et in arcadia ego @boreal-bitch - Tumblr Blog

we are living in a dystopia and i fear things will never get better

ishparpuaqib-deactivated2026020

top 5 ancient artistic cultures (not sure about phrasing. yknow like "jomon style" or "anglo saxon art")

the jade creatures of Hongshen, a late Neolithic culture of northeast China contemporaneous w the latest stages of Sredny Stog and just about all of Yamnaya. attempts to find analogues to these critters in nature have borne little fruit, not least bc the Hongshen appear to had been perfectly capable of pursuing realism in their art – when they wanted to. this article argues the creatures draw inspiration from the shape of human bone and cartillage, like so:

the rest go as follows:

2. figurines of Bronze Age Scandinavia. I just think these look really aesthetically pleasing. look at those curves! idk what to think about attempts to interpret the figurines as depicting historically attested Nordic deities. the most famous artefact to survive from the Nordic Bronze Age, the Trundholm Chariot, seems to depict a myth of only marginal significance to later Norse civilisation

3. the erotic pottery of the Moche, predecessors of the Chimor, who flourished on the coast of northwestern Peru prior to their conquest by the Inca. this post goes a little into the various theories concerning the purpose of the so-called "porn pottery" – I like Larco Hoyle's idea that the pottery (none of which appears to depict penis-in-vagina intercourse) was used by the Moche in order to teach and show methods of natural birth control. but ofc there's a direct analogue in depictions of sodomy on Greek pottery, which doesn't really seem to had served a didactic purpose

4. the Thinkers of Hamangia - not much of a "style" given that it's only these two figurines, I suppose, but these two are my favourite sculptures to come out of Neolithic Europe by far. could write a whole post about them, honestly; definitely among my favourite pieces of prehistoric art in general. afaict, the figurines are nowadays mostly interpreted as a prehistoric equivalent to Gauguin's Where Do We Come From? - I personally prefer to think of them as analogous to his Grape Harvest at Arles

5. cosmetic palettes of late Neolithic Egypt, or what is properly known as the Naqada III phase of Protodynastic Egypt. I just find them to be really pretty – and I kind of love the idea of decorating what is basically a make-up container with depictions of your country's military conquests. the most famous of these palettes is the Narmer Palette; my personal favourite is the Bull Palette, shown on the left. I'd totally use them to mix my kohl

cadaverkeys

fabulous creature?

a-book-of-creatures

fabulous creature...

talonabraxas

Full moon at the Temple of Poseidon in Sounio, Greece

just threw away all my makeup

misscromwellsmonocle

Art in the Age of Digital Puritanism (2022) by Iness Rychlik The artist reposted it in 2024 "because it feels relevant in social media today".

queenofalmosts

fyi donna tartt started the Girl Dinner thing in the goldfinch lmao

superinjun

We Are The Ocean

Ursala Hudson (Tlingit/Filipino/German)

collar: merino wool, silk, steel cones, leather. ravenstail patterns, crochet, basketry twining technique. Woman as a Wave shawl: merino wool, silk, cedar bark. chilkat and ravenstail patterns, crochet, basketry twining technique. Tidal apron: merino wool, silk, leather, steel cones. chilkat and ravenstail patterns.

“We Are the Ocean is an ensemble comprised of a collar, apron (entitled Tidal), and shawl (entitled Woman as a Wave). The collar and bottom edge of the shawl are twined using a basketry technique to bring delicacy to the regalia, made specifically to emphasize the wearer’s feminine essence. In place of the sea otter fur that traditionally lines the top of Chilkat and Ravenstail weavings, the merino weft yarns were used to crochet the collar and shawl’s neck lines, bringing forward and incorporating a European craft practiced by both my maternal (Tlingit/Filipino) and paternal (German) grandmothers. The high neck of the collar gives tribute to the Western aesthetics that have forever influenced the Indigenous cultures of our lands; with grace, we embrace that which cannot be undone, and use our new form to be better. The apron’s pattern was studied and graphed from an old Tlingit cedar bark basket, and represents the tides of our lives, as our lessons continue to arise in a revolving cycle, yet made of new debris. The repetitive pattern of the shawl represents the infinite connectedness of our sisters, mothers, aunties, and daughters. Blue lines break up inverted rows, representing the “past,” “present,” and “future,” acknowledging these concepts as irrelevant constructs that fall away when we commune with the Divine. The entire ensemble is worn to evoke the innate spirit of the Woman as an ethereal deity, that resides within us all.”

classicalcanvas

The Magic Circle (1886) by John William Waterhouse

king-underthe-mountain

Foggy Day in the Faroe Islands.

paintdeath

john galliano autumn/winter 2007-2008

fuckyeahchinesefashion

from silk reeling to fine suzhou embroidery by 许潇潇

daily-memory-of-touch

You thought this was a rabbit? They thought this was a rabbit. That's fucking funny bitch, this is fucking Winnie the fucking Pooh. Yeah. Yeah. Fuck 4th of July