scholarly journals COLOR COMBINATION IN RAJASTHANI PAINTING

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Vasundhara Pawar
Keyword(s):  
Human Perception ◽  
Color Combination ◽  
12Th Century ◽  
Rock Paintings ◽  
Indian Painting ◽  
Surrounding Areas ◽  
Made In

"Sumeru in the mountains, Garun among birds, Raja is superior in individuals, in the same way" painting "is considered superior." The name of human perception of feeling is art. Kumar Swamy has said that art not only displays emotions but is also the carrier of spiritual message. The word Kala is mentioned in the eighth circle of the Rigveda. By the time of Mahajanapada period, the counting of 64 arts had begun. The nature of Indian painting is as expansive as its history. The earliest specimens of painting in India are found in prehistoric rock paintings. In which Mirzapur, Bhimvetika and tiger caves are prominent. With the development, beautiful paintings were done in Ajanta caves from the Shung period to the Gupta period in the historical era. The production of paintings on paper began in the 11th-12th century, and most of the pictures related to Jainism were made in Gujarat and its surrounding areas. ‘‘पर्वतों में सुमेरु, पक्षियों में गरुण, व्यक्तियों में राजा श्रेष्ठ है, वैसे ही कलाओं में ‘‘चित्रकला‘‘ श्रेष्ठ मानी गई है।‘‘ मानव की अनुभूतियों की अभिभक्ति का नाम कला है। कुमार स्वामी ने काहा है कि कला केवल भावों का प्रदर्शन ही नही करती अपितु अध्यात्मिक सन्देश की वाहक भी है। कला‘ शब्द का उल्लेख ऋग्वेद के आठवें मण्डल मे मिलता है। महाजनपद काल तक 64 कलाओं की गणना प्रारम्भ हो चुकी थी। भारतीय चित्रकला का स्वरूप जितना प्रशस्त है, उतना ही इसका इतिहास पुरातन है। भारत मे चित्रकला के प्राचिन्तम नमूने प्रागैतिहासिक शैल चित्रो मे मिलते है। जिनमें मिर्जापुर, भीमवेटिका तथा बाघ की गुफायें प्रमुख है।विकास के साथ ऐतिहासिक युग मे शुन्ग काल से गुप्त काल तक अजन्ता की गुफाओं मे सुन्दर चित्रकारी की गयी। कागज पर चित्रों का निर्मण 11 वीं 12 वीं शती मे शुरू हुआ, और जैन धर्म से सम्बन्धित अधिकाॅश चित्र गुजरात और उसके आसपास के क्षेत्र मे बनाये गये।

scholarly journals COLOR COMBINATION IN MUGHAL PAINTING

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-1
Author(s):  
Usha Mahobia
Keyword(s):  
Medieval Period ◽  
Color Combination ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
Indian Painting ◽  
Made In

The history of Indian painting has been very rich and detailed since ancient times. Prior to Muslim aggression, Jain, Buddhist and Hindus donated their yoga in the field of painting. Ajanta painting is famous in the world, and these paintings were made in the Gupta period on which naturally made colors have been used.Significant changes took place in painting in the medieval period, Iranian influence is seen in the painting of the Sultanate period. Vibrant colors were used in paintings of courtly paintings, veena, sitar, dress, ornaments etc. With which the pictures appear to be lively, lively. And blue, green, and golden colors have been used beautifully in these paintings. प्राचीन समय से ही भारतीय चित्रकला का इतिहास बहुत समृद्ध विषाल एवं विस्तृत रहा है। मुस्लिम आक्र्रमण से पूर्व जैन, बौद्ध एवं हिन्दुओ ने चित्रकला के क्षंेत्र में अपना योग दान दिया। अजंता चित्रकला विष्व में प्रसिद्ध है, और इन चित्रो का निर्माण गुप्त काल मेे हुआ जिन पर प्राकृतिक रूप से बने रंगो का प्रयोग किया गया है।मध्यकाल मे चित्रकला मै महात्वपूर्ण परिवर्तन आये, सल्तनत काल की चित्रकला मै ईरानी प्रभाव देखने को मिलता है। दरबारी चित्र, वीणा, सितार, वेषभूषा, आभूषण आदि के चित्रो में सजीव रंगो का प्रयोग किया गया । जिनसे चित्र सजीव, जीवंत प्रतीत होते हैै। और इन चित्रो में नीले, हरे, और सुनहरे रंगो का प्रयोग बंेहद खूबसूरती से किया गया है।

A Romanesque crucifix from Macewen's Castle, Loch Fyne, Mid Argyll

1989 ◽  
Vol 16 (1) ◽  
pp. 81-84
Author(s):  
J. G. Scott
Keyword(s):  
Copper Alloy ◽  
12Th Century ◽  
Made In

Summary This copper alloy crucifix was found during excavation at Macewen's Castle in Argyll in 1968 and closely resembles others known to date from the 12th century; it may have been made in Belgium. The arms could have been bent back to aid concealment in the 17th or 18th centuries.

Staircase turret of the St. George’s cathedral in the Yuriev Monastery: archaeology, architecture and fresco painting

2021 ◽  
pp. 132-143
Author(s):  
Vladimir V. Sedov ◽  
Keyword(s):  
Wall Paintings ◽  
12Th Century ◽  
Made In ◽  
Spiral Staircase

The article focuses on the architecture of the staircase turret of the St. George’s Cathedral in the Yuriev (St. George’s) Monastery near Novgorod and fresco wall paintings in the drum and dome at the top of the turret as well as those marked on the walls of the spiral staircase itself. This painting made in the first half of the 12th century can be interpreted in different ways: at present, experts have been associating it with the monastic use. Moreover, the room in the drum of the dome is regarded as a solitary space for monastic prayer. The analysis of the architecture of the staircase turret leads to conclusion that most of its features are related to the princely order and with the main purpose of the tower: a way to rise to the choir loft intended for the prince and his entourage. In this regard, the understanding of the nature of the painting at the top of the turret may change. The article also touches on the chronology of the construction and painting of the St. George’s Cathedral: the painting of the turret was suddenly stopped, which may be due to several events. The most probable one is the beginning of the construction of the princely St. John’s Church in Petryatin Court in 1127, where masters from the St. George’s Cathedral could be transferred to.

Cinema Made in Liège: A ‘Hub’ of Francophone Belgian Filmmaking

Cinéma-monde ◽  
2018 ◽  
Author(s):  
Jamie Steele
Keyword(s):  
Metropolitan Area ◽  
Local Level ◽  
Post Production ◽  
Production Knowledge ◽  
Surrounding Areas ◽  
The City ◽  
Made In ◽  
Production Facilities

This chapter considers the development of both ‘regional’ and ‘local’ funds and institutions – such as Wallimage and Pôle Image de Liège - that are designed to support local filmmaking activity and to entice projects to the city and the surrounding areas. This discussion engages with two key strands: (1) the attraction of co-production finance for ‘regional’ or ‘national’ film projects, and (2) the use of Liège as a production base. The first strand will develop the extent to which ‘regional’ film funds and institutions have production ‘knowledge’ on a local level. This is particularly the case for the Dardenne brothers, Bouli Lanners, Joachim Lafosse, Micha Wald, and Lucas Belvaux, whose films are all shot and located in the metropolitan area of Liège and are co-productions with France. The second strand. focuses on ‘runaway’ and minority-Belgian co-productions and considers how Liège has functioned as a key milieu for international co-productions, and how the city’s post-production facilities have been used for films such as De rouille et d’os (Jacques Audiard, 2012).

scholarly journals COLOR SCHEME IN ROCK PAINTINGS OF CHHATARPUR

2020 ◽  
Vol 1 (1) ◽  
pp. 31-35
Author(s):  
Anjali Pandey ◽  
Garima Mishra
Keyword(s):  
Northern Spain ◽  
Early Humans ◽  
Rock Paintings ◽  
Color Scheme ◽  
Natural Expression ◽  
Made In ◽  
Rock Shelters

English: Man's innate expression towards art is manifested by rock paintings. For early humans there were rock shelters. On prehistoric shelter sites, humans marked paintings as their natural expression. Paintings made in rock were called rock paintings. Known prehistoric paintings were discovered by Mercilona di Setuala in a cave called Altamira, located in northern Spain, from accidental exploration in 1879. Rock paintings have been discovered in many places in India [1].   Hindi: कला के प्रति मानव की सहज अभिव्यक्ति शैल चित्रों से प्रकट होती है प् प्रारंभिक मानव के लिए शैलाश्रय आवास गृह थे प् प्रागैतिहासिक आश्रय स्थलों पर मानव ने अपनी स्वाभाविक अभिव्यक्ति के रूप में चित्रों का अंकन किया प् शैलाश्रय  में बनाए गए चित्र शैल चित्रों के नाम से जाने जाते हैं प् प्रागैतिहासिक चित्रों की खोज प्रमुख रूप से उत्तरी स्पेन में स्थित अल्तमिरा नामक गुफा में मर्सीलोना दी सेतुआला द्वारा चित्र राशि की खोज सन् 1879  मैं हुए आकस्मिक अन्वेषण से हो गई थी प् भारत में कई स्थानों पर शैल चित्र खोजे गए हैं। [1]

scholarly journals Multianalytical Study for Establishing the Historical Contexts of the Church of the Holy Archangels from Cicau, Alba County, Romania, for its Promotion as a World Heritage Good I. Assessing the preservation-restoration works from the 18th century

2019 ◽  
Vol 70 (7) ◽  
pp. 2538-2544 ◽  
Author(s):  
Ion Sandu ◽  
Cosmin Tudor Iurcovschi ◽  
Ioan Gabriel Sandu ◽  
Viorica Vasilache ◽  
Ioan Cristinel Negru ◽  
...  
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Point Of View ◽  
X Ray ◽  
15Th Century ◽  
12Th Century ◽  
Electron Microscopes ◽  
Scanning Electron Microscopes ◽  
The Church ◽  
Made In

The present paper is the first instalment of a series focused on establishing some archaeometric characteristics of the modern finishings (mortars, fresco and layers of whitewash) of the Church of the Holy Archangels from Cic�u, Alba County, Romania, in order to assess the shape, with the structural-functional integrity and architectural and artistic aspect of the monument for the last historical context, between 1710 and 1790. This period is the most extensive and less known of the church�s stages of transformation: 11th�12th century (unknown), 15th century (known) and 18th century (partially known), which was very tumultuous from the socio-economic and political point of view. Thus, in the following pages we present the resulting archaeometric characteristics of optical microscopy (OM), scanning electron microscopes in combination with energy-dispersive X-Ray spectrometry (SEM-EDX) and thermal derivatography (TG/DTA/DTG) analyses of two pigments from the exonarthex fresco (made in 1781) and the later eight layers of whitewash applied over it, which allowed assessing the periods with marked changes in the architecture and polychrome finishings.

People, Plants, Animals, and Formlings in the Rock Art of Zimbabwe

2020 ◽  
Author(s):  
Ancila Nhamo
Keyword(s):  
South Africa ◽  
Country Rock ◽  
Rock Art ◽  
Influential Factor ◽  
Farming Communities ◽  
Geometric Figures ◽  
Great Zimbabwe ◽  
Rock Paintings ◽  
Art Research ◽  
Made In

In Zimbabwe, the term “rock art” refers mainly to prehistoric engravings and paintings that were executed on the walls of shallow caves, rock shelters, or faces of boulders across the country. Rock paintings were executed using pigments in a variety of colors and textures while engravings were etched into the rock using incisions, polishing, or pecking methods. The paintings dominate the corpus of rock art in the country. They are found within the granitic boulders that cover much of the country while rock engravings are confined to narrow belts in the eastern, southern, and southwestern parts where the sandstone is found. The spatial distribution of rock art in Zimbabwe helps to show that geology was the influential factor in choosing whether to paint or to engrave. In terms of subject matter, the rock art of Zimbabwe is mostly dominated by what is known as hunter-gatherer art, with a few sites having what has been termed “farmer art.” There is a possibility of some of the art having been made by herders but this requires further research and conformation. The hunter-gatherer art is made up of mostly animals and humans. Nevertheless, the occurrence of plants and geometric figures, especially the “formlings,” sets the rock art of Zimbabwe apart from that of other areas in southern Africa. Farmer art has animal and human figures, mostly in white kaolin and usually found superpositioned on top of the hunter-gatherer images. The color and superpositions led the art to be termed the Late Whites. The possibility of herder art has been raised due to the occurrence of depictions such as handprints and finger-painted dots. These images are associated with herders in neighboring countries such as South Africa and Botswana. Research in Zimbabwe has tended to favor the dominant aspects of rock art. As such, rock paintings have been extensively investigated at the expense of engravings. In the same vein, hunter-gatherer research art has been preponderant as compared to the study of farmer and possibly herder art. Nevertheless, it is important to note that although a lot of strides have been made in rock art research, fewer researchers, especially among the indigenous, have had an interest in these aspects of the Zimbabwean past. Rock art is often overshadowed by the archaeology of the farming communities, which has Zimbabwe culture and particularly Great Zimbabwe as its hallmark. However, it is encouraging to note that there has been an upsurge in students working on projects concerning rock art, which foretells good prospects for the uptake of rock art research in the future

Excavations at Glasgow Cathedral: A Preliminary Report on the Archaeological Discoveries made in 1992-93

1991 ◽  
Vol 17 (1) ◽  
pp. 63-76 ◽  
Author(s):  
Stephen T. Driscoll
Keyword(s):  
Electrical System ◽  
13Th Century ◽  
The West ◽  
Existing Building ◽  
Human Bones ◽  
12Th Century ◽  
The Reformation ◽  
The 19Th Century ◽  
Made In

Summary Extensive archaeological excavations were conducted in advance of the installation of a new healing and electrical system for the Cathedral. Trenches were located where new ducts were to be installed below the floor in the Nave, the Choir, the Crypt and the Session Room. These trenches produced evidence for both of the documented 12th century cathedrals which preceded the existing building. The early cathedrals were represented by in situ masonry and decorated fragments of masonry which had been re-used in the thirteenth century works. Traces of activity pre-dating the 13th century were discovered in the west end of the Nave and structural evidence for the internal divisions of the post-Reformation use of the Nave was also recovered. Burials and stray human bones were found in the trenches dug in the Crypt and the Nave. In total 77 burials were excavated, most of which can be reasonably well dated. In the Nave, evidence for burial pre-dating the 12th century cathedral was recovered and it could be seen thai burials were made at sporadic intervals until the 19th century. Apart from the architectural fragments and coffin fittings, finds were scarce. The most significant artefactual discovery consisted of two massive medieval bronze mortars and an iron pestle which had been deposited in a pit in the Crypt, probably during the Reformation.

scholarly journals The Intractability of Inaccurate Eyewitness Identification

Daedalus ◽  
2018 ◽  
Vol 147 (4) ◽  
pp. 90-98 ◽  
Author(s):  
Jed S. Rakoff ◽  
Elizabeth F. Loftus
Keyword(s):  
Supreme Court ◽  
Expert Testimony ◽  
Eyewitness Identification ◽  
Human Perception ◽  
Eyewitness Testimony ◽  
Wrongful Convictions ◽  
Jury Instructions ◽  
Eyewitness Identifications ◽  
The U.S ◽  
Made In

Inaccurate eyewitness testimony is a leading cause of wrongful convictions. As early as 1967, the U.S. Supreme Court recognized this danger, but the tests it promulgated to distinguish reliable from unreliable eyewitness testimony were based largely on surmise. More recently, substantial research has demonstrated that, while significant improvements can be made in the manner in which lineups, photo arrays, and other identification procedures are conducted, inherent limitations of human perception, memory, and psychology raise, in many cases, intractable barriers to accurate eyewitness testimony. Where barriers to accurate eyewitness testimony exist, one response is to sensitize jurors to the limitations of eyewitness identifications, but studies to date have not shown that special jury instructions can accomplish that purpose. Moreover, research on expert testimony has produced mixed results, with some studies showing that it helps jurors discriminate between good and bad eyewitness evidence, and other studies showing that it merely creates overall skepticism.

Islamic necropolis at Kom el-Dikka in Alexandria: research in the 2010–2013 seasons

2016 ◽  
Vol XXIV (1) ◽  
pp. 62-72
Author(s):  
Emanuela Kulicka
Keyword(s):  
Northwestern Part ◽  
Burial Ground ◽  
12Th Century ◽  
Present Text ◽  
Made In

Exploration of the Islamic burial ground at the Kom el-Dikka site in Alexandria continued from the 2010 through the 2013 seasons, uncovering more graves in different sectors: in area U (northwestern part of the site) tombs from the Upper (11th and 12th century) and Middle (9th/10th century) phases of the cemetery and in area CW from the Upper and Lower (8th/9th century) phases. The present text is a basic report of the finds and observations made in the course of the season.

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