casual reminder that this museum has their entire collection digitized and available free for public use: https://art.thewalters.org/ and they have armor/weapons there
Chinese hanfu | Mofu陌腹, a layering piece in Hanfu, can be worn around the chest or waist for both decoration and warmth, and are commonly seen in Tang Dynasty.
Difference between Ming dynasty's Zimukou子母扣(mother-child clasp) and Qing dynasty's Wugongkou蜈蚣扣(centipede clasp).
Zimukou子母扣 made by hanfu studio 林仙阁↑
In the early Ming Dynasty, fabric knot buttons did appear but were rare and used only in specific contexts. Among surviving Ming artifacts, only several examples feature short, horizontal fabric knot buttons on the front—both from the early Ming period when clothing norms were still transitioning and Yuan Dynasty stylistic influences lingered. Such transitional clothing elements are common during dynastic shifts. So, fabric knot buttons are indeed part of Hanfu accessories, but these buttons are noticeably different in form from the wugongkòu (centipede clasp). The aesthetic principle for Ming-style buttons was to blend seamlessly with the garment.↓
Emperor Hongwu promoted a cultural revival, abandoning the coarse fabric knot buttons of Yuan style and replacing them with concealed "niǔpàn" (hidden cloth loops). The later appearance of "zimǔkòu" (linked metal clasps) represented a qualitative innovation built upon this foundation. By applying gilding and cloisonné enameling to button ornaments, Ming China popularized functional button use 1–2 centuries earlier than Europe. By the 15th–16th centuries, Ming China had already achieved a global lead in both technical sophistication and aesthetic refinement in button design.
hello fellow artists. google has fallen. pinterest/duckduckgo AI filters don't work. do not despair; here is a list i made of places to find reference images without having to sift through piles of worthless garbage. (for future editing convenience i am just linking my blog post on dreamwidth.)
✨ good places to find art reference that are not full of AI trash 🌈
I saw and reblogged this one a while back, but it’s always worth repeating, and this time I’m adding a bit of background info comparing common fantasy sword features to the Real Thing (with pictures, of course.)
Leaf-bladed swords are a very popular fantasy style and were real, though unlike modern hand-and-a-half longsword versions, the real things were mostly if not always shortswords.
Here are Celtic bronze swords…
…Ancient Greek Xiphoi…
… and a Roman “Mainz-pattern” gladius…
Saw or downright jagged edges, either full-length or as small sections (often where they serve no discernible purpose) are a frequent part of fantasy blades, especially at the more, er, imaginatively unrestrained end of the market.
Real swords also had saw edges, such as these two 19th century shortswords, but not to make them cool or interesting. They’re weapons if necessary…
…but since they were carried by Pioneer Corps who needed them for cutting branches and other construction-type tasks, their principal use was as brush cutters and saws.
This dussack (cutlass) in the Wallace Collection is also a fighting weapon, like the one beside it…
…but may also have had the secondary function of being a saw.
A couple of internet captions say it’s for “cutting ropes” which makes sense - heavy ropes and hawsers on board a ship were so soaked with tar that they were often more like lengths of wood, and a Hollywood-style slice from the Hero’s rapier (!!) wouldn’t be anything like enough to sever them. However swords like this are extremely rare, which suggests they didn’t work as well as intended for any purpose.
I photographed these in Basel, Switzerland, about 20 years ago. Look at the one on the bottom (I prefer the basket-hilt schiavona in the middle).
A lot of “flamberge” (wavy-edge) swords actually started out with conventional blades which then had the edges ground to shape - the dussack, that Basel broadsword and this Zweihander were all made that way.
The giveaway is the centreline: if it’s straight, the entire blade probably started out straight.
Increased use of water power for bellows, hammers and of course grinders made shaping blades easier than when it had to be done by hand. This flamberge Zweihander, however, was forged that way.
Again, the clue is the centre-line.
Incidentally those Parierhaken (parrying hooks - a secondary crossguard) are among the only real-life examples of another common fantasy feature - hooks and spikes sticking out from the blade.
Here are some rapiers and a couple of daggers showing the same difference between forged to shape and ground to shape. The top and bottom rapiers in the first picture started as straights, and only the middle rapier came from the forge with a flamberge blade.
There’s no doubt about this one either.
The reason - though that was a part of it - wasn’t just to look cool and show off what the owner could afford (any and all extra or unusual work added to the price) but may actually have had a function: a parry would have been juddery and unsettling for someone not used to it, and any advantage is worth having.
However, like the saw-edged dussack, flamberge blades are unusual - which suggests the advantage wasn’t that much of an advantage after all.
Here’s a Circassian kindjal, forged wiggly…
…and an Italian parrying dagger forged straight then ground wiggly…
There were also parrying daggers with another fantasy-blade feature, deep notches and serrations which in fantasy versions often resemble fangs or thorns.
These more practical historical versions are usually called “sword-breakers” but I prefer “sword-catcher”, since a steel blade isn’t that easy to break. Taking the opponent’s blade out of play for just long enough to nail him works fine.
NB - the curvature on the top one in this next image is AFAIK because of the book-page it was copied from, not the blade itself.
The missing tooth on that second dagger, and the crack halfway down this next one’s blade, shows what happens when design features cause weak spots.
So there you go: a quick overview of fantasy sword features in real life.
Here’s a real-life weapon that looks like it belongs in a fantasy story or film - and this doesn’t even have an odd-shaped blade…
Just a very flexible one…
If you want more odd blades, Moghul India is a good place to start…
If I tell you this is a horror dance number it still won't prepare you. That last move was so terrifying even the judge was like "Let go! Let go!" If you told me they're actually possessed I'd believe you.
The music is a remix of the song Mere Dholna from the Bollywood movie Bhool Bhulaiyya, a remake of the classic Malayalam horror-comedy Manichitrathazhu. It's about a young bride that seemingly becomes possessed of Manjulika, a dancer of the ancient royal court whose tragic death has turned her into a vengeful spirit, one who evokes the wrath of the goddess Durga Kali. In the iconic scene that is repeated across remakes, the groom and his family discover his bride dancing in the dead of night in a manic, disassociative fugue, wearing a moth-eaten dancer's costume and a face smeared in kohl, ash and vermilion. She's hallucinating that she's Manjulika dancing carefree for the court with her lover. The upbeat music is deliberately incongruous with the pathos and creepiness of the scene in reality, especially as it crescendos in the bride's head to the moment when the king decapitates Manjulika's beloved in a fit of jealous rage.
This specific number is by the all-male troupe B Unique, performed for the Indian reality talent contest Hunabaarz. It's a modern fusion based on Bharatnatyam that turns up the creep factor by 200% and is basically a showcase of contortionism and synchronicity. One of the most perfectly choreographed and executed dances I have ever seen. Truly incredible!
The group is still taking their work across the world's talent shows. And yes, that guy is hypermobile enough to do that with his neck. XD
As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.
Interior Design Terms
Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.
Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.
Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.
Gilding: the use of gold to highlight features.
Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.
Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.
Bay Window: The Bay Window is a window projecting outward from a building.
Frescos: A design element of painting images upon wet plaster.
Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.
Mouldings: ornate strips of carved wood along the top of a wall.
Wainscoting: paneling along the lower portion of a wall.
Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.
Clerestory: A series of eye-level windows.
Sconces: A light fixture supported on a wall.
Niche: A sunken area within a wall.
Monochromatic: Focusing on a single colour within a scheme.
Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.
Baluster: the vertical bars of a railing.
Façade: front portion of a building
Lintel: Top of a door or window.
Portico: a covered structure over a door supported by columns
Eaves: the part of the roof overhanging from the building
Skirting: border around lower length of a wall
Ancient Greece
Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.
Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.
Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.
Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.
Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.
Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.
Ancient Rome
Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.
Ancient Egypt
Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.
Ancient Africa
African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.
Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.
Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.
Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal
Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition
Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.
Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.
Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.
Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.
Islamic World Interior
The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.
Byzantine (330/395–1453 A. D)
The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.
Indian Interiors
India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.
The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.
Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.
Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.
Chinese Interiors
Common features of Chinese Interiors
Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.
Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.
Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).
Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.
Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.
Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.
Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.
Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.
Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.
Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.
Romanesque (6th -11th century/12th)
Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.
Gothic Architecture (12th Century - 16th Century)
The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.
Mediaeval (500 AD to 1500)
Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.
Renaissance (late 1300s-1600s)
The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.
Tudor Interior (1485-1603)
The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.
Baroque (1600 to 1750)
The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.
Victorian (1837-1901)
We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.
This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.
Art Deco (1920s-1930s)
The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.
Modernism (1930 - 1965)
Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.
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