A NEW PERIOD PROPOSAL FOR PUBLISHED FEMALE PORTRAIT

Due to the similarity of the hairdressing fashion on female head with the portraits of Domitia Longina written by J. Inan and E. A. Rosenbaum who have important studies about Roman imperial portrait art, Flavian Dynasty period was proposed directly. In the study in 1979, no typological distinction was made among the portraits of Domitia Longina and Domitia Longina portraits were limited to the Flavian Dynasty. Hairdressing fashion in the form of a spongy mass of hair, which is very important in identifying and dating this period, also looks like a wreath-like hair mass in Istanbul piece. This hair style is not similar to the hairdressing fashion of the portraits of Iulia Titi and Domitia Longina during the Flavian Dynasty. It is similar to the portraits of Domitia Longina in IIIrd type who was honoured after the Flavian Dynasty and of whom portraits were made with new hair fashion. Although this new hair fashion, which is dated to Nerva - Early Traianus period, is reminiscent of the Flavian Dynasty in essence, this hairdressing fashion in which the hair tresses are portraited more exaggerated should be dated after the Flavian Dynasty. Key Words: Portrait, Domitia Longina, IIIrd type, Nerva - Early Traianus period

Frozen naturae: floral motives in Mayan terracotta of the First Millennium A.D.

The article is devoted to the analysis of various plant motives on Mayan terracotta figurines of the 1st millennium A.D. Two basic types of plant motives are identified, which are represented by plants that are independent subjects of the image, as well as those that are secondary in nature, supplementing the plot composition. A characteristic is given of voluminous, bas-relief and flat forms of the image with a detailed characteristic of their localization, which differ in great variety: costume, hair-style, jewelry, headdress, tattoo, attributive objects, weapons, etc. The Jaina materials provide statistical data on the frequency of occurrence of all the above indicators. Attention is paid to the characteristics of individual plants and their elements, both domesticated and growing near humans, which can be identified and correlated with real prototypes. Quantitative and percentage characteristics of the occurrence of various plants are given, indicating their names in cases when they are definable. Iconographic features in the images of plants are described in detail, consisting both in "photographic" copying of the features of real plants, and in significant artistic stylization of images characteristic rather of images on stelae painted with polychrome ceramics. Conclusions are made about the features of images of plant motives, which are expressed in places of localization, their role in the plot and composition of terracotta, and the semantic load that the visual embodiment of a particular plant or its image carried.

From emo kid to stylish GQ Gent and back again: Matty Healy and hybrid masculinity

This article examines the evolution of the appearance of British musician, Matty Healy, lead singer of contemporary band The 1975, in his performance as a hybrid man in style and fashion magazines. Hybrid masculinity is often used by young white men as a form of assimilating aspects from marginalized groups into performing their identities. This is to distance themselves from the narrow confines of hegemonic masculinity through transgression. Healy’s performances of gay and feminized hybrid masculinities have emerged through his clothing, from early national success as a typical ‘emo’ kid ‘dressed in black from head to toe’ to a fully groomed, suited and booted Englishman, cover star of GQ and in demand as a model. Prior to global fame, Healy’s style referenced rock stars of the past and he was admired for his simple black clothing, boyish emo good looks and curly hair; style blog IdleMan.com refers to him as a ‘gothic hipster’. Yet in concert with his stylist, Patricia Villirillo, Healy has begun to play on the more feminized aspects of emo fashion such as performing in women’s skirts and dresses, and arguably has produced a twenty-first-century emo aesthetic. Moreover, he also adopts the appearance of a powerful man in a suit or for performances as well as photoshoots. Healy might now be dressed in a suit or tie for performing, as easily as he might wear a skirt, as many men in music have before him. Wearing skirts as an act of transgression highlights the lack of diversity in men’s clothing in its mundanity, and despite advances in acceptance of dynamic masculine identities through performing gay identities, performing hybrid masculinities through femininity, is still highly problematic.