technology
Mosaic, also known as opus tesellatum, consists of small squares in black, white and color, usually 0.5 to 1.5 cm in size, but fine details are usually presented by small squares as small as 1 mm. These squares (tesserae or tessellae) are made of marble, tiles, glass * * * * alto. First, the base is prepared with fresh mortar, and the inlay is as close as possible without leaving any gaps, and then it is filled with liquid mortar. This process is called grouting. Then the whole body is cleaned and polished.
Origin and influence
The Bronze Age was based on pebbles. At the same time, the Crete civilization was based on the Crete and Mycenae civilizations in the Greek mainland. In the 8th century BC, the Near East used the same idea, but it used the replication model. In Greece, the first attempt at cobblestone flooring can be traced back to the 5th century BC, such as in Corinth and Olympus. These usually come in two shades, light geometric design and simple graphics on a dark background. By the end of 4th century BC, people began to use colors, and many beautiful examples were found in Pella, Macedonia. These mosaics are usually reinforced by inlaid songkhla or lead bars, and are usually used to mark outlines. In fact, it was not until the Hellenistic era in the 3rd century BC that mosaics really became an art form, and detailed panels using mosaics instead of pebbles began to be incorporated into patterned floors. Many of these mosaics try to replicate contemporary murals.
With the development of mosaics in the 2nd century BC, smaller and more precise mosaics were used, sometimes as small as 4 mm or less, and various colors and color grouting were used to match the surrounding mosaics. This special type of mosaic uses complex colors and shadows to create a picturesque effect. It is called a worm. One of the greatest craftsmen was Solus of Pegmont (BC 150- 100). His works, especially his mosaic of drinking pigeons, were copied in large quantities after centuries. In addition to Pegamon, outstanding examples of Greek salamanders were also found in Alexandria and Tyrol, as well as in Cyclades. Because it takes labor to make these works, they are usually 40 x 40 cm ponies, which are placed on marble trays or edge trays in professional studios. These components are called emblems because they are usually used as the central components of sidewalks with simple design. These works of art are so precious that they are often removed, reused elsewhere and passed down from generation to generation in the family. Several signs can form a mosaic, and gradually, when they are called panels, the signs begin to look more like the surrounding environment.
Evolution of design
It is problematic to describe the strict linear evolution of art forms for the theme of mosaic, which is difficult to determine the age, artistic quality, public taste and regional customs. However, some significant changes and regional differences can be noted.
At first, the Romans did not deviate from the basic principles of Greek mosaic. In fact, they are greatly influenced by the theme-the ocean patterns and scenes in Greek mythology-and the artists themselves, because many signed Roman mosaics usually have Greek names, which proves that even in the Roman world, mosaic design is still dominated by Greeks. One of the most famous is the mosaic of Alexandria, which is a copy of the original painting by Philok Cinos or Aristides in Thebes. This mosaic, from Pompeii's home of the god of agriculture and animal husbandry, depicts the battle of Isus (333 BC), in which Alexander the Great rode Bucephalus' chariot to face Darius Iii.
Roman mosaics often copied the early color mosaics, but the Romans did develop their own styles, developed production schools throughout the empire, and cultivated their own special preferences-large-scale hunting scenes and perspective attempts in African provinces, impressionist vegetation and prospects, such as observers in Antioch or Europeans' preference for graphic panels.
The dominant (but not the only) Italian-Roman style itself only used black and white inlays, which lasted until the 3rd century A.D., and was most commonly used to express ocean patterns, especially in Roman baths (caracalla, the first bath, is a good example of Rome). People also prefer two-dimensional representation and emphasize geometric design. In A.D. 1 15, the earliest example of Buticosus Bath in Ostia was the figures in the mosaic. In the 2nd century AD, silhouette became very common. With the passage of time, mosaics are becoming more and more realistic in depicting characters, and accurate and detailed portraits are becoming more and more common. At the same time, in the eastern part of the empire, especially Antioch, the spread of mosaics was seen in the 4th century. These mosaics used two-dimensional and repetitive patterns to create a "carpet" effect, which had a great influence on later Christian churches and Judaism. A synagogue.
Other floor design
Flooring can also use larger components to create larger designs. Opus signinum flooring uses colored mortar aggregates (usually red) and white inlays to create wide patterns, even randomly dispersed. The cross with five red inlays and a black center inlay is a very common Italian pattern in BC 1 century (www.Lishixinzhi.Com), which lasted until AD 1 century, but it is more typical to use only black tiles.
Opus sectile is the second type of floor, which uses large colored stone or marble slabs cut into specific shapes. Opus sectile is another technology originated from Greek culture, but the Romans also extended this technology to wall decoration. It was used in many public buildings, especially in private villas. Until the 4th century, under the influence of Egypt, opaque glass was used as the main material.
Other uses of mosaic
Mosaic is by no means limited to the floor. Domes, columns and fountains are often decorated with mosaics, especially in bathrooms. The earliest example of this usage can be traced back to the water lily in Cicero villa in the middle of BC 1 century, where marble, pumice and shell fragments were used. Elsewhere, marble and glass fragments were added to create the effect of natural grottoes. In the 1 century, more detailed mosaic panels were also used to decorate water lilies and fountains. In Pompeii and Hekulanum, this technique is also used to cover niches, walls and gables, and these murals often imitate the original paintings again. Later, the walls and vaults of Roman imperial baths were also decorated with mosaics, and the sunlight was reflected to the pool side with glass, which produced a sparkling effect. The floor of the pool itself and the floor of the mausoleum are usually inlaid with mosaics, and sometimes there are even portraits of the dead. Do it again,