조선시대 Pentiment / Joseon-dynasty Pentiment
Beatrice & Prester John (style experiment)
The art style is too modern for 16th century, but I took a lot of inspiration from "Lovers Under the Moon" by Shin Yun-bok (월하정인 月下情, 신윤복) for Beatrice and various kings' portraits from late Joseon for Prester John (his clothing is based on Silla clothing)
Beatrice's original design looks like she's wearing a barbette (?) and I debated on giving her a 처네 or 쓰개치마, but I decided on the latter and merged it with her original laurel wreath.
I only finished these two, but maybe I'll clean up some of my other sketches.
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Erich Dieckmann - Bauhaus Development of a Metal Tube
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INANIMATE INSANITY2 15 SPOILERS
(kinda.)
FINAL 2
Oh my god I don't even know what to say about II2 15 I'm kind of disappointed that we're going to the final 2 that fast I did predict that suitcase and knife would be finalists but not that fast But otherwise it's great and it has my favorite song in the show like IT'S SO GOOD AAAAAH Sorry for not uploading anything lately, I just didn't feel like drawing lmao
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chair
la silla
Try to think of a silly chair.
Sounds like ‘see ya’: Imagine your chairs catching life and marching off saying “See ya!”.
If you know the word ‘la chica’: imagine a girl sitting on the chair.
The chair is outside the living room.
La silla está fuera de la sala de estar.
Picture: Wary Meyers Tongue Chair
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"Si está tarde me sentará en una silla a tu lado a mirar el atardecer, sería la sensación más maravillosa para mi alma"
- Scarlett Witch
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Ceremonial silver dippers, 5th C. BC Korea
Silla culture - Hwangnamdaechong Tomb
Gyeongju National Museum
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The customary plot of a Sulla opera (whether Handel's 1713, Graun's 1753/1783, or Mozart's/Bach's 1770s) is centered around Sulla trying to fuck and/or marry an unwilling girl (in the latter two operas, daughter and bride of his civil war enemies). This plot is not based on any episode of Sulla's life: the Tarquin tendencies are ascribed to opera Sulla to make more apparent his usurpation of power in Rome - let him who is a tyrant act like one.
In my opinion, it is interesting to look at La morte di Cesare (1788) in comparison with the Sulla operas because I think it has a more subtle and subtextual*, but ultimately similar attitude of Caesar towards Brutus. He wants Brutus to love him; if rejected - resorts to threats, going into fits of rage reminiscent of Mozart's Silla. So I would say Caesar's side of the dynamics is pretty similar to Sulla in the aforementioned operas; Brutus' is completely different. The operatic Ottavia and Giunia abhor Sulla and perceive him as an enemy from the get-go; Brutus, on the other hand, is inclined to trust Caesar, admire him, and excuse him repeatedly.
It makes the contrast quite striking: Sulla repents and retires when no one thinks him capable of it; Caesar will not perform the redemption finale despite Brutus trying to make it happen for most of the opera.
*Subtextual: until Cassius starts yelling. Cassius does not tolerate subtext and has no problem dragging implications into plain sight.
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