Sunday, October 27, 2019

Football or Soccer Live Streaming with 

Soccerstreams100

Football or soccer is the most preferred and among the favorites of the outdoor pastime of people all around the world. Individuals all around the world love to play and watch soccer. Thus, this has boosted the industry for the online live streams of games and anyone can join in to watch the professional soccer matches being played in any part of the world.

SoccerStreams100 offers you the best live streaming options. It provides you with the best platform for all the free football matches being played all around the world.

Here you can view all the matches that are being played today and get information about the upcoming matches that are going to be held in the future.

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It is a subscription website, so you will have to subscribe to start viewing the streams on the website.

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There is certain rules state by Soccerstreams100 for the individuals that want to register as a streamer. You can go through the rules and find out the details regarding registration and successfully run a streaming account on the website.

Soccerstreams100 can be considered as a search engine too that helps you to get different streaming links of matches that you would like to watch. The links that you find on the website are from the people that have registered to a website with their streaming sites.

The streaming website is available for 24x7 days of the week, so any international match that is being played in any part of the world can be streamed live on this website.

The streaming website is more compatible with computer screens and not mobile screens so you will need a computer or a laptop to watch the live streams.

Watch live stream online manchester united, Liverpool, manchester city, real Madrid, Barcelona, Juventus , etc.

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Friday, October 25, 2019

The firing process

In ancient Greece, the pottery figure was made in pottery workshops that usually employed a number of people. Some of them would harvest and clean the clay, while potters shaped the vessels and painters decorated them. They were probably family businesses. Sometimes, potter and painter were the same. There are a few vases that depict such workshops. After the painter was done with the vase, it would be left to dry in the open air. A few painters and potters actually signed the vessels that they helped create.
Vessels that were ready to be fired were stacked inside a kiln where temperatures would reach at least 450 degrees Celsius. The conditions inside the kiln were carefully monitored, perhaps by leaving smaller pieces of pottery in a place that was easy to observe or reach through a spy hole. The bright colours and deep blacks of Attic red- and black-figure vases were achieved through a process in which the atmosphere inside the kiln went through a cycle of oxidizing, reducing, and reoxidizing.
During the oxidizing phase, the ferric oxide inside the Attic clay achieves a bright red-to-orange colour. By contrast, clay from e.g. Corinth is paler in colour. During this stage, the temperature inside the kiln reaches perhaps 800 degrees and air is allowed into the kiln through a vent (hence, “oxidizing”, as the air adds oxygen to the atmosphere).
During the reducing phase, the air vent is closed and the temperature is increased to about 950 degrees. Moisture was added in the form of green wood or other damp materials to produce carbon monoxide instead of carbon dioxide. Combined with the ferrix oxide from the clay, the vessel would turn dark grey to black. The finer particles of clay used for the black gloss (i.e. the “paint”) would become sintered or fused as a result, changing permanently, unlike the coarser particles of the vessel itself.
Approximated colour changes that a vase goes through during the firing process. As a base, I used a black-figure pot from the archaeological museum of Rhodes that was restored from fragments, explaining the breaks and reconstructions. Far left: what the vase would have looked like before firing. Second from left: the vase during the oxidizing phase. Second from the right: what the vase during the reducing phase. Far right: during the reoxidizing phase, the vase achieves its final look.
In the final, reoxidizing phase of the firing process, some air was allowed back into the kiln and the temperature was slowly lowered to about 900 degrees. The oxygen turned the more porous reserved clay from gray to a bright orange-reddish colour. Since the earlier reducing phase had sintered the surface of the black gloss, preventing any further chemical reactions and leaving it the desired black colour.

Thursday, October 24, 2019

Ludic and decorative functions



Due to their low cost, figurines were widely used as religious offerings. That was their primary purpose, with the decorative aspect coming only later. This explains why the ancient Greek temples host abundant quantities of votive or funerary figurines and why there is almost no document written on their subject.


These figurines can present identification issues. These attributes make it possible to recognize a particular god in an unquestionable way, such as the bow for Artemis. Moreover, certain types of statuettes correspond to a precise form of worship related to a specific divinity. Sometimes, however, "visiting gods" complicate matters: these are figurines dedicated to a god who is not of that sanctuary. In addition, the great majority of the figurines simply represent a woman upright, without attribute. These latter figurines were offered in all sanctuaries, independently of the divinity. Others continued an earlier tradition of molded Qin warriors used as cult images or votive objects. Typically they were about 10 to 20 centimeters high.


The gift of figurines accompanied every moment of life. During pregnancy, future mothers had care to offer a figurine to Ilithyia, goddess of childbirth: the statuette represents a woman squatting, in full labor, according to the Eastern practice. Certain statuettes include a small cavity intended to receive smaller figurines, representative of their babies. During early childhood, figurines of squatting children were given —a representation of Eastern origin, arrived in Greece via Rhodes and Cyprus. The so-called "temple boys" were thought to protect children. Similar representations are also found in tombs. These figurines are of variable size, perhaps to indicate the age of the dead child. Their habit was to bury the dead accompanied by objects of daily custom: jewels, combs, figurines for the women; weapons and strigils for the men; figurines and toys for the children. Figurines were often voluntarily broken before being placed in the tomb.


The terracotta figurines were often purchased at the entry of the sanctuary. They were the offerings of the common people, who could not afford to dedicate more valuable objects. They were also used to replace offerings in kind, like animals or food. They were placed on the benches of the temples or close to the cult statue. They were also deposited in places of worship outdoors: Socrates recognized a sacred spring on seeing figurines on the ground (Phaedrus 230B). Figurines were dedicated to ask favours from a god as well as to thank him. When the figurines were too numerous in a temple, they were thrown in a "sacred dump". In that case, they are frequently broken to avoid recovery.


Due to their low cost, figurines were widely used as religious offerings. That was their primary purpose, with the decorative aspect coming only later. This explains why the ancient Greek temples host abundant quantities of votive or funerary figurines and why there is almost no document written on their subject.


These figurines can present identification issues. These attributes make it possible to recognize a particular god in an unquestionable way, such as the bow for Artemis. Moreover, certain types of statuettes correspond to a precise form of worship related to a specific divinity. Sometimes, however, "visiting gods" complicate matters: these are figurines dedicated to a god who is not of that sanctuary. In addition, the great majority of the figurines simply represent a woman upright, without attribute. These latter figurines were offered in all sanctuaries, independently of the divinity.


The gift of figurines accompanied every moment of life. During pregnancy, future mothers had care to offer a figurine to Ilithyia, goddess of childbirth: the statuette represents a woman squatting, in full labor, according to the Eastern practice. Certain statuettes include a small cavity intended to receive smaller figurines, representative of their babies. During early childhood, figurines of squatting children were given —a representation of Eastern origin, arrived in Greece via Rhodes and Cyprus. The so-called "temple boys" were thought to protect children. Similar representations are also found in tombs. These figurines are of variable size, perhaps to indicate the age of the dead child. Their habit was to bury the dead accompanied by objects of daily custom: jewels, combs, figurines for the women; weapons and strigils for the men; figurines and toys for the children. Figurines were often voluntarily broken before being placed in the tomb.


The terracotta figurines were often purchased at the entry of the sanctuary. They were the offerings of the common people, who could not afford to dedicate more valuable objects. They were also used to replace offerings in kind, like animals or food. They were placed on the benches of the temples or close to the cult statue. They were also deposited in places of worship outdoors: Socrates recognized a sacred spring on seeing figurines on the ground (Phaedrus 230B). Figurines were dedicated to ask favours from a god as well as to thank him. When the figurines were too numerous in a temple, they were thrown in a "sacred dump". In that case, they are frequently broken to avoid recovery.

Necropolis

The Terracotta Army is part of a much larger necropolis. Ground-penetrating radar and core sampling have measured the area to be approximately 98 square kilometers (38 square miles).
The necropolis was constructed as a microcosm of the emperor's imperial palace or compound and covers a large area around the tomb mound of the first emperor. The earthen tomb mound is located at the foot of Mount Li and built in a pyramidal shape, and is surrounded by two solidly built rammed earth walls with gateway entrances. The necropolis consists of several offices, halls, stables, other structures as well as an imperial park placed around the tomb mound.
The warriors stand guard to the east of the tomb. Up to 5 metres (16 ft) of reddish, sandy soil had accumulated over the site in the two millennia following its construction, but archaeologists found evidence of earlier disturbances at the site. During the excavations near the Mount Li burial mound, archaeologists found several graves dating from the eighteenth and nineteenth centuries, where diggers had apparently struck terracotta fragments. These were discarded as worthless and used along with soil to back fill the excavations.

Tomb

The tomb appears to be a hermetically sealed space roughly the size of a football pitch (c. 100 × 75 m). The tomb remains unopened, possibly due to concerns over the preservation of its artifacts. For example, after the excavation of the terracotta warriors, the painted surface present on some terracotta figures began to flake and fade. The lacquer covering the paint can curl in fifteen seconds once exposed to Xi'an's dry air and can flake off in just four minutes. 

Excavation site

Pit 1

Pit 1, which is 230 metres (750 ft) long and 62 metres (203 ft) wide, contains the main army of more than 6,000 figures. Pit 1 has eleven corridors, most more than 3 metres (10 ft) wide and paved with small bricks with a wooden ceiling supported by large beams and posts. This design was also used for the tombs of nobles and would have resembled palace hallways when built. The wooden ceilings were covered with reed mats and layers of clay for waterproofing, and then mounded with more soil raising them about 2 to 3 metres (6 ft 7 in to 9 ft 10 in) above the surrounding ground level when completed.

Others

Pit 2 has cavalry and infantry units as well as war chariots and is thought to represent a military guard. Pit 3 is the command post, with high-ranking officers and a war chariot. Pit 4 is empty, perhaps left unfinished by its builders.
Some of the figures in Pits 1 and 2 show fire damage, while remains of burnt ceiling rafters have also been found. These, together with the missing weapons, have been taken as evidence of the reported looting by Xiang Yu and the subsequent burning of the site, which is thought to have caused the roof to collapse and crush the army figures below. The terracotta figures currently on display have been restored from the fragments.
Other pits that formed the necropolis have also been excavated. These pits lie within and outside the walls surrounding the tomb mound. They variously contain bronze carriages, terracotta figures of entertainers such as acrobats and strongmen, officials, stone armour suits, burial sites of horses, rare animals and labourers, as well as bronze cranes and ducks set in an underground park.

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