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🔗 Visual arts 🔗 Japan 🔗 Japan/Culture 🔗 Collections Care

Kintsugi (金継ぎ, "golden joinery"), also known as kintsukuroi (金繕い, "golden repair"), is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise.

🔗 Visual arts

SONATA VI are two paintings, Stellar sonata. Allegro and Stellar sonata. Andante, of Mikalojus Konstantinas Čiurlionis from 1908.

🔗 Religion 🔗 Visual arts 🔗 Buddhism 🔗 Asia

The Greco-Buddhist art or Gandhara art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between Ancient Greek art and Buddhism. It had mainly evolved in the ancient region of Gandhara, located in the northwestern fringe of the Indian subcontinent.

The series of interactions leading to Gandhara art occurred over time, beginning with Alexander the Great's brief incursion into the area, followed by the Mauryan Emperor Ashoka converting the region to Buddhism. Buddhism became the prominent religion in the Indo-Greek Kingdoms. However, Greco-Buddhist art truly flowered and spread under the Kushan Empire, when the first surviving devotional images of the Buddha were created during the 1st-3rd centuries CE. Gandhara art reached its zenith from the 3rd-5th century CE, when most surviving motifs and artworks were produced.

Gandhara art is characterized by Buddhist subject matter, sometimes adapting Greco-Roman elements, rendered in a style and forms that are heavily influenced by Greco-Roman art. It has the strong idealistic realism and sensuous description of Hellenistic art, and it is believed to have produced the first representations of Gautama Buddha in human form, ending the early period of aniconism in Buddhism.

The representation of the human form in large sculpture had a considerable influence, both to the south in the rest of India, and to the east, where the spread of Buddhism carried its influence as far as Japan.

🔗 Death 🔗 England 🔗 Middle Ages 🔗 Middle Ages/History 🔗 Visual arts 🔗 Lincolnshire 🔗 Hertfordshire

The Eleanor crosses were a series of twelve tall and lavishly decorated stone monuments topped with crosses erected in a line down part of the east of England. King Edward I had them built between 1291 and about 1295 in memory of his beloved wife Eleanor of Castile. The King and Queen had been married for 36 years and she stayed by the King’s side through his many travels. While on a royal progress, she died in the East Midlands in November 1290, perhaps due to fever. The crosses, erected in her memory, marked the nightly resting-places along the route taken when her body was transported to Westminster Abbey near London.

The crosses stood at Lincoln, Grantham and Stamford, all in Lincolnshire; Geddington and Hardingstone in Northamptonshire; Stony Stratford in Buckinghamshire; Woburn and Dunstable in Bedfordshire; St Albans and Waltham (now Waltham Cross) in Hertfordshire; Cheapside in London; and Charing (now Charing Cross) in Westminster.

Three of the medieval monuments – those at Geddington, Hardingstone and Waltham Cross – survive more or less intact; but the other nine, other than a few fragments, are lost. The largest and most ornate of the twelve was the Charing Cross. Several memorials and elaborated reproductions of the crosses have been erected, including the Queen Eleanor Memorial Cross at Charing Cross Station (built 1865).

🔗 Technology 🔗 Visual arts

A camera lucida is an optical device used as a drawing aid by artists.

The camera lucida performs an optical superimposition of the subject being viewed upon the surface upon which the artist is drawing. The artist sees both scene and drawing surface simultaneously, as in a photographic double exposure. This allows the artist to duplicate key points of the scene on the drawing surface, thus aiding in the accurate rendering of perspective.

🔗 Germany 🔗 Astronomy 🔗 Archaeology 🔗 Visual arts

The Nebra sky disk is a bronze disk of around 30 centimeters (11 ³⁄₄ in) diameter and a weight of 2.2 kilograms (4.9 lb), having a blue-green patina and inlaid with gold symbols. These symbols are interpreted generally as the Sun or full moon, a lunar crescent, and stars (including a cluster of seven interpreted as the Pleiades). Two golden arcs along the sides, interpreted to mark the angle between the solstices, were added later. A final addition was another arc at the bottom surrounded with multiple strokes (of uncertain meaning, variously interpreted as a Solar Barge with numerous oars, the Milky Way, or a rainbow).

The disk is attributed to a site in present-day Germany near Nebra, Saxony-Anhalt, and dated by Archaeological association to c. 1600 BC. Researchers suggest the disk is an artifact of the Bronze Age Unetice culture.

The style in which the disk is executed was unlike any artistic style then known from the period, with the result that the object was initially suspected of being a forgery, but is now widely accepted as authentic.

The Nebra sky disk features the oldest concrete depiction of the cosmos yet known from anywhere in the world. In June 2013 it was included in the UNESCO Memory of the World Register and termed "one of the most important archaeological finds of the twentieth century."

🔗 Germany 🔗 Archaeology 🔗 Visual arts

The Löwenmensch figurine or Lion-man of the Hohlenstein-Stadel is a prehistoric ivory sculpture discovered in the Hohlenstein-Stadel, a German cave in 1939. The German name, Löwenmensch, meaning "lion-human", is used most frequently because it was discovered and is exhibited in Germany.

The lion-headed figurine is the oldest-known zoomorphic (animal-shaped) sculpture in the world, and the oldest-known uncontested example of figurative art. It has been determined by carbon dating of the layer in which it was found to be between 35,000 and 40,000 years old, and therefore is associated with the archaeological Aurignacian culture of the Upper Paleolithic. It was carved out of mammoth ivory using a flint stone knife. Seven parallel, transverse, carved gouges are on the left arm.

After several reconstructions that have incorporated newly found fragments, the figurine stands 31.1 cm (12.2 in) tall, 5.6 cm (2.2 in) wide, and 5.9 cm (2.3 in) thick. It currently is displayed in the Museum Ulm, Germany.

🔗 Ancient Egypt 🔗 Color 🔗 Archaeology 🔗 Visual arts

Mummy brown, also known as Egyptian brown or Caput Mortuum,^: 254 is a rich brown bituminous pigment with good transparency, sitting between burnt umber and raw umber in tint. The pigment was made from the flesh of mummies mixed with white pitch and myrrh. Mummy brown was extremely popular from the mid-eighteenth to the nineteenth centuries. However, fresh supplies of mummies diminished, and artists were less satisfied with the pigment's permanency and finish. By 1915, demand had significantly declined. Suppliers ceased to offer it by the middle of the twentieth century.^: 82

Mummy brown was one of the favourite colours of the Pre-Raphaelites. It was used by many artists, including Eugene Delacroix, William Beechey, Edward Burne-Jones, Lawrence Alma-Tadema, and Martin Drolling.

🔗 Environment 🔗 Science Fiction 🔗 Literature 🔗 Politics 🔗 Visual arts 🔗 Ecology 🔗 Punk music

Solarpunk is a movement that encourages optimistic envisionings of the future in light of present environmental concerns, such as climate change and pollution, as well as social inequality. Solarpunk encompasses a multitude of media such as literature, art, architecture, fashion, music, and games. Solarpunk focuses on renewable energies, as well as technology as a whole, to envision a positive future for humanity; although, it also embraces less advanced ways to reduce carbon emissions, like gardening. Solarpunk is also a genre of speculative fiction; some of the most well-known examples are Solarpunk: Ecological and Fantastical Stories in a Sustainable World and Sunvault: Stories of Solarpunk and Eco-Speculation.

🔗 Visual arts 🔗 Textile Arts

Carpets of Middle-Eastern origin, either from Anatolia, Persia, Armenia, Azerbaijan, the Levant, the Mamluk state of Egypt or Northern Africa, were used as decorative features in Western European paintings from the 14th century onwards. More depictions of Oriental carpets in Renaissance painting survive than actual carpets contemporary with these paintings. Few Middle-Eastern carpets produced before the 17th century remain, though the number of these known has increased in recent decades. Therefore, comparative art-historical research has from its onset in the late 19th century relied on carpets represented in datable European paintings.