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A cat in greenery is a harmonious combination ... however, cats are always and everywhere harmonious :)
The ancient Egyptians had a special relationship with cats: they were revered as sacred animals; mummified like humans; depicted in sculpture and frescoes. And the very first cat "portrait" was written by the Egyptians.
For a long time it was believed that the Egyptians tamed cats. However, in 2004, a burial site dating back to 9500 BC was discovered in Cyprus. e., in which a cat was found together with a man. A wild beast would hardly have been put in a grave. It turned out that cats lived with people long before they appeared in Egypt. The Middle East began to be considered the birthplace of domestic cats, and Egypt was forgotten for some time. But not for long: in 2008, a burial was opened in southern Egypt, in which six cats were found - a male, a female and four kittens. Although this burial was younger than the Cypriot one (about 6000 years), it became clear that cats were known in Egypt much earlier than was thought until recently.
It is known that the ancestor of the domestic cat was the steppe cat Felis silvestris lybica - it still lives in the steppe, desert and partly mountainous regions of Africa, Western, Central and Central Asia, in Northern India, Transcaucasia and Kazakhstan. In 2007, it was possible to establish that all modern cats descended from him.
Seafarers brought the first cats to Rus' in the pre-Christian era. Exotic animals were a valuable commodity: the cost of a cat until the 15th century was comparable to the value of a healthy arable animal - an ox.
This is considered an important work by Croatian artist Marijan Kocković, who served as a ship’s captain during World War II with both American and British forces and had a 45-year career as an artist. As a sculptor, he was referred to as “Marijan of Dubrovnik” and created important portraits of many leading individuals including John F. Kennedy and Elizabeth Taylor.
Source:- www.rbg.ca/legacyart
The four evangelists are traditionally depicted on the sails of the dome, and their symbolic images are written below them.
The evangelists are depicted with open books, the figure of each of them is twice the size of a person.
Saint Matthew the Evangelist is on the southeast sail. Below, Matthew is an angel, a man with wings, with his right hand he gives the evangelist a scroll, and in his left hand he holds a pen.
According to the fathers of the church, each of the four animals, in addition to the evangelists, expresses a style or character that is characteristic of the gospel of each of them. The image of the winged man must be assimilated by Matthew, since he begins his gospel with the human genealogy of the Savior.
Artist V. M. Vasnetsov.
Matthew the Apostle, also known as Saint Matthew and possibly as Levi, was, according to the New Testament, one of the twelve apostles of Jesus. According to Christian traditions, he was also one of the four Evangelists as author of the Gospel of Matthew, and thus is also known as Matthew the Evangelist, a claim rejected by most biblical scholars, though the "traditional authorship still has its defenders."
На вітрилах купола традиційні чотири євангелісти, а під ними, у вигляді таємничих апокаліптичних тварин, що зустрічаються в Книзі пророка Єзекіїля та Одкровенні Іоанна Богослова, притаманні їм в іконографії, їх символічні зображення - істоти стали символами євангелістів та формою їхнього традиційного зображення з VII століття.
Євангелісти зображені з розкритими книгами, фігура кожного з них удвічі більша за людський зріст.
На південно-східному вітрилі Святий євангеліст Матвій. Нижче Матвія - ангел, людина з крилами, правою рукою він подає євангелісту сувій, а в лівій - тримає перо. Образ крилатої людини пов’язують з Матвієм, оскільки він починає своє євангеліє людською генеалогією Спасителя.
Художник Віктор Михайлович Васнєцов.
В Одкровенні Іоанна тетраморф представлений в образі окремих чотирьох апокаліптичних істот (лат. quattuor animalia «чотири живуть»; чотири живі істоти у протестантів) — вартових чотирьох кутів Трона Господа та чотирьох меж раю.
На думку отців церкви, кожна з чотирьох тварин, у додатку до євангелістів, виражає собою стиль або характер, що є властивим євангелії кожного з них.
Левій Матвій, (Левій, Матей, митар, Євангеліст Матвій, Митник) — один з 12 апостолів Ісуса Христа. Матвія називають також Левієм, щоб відділяти його минуле життя від часу служіння Ісусові. Матвій написав Євангеліє від Матвія арамейською мовою.
This is a tile I saw at a charity store. I am guessing it's all about Noah's Ark. I didn't buy it.
#18/122 Conservation: 122 Pictures in 2022
Mural depicting the clashes between anti fascist demonstrators and The British Union of Fascists (Black Shirts led by Oswald Mosley) with the police defending the fascist marchers on 4th October 1936.
Sarkophagfront mit Jagtdarstellung
3. Jh.n.Chr.
Front of a Sarcophagus depicting a hunt
3rd century AD
"Depicted as a "lovable loser"... Charlie Brown is characterized as a person who frequently suffers, and as a result, is usually nervous and lacks self-confidence. He shows both pessimistic and optimistic attitudes: on some days, he is reluctant to go out because his day might just be spoiled, but on others, he hopes for the best and tries as much as he can to accomplish things." (wikipedia)
The Waag ( "weigh house" ) is a15th-century building on Nieumarrkt square in Amsterdam. It was originaly a city gate and part of the walls of Amsterdam.The building has also served guildhall, museum, fire station and anatomicai theatre, among other things.
The Waag is depicted in Rembrand`s 1632 painting The Anatomy Lesson of Dr. Nicolaes Tulp.
A nativity scene depicts the birth of Jesus Christ in the cave of Bethlehem, with figures of the infant, Mary and Joseph, as well as shepherds and the Magi, all depicted in miniature. This ancient tradition, symbolizing the birth of the Savior, is established in churches, homes, and on the streets.
Вертеп - сцена народження Ісуса Христа у Віфлеємській печері з фігурками немовляти, Марії та Йосипа, а також пастухів і волхвів, виконана у вигляді мініатюрної композиції. Це давня традиція, що символізує народження Спасителя, встановлюється у церквах, будинках та на вулицях.
Sif is traditionally depicted with long, golden hair which some scholars claim symbolizes wheat.
She is part of a divine fertility couple as Sif represents the soil of the earth and the golden bounty of the fields.
Thor, the thunder god, represents the rain that fertilizes that soil to produce crops.
As a jest, Loki the Trickster, cut Sif's golden hair, leaving her bald and heartbroken. This may represent the harvesting of the crops and the stubble left in the fields.
Thor forced Loki to replace the cut hair with golden locks.
In my picture the replacement is a crown formed of wheat heads and swirling flag leaves, which Sif wears over her regrown hair, which is once again almost ready to harvest.
This image depicts an old window on a side façade of the Chiesa della Madonna del Carmine in Noto, Sicily. The window features wooden shutters, weathered with time, and painted in a dark brown color, now peeling and revealing layers of history. The surrounding wall is textured and aged, with warm, earthy tones that complement the rustic appearance of the window. The shutters are partially open, allowing a glimpse of the barred interior window, covered with a light curtain.
Noto, a city in southeastern Sicily, is renowned for its exquisite Baroque architecture. Rebuilt in the 18th century after a devastating earthquake in 1693, Noto is often referred to as the "Capital of Baroque." Its streets are lined with elegant palaces, churches, and buildings that showcase the grandeur of Sicilian Baroque style. The Chiesa della Madonna del Carmine, like many other structures in Noto, exemplifies this architectural brilliance with its intricate facades and artistic details.
The city's historic center has been designated a UNESCO World Heritage Site, attracting visitors from around the world who come to admire its beauty and rich cultural heritage. Noto's architecture is characterized by its harmonious proportions, intricate stone carvings, and the use of local golden limestone, which gives the buildings their distinctive, warm glow. This window, with its timeworn charm, is a testament to the enduring beauty and craftsmanship that defines Noto's architectural legacy.
RX_02665_20240511_Noto
This digitally painted watercolor scene depicts a picturesque street in Taormina, Italy. The focus is on charming, Mediterranean-style buildings with warm ochre and beige tones, complemented by balconies and wooden shutters. The street-level atmosphere is lively, with a restaurant and bar where people are seated, enjoying their meals under outdoor awnings.
The foreground shows pedestrians in colorful clothing, adding life and movement to the scene. On the right side, stairs lead up to a pharmacy with its arched doorway, creating a sense of depth. The background is dominated by moody, dramatic clouds that contrast with the bright and cozy architecture, emphasizing the quaint yet dynamic charm of this small Italian town.
RX_02497_20240509_Taormina
The 2U21 10.39 Southport to Hunts Cross service has just departed from Oriel Road station, the unit is adorned with a unique livery depicting Liverpool Hope University.
The Town Hall is in the right, built in the Renaissance style in 1882, designed by John Johnson who was also responsible for Alexandra Palace in London and many churches.
The Capitoline Wolf is a bronze sculpture depicting a scene from the legend of the founding of Rome. The sculpture shows a she-wolf suckling the mythical twin founders of Rome, Romulus and Remus. According to the legend, when King Numitor, grandfather of the twins, was overthrown by his brother Amulius in Alba Longa, the usurper ordered them to be cast into the Tiber River. They were rescued by a she-wolf that cared for them until a herdsman, Faustulus, found and raised them.
The age and origin of the Capitoline Wolf are controversial. The statue was long thought to be an Etruscan work of the fifth century BC, with the twins added in the late 15th century AD, probably by sculptor Antonio del Pollaiuolo. However, radiocarbon and thermoluminescence dating in the 21st century has suggested that the wolf portion of the statue may have been cast between 1021 and 1153, though the results are inconsistent, and there is yet no consensus for a revised dating. In a conference on this theme, most academics continued to support an ancient Etruscan origin.[citation needed] An analysis of the metal suggests that it contains lead from a source not known to have operated during medieval times.
The image of the she-wolf suckling Romulus and Remus has been a symbol of Rome since ancient times, and one of the most recognizable icons of ancient mythology.[5] The sculpture has been housed since 1471 in the Palazzo dei Conservatori on the Campidoglio (the ancient Capitoline Hill), Rome, Italy, and many replicas are in various places around the world.
Jizō is a bodhisattva primarily revered in East Asian Buddhism and usually depicted as a Buddhist monk. His name may be translated as "Earth Treasury", "Earth Store", "Earth Matrix", or "Earth Womb".
He is often regarded as the bodhisattva of hell-beings, and in Japanese culture also as the guardian of children and patron deity of deceased children and aborted fetuses.
Local women usually take care of Jizō statues and provide them with hand-knitted hats and hand-sewn bibs. The practice of dressing Jizō statues is related to accruing merit for the afterlife, a common theme in Buddhism.
Depicting about Hulls once Trawling Industry, This is one of several to be seen on Hessle Road which was the heart of fishermen and their families and others associated with that industry
A b/w depiction Mt. Rainier.
"Ascending to 14,410 feet above sea level, Mount Rainier stands as an icon in the Washington landscape. An active volcano, Mount Rainier is the most glaciated peak in the contiguous U.S.A., spawning six major rivers. Subalpine wildflower meadows ring the icy volcano while ancient forest cloaks Mount Rainier’s lower slopes. Wildlife abounds in the park’s ecosystems."
re: nps.gov
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photo rights reserved by B℮n
The Sanctuary of Truth is a magnificent temple in Pattaya, Thailand, that stands as a tribute to traditional Thai architecture and craftsmanship. The temple is entirely made of wood, with intricate carvings depicting various Hindu and Buddhist deities, as well as ancient Thai mythological figures. The construction of the Sanctuary of Truth began in 1981 and is still ongoing. The temple covers an area of over two hectares and is over 100 meters tall. It was designed by a local businessman named Lek Viriyaphant. The Sanctuary of Truth is not affiliated with any specific religion, but rather serves as a symbol of the unity of all religions and beliefs. It is a peaceful and tranquil place where visitors can reflect and appreciate the beauty of Thai culture and tradition. The Sanctuary of Truth also serves as a cultural and educational center. It hosts various workshops and events throughout the year, aimed at promoting traditional Thai arts and crafts. The temple is known for its beautiful carvings and statues of mythological figures. One of the goddesses seen there is the Goddess of the Earth, who is often depicted sitting on the ground. This goddess is associated in many cultures with fertility, growth and the cycle of the seasons. She is often depicted embracing the earth or digging into the ground with her hands. Her presence in the Sanctuary of Truth can be seen as a tribute to the power of nature and the important role the earth plays in our lives.
The left hall in the Sanctuary of Truth is an impressive wooden structure that resembles a cathedral. The hall has an imposing height of about 30 meters and is decorated with numerous statues and sculptures depicting Thai mythology and history. With high arches, vaults and elaborate carvings, it is reminiscent of Gothic architecture. Built using traditional woodworking techniques, the hall has over 100 beautiful carvings and sculptures depicting various aspects of Buddhism, Hindu mythology, and Thai culture. It represents the birth of life and humanity. It contains statues and sculptures depicting the creation of humanity, the earth and the cosmos. It is a fascinating place to visit for anyone interested in Thai culture and history, and who appreciate the beauty of traditional woodworking and architecture. There are images of gods and goddesses, Buddhist teachings and symbols of life and nature. Another interesting feature of the interior of the left hall is the large central atrium, which is lit by a skylight. This atrium serves as a kind of sanctuary, where visitors can meditate. In general, the inside of the left hall is a wonderful example of the rich Thai culture and history, and the wood carving techniques used to create it are very impressive.
The Sanctuary of Truth is een prachtige tempel in Pattaya, Thailand, die een eerbetoon is aan de traditionele Thaise architectuur en vakmanschap. De tempel is volledig gemaakt van hout, met ingewikkeld houtsnijwerk dat verschillende hindoeïstische en boeddhistische godheden uitbeeldt, evenals oude Thaise mythologische figuren. In de Thaise cultuur worden godinnen vaak afgebeeld met blote borsten als symbool van vruchtbaarheid, overvloed en zorgzaamheid. De bouw van het Sanctuary of Truth begon in 1981 en is nog steeds aan de gang. De tempel heeft een oppervlakte van ruim twee hectare en is meer dan 100 meter hoog. Het is ontworpen door een lokale zakenman genaamd Lek Viriyaphant. The Sanctuary of Truth is niet gelieerd aan een specifieke religie, maar dient eerder als een symbool van de eenheid van alle religies en overtuigingen. Het is een vredige en rustige plek waar bezoekers de schoonheid van de Thaise cultuur en traditie kunnen overdenken en waarderen. De linker hal in de Sanctuary of Truth is een indrukwekkende houten structuur die lijkt op een kathedraal. Met hoge bogen, gewelven en uitgebreide houtsnijwerk versieringen doet dit denken aan gotische architectuur. Het vertegenwoordigt de geboorte van het leven en de mensheid. Het bevat beelden en sculpturen die de schepping van de mensheid, de aarde en de kosmos weergeven. Het is een fascinerende plek om te bezoeken voor iedereen die geïnteresseerd is in de Thaise cultuur en geschiedenis, en die de schoonheid van traditionele houtbewerking en architectuur waarderen. Er zijn afbeeldingen van goden en godinnen, boeddhistische leerstellingen en symbolen van het leven en de natuur. Eén van de godinnen die daar te zien is, is de Godin van de Aarde, die vaak wordt afgebeeld terwijl ze op de grond zit. Deze godin wordt in veel culturen geassocieerd met vruchtbaarheid, groei en de cyclus van de seizoenen. Ze wordt vaak afgebeeld terwijl ze de aarde omhelst of met haar handen in de grond graaft. Haar aanwezigheid in de Sanctuary of Truth kan worden gezien als een eerbetoon aan de kracht van de natuur en de belangrijke rol die de aarde speelt in ons leven. Een ander interessant kenmerk van de binnenkant van de linker hal is het grote centrale atrium, dat wordt verlicht door een dakraam. Dit atrium dient als een soort van heiligdom, waar bezoekers kunnen mediteren en ontspannen
Excerpt from cbc.ca:
Mary Wiens · CBC News · Posted: Jul 20, 2017 11:00 AM ET | Last Updated: July 20, 2017
Few passengers boarding the subway at Old Mill where it crosses over Humber Park realize that the massive concrete pylons supporting the station have become a series of concrete canvases in the park below.
But walk past the station, down Old Mill Road and turn right into Humber Park, and you'll find Indigenous artist Philip Cote, perched on a scaffold, working on any one of ten murals that transform the pylons into teaching tools for Indigenous history.
Cote's circular murals depicting the Anishinaabe creation story are a public art commission for the Pan Am Path, the 80-kilometre path that will eventually link walking and cycling paths across the city.
For Cote, the murals are a chance to share Indigenous history and science, informed by a spiritual understanding — typical of Indigenous thought.
"The whole idea of this mural is a small seed that's going to get planted and it's going to go somewhere," said Cote. "It's the creation story of the Anishinaabe people, so we're talking about a different way of looking at the world."
"This mural is man's arrival on the land. He's connecting with all the animals," said Cote. "I wanted to show that Indigenous thinking, that everything's connected and we're all on the same path."
The subway bridge was built almost 50 years ago but Cote's murals depict a history preserved through an oral tradition that survived the Ice Age.
Ten murals capture different epochs of Indigenous history, going back more than 13,500 years, like one mural depicting animals that became extinct during the Ice Age. It includes an image of a man called Oh-kwa-ming I-nini-wug, the Anishinaabe word for 'ancient people,' passed down through an oral tradition that western science is only now beginning to accord more respect.
Cote's murals for the Pan Am Path are a partnership with two graffitti artists, Jarus and Kwest.
The Pipes of Pan is an oil-on-canvas by Spanish artist Pablo Picasso. Painted in 1923 during Picasso's classical period, the painting depicts two statuesque men of mythological origins. Frequently acknowledged to be his cornerstone work during this era, the painting makes use of a large canvas and a classical color palette that are acutely reminiscent of the ancient world. The subjects which Picasso chooses to explore within this work– male Greek youth, musical pipes, as well as the Mediterranean setting– all hark back to classical ancient art.
This work was painted at the crux of Picasso's classical period from 1919 to 1929, in which he was greatly intrigued by classical art. At the time that he had painted The Pipes of Pan, Picasso was traveling extensively in Italy, and consequently drew inspiration for this painting in the Greco-Roman art he found there. His admiration for such is evident in the pensive and motionless way he portrays his subjects, as well as the tactile yet unembellished background. Additionally, the subjects themselves are Greek by nature– the pipes held by the figure on the right are a clear reference to the pipes of Pan, the personified Greek god of “life in the periphery”– who essentially functions as the embodiment of peripheral attitude (free-ranging, and lustful but frustrated) and pastoral life. The setting of the painting, too, is evidently Mediterranean by its sunny blue background.
There has been known controversy in the past regarding the so-called “true nature” of the subject for this particular painting. At the era of this painting, Picasso, who was deep into his fascination with classical art, met Sara Murphy in 1921. She was a beautiful and wealthy American expatriate who became flirtatiously involved with Picasso, their relations leading all the way up to the conception of this painting. Infrared photographs of The Pipes of Pan taken in the 90s revealed an initial composition that included four total figures. Many art scholars believe that one figure was to be Venus, depicted as Sara, and that another figure was to be Mars, depicted as Picasso. However, a possible reason why this initial idea was scrapped was because Picasso's infatuation came to a head– perhaps Sara rejected him, and so he erased her from the painting composition.
photo rights reserved by B℮n
The Royal Grand Palace is a complex of buildings at the heart of Bangkok, Thailand. The palace has been the official residence of the Kings of Siam and later Thailand since 1782. It consists of not only royal and throne halls, but also a number of government offices as well as the renowned Temple of the Emerald Buddha. It covers an area of 218,000 square metres and is surrounded by four walls, 1900 metres in length. After King Rama I ascended to the throne in 1782, the palace was built. Prior to this, the royal palace and centre of administration had been located in Thonburi, on the west bank of the Chao Phraya River. For various reasons, the new King considered the former capital to be unsuitable and decided to establish a new capital on the other side of the river. Admission fee is free of charge for Thais and 500 baht for foreigners. You'll need to wear culturally appropriate attire when visiting the Grand Palace in Bangkok. This means being well covered. Visitors should wear long skirts/trousers and sleeved shirts—basically anything that covers more than the lower arms and head. Fortunately, after the covid period, it is not yet busy with tourists. Thailand has just ended their quarantine policy. Face masks are no longer mandatory. Great to visit the Grand Palace one more time now.
Impressive 200 years of royal history and architecture at the Grand Palace in Bangkok with more than 100 buildings. The gallery walls of the Temple of the Emerald Buddha enclose the entire temple and are completely covered with murals. The gallery is a covered corridor that surrounds the entire temple like a monastery. Murals on the gallery walls depict the entire arc of the Ramakien epic, which is based on the Indian Ramayana. This version was translated and recomposed in Thai poetic form around 1797 under the supervision of Rama I himself. The murals were commissioned by Rama I to tell his version of the epic. The concept of righteous kingship within the epic has long been recognized in Southeast Asia and has been appropriated by many kings to equate their land with the legendary city of Ayodhya - holy place for Hindus- and the hero Rama. The murals have been restored over time. The murals along the walls are divided into 178 scenes. The first scene depicted is: the initial stages of the war waged by Rama of Ayodthaya to rescue his wife who had been abducted by King of Longka.
De Royal Grand Palace is een gebouwencomplex in het hart van Bangkok, Thailand. Het paleis is sinds 1782 de officiële residentie van de koningen van Siam en later Thailand. Het bestaat niet alleen uit koninklijke en troonzalen, maar ook uit een aantal regeringsgebouwen en de beroemde Tempel van de groene Smaragd Boeddha. Het heeft een oppervlakte van 218.000 vierkante meter en is omgeven door vier muren van 1900 meter lang. Nadat koning Rama I in 1782 de troon besteeg, werd het paleis gebouwd. Daarvoor was het koninklijk paleis en het bestuurscentrum gevestigd in Thonburi, op de westelijke oever van de Chao Phraya-rivier. Om verschillende redenen vond de nieuwe koning de voormalige hoofdstad ongeschikt en besloot hij een nieuwe hoofdstad te stichten aan de andere kant van de rivier. De toegangsprijs is gratis voor Thais en 500 baht voor buitenlanders. In april 1981 gebruikte de plaatsvervangend commandant van het Thaise leger, generaal San Chitpatima, het paleis als zijn hoofdkwartier voor een poging tot staatsgreep tegen premier Prem. De staatsgreep mislukte mede door ingrijpen koning Bhumibol. Een paar uur later ontmoette generaal Prem echter koning Bhumibol in zijn paleis in Bangkok en de koninklijke familie en de premier vloog naar een legerbasis in Noordoost-Thailand. Premier Prem kondigde op de radio aan dat hij niet was afgetreden. Het Thaise leger trok zich weer terug uit het paleis. Gelukkig is het na de covid periode nog niet druk met toeristen. Thailand heeft zojuist hun quarantainebeleid beëindigd. Mondkapjes zijn niet meer verplicht. Geweldig om het Grand Palace nu nog een keer te bezoeken. De galerijmuren van de tempel van de Smaragdgroene Boeddha omsluiten de hele tempel en zijn volledig bedekt met muurschilderingen. De galerij of Phra Rabiang is een overdekte gang die de hele tempel als een klooster omringt. Muurschilderingen op de galerijmuren verbeelden de hele boog van het Ramakien-epos, dat is gebaseerd op de Indiase Ramayana. Deze versie werd rond 1797 vertaald en opnieuw samengesteld in Thaise poëtische vorm onder toezicht van Rama I zelf. De muurschilderingen werden in opdracht van Rama I gemaakt om zijn versie van het epos te vertellen. Het concept van rechtvaardig koningschap binnen het epos is al lang erkend in Zuidoost-Azië en is door veel koningen toegeëigend om hun land gelijk te stellen aan de legendarische stad Ayodhya - heilige plaats voor hindoes- en de held Rama. De muurschilderingen zijn in de loop der tijd gerestaureerd. De muurschilderingen langs de muren zijn verdeeld in 178 scènes. De eerste afgebeelde scène is: de eerste stadia van de oorlog die Rama van Ayodthaya voerde om zijn vrouw te redden die was ontvoerd door de koning van Longka.
Dilmun is associated with ancient sites on the islands of Bahrain in the Persian Gulf, the Cradle of Civilization.
Dilmun (sometimes transliterated Telmun) is associated with ancient sites on the islands of Bahrain in the Persian Gulf. Because of its location along the sea trade routes linking Mesopotamia with the Indus Valley Civilization, Dilmun developed in the Bronze Age, from ca. 3000 BC, into one of the greatest entrepots of trade of the ancient world.
There is both literary and archaeological evidence for the trade between Mesopotamia and the Indus Valley (probably correctly identified with the land called Meluhha in Akkadian). Impressions of clay seals from the Indus Valley city of Harappa were evidently used to seal bundles of merchandise, as clay seal impressions with cord or sack marks on the reverse side testify.
A number of these Indus Valley seals have turned up at Ur and other Mesopotamian sites. "Persian Gulf" types of circular stamped rather than rolled seals, known from Dilmun, that appear at Lothal in Gujarat, India, and Faylahkah, as well as in Mesopotamia, are convincing corroboration of the long-distance sea trade. What the commerce consisted of is less sure: timber and precious woods, ivory, lapis lazuli, gold, and luxury goods such as carnelian and glazed stone beads, pearls from the Persian Gulf, shell and bone inlays, were among the goods sent to Mesopotamia in exchange for silver, tin, woolen textiles, olive oil and grains. Copper ingots, certainly, bitumen, which occurred naturally in Mesopotamia, may have been exchanged for cotton textiles and domestic fowl, major products of the Indus region that are not native to Mesopotamia - all these have been instanced.
Mesopotamian trade documents, lists of goods, and official inscriptions mentioning Meluhha supplement Harappan seals and archaeological finds. Literary references to Meluhhan trade date from the Akkadian, the Third Dynasty of Ur, and Isin - Larsa Periods (ca. 2350 - 1800 BC), but the trade probably started in the Early Dynastic Period (ca. 2600 BC). Some Meluhhan vessels may have sailed directly to Mesopotamian ports, but by the Isin - Larsa Period, Dilmun monopolized the trade. By the subsequent Old Babylonian period, trade between the two cultures evidently had ceased entirely.
The Bahrain National Museum assesses that its "Golden Age" lasted ca. 2200 - 1600 BC. Its decline dates from the time the Indus Valley civilization suddenly and mysteriously collapsed, in the middle of the 2nd millennium BC. This would of course have stripped Dilmun of its importance as a trading center between Mesopotamia and India. The decay of the great sea trade with the east may have affected the power shift northwards observed in Mesopotamia itself.
Evidence about Neolithic human cultures in Dilmun comes from flint tools and weapons. From later periods, cuneiform tablets, cylinder seals, pottery and even correspondence between rulers throw light on Dilmun. Written records mentioning the archipelago exist in Sumerian, Akkadian, Persian, Greek, and Latin sources.
Dilmun, sometimes described as "the place where the sun rises" and "the Land of the Living" is the scene of a Sumerian creation myth and the place where the deified Sumerian hero of the flood, Ziusudra (Utnapishtim), was taken by the gods to live for ever.
There is mention of Dilmun as a vassal of Assyria in the 8th century BC and by about 600 BC, it had been fully incorporated into the Neo-Babylonian Empire. Dilmun then falls into deep eclipse marked by the decline of the copper trade, so long controlled by Dilmun, and the switch to a less important role in the new trade of frankincense and spices. The discovery of an impressive palace at the Ras al Qalah site in Bahrain is promising to increase knowledge of this late period.
Otherwise, there is virtually no information until the passage of Nearchus, the admiral in charge of Alexander the Great's fleet on the return from the Indus Valley. Nearchus kept to the Iranian coast of the Gulf, however, and cannot have stopped at Dilmun. Nearchus established a colony on the island of Falaika off the coast of Kuwait in the late 4th century BC, and explored the Gulf perhaps least as far south as Dilmun/Bahrain.
From the time of Nearchus until the coming of Islam in the 7th century AD Dilmun/Bahrain was known by its Greek name of Tylos. The political history for this period is little known, but Tylos was at one point part of the Seleucid Empire, and of Characene and perhaps part of the Parthian Empire. Shapur II annexed it, together with eastern Arabia, into the Persian Sassanian empire in the 4th century.
Unlike Egyptian and Mesopotamian tablets and cylinders, the Dilmun legacy has been discovered on circular seals. The primitive forms of images carved on the seal indicate they were used as charms or talisman. Carved on wood, soapstone shells or metal, these images clearly define a complex society. Temples in the center of the agrarian village, towns, city-states, religious, and economic cultural life. All facets of the emergence of an evolutionary society are reflected in the inscriptions about the seals.
Impressions found on pottery and property is a probable usage of the seals. Burying them with the dead was probably to avoid misuse. Tiny fragments found impressed, suggest identifying property. Clearly there was an intrinsic value; each seal tells a story, has an identity.
Seals depict Enki, God of wisdom and sweet water. Gilgamesh as a massive and heroic figure, the 'Bull of heaven' hat. Ladies of the mountains 'Inanas' servants wearing her triangle signs depicting space for her power. 'Nana' is the moon god who was also named 'sin'. Symbol was the bull of heaven head. Inana, goddess of immortality.
From the dreams of Gilgamesh, to the philosophy of life. Seals depicting a harmonious life with nature and god are painted here in the colors and form I hope you enjoy. The colors naturally excite and stimulate, often sexually. Indisputably the ancient myths of immortality and resurrection influenced Dilmun beliefs and are abundantly supported in the seal designs, represented by gods of the sun and moon.
The Mesopotamian texts described Tilmun as situated at the 'mouth' of two bodies of water. The Sinai peninsula, shaped as an inverted triangle indeed begins where the Red Sea separates into two arms - the gulf of Suez on the west, and the Gulf of Elat (Gulf of Aqaba) on the east.
The texts spoke of mountainous Tilmun. The Sinai peninsula is indeed made up of a high mountainous southern part, a mountainous central plateau, and a northern plain (surrounded by mountains), which levels off via sandy hills to the Mediterranean coastline. Sargon of Akkad claimed that he reached as 'washed his weapons' in the Mediterranean; 'the sea lands' - the lands along the Mediterranean coast - 'three times I encircled; Tilmun my hand captured'. Sargon II, king of Assyria in the eighth century BC, asserted that he had conquered the area stretching 'from Bit-Yahkin on the shore of the salt Sea as far as the border of Tilmun'. The name 'Salt Sea' has survived to this day as a Hebrew name for the Dead Sea - another confirmation that Tilmun lay in proximity to the Dead Sea.
The cradle of civilization is sometimes referenced by the name Dilmun, or Tilmun. Here, it was said, the god Ea and his wife were placed to institute 'a sinless age of complete happiness'.
Here too animals lived in peace and harmony, man had no rival and the god Enlil `in one tongue gave praise'. It is also described as a pure, clean and `bright' `abode of the immortals' where death, disease and sorrow are unknown and some mortals have been given `life like a god', words reminiscent of the Airyana Vaejah, the realm of the immortals in Iranian myth and legend, and the Eden of Hebraic tradition
Although Dilmun is equated by most scholars with the island of Bahrain in the Persian Gulf, there is evidence to suggest that a much earlier mythical Dilmun was located in a mountainous region beyond the plains of Sumer.
But where exactly was it located Mesopotamian inscriptions do not say; however, the Zoroastrian Bundahishn text and the Christian records of Arbela in Iraqi Kurdistan both refer to a location named Dilamƒn as having existed around the head waters of the Tigris, south-west of Lake Van - the very area in which the biblical Eden is said to have been located.
Furthermore, Ea (the Akkadian Enki) was said to have presided over the concourse of Mesopotamia's two greatest rivers - the Tigris and Euphrates - which are shown in depictions as flowing from each of his shoulders.
This would have undoubtedly have meant that the head-waters, or sources, of these rivers would have been looked upon as sacred to Ea by the cultures of Mesopotamia's Fertile Crescent.
- Zecharia Sitchin The Stairway to Heaven
Dilmun was allegedly a magical land, the birthplace of the gods and the place where the arts of civilization where said first to have been transmitted to men. It was the subject of many legends told by the Sumerians, the people of southern Iraq; it was famed as a land where death and disease were unknown and men and animals lived at peace together.
It was the home of the Sumerian king who was the origin of the myth of Noah, the immortal survivor of the Great Flood, a story retold in the Qu'ran and the Bible.
The first great hero of world literature, Gilgamesh the king of Uruk, journeyed to Dilmun in search of the secret of eternal youth.
He found it deep in the waters of the Persian Gulf, off Bahrain, but lost it when the flower which restored the youth of those who sought it, was stolen by a snake, lurking in a pool as Gilgamesh returned to his kingdom; this is the reason why the snake sloughs his skin.
Symbolism - All is Myth and Metaphor in our reality
* water: flow of consciousness - creation
* restore to youth: move out of the physical body and return to higher frequency forms of sound, light, and color
* snake: DNA - the human bio-genetic experiment in time and emotion
* kingdom - Leo - Lion - King - Omega - closure
Dilmun was also the center of the most important trade routes of the third and second millennia BC. The most important commodity was copper for which Dilmun was famous and the dates for which Bahrain was always celebrated, from ancient times until the present day.
Because Dilmun was so sacred a land, there were many temples built there, the impressive remains of which can be seen today. The largest and most splendid temple surviving in Western Asia is at Barbar on Bahrain's northern shore.
The most famous of all Bahrain's rich archaeological heritage are the 200,000 grave mounds which are a feature of the landscape in the northern half of the island and which, by their size and quality of construction, show how prosperous Bahrain must have been in ancient times.
Dilmun continued to be the most important center of trade in the Gulf region throughout its history.
After the Sumerians, the Babylonians, Assyrians, even the Greeks, settled on the islands, because of their strategic importance in the movement of merchandise, north and south, east and west, by sea and by the land routes to which the seas gave access.
The records of their diplomatic relations with the kings of Dilmun, some of whose names are known from the records, testify to the importance of the islands throughout antiquity.
All left evidence of their presence, preserved today in the Bahrain National Museum and in the immense archaeological sites in which Bahrain is particularly rich.
Bahrain is an open-air treasure house of the past, a unique heritage from the earliest times when men first began to keep records of their hopes, fears and achievements.
It is the contemporary of ancient Egypt with Sumer and the peoples who succeeded them, of the great cities of the Indus Valley.
Source: www.crystalinks.com/dilmun.html
A depiction of how it feels to be forcibly fed a path that is not of one's choice.
Yes, at times, my art gravitates to a darkened, storytelling place. Perhaps those are the times that hold the most meaning for me. Those moments feel 'fuller', more 'spiritual' … if that makes any sense.
Excerpt from cbc.ca:
Mary Wiens · CBC News · Posted: Jul 20, 2017 11:00 AM ET | Last Updated: July 20, 2017
Few passengers boarding the subway at Old Mill where it crosses over Humber Park realize that the massive concrete pylons supporting the station have become a series of concrete canvases in the park below.
But walk past the station, down Old Mill Road and turn right into Humber Park, and you'll find Indigenous artist Philip Cote, perched on a scaffold, working on any one of ten murals that transform the pylons into teaching tools for Indigenous history.
Cote's circular murals depicting the Anishinaabe creation story are a public art commission for the Pan Am Path, the 80-kilometre path that will eventually link walking and cycling paths across the city.
For Cote, the murals are a chance to share Indigenous history and science, informed by a spiritual understanding — typical of Indigenous thought.
"The whole idea of this mural is a small seed that's going to get planted and it's going to go somewhere," said Cote. "It's the creation story of the Anishinaabe people, so we're talking about a different way of looking at the world."
"This mural is man's arrival on the land. He's connecting with all the animals," said Cote. "I wanted to show that Indigenous thinking, that everything's connected and we're all on the same path."
The subway bridge was built almost 50 years ago but Cote's murals depict a history preserved through an oral tradition that survived the Ice Age.
Ten murals capture different epochs of Indigenous history, going back more than 13,500 years, like one mural depicting animals that became extinct during the Ice Age. It includes an image of a man called Oh-kwa-ming I-nini-wug, the Anishinaabe word for 'ancient people,' passed down through an oral tradition that western science is only now beginning to accord more respect.
Cote's murals for the Pan Am Path are a partnership with two graffitti artists, Jarus and Kwest.
# This relief shows Ramses the Great (Ramses II, at the center) being adorned by the Gods Set and Horus.
# On the left is Set (or Seth, or Sutek, or Seteh), depcited with a head that doesn't completely resemble any creature we know. This is why Egyptologists have refered it as the head of the "Set animal" which resembles an aardavak and a dog. To the ancient Egyptians, the animal that Set's head is, was actually associated with a canid, wild dog of Egypt, which is unknown today - or possibly extinct. The Egyptians called this animal "Sha".
# Set is known to have saved Ra - the Sun deity. At the sametime he is associated with deserts, storms, chaos and darkness.
# Set is also known for violent conflicts against other deities like the Gods Horus, Osiris and the Goddess Isis.
# On the right side is Horus, depicted with the head of Falcon, and with a pschent on his head. A Pschent is the double crown of ancient Egypt, commonly called "Sekhemti" (the two powerful ones).
# Horus is associated with being the saviour and sky God, the deity of hunting and as being the destroyer of Set. Horus was told by his mother, Isis, to protect the people of Egypt from Set, the god of the desert, who had killed his father Osiris.
# The depiction shows both the deities Set and Horus holding the "Was" (power sceptre) in their right and left hands respectively. It was a decorated staff, curved at the top end and depicted as a symbol of one's power.
……”CNC milled aluminium bowl depicting the Col du Galibier landscape, by Drummond Masterton. Inspired by landscape and geometry, Drummond Masterton uses a combination of hand drawing, 3D CAD (Computer Aided Design) software and industrial CNC (Computer Numerically Controlled milling machines to create unique objects. To create Grand Galibier, Masterton turned his hand-drawn maps into 3D CAD drawings, made test pieces to help refine the design, and then prepared a 60kg block of aluminium for milling. CNC milling machines are primarily used in industrial processes to speed up product manufacture. Masterton instead exploits it as a craft tool and takes hundreds of hours to produce a finished piece. The contours of the bowl represent the landscape around Col du Galibier (2645m) in the Southern Alps, France. In 1911 this area became one of the routes in the Tour de France, and the victory of Marco Pantani in 1998 inspired Masterton to explore the terrain. This bowl was created as a visual representation of the changing landscape that captured his imagination.”
We had a busy W/End with family up to stay, we took them to Enginuiy in Telford - Enginuity is a fun-filled, hands on science and engineering centre for all ages. This item took my eye (taken through glass on my phone). Thank you for all your visits, comments & faves - I shall now endeavour to ‘catch-up’. Alan:-)
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 143 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII, who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel. Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio's paintings were thus intended to express Cerasi's attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.
Although much has been said about the supposed rivalry between Carracci and Caravaggio, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.
The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.
When Tiberio Cerasi died on 3 May 1601, Caravaggio was still working on the paintings, as attested by an avviso dated 5 May which mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.
The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.
The porcelain button depicts a Cattelya orchid. It was made by the Toshikane Company in Japan, probably in the 1950s to early 1960s, and it's unused. Behind it is a miniature coffee pot and mug (there are 2 in the set) made by Wedgwood, which I was lucky enough to spot in the window of a local charity shop. This one's a bit different for me. I don't usually do black. :)
This photo depicts one of the remaining pieces of foundation on the grounds of the former St. Mary's Indian Residential School (Stó:lō Nation name: Pekw'xe:yles) and is now part of Fraser River Heritage Park in Mission, B.C. The school originally opened in 1863 operated by the Catholic Church of Canada. The Indian residential schools were a sad part of our Canadian history as young first nations children were removed from their families and placed in residential schools. It was part of colonialism and a method of "civilizing" the native population. In recent years the government has acknowledged that the policy was wrong and that the schools were often crowded, underfunded and in some cases there was abuse and disease. The St. Mary's school closed in 1958 and the buildings were demolished in 1965.