All reviews nice mall cinema district hcmc vietnamese. Charleston, South Carolina 6 contributions 6 helpful votes. Outing with family. Nice Japanese style mall and supermarket. Everything is fresh and clean. Ready made to pick up food is absolutely pleasing to look at. Very fresh packaging and organized. Read more. Date of experience: October Helpful Share. ZfyEd wrote a review Sep Singapore, Singapore 5, contributions helpful votes.
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Located outside the city center, it took about mins by car from District 1 to come here to this huge and nice mall! It's bright, clean and comfortable to walk around. As it was Sunday, the mall was very crowded as people came by here to shop and dine. Besides the anchor …. Date of experience: September Beachguy75 wrote a review Feb Tampa, Florida 6 contributions 3 helpful votes. Interesting Mall. The Mall was rather small but most things you want or need could be found in this mall. Very easy to find what you are looking for. Date of experience: January FayeInAmsterdam wrote a review Nov Amsterdam, The Netherlands 1, contributions helpful votes.
Supersize mall 3.
Almost 45 minutes from District 1 is this mega mall. We wanted to go for bowling. And this mall has everything. The guards were very friendly showing me the way. We had small dinner in the food court on the 2nd floor. Dim sum was good. Once your eyes are properly adjusted, you can go in and see details. Abbe and Van Voorhis are interested in finding out not just which colors the ancients favored but what techniques they used to apply paint: how sculptors polished stone surfaces in preparation for pigment, how they added highlights and shading to faces.
Learning more about these methods will help scholars create more nuanced facsimiles, and will also illuminate how painting and sculpting worked in tandem in the ancient world. Skeptics of polychromy question why Greek and Roman artists would have sculpted with such beautiful materials—Parian marble, which was commonly used, has a prized translucence—and then painted over the surface, or bedazzled it with gilt and jewels.
Figures that were deftly painted would have looked eerily lifelike, particularly in low and flickering light. You go to a dinner party in Pompeii, and there are statues of nude homoerotic youths, in the old, noble Greek tradition. And then they move, the same way the sculptures seem to move in the reflections of pools and fountains.
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And then the slave boy comes from the other side and refills your cup. One of the advantages of establishing scientific methods to prove that classical objects were polychrome is that they provide archeologists with a protocol—a formal way to look for color before cleaning an artifact.
Significant Greek and Roman finds are still being made. Abbe and Van Voorhis lamented that, even now, such objects are sometimes mercilessly cleaned. A bust of a young African boy, sculpted in the first century B. Ancient sculptures of African people were often made of basalt and painted with reddish-brown layers to create a lifelike effect. Archeology is a slow business. The first thing you want to do is make it legible.
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What you want to do is stabilize the patient. Less is more. Take the thing, wrap it up in something like neutral cotton gauze, and put it on a shelf in a stable place. Then call us, and we will come and do the micro-excavation of the surface. As we examined the bust of Julia, Van Voorhis pointed out a tendril of hair peeking out from under her wig. This made it clear that she was wearing the wig for fashion, not to cover up baldness.
Her face was so carefully modelled that you could see where her cheek was beginning to sag slightly. She had horizontal creases encircling her neck—Venus rings, I learned they were called—and a delightful unibrow, both of which connoted desirability. All this humanizing detail had been conveyed purely through form. The first time I saw a statue that had been painted to approximate ancient polychromy, I was in Nashville, of all places.
In , a full-scale replica of the Parthenon was erected in a city park there, and inside it is an enormous statue of Athena. To my eye, the figure, which was painted and gilded in the two-thousands, looked awful: her golden robes had a blinding shimmer, her eyes were a doll-like blue, and her lips could have beckoned from a lipstick ad. It reminded me of a Jeff Koons piece that revels in its tackiness. Yet Abbe assured me that the colorized Athena was consistent with the aesthetics of the lost original, from the fifth century B. Some of the painted replicas that I saw subsequently seemed more subtle and persuasive.
Nevertheless, as much as I thought that it was important to acknowledge polychromy, I still sometimes preferred the ghostly elegance of white marble.
A marble head of a deity wearing a Dionysiac fillet, from the first century A. Traces of red pigment remain on the lips, eyes, and fillet. We can still look at these things and admire them as monochromatic, neoclassical works.
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We can also recover the ancient aesthetics and correct an untruth. So how should we represent the colors of the classical world in museums?
The Brinkmanns have made several replicas in synthetic and real marble—an expensive undertaking—and these do reflect light somewhat better than the plaster models. There is the technique component—the style, the sensibility. Verri, like Abbe and others in the field, believes that digital reproductions—computer animations and the like—can offer advantages that physical ones do not.
They can be revised as new information becomes available, and they can also show multiple possibilities of how an object might have looked. Verri created such a digital reproduction a few years ago, after he spent time investigating the traces of polychromy on the Treu Head—an idealized female figure, sculpted in the second century A.
He also studied and mimicked the sophisticated painting techniques used in the Fayum portraits. The result is refined and naturalistic. When the Eskenazi Museum reopens, in a year or two, it will host a special exhibition featuring the busts of Severus and Julia. To show the original polychromy, Abbe and Van Voorhis have considered projecting colored light on the statues for part of the day.
A set of friezes at the Ara Pacis museum, in Rome, have been presented this way, to pleasing effect. The sallet also called salade and schaller is first produced in Italy around midth century was a war helmet that replaced the bascinet during the midth century. The typical armet consisted of four pieces: a bowl helmet that encloses the entire head with the use of hinged cheek plates that fold backwards. Reproductions of Medieval-style swords made of cast metal adorned with symbols characteristic of the Knights with a special focus on ancient and medieval world.