Ninhursag con el espíritu de los bosques junto al árbol cósmico de la vida de siete puntas. Relieve de Susa.
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.
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.
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
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.
Ebony label EA 32650 from Den's tomb. The upper right register depicts king Den twice: at the left he is sitting in his Hebsed pavilion, at the right he is running a symbolic race around D-shaped markings. This ceremony is connected to the so-called "race of the Apis bull". The middle right section reports about the raid of the city "beautiful door" and about a daughter of Den suffering from an unknown disease. The lower right section reports about the visitation of the "souls of Peh" at the royal domain "Wenet". The left part of the label describes the content of the vessel that once belonged to the label and mentions the high official Hemaka, who was obviously responsible for the delivery of the labeled jar.
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
Typical of Cypriot sculpture of the sixth century B.C., this over-lifesize limestone statue has accentuated facial features, including a prominent nose and large eyes. The hint of an Archaic smile, the figure's rigid stance with one foot forward, and the long, spiral tresses falling over each shoulder attest to the influence of Greek sculpture on Cyprus at this time. Black, red, and yellow painted designs once embellished the garments and helmet worn by this figure. The helmet is divided into vertical panels decorated with rows of red lotus flowers that may refer to the tree of life represented in Near Eastern art. The bull protome reinforces the figure's religious significance, as does the Cypriot inscription on the left shoulder: "[I belong to] the Paphian [i.e., Aphrodite]." Bearded human figures wearing conical headdresses have a long history in Cypriot sculpture, dating from the end of the seventh century to the fifth century B.C. These sculptures most likely represent priests or dignitaries. The inscription on this statue, as well as its richly decorated garments and helmet, suggest that it represents a priest of a longlived fertility goddess who eventually became associated with the Greek goddess Aphrodite.
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.
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.
Date: 2nd century B.C.
Geography: Made in the Iberian peninsula (Spain) ...
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)
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/
NEW KINGDOM AND THE THIRD INTERMEDIATE PERIOD IN TELL EL-RETABA Results of the Polish-Slovak Archaeological Mission, Seasons 2009–2010, Ägypten und Levante/Egypt and the Levant 21, 2011, 129–184
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…
Period: Iron Age
Date: ca. 7th–6th century B.C. ...
Geography: Iberian Peninsula
Dimensions: 14 in. (35.6 cm)
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
Standing Male Figure
Period: Bronze and Iron Age period
Date: ca. 500 B.C.–A.D. 300 ...
Culture: Indonesia (Java, Lumajang, Pasiran)
Dimensions: H. 5 3/8 in. (13.7 cm); W. 3 1/2in. (8.9cm)
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)
Period: Final Jōmon period (ca. 1000–300 B.C.)
Culture: Japan ...
Dimensions: H. 2 1/4 in. (5.7 cm); W. 1 7/8 in. (4.8 cm)
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/