Reddish ochers primarily contain hematite, Fe 2O 3, whereas goethite, α-FeOOH, is the main Fe-bearing phase in yellowish ochers ( p 70). The hue and intensity of its color result from its mineralogical composition, especially its contents of iron oxides and hydroxides. Geologically, natural red chalk can be classified as a type of ocher ( p 99). FORS presents an interesting option because it allows rapid measurements, is portable, in our setup was contact-free, and could be used for the comparison of the Karlsruhe drawings with authenticated drawings by Piranesi in other collections.įull size image Factors influencing color variation in red chalk These variations are visually differentiable, and can be photographically documented, but those methods are insufficient for the systematic color-oriented comparison of a large number of drawings in numerous collections located far apart from each other. Smudging, whether intentionally performed, or due to wear, lightens the color a darker color and a smoother line are produced as a result of contact with oiled paper when tracing a design, or by the moistening and pressing of a drawing during counterproofing, as has been shown in a study of the 18th-century artist Daniel Chodowiecki (1726–1801). Of special interest in FORS analysis are color variations that result from the compositional differences of the chalks and the additional color variations that result from the artists’ application techniques. This makes the drawings an ideal group for the study of variations in color, especially since they were kept undisturbed in albums since the early nineteenth century. In the Piranesi workshop, where several different draftsmen were employed and closely cooperated, this wide range of red-chalk tonalities appears in a narrowly defined chronological and geographical context. 1), ranging from the bright orange prevailing in many 16th-century drawings to the dark reddish tones of the eighteenth century, found especially in French drawings, as already identified by Meder in 1919 ( p 121). The Karlsruhe drawings illustrate the rich variety of red chalk tonalities (Fig. It was a medium for masters in particular, since the tendency of its fine particles to adhere to the fibers of the paper surface (, p 110) precluded erasure and correction. Red chalk has a high and varied color intensity and is exceptionally useful in the etcher’s workshop for copying and transferring drawings mechanically or via counterproofing. Since this was one of the most versatile drawing mediums used by 18th-century artists, draftsmen, and etchers alike ( p 128, ), it is not surprising that it was favored by Piranesi and his circle. Among the drawings are many that were executed in natural red chalk. These drawings have been reattributed to the Roman workshop of the Italian architect, etcher, and dealer in antiquities Giovanni Battista Piranesi (1720–1778) in 2014. Our work was carried out in the context of a research project funded by the German Research Foundation (DFG), in which three international partners are studying a group of about 300 drawings at the Staatliche Kunsthalle Karlsruhe (see Funding and Acknowledgements). In this study, we examine the viability of fiber optics reflectance spectroscopy (FORS) as a method for differentiating red chalk drawing media on paper. These similarities distinguished the historical drawings from the red chalk mock-up drawings, except for the drawings made with red chalk samples from the area near the town of Theley, Germany, which were shown to bear close similarities to those in the cluster of historical samples. Subsequent FORS analysis of selected original drawings revealed the existence of several closely grouped clusters, implying similarities on the basis of the underlying spectral features among the historical red chalks used in Rome. The compositional differences of these reference chalks were confirmed by X-ray diffraction (XRD) and scanning electron microscopy (SEM). It was possible to sort these mock-up drawings according to chalk type and application technique. The method was tested on mock-up drawings made with recently acquired natural and synthetic red chalks of known origin. The evaluation of spectra was supported by principal component analysis (PCA). The viability of fiber optics reflectance spectroscopy (FORS) for the differentiation of red chalk drawing media was investigated, focusing on the group of drawings from the workshop of Giovanni Battista Piranesi (1720–1778) at the Staatliche Kunsthalle Karlsruhe, Germany.
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The Sun and the Lion The Sun and the Lion symbolize power and authority. There are two archaeological sites in Iran that are thought to have been attributed to Anahita, one in Kermanshah Province and the other in Bishapur. Her sacred animals are the peacock and the dove and she is closely associated with fertility, wisdom and healing. In ancient Persia, Anahita was highly popular, appearing in many eastern religions. She came to be connected with ancient Persian warfare since the soldiers would pray to her before battles for their survival. Associated with waters, rivers, and lakes of birth, she is a war goddess and the patroness of women. She ruled the stars and is depicted with wings, accompanied by two mighty lions.Īnahita is most often pictured as a virgin, wearing a golden cloak and a diamond tiara. She is also known by many other names such as the Lady of the Beasts, the Fertility Goddess, and the Goddess of the Sacred Dance. The Water Goddess of Persia: AnahitaĪnahita is the ancient Indo-Iranian Persian goddess of all the waters upon the Earth. The Faravahar is the most powerful spiritual symbol of Iran, often worn as a pendant among Iranians as well as Kurds and Zoroastrians and has become a secular cultural and national symbol. The ring in the center symbolizes the eternal nature of the soul or the eternity of the universe. Zarathustra was a great teacher as well as a philosopher and a messenger of good life, peace and eternal love, who is believed to be the founder of Zoroastrianism.Īccording to Zarathustra, the seated male figure in the Faravahar is that of an old man, who is said to represent wisdom of age and three main feathers on each of the wings represent three symbols of good deeds, good words and good thoughts. It is believed that the Faravahar represents Zarathustra’s principles of ‘Good Thoughts, Good Words and Good Deeds’. Although the ancient Persians created this symbol, what it actually meant to them is still unknown to this day. The Faravahar (also called the ‘falcon’) is the best-known ancient symbol of Persia, comprising a winged sun disk with a seated male figure at its center. These symbols came to be regarded as significant pillars of the history of ancient Persia and some of them are still used in Iran and around the world. In this article, we’ll be taking a look at some of the most popular Persian symbols. Even today, these symbols inspire the imagination and are part of the fabric of global culture. The ancient Persians used complex astronomy and geometrical mathematics and their art focused on stylized representations of imaginary and real creatures such as lions, griffins, peacocks and phoenixes. The Persian capital was called Persepolis, where the fragmented remains show how advanced the Persian civilization was. When we say Persia today, we refer to Iran, which was the heart of the Persian empire. These have carried their legacy into the modern times as well, gaining popularity over the years.Īncient Persia was located in the Middle East, covering large swaths of land that have since fragmented into several countries. The Water Goddess of Persia: AnahitaĪncient Persian symbols are known to be both mystic and majestic, seen dominantly in ancient lithographic scriptures. That type of video could cost a considerable amount of dollars to produce. Well, switch on your TV, and you will probably watch many video ads. You might wonder how powerful it can be to use ad videos to sell a product or even advertise a corporation. We add new animation templates to the website daily some have been created based on company ideas. Our firm has hired a dedicated group of talented video creators who work hard to make new animation video templates for insertion into our online video production company. 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Use our Simple Logo Animation Maker to Animate Your Logo Online Firstly, the computer needs to enter BIOS configuration.Note: Disable VMD technology will make your computer can’t utilize RAID Array. If you still cannot find the disk drive during Windows installation, consider referring to this section: Disable Intel Volume Management Device (VMD) technology to continue with the installation of Windows.ĭisable Intel Volume Management Device (VMD) technology Once the driver installation is complete, the disk drive will be displayed normally.Select ⑤, and then click ⑥ to start installing the driver.Find the folder where you extracted the IRST driver earlier, select the folder ③, and then click ④.When you see the screen “Where do you want to install Windows” and Windows cannot find any drives, please click ①.If you need to know how to install Windows 11/10 using installation media, please refer to this article: How to use installation media to install Windows 11/10. 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