A funerary relief from Palmyra in Syria.
Museo Barracco, Roma
martes, 26 de julio de 2016
Carro da parata
Ninhursag
Bull-man protecting a palmtree, female(?) deity (partially destroyed, reconstructed), panel of molded bricks. Terracotta, middle 12th century BC. Found at the Tell of the Apadana in Susa. The inscription running along the central band record that Shilhak-Inshushinak made a statue of brick for the exterior chapel of Inshushinak.
lunes, 25 de julio de 2016
Glass snake-thread flask shaped like a mouse
Glass snake-thread flask shaped like a mouse
Period:Late ImperialDate:3rd century A.D.Culture:RomanMedium:Glass, blue; blown, tooled, and trailedDimensions:Other: 2 1/2 x 2 x 5 3/4 in. (6.3 x 5.1 x 14.6 cm) Diameter: 1 1/16 in. (2.7 cm)Classification:GlassCredit Line:Gift of Renée E. and Robert A. Belfer, 2012Accession Number:2012.479.2
Translucent cobalt blue, with same color added head, ears, eyes, feet, and snake-thread decoration.
Rounded and thickened rim; funnel-shaped, elongated neck with tooling marks around base; misshapen piriform body, with separate large blob of glass (solid?) applied to rounded bottom of body.
The neck has been turned upwards to appear like the mouse’s tail; added to the body of the vessel to create the animal are four separate tooled trails for the feet and for the head a large blob that has been drawn out to make a pointed nose; ears and eyes have also been added to the head; the body is further decorated with snake-thread trails, all flattened and notched, in the form of two long-necked, thin-legged birds, one on the animal’s back, the other on his belly between his feet, interspersed with foliage comprising tendrils and ivy leaves; a plain spiral trail is wound twice around the lower part of the neck.
Broken and repaired, with small losses to body below head and part of spiral trail on neck is missing. Dulling and iridescent weathering.
Snake-thread is a term used by modern scholars to describe the distinctive type of trailed decoration that is found on this mouse-shaped flask. The trails have been applied in an irregular pattern and then tooled with hatching. Both the shape and the deep blue color of the flask are most unusual.
Met Museum
metmuseum.org
Limestone statuette of a male aulos player
Limestone statuette of a male aulos player
Date:1st half of the 6th century B.C.Culture:CypriotMedium:LimestoneDimensions:Overall:H.: 6 1/2 xW.: 3 1/2 x D.:2 13/16 in. (16.5 x 8.9 x 7.1 cm)Classification:Stone SculptureCredit Line:The Cesnola Collection, Purchased by subscription, 1874–76Accession Number:74.51.2519
Met Museum
metmuseum.org
Limestone Herakles
Limestone Herakles
Period:ArchaicDate:ca. 530–520 B.C.Culture:CypriotMedium:LimestoneDimensions:H. 85 1/2 in. (217.2 cm)Classification:Stone SculptureCredit Line:The Cesnola Collection, Purchased by subscription, 1874–76Accession Number:74.51.2455
The statue was considerably reworked by Cesnola's "restorers" so that numerous features of the original are no longer clear. The proper left arm and the legs were certainly reattached; the original position of the right arm has also been obscured. Herakles wears a tunic, belt, modified kilt, and lionskin. In his left hand he held a bow, half of which appears against his body. (The pickle-shaped club that he brandished for many decades was added in modern times and has been removed.) On his right thigh are the ends of the arrows that he held in his right hand. Although the head 74.51.2857 indicates that Cypriot sculptors were working on a large scale as early as the beginning of the sixth century B.C., it was only during the second half of the century that monumental pieces were produced in some quantity.
Met Museum
metmuseum.org
domingo, 24 de julio de 2016
Ebony label EA 32650
Studies in Honor of William Kelly Simpson
Studies in Honor of William Kelly Simpson
vi. Sue D'Auria
http://www.gizapyramids.org/pdf_library/studies_simpson_1.pdf
Una de las escenas del ataúd de Henui
dinastía XXIII.
Gebelein
Lord of the Horses,
Limestone priest
Limestone priest
Period: Archaic
Date: end of the 6th century B.C.
Culture: Cypriot
Medium: Limestone
Dimensions: H. 85 1/2 in. (217.2 cm)
Classification: Stone Sculpture
Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76
Accession Number: 74.51.2466
Date: end of the 6th century B.C.
Culture: Cypriot
Medium: Limestone
Dimensions: H. 85 1/2 in. (217.2 cm)
Classification: Stone Sculpture
Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76
Accession Number: 74.51.2466
viernes, 22 de julio de 2016
Terracotta statuette of Silenos (?) drinking
Terracotta statuette of Silenos (?) drinking
Period:Early HellenisticDate:3rd century B.C. (?)Culture:CypriotMedium:Terracotta; mold-madeDimensions:H. 2 1/2 in. (6.4 cm)Classification:TerracottasCredit Line:The Cesnola Collection, Purchased by subscription, 1874–76Accession Number:74.51.1686
The figurine is mold-made and hollow. It is preserved from the head to the abdomen. Silenos' arms are bent to hold a round vessel to his lips, as if to drink.
Met Museum
metmuseum.org
Seated boy
Seated boy
Period:Late Cypro-Classical II–Early HellenisticDate:ca. 325–300 B.C.Culture:CypriotMedium:Terracotta; mold-madeDimensions:H. 13 5/8 in. (34.6 cm)Classification:TerracottasCredit Line:The Cesnola Collection, Purchased by subscription, 1874–76Accession Number:74.51.1449
The boy sits on a thin, flat roughly triangular base, with his left leg folded flat on the base and his right knee bent. His left arm is bent forward and rests on his left leg. His right arm is also bent and rests on his right knee. He has a round face and short hair marked with shallow grooves. He wears a knee-length, short-sleeved tunic. Grooves on the sleeves and the border of the garment may indicate folds. A string of applied seals, amulets, and rings hangs across his chest from his left shoulder to underneath his right arm.
Met Museum
metmuseum.org
Terracotta statuette of a woman looking into a box mirror
Terracotta statuette of a woman looking into a box mirror
- Period:
- Hellenistic
- Date:
- 3rd–2nd century B.C.
- Culture:
- Greek, probably West Greek, possibly Centuripe
- Medium:
- Terracotta
- Dimensions:
- H. 11 1/4 in. (28.6 cm)
- Classification:
- Terracottas
- Credit Line:
- Rogers Fund, 1912
- Accession Number:
- 12.229.19
- This woman holds a box mirror on her knee. The lid has dropped and she gazes into the reflective surface, which would have been of highly polished bronze.
- Met Museum
- metmuseum.org
Terracotta statuette of woman with bird face
Terracotta statuette of woman with bird face
Period:Late Cypriot IIDate:ca. 1450–1200 B.C.Culture:CypriotMedium:Terracotta; hand-madeDimensions:H. 8 3/16 in. (20.80 cm)Classification:TerracottasCredit Line:The Cesnola Collection, Purchased by subscription, 1874–76Accession Number:74.51.1542
This figurine is typical of Cypriot coroplastic art of the Late Cypriot II and III periods. The type, with the pubic triangle accentuated and the breasts clearly shown, is likely of Syrian origin, but Cypriot sculptors created their own variations. Handmade and hollow, it has a shaved surface. Her eyes are pellets surrounded by rings. In each large flat ear are two perforations, each containing an earring; the lower ones have overlapping terminals. The infant stretches out its arms and has depressed circles for its eyes.
Met Museum
metmuseum.org
sábado, 16 de julio de 2016
MUSICAL INSTRUMENT
MUSICAL INSTRUMENT
Inventory number 14269
ivory
NEW KINGDOM
MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO
globalegyptianmuseum
Belt Clasp
Belt Clasp
Date: 2nd century B.C.
Geography: Made in the Iberian peninsula (Spain)
...
Date: 2nd century B.C.
Geography: Made in the Iberian peninsula (Spain)
...
Culture: Celtic
Medium: Leaded bronze, inlaid silver, iron rivets
Dimensions: Overall (together): 2 9/16 x 5 1/8 x 1/4 in. (6.5 x 13 x 0.6 cm)
Overall (a): 2 9/16 x 2 13/16 x 1/4 in. (6.5 x 7.1 x 0.6 cm)
Overall (b): 2 9/16 x 3 3/8 x 1/4 in. (6.5 x 8.5 x 0.6 cm)
Classification: Metalwork-Bronze
Credit Line: Rogers Fund, 1990
Accession Number: 1990.62a, b
This bronze and silver buckle is unusual in that both its top and bottom plaque are preserved, along with remains of the iron rivets used to attach it to a leather belt. Small figurines show warriors wearing similar clasps, suggesting this was designed for use by a soldier. It is typical of a type of buckle produced in the central plain region of the Iberian Peninsula, where silver is found in the Sierra Morena mountains. In design it is closely related to engraved examples of artwork in Andalusia in the southwest of Spain, a province that strongly influenced the artistic development of the rest of Iberia. Opposing spirals were a popular motif in Celtic art and were often combined with concentric circles on buckles such as this one. The design was created by carving out a pattern on a bronze panel, and then hammering a thin sheet of silver into the indentations.
http://www.metmuseum.org/
Medium: Leaded bronze, inlaid silver, iron rivets
Dimensions: Overall (together): 2 9/16 x 5 1/8 x 1/4 in. (6.5 x 13 x 0.6 cm)
Overall (a): 2 9/16 x 2 13/16 x 1/4 in. (6.5 x 7.1 x 0.6 cm)
Overall (b): 2 9/16 x 3 3/8 x 1/4 in. (6.5 x 8.5 x 0.6 cm)
Classification: Metalwork-Bronze
Credit Line: Rogers Fund, 1990
Accession Number: 1990.62a, b
This bronze and silver buckle is unusual in that both its top and bottom plaque are preserved, along with remains of the iron rivets used to attach it to a leather belt. Small figurines show warriors wearing similar clasps, suggesting this was designed for use by a soldier. It is typical of a type of buckle produced in the central plain region of the Iberian Peninsula, where silver is found in the Sierra Morena mountains. In design it is closely related to engraved examples of artwork in Andalusia in the southwest of Spain, a province that strongly influenced the artistic development of the rest of Iberia. Opposing spirals were a popular motif in Celtic art and were often combined with concentric circles on buckles such as this one. The design was created by carving out a pattern on a bronze panel, and then hammering a thin sheet of silver into the indentations.
http://www.metmuseum.org/
papyrus
PAPYRUS
FAIYUM: UMM EL-BEREIGAT/TEBTYNIS
ROMAN PERIOD
G. Botti, Papiri della Società Italiana, vol. XIV, Firenze 1957, pgg. 177-180, Tav. X, n. 1452.
MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO
globalegipcianmuseum
NEW KINGDOM AND THE THIRD INTERMEDIATE PERIOD IN TELL EL-RETABA
By Sawomir Rzepka, Anna Wodziska, Claire Malleson, Jozef Hudec, ukasz Jarmuek, Krzysztof Misiewicz, Wiesaw Makowski, Miron Bogacki
http://www.academia.edu/…/NEW_KINGDOM_AND_THE_THIRD_INTERME…
Phoenician-style ewer
Phoenician-style ewer
Period: Iron Age
Date: ca. 7th–6th century B.C.
...
Period: Iron Age
Date: ca. 7th–6th century B.C.
...
Geography: Iberian Peninsula
Medium: Bronze
Dimensions: 14 in. (35.6 cm)
Classification: Metalwork-Vessels
Credit Line: Purchase, Joseph Pulitzer Bequest, 1955
Accession Number: 55.121.1
Vessels of similar form and construction have been excavated in Cyprus, Italy, and the Iberian Peninsula, with related ceramic examples from Cyprus and the Levant. The piriform shape of this vessel is divided into two sections by a narrow raised band. The convex lower body rests on a hollow ring foot above which the elegant neck gradually tapers into a trefoil lip. A three-ridged handle spouts from a palmette with tendrils and attaches the lower body to the lip. At the top of the handle the three ridges transform into three snake heads, the central one of which extends directly into the vessel. The closest parallel to this ewer is an example from Niebla in Spain, at the Instituto de Valencia de Don Juan, Madrid, which has looped snake heads at the top of the handle.
http://www.metmuseum.org
Medium: Bronze
Dimensions: 14 in. (35.6 cm)
Classification: Metalwork-Vessels
Credit Line: Purchase, Joseph Pulitzer Bequest, 1955
Accession Number: 55.121.1
Vessels of similar form and construction have been excavated in Cyprus, Italy, and the Iberian Peninsula, with related ceramic examples from Cyprus and the Levant. The piriform shape of this vessel is divided into two sections by a narrow raised band. The convex lower body rests on a hollow ring foot above which the elegant neck gradually tapers into a trefoil lip. A three-ridged handle spouts from a palmette with tendrils and attaches the lower body to the lip. At the top of the handle the three ridges transform into three snake heads, the central one of which extends directly into the vessel. The closest parallel to this ewer is an example from Niebla in Spain, at the Instituto de Valencia de Don Juan, Madrid, which has looped snake heads at the top of the handle.
http://www.metmuseum.org
Catfish Remedy for Gout in Ancient Egypt
Catfish Remedy for Gout in Ancient Egypt
Rosalind Park M.A., B.Sc.
http://www.academia.edu/3653849/Catfish_Remedy_for_Gout_in_Ancient_Egypt
Standing Male Figure
Standing Male Figure
Period: Bronze and Iron Age period
Date: ca. 500 B.C.–A.D. 300
...
Period: Bronze and Iron Age period
Date: ca. 500 B.C.–A.D. 300
...
Culture: Indonesia (Java, Lumajang, Pasiran)
Medium: Earthenware
Dimensions: H. 5 3/8 in. (13.7 cm); W. 3 1/2in. (8.9cm)
Classification: Sculpture
Credit Line: Samuel Eilenberg Collection, Bequest of Samuel Eilenberg, 1998
Accession Number: 2000.284.42
The open mouth and staring eyes of this charming unclad figure give him a somewhat astonished expression. Made of reddish brown earthenware, the man stands frontally and holds his arms aloft, bent at the elbows. His stomach and posterior are noticeably full and his arms and legs well rounded. In Southeast Asia, earthenware sculptures appear to be unique to Indonesia. In addition to standing figures such as this one, several statuettes of seated figures with their knees pulled up and bearing lugubrious expressions are known. Some of them have a short tang on the bottom, suggesting that they served as bottle stoppers. Others, however, have no evident function.
Figures with uplifted arms are often identified as images of ancestors among the indigenous cultures of Indonesia. Representing both actual and legendary forebears, such figures were often intended to contain the spirit of an ancestor during rituals.
http://www.metmuseum.org/
Medium: Earthenware
Dimensions: H. 5 3/8 in. (13.7 cm); W. 3 1/2in. (8.9cm)
Classification: Sculpture
Credit Line: Samuel Eilenberg Collection, Bequest of Samuel Eilenberg, 1998
Accession Number: 2000.284.42
The open mouth and staring eyes of this charming unclad figure give him a somewhat astonished expression. Made of reddish brown earthenware, the man stands frontally and holds his arms aloft, bent at the elbows. His stomach and posterior are noticeably full and his arms and legs well rounded. In Southeast Asia, earthenware sculptures appear to be unique to Indonesia. In addition to standing figures such as this one, several statuettes of seated figures with their knees pulled up and bearing lugubrious expressions are known. Some of them have a short tang on the bottom, suggesting that they served as bottle stoppers. Others, however, have no evident function.
Figures with uplifted arms are often identified as images of ancestors among the indigenous cultures of Indonesia. Representing both actual and legendary forebears, such figures were often intended to contain the spirit of an ancestor during rituals.
http://www.metmuseum.org/
Dogū (Clay Figurine)
Dogū (Clay Figurine)
Period: Final Jōmon period (ca. 1000–300 B.C.)
Culture: Japan
...
Period: Final Jōmon period (ca. 1000–300 B.C.)
Culture: Japan
...
Medium: Earthenware
Dimensions: H. 2 1/4 in. (5.7 cm); W. 1 7/8 in. (4.8 cm)
Classification: Ceramics
Credit Line: Gift of Mr. and Mrs. Jerome Koizim, 1978
Accession Number: 1978.346a–c
Final Jomon period (ca. 1000–300 B.C.)
Japan
Earthenware; H. 2 1/2 in. (5.7 cm)
Gift of Mr. and Mrs. Jerome Koizim, 1978 (1978.346)
Clay figurines (dogu) modeled in human and animal forms were made throughout the Jomon period, particularly during the latter half, and establish the beginnings of Japan's sculptural tradition. The largest percentage of these figures, including this statuette from northern Honshu, consist of highly stylized images of females with enlarged breasts, stomachs, and hips, presumed to have been fertility symbols. Because these figurines were usually broken intentionally, it is supposed that they were used as part of rituals meant to cure physical ailments. It seems that once the affliction was ceremonially transferred to the figure, the clay image was discarded. This speculation explains the evidence that most (dogu) are found scattered about or in refuse heaps, rather than in graves.
http://www.metmuseum.org/
Dimensions: H. 2 1/4 in. (5.7 cm); W. 1 7/8 in. (4.8 cm)
Classification: Ceramics
Credit Line: Gift of Mr. and Mrs. Jerome Koizim, 1978
Accession Number: 1978.346a–c
Final Jomon period (ca. 1000–300 B.C.)
Japan
Earthenware; H. 2 1/2 in. (5.7 cm)
Gift of Mr. and Mrs. Jerome Koizim, 1978 (1978.346)
Clay figurines (dogu) modeled in human and animal forms were made throughout the Jomon period, particularly during the latter half, and establish the beginnings of Japan's sculptural tradition. The largest percentage of these figures, including this statuette from northern Honshu, consist of highly stylized images of females with enlarged breasts, stomachs, and hips, presumed to have been fertility symbols. Because these figurines were usually broken intentionally, it is supposed that they were used as part of rituals meant to cure physical ailments. It seems that once the affliction was ceremonially transferred to the figure, the clay image was discarded. This speculation explains the evidence that most (dogu) are found scattered about or in refuse heaps, rather than in graves.
http://www.metmuseum.org/
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