The Developement Of Style 4

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Krag Uzitha (shuddeni - living darkness)
- Work on canvas, cloth, and sculpture
- During the war many artists were commisioned to do works for the newly 
  conquered cities
- As during the Ashi Uzitha period, the works were of torture and suffering
- Aelin, Human, Shuddeni (sculpture mostly)

NOTE: Some Nefortu created works of Krag Uzitha, but mostly in tapestry. 
Many scholars don't consider the Nefortu work truly Krag Uzitha, but their 
content and the time usually puts them in this period.

There are two main differences between the Ashi Uzitha and Krag Uzitha 
periods:
- Krag Uzitha pieces are sometimes set outside, often during the day
- Krag Uzitha proportion is more regulated and realistic looking, owing to 
  the influence of the Aelin Hisilan period.

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Celestial (Same time as the Th'cirre Mel period)
- Work on a variety of mediums
- Not as strictly realistic as in the Aelin Hisilan and Slirucasro periods, 
  more sketchy and fast
- Lighter colours, little shadow or darkness
- Content was spiritual and fantasic in nature
- Scenes of wonder and magic, or the enlightenment of self
- Ch'taren sometimes set alongside beings of myth or the gods themselves 
  (although no ch'taren artist is recorded to have represented their race as 
  divine)
- Aelin, Human, Ch'taren

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Th'cirre Mel (ch'taren - common man)
- Work done on board, canvas, and cloth
- Bright colours
- Loosely realistic as in the Celestial period
- Clear shapes, little shading
- Content tends to be the common man, happy scenes of everyday life
- Human, Ch'taren

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Late Jaranber
- Paintings on animal skins, tents, clothing
- Bold shapes and colours, more abstract in style than earlier kankoran art
- Used as decoration, but not as formal "art"
- Last signifigant advancement in Kankoran art
- Kankoran

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Pastoral
- Work done on canvas and board
- People began to focus more on the outside world
- Content usually a landscape, sometimes done of villages and small towns
- Human, Ch'taren, Caladaran

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Ulidsa (aelin - linear)
- Work done on canvas and board
- Focus changes from nature to the cities
- Strict rules of perspective and detail, very linear
- Again becomes more precise, less hazy
- Aelin, Human

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Ayajli (nefortu - infinite)
- Work done in tapestry, weaving
- Focused on intricate infinite patterns within the tapestry instead of the 
  pictures and scenes of the past
- Wide variety of colours, with hundreds and thousands of threads in shades 
  of every used colour.
- Nefortu

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Aeh Pastoral (aelin - beyond)
- Work done on canvas and board
- Somewhat of a backlash against the confined style of Ulidsa
- Return to outside world, though on a more grand scale than in Pastoral
- Most works of this period focus on the sky
- Landscape becomes insignifigant, takes up only 10-20% of the painting
- Aelin, Human, Ch'taren

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