An exquisitely carved plaque of a supine bull. Note the black burn mark. Probably this was part of a group which once supported an ivory tray. Neo-Assyrian period, 9th-7th centuries BCE. From Nimrud, Mesopotamia, Iraq. The Sulaymaniyah Museum, Iraq.
domingo, 13 de noviembre de 2016
ivory plaque
Ivory Plaque from Nimrud (ancient Kalhu; Biblical Calah). It depicts a standing/striding bull. From Nimrud, Mesopotamia, Iraq. It was excavated by Sir Max Mallowan between 1949-1963. Neo-Assyrian Period, 911-612 BCE. Erbil Civilization Museum, Kurdistan, Iraq.
“Woman at the window” or “the lady of the window”
“Woman at the window” or “the lady of the window” is one of the most
famous scenes in Phoenician ivory carving. The plaque shows a woman who
looks out of a window, thought to be a sacred prostitute linked to the
goddess Astarte or Ishtar. However, the exact significance of the scene
is still unknown. Neo-Assyrian period, 9th-7th centuries BCE. From
Nimrud, Mesopotamia, Iraq. The Sulaimaniyah Museum, Iraq.
Ídolo guanche
Ídolo guanche conocido como "Guatimac" (Museo Arqueológico del Puerto de la Cruz, Tenerife).
lunes, 7 de noviembre de 2016
Renni
osirisnet.net
Varna
La tumba de la necrópolis de Varna (Bulgaria), que data de 4600 aC con la joyería de oro más antiguo del mundo A tomb from the Varna necropolis (Bulgaria), circa 4600 BC, with the world's oldest gold jewellery yet discovered.
Pièces d'orfèvrerie présentées au musée archéologique de Varna (Bulgarie) et qui seraient parmi les objets en or les plus anciens connus à ce jour (- 6000 ans avant JC)
Varna
La tumba de la necrópolis de Varna (Bulgaria), que data de 4600 aC con la joyería de oro más antiguo del mundo A tomb from the Varna necropolis (Bulgaria), circa 4600 BC, with the world's oldest gold jewellery yet discovered.
Pièces d'orfèvrerie présentées au musée archéologique de Varna (Bulgarie) et qui seraient parmi les objets en or les plus anciens connus à ce jour (- 6000 ans avant JC)
sábado, 5 de noviembre de 2016
TOMB 340
The reading of the scene must in fact be made from the left, since the lower register where a woman, turned facing the cortege, seems to welcome it while offering a vase of ointment. The funeral procession heads toward the west, while going from Anubis toward Osiris (and therefore the mummy's preparation toward rebirth).
At the head one finds four porters with chests whose carrying straps have not been represented. Each man carries in principle two chests, in fact only six i...nstead of eight are represented, due to lack of space, in a rather ungainly manner (at less at this stage).
- Behind the porters of chests, is a group of mourners (which is difficult to identify) in sheath dresses with straps and tripartite wigs, turned around toward the continuation of the cortege while raising their arms at right-angles
At the head one finds four porters with chests whose carrying straps have not been represented. Each man carries in principle two chests, in fact only six i...nstead of eight are represented, due to lack of space, in a rather ungainly manner (at less at this stage).
- Behind the porters of chests, is a group of mourners (which is difficult to identify) in sheath dresses with straps and tripartite wigs, turned around toward the continuation of the cortege while raising their arms at right-angles
Facing the mourners, advance six porters with offerings. The first holds in his hands a nu-vase and a bes-vase; the next two each carry a casket, the fourth and the fifth, a pedestal or a stool with struts. the last, whose silhouette is fairly damaged, a bag or a fan. All porters with funeral furniture in this register are clothed in the same way: very simple short loincloths and short wigs covering the ears.
In the upper register, where the second part of the procession is represented, one first sees eight women, feet together and in a tight sheath dress of archaic style, of which the gestures of the arms are quite varied: hands crossed on the chest; arms down the body; both arms raised.
Next comes the catafalque. It is carried by five men and is preceded by two cattle and a drover, which means that at certain times of the journey the catafalque was hauled, but that here the cortege crosses a rocky or more difficult passage, probably in the mountain.
The red catafalque, in the shape of an Egyptian shrine, is placed on a barque of which the prow and the stern are constituted of umbels of papyrus. Inside the catafalque, the anthropoid coffin is decorated of yellow bands intended to receive some inscriptions and the mask is framed by a green wig. On a line of soil, that has not yet been drawn above the cattle and their drover, three mourners constitute a small sub-register. Kneeling, the bust tilted forwards, they carry both hands to their faces.
TOMB 340 was discovered by Bernard Bruyère in 1925. It is a tiny vault located below a courtyard and which one reaches by some steps.
http://www.osirisnet.net/…/…/amenemhat340/e_amenemhat340.htm
In the upper register, where the second part of the procession is represented, one first sees eight women, feet together and in a tight sheath dress of archaic style, of which the gestures of the arms are quite varied: hands crossed on the chest; arms down the body; both arms raised.
Next comes the catafalque. It is carried by five men and is preceded by two cattle and a drover, which means that at certain times of the journey the catafalque was hauled, but that here the cortege crosses a rocky or more difficult passage, probably in the mountain.
The red catafalque, in the shape of an Egyptian shrine, is placed on a barque of which the prow and the stern are constituted of umbels of papyrus. Inside the catafalque, the anthropoid coffin is decorated of yellow bands intended to receive some inscriptions and the mask is framed by a green wig. On a line of soil, that has not yet been drawn above the cattle and their drover, three mourners constitute a small sub-register. Kneeling, the bust tilted forwards, they carry both hands to their faces.
TOMB 340 was discovered by Bernard Bruyère in 1925. It is a tiny vault located below a courtyard and which one reaches by some steps.
http://www.osirisnet.net/…/…/amenemhat340/e_amenemhat340.htm
Zenobia
En 269, Zenobia, su ejército, y el general Zabdas conquistaron violentamente Egipto con la ayuda de su aliado egipcio, Timágenes, y su ejército. El prefecto romano de Egipto, Probus Tenagino y sus fuerzas, trataron de expulsarles de Egipto, pero el ejército de Zenobia capturó y decapitó a Probus. Zenobia se proclamó reina de Egipto y acuñó monedas con su nombre. En ese momento su reino se extendía desde el Nilo hasta el Éufrates.
Caracalla
Caracalla (211-217) otorgó la ciudadanía romana a todos los egipcios, en común con otras provincias, pero esto debía arrastrar principalmente más impuestos, que crecieron cada vez más, como las onerosas necesidades de los emperadores. Hubo una serie de rebeliones, militares y civiles, en el siglo III.
Portrait of the emperor Caracalla from a statue reworked as a bust
Portrait of the emperor Caracalla from a statue reworked as a bust
Termas de Caracalla
Roma
Wall painting fragment
Wall painting fragment
Period:Early ImperialDate:1st century A.D.Culture:RomanMedium:FrescoDimensions:Overall: 5 11/16 in. (14.5 cm)
This fresco fragment preserves the head of a woman wearing an Egyptian headdress. The Romans had an enduring fascination with the ancient cults and arts of Egypt, as attested by depictions on wall paintings, mosaics, and other media.
Met Museum
metmuseum.org
Suscribirse a:
Entradas (Atom)