To see the other types of publications on this topic, follow the link: Painted objects.
Dissertations / Theses on the topic 'Painted objects'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 16 dissertations / theses for your research on the topic 'Painted objects.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gatenby, Susannah Lija, and n/a. "The identification of traditional binders used on Australian Aboriginal painted objects prior to 1970." University of Canberra. Applied Science, 1996. http://erl.canberra.edu.au./public/adt-AUC20060711.130218.
Full textAbstract:
Many painted objects within ethnographic collections suffer
from paint loss. In the past, assumptions have been made that
this phenomenon was caused by a low binder concentration,
although binder presence had not been investigated, confirmed
or it's type identified.
Simple laboratory methods which can detect the presence of
binders on a painted object are outlined. They are based on
tests developed for the medical industry and modified by the
author for routine use in conservation. Methods presented
outline procedures to identify three broad chemical groups of
binders used in the manufacture of traditional Australian
Aboriginal painted objects :
1. lipids (fats and/or oils) using Sudan Black B
Bromination test and the Sigma GCI Triglyceride test;
2. proteins (egg and blood) using Sulphosalicylic Acid
test, Sigma GCI Protein test and the GCI Heme test;
3. carbohydrates (honey and orchid juice) using the Sigma GCI
Glucose test.
Close comparison was found between the reported binders used on
certain object types and those identified.
Literature findings based on anthropological information on
binders and pigments are summarised. They indicated that fat or
oil binders have higher binder concentrations than originally
expected. Rapid lipid binder deterioration has lead to their
present matte appearance. Compared to protein and carbohydrate
binders, used as a paint vehicle or facilitator and/or for
symbolic representation (blood), where used on a range of
ceremonial objects with no long term expectancy and therefore
no requirement to adhere or bind the pigment. The concept of
"effective" binder concentration as opposed to low binder
concentration is discussed.
Implications of these findings of binder presence are discussed
and considerations for preservation and conservation
treatments, which involve consolidation are outlined.
2
Shaheen, Islam. "Study of the most effective analysis procedures using multispectral imaging techniques on ancient egyptian painted objects." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29337.
Full textAbstract:
Multispectral imaging (MSI) used as Initial studies to identify and study painted layers as a
non-destructive method. The use of MSI to tentatively identify pigments has an important
advantage justifying its application the rapid and low-cost survey of large areas.it is possible to
tentatively identify some historical pigments and discover the invisible layers, painting and
writing. By means of MSI performed with simplified equipment and without the aid of imaging
analysis software.
The two selected objects from the Grand Egyptian Museum collection were rich in
pigments, first object is polychrome anthropoid wooden coffin lid (GEM No. 22452) the date
back to 21st Dynasty (c. 1070 - 945 B.c.) Late period, which belong to the collection of Bab el-
Gusus tomb and the second is a Cartonnage mummy trappings on linen (GEM No. 8615) date
back to27th dynasty, late period.
Different imaging techniques of multispectral imaging like ultraviolet methods (UVF, UVR,
and UVRFC) and Infrared methods (IRF, IR, IRFC and IRT) will be studied and evaluated
regarding to the efficiency and effectively. Mixing between multispectral imaging and
Reflectance transformation imaging will be applied and tested by mix and match between these
two techniques we can add value for the results we can get. Several methods will be applied
practically to have the required results for evaluating these methods. X-ray fluorescence (XRF)
spectrometry was used as a complementary analysis for the identification of the pigments.
3
Odegaard, nancy Nell, and n/a. "Archaeological and ethnographic painted wood artifacts from the North American Southwest : the case study of a matrix approach for the conservation of cultural materials." University of Canberra. Applied Science, 1996. http://erl.canberra.edu.au./public/adt-AUC20060822.132115.
Full textAbstract:
This study examines and demonstrates the value of a matrix approach in the
discipline of conservation and the concerns specific to the conservation of
archaeological and ethnographic objects. The chapters identify the relevance of
the matrix to current conservation practices through a history of artifact
conservation and a discussion of the factors that compromise the conservators'
role in the study and preservation of material culture. The discussion evaluates
the nature of systematic research collections, the impact of legal issues, and the
ethics of including cultural context as important aspects in the development of
the matrix approach.
The matrix approach provides the conservator with a number of variables or
categories of information that may assist in the determination of an appropriate
conservation process. In this study, the matrix approach was tested on a
number of artifact objects. To provide a common link, all of the objects were
characterized by paint on some form of cellulose (wood or a wood-like
substrate). The object cases were from both ethnographic and archaeological
contexts, and the work involved both laboratory procedures and consideration
of non-laboratory (i.e. legal, cultural, ethical) aspects. The specific objects
included (1) a probable tiponi of archaeological (Anasazi culture) context, (2) a
group of coiled baskets of archaeological (Mogollon culture) context, (3) a
kachina doll of ethnographic (Hopi culture) context, (4) a group of prayer
sticks of archaeological (Puebloan and Tohono O'Odham) context, and (5) a
fiddle of ethnographic (Apache culture) context.
By recognizing the unique and diverse aspects of anthropology collections, the
conservator who uses a matrix approach is better equipped to work with
archaeologists on sites, with curators and exhibit designers in museums, and
with claimants (or the descendants of an object's maker) in carrying out the
multiple activities frequently involved in the conservation of objects as they
exist in an ever broadening and more political context.
4
Tongo, Gizem. "Ottoman painting and painters during the First World War." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:93232fd7-f634-4b8c-a6f7-16e7eb13b179.
Full textAbstract:
This study focuses on the Ottoman art world during the First World War and explores how the war changed the conditions of art production, its agents, and the art itself between 1914 and 1918, a topic that has remained peripheral to international cultural histories of the First World War and modern art more generally. In modern Turkish history and art history too, the art of the war years has either been overlooked - buried in the images of the Independence War that followed - or distorted for ideological purposes - emphasizing the militaristic and pro-war aspects of wartime artworks and marginalizing or excluding non-Muslim Ottoman artists from the story. This study details the diverse institutions, exhibitions, patrons, collectors, critics, and artists who made up wartime Ottoman art world, as well as the rich variety of visual images produced during the war years, from popular illustrations to easel paintings. During the war, like other belligerent governments, the Ottoman state and semi-official patriotic associations commissioned artists to produce war-related works for internal and international propaganda purposes and, as the war progressed, as a historical record of national endeavour. Whilst some Ottoman artists gained a more popular appeal via the propagandistic wartime mass culture, the current of ethnic Turkism which fed into this posed a major challenge to the empire's well-established cosmopolitan artistic milieu. Above all, this study reconsiders the view that propaganda, jingoism, and militarism entirely dominated the cultural scene between 1914 and 1918, recovering how Ottoman artists' paintings often figured the struggles of soldiers in battle and of civilians on the home front in ways that were, if not openly pacifistic, more complex and ambivalent than later mythmaking allowed. The thesis hopes to make original contributions to the history of modern Ottoman/Turkish art, the social history of the Ottoman home front, and the international cultural and art history of the First World War.
5
Bi, Huichao. "Corrosion protection by paint : cathodic disbonding." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:b92b86b0-abb0-4945-8f07-f394b9e9eb5b.
Full textAbstract:
This work investigated cathodic disbonding of an unpigmented phenalkamine-cured epoxy coating on mild steel, EC, exposed to 3.5 wt.% NaCl solution. Scanning Acoustic Microscopy (SAM), Scanning Kelvin Probe (SKP), Electrochemical Impedance Spectroscopy (EIS) and optical microscopy have been combined to conduct this study. Several factors affecting the cathodic disbonding process: Film thickness, Cation mobility, Electrolyte concentration, Temperature, Paint composition, Polarisation and Open circuit potential, have been investigated. SAM results show that the disbonding of EC with a linear scribe spreads outwards from the defect with blisters forming at the anodes (as shown in SKP potential maps) within the disbond. The disbonded region does not correspond to complete adhesion loss as verified by peel-testing. Semi-immersion tests show that disbonding under full- and semi-immersion conditions have similar behaviours and both follow parabolic kinetics indicating the disbonding is likely to be controlled by a transport process along the coating/metal interface. An intact epoxy coated mild steel panel coupled with bare mild steel shows that the cathodic reaction beneath the coating obeys Tafel law. A mathematical model simulating cathodic disbonding which produces realistic potential files and shows the oxygen reduction is mostly located near the disbond mouth has been developed.
6
Shaik, Asif ur Rahman. "Real time video segmentation for recognising paint marks on bad wooden railway sleepers." Thesis, Högskolan Dalarna, Datateknik, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4204.
Full textAbstract:
Wooden railway sleeper inspections in Sweden are currently performed manually by a human operator; such inspections are based on visual analysis. Machine vision based approach has been done to emulate the visual abilities of human operator to enable automation of the process. Through this process bad sleepers are identified, and a spot is marked on it with specific color (blue in the current case) on the rail so that the maintenance operators are able to identify the spot and replace the sleeper. The motive of this thesis is to help the operators to identify those sleepers which are marked by color (spots), using an “Intelligent Vehicle” which is capable of running on the track. Capturing video while running on the track and segmenting the object of interest (spot) through this vehicle; we can automate this work and minimize the human intuitions. The video acquisition process depends on camera position and source light to obtain fine brightness in acquisition, we have tested 4 different types of combinations (camera position and source light) here to record the video and test the validity of proposed method. A sequence of real time rail frames are extracted from these videos and further processing (depending upon the data acquisition process) is done to identify the spots. After identification of spot each frame is divided in to 9 regions to know the particular region where the spot lies to avoid overlapping with noise, and so on. The proposed method will generate the information regarding in which region the spot lies, based on nine regions in each frame. From the generated results we have made some classification regarding data collection techniques, efficiency, time and speed. In this report, extensive experiments using image sequences from particular camera are reported and the experiments were done using intelligent vehicle as well as test vehicle and the results shows that we have achieved 95% success in identifying the spots when we use video as it is, in other method were we can skip some frames in pre-processing to increase the speed of video but the segmentation results we reduced to 85% and the time was very less compared to previous one. This shows the validity of proposed method in identification of spots lying on wooden railway sleepers where we can compromise between time and efficiency to get the desired result.
7
Brown, Ruth Katharine. "The rise of the leisure painter : artistic creativity within the experience of ordinary life in postwar Britain, c. 1945-2000." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f9bec84-094e-4ec9-b36a-3b66e9330076.
Full textAbstract:
Since John Ruskin and William Morris's protestations against mass production in the nineteenth century, critics of mass consumption thought that it not only reduced the necessity, but also the desire, to make things for personal use and enjoyment. The history of leisure painting in art societies and adult education, and of the amateur artist’s consumption of art materials and self-help literature, shows that, on the contrary, affluence both inspired and facilitated a quest for self-actualisation amongst the rank and file. Creative activities such as drawing and painting served this quest at little financial cost to the individual. Following the Second World War, a significant increase in the take-up of leisure painting was encouraged by the state as part of the broader postwar settlement. The pursuit of personal wellbeing through creative activity was regarded as a public good, of benefit not only to individuals but also to the communities of which they were a part. In the last quarter of the twentieth century, state support for recreational pursuits such as leisure painting was pared back: in the shift from collectivist social democracy towards individualist market liberalism, personal enjoyment was recast as a private affair for which the consumer must pay. Painting continued to grow in popularity, supported by expanding consumer markets in self-help literature and affordable art materials. Yet while consumerism sustained the popularity of amateur art-making, the ways in which amateur artists participated in the arts changed. Personal creativity emerges here as an inherently social activity: the private experience of creativity is mediated and structured by society. Consumerism was not bad for personal creativity per se, but the replacement of a communitarian approach with a consumerist model restricted the breadth and reach of creative aspiration nurtured as part of the postwar settlement. By the end of the century, most amateurs were painting alone.
8
O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.
Full textAbstract:
This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
9
Premeaux, Benjamin. "Forgotten Memories." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/84.
Full textAbstract:
Memories are experiences that are removed from our present time and space. The images I create are also removed; they are of a specific time and place, an instant or series of instances captured. The work I have produced in this program is an amalgamation of two artistic media, photography and paint. I choose to layer images to emphasize the complexity of experiences and to illustrate a sense of time. The combination of a mechanical and a handmade object emphasizes the intricacy of our experiences. What is revealed is a combination of color and image that creates multiple compositions within the whole. Layering paint with photography and sculpture allows me to continue to experiment and explore the variety of media that I find most interesting. I draw inspiration from many artists including Jackson Pollack, Willem DeKooning, Richard Diebenkorn, the Starn Twins, David Hockney and Frida Kahlo.These influences and my own interpretations are what makes my work my own.
10
Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.
Full text
11
Gehling, Maurício Bammann. "Normalpaint: uma ferramenta interativa de pintura de normal maps em modelos 3D." Universidade do Vale do Rio do Sinos, 2007. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2239.
Full textAbstract:
Made available in DSpace on 2015-03-05T13:58:26Z (GMT). No. of bitstreams: 0
Previous issue date: 28Bolsa para curso e programa de Pós Graduação
Este trabalho apresenta um novo modelo de criação e alteração de mapas de normais, usando uma interface intuitiva que se assemelha a um sistema de pintura. Estes mapas são cruciais para aplicações gráficas, processadas em tempo real, que buscam maior realismo visual. Principalmente jogos digitais atuais se utilizam desta tecnologia, permitindo recriar o visual complexo de um modelo geométrico tridimensional com muitos polígonos, em um modelo simplificado. Desta forma o jogo utiliza somente o modelo mais leve para processar, mas consegue renderizar detalhes no objeto que criam a ilusão de complexidade geométrica. O processo original de criação deste mapa de normal (também conhecido como normal map), é muito trabalhoso. Um artista deve criar o modelo otimizado que será utilizado pelo jogo, além de outro modelo que contém tantos detalhes geométricos quantos forem desejados. Este último modelo servirá apenas como base para a criação do normal map, utilizando algum software 3D que contenha uma ferramenta para
This work presents a novel model of creation and modification of normal maps, using a intuitive interface similar of a paint system. These maps are crucial to graphical applications, processed in real time, that claims better visual realism. Most digital games use this technology, allowing the recreation of the visual complexity of a dense geometric 3D model, in a simplified model. That way game utilize only the lighter model to process, but can render the details on the object that create the illusion of geometric complexity. The creation process of this normal map is very labor intensive. An artist must create the simplified model that will be used in game, besides another model that is as complex as desired. This last model will be used only as a reference to extract the normal map in a 3D software. Then the normal map is applied in the simpler model, that is rendered with the visual detail the normal map represent. This work presents a computacional model that propose the concept of eliminate the creati
12
Caudill, Ross Steven. "Ross Caudill MFA Sculpture 2006." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1407.
Full textAbstract:
This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.
13
Mazurová, Lenka. "Multifunkční kulturní centrum "Creative City" Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394024.
Full textAbstract:
The aim of the Master thesis project is a reconstruction of former prison in Soudní street in Brno. The current building is a historical construction from 18th century and contains chapel. This building has an extension, which closes the block from the Bratislavská street. The prison has square layout with two inside yards and one yards between prison and the extension. The design contains new usage of the current spaces with extension of new floors on the prison building, demolition of the current extension from the Cejl street and construction of new building on created new space. On the current building is designed two floor structure from the Soudní street, the rest of the building has one floor. New administrative construction is connected with the old building by a bridge. The main purpose of new creative centre are spaces for artists, painters, architects, alternative actors, newspaper publishers, starting businessmen and other functions that relates to operation of the building. Other functions are living, permanent and temporary, atelier for public and cooking institute.
14
Huang, ilanson C., and 黃志偉. "Object-Oriented Simulation Modeling and Application Analysis for Automobile Manufacturing Paint Shop." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/52770664344314005940.
Full text
15
Chen, Hui-chun, and 陳惠君. "Research for Painted Wooden object of the Degradation—The case study of identification the wooden figurine of the Tainan National University of Arts—." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/87422246762918648663.
Full textAbstract:
碩士國立臺南藝術大學
古物維護研究所
94
Abstract Based on “Painted wooden figurine of Tainan National University of Arts of the museum”, there are four following goals for this research: A. Collect the degradation states and factors of the wooden painted object. B. Generalize the wooden painted figurines from the China literature. C. Identify the material of the TNNUA object. D. Discuss the possibility of the identification with material degradation. The author discusses the degradation and phenomena of painted wooden object which collected from thesis and conservation report the last few years. Through investigating preliminary from papers, in order to recognize the relation of the degradation phenomena between various factors. The author hopes to offer the reference resources of the painted wooden object documentation in the future. The painted wooden figurine excavated from Han tomb, just only one case “Sishui kingdom (泗水王陵) of the western Han” proved the ancient literature that made wooden figurine by Chinese parasol three. There is plenty evidences to show that excavation wood not match the ancient record. It is possible that ancient people picked up the wood locally. Besides, we get to know the color of the painted wooden figurine related with the five elements “Wu Xing”(五行).People painted five colors on wooden figurine in white, yellow, red, blue, and black colors. Pigments were made from natural mineral, man-made and organic dye. Most of the pigment was natural mineral, man-made was few. Organic dye was used mostly for dying textile. Both skills of wood carving and joint were used. Regarding the results of the material identification, the material for “ Painted wooden figurine of TNNUA” is probably Chinese fir. There are three kinds of pigments observed under the polarizing microscope, natural mineral, man-made and lake. Their chemical components are calcium carbonate, lead white, cinnabar, realgar, indigo, iron black. The painting method is the same with Han dynasty, but it was rare present on sculpture with indigo; moreover, it is unreasonable lack the fix function in joint method. In degradation aspect, there are four doubtful points brought up to discuss, including brown fungus and tiny holes present on the wooden base; adhesive and external matter attaching on the media. Is it practicable to try to identify the artifact through the material analysis and the degradation investigation? It is possible as the dating of supplementary method and reference material, but also operated in coordination with investigation and the proof of the art history at the sometime, for example, analyze the art style and technique, compare with each other, enable to gain the objective result. Finally, material identification is the research work before practice conservation, the purpose get the exact answer in order to execute conservation more easily. Key word: Tainan National University of Arts for short ‘TNNUA’, degradation.
16
Hubin, Audrey. "Les productions palatiales dans les sociétés complexes: le cas de la céramique bleue amarnienne." Thèse, 2008. http://hdl.handle.net/1866/3216.
Full textAbstract:
Le présent document consiste en une étude de la céramique caractéristique de la ville d’Amarna (Akhet-Aton) en lien avec les productions palatiales dans les sociétés complexes. Dans une première partie, cette poterie à décor bleu est mise en contexte. La situation géographique, historique et religieuse de la ville sont mises en relief. Les thèmes habituels lors de l’étude d’une céramique sont ensuite abordés : les ateliers, les matériaux, la transformation, la cuisson, les formes et motifs. La fonction de ces vases restant un point de questionnement, diverses théories à ce sujet sont analysées. Le questionnement d’un lien entre ces vases et l’idéologie religieuse instaurée par le pharaon Akhenaton se pose ensuite et la comparaison entre les motifs et l’iconographie des palais de la ville et des tombes de l’époque permet d’y répondre positivement. Ces deux derniers points permettent de bien saisir l’importance de cette céramique dans le cadre amarnien. La seconde partie du travail concerne le concept d’objet palatial. Ce type de production est défini et plusieurs critères sont énumérés. Ces critères sont ensuite appliqués à des objets palatiaux appartenant à des sociétés complexes afin de les confirmer. Ces caractéristiques vérifiées, elles sont appliquées à la céramique à décor bleu afin de vérifier si celle-ci correspond à une industrie palatiale. Comme ce style de poterie répond à tous les critères, il est possible d’affirmer qu’il s’agit d’un objet palatial. Il est même possible de dire à ce sujet qu’il s’agit d’un objet de prestige consommé par une élite et qui sert de véhicule à l’idéologie en place.The present work consists in a study of the ceramic typical of the city of Amarna (Akhet-Aten) viewed in relation to palatial productions in complex societies. In the first part of the work, we put this blue-painted pottery style in context and present the geographic, historical and religious situation of the city. We then consider the usual themes relating to the study of a ceramic: workshops, materials, transformation, firing, forms and motifs. Since the function of these vases remains an open question, we analyse various theories on the subject. We raise the question whether a link between these vases and the religious ideology introduced by pharaoh Akhenaten might exist; comparison of the motifs with the iconography of the city's palaces allows us to confirm this hypothesis. These last two points bring out the importance of this pottery in the Amarnian framework. The second part of this work pertains to the concept of palatial objects. This type of production is defined and various criteria are presented. We then apply these criteria to palatial objects from complex societies, in hope of confirming their adequacy. Having verified these characteristics, we apply them to blue-painted pottery in order to determine whether this latter corresponds to a palatial industry. Since this pottery style satisfies all these criteria, it is possible to assert that it is a palatial object. It is even possible to affirm that it consists in a prestige object, consummed by an elite and whose purpose is to further the established ideology.