Terracotta Quotes

The donkey would've made for an ass-tastic photo." Tracy pulled her camera from her bag. Lifting her lens toward the balcony of a terracotta home along the alleyway, she captured a shot of rustic blue shutters missing a few louvers. "All ~ Beverly Preston

A man can be beautiful, I see that now. It's not just a woman's term, not a word reserved for romantic, virtuous, elegant things. I don't think beauty is neat anymore. It's unordered. It's unbrushed hair and a torn back pocket. It's bright and strange and lovely, and if I were to paint him, I'd use all the warm colours - ochre, gold, plum, terracotta, scarlet, burnt orange. I want him to see me as I saw him then, I want him to find me alone at the end of the day with the sun in my hair. I want his heart to buckle, too. I want him to stop someone out in the square and say, who's that? Do you know her? Where is she from?"

- from Eve Green's mother's account.
"It is written on a piece of thin, yellow paper, and is folded in half. I like this account. I like it because it's true, she's right. We all want out lovers to see us that way - unaware, natural, serene. We want to change their world with one glance, to stop their breath at the sight of us. ~ Susan Fletcher

On its rocky tip, dominating the scenery for miles around, stood he Villa dell'Ossevatore. Breathtakingly beautiful, it comprised three individual buildings and a single watchtower, roofed in terracotta tile and connected by stone bridges and loggias. Its lush gardens and lawns encircled the peninsula in steadily descending terraces, and a wide stone-built staircase hugged the rock all the way down to the waterline, terminating at a landing stage edged with balustrades. Higher up the hillside she saw the pergolas straining under the branches of ancient wisteria, and huge displays of azaleas and camellias. Ivy clung to the west-facing sides of the buildings and curled among its statues. ~ Stephen Lloyd Jones

Most of what we got was crockery: from exotic crystal bowls to ceramic anomalies. Then, a cross-section of rugs- from a beautiful Kashmiri original to a memorable one with printed dragons and utterly incomprehensible hieroglyphics. Dibyendu (typically) gave us a scrabble set and Runai Maashi: that rocking chair. Yuppie work friends, trying to be unique and aesthetically offbeat, went for wind-chimes but there were really far too many of them by the end. We also got a fantastic number of white and off-white kurtas, jamdani sarees with complementary blouses, no less than nine suitcases, suit pieces, imported condoms, bed-sheets, bed-covers, coffee makers, coffee tables, coffee-table books, poetry books, used gifts (paintings of sunsets and other disasters), three nights and four days in Darjeeling, along with several variations of Durga, Ganesh and all the usual suspects in ivory, china, terracotta, papier-mâché, and what have you. Someone gave us a calendar that looking back, I think, was laudably sardonic. Others gave us money, in various denominations: from eleven to five hundred and one. And in one envelope, came a letter for her that she read in tears in the bathroom.'
('Left from Dhakeshwari') ~ Kunal Sen

Stories never told,
disappeared in the dawn mist
and sunset blaze.
Like a movie kiss,
not real,
but still overwhelms and entices lustfulness,
turns me into pleasure
and a connoisseur of love.

Flying to the heavens above
followed by the yearning hope
that you will always be close to me,
that you will not disperse when
we revel in​ one another.

Secrets to be kept in one of these terracotta walls
that fade away through the dusk,
feeling the scented candles of musk,
just you and I,
two rebels of love,
that challenge the logic, the meaning, ​and sense. ~ Tatjana Ostojic

I love being brown, so I love using Guerlain Terracotta Bronzing Powder. I use it everywhere: my forehead, my cheekbones, a little bit by my chin. It gives me a golden balance that I really like. I also use the Becca Shimmering Skin Perfector for my highlighter right underneath my eye. It's a pretty color - it's not too much and not too little. ~ Keke Palmer

It isn't that it's too soon, you're on the back of my bike, it ain't too soon. You can buy sheets. You cannot install blinds."
"um ... " I mumbled. "Can you explain the difference?"
"Sheets are chick territory," he said without delay. "You gotta use tools, that's dick territory."
"Oh," I whispered.
"Don't tread on dick territory," he advised.
"So, um ... is a paintbrush a tool?" I asked cautiously.
"If you're paintin' the side of the house, yeah. If you're painting mud colored paint in a room, no."
"It's terracotta," I said softly.
"Whatever," he muttered, his mouth twitching.
"Or, the paint chip called it Mexican horizon. The blue is dawn sky."
"Definitely chick territory," Tate replied, losing the fight with his grin.
"What about ... pictures for the walls?" I asked.
"Chick," he answered instantly.
"Um ... could I ask that, instead of you getting angry and being a jerk, maybe you give me a head's up when I'm doing something stupid? ~ Kristen Ashley

Only two hours earlier she was telling me how great I was because I could cook eggs. Now my egg-making means I'm a homicidal maniac. Now I might wipe out random people at a mall because I don't smile enough. Why are the adults in my life so determined to bring me down when I'm feeling good?
I find myself thinking that it would be nice to be able to fix my life the way I'm fixing the patio. I wonder, is there enough terracotta-colored cement to fill the hole where my father should be? Or where my mother's spine should be? Or where my guts should be? ~ A.S. King

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a re ~ Zainab Bahrani

Until humans came and made anthills out of these mountains, Diwan Sahib was saying, looking up at the langurs, the land had belonged to these monkeys, and to barking deer, nilgai, tiger, barasingha, leopards, jackals, the great horned owl, and even to cheetahs and lions. The archaeology of the wilderness consisted of these lost animals, not of ruined walls, terracotta amulets, and potsherds. ~ Anuradha Roy