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Phases sculpture destruction

It can be divided into the time-evolution of sculpture destruction into three phases: the first from the first century AD phase extends to the first half of the second century AD, and the pupils seem Actress Bdairtin, the brow is a decree, and male Hliqin, feeling women hanging on their shoulders and carrying spinners, adorn their ears Boaqrat in the form of bunches of grapes.

In the second phase extends in principle to the second half of the second century AD, the pupil circle are within a point, and the eyebrows are visible, and bearded men, except soothsayers. And women get caught parties Ooahthn, and Halihn hexagonal shape.

In contrast, the third phase of the first half of the third century people came to look at one side, women Azhn Ooahthn their hands, and Akthern of adornment jewelery, was festooned with one of them five decades or more.

It emerged during excavations in Palmyra sculptures from ancient phase (between the first century BC and the first half of the first century AD) carried out on a soft yellow stone, and the properties close to the first phase properties.

Frescos (Alfiresc)

Altdmouryon excelled in the art of mural paintings, among the few months frescos discovered are those found in the Temple of the Lord of lords Palmyrenes in Dura-Europos (validity of the Euphrates). These Palmyra fees follow the ancient Eastern traditions inform painting elements with dark stripes desire to identify each and highlighted, and it is known in Mary Fee (Tel Hariri), and Til Barsip (Red Hill), and others. And where people are traveling all around the viewer fixed Bnzerthm, do not follow the hands and feet and pleated garments traffic conditions, and keeps everything in the scene Pfrdih with their shared religious work, and carry out duties on a dry layer of smooth lime paints above color composite of metal oxides unresolved in the water.

Frescoes

In the cemetery of the three brothers

The richest known cemeteries in Palmyra fees mural is the burial of the three brothers, (the beginning of the third century AD), and wing-Sadr in this vault clad whole mural fees.

To draw a large format wall destruction in the study of art history, as it would be the ancestors of the next Byzantine art. The relationship between him and the mosaic Alfiresc Christian icons at that time undeniable.