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Color and patterns STATUE OF CENTAUR SQUARE ZUN WITH FOUR SHEEP Roman painting provides a wide variety of themes: animals, still life, scenes from everyday life, portraits, and some mythological subjects. During the Hellenistic period, it evoked the pleasures of the countryside and represented scenes of shepherds, herds, rustic temples, rural mountainous landscapes and country houses. Erotic scenes are also relatively common. In the late empire, after 200AD, early Christian themes mixed with pagan imagery survive on catacomb walls. The painting of the ancient Greece was much influenced by that of the Minoan age. Fragments of wall paintings have been found in or around the palaces (Pylos, Mycenae, Tiryns) and in domestic contexts (Zygouries).The largest complete wall painting depicting three female figures, probably goddesses, was found in the so-called Cult Centre at Mycenae.?Various themes are represented: hunting, bull leaping,battle scenes, processions, etc. Some scenes may be part of mythological narratives, but if so their meaning eludes us. It is typical of the developed Shang style that all available space is decorated, most often with stylized forms of real and imaginary animals. The most common motif is the?taotie, which shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of?taotie?is not clear, but myths about it existed around the late?Zhou Dynasty. It was considered to be variously a covetous man banished to guard a corner of heaven against evil monsters; or a monster equipped with only a head which tries to devour men but hurts only itself. The function and appearance of bronzes changed gradually from the Shang to the Zhou. They shifted from been used in religious rites to more practical purposes. By the?Warring States period, bronze vessels had become objects of aesthetic enjoyment. Some were decorated with social scenes, such as from a banquet or hunt; whilst o
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