The Greek Storage Jar ( Amphora ) Depicting Man And Boy

The vase is a sculptural piece. To get the full effect of the piece you have to see the whole thing, which may cause you to have to walk around the piece. The piece is a dark

On each side of the circle about a centimeter away there is a spot shaded in with black paint. In the next part of the painting, there is a line, again. There is a longer rectangle, with two half moons on each side of the rectangle, next to is a little space, then two vertical black lines, then there is three horizontal thick red squiggly lines, again two vertical black line. In the middle of the rectangle, the top middle part has 5 horizontal black lines, with a zigzag line on the top of the 5 lines, on the both of the middle part, it looks like a shape of a wave, that is painted red, a bigger wave on top with no color. in the middle, it starts to make a tube like shape, that splits into two tie looking shapes shaded black with a thin line that is not shaded with any color and a mini square on the left shape and a bigger square on the right shape about a centimeter away from the lines. On the side of the tube shape there is a long leaf, looking shape, shaded black with a small space in the middle of it unshaded. I chose this piece because i like the painting that was on the bowl, it

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

Our journey begins when the Amasis Painter starts painting at the end of the sixth century. The Amasis Painter paints on small and large vessels. He starts with attic black-figure vase-painting that was first produced in Corinth around 700 B.C. Attic black-figure vase-painting depicts animals and human silhouette figures in a naturalistic detail. Additionally, attic black-figure vases have vessel borders and edges that are decorated with floral, lotus, and palmette designs. The Amasis Painter includes these details to every vase and sometimes adds white to his paintings.

The background of the vase has the ochre-red color, the color of the unglazed clay from which the amphora was made. All decorations – the narrative images and ornaments - was painted over the leather-hard pottery with a black clay slip. (Before a firing process this type of the clay slip has usually a dark-brown color, and it turns black during the firing process.) The sharp stylus was used for scratching lines inside the painted silhouette, so the ochre color appeared to separate forms and shapes. Several details were also painted with a white slip as a convention recommended to paint women’s flash. For instance, Athena’s and maenads’ faces, hands, and feet are white. Additionally, the brown-red color was applied for depiction of beards and some details of cloth. Therefore, the author used four colors: white, black, ochre-red colors, and brown-red to create the decoration of the

The apothecary jars were used during the italian renaissance, specifically during the years 1478-1550, the main use for these jars was to hold medication and spices that were used as herbal remedies. For instance,the earliest jars had no labels, so they would be used and reused for a variety of medicines, sometimes the labels would be attached to the jar to show what was inside, the practice of firing the name of the medications inside was not started until 1500. These jars have been replaced by containers of pills as well as jars to hold the spices, there are also bottles to hold the liquid medications and paper labels to show who the belong to and what the bottles contain. Naturally, the tops of the jars were decorated with colorful borders

However, before we can begin to discuss why Greeks found scenes of heroes battling monsters so popular, we must first explore the two vessels individually (without the artwork). Firstly, the Black-figure jar (Theseus and the Minotaur). With further research, we find the title of this work is, “Attic Black-Figure Neck Amphora,” and it is attributed to Group E (workshop of Exekias), dated approximately 550 B.C.E. Athens, Greece. The medium is terracotta, and it is an amphora, meaning a storage jar, most likely used to store wine or oil. Similarly, the Red-figure jar (Herakles and the Nemean Lion) was also made of terracotta, but instead of storing wine or oil, it is said to have been a hydria, meaning it was more like a water pitcher. Titled the “Attic Red-Figure Kalpis”, we find that the artist was probably an Aegisthus painter, who lived in Athens, Greece, around 470 B.C.E. As previously stated, both vessels were terracotta jars, however, in order to achieve the black-figure, and red-figure

Lines are paths or marks left by moving points and they can be outlines or edges of shapes and forms. Lines have qualities which can help communicate ideas and feelings such as straight or curved, thick or thin, dark or light, and continuous or broken. Implied lines suggest motion or organize an artwork and they are not actually seen, but they are present in the way edges of shapes are lined up.

A Formal Analysis of Ushabti During the third intermediate period 22nd Dynasty, the symbolic images of servants were painted inside tombs to aid the deceased in the afterworld. This practice developed into the usage of mummy-like statuettes known as Ushabti; the analysis of ushabti is founded in 22nd Dynasty, 800 BCE. Ancient Egyptian’s culture and beliefs created ushabti in faith to turn into a servant after attaining the afterlife; therefore it was buried with the body.

The Black Figure style included painting black figures upon an orange background and then incising additional details for further distinction of the characters. Flower-like patterns were used to decorate the brims of the pottery, and specific colours were painted on for particular purpose. (White was generally used when painting female skin, black was used when painting a male’s skin, and purple and red were used for clothing and embellishments.) Pottery artists also first begun inscribing their signatures on their own work throughout this era. These features can all evidently be identified on the amphora as there are two wealthy women using a Greek loom to spin and weave cloth. The designs on the amphora have been painted with relevant colours and the appropriate use of floral patterns have been illustrated around the edges of the amphora. The artist’s signature is also evident on the base. The first signed amphora dates back to 570 BC. A large number of other individual painters have been identified with confidence through their signatures. (artists usually signed their name as ‘...... made this’.) as time progressed, Black Figure pottery became exceedingly popular all through the rest of Greece and was used by many other Greek artists when painting Greek

The Canopic Jars from Albany Institute of History and Art come from the Dynasty 26 of Late Period Ancient Egypt. In this time period, the jars were still used to store the viscera during mummification for dead men with wish of revival after deaths.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

In the Greek polis, they used many geometric patterns on things like bowls, plates, and vases as decoration. Most of the dishware was also covered in scenes of everyday life or battles. The battle scenes may be battles between god and men, or only man. They also had many different kinds of jewelry Islam in Indonesia had many vessels for water shaped as human heads and bodys. They also use many geometric and anthropomorphic patterns used on their objects of functionality. This is shown in the picture above because the vessel is in a anthropomorphic shape with geometric patterns and a battle scene on it.

Ancient Greek Pottery was popular back in the ancient time era. The pottery was known for its unique carvings of the naturalistic detailing. The pottery makers always added their own abilities to the masterpieces by magnifying more detail. And each detail they attached had more meaning behind the carving. The earthenwares and painters identified their artwork with their signatures in the c.570 BCE. . Within the decorations and the pottery being a dominate decoration in Ancient Greek, there was unquestionable colour conventions. Which meaning that the colors are well known linked with specific meanings. With the stunning now known artwork that encountered Greek Mythology, Olympian Gods, humans, animals and much more on the clay work thereupon,