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Journal articles on the topic 'Ancient polychromy'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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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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2

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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3

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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4

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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6

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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8

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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9

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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10

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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Selerowicz, Anna, and Piotr Zambrzycki. "Conservation work in Marina el-Alamein in 2018 (Polish–Egyptian Conservation Mission)." Fieldwork and Research, no. 28.2 (December 2019): 101–12. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.06.

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The article presents the program and results of continuous monitoring and preservation of historic architectural structures after the winter period at the site of Marina el-Alamein in Egypt, carried out by the Polish-Egyptian Conservation Mission. The program embraced studies of ancient plaster, polychromy and execution techniques employed for producing elements of sculptural and architectural decoration, as well as conservation of archaeological artifacts.

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12

Brecoulaki, Harikleia. ""Precious colours? in Ancient Greek polychromy and painting : material aspects and symbolic values." Revue archéologique 57, no. 1 (2014): 3. http://dx.doi.org/10.3917/arch.141.0003.

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13

Brecoulaki, Hariclia, Sophia Sotiropoulou, Christos Katsifas, Andreas G. Karydas, and Vicky Kantarelou. "A Microcosm of Colour and Shine. The Polychromy of Chryselephantine Couches from Ancient Macedonia." Technè, no. 40 (November 26, 2014): 8–22. http://dx.doi.org/10.4000/techne.3001.

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14

Schorsch, Deborah. "Precious-Metal Polychromy in Egypt in the time of Tutankhamun." Journal of Egyptian Archaeology 87, no. 1 (2001): 55–71. http://dx.doi.org/10.1177/030751330108700106.

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Gold and silver appear in Egypt at least as early as the Predynastic Period, and remained thereafter in use for the manufacture of ritual and funerary objects and personal possessions. On occasion, the ancient metalworker or his patron would choose to combine them in the manufacture of an objet de vertu: a jewel, a vessel, a royal coffin. The earliest uses of gold and silver, and electrum—a naturally occuring alloy of the two—together can be described as random, as the juxtapositions appear to have no meaning in terms of relative monetary value or visual design, and to have no colouristic or symbolic associations. During the Old Kingdom there appear the first objects that use precious metals systematically for their contrasting colours, a practice that becomes more widespread in the Middle Kingdom. The greatest sophistication in the use of precious metals can be documented during the second half of the Eighteenth Dynasty, particularly in the time of Tutankhamun, when gold—including alloys that are reddish or have been intentionally coloured red—silver and electrum, were used together also to exploit their inherent colours and to evoke symbolic meaning.

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15

Siotto, Eliana, Matteo Dellepiane, Marco Callieri, et al. "A multidisciplinary approach for the study and the virtual reconstruction of the ancient polychromy of Roman sarcophagi." Journal of Cultural Heritage 16, no. 3 (2015): 307–14. http://dx.doi.org/10.1016/j.culher.2014.05.011.

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16

Bradley, Mark. "Colour and marble in early imperial Rome." Cambridge Classical Journal 52 (2006): 1–22. http://dx.doi.org/10.1017/s1750270500000440.

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The proliferation of white and coloured marbles in Rome and the provinces has received detailed attention from archaeologists, and the symbolism underlying the use and distribution of these marbles has been discussed at length by art historians. In addition, there are now several important catalogues of ancient Roman marbles. Their stones are presented attractively in full glory, using state-of-the-art printing technology, page after page of dazzling colour. In case the full extent of the polychromy is lost on the reader, descriptions and labels (particulary those coined in nineteenth-century Italy) reinforce this vivid connection between stone and colour - ‘giallo antico’, ‘rosso antico’, ‘porfido’, ‘scisto verde’, ‘nero antico’, ‘marmo bianco’, ‘greyish-blues’, ‘black limestone’, ‘dazzling white’, ‘rot’, ‘gelb’, ‘violett’. It is a very simple exercise for us to align colour and stone.

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17

Campbell, Louisa. "Polychromy on the Antonine Wall Distance Sculptures: Non-destructive Identification of Pigments on Roman Reliefs." Britannia 51 (June 25, 2020): 175–201. http://dx.doi.org/10.1017/s0068113x20000124.

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ABSTRACTNon-destructive analytical techniques are now widely and successfully employed in the fields of materials science and conservation. Portable X-ray fluorescence (pXRF) and portable Raman spectrometry have proven particularly valuable for the rapid in-situ analysis of samples, but their applicability for the analysis of archaeological artefacts for which survival of surface treatments can be negatively impacted by post-depositional processes has been underexplored. Roman relief-sculpted monumental inscriptions from the Antonine Wall, commonly referred to as ‘Distance Slabs’, have offered an excellent opportunity to deploy these non-destructive techniques to determine whether they were originally adorned with pigments and, if so, to identify the colours used. This is a revolutionary approach to identifying colours on ancient sandstone sculpture that transforms our understanding of these unique monuments. Elemental composition analysis by pXRF has confirmed evidence for pigments and this is supported by the Raman results, making it possible to develop and reconstruct a palette of colours that originally brought these monuments to life in vibrant polychrome. The research offers a new methodology for identifying pigments on sandstone sculpture and opens new avenues for investigating other classes of material culture alongside the development of bespoke analytical equipment.

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18

Brøns, C., S. B. Hedegaard, J. Bredal‐Jørgensen, D. Buti, and G. Pastorelli. "The rarest blue: An exceptional find of lapis lazuli in the polychromy of a funerary portrait from ancient Palmyra." Archaeometry 62, no. 3 (2020): 506–20. http://dx.doi.org/10.1111/arcm.12533.

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19

Dyer, Joanne, Diego Tamburini, and Sophia Sotiropoulou. "The identification of lac as a pigment in ancient Greek polychromy - The case of a Hellenistic oinochoe from Canosa di Puglia." Dyes and Pigments 149 (February 2018): 122–32. http://dx.doi.org/10.1016/j.dyepig.2017.09.062.

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20

Vaughn, Kevin J. "Households, Crafts, and Feasting in the Ancient Andes: The Village Context of Early Nasca Craft Consumption." Latin American Antiquity 15, no. 1 (2004): 61–88. http://dx.doi.org/10.2307/4141564.

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AbstractCraft consumption in Early Nasca (ca. A.D. 1–450) society is explored by evaluating the use of polychrome pottery within the context of a residential village. Data are presented from the Early Nasca village, Marcaya, where excavations utilizing a household archaeology approach revealed that most polychromes were consumed by households with high and low status alike, while certain vessel shapes were reserved for high-status households. These findings challenge the common assumption that highly valued crafts were monopolized by elites in middle-range societies, and show instead that there is a potential demand for crafts by both elites and commoners. It is argued that polychrome pottery was broadly used in Nasca because it was integral to ritual consumption that first took place in feasting ceremonies at the regional center Cahuachi, while certain vessel types were restricted to high-status households that acted as intermediaries between Cahuachi and the village.

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21

Zhong, Zhou Bao. "The Conservation of Ancient Chinese Polychrome Clay Sculptures." Studies in Conservation 35, sup2 (1990): 20. http://dx.doi.org/10.1179/sic.1990.35.supplement-2.20.

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22

Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.

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23

Joyce, R., and Mary Helms. "Creations of the Rainbow Serpent: Polychrome Ceramic Designs from Ancient Panama." Journal of the Royal Anthropological Institute 4, no. 3 (1998): 555. http://dx.doi.org/10.2307/3034163.

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24

Vazquez, Abigail Trujillo, Susanne Klein, Xavi Aure Calvet, and Carinna Parraman. "Retrieving the ancient colours: artistic practice as a tool for heritage reconstruction." Color and Imaging Conference 2020, no. 28 (2020): 282–87. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.45.

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The frieze of the Palace of the stuccoes, dated between the 5 th and 6 th century BC, was a polychrome Maya relief discovered in the 1907 in Yucatán, Mexico. It was documented in watercolours and hand tinted photographs by Adela Breton. After years of exposure to the harsh environmental conditions of the Maya area, the colours and the stucco relief disappeared. The aim of the project is to develop a hybrid digital-analogue printing method for reconstructing the appearance of the original polychrome relief based on digitised hand-made records.<br/> A description of the process to produce full colour images combining digital and photomechanical printing is provided. Using photopolymer plates, an intaglio printing process has been used to produce colour images, whilst inverse relief plates have been created based on height maps to transfer a positive embossing on paper when applying pressure on a printing press. The influence of physical parameters related to the appearance is studied. Reflectance Transformation Imaging was carried out to record the colour and surface shape of the prints. Measurements of gloss were made on relief inkjet prints and intaglio prints on paper to compare the outcomes of commercial 2.5D print and the method proposed here.<br/> By modifying an analogue process with digital technology, it is possible to incorporate ancient materials to the printmaking process and therefore approach naturally the appearance of the original. On the other hand, incorporating imaging techniques and quality measurements enables to improve the quality in analogue printing techniques.

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25

Sultan, Shahid, Khalida Kareem, Ling He, and Stefan Simon. "Identification of the authenticity of pigments in ancient polychromed artworks of China." Analytical Methods 9, no. 5 (2017): 814–25. http://dx.doi.org/10.1039/c6ay03157a.

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26

Grube, Nikolai. "Classic Maya Dance." Ancient Mesoamerica 3, no. 2 (1992): 201–18. http://dx.doi.org/10.1017/s095653610000064x.

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AbstractA long-known verbal glyph in Classic Maya inscriptions is reinterpreted as a glyph for dancing (ahk'ot), apparently an important ritual of the ancient Maya. The glyph is found with scenes showing one or several dancers. Glyphs after the verb can be shown to describe the objects and instruments employed in dances. This article analyzes several examples of Maya dances and the ritual and social context in which they occur. These include the dance with a staff with cloth tied down its length, a dance with a “God K” scepter, a dance with a staff with birds attached to it, a dance with a staff with a “God K” figure seated on top of it, a snake dance, dances in warrior outfit, and dances at royal visits. A variety of dances is represented on polychrome ceramics. Many polychrome ceramics can be shown to depict dancing companion spirits, while others show dances associated with historical events. A comparison with colonial and modern Maya dances shows that they share the same emphasis on dance objects, but that the underlying religious and political messages have changed almost completely.

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Vokotopoulou, †Julia. "Cities and sanctuaries of the archaic period in Chalkidike." Annual of the British School at Athens 91 (November 1996): 319–28. http://dx.doi.org/10.1017/s006824540001652x.

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This paper summarizes recent excavations in Chalkidike. The ancient city of Mende has yielded evidence of houses and other structures, an archaic cemetery, and Mycenaean to late classical finds. At Polychrono (ancient Neapolis or Aige?) there are archaic and classical structures on terraces, and a cemetery with early infant burials. Three archaic–classical sanctuaries have also been found: (1) at Poseidi, a temple of Poseidon (identified from inscribed votives), robbed and reused in hellenistic and Roman times; (2) at Nea Roda-Sane, a temple to a female deity, with sculptures; and (3) at Parthenonas, a peak sanctuary of Zeus with evidence of animal sacrifice. The implications for Chalkidian relationships with other parts of the Greek world and for the strength of local culture are briefly examined.

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Sherkova, T. "Material Sources of Predynastic Egypt in the Context of the Concept of “Cultural Memory”." Bulletin of Science and Practice 6, no. 10 (2020): 387–409. http://dx.doi.org/10.33619/2414-2948/59/35.

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In the pre-written period, the main sources of cultural memory as an important basis for mytho-religious representations of classical ancient Egypt are the material sources: archaeological sites, pictorial texts, their compositions, motifs and images. The sample for analytical work is related to ritual objects. These include painted vessels of type C and D, polychrome panel from the elite burial in Hierakonpolis, slate palettes, funeral masks. The result of the research was the conclusion that these pictorial texts represent a model of the world. The image-symbolic language of pictorial texts reveals the structure of the universe, which in the written period was embodied in numerous myths and rituals.

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Russ, Jon, Mary D. Pohl, Christopher L. von Nagy, et al. "Strategies for 14C Dating the Oxtotitlán Cave Paintings, Guerrero, Mexico." Advances in Archaeological Practice 5, no. 2 (2017): 170–83. http://dx.doi.org/10.1017/aap.2016.10.

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ABSTRACTOxtotitlán Cave paintings have been considered among the earliest in Mesoamerica on stylistic grounds, but confirmation of this hypothesis through absolute dating has not been attempted until now. We describe the application of advanced radiocarbon strategies developed for situations such as caves with high carbon backgrounds. Using a low-temperature plasma oxidation system, we dated both the ancient paint and the biogenic rock coatings that cover the paint layers at Oxtotitlán. Our research has significantly expanded the time frame for the production of polychrome rock paintings encompassing the Early Formative and Late Formative/Early Classic periods, statistically spanning a long era from before ca. 1500 cal B.C. to cal A.D. 600.

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Becker, Marshall Joseph. "A CLASSIC-PERIODBARRIOPRODUCING FINE POLYCHROME CERAMICS AT TIKAL, GUATEMALA: Notes on ancient Maya firing technology." Ancient Mesoamerica 14, no. 1 (2003): 95–112. http://dx.doi.org/10.1017/s0956536103141053.

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Significant indirect evidence suggests that one of the Classic-period residential groups at Tikal was the residence of a family of potters who produced high-quality painted wares. Delineation of the borders of residential Group 4H-1 at Tikal led me to postulate that thebajowas a major resource zone for ceramic manufacturing rather than a spatially limiting feature. This family of upscale ceramic producers used the adjacentbajoas a source of clay and fuel for firing pottery. The configuration of other groups near Group 4H-1 suggests not only that the people occupying the several groups on this peninsula were related, but that they were all involved in the production, painting, and distribution of fine ceramics. These several residential groups, located on adjacent house lots, define abarriowithin Tikal whose occupants formed an extended kin unit sharing an economic focus on the production of high-quality ceramics. A consideration of the contents of trash deposits that were used by the Maya for building fill and a study of the middens found adjacent to residential groups at Tikal provide clues to the location of a specific kiln, or firing area. Broken pottery in the structure fill tells us more than architectural history. In this example, pottery indicates how other aspects of one or more house lots were organized and used. In particular, these data suggest that abarrio-like cluster of households at Tikal, with its own ritual center (Group 5G-I), housed families of ceramic producers who had specifically located their residences in direct proximity to thebajo. The search for the firing facilities associated with the production of ceramics in Group 4H-1 is now a major research focus. “Kilns,” or firing facilities, should be among the various architectural features found “out back,” or located on the margins of a house lot. Kilns may have been of the trench type or free-standing small buildings, possibly within sheds, and are expected outside the perimeter formed by the main buildings of the residential group. The structures facing a plaza or series of plazas that are the most obvious elements of a single household tend to attract archaeological attention. Location of structures “out back,” or peripheral to the residential core buildings, could help define the configuration of household lots.

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31

Keuren, Scott Van, and Grace E. Cameron. "The Lives of Painted Bowls at Ancestral Pueblos in East-Central Arizona." American Antiquity 80, no. 1 (2015): 25–45. http://dx.doi.org/10.7183/0002-7316.79.4.25.

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AbstractThe appearance of iconographic-style pottery at fourteenth-century Pueblo villages in east-central Arizona marked an important shift in the decoration of pottery. These polychrome containers were painted with elaborate imagery that contrasts with earlier geometric-style traditions. Remarkably, though the type was circulated and copied throughout the region, we still know very little about how it was used. This paper addresses that issue by analyzing surface abrasions on a large corpus of White Mountain Red Ware whole vessels. Our research not only examines changes in the uses of Ancestral Pueblo ceramics during the late prehispanic period, but underscores the importance of use-alteration studies to interpreting the biographies of ancient objects.

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32

Striová, Jana, Gabriele Coccolini, Sara Micheli, et al. "Non-destructive and non-invasive analyses shed light on the realization technique of ancient polychrome prints." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 73, no. 3 (2009): 539–45. http://dx.doi.org/10.1016/j.saa.2008.10.031.

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Mock, Shirley Boteler. "Monkey Business at Northern River Lagoon: A coastal–Inland Interaction Sphere in Northern Belize." Ancient Mesoamerica 8, no. 2 (1997): 165–83. http://dx.doi.org/10.1017/s0956536100001668.

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AbstractOngoing fieldwork at the coastal site of Northern River Lagoon (NRL) in northern Belize, a specialized saltmaking community, has revealed a consumer relationship with the large, inland, stone-tool-producing center of Colha during the Late to Terminal Classic. Artifact distribution suggests that this economic partnership involved the movement of salt, salted products, and trade goods to Colha in exchange for stone tools. This inland–coastal partnership was enhanced by a shared ideology reflected in the iconography of identical Palmar Orange-polychrome plates. The presence of the ideologically imbued plates in both elite and nonelite contexts suggests they were intended to strengthen group allegiance and reinforce territorial boundaries during this troubled time. This study stimulates new insights into the structure of ancient Maya coastal–inland interaction spheres in northern Belize, thereby facilitating comparisons between local areas within a regional context.

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34

Lewis, Paul. "Archaeology in the home: neoclassical ceramics for new audiences in mid-nineteenth-century Britain." Bulletin of the Institute of Classical Studies 63, no. 1 (2020): 72–88. http://dx.doi.org/10.1093/bics/qbaa008.

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Abstract For audiences not familiar with antiquity, the shattering of the Portland Vase at the British Museum in 1845 raised awareness of a classical past which was claimed by many European nations as their cultural heritage. This article explores how the British ceramics industry quickly exploited a ready market, prompted by such interest. A new genre of wares was produced industrially, mainly in Stoke-on-Trent until the 1870s, although manufacture continued sporadically until 1900. Modern techniques, including moulding and transfer-printing, allowed the creation of versions of black- and red-figure ancient Greek ceramics, sometimes in vivid polychrome. Hitherto largely overlooked by museums and standard histories of ceramics, the material evidence of this fashion endures. Although the resulting artefacts were often marketed without reference to their origins in antiquity, an argument is presented here for their having more than merely decorative significance.

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35

Kobro, Katarzyna, and Władysław Strzemiński. "Composing Space/Calculating Space-Time Rhythms." October 156 (May 2016): 12–74. http://dx.doi.org/10.1162/octo_a_00251.

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In this treatise, Katarzyna Kobro and Władysław Strzemiński distinguish between the condition of painting (which features a picture on a support with physical imits) and of sculpture (which involves space, which is limitless) and propose that the ways in which each medium determines its own essence must be fundamentally different. While painting relies on what would later be called “deductive structure,” in sculpture the issue is how to relate the object to space. After conducting a chronological examination of the different ways in which the sculptural object has related to space (in the Ancient, Medieval, Renaissance, and Baroque epochs), Kobro and Strzemiński propose various ways in which sculpture can not only relate to space but to “unite” with it via such solutions as polychrony and a disjunctive syntax through which the object itself eludes the perception of its identity.

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36

Wang, Na, Ling He, Ellen Egel, Stefan Simon, and Bo Rong. "Complementary analytical methods in identifying gilding and painting techniques of ancient clay-based polychromic sculptures." Microchemical Journal 114 (May 2014): 125–40. http://dx.doi.org/10.1016/j.microc.2013.12.011.

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37

Freidel, David A., Marilyn A. Masson, and Michelle Rich. "Imagining a Complex Maya Political Economy: Counting Tokens and Currencies in Image, Text and the Archaeological Record." Cambridge Archaeological Journal 27, no. 1 (2016): 29–54. http://dx.doi.org/10.1017/s0959774316000500.

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Exploring the long-term use of accounting practices and currencies by literate and numerate authorities contributes new information regarding the complexity of the political economy of ancient Maya society. Two forms of indirect, yet compelling, lines of evidence for accounting practices and currencies are presented in this article. First, we identify potential accounting devices (counting sticks and tokens) found in the tombs of royal scribes and nobles, based on the contextual associations and depicted uses of similar objects in Maya art such as polychrome vases and murals. Second, we argue that the long-term use and significant standardization of specific shell objects suggests their role as all-purpose monies, in addition to their complementary status as counting devices or numerical symbols. This paper addresses the intricate relationships between symbolism, value and multiple modes of exchange that have long been of interest to cross-cultural studies in anthropology.

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Abdrabou, Ahmed, Medhat Abdallah, and Hussein M. Kamal. "Scientific investigation by technical photography, OM, ESEM, XRF, XRD and FTIR of an ancient Egyptian polychrome wooden coffin." Conservar Património 26 (2017): 51–63. http://dx.doi.org/10.14568/cp2017008.

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Lazzari, Marisa, Lucas Pereyra Domingorena, Wesley D. Stoner, María Cristina Scattolin, María Alejandra Korstanje, and Michael D. Glascock. "Compositional data supports decentralized model of production and circulation of artifacts in the pre-Columbian south-central Andes." Proceedings of the National Academy of Sciences 114, no. 20 (2017): E3917—E3926. http://dx.doi.org/10.1073/pnas.1610494114.

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The circulation and exchange of goods and resources at various scales have long been considered central to the understanding of complex societies, and the Andes have provided a fertile ground for investigating this process. However, long-standing archaeological emphasis on typological analysis, although helpful to hypothesize the direction of contacts, has left important aspects of ancient exchange open to speculation. To improve understanding of ancient exchange practices and their potential role in structuring alliances, we examine material exchanges in northwest Argentina (part of the south-central Andes) during 400 BC to AD 1000 (part of the regional Formative Period), with a multianalytical approach (petrography, instrumental neutron activation analysis, laser ablation inductively coupled plasma mass spectrometry) to artifacts previously studied separately. We assess the standard centralized model of interaction vs. a decentralized model through the largest provenance database available to date in the region. The results show: (i) intervalley heterogeneity of clays and fabrics for ordinary wares; (ii) intervalley homogeneity of clays and fabrics for a wide range of decorated wares (e.g., painted Ciénaga); (iii) selective circulation of two distinct polychrome wares (Vaquerías and Condorhuasi); (iv) generalized access to obsidian from one major source and various minor sources; and (v) selective circulation of volcanic rock tools from a single source. These trends reflect the multiple and conflicting demands experienced by people in small-scale societies, which may be difficult to capitalize by aspiring elites. The study undermines centralized narratives of exchange for this period, offering a new platform for understanding ancient exchange based on actual material transfers, both in the Andes and beyond.

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Schiegl, S., K. L. Weiner, and A. El Goresy. "Discovery of copper chloride cancer in ancient Egyptian polychromic wall paintings and faience: A developing archaeological disaster." Science of Nature 76, no. 9 (1989): 393–400. http://dx.doi.org/10.1007/bf00366160.

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Canak-Medic, Milka. "Polychromie et représentations apotropaïques sur la façade de l'église du Saint-sauveur a Zica." Zbornik radova Vizantoloskog instituta, no. 43 (2006): 561–78. http://dx.doi.org/10.2298/zrvi0643561c.

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(francuski) Seules les descriptions de l'aspect ext?rieur de l'?glise de l'Ascension du Christ a Decani recourent a des termes aussi ?logieux que ceux employ?s roi parler de l'?glise du Saint-Sauveur a Zica. Et, de fait, La beaut? de cette derni?re a notamment ?t? tout particuli?rement soulign?e par les anciens ?crivains, Domentijan et Teodosije. Tout le sens de leurs paroles n'a toutefois ?t? perf qu'a la suite de r?cents travaux de restauration entrepris sur l'?glise s'?tant soldes par le d?gagement de restes de couches de peinture recouvrant ses murs ext?rieurs et ayant, de ce fait, permis d'entrevoir l'aspect originel de la d?coration poly chromatique ext?rieur de l'?glise. Les premi?res connaissances concernant la d?coration des fa?ades de l'?glise de Zica remontent aux ann?es vingt du XXe si?cle. On a alors d?gage deux couches dont la plus r?cente a ?t? dat?e de la quatri?me d?cennie du XIV femme si?cle (fig. 3, 4) alors qu'a plusieurs endroits a ?t? constat?e au-dessous de celle-ci, la couche de cr?pis originelle. Celle-ci recouvrait toutes les surfaces des murs a 1'exception des corniches, des frises des arcades et, vraisemblablement, des cadres des fen?tres (fig. 5, 6). La datation exacte de cette couche inferieure de cr?pis a ?t? possible gr?ce aux r?sultats de sondages effectues a la jonction des portiques pr?c?dant les par ?glises et, respectivement, des murs sud et nord de 1'exonarthex, ?riges au plus tard en 1230. Sur la partie frontale du mur du portique pr?c?dent la par ?glise sud d?di?e au saint premier martyr Etienne subsiste les restes d'une croix ornee de pierres pr?cieuses: creux gem mata, d'une grande taille au-dessus de laquelle apparait la partie inferieure d'une figure de saint (fig. 1, 7, 8, 10) alors que sur la fa?ade du portique nord on rel?ve les traces d'une composition histori?e non identifiable (fig. 12). II est donne question d'une trouvaille ferm?e dont la datation est parfaitement limit?e et dont G ex?cution peut ?tre tr?s pr?cis?ment plac?e a l'?poque ayant pr?c?d? le grand Sabor (concile) de 1221. En ce sens, il s'agit la de la plus ancienne donn?e sur la d?coration polychromique des fa9ades des ?glises de type rascien, venant, parall?lement, t?moigner des conceptions esth?tiques de l'?poque et nous renseigner sur 1'iconographie des fa?ades des ?difices eccl?siastiques.

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Doménech-Carbó, Antonio, María Teresa Doménech-Carbó, and Xavier Mas-Barberá. "Identification of lead pigments in nanosamples from ancient paintings and polychromed sculptures using voltammetry of nanoparticles/atomic force microscopy." Talanta 71, no. 4 (2007): 1569–79. http://dx.doi.org/10.1016/j.talanta.2006.07.053.

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Vázquez de Ágredos Pascual, Mª Luisa, Cristina Vidal Lorenzo, and Gaspar Muñoz Cosme. "Archaeometrical Studies of Classic Mayan Mural Painting at Peten: La Blanca and Chilonche." MRS Proceedings 1618 (2014): 45–62. http://dx.doi.org/10.1557/opl.2014.454.

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ABSTRACTLa Blanca and Chilonche are two of the many Mayan settlements located on the lower reaches of the Mopan river (Department of Petén, Guatemala). The archaeological work conducted by La Blanca Project (University of Valencia, Spain) over the last ten years has revealed the rich polychrome of the monumental architecture of these sites, where the remains of ancient mural paintings are of the highest quality.In order to ascertain the materials and techniques used by painters at each site throughout the Classic period, our research team has recently conducted an analytical study with a multi-technique approach based on the combination of several non destructive and micro-destructive instrumental techniques, namely, light microscopy (LM), scanning electron microscopy-X-ray microanalysis (SEM/EDX), transmission electron microscopy (TEM), voltammetry of microparticles (VMP), X-ray microdiffraction (mXRD), X-ray diffraction (XRD), UVeVis spectrophotometry, FTIR spectroscopy and gas chromatographyemass spectrometry (GCeMS). These instrumental techniques provide reliable and complementary data, such as elemental and mineralogical composition, the identification of functional groups as well as specialization studies of electroactive species.This paper presents the results obtained at the Laboratories for the Analysis of Works of Art at the University of Valencia (Spain) and the Polytechnic University of Valencia (Spain) after chemically comparing the pigments and mural painting techniques of both Maya archaeological sites.

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Nielsen, Jesper, and Christophe Helmke. "Spearthrower Owl Hill: A Toponym at Atetelco, Teotihuacan." Latin American Antiquity 19, no. 4 (2008): 459–74. http://dx.doi.org/10.1017/s1045663500004387.

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The important Classic period site of Teotihuacan is renowned for its great size, ancient influence, and intricately decorated polychrome murals. The latter are the focus of the present study, in particular the unique landscape scene from Murals 2 and 3 from Portico 1 of the North Patio of the Atetelco residential compound that depicts a row of toponymic hill signs. The three hills have identical qualifying elements embedded, identified as combinations of an owl and a spearthrower. The murals thus make a repeated reference to a place named “Spearthrower Owl Hill.” The dating of the murals to the Early Xolalpan phase (ca. A.D. 350–450) makes them contemporary with the so-called Teotihuacan entrada into the Maya lowland sites such as Tikal, where hieroglyphic texts make mention of a Teotihuacan-affiliated individual known as “Spearthrower Owl.” From these findings—and based on Mesoamerican naming practices—we go on to suggest that the Atetelco toponym and the historical individual share the name of a common forebear, possibly that of a previously unidentified Teotihuacan martial patron deity. As such, the Early Classic Teotihuacan “Spearthrower Owl” deity has much in common with the legendary Huitzilopochtli of the Late Postclassic Mexica. Our reexamination of the murals from Atetelco shows the enormous potential that further studies in Teotihuacan writing and iconography still have for our understanding of the history and religion of this major Mesoamerican site.

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Timofeev, Alexey, Damir Soloviov, Georgiy Stukalov, Dmitriy Vasiliev, and Victor Bochkarev. "Burials of the Early Iron Age of the Kurgans Cemetery “Bogomolnye Peski-I”." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2020): 279–305. http://dx.doi.org/10.15688/nav.jvolsu.2020.2.14.

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The article is dedicated to the publication of the materials of burials from the Early Iron Age, discovered during excavations of a crumbling kurgan which is a part of the cemetery “Bogomolnye Peski-I” close to the village of Nikolskoye, Enotaevsky district, Astrakhan region. In total, 14 burials were investigated during the rescue excavations, two of them relate to the Middle Ages, other seven belong to the Bronze Age. The article describes in detail 5 burials of the Early Iron Age. The dating of the burials is defined based on the materials and details of the burial rite. The earliest burial (No. 2) dates back to the Savromat era. It contained a decapitated rams carcase and a molded pot which is typical of assumed era. The rest of the burials belong to the Middle Sarmatian period (1st – 2nd centuries AD). One of the Middle Sarmatian burials was completely destroyed by robbers in ancient times. It was possible to find a lot of gold stripes of clothes among its containment, as well as a bronze cauldron with a tamga. Plaques and stripes are not typical of either the Savromat or the early Sarmatian cultures. Indeed, they are widely used in prestigious burials of the Middle Sarmatian culture. The burials No. 5 and No. 13, accompanied by a rich inventory, are of the greatest interest. A set of gold decorations for a funeral veil and a belt set of gold with turquoise inserts were found in burial No.5, which belong to the products of the Sarmatian polychrome style, typical of the Middle Sarmatian period. In addition, a gilded bronze dish related to Roman provincial dishes and an alabaster vessel were discovered there – a typical find of the Middle Sarmatian era. In burial No. 12, the most interesting findings, in addition to a large number of various beads, are intaglio gemstones made of red glass with plots of ancient mythology depicted on them, which are unique in their own way. Moreover, an interesting vessel shaped as a bird (duck) was found there as well. The close analogs to the latter are known in cemeteries of the 1st – 2nd centuries AD in the Kuban region. A feature of this kurgan is a large number of inlet burials of the Middle Sarmatian culture, whereas in general, the burials under individual mounds predominate in the Middle Sarmatian epoch. Key words: early Iron Age, barrow, Lower Volga region, Sarmatians, burial rite.

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Anikeeva, Olga, and Galina Kolganova. "Jewellery from Burial 2 Kurgan 1 Filippovka 1 Cemetery: Manufacturing Techniques, Purpose and Semantics of Images." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 1 (July 2020): 6–27. http://dx.doi.org/10.15688/nav.jvolsu.2020.1.1.

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The article is dedicated to the publication of the unique jewelry which was found in the untouched noble female’s grave-pit of the Early Sarmatian elite burial ground located at Southern Urals. It stands out with an unordinary complicated construction, polychrome style, a variety of materials and techniques used in its manufacture, central disc containing cloisonne artwork. Analysis of the item’s burial context convincingly showed this item was not worn as a decoration in social life, but it was the precious relic used in religious ceremonies and ritual practices for short periods of time. A detailed study of manufacturing technology allows us to reconstruct the fastening ways and application methods for this jewelry. The search of analogies for images placed on the central medallion, made it possible to clarify its compositional semantics. Its central character is the sacred tree, guarded by the divine power of “khvarenah” deity. “Khvarenah” is presented by two guises - the winged sun disc and the sacred Veraghna birds. General meaning of the ritual reflects the idea of increasing fertility: ensuring the well-being and increasing offspring numbers, health, wealth and prosperity of the family. New Assyrian compositional scheme used in the medallion. It appeared at the beginning of the IX century BC and actively spread in Urartu and pre-Achaemenid Media since the VIII-VII centuries BC. This relic was found in the early nomadic burial site dating back to the IV century BC. All these show the significant continuity of ancient Iranian religious cults. They continue to exist in the satrapies of Achaemenid Iran, they are perceived by the elite of the Sarmatian tribes of the Southern Urals and they spread in a nomadic environment.

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Hoopes, John W. "Creations of the Rainbow Serpent: Polychrome Ceramic Designs from Ancient Panama. Mary Helms. University of New Mexico Press, Albuquerque, 1995. viii + 136 pp., 100 figures, 8 color plates, index, bibliography. $42.50 (cloth)." Latin American Antiquity 7, no. 4 (1996): 374–75. http://dx.doi.org/10.2307/972266.

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Anoshko, O. M. "The First and the Second Regency excavations in Tobolsk." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 4 (51) (November 27, 2020): 53–62. http://dx.doi.org/10.20874/2071-0437-2020-51-4-5.

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This publication continues a series of articles which introduce into scientific discourse the results of archaeo-logical research into the cultural layer of Tobolsk — the main city of Siberia during the Russian colonization pe-riod. The First and Second Regency excavations were laid on the spit of the Troitsky Cape, on the territory of the Tobolsk Kremlin, in the utility building construction zone of the Tobolsk-Tyumen diocese. Based on the historical and archival data, the identified stratigraphic columns should demonstrate the peculiarities of the formation of cultural strata in different periods of development of the city since its foundation, but unfortunately, as shown by the excavations, the early layers were severely damaged across a large area as a result of constant active recon-structions of the Kremlin. The earliest of the studied objects are the remains of a defensive line that ran along the edge of the cape in the 17th c., protecting the city from attacks. As a result, the structure of the wooden fortifica-tions of the city have been identified, which represented a high log fence, with an adjacent platform — fighting gallery — on the inner side. The presence of such structure suggests that the defensive wall carried loopholes for cannons and culverins, significantly expanding the firing potential. The nature, location and construction of this defensive line is similar to the one we found in the Chukman excavation site, on the nearby cape of Chukman. The ancient objects of the First and the Second Regency excavations include eight structures that have not been fully explored. One of them contained a rare archaeological find — the remains of a tiled stove, faced with terra-cotta, glazed, polychrome relief and painted tiles. Another building preserved in a form of a brick foundation, during the clearing of which, for the first time in Tobolsk, fragments of porcelain ware from Gardner factory were found, which was considered to be the best in Russia in the 19th century. In general, the obtained materials open new opportunities for studying the early stages of the history and culture of the first Russian capital of Siberia.

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Buiskykh, Alla, Nataliia Harkusha, and Maryna Chepkasova. "Architectural Terracotta From Olbia According to Excavations of the 1920-ies." Archaeology, no. 1 (March 16, 2021): 96–107. http://dx.doi.org/10.15407/archaeologyua2021.01.096.

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The article is devoted to the introduction into scientific circulation of a collection of terracotta architectural details from the excavations of the Upper City of Olbia in the second half of the 1920-ies. Archaeological research was conducted by the Scientific Council of the All-Ukrainian Academy of Sciences according to the plan proposed by B. V. Farmakovskyi after the resumption of excavations in Olbia in 1924. Two of the details, fragments of polychrome simas of the Late Archaic period, most likely were related to the cult monumental structures of the Western Temenos and were found in the layer of its destruction. The remaining details were found during excavations of residential houses in the central (excavation sites A, H, D) and north-eastern part of the city (excavation site I). These are fragments of eaves tiles, the facades of which are decorated with embossed ornaments of two variants — Ionian cyma with pearls and meander, in the metopes of which are placed letters or four- and eight-petalled palmettes. The tile category includes a pentagonal antefix with a relief image of an Athena mask in a helmet and half lotus flowers on the sides. Fragments of gutters (simas) — a facade with a Satire mask and a water-supply decorated in the shape of a lion’s head with an open mouth were also found. Ceramic architectural details, which served as decoration and were an integral part of the roof of residential buildings, became widespread in Olbia in the second half of the IV—III c. BC. Such details are also known in almost all ancient centers of the Western Black Sea coast. Modern ceramic studies of similar architectural terracotta from Messambria and Apollonia Pontica have determined its local production. The obtained data allowed correcting not only the information on handicraft production in Olbia, as such a tile is traditionally, after the opinion of I. B. Brashynskyi, belonged to the local ceramic production, but also to offer a new direction of the Black Sea trade in ceramic building materials. Another important area for Olbia was the tiles import from Sinop.

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Lupeikis, Kęstutis. "COMPOSITION TOOLS FOR CONTEMPORARY MINIMALISTIC ARCHITECTURE / KOMPOZICINĖS PRIEMONĖS ŠIUOLAIKINĖJE MINIMALISTINĖJE ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 36, no. 2 (2012): 107–18. http://dx.doi.org/10.3846/20297955.2012.697720.

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Colour, light, shadows. The chapter deals with the role of these compositional means in the minimal expression. They are considered to be the most important means of the minimal composition and they are compared to the idea and space. In the case of the minimal expression, colour is not an adornment but the language of the form. Traditionally, minimalism has been associated with the solutions in grey or white, monochromic colours. However, polychromic minimalism with a prevailing geometrical simplicity in the form and space but with more or less variable polychromic surfaces should not be forgotten either. Light is the most important element in modelling and formation of the space, volume and colour. Light in minimalism is not only the source of lighting but also a compositional means creating a specific meditation mood, exposing textures, transparent structures and the form. A tendency of contemporary architecture is to open the interior spaces of a building to light as much as possible. Shadows make a contrast to light. In a symbolic way, it is considered as the second side, contrary to life, that is necessary to the equilibrium. The soul and vitality are understood as the shadow. It is a very effective means of expression but, like a natural light, it is unstable, makes a movement, creates a specific mood, dematerialises, divides and breaks the form. Dimension, symmetry–asymmetry, integrity. A dimension in architecture operates as a means of the artistic quality both of the composition and the form. Suggestiveness of the building is often dependent on the size. Tendency of the minimal expression towards reduction or diminishing is a basic one; it is encoded in the very concept of the minimum. However, it is not a physical or direct reduction of the size but rather the purification that makes the concrete form or space empty, seeking to maximally decrease the number of structural elements. A specific rate between the apertures and the plane of the blank wall, typical of the minimal expression, usually changes to the scale of the building. It looks considerably larger, more massive than in reality. Symmetry-asymmetry. It cannot be stated that symmetry or asymmetry is typical of the minimal expression. Though at the first sight it seems that minimalism is characterised by geometry, the right order, and at the same time, by symmetry but we can present a number of examples continuing the asymmetric tradition of the Japanese Zen. Integrity is the most important quality of composition, without integrity we have no composition. In the composition, all elements must be connected into the whole complex. Aiming at the integrity of the composition, the simplest way is to give a geometrical form of the building. Therefore, displaying of geometrical regularities in architecture is one of the forms of artistic expression and a guarantee of the integrity of the composition. Sharpened integrity manifesting itself by blankness of the forms, the monolithic character is a necessary condition for the minimal expression. Statics–dynamics. In the chapter there are discussed contradictory problems of statics, stability, dynamics and mobility in the contemporary minimal architecture. In architecture, we often observe some sluggishness and static character. The static character is mostly typical of the architecture heritage of ancient civilizations. Dynamism and multi-plane character became distinct as a leading motif in architecture of the 20th century. Essential influence of the dynamics character of contemporary forms, among them also minimal ones is made by the economical and scientifically-technological level of the society, its dynamism, intellectuality and metaphysics. Contemporary architecture is perceived as having not statics but stable form laid out dynamically in the space. In the contemporary context, dynamic models are especially attractive not only due to the fact that they propose flexible means of behaviour in active environments but also because they suggest thinking about lifeless, static forms as being dynamical, alive, changing forms of “life”, interacting with the environment and changing it. When the form of dynamic objects integral, laconic, clean and not overcrowded, then it conforms to the characteristics of the minimal expression. Most often these are not “hand”, angular geometrical forms, these dominate streamline, plastic surfaces that make the image of impetuosity, mobility and spinning. It is proven that the minimal form in the contemporary architecture may be not only static but also dynamic. Santrauka Be formos neįmanoma jokia architektūra, o minimalizmo atveju ji yra išskirtinai specifiška, vis dėlto minimalistinės raiškos pobūdį stipriai veikia įvairios kompozicinės priemonės. Straipsnyje aptariami įvairūs, siejami su minimalistine raiška, kompozicinių priemonių panaudojimo aspektai. Analizuojant architektūrinius objektus, daug kas priklauso nuo jų spalvinio pobūdžio, šviesos, šešėlių žaismo panaudojimo, jų masto, simetriškumo ar asimetrijos, vientisumo ar daugialypiškumo, nuo to, ar turima galvoje dinamiška gyvybės forma, atvira išorinėms įtakoms, ar statiškas objektas. Visuotinai yra susiformavę tam tikri minimalistinės raiškos stereotipai, pvz.: kad minimalistinei architektūrai yra būdinga balta spalva ar bent jau achromatiniai tonai (pilka, juoda), smulkumas, simetrija ir statika. Šiame straipsnyje siekiama paneigti minėtus stereotipus, pateikiant spalvingojo minimalizmo, asimetrinių ir dinamiškų minimalistinių architektūros objektų pavyzdžius, be to, atskleidžiamas jų tūrių masės ir vientisumo charakteris, šviesos ir šešėlių kompozicinė svarba.

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