‎YAMAMOTO NAOKI‎
‎BLUE‎

‎Interdisciplinary Approaches to the Colour Blue in Ancient Egypt and Sudan‎

‎, Brepols, 2026 Hardback, Pages: 294, Size:216 x 280 mm, Illustrations:18 b/w, 143 col., 8 tables b/w., Language: English. ISBN 9782503620138.‎

‎Summary From the earliest days of Pharaonic and Kushite cultures, blue was a highly valued colour. Initially sourced in the mineral world, with stones of various shades being collected and used for personal ornamentation, and later from dye plants - whose blue hues required complex extraction - blue became a symbol of prestige and innovation. Since blue is relatively rare in its raw natural form, synthetic methods of making blue were developed early on, leading to the creation of the colour through crafts like faience, glassmaking, and pigment production. Made and used in different ways, and invested with many meanings, the colour blue became omnipresent in material culture and architecture. This volume is a collaborative anthology exploring the significance of blue in ancient Egypt and Sudan. It brings together experts from diverse fields - art history, archaeology, linguistics, textile and leather studies, conservation, and heritage science - to examine the Nile Valley's material world through a 'blue lens'. The book investigates the cultural, technological, and symbolic dimensions of blue, tracing how people discovered, imitated, dyed, painted, carved, and experienced the colour. Through integrative research that crosses the boundaries of the humanities and natural sciences, the volume offers a groundbreaking perspective on colour studies, revealing how the pursuit of blue drove artistic and technological advancements across time. TABLE OF CONTENTS List of Illustrations Preface Acknowledgements List of Contributors 1. Material and Immaterial Perspectives to the Colour Blue in Ancient Egypt and Sudan Elsa Yvanez and Cecilie Br ns 2. What's so Special about Blue? Some Thoughts on Blue Materials and their Manufacture in Ancient Egypt Paul Nicholson 3. Faience in Kush: First Overview of the Material, its Meanings, and Significance Shadia Abdrhabo 4. Supplying the Mediterranean World with Egyptian Blue: An Archaeometric Perspective Alexandra Rodler and Ariadne Marketou 5. The Colour of the Monkey and the Background: Blue Colours in Old Kingdom Wall Paintings Kaori Takahashi, Ahmed Abdrabou, Yoko Taniguchi, Mostafa Shehata, Akiko Nishisaka, and Hussein Kamal 6. Ornamental and Scriptural Blue in the Ptolemaic Temple of Deir el-Medina Sandrine Vuilleumier 7. Eternity Under a Cyan Sky: Assembling Blue at 25th Dynasty El Kurru, Sudan Rachael J. Dann 8. Material and Non-material Aspects of the Colour Blue in Medieval Nubia Magdalena Wozniak and Dobrochna Zieli?ska 9. Blue Threads along the Middle Nile: Multidisciplinary Approaches to an Ancient Passion for Indigo (Sudan, c. First-Sixth Century CE) Elsa Yvanez, Bart?omiej Witkowski, Tomasz Gierczak, and Magdalena Biesaga 10. Green Is the New Blue: Coloured Leather in Ancient Egypt - An Archaeometric Approach Lucy Skinner and Andr J. Veldmeijer 11. 'Marvels from the land of Tefrore': Lapis lazuli and Dark Blue Minerals in Egyptian Temples Stefan Baumann 12. A Case of the Blues? Blue in the Egyptian Medical Texts Joseph Clayton 13. The Egyptians Didn't Have Blue - Because They Had Two, and You Should Too! Blue as a Witness to Cognitive Evolution on an Issue Dividing Anthropology and Philology at the Cost of Historical Linguistics David A. Warburton 14. Blue Eyes: The Apotropaic Qualities of Blue Karel Innem e 15. Epilogue. A Dyer's View on Blue: The Colour of Transformation Fria Gemynthe Index‎

‎Laure Pigeon. Infiniment bleu. Infinite Blue.‎

‎<p>Dans le cadre de l'exposition "Collection de l'Art Brut" à Lausanne du 10 octobre 2025 au 1er février 2026.</p><p>Laure Pigeon (1882-1965) est l’une des figures majeures de l’Art Brut, au même titre qu’Aloïse Corbaz ou encore Adolf Wölfli. La Collection de l’Art Brut, à Lausanne, possède probablement l’intégralité de sa production, ce qui correspond à plus de 400 pièces, avec des écrits, des cahiers, des dessins de petit format et une importante série de compositions à l’encre bleue de grandes dimensions. Ce corpus appartient à l’ensemble des créations acquises par Jean Dubuffet, la collection historique à l’origine du musée.</p><p>En 1978, la Collection de l’Art Brut organisait la première et seule exposition monographique dédiée à cette créatrice. En 2025, une nouvelle exposition lui est exclusivement consacrée. Elle propose un ensemble représentatif d’un travail graphique dense qui s’étend sur une période de trente ans.</p><p>À l’instar de Madge Gill, Jeanne Tripier, Augustin Lesage ou Raphaël Lonné, Laure Pigeon fait partie des spirites, ces femmes et ces hommes qui se sentent « désignés » par des messages de l’au-delà et délèguent la responsabilité de leurs créations à des défunts. Leur main, guidée, exécute ce que leur dictent les esprits. Le catalogue en français et en anglais, propose des textes de plusieurs rédactrices et un grand nombre d’illustrations en couleur.</p> Milan, 2025 5 continents 192 p., broché 23 x 27,8‎

‎Neuf‎

‎Blue Noses. Blue Noses. In Russian /Sinienosy. Blue Noses.‎

‎Blue Noses. Blue Noses. In Russian /Sinienosy. Blue Noses. Album by M. State Tretyakov Gallery, Marat Gelman Gallery. 2006. 240 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbc0b2cb2075b729f8.‎

‎Blue Movie.‎

‎ Roquevaire, 2024 André Frères 152 p., nombreuses photographies couleur, broché. 16 x 22‎

‎Neuf‎

‎Schoenberg, Kandinsky and the Blue Rider‎

‎ New York, 2003 Sandpiper 208 p., nombreuses ill. couleur, 1 cd audio, relié sous jaquette. 25 x 30‎

‎Occasion‎