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Αυτή η ιστοσελίδα δημιουργήθηκε από τον braintumorguy, στην Αθήνα, ΕΛΛΑΔΑ.
Αυτή η ιστοσελίδα δημιουργήθηκε από τον braintumorguy, στην Αθήνα, ΕΛΛΑΔΑ.
Για περισσότερες πληροφορίες σχετικά με εμένα, παρακαλώ επισκεφθείτε την κύρια ιστοσελίδα μου
(1) 15-08-2015 εγώ με τον Βασιληά Λεωνίδα της Σπάρτης, μπροστά στο Μουσείο της Ακρόπολης.
(2) 22-11-2015 μπροστά στην Ακρόπολη.
(3) 26-11-2015 στην πλατεία Συντάγματος, μπροστά στο κτίριο της Βουλής.- ανάμεσα στο Συντριβάνι και το Δένδρο των Χριστουγέννων.
(4) 01-05-2016 me and my Masters, the Great Ancient Greek Philosophers Plato, and Aristotle.
(5) 30-05-2016 Beautiful Greece & the Greek Islands from Space on a beautiful clear day.Thank you NASA.
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10-09-2016 η ιστοσελίδα είναι υπό κατασκευή
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« Κάθε λαός είναι υπερήφανος για την πνευματική του κτήση. Αλλά η ελληνική φυλή στέκεται ψηλότερα από κάθε άλλη, διότι έχει τούτο το προσόν, να είναι η μητέρα παντός πολιτισμού. »
Ούλριχ Μέλεντορφ Βιλαμόβιτς (Ulrich von Wilamowitz Mðllendorf), (1848-1931), Γερμανός φιλόλογος, κορυφαίος ερμηνευτής του αρχαίου ελληνικού πολιτισμού.
Συχνά αποκαλείται το «λίκνο του πολιτισμού», η Αρχαία Ελλάδα προανήγγειλε πολλές προόδους στην φιλοσοφία, την επιστήμη, τη μηχανική και τα μαθηματικά που διαμόρφωσαν την κατανόησή μας του σύγχρονου κόσμου.
Ο Δυτικός πολιτισμός έχει επηρεαστεί από πολλούς πολιτισμούς, αλλά η γέννησή του έλαβε χώρα στην αρχαία Ελλάδα. Εκτός από φιλόσοφους όπως ο Αριστοτέλης και Σωκράτης, τους Ολύμπιους θεούς, τις αρχές της δημοκρατίας και τους κατακτητές, όπως τον Μέγα Αλέξανδρο, η Ελλάδα έφερε ως συμβολή στην ανθρωπότητα ιδέες που εμπλούτισαν την τέχνη της αρχιτεκτονικής και των κατασκευών.
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Η ιστορική κληρονομιά αντανακλάται σε αυτά τα γραμματόσημα 1890-1940
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01. [ ΕΛΛΗΝΙΚΑ / GREEK ] Η πολυχρωμία της ελληνικής και ρωμαϊκής γλυπτικής και της αρχιτεκτονικής - η καλύτερη συλλογή με PODCASTS και YOUTUBE VIDEOS για
για περισσότερες πληροφορίες, παρακαλώ επισκεφτείτε την επόμενη ιστοσελίδα
( παρακαλώ χρησιμοποιώντας το δεξιό κλικ του mouse, ανοίξτε τον επόμενο σύνδεσμο ( ιστοσελίδα ) σε ξεχωριστό παράθυρο προς τα δεξιά, )
Τα χρώματα των αρχαίων αγαλμάτων
Τα χρώματα των αρχαίων αγαλμάτων
art, featured, histoire, sculpture. 8
We're all used to seeing ancient Greek and Roman statues of white marble in museums but they were originally painted with bright colors that have faded with time.
There currently in Copenhagen presents an exhibition with 120 original statues next to the painted plaster reproductions with the original colors.
The colors were reproduced with the work of researchers who have used advanced imaging and analytical techniques to find traces of the original pigments.
[Via]
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Ultraviolet light reveals how ancient Greek statues really looked
[ Ultraviolet light reveals how ancient Greek statues really looked 1 ]
Original Greek statues were brightly painted, but after thousands of years, those paints have worn away. Find out how shining a light on the statues can be all that's required to see them as they were thousands of years ago.
Although it seems impossible to think that anything could be left to discover after thousands of years of wind, sun, sand, and art students, finding the long lost patterns on a piece of ancient Greek sculpture can be as easy as shining a lamp on it. A technique called ‘raking light' has been used to analyze art for a long time. A lamp is positioned carefully enough that the path of the light is almost parallel to the surface of the object. When used on paintings, this makes brushstrokes, grit, and dust obvious. On statues, the effect is more subtle. Brush-strokes are impossible to see, but because different paints wear off at different rates, the stone is raised in some places – protected from erosion by its cap of paint – and lowered in others. Elaborate patterns become visible.
Ultraviolet is also used to discern patterns. UV light makes many organic compounds fluoresce. Art dealers use UV lights to check if art has been touched up, since older paints have a lot of organic compounds and modern paints have relatively little. On ancient Greek statues, tiny fragments of pigment still left on the surface glow bright, illuminating more detailed patterns.
[ Ultraviolet light reveals how ancient Greek statues really looked 2 ]
Once the pattern is mapped, there is still the problem of figuring out which paint colors to use. A series of dark blues will create a very different effect than gold and pink. Even if enough pigment is left over so that the naked eye can make out a color, a few thousand years can really change a statue's complexion. There's no reason to think that color seen today would be anything like the hues the statues were originally painted.
There is a way around this dilemma. The colors may fade over time, but the original materials – plant and animal-derived pigments, crushed stones or shells – still look the same today as they did thousands of years ago. This can also be discovered using light.
[ Ultraviolet light reveals how ancient Greek statues really looked 3 ]
Infrared and X-ray spectroscopy can help researchers understand what the paints are made of, and how they looked all that time ago. Spectroscopy relies on the fact that atoms are picky when it comes to what kind of incoming energy they absorb. Certain materials will only accept certain wavelengths of light. Everything else they reflect. Spectroscopes send out a variety of wavelengths, like scouts into a foreign land. Inevitably, a few of these scouts do not come back. By noting which wavelengths are absorbed, scientists can determine what materials the substance is made of. Infrared helps determine organic compounds. X-rays, because of their higher energy level, don't stop for anything less than the heavier elements, like rocks and minerals. Together, researchers can determine approximately what color a millennia-old statue was painted.
The color? Always something tacky.
[ Ultraviolet light reveals how ancient Greek statues really looked 4 ]
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True Colors of Ancient Greek and Roman Statues
True Colors of Ancient Greek and Roman Statues
36 COMMENTS APRIL 18, 2014 MOCO-CHOCO
The Ancients loved color! Finding out about this is pretty great but I’m so used to white marbled statues it just doesn’t seem right to see them colored. I have seen so many exhibitions of Greek statues but I never never never even imagined any old sculpture being in color.
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WEB RING - ΔΑΧΤΥΛΙΔΙ ΙΣΤΟΥ
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and for more information, please switch to the same webpage in English -
( please using the right click of your mouse, and Open Link in Next Private Window, )
y para más información, cambie por favor a la misma página web en español -
(por favor usando el clic derecho de su ratón, y elvínculo abierto en la ventana privada siguiente,)
For centuries, we’ve assumed that the clean, white surfaces of ancient Greek sculptures were the standard of beauty; during the Renaissance, artists strove to emulate this simple aesthetic in their own art. Even today, we expect truly beautiful classical and ancient art to be pure and unadorned – but Vinzenz Brinkmann and Ulrike Koch-Brinkmann have spent over two decades proving us wrong.
et pour plus d'information, commutez svp à la même page Web en français -
(svp utilisant le droit - clic de votre souris, et le lien ouvert dans la prochaine fenêtre privée,)
und zu mehr Information, schalten Sie bitte zur gleichen Webseite auf Deutsch -
(bitte unter Verwendung des Rechtsklicks Ihrer Maus und öffnen Sie Link im Folgenden privaten Fenster,)
e per più informazioni, commuti prego alla stessa pagina Web in italiano -
(per favore facendo uso del cliccare con il pulsante destro del mouse del vostro mouse e delcollegamento aperto in finestra privata seguente,)
e para mais informação, comute por favor ao mesmo Web page noportuguês -
(por favor usando o direito - clique de seu rato, e a relação aberta na janela privada seguinte,)
Peplos Kore
Their research has involved using several high-tech methods to uncover the true intended appearances of ancient artwork. It’s amazing what technology can accomplish. The archaeologists aren’t the first to notice that ancient sculptures featured bits of color, but they are the first to use extensive scientific methods to reveal the colors. Their arsenal included X-ray fluorescence, infrared spectroscopy, and ultraviolet analysis, among other methods.
και για περισσότερες πληροφορίες, παρακαλώ μεταπηδήστε στην ίδιαιστοσελίδα στα ελληνικά -
( παρακαλώ χρησιμοποιώντας το δεξιό κλικ του mouse, ανοίξτε τον επόμενο σύνδεσμο
( ιστοσελίδα ) σε ξεχωριστό παράθυρο προς τα δεξιά, )
Η πολυχρωμία της ελληνικής και ρωμαϊκής γλυπτικής και της αρχιτεκτονικής
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I wonder if they used shading and highlighting. Just because we can only find traces of colours, doesn’t mean they couldn’t tint them.
So why do these ancient sculptures appear white to us now? Quite simply, it’s due to the fact that they have faded and become weathered over the centuries. The paint has worn off, leaving the aged statues with the familiar blank white appearance we’ve become accustomed to. To give a tangible feeling of the originals, the husband-and-wife Brinkmann team have recreated some of these aged statues and painted them in the colors they would have borne in their glory days. The Brinkmanns’ statues have been travelling the world as a popular museum exhibit since 2003.
Athena Lemnia
Paris
Historically, colour has always been seen as a status symbol, and our collective tastes have definitely changed over the centuries. Seeing these classic statues recreated in vivid colors seems gaudy and almost obscene to us today because we expect ancient Greek statuary to bear that dignified blank white look. But when they were created, bright colors helped to give detail and depth to the sculptures. According to the artists and art lovers of that time, bare statues were ugly and unsightly.
Lion from Loutraki
“If people say, ‘What kitsch,’ it annoys me but I’m not surprised,” says Brinkmann, who, with his wife, archaeologist Ulrike Koch-Brinkmann, colored this reconstruction of the c.550 B.C., “Lion from Loutraki.” Its stunning blue-colored mane is not unique on ancient monuments. Lions often sat atop tombs in ancient Greece, where ornamental details such as the animals’ tuffs of hair and facial markings were painted in bright colors that accented their fur.
Augustus of Prima Porta
While to our modern eye, the bright colours scream ‘tacky,’ to the ancients who painted them, it was ‘expensive!’ Back in the day, slaves wore roughcloth, like undyed and unbleached icky tan colors. The well-to-do wore ‘inexpensive’ colours, and the extremely wealthy wore ‘royal’ colours. There were even laws about it, a very wealthy merchant without a noble title might be able to afford purples and blues, but could be put to death for wearing them. Same goes for statues, only the very rich could waste colours on statuary and decour. It was a status symbol. Dyes, pigments, and paints have become so inexpensive that we’ve become a bit jaded.
Apollo
Aphaiatemplet Aigina
Alexander Sarcophagus
The “Alexander Sarcophagus” (c. 320 B.C.), was found in the royal necropolis of the Phoenician city of Sidon. But it was named for the illustrious Macedonian ruler, Alexander the Great, depicted in battle against the Persians in this painted replica. Alexander’s sleeved tunic suggests his conquests have thrust him into the new role of Eastern King, but his lion-skin cap ties him to the mythical hero, Herakles, and alludes to divine descent.
Emperor Caligula
Garish, gaudy, tacky or…..awesome? I am so confused.
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WEB RING - ΔΑΧΤΥΛΙΔΙ ΙΣΤΟΥ
----------
and for more information, please switch to the same webpage in English -
( please using the right click of your mouse, and Open Link in Next Private Window, )
y para más información, cambie por favor a la misma página web en español -
(por favor usando el clic derecho de su ratón, y elvínculo abierto en la ventana privada siguiente,)
et pour plus d'information, commutez svp à la même page Web en français -
(svp utilisant le droit - clic de votre souris, et le lien ouvert dans la prochaine fenêtre privée,)
und zu mehr Information, schalten Sie bitte zur gleichen Webseite auf Deutsch -
(bitte unter Verwendung des Rechtsklicks Ihrer Maus und öffnen Sie Link im Folgenden privaten Fenster,)
e per più informazioni, commuti prego alla stessa pagina Web in italiano -
(per favore facendo uso del cliccare con il pulsante destro del mouse del vostro mouse e delcollegamento aperto in finestra privata seguente,)
e para mais informação, comute por favor ao mesmo Web page noportuguês -
(por favor usando o direito - clique de seu rato, e a relação aberta na janela privada seguinte,)
και για περισσότερες πληροφορίες, παρακαλώ μεταπηδήστε στην ίδιαιστοσελίδα στα ελληνικά -
( παρακαλώ χρησιμοποιώντας το δεξιό κλικ του mouse, ανοίξτε τον επόμενο σύνδεσμο
( ιστοσελίδα ) σε ξεχωριστό παράθυρο προς τα δεξιά, )
Η πολυχρωμία της ελληνικής και ρωμαϊκής γλυπτικής και της αρχιτεκτονικής
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