Wall paint decorating. Room decoration ideas for teens. Tropical fish decorations.
Wall Paint Decorating
- Provide (a room or building) with a color scheme, paint, wallpaper, etc
- (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
- (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
- (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
- Confer an award or medal on (a member of the armed forces)
- Make (something) look more attractive by adding ornament to it
wall paint decorating - Paint Techniques
Paint Techniques For Home Decorating: Walls, Furniture & Floors
“[These] easy-to-follow, well-illustrated instructions start with general directions for each technique, such as sponging, block printing, and stenciling, and are followed by projects on which to use the techniques. Some of the projects have been created by well-known designers. A good book.”—Library Journal. “Everything you need to know...is here.”—Folk Art & Decorative Painting.
In Paint Techniques for Home Decorating, seven simple methods--sponging, ragging, brush texturing, combing, mopping, stenciling, and block printing--yield a variety of pretty wall effects and home accessories. Beginners should have little trouble with most of the techniques, each of which is explained in general and then put into practice in one of the four dozen step-by-step projects. A stenciled magnolia-bedecked trellis climbs a folding screen; a beautiful trompe l'oeil rug is painted and block-printed right on the wood floor; a nine-drawer apothecary chest sports a different combed finish on each drawer; a bedroom combines positive and negative stippling divided by a brushed basket-weave pattern in a soothing array of blues. The look tends toward country (heavy on the trailing ivy and the pastel shades), but of course the techniques can be adapted to any decor style.--Amy Handy
Roman Wall Painting Metropolitan Museum of Art - New York
Man and woman seated side by side: From Room H of the Villa of P. Fannius Synistor at Boscoreale, ca. 40–30 B.C.; Late Republican Roman Wall painting; Fresco: 69 x 76 in. (175.3 x 193 cm) Rogers Fund, 1903 (03.14.6) This fresco panel from Boscoreale depicts a man and woman seated side by side. To the right is the heroic figure of a semi-nude man lounging on an elaborate, gilded chair. A dark-colored himation is loosely draped across his loins. Unfortunately, damage to the fresco has obliterated the upper part of the man's head, which was turned in profile toward the woman seated to his right. He rests his hands on a short gilded staff firmly set on the ground in front of him. Most likely this is a scepter, an ancient symbol of regal power that was also an attribute of Zeus, ruler of the Olympian gods. For Hellenistic dynasts, the scepter retained a strong meaning of justice. The late third-century B.C. philosopher Theophrastus advised that 'the true king should rule by the scepter and not the spear" (Peri basileias II). To the left is a seated woman wearing a chiton and a himation that is drawn up over the back of her head. She rests her feet on a gilded footstool, and leans her chin on her hand in a gesture of reflection. Based on stylistic comparisons with other works of art, it has been suggested that the seated figures represent Achilles and his mother Thetis. For the spectator in antiquity, the woman's melancholy countenance and the gesture with her right hand may have been read as expressions of Thetis' concern or grief at the fate of her only son. More recently, however, it has been suggested that the woman represents the wife of the seated Hellenistic ruler to her left. As Roman aristocrats greatly admired Alexander the Great and the first generation of his successors, this seated ruler may be a dynast of the early Hellenistic period. The inclusion of this panel and the others that once adorned Room H of the villa at Boscoreale would have created a majestic interior that had particular relevance to political life in Rome during the time the villa was decorated, sometime between 60 and 30 B.C. This period in Roman history witnessed a series of great military rulers—Pompey the Great, Julius Caesar, and Marc Antony—all of whom were viewed as latter-day Alexanders who eventually would conquer the East for Rome.
taoist wall painting : detail
The wall painting is one of a pair from Pingyang prefecture in southern Shanxi province. This work would have decorated the west wall of a worshipping or temple hall. Symmetrically balanced, it shows a procession of heavenly beings moving at a leisurely pace to pay homage to the Supreme Power. “Homage to the Highest Power” has been a popular theme in Taoist pictorial art. Taoist theology advocates the concept of Tao (the Way), a primeval force which gives form to all things in the universe.
The fierce warrior at the head of the procession is the Lord of the Southern Dipper (Sagittarius). He leads nine star spirits, female attendants with plant offerings, three important deities, and personifications of the twelve Terrestrial Branches. The three deities have been identified as Lao Tzu (founder of Taoism) with the Jade Emperor and the Empress of Heaven, or Lao Tzu with the Holy Ancestor and Ancestress of the Song dynasty (AD 960-1279). Since the Taoist pantheon is vast and complex, deities that lack distinctive attributes are hard to identify and for this work, further research is needed.
In subject matter, composition and painting style, this work is very similar to the wall paintings decorating the Sanqing Hall of the Yongle Monastery in Shanxi province. The Sanqing Hall paintings are dated by inscription to 1325 AD. Based on the strong stylistic affinities, this work can also be dated to the Yuan dynasty (AD 1279–1368).
wall paint decorating
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