art-roman

not to poke the hornet’s nest again but I finally found better words to describe what pisses me off about the design of female characters in smite and why “it’s lore-accurate” or “i know people irl who look like that” isn’t a legitimate defence.

First of all, take Aphrodite for an example. Aphrodite is a character who is deeply associated with and representative of sex and love, and was often represented scantily clad or completely nude in Greek and Roman art (though obviously she would have been called Venus in Rome). If you’re just looking at it on a surface level, or if you’re a fucking idiot like that game theory dude, you can be like “well she’s naked normally so her design in Smite is obviously fine since it’s accurate” but that’s wrong.

Nudity in ancient Greek art is not inherently sexualized, and when it is meant to be sexual it’s done so BECAUSE IT’S THE GODDESS OF SEX AND LOVE. The design of Aphrodite in Smite is literally straight up commercial sexualization. It’s why she and Neith are in all the browser ads you’d see for the game all over the place. The same goes for virtually every girl in Smite apart from a few notable exceptions like Bellona (who still has the “titty plate” trope in her armour design) and Amaterasu.

Lore doesn’t factor into the design of most of the female characters in Smite. They look like they do because Hi-Rez’s goal is to make what their demographic finds to be appealing, sexually, and capitalize off of it. As long as the characters’ glorified lingerie LOOKS Greek, looks Chinese, looks Egyptian, etc etc, they’ll consider that a job well done and finish the visual design portion of the character.

It DOESN’T MATTER whether the character is meant to be a seductress like Da Ji, or a goddess of war and death like the Morrigan, or a personification of the Night itself. The reason Hi-Rez sexualizes all of its characters is not remotely to do with lore, it’s to capitalize off of horny 15-year-olds.

If you’re defending these goddesses’ designs you’re just buying into it, plain and simple

the-crimsonight  asked:

How was Italy? What was your favorite part of the trip? (Glad you're home)

Italy was a lot of fun! My favorite part was the art, honestly. And the Roman ruins. And the cats. And the food. And the

If the Arch of Titus looks familiar to you, it’s probably because the monument is the inspiration for Paris’ Arc de Triomphe. 

Arch of Titus, Rome, Italy 

Ancient Jewelry Replicas on Etsy

In the past, a few people have asked me where they can find ancient jewelry for sale. While auction houses such as Christie’s, Bonhams, and Sotheby’s certainly offer ancient jewelry in their lots, not everyone can afford to buy genuine artifacts, myself included! I’ve thus done quite a bit of online sleuthing, searching for high-quality reproductions, and I thought I’d share what I’ve found with you all. Happy shopping!

Ancient Jewelry

Ancient Coins

  • Golden Artifacts (Greek and Roman coins)
  • Ancient Legends (mostly Roman, Greek, and Byzantine, but some Jewish and Biblical coins too)
  • Antiqua Nova (mostly Greek and Roman, with later European coins too)
  • Vibraa (Greek replica coins turned necklaces)
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Theatre of Hierapolis

Hierapolis, Phrygia, Turkey

206 CE

12,000 seats


The theatre at Hierapolis was built in the second century AD under the Roman Emperor Hadrian during a period of extensive rebuilding following a devastating earthquake in 60 AD. It was later renovated under Septimus Severus (193-211 AD). At this time, the scaenae frons was modified and decorated with elaborate limestone and marble carvings. Although the exterior is relatively unassuming as viewed from the front, the interior contains one of Anatolia’s most complete and best-preserved collection of Greco-Roman theatre decorations. In 343 AD the scaenae was renovated and the orchestra was altered so that it could hold aquatic displays. In the later years of the Roman Empire the orchestra was converted into a cellar. Renovation work since 1977 has restored many of the arches and a portion of the stage floor. Prior to this date, the stage as well as its arched support system lay in ruins. Recent archaeological evidence shows that the theatre was in use through the 5th and into the 6th century AD. In 532 AD the scaenae, which had been weakened by seismic activity, was repaired.

Ancient Roman mosaic, depicting a skeleton (perhaps a memento mori) above the Greek maxim from Delphi γνῶθι σεαυτόν (”know thyself”).  Artist unknown; 1st cent. CE (?)  Found during excavations at the convent of San Gregorio on the Via Appia, Rome; now in the National Museum, Rome.  Photo credit: Lessing Photo Archive.

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Measuring the Universe, Roman Ondak

Starting as an empty white room, Roman Ondak’s Measuring the Universe at Tate St Ives has grown through the contribution of around 90,000 participants to a constellation of black marks. 

Through the simple action of measuring oneself, Ondak’s work doesn’t just expand on ideas of space and the universal but also the personal, creating a growing living artwork that questions just what a museum is for.

Instagram.com/wetheurban

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Necropolis of Hierapolis

Hierapolis, Phrygia, Turkey


The necropolis is one of the best preserved and extensive of its kind in the world. This city of the dead contains tumuli, sarcophagi and house shaped tombs lying stretched along both sides of the road extending 2km to the north. Most of about the 1200 tombs were constructed with local varieties of limestone. The extent of this necropolis attests again to the importance Hierapolis had in the Antiquity. It is worth taking one’s time to wander amongst the tombs, that date from antiquity to early Christian times, and marvel at the ostentation that these residents of Heirapolis afforded to their tombs. It has a fairyland quality.

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Temple of Zeus

Aizanoi, Turkey

2nd century CE

35 m × 53 m

The construction of the temple, which was the main religious sanctuary of the city, started in the last half of the 2nd century AD. The preserved inscriptions indicate that emperor Hadrian was responsible for its commission.

The temple stands on a many-stepped podium and was built of marble. It is surrounded by a peristasis in a pseudodipteral arrangement, originally with 15 Ionic columns on its long side and 8 on the short side. The podiom itself measures 33 X 37 meters. Nowadays, only the columns on the western and northern side are still standing.

The temple was dedicated to two deities. Zeus - the ruler of the Olympians - was worshipped in its aboveground section, and the underground part of the building was the place of Cybele cult. Stylistically, the part dedicated to Zeus was built in accordance with the Greek patterns and the underground section - with the Roman ones as the barrel vaults are clearly visible.

The battle scenes depicted on the walls of the building come from much later period. They were made by the Tatars and illustrate their lives and battles fought in the 13th century AD. Nearby the entrance to the temple grounds there is an enclosed area where some interesting fragments of temple decorations are collected. Opposite the temple there are the remains of a small bouleuterion, but its history remains unknown.