HOW TO DECORATE WALLS WITHOUT PAINTING - HOW TO DECORATE


How To Decorate Walls Without Painting - Decorators Website.



How To Decorate Walls Without Painting





how to decorate walls without painting






    decorate
  • make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"

  • Make (something) look more attractive by adding ornament to it

  • deck: be beautiful to look at; "Flowers adorned the tables everywhere"

  • award a mark of honor, such as a medal, to; "He was decorated for his services in the military"

  • Provide (a room or building) with a color scheme, paint, wallpaper, etc

  • Confer an award or medal on (a member of the armed forces)





    painting
  • A painted picture

  • The process or art of using paint, in a picture, as a protective coating, or as decoration

  • graphic art consisting of an artistic composition made by applying paints to a surface; "a small painting by Picasso"; "he bought the painting as an investment"; "his pictures hang in the Louvre"

  • creating a picture with paints; "he studied painting and sculpture for many years"

  • the act of applying paint to a surface; "you can finish the job of painting faster with a roller than with a brush"





    how to
  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.

  • (How To’s) Multi-Speed Animations

  • Providing detailed and practical advice

  • Practical advice on a particular subject; that gives advice or instruction on a particular topic





    walls
  • A continuous vertical brick or stone structure that encloses or divides an area of land

  • Any high vertical surface or facade, esp. one that is imposing in scale

  • (wall) surround with a wall in order to fortify

  • A side of a building or room, typically forming part of the building's structure

  • (wall) anything that suggests a wall in structure or function or effect; "a wall of water"; "a wall of smoke"; "a wall of prejudice"; "negotiations ran into a brick wall"

  • (wall) an architectural partition with a height and length greater than its thickness; used to divide or enclose an area or to support another structure; "the south wall had a small window"; "the walls were covered with pictures"











how to decorate walls without painting - Abstract Art




Abstract Art Plum Blossom Chinese Feng Shui Painting


Abstract Art Plum Blossom Chinese Feng Shui Painting



Custom made reproduction, please allow 3 weeks for painting and shipping. The pictures shown are of the original painting. Modern abstract art painting HAND PAINTED OIL ON CANVAS. Framed/stretched ready to hang. Chinese cherry blossom painting-Chinese cherry blossom paintings. The cherry blossom is first to bloom in the spring and symbolizes rebirth and growth. Cherry blossoms open before the winter snow has melted. The cherry blossom flower oil painting is a symbol of Life. The cherry blossom flower paintings represent perseverance, beauty, and the urge of living things to fulfill their potential. Chinese flower art- cherry blossom art. Chinese flower paintings and Chinese floral art are the Feng Shui element of Wood. Wood elements will bring wealth luck, health and longevity and positive development.










84% (13)





Vaticano - Stanza dell' Incendio di Borgo




Vaticano - Stanza dell' Incendio di Borgo





Vatican, Stanza dell' Incendio di Borgo.

Fresco painted in 1514-17 by Raphael Sanzio (1514-1517), assisted by his pupil Giulio Romano (ca.1499-1546), displaying Egyptianising figures inspired by the Antinous-telamones that had been found ca. 1450 in the Villa Adriana and till 1779 decorated the entrance to the Episcopal palace of Tivoli.
The two huge Telamones of Antinous now stand at both sides of the entrance to the Museo Pio-Clementino, of the Vatican Museums.
The telamones very probably decorated the Antinoeion, the temple-tomb of Antinous, the ruin of which have been found by the entrance, Grande Vestibolo, to Hadrian's Villa in Tivoli.

"Antinous' tomb"
by Eugenia Salza Prina Ricotti.

"In the year 130 CE, while Hadrian and his retinue visited Egypt and were sailing on the Nile, Antinous fell from the boat and was found dead. What happened and why it happened was, and still is, a mystery. Spartianus and Cassius Dio gave some very incredible explanation for his death, and I don’t believe any of their hypothesis. The only real fact about it, was that his death hit very deeply Hadrian. However he was an Emperor and a jealous guardian of the imperial dignity and for this reason I can’t believe Svetonius when he tells that Hadrian wept his lover with “feminine mourning wails”. At those times women not only wept but did it with very high and shrill moans while they scratched their cheeks and their breasts until they bled. Hadrian, an emperor would never do such scenes. Of course he must have suffered very much but he went on with his tour as if nothing had happened and did not came back to Rome until the 134 CE
Of course before leaving the place where his beloved boy had died he transformed the village, Besa, near which the young man had lost his life in a town called Antinoopolis, and built a beautiful temple dedicated to him, a temple for Antinous, a new god, as he had just been declared by the Egyptians. As a matter of fact this people believed that anyone who drowned in the holy river became a god, and Hadrian, who could never promote his lover-boy to the Greco-Roman Pantheon, needed this deification. As a matter of fact at this moment he would have accepted any kind of Antinous deification, because only this could enable him to erect the monumental tomb he had in mind for him back to Villa Adriana.
I think everybody knew that Hadrian, who had always lavishly buried even his dogs and his horse, and had restored and adorned tombs of people whom he admired as Alcibiades and Pompeius, would prepare a funerary monument for Antinous in his Tiburtine residence. So thought Kahler and so thought Grenier, only they tried to find it in the wrong place. Both of them, as nearly everybody else at this moment, were persuaded that all the Egyptian statues had been found at the nearby Rocca Bruna and at the Canopus and, therefore, that the so called valley was the Egyptian centre of Villa Adriana. With this idea fixed in their mind it was at the Canopus that they searched for Antinous tomb.
Of course it would have been better if, they had spent, as I did, more time studying Piranesi’s map, a survey in which the places where these statues had been excavated were clearly marked with the letters X and Z. Thus it was proved that they were gardens statues from the terraced gardens who stood on top of the hills It would have been even better if they had spent more hours over the 17th and 18th centuries cadastral maps, and had found the real limits of the holy Fathers properties, but as they didn’t do it they ignored that the Jesuits’ area reached up to the wall of the Pecile and that it was while planting there their vineyards, that the holy men had found at least 20 Egyptian statues, an information that was not difficult to acquire, as it was found in a note of Bartoli, a 17th century antiquarian who wrote that ten Egyptian statues had been excavated “Incontro alle Cento Celle”. Grenier knew what Bartoli had written but chose to interpret the Cento Celle as the Canopus’ Guest House ( only 40 room instead of the 125 of the Cento Camerelle), and this brought him to the fantastic reconstruction of the Canopus with the head of the Isis of the Palestra set in a grotto-like niche, such as the ones in which Roman placed Nymphs and monsters and never goddesses, and in every other niche of the monumental nymphaeum all the rest of Egyptian statues he could find, disregarding the places from which they came.
Up to this moment I was not particularly interested in Antinous tomb nor did I certainly dream that I could do another important archaeological discovery in Villa Adriana. But it happened. The tomb of Antinous was one of the researches that attracted the interest of anybody studying Villa Adriana. Now it has been found but it was only the question of the right person, at the right moment, in the right place. I was the right person, but only because I lived in Rome, I surveyed all the 126 hectares of the place, d











Red's juke joint




Red's juke joint





Red’s juke joint just across the tracks—those ubiquitous railroad tracks–in black downtown Clarksdale dubbed “the New World District.” The club is situated, in the words of its proprietor, “with the river behind me and the graveyard in front of me,” and is guarded by the large marble tombstone angel featured in Tennessee Williams’ book…The angel looms, tinged darkly with fine Delta silt, at the corner of Clarksdale’s fenced-in old graveyard. This is where many of the town’s famous planter/founders are buried, their solemn white graves decorated with confederate flags every Fourth of July. “That’s my guardian angel,” says Red from his stool outside the club, a wry smile on his face. His eyes are hidden behind a pair of deep red shades despite the blackness of the night.

At Red’s, the beers are huge and cold and insulated with thick swaths of brown paper towels. The management prefers colored light bulbs, mostly red, that peek out from bends in the walls to give the room a surreal, warm glow. Glossy posters of sexy girls in hot pants are thumbtacked to the walls behind the oriental rug that delineates the stage. At the back of the room, just left of the cove that holds the old pool table, a two-foot-tall mirrored plaque decorates the wall. It reads, “BUDWEISER, King of Beers” and features a silkscreened photo of an African tribal King, complete with war paint and a spear, gazing down at the club’s patrons in a powerful antiphony to the crumbling white angel outside. This was one of a cynical series of advertisements the beer company made for black clubs during the Black Power movement of the 1970s, and they I have seen them frequently both in the juke joints of the Delta and in the little bars in my old neighborhoods in Oakland, California. Red doesn’t seem concerned about the politics of the object. “Don’t mess with me,” he often says, pointing toward the plaque, “Or my Uncle Shaka Zulu up there will get you.”

Just sitting and bullshitting with Red is an incredible experience. He has spent a lifetime developing his “talk,” a skill that he cultivates in others by challenging them regularly. This process involves Red jibing his trainee verbally, usually with a series of clever insults (clothing, intelligence, facial structure, or—in my case–race) meant to be answered with coolness and wit. Over the course of my two years of fieldwork in the Delta, I have enjoyed an increasingly difficult series of such challenges, and although Red often leaves me speechless, we are able to engage each other in this kind of conversation for a few minutes at a time. He has told me before that he likes me because, in his words, I “know how to talk,” but I have noticed that he will often let me get away with stumbling over a response—or staring at him blankly as my mind searches unsuccessfully for one. In this situation, he turns his head and laughs kindly, ending the session without making me too uncomfortable. Or he’ll turn his attention to a less vulnerable target: “You white people sure are actin’ funny these days,” he’ll say as a long-haired light-skinned drunk meanders his way back from the liquor store on a little girl’s pink bike. “Now, I can’t argue with that,” I respond.



Antonio Coburn, Red’s bartender, is a friendly young man with a smiling round face. It’s the end of the night and everyone has a full drink, so he sits down at the little table closest to the end of the bar to join me, another UNC student, a young woman from the neighborhood and Top Notch for a drink. Red and Antonio exchanging verbal jibes in their usual uproarious way. Eventually, I ask the pair if they know any of the old toasts. They exchange a glance but don’t respond. I tell them I know what the toasts are and take a laughable stab at the first stanza of “The Signifyin’ Monkey”: a rhyme I learned from a Rudy Ray Moore film years ago. They laugh knowingly. After a little begging and a promise that I won’t get offended, the bartender gives in and begins “The Signifyin’ Monkey.” The three patrons of the bar pull their barstools up to the little table in the corner of the room as he continues his explicit version of the old rhyme about a shit-talking monkey and his victim, the powerful old lion. His performance is exceptional, rolling rhythmically with the repeated refrain, “This made the lion mad.” Eventually the patrons begin to repeat these words with him, and he continues after each chorus to describe the lion’s unwitting reaction to the monkey’s antics.

There are no clocks, but the performance seems to last around twenty minutes. The audience is attentive and titillated. His response is to launch into a rendition of “Shine and the Titanic” with matching aplomb. We’re not filming yet; I’ve decided to spend some time in our potential documentary sites before pulling out the equipment.











how to decorate walls without painting







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