Relevant bibliographies by topics / Ancient polychromy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ancient polychromy'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Ancient polychromy"

1

Siotto, Eliana, Marco Callieri, Matteo Dellepiane, and Roberto Scopigno. "Ancient Polychromy." Journal on Computing and Cultural Heritage 8, no. 3 (2015): 1–20. http://dx.doi.org/10.1145/2739049.

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Brøns. "Reconstructing Ancient Polychromy: The Beauty of Palmyra." Journal of Eastern Mediterranean Archaeology & Heritage Studies 8, no. 2 (2020): 141. http://dx.doi.org/10.5325/jeasmedarcherstu.8.2.0141.

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Fine, Steven. "Menorahs in Color: Polychromy in Jewish Visual Culture of Roman Antiquity." Images 6, no. 1 (2012): 3–25. http://dx.doi.org/10.1163/18718000-12340001.

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Abstract In recent years, polychromy has developed as a significant area of research in the study of classical art. This essay explores the significance of this work for interpreting Jewish visual culture during Roman antiquity, through the focal lens of the Arch of Titus Digital Restoration Project. In July 2012, this project discovered that the Arch of Titus menorah was originally colored with yellow ochre paint. The article begins by presenting the general field of polychromy research, which has developed in recent years and resulted in significant museum exhibitions in Europe and the US. It then turns to resistance to polychromy studies among art historians, often called “chromophobia,” and to uniquely Jewish early twentieth-century variants that claimed that Jews were especially prone to colorblindness. After surveying earlier research on polychromy in Jewish contexts, we turn to polychromy in ancient Palestinian synagogue literature and art. Finally, the article explores the significance of polychromy for the study of the Arch of Titus menorah panel, and more broadly considers the importance of polychromy studies for contextualizing Jewish attitudes toward Roman religious art (avodah zarah).
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Jackson, Neil. "Clarity or Camouflage? The Development of Constructional Polychromy in the 1850s and Early 1860s." Architectural History 47 (2004): 201–26. http://dx.doi.org/10.1017/s0066622x00001751.

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My earlier article inArchitectural History43, ‘Christ Church, Streatham, and the Rise of Constructional Polychromy’, showed that James Wild’s church of 1840–42 was, in its use of coloured masonry, far ahead of its time (Fig. 1). It preceded, by about a decade, the High Victorian fashion for constructional polychromy usually associated with John Ruskin’s pronouncements on colour, contained inThe Stones of Venice(1851 and 1853) and William Butterfield’s contemporaneous church of All Saints, Margaret Street (1849–59). The article argued that the interest in polychromy had, in fact, started much earlier in the century. The use of colour in ancient Greek architecture had been investigated and debated by the Institute of British Architects, under the guidance of Thomas Leverton Donaldson, in the 1830s while, in the 1840s, Augustus Welby Northmore Pugin gave constructional polychromy a moral quality — an expression of honesty in construction — at the Grange and St Augustine’s Church, at Ramsgate (1845–50).
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Bourgeois, Brigitte, Violaine Jeammet, and Francis Prost. "The 8th round table on ancient polychromy (Paris, 2016)." Technè, no. 48 (December 31, 2019): 4–5. http://dx.doi.org/10.4000/techne.1707.

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Østergaard, Jan Stubbe. "“Reconstruction” of the polychromy of ancient sculpture: a necessary evil?" Technè, no. 48 (December 31, 2019): 110–19. http://dx.doi.org/10.4000/techne.2656.

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Colombini, Maria Perla, Alessia Carmignani, Francesca Modugno, et al. "Integrated analytical techniques for the study of ancient Greek polychromy." Talanta 63, no. 4 (2004): 839–48. http://dx.doi.org/10.1016/j.talanta.2003.12.043.

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Mantzouris, Dimitrios, and Ioannis Karapanagiotis. "Armenian cochineal (Porphyrophora hamelii) and purpurin-rich madder in ancient polychromy." Coloration Technology 131, no. 5 (2015): 370–73. http://dx.doi.org/10.1111/cote.12169.

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Baines, John. "Color Terminology and Color Classification: Ancient Egyptian Color Terminology and Polychromy." American Anthropologist 87, no. 2 (1985): 282–97. http://dx.doi.org/10.1525/aa.1985.87.2.02a00030.

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Gasanova, Svetlana, Sandrine Pagès-Camagna, Maria Andrioti, and Sorin Hermon. "Non-destructive in situ analysis of polychromy on ancient Cypriot sculptures." Archaeological and Anthropological Sciences 10, no. 1 (2016): 83–95. http://dx.doi.org/10.1007/s12520-016-0340-1.

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Dissertations / Theses on the topic "Ancient polychromy"

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D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.<br>The Classics
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Dermech, Sarah. "L'utilisation des couleurs au Proche-Orient néolithique et chalcolitique (env. 12000 - 3000 av. J.-C.)." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAG027.

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Ce travail explore l’utilisation des couleurs à la fin de la préhistoire au Proche-Orient, incluant le Levant Nord et Sud, les Hautes vallées et la Mésopotamie, de la fin de l’Epipaléolithique à la fin du Chalcolithique (env. 12000-3000 av. J. C.). Cette longue période témoigne d’innovations techniques et d’évolutions sociales inédites : sédentarisation, développement de l’agriculture et de l’élevage, invention de la céramique et urbanisation. Notre objectif a été d’explorer la manière dont ces différentes cultures ont mis en œuvre les couleurs en contexte architectural et funéraire. Quels sont les rapports que ces sociétés entretiennent avec les matériaux colorés et les matières colorantes, locaux ou importés ? Quels sont les changements observés dans l’utilisation des couleurs ? Qu’expriment ces changements ? Peut-on les mettre en relation, et de quelle manière, avec les évolutions technologiques et sociales propres à chaque période et culture ? Est-il possible de reconnaitre des systèmes et des dynamiques à différentes échelles — site, région, culture – et sur le temps long ? L’approche diachronique et la mise en perspective des résultats sur plusieurs millénaires montrent une utilisation dynamique des couleurs, variant selon les périodes et les aires géographiques, et apportent un nouvel éclairage à la compréhension des sociétés de la fin de la préhistoire en Orient<br>This study focuses on the use of colors during the last stages of prehistory in the Near East, encompassing the Northern and Southern Levant, the Upper Tigris and Euphrates valleys and Mesopotamia, from the end of the Epipalaeolithic to the end of the Chalcolithic (ca. 12000-3000 cal. BC).This long period witnessed technical innovations and unprecedented social evolutions : sedentarization, development of agriculture and herding, invention of pottery and urbanization. Our aim was to explore how these different cultures have implemented colors in their architecture and their burials. What are these societies’ relationships to colored materials, local or imported ? How the use of colours changes ? What does it tell us about these societies ? Can we -and how- correlate them with technical and social developments specific to each culture ? Is it possible to recognize systems and dynamics at different scales – site, region, culture – and over the long term ? Data have been synthetized according a diachronic approach and put into perspective over several millennia. They show a dynamic use of colors, varying according to periods and geographical areas, and bring a new light to the understanding of these societies at the end of prehistory in the Near East
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Alberic, Marie. "Etude chimique et structurale de l'ivoire d'éléphant moderne et ancien." Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066258/document.

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L'ivoire d'éléphant est un matériau biologique composé de fibres de collagène (CF) à 30 % massique et de particules d'hydroxyapatite carbonatées et enrichies en Mg à 70 % massique (Mg-carb-HAP). Il présente une structure hiérarchique complexe de la macro à la nano-échelle. La relation entre le motif macroscopique de Schreger observé à la surface des sections transverses des défenses et la micro-morphologie de l'ivoire en 3D (réseau tubulaire et orientations secondaires des CF) a été établie. Les marqueurs chimiques (Ca, P, Mg, Sr) et structuraux (épaisseurs et organisation des particules de Mg-carb-HAP) témoins des processus de formation de l'ivoire ont été déterminés. La diagenèse précoce en milieu marin a ensuite été étudiée par une approche physico-chimique combinant les analyses MEB, PIXE/RBS-EBS et SAXS. Les mécanismes d'altération identifiés sont les adsorptions des ions du milieu extérieur (Cl, Sr, Fe, Cu) à la surface des défenses, les échanges entre les ions exogènes et endogènes de l'ivoire et l'augmentation de la cristallinité des Mg-carb-HAP. Bien qu'immergées dans le même environnement diagénétique, les trois défenses du site des Poulins présentent différents états d'altération. Un bon état de préservation macroscopique ne reflète pas forcément un bon état de conservation de la dentine à l'échelle moléculaire. Finalement, l'ancienne polychromie et la dorure d'origine des ivoires d'Arslan Tash (Syrie, 800 av. J.C.) ont été restituées par des analyses non-invasives par FX en plein champ et PIXE/RBS-EBS. Les couleurs identifiées sont: le bleu et le vert égyptiens (Cu), avec des teintes plus ou moins claires (Pb), le rouge et l'orange (Fe)<br>Elephant ivory is a biological material composed of collagen fibers (CF) at 30 wt. % and Mg-enriched carbonated hydroxyapatite particles at 70 wt. % (Mg-carb-HAP). It has a complex hierarchical structure from macro- down to nano-scale. The relationship between the macroscopic Schreger patterns observed on the surface of transverse sections of tuks and the 3D micro-morphology of ivory (tubular network and CF secondary orientations) has been established. Chemical (Ca, P, Mg, Sr) and structural markers (thickness and organization of particles Mg-carb-HAP) which control the formation of ivory have been determined. Early diagenesis in the marine environment was then studied by means of SEM, PIXE/RBS-EBS and SAXS analyses. Diagenetic mechanisms were identified, as ionic adsorptions from marine environment to the tusk surfaces, ionic substitutions between exogenous and endogenous ivory ions and increased crystallinity of Mg-carb-HAP. Different states of preservation were observed among three tusks coming from the same submarine archaeological site. Good macroscopic preservation states of the surface does not necessarily reflect good preservation states of the dentin at the molecular level. Finally, the former polychromy and gilding of ivories from Arslan Tash (Syria, 800 BC.) have been reconstructed by non-invasive FF-FX and PIXE/RBS-EBS analyses. Egyptian blue and green (Cu) with different shades (Pb), as well as red and orange (Fe) have been identified. The gilding technique consisted of applying a 2 µm thick gold leaf. Over time, these decorations altered ivory surfaces inducing, among others, the formation of Au nanoparticles derived from the weathering of the gold leafs
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Books on the topic "Ancient polychromy"

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Museum, Arthur M. Sackler, Bavaria (Germany). Staatliche Antikensammlungen und Glyptothek, and Stiftung Archäologie (Munich Germany), eds. Gods in color: Painted sculpture of classical antiquity. Stiftung Archäologie, 2007.

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Hornbostel, Wilhelm, Vinzenz Brinkmann, and Raimund Wünsche. Bunte Götter: Die Farbigkeit antiker Skulptur. 4th ed. Museum für Kunst und Gewerbe, 2007.

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Bunte Barbaren: Orientalenstatuen aus farbigem Marmor in der römischen Repräsentationskunst. Wernersche Verlagsgesellschaft, 1986.

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Helms, Mary W. Creations of the rainbow serpent: Polychrome ceramic designs from ancient Panama. University of New Mexico Press, 1995.

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Koch-Brinkmann, Ulrike. Polychrome Bilder auf weissgrundigen Lekythen: Zeugen der klassischen griechischen Malerei. Biering & Brinkmann, 1999.

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La fabrique des couleurs: Histoire du paysage sensible des Grecs anciens : VIIIe-début du Ve s. av. n. è. De Boccard, 2011.

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Porter, John R. La sculpture ancienne au Québec: Trois siècles d'art religieux et profane. Editions de l'Homme, 1986.

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Tan men/pale women: Color and gender in archaic Greece and Egypt, a comparative approach. The University of Michigan Press, 2013.

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Legion of Honor (San Francisco, Calif.), ed. Gods in color: Polychromy in the ancient world. Prestel, 2017.

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Circumlitio The Polychromy Of Antique And Mediaeval Sculpture. Hirmer Publishers, 2010.

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Book chapters on the topic "Ancient polychromy"

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Fine, Steven. "Polychromy and Jewish Visual Culture of Roman Antiquity." In A Companion to the Archaeology of Religion in the Ancient World. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886809.ch10.

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Pappalardo, Lighea, Nicola Masini, Francesca Rizzo, and Francesco Paolo Romano. "The Polychromy of Nasca Pottery: A Nondestructive Analytical Approach for Compositional and Mineralogical Investigation of Pigments." In The Ancient Nasca World. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47052-8_24.

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Blaensdorf, Catharina. "Materials and Techniques of the Polychromy of the Giant Buddha Statues in Bāmiyān." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_9.

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Walter-Karydi, Elena. "The Emergence of Polychromy in Ancient Greek Art in the 7th Century BC." In Les arts de la couleur en Grece ancienne... et ailleurs. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26mm2.8.

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Lazzarini, L. "Ancient Mediterranean polychrome stones." In The contribution of mineralogy to cultural heritage. Mineralogical Society of Great Britain & Ireland, 2019. http://dx.doi.org/10.1180/emu-notes.20.10.

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Mahvash, Maryam. "From monochrome to polychrome in historical Persian architecture." In Colour and Light in Ancient and Medieval Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315167435-14.

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Bourgeois, Brigitte, and Philippe Jockey. "Ombres et Lumières. La sculpture hellénistique polychrome et dorée de Délos:." In Les arts de la couleur en Grece ancienne... et ailleurs. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26mm2.11.

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Conference papers on the topic "Ancient polychromy"

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Barandoni, Cristiana. "MannInColours. The Use of Digitals to Introduce Ancient Polychromy to General Public." In 2019 9th International Conference on Advanced Computer Information Technologies (ACIT). IEEE, 2019. http://dx.doi.org/10.1109/acitt.2019.8779969.

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Hashimova, Turan. "RELATIONS OF POLYCHROME PAINTED CERAMICS FROM THE SETTLEMENT OF KIZKALA WITH THE NEAR EAST." In ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-55-57.

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Panighello, S., V. S. Šelih, J. T. van Elteren, G. Sommariva, and E. F. Orsega. "Elemental mapping of polychrome ancient glasses by laser ablation ICP-MS and EPMA-WDS: a new approach to the study of elemental distribution and correlation." In Integrated Approaches to the Study of Historical Glass - IAS12, edited by Hugo Thienpont, Wendy Meulebroeck, Karin Nys, and Dirk Vanclooster. SPIE, 2012. http://dx.doi.org/10.1117/12.975698.

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