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The Romans took over the vocabulary more or less in its entirety, and although much altered, it can be traced throughout European medieval art, especially in plant-based ornament. Islamic art, where ornament largely replaces figuration, developed the Byzantine plant scroll into the full, endless arabesque, and especially from the Mongol ...
The body of art, including painting, sculpture, architecture, music and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. [3]
Gold jewellery from the 10th century Hiddensee treasure, mixing Norse pagan and Christian symbols. Pair of "tortoise brooches," which were worn by married Viking women. Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the ...
Meanders are common decorative elements in Greek and Roman art. In ancient Greece they appear in many architectural friezes, and in bands on the pottery of ancient Greece from the Geometric period onward. The design is common to the present-day in classicizing architecture, and is adopted frequently as a decorative motif for borders for many ...
Minoan art is the art produced by the Bronze Age Aegean Minoan civilization from about 3000 to 1100 BC, though the most extensive and finest survivals come from approximately 2300 to 1400 BC. It forms part of the wider grouping of Aegean art , and in later periods came for a time to have a dominant influence over Cycladic art .
Other correspondences are between the gold lunulas and large collars of Bronze Age Ireland and Europe and the torcs of Iron Age Celts, all elaborate ornaments worn round the neck. The trumpet shaped terminations of various types of Bronze Age Irish jewellery are also reminiscent of motifs popular in later Celtic decoration.
The main types of stone used are limestone and alabaster. Zainab Bahrani said that visual art in Babylonia and Assyria was not intended to simply imitate or replicate reality, the goal was to produce a representation that acted as a stand-in or substitute for the real thing. This representation was then perceived as part of actual reality. [99]
The Swiss-born art historian Heinrich Wölfflin (1864–1945) started the rehabilitation of the word Baroque in his Renaissance und Barock (1888); Wölfflin identified the Baroque as "movement imported into mass", an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ...
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