planets revolving around the sun. They have specific mathematical and astronomical knowledge about the constellations, distance from the earth to the sun, the solstices and equinoxes, that the earth’s orbit was elliptical, they knew how to calculate the movements of the sun, moon, stars and planets.

  

  They could calculate the occurrence of eclipses of sun and moon. They new about the Precession of the equinoxes and solstices. This information came to be re-discovered by science thousand of years after the flowering of this cultures in Mesopotamia.They placed the sun as the center of the galaxy around which the planets revolved.

   

   

  

   

  The invention and utilization of the wheel.

  The discovery of the wheel in Sumer around 3500 (BC) in the Mesopotamian region was one of the most important technological advances in the history of man. The Babylonians welcomed this invention and developed it even more in the sense of the multiple applications for which they used the wheel. It is almost impossible to realize a mechanism of movement nowadays that does not involve the use of the wheel.

  They were use in militarist campaigns constructing the war wagons, in agriculture to propel water to the place needed, to move mechanisms for different use.

  Advanced knowledge on the use of irrigation for agriculture, recycling of land and crops, allowed them not only to settle in these areas that had limitations with conditions not suitable for agriculture, but to prosper in a way that was possible to increase population and sustaining it through the infrastructure they developed, making it one of the most important empires of the time whose technical and scientific advances were assimilated by other cultures as well.

  Babylonian rituals, worship and temples.

  Human beings at that time worshiped a deity or heroic figure; and those adoration and rituals were present in Babylon and contributed to create and to foment the cults propagating them by the world. Those cults were based on stories that curiously had points of contact with the stories and cult of other cultures in the rest of the planet. Many of these stories coincide with even bible passages, and histories or the so called mythologies such as Greek and Romans.

  Buildings and temples were done based on knowledge of mathematical measures and physical principles which nowadays seem normal to know, but the big question is how the Babylonians and Mesopotamian cultures knew it 5000 years ago?

  With the translation of the tablets written in cuneiform, progressively new elements are seeing the light, that contribute a little more to know who were the Babylonians and the cultures with which they were related by invasions or simple commercial relations. More about Babylonian mythology can be found in an article expanding this information in the blog.

   

  

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  📂This entry was posted in Babylonian Culture 📎and tagged Babylonian astronomy. Babylonian medicine Babylonian techniques

• Greek Art General characteristics.

  Posted on April 27, 2016 8:07 pm by Elena

  Greek Art General characteristics 

   

  

   

  Ancient Greek art has as main characteristic have a high aesthetic idealism, is not a natural and direct reality representation, but an idyllic and perfect vision of the artistic mind instead, that is perceived and depicted by them in their different artwork platforms. They use the proportionality and balance of the elements and mathematical measures, to represent a sweetened reality. They mastered the representation of human’s figure lines and their sinuosity to perfection; both in drawing and sculpture. The human body for them is the foundation of all beauty and proportion, this trend is called Anthropocentrism. They create art pieces for the joy of the spirit, for the pleasurable feeling of seeing beautiful things.

   

  

   

  Greece, is a small peninsula located to the southeast of Europe. Here were born the first ideas that shaped Western culture, in such a way that our knowledge and ways of thinking are a consequence of the philosophy, science and the art of the Greeks. This culture begins approximately in the V and IV centuries, flourishes and develops fully between the 7th and 2nd centuries before the Christian era, not only in Greece but also in other Mediterranean territories inhabited by Greeks. They culture influences extend beyond their frontiers; not only geographical but also in time, since their philosophy of life and artistic styles have proven to resiliently continue to affect one way or another humans through their history and artistic expression.

  Greek Art rationality

  Though their art relies on nature, manifests it however representing a sweetened version of it; (as mentioned before), tending to the depiction of an idealized world; where simplicity, proportion, rhythm, the clarity and the conceptual unit of work dominate all its art forms. Isn’t that the Greeks were not interested in the surrounding reality, in social and political life, is only they rather to represent their world through the vision and imagination of the artist and the aesthetic standards of the time, responding to represent their surrounding environment and the image of the man in a particular way.

  However; despite the idealization of the reality they were able to capture with great skill in their artworks reliable details of nature. Greeks in ancient times accounted for plants and animals, as well as the human figure been depicted with great realism in paintings, sculptures and ceramics, thanks to thorough research of nature. They do not represent it in its raw form, since their philosophy of life; prone to perfection and balance, as well as the streamlining of forms was not in concordance with representing the stark reality as it is. Painters through different periods of Greek artwork conglomerate in art schools and manage to follow artistic standards as the specific geographical canons of beauty and art representation from they were located.

   

  

   

  From the archaic period were the figures were represented static, frontal, with a typical smile and almond eyes; until the classical period with the aesthetic refinement and detailed realism develop by this Greek culture; in constant search to find its own personal aesthetic, it can be perceive a great achievement in artistic overcoming, that never stop studying the surrounding nature and considering man as the center of that reality.

  A clear example of how they idealized the representation of human figures is the taste developed for athleticism, which served as an inspiration to the Greeks and was very cultivated by these. The sport developed athletes perfect bodies, providing artists their best models. Fascinated by the sinuous forms of the human body, achieved already in the classical stage phenomenal domain of knowledge of Anatomy, thereby allowing them to represent shapes and curves of the body with great detail and realism.

   

  

   

  Fabulous sculptures of classical stage show realism and mastery reached as for example the “discus thrower” made by the artist Myron and last stage classic artwork”The Barberini Faun” (of an extreme realism), or the fabulous representation of the sculpture “Victoria of Samothracia” than with outspread wings and the body forward, defying the wind showing great skill in the study of the robes, represented at this stage with incredible detail and natural way.

  In the Hellenistic period, relying on new techniques they managed to provide the sculptural works of impressive dramatic strength, movement and contortions that supported the representation of those emotions in moments of maximum stress. The So-called genre (spectacular sculptural works that represent figures in their usual environment in apparent careless positions), they are; Although still based on the canons of Greece’s beauty, more dynamic, have more expression through movements of arms and legs, the wavy hair and clothes beaten by the wind, or the contortions of the figure as in the sculpture of the “youth pulling a thorn from his foot” or the sculpture representing a drunken old woman.
  

   

  Sculpture in Greek art are explained in an article intended to expand this information and understand the magnitude and importance which they had deposited in these works the concept of proportion, idealism and pure beauty of forms.

   

   

  Fundamental characteristics of Greek art:

  – Flowering of an aesthetic idealism that seeks to represent an idyllic vision of beauty.

  – Representation of proportionality and balance in the works of art that contribute to highlight the concept of aesthetic perfection.

  – It is not of practical and realistic character, but decorative. Seeking the joy of the spirit.

  – Concern to represent an ideal vision of the beauty of the human body.

  – Representation of nature and the surrounding world with an idealized and sweetened vision of this.

  – Greek art is not looking for been an instrument of propaganda, only as an aesthetic pleasure vehicle.

  – The rationality of mathematics measures used to represent the ideal proportion in works of art.

   

   

  

   

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• Greek Painting

  Posted on April 24, 2016 8:14 pm by Elena

   

  Greek Painting in ancient times.

  

   

   

  Very little is known of the Greek painters in ancient times, however, it is well know the mastery they could reach and manifested, as is also know the incredible realistic effects they produce by descriptions of some Roman writers annotations about the greek painters and the very few paintings that has survived. The Roman’s copies of Greek paintings also aport valuable informations, since they greatly appreciate their techniques and styles, coping and reproducing them even; many times the same work in different periods.

  The paintings of ceramic vases and mural paintings discovered in Etruscan tombs; who imitated  the work style and technique of Greek painters very well give us as well an idea on how they must have been realized

  We can only see, some original Greek paintings features in the painting of their ceramic vases, that still remain in Museums and private collections, which decorations follow the bases characteristics of equilibrium and harmony, away from abrupted lines, carefully representing the sinuosity of the form in sophisticated fashion, like in the way the group the characters, the lines to accentuate the figures against the background, and others details. But unfortunately the richness in the palette used, the tones, the matiz and other aspects, can not be appreciated in their ceramic work due to the limitations of this technique.

  It is know the names of many famous painters in ancient times and references of many of their works, but unfortunately, as we state before, they have not survived either. 

  Names of some ancient Greek painters:

  –      Polignoto –      Apolodoro of Athens. –      Agatarco of Samos. –      Zeuxis Parrasio –      Apelles.

   

  Greek Painting in frescoes

  Fresco Painting was a method widely used for decoration of the walls of temples, public buildings, houses and tombs. It should be noted however that this type of mural painting did not have the same level of reputation that panel painting had. Due to the perishable nature of these panels along with centuries of looting and vandalism, not a single Greek Classical panel painting of any quality has survived.

  The mural was intended primarily to cover or disguise the imperfection of the walls; whose completion was not very smooth; because of the poor materials used in its lining. The themes treated in this type of painting were however similar to the one used on panel painting. In contrast to other ancient culture that also did fresco’s to decorated the uneven surfaces, the Greeks did not filled all the spaces in them; not leaving absolutely not space free like other cultures usually did. Greek remain loyal to the concept of balances, equilibrium, order and mathematical proportions in the fresco painting as well.

  Among the examples of Greek fresco painting are some mural painting in Etruscan tombs discovered like the one shown below corresponding with the Tomb of the diver.

   

  

   

   

  – The Tomb of the Diver at Paestum (c.480), a grave decorations in the Greek colonies in Italy.

   

  

   

  – The Great Tomb at Verfina (c.326 BC), whose facade was decorated with a large wall painting of a royal lion hunt. This mural is noted for its subtle depictions of light and shadow as well as the use of a technique called Optical Fusion (the juxtaposition of lines of different colors).

  Painting on the Greek sculptures.

  Sculptures also were painted, the stone, terracotta and wood sculpture was another specialist technique mastered by Greek artists. Stone sculptures were typically painted in bold colors; mostly the part corresponding with the representation of the hair and the clothes, however the part corresponding to the skin lacks of painting, were stayed with the natural tone of the stone.

  Sculptures were painted but not all its parts, rather only some; to highlight some elements, and that was done with taste and detail, with subtlety, enhancing the beauty and expressiveness of these sculptures in an impressive form. Sometimes all the sculpture was painted in a single color, and they were usually the one related to religious cult.

   

  

   

  Based on micropigments remains on greek relief and sculptures; have been possible to obtain thanks to modern techniques a representation on how they must have been look like in ancient times.

   

  

   

  Greek Painting Classical Period (400-323) BC.

  Almost all pictorial forms flourished during the classical period of Greek art, panel painting is highly used in the in-caustic or tempera technique. The topics addressed mainly figurative scenes, portraits, and still life. Representations of mythology passages were also portrayed in them. Heroes and heroines are represented with the canons of ideal beauty, balanced proportions and softness of the lines.

  Their rationality produces calm, balanced, they are away of nervous lines, crack forms or bold and unbalance elements, as well as sudden movements of the lines that can produce an uneasy feeling or uncertainty.

   

  

   

  Their artworks; was mainly addressed to achieve the appreciation of  beauty by the viewers and give joy to their spirits, they get to represent however; the sinuosity of the outlines of human figures and fine detail in the representation of nature; despite the idealism they convey as a way of represent forms in their ideal depiction, not because they don’t care about reality and the social challenges of living in a civilized society, they did it because in their philosophy of life; in order to represent an art that can be appreciate to the point of elevating the joy of the spirit, reality need to be sifted, filtrated and sweetened, no presented row and crude as human usually perceive reality.

  During the golden period of Macedonian empire under the mandate of Felipe II of Macedon, father of Alexander the great, the Greek painting had its greater apogee with works of great quality.

  There are pictorial experimentation and new techniques addressed to improve the use of shading, color and light to highlight the figures. Although the scenes were a sweet idealized fantasy of the imagination of the artist; they show great interest representing the detail of the elements of plants and animals in their paintings. The same apply as well to represent human figures as realistic as possible; as they did in other manifestations like sculpture, studying the real human features very carefully they obtained the best result. Different schools were created and their geographical location determine in some artistic tendencies of their artworks. Cartoon and genre painting are treated in this period also with success.

  Greek painting. Hellenistic period.

  During the Hellenistic period begins around the year 323 BC and coinciding with the death of Alexander the great, the Greek art transcends borders and times. In their constant journey to achieve perfection therefore; the Greek painters introduce in this period in order to reach a better communication with the viewers, certain movements in the lines to insinuate dynamic in the figures and to put emphasis in the emotions, although maintaining equilibrium without impetuous splits in the lines and forms. The light gets an important protagonist play highlighting the main characters in the compositions.

  Artist achieve through repetitive intents; from the times of the Classical period, better results riching a better depictions of the location and proportion of the figures in their artworks that suggest a three dimensional scene. It reveals a grasp of linear perspective (Linear Perspective uses vanishing points and lines of conversions to give a picture space and depth) as well as a naturalist representation which would remain unsurpassed until the Italian High Renaissance.

   

  

   

   

  From the 5th century BC we cannot appreciate the evolution of Greek painting taking as an example the ceramic decoration, because there will not be a correlation between them. The mosaics and some frescoes from Roman times, copies of the most famous Greek painters Apelles, “official” painter of Alexander the great, Soso of Pergamum , Teón or Filóxeno of Eritrea), show that their evolution continued to a greater naturalism, achieving in Hellenistic times the domain of the volume.

  Greek art influence is well received even by the Romans; who appreciate and imitate the Greek art for a long time. Paintings by artists under the rule of the Roman Empire make many imitations produced to decorate palaces, temples and Roman public buildings; even in their colonies outside of Rome. Roman’s thou reinforced the purpose of political propaganda and religious characteristics, over the simple decoration purpose; for the joy and elevation of the spirit that the Greeks conferred to their art.

  The Etruscan were very influenced by Greek painting style, mostly their paintings from the early periods, because they change slightly with time some characteristics regarding color, proportions, and relation between background and figures. (refer to the Etruscan painting post for more details.)

   

  

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• Baroque Art. General elements.

  Posted on September 17, 2015 4:33 pm by Elena

  Baroque Art.

  

  General Elements.

  Baroque Art is a period of artistic style that used exaggerated emotion and clear details representation in a sore of theatrical setting to easily be interpreted using exuberance of elements in a dynamic representation witch to produce drama and high tension through the artistic work, usually done in monumental size. This characteristics applied mainly to: sculpture, painting, architecture, ceramic, jewelry, furniture textiles and also to other cultural manifestations like: literature, dance, theater, and music that were the fountain of inspiration to the plastic expressions.

  The word “Baroque” has resonance and application that extend beyond a simple lineal and narrow nomenclature  to either style or period.The term “Baroque” may still be used in our days by Art Historian and general public, referring to works of art, craft, or design that have excessive ornamentation or complexity of lines, figures and diversity of artistic elements. The word baroque is derived from the Portuguese word “barroco”, in Spanish “barroco”, or from French “baroque”, all of which refer to a “rough or imperfect pearl.”

  The Church and the aristocracy during the Cinquecento (1500-1600)  followed the evolution of the Mannerism stages in the late Renaissance period and welcome the Baroque art in the new century (1600). In the city of Rome, Italy where this Baroque art started, they realise early enough how effective the brand new style manages to communicate their messages as a class in power to the viewers.

  In the historical contest a break due to different point of view about faith between Catholics and Protestants and also a predominance of Absolute Monarchies, was marking the social fray, been necessary for them to make the best use possible of this new style as propaganda, commissioning works who embrace the spectators as characters themself in to the artistic work that surrounded them, through different plastic elements, absorbing their attention through a lot of drama, making them feel totally identify with the closeness of the messages.

  

  The main theme in Baroque style was the triumph of faith and around it, all the artistic expression of an apparent; chaotic cascade of diverse elements fit together, elevating this religious concept  to its highest expression, influencing as well others non religious aspects in the daily life of a convulsed society with so many contrasts, in which the minority of people are insanely rich; while the majority of people were drowning in extreme poverty. Is not strange for instance they were compel to evade their sad reality, contemplating imaginary and pleasant, dramatic scenes, addressed to praise the honor and glory and the triumph of the light over the darkness.

  

  This new over packed, grandiloquent and super emotional artistic tendency spread to most of Europe and latter to America as well. Although is fair to say that in architecture at the beginning, sometimes was avoided in favor of some classicism tendence, most in the buildings facade, since the new convulsed and curved lines, plus so much over decoration produce and uneasy feeling in some of the people who commissioned the new palaces and was not welcome completely for a while in some regions and courts.

  

  Baroque influence cover the XVII and XVIII centuries been still strong in the XIX century when, abundant Baroque architecture construction in America was still done in this style, although many of them incorporate some eclecticism as well, due to influence of other artistic styles and natives taste.

  Those who entrance Baroque palaces and Cathedrals were speechless from the time they arrived to the staircase, passing through a dynamic, expectant calidoscopio of artistic elements in crescendo, to culminate in a sore of theatrical over crowded representation of vary “belle art” manifestations in the rooms, most of them in monumental and impressive dimensions.The proportion, balance and tempered equilibrium of the classicism is broken here, in favor of a convulse form that mark the Phatos of the characters in the scenes and emphasize the dynamic of movement as never before.

  

  This same eclecticism plus the eccentric redundancy of elements and noisy abundance of details, applied as well to literature, music, theater and dance in that period, artistic manifestations those, from whom the plastic was constantly feeding as its inexhaustible source of inspiration and imagination. In baroque period the opera was born and developed reaching it highest glory, because with this apotheosis of artistic elements at once in a theatrical scene anything was possible, this versatile artistic manifestation flourish and actually triumph in the courts were even the Monarch and aristocracy actively participate, been also popular among the general population.

  

  In baroque art prevail the tendency for unsteady compositions, the artists try to get away from symmetry, altering the classical relation between the axe and figures in the painting. Dynamics compositions with lots of scenic drama, emotional faces expressions, exacerbate physical gestures, (quite like in a theatrical setting as was mentioned before).

  

  The use of light was also very important, the main protagonist element some times in a painting. For example, the elevated contrast between the light and the absence of this one, and the rhythm obtained  thought the composition, facilitate the accentuation of  main characters importance.

  To the Tenebrism;  (pictorial style of painting that use very pronounced chiaroscuro, which deep and violent contrasts of light and dark), and “Naturalisms”, was added another pictorial style during Baroque period, the wood carving Spanish imagery, as well as, diverse other thematics like portrait, wine-cellar and store rooms, know in Spanish as “Bodegones”, which were done with so exquisite details and faithfulness to originals, that feels like this objects portrayed are actually there and it is possible to touch, smell and rich them like it can be done to real things.

  All were done responding to the central purpose expression “Esse est percipi” (to be is to be perceived). Although the “Store Rooms” paintings have apparently non religious thematic, this is brilliantly concealed, even though is representing daily life events. Somehow the religious references is always there to fulfil ist duty as propaganda.

  

  Baroque art is also a colorist style in which an outburst of vibrant colours flood the artistic work, attracting the attention at the same time that mark the cadence and rhythm that viewers eyes should follow. Colour was used also to highlight the main characters in the scenes. Trough them was possible to frame the compositions more effectively, been during baroque period more pronounced with open brushstroke and centrifugal structures.

  That feeling of realistic perception applied also to the sculptures; around the ones the architectural setting was designed and built in baroque art, is not possible, since they are so connected to the space in which they are located in the buildings, understand or appreciate them isolated from their original destination, in which they get; as intended, the whole transcendent meaning and tangible, almost live-like presence as part of the group.

  

  The arrangements and correlation between different plastic elements of expression used in Baroque buildings; as fantastic sceneries, respond to a concept orchestrate to represent a grandiloquent theatrical stage act, functioning as a whole singular unity, despise its different media elements, in with every one of them however, is interconnected and even supported by each other. The same applied in Baroque art to ceramic, glass work, textiles, metalwork and furniture.

  

  Further articles will disclose by artistic manifestation the important elements of Baroque art as well as will resume the main artists work in each region.

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• Assyrian Painting

  Posted on July 30, 2015 3:11 pm by Elena

  Assyrian painting

  Not many of the Assyrian painting examples had survive, although by the clay tablets is known about magnificent decorations in the walls with vibrant colors, showing them battles scenes paintings and those regarding the Assyrian people daily life events and the court. Among the examples that still survive are the paintings of the Til-Barsib palace, in an old Assyria region. They give us an idea about how those paintings serve as propaganda of the king power, the aristocracy and the gods. Mix in then are geometrical and figurative elements an must of the walls space was painted.  

   

  

   

  Palaces surfaces previously treated with stucco show scenes painted with several characters, as well as isolated ones, sometime accompany those, with another figure, looking exactly the same but oppose, like in a mirror. Those were mostly protection figures which appearance was not entirely human. Some show giants winged soldiers with peculiar face and animal head in a vigilant posture. Many of the bigger size protectors figures were located in the walls near the entrance of halls and doors and are related to the representation of minor gods.

  Some of the smaller size sculptures had paint on them but in certain places, like hightlighting elements, an were decorated with good taste and certain care for the details and finish. Vibrant colors were used in sculptures, relief and paintings, mostly blue, black and red, although combined some time with earth like color tones as the artist considered necessary in order to stand out then again the background. 

   

  

   

  Related to the chromatic scheme of the Assyrian painting there is still a lot that need to be study, what is know so far is through the remained lefstovers pigments over the surfaces of some sculptures, in not the best preserved state as we would like, some of which had been detected thanks to new modern techniques because they hardly can be seen with the naked eyes.   

  Is important to recap, as was mentioned in other post about the Assyrian culture, that they make good use of the technique they learn from Babylonia to decorate the exterior walls with the glassy tile bricks, giving them an spectacular resplendent and durable looks. They manages to create a unique method, which they could produce those ceramic glass brick in great scale, but unfortunate this technique have been lost.

  They get the pigments from natural elements like seeds, plants juices, some metal dust, like gold and silver occasionally to highlight details. They use as well adhesives obtained from animals lark. Their weapons were decorated with refinement, using vegetal, geometric and animals motives although human figures are found as well. Shield, spears, military cars on two wheels, presented  relief and paint, and this decoration over weapons suggest they were important for protection an moral boost.

   

  

   

  Assyrian inherited from the Hittites civilization elements related to their style and thematics, and they were well applied, not only in painting, but with sculptures and relief as well. Their scenes representation show dynamic in the soldiers figures movement in battle, the pain reflected in the victims, (humans and animals alike), fierce expressions of the soldiers in battle. All in contrast with the serious expression and solemness representation of the king, priest and gods figures that were also portrayed in bigger size.

  Assyrian painting provide great importance to the representation of the “Tree of Life” thematic in painting and in relieves as well, for them it was directly linked and very attached to the origin of life by who they called gods. This thematic appear wide spread represented as well in all Mesopotamia, and also in other regions as for example: the Egyptian, Greek and Phoenician culture.

   

  

   

  Figures in Assyrian painting are always represented with the body to the side as well as the head, although in some cases can be found the head slightly to the back like when the soldiers or animal are falling or been knocked down. Lines in Assyrian painting define carefully the contour of the figures, having a black line framing them and a black shadow as well that re enforce the illusion of three dimensional (3-D). 

  Their representation of vegetation in painting and relieves, showing a variety of plants of the region at that time, help us to understand about the indigenous vegetation and the use they have for them. They provide quite close details from the originals plants that they can be easy identify for us today. 

   

  

   

  Assyrians represent in their paintings and relieves the daily life, the here and now, not as for example the Egyptians does, who concentrate in the beyond the grave themes and the resurrection of souls. The Assyrian themes were current, they are chronicles of real life events. For us today those paintings and relief have enormous value, because they are this culture statement, their historical legacy, their testimony of a peril existence in a hostile environment.

  Main Characteristics of Assyrian painting

  • – Thematics serve to the propaganda of kings and gods power.
  • – Representation of current topics, daily life events of people and kings. They are chronicles of simple life events as well as important religious celebrations.
  • – Placement in walls of figures with mirror like effect. Some are face to each other, some are oppose.
  • – Painting cover all the surface of the walls that have been previous treated with stucco.
  • – Vibrant color were used in sculptures, relief and paintings, mostly blue, black and red, although combined some time with earth like color tones.
  • -Assyrian painting define carefully the contour of the figures, having a black line framing them and a black shadow as well that re enforce the illusion of three dimensional (3-D). 
  • – Uses of pigments from natural elements like seeds, plants juices, some metal dust, (like gold and silver occasionally to highlight details mostly in small sculptures)
  • -Detail representation of vegetation of the region.
  • -Use of geometric designs as well as plants, animals and human figure in weapons, mostly for protection and moral boost.
  • -Frequent use of “The Tree of Life” thematic.
  • -The king, priest and gods figures were portrayed in bigger size, either stand or seated.
  • – Dynamic representation and fierce expression of the soldiers movement in battle, the pain in the victims, (humans and animals alike), inherited fron the Hittites style.
  • – Use of the glass brick techniques assimilated from Babylonia to decorate the walls as a form of painting.

   

  

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