You are looking at all articles with the topic "Visual arts". We found 42 matches.

Hint: To view all topics, click here. Too see the most popular topics, click here instead.

A pointing machine is a measuring tool used by stone sculptors and woodcarvers to accurately copy plaster, clay or wax sculpture models into wood or stone. In essence the device is a pointing needle that can be set to any position and then fixed. It further consists of brass or stainless steel rods and joints which can be placed into any position and then tightened. It is not actually a machine; its name is derived from the Italian macchinetta di punta. The invention of the tool has been ascribed to both the French sculptor and medallist Nicolas-Marie Gatteaux (1751–1832) and to the British sculptor John Bacon (1740–1799). It was later perfected by Canova. However, similar devices were used in ancient times, when the copying of Greek sculptures for the Roman market was a large industry.

Zellige (Arabic: [zˈliʑ]; Arabic: الزليج‎; also zelige or zellij or zileej) is mosaic tilework made from individually chiseled geometric tiles set into a plaster base. This form of Islamic art is one of the main characteristics of Moroccan architecture. It consists of geometrically patterned mosaics, used to ornament walls, ceilings, fountains, floors, pools and tables. The Moroccan traditional patterns and styles are found inside famous buildings such as Al-Qarawiyyin Mosque in Fez, the Alhambra in Granada, Spain, the Great Mosque of Cordoba, the Ben Youssef Madrasa in Marrakech, and the Hassan II mosque in Casablanca, which adds a new color palette with traditional designs.

The Oxus treasure (Persian: گنجینه آمودریا) is a collection of about 180 surviving pieces of metalwork in gold and silver, the majority rather small, plus perhaps about 200 coins, from the Achaemenid Persian period which were found by the Oxus river about 1877-1880. The exact place and date of the find remain unclear, and it is likely that many other pieces from the hoard were melted down for bullion; early reports suggest there were originally some 1500 coins, and mention types of metalwork that are not among the surviving pieces. The metalwork is believed to date from the sixth to fourth centuries BC, but the coins show a greater range, with some of those believed to belong to the treasure coming from around 200 BC. The most likely origin for the treasure is that it belonged to a temple, where votive offerings were deposited over a long period. How it came to be deposited is unknown.

As a group, the treasure is the most important survival of what was once an enormous production of Achaemenid work in precious metal. It displays a very wide range of quality of execution, with the many gold votive plaques mostly crudely executed, some perhaps by the donors themselves, while other objects are of superb quality, presumably that expected by the court.

The British Museum now has nearly all the surviving metalwork, with one of the pair of griffin-headed bracelets on loan from the Victoria and Albert Museum, and displays them in Room 52. The group arrived at the museum by different routes, with many items bequeathed to the nation by Augustus Wollaston Franks. The coins are more widely dispersed, and more difficult to firmly connect with the treasure. A group believed to come from it is in the Hermitage Museum in Saint Petersburg, and other collections have examples.

A cyclorama is a panoramic image on the inside of a cylindrical platform, designed to give viewers standing in the middle of the cylinder a 360° view, and also a building designed to show a panoramic image. The intended effect is to make viewers, surrounded by the panoramic image, feel as if they were standing in the midst of the place depicted in the image.

The Vinegar Tasters (三酸圖; 'three sours'; 嘗醋翁; 'vinegar tasting old-men'; 嘗醋圖, 尝醋图) is a traditional subject in Chinese religious painting. The allegorical composition depicts the three founders of China's major religious and philosophical traditions: Confucianism, Buddhism, and Taoism. The theme in the painting has been interpreted as favoring Taoism and critical of the others.

The three men are dipping their fingers in a vat of vinegar and tasting it; one man reacts with a sour expression, one reacts with a bitter expression, and one reacts with a sweet expression. The three men are Confucius, Buddha, and Laozi, respectively. Each man's expression represents the predominant attitude of his philosophy: Confucianism saw life as sour, in need of rules to correct the degeneration of people; Buddhism saw life as bitter, dominated by pain and suffering due to desires; and Taoism saw life as fundamentally perfect in its natural state. Another interpretation of the painting is that, since the three men are gathered around one vat of vinegar, the "three teachings" are one.

The Padmanabhaswamy temple treasure is a collection of valuable objects including gold thrones, crowns, coins, statues and ornaments, diamonds and other precious stones. It was discovered in some of the subterranean vaults of the Padmanabhaswamy Temple in Thiruvananthapuram, in the Indian state of Kerala, when five of its six (or possibly eight) vaults were opened on 27 June 2011. The vaults were opened on the orders of the Supreme Court of India, which was hearing a private petition seeking transparency in the running of the temple. The discovery of the treasure attracted widespread national and international media attention as it is considered to be the largest collection of items of gold and precious stones in the recorded history of the world. On the possibility of future appropriation of the wealth, for the need of a new management and proper inventorisation of the articles in the vaults, a public interest petition was registered with Supreme court of India. In 2020, the royal family won the rights to manage the temple, as well all its financial aspects. The Supreme Court of India overruled the Kerala High Court's legal jurisprudence based on regional facts and recognition of the nullified princely agreement based on "Ruler of Travancore."

The Ambassadors (1533) is a painting by Hans Holbein the Younger. Also known as Jean de Dinteville and Georges de Selve, it was created in the Tudor period, in the same year Elizabeth I was born. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It also incorporates a much-cited example of anamorphosis in painting. It is part of the collection at the National Gallery in London.

A pencil ( ) is a writing or drawing implement with a solid pigment core in a protective casing that reduces the risk of core breakage, and keeps it from marking the user's hand.

Pencils create marks by physical abrasion, leaving a trail of solid core material that adheres to a sheet of paper or other surface. They are distinct from pens, which dispense liquid or gel ink onto the marked surface.

Most pencil cores are made of graphite powder mixed with a clay binder. Graphite pencils (traditionally known as "lead pencils") produce grey or black marks that are easily erased, but otherwise resistant to moisture, most chemicals, ultraviolet radiation and natural aging. Other types of pencil cores, such as those of charcoal, are mainly used for drawing and sketching. Coloured pencils are sometimes used by teachers or editors to correct submitted texts, but are typically regarded as art supplies, especially those with cores made from wax-based binders that tend to smear when erasers are applied to them. Grease pencils have a softer, oily core that can leave marks on smooth surfaces such as glass or porcelain.

The most common pencil casing is thin wood, usually hexagonal in section but sometimes cylindrical or triangular, permanently bonded to the core. Casings may be of other materials, such as plastic or paper. To use the pencil, the casing must be carved or peeled off to expose the working end of the core as a sharp point. Mechanical pencils have more elaborate casings which are not bonded to the core; instead, they support separate, mobile pigment cores that can be extended or retracted (usually through the casing's tip) as needed. These casings can be reloaded with new cores (usually graphite) as the previous ones are exhausted.

Artist's Shit (Italian: Merda d'artista) is a 1961 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, each reportedly filled with 30 grams (1.1 oz) of faeces, and measuring 4.8 by 6.5 centimetres (1.9 in × 2.6 in), with a label in Italian, English, French, and German stating:

Artist's Shit
Contents 30 gr net
Freshly preserved
Produced and tinned
in May 1961

The Buddhas of Bamiyan were two 6th-century monumental statues of Vairocana Buddha and Gautama Buddha carved into the side of a cliff in the Bamyan valley of central Afghanistan, 130 kilometres (81 mi) northwest of Kabul at an elevation of 2,500 metres (8,200 ft). Carbon dating of the structural components of the Buddhas has determined that the smaller 38 m (125 ft) "Eastern Buddha" was built around 570 AD, and the larger 55 m (180 ft) "Western Buddha" was built around 618 AD.

The statues represented a later evolution of the classic blended style of Gandhara art. The statues consisted of the male Salsal ("light shines through the universe") and the (smaller) female Shamama ("Queen Mother"), as they were called by the locals. The main bodies were hewn directly from the sandstone cliffs, but details were modeled in mud mixed with straw, coated with stucco. This coating, practically all of which wore away long ago, was painted to enhance the expressions of the faces, hands, and folds of the robes; the larger one was painted carmine red and the smaller one was painted multiple colors. The lower parts of the statues' arms were constructed from the same mud-straw mix supported on wooden armatures. It is believed that the upper parts of their faces were made from great wooden masks or casts. The rows of holes that can be seen in photographs held wooden pegs that stabilized the outer stucco.

The Buddhas are surrounded by numerous caves and surfaces decorated with paintings. It is thought that the period of florescence was from the 6th to 8th century AD, until the onset of Islamic invasions. These works of art are considered as an artistic synthesis of Buddhist art and Gupta art from India, with influences from the Sasanian Empire and the Byzantine Empire, as well as the country of Tokharistan.

The statues were blown up and destroyed in March 2001 by the Taliban, on orders from leader Mullah Mohammed Omar, after the Taliban government declared that they were idols. International and local opinion strongly condemned the destruction of the Buddhas. Some Taliban sources credited Omar's decision to blow up the Buddha statues to the growing influence of Osama bin Laden.