More European Renaissance Art Vocabulary

The Creation of Adam (detail)
Michelangelo

for your next poem/story

Halo - The gold circle or disk placed behind the heads of Christ and saints, a symbol of their sanctity or the light of God.

Hatching - The drawing or engraving of fine parallel lines to show shading. When the lines intersect each other, it is called cross-hatching.

Horizon Line - The line where the sky and earth appear to meet. The horizon line is drawn across the picture at the artist’s eye level.

Hue - A particular variety of a color, shade, or tint.

Lunette - A semicircular shape.

Magus - A member of the ancient Persian priestly caste, skilled in Eastern magic and astrology. In the New Testament, the Magi are the three wise men who came from the East to pay homage to the newborn Christ Child.

Majolica - Tin-glazed earthenware.

Palazzo - An Italian word used to describe a large building. It may be a mansion or palace, or an official government building like a town hall, court, or embassy.

Passion, or The Passion of Christ - The events surrounding the Crucifixion of Christ; a popular subject for religious drama, painting, and sculpture.

Perspective - A technique that artists use to represent the three dimensional world on a two-dimensional surface, such as a piece of paper, canvas, or wood panel. Using perspective, an artist can create the illusion of depth or space and show the proper proportion between objects. Without perspective, a painting or drawing will appear flat.

Pictorial Space - The illusion of three-dimensional space created on a two-dimensional surface.

Predella - An Italian word for the series of small paintings that form the lower section of large altarpieces. It usually has narrative scenes from the lives of the saints who are represented on the main and side panels of the altarpiece.

Putto - From the Latin word meaning “male child.” In 15th- and 16th century poetry and painting, putti are depicted with wings and connected with the god of love, Eros, also known as Cupid.

Red - In Christian paintings, a symbol of the blood of Christ or the Passion.

Relief - A raised surface; for example, sculpture that is carved or modeled and which projects from a background.

Star - In Christian paintings, a symbol of divine guidance or favor. The Star of the East guided the three Magi to Bethlehem.

Triump - An ancient Roman tradition honoring the return of a victorious general, who paraded his soldiers, prisoners, and spoils through the city streets.

Tromp L’oeil - French for “fool the eye”; a style of painting intended to trick the viewer into believing that the minutely observed objects shown are part of the viewer’s three-dimensional world.

Vanishing Point - The point where parallel lines appear to meet on the horizon line.

Source ⚜ More: Word Lists ⚜ Part 1

10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas:

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

Looking For More Writing Tips And Tricks?

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jadedkneecaps

6 months ago

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

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jadedkneecaps

6 months ago

980 notes View Post

jadedkneecaps

4 months ago

I am a huge high cloud quintet enjoyer so it may surprise you to learn that I absolutely hate the quest “Clouds Leave No Trace”.

let me explain. I will admit that a lot of it stems from my issues with Jingliu as a character. I appreciate that she’s meant to be cold and detached, but what bothers me is that although she says considers herself to be a sinner alongside Yingxing and Dan Feng, she constantly acts like she’s better than them, criticising them, acting as if their choice was an easy one while hers wasn’t. Her humility feels incredibly insincere, and she becomes very difficult to empathise with as a result.

then there’s the quest itself. I split it into three parts.

one: redundant infodumping

For the first part of the quest, Jingliu, Dan Heng and Yanqing travel to different parts of the Luofu so Jingliu can bid farewell to her past home. It’s basically a plot device for her to drop some lore about Yingxing and Baiheng, which is fine on its own, but the problem is, none of the information she gives is new. All of it was stuff we could already figure out from character stories and other in-game text.

the second issue with this part of the quest is Dan Heng’s presence, or rather, lack of it. Considering he’s the main character tying the quintet subplot into the main story, you’d think he’d be important to the quest focussed on them. But he’s just… there. He says and does pretty much nothing. You could cut him from the whole quest and it wouldn’t be any different.

In fact, Dan Heng also suffers greatly from the timing of the quest. If we look at the voice lines for IL, it’s obvious that he’s a snapshot of Dan Heng shortly after this quest, since he knows Blade is the one who made Cloudpiercer. Ichor Of Two Dragons also seems to take place at the end of this quest. This is an issue because both release in version 1.3, making the quest which takes place in version 1.4 feel like a regression in his character development when actually the story was for some reason out of order.

part 2: Dan Feng gets mischaracterised to hell and back

This is the worst part of the quest by far. Jingliu does her self-righteous monologue and nails the coffin shut by giving the most biased description possible of the Sedition.

she first says that Dan Feng was trying to revive Baiheng. Dan Heng’s and Jingliu’s character stories reveal that this is probably not the case, and that his actual goal was to create another high elder,

she also says that the reason Dan Feng did what he did was selfishness and an inability to accept Baiheng’s death. She fails to mention the fact that the Xianzhou treated him like a convenient weapon instead of an actual person, that he hated how many innocent people died in the war between Aeons, that his people were going extinct because of said war, that he hated how he gave the Xianzhou the power to cause so much death, that he had probably attempted less dramatic rebellions in his past lives to no avail, that the high elder succession was incredibly screwed up and he didn’t want to have to pass that burden on to his next incarnation (granted that lasts part’s only implicit). Not to mention that she didn’t actually bear witness to any of the events she described, only the aftermath.

part 3: Blade monologue

This is the only redeeming quality of the entire quest

he acknowledges that Dan Feng and Yingxing weren’t simply upset with Baiheng’s death, but with the unfairness of everything in general

he expresses genuine regret

and the way he looks up to Jingliu after she tortured him is the only time where that story genuinely presents her as someone who’s done terrible things, showing how she managed to break Blade so badly that he feels thankful for it

in conclusion, do not play this quest if you want to actually understand Dan Feng as a character