View allAll Photos Tagged Statuettes
Georges Ménager 2 mo
Toujours utile, et fonctionne sans pile, sans électricité, traverse les années, voir les siècles avec la même précision à chaque utilisation, en plus l'objet est beau, tout le contraire de la consommation actuelle. Tout ça pour dire, une belle macro. J'aimerais bien le voir en entier ce sablier.
A statuette made of ceramic and hand painted. Someone didn't want it so they took it to Kent Recycle Center in Carmel, New York and it can be yours free!
Waiting for me when I got back from Brickworld was a box containing prizes from the ReBrick Be The Special contest: Benny's Spaceship (autographed by the designer,) ReBrick minifig, The LEGO Movie Tin, and an Emmet statuette that is ironically glued to a base inside a case that is glued shut - but still awesome nonetheless. Hehe...
Ces statuettes ont ete vues dans le musee de Copan au Honduras.
Pour la premiere statuette, ce serait un encensoir de l'Époque classique à l'effigie d'un roi de Copan :K'inich Yax K'uk Mo.
Les autres statuettes pourraient etre aussi des encensoirs. Je n'ai pas d'identification exacte ....
These statuettes were seen in the Copan Museum in Honduras.
For the first statuette, it would be a censer of the Classical Period with the effigy of a king of Copan: K'inich Yax K'uk Mo.
The other statuettes could also be censers. I have no exact identification ....
Les dernieres images de Maurice Albray me replongent dans mes visites au pays des Mayas.
The figures of captives were made of different materials to be used in the ritual "Protecting the Land and the King" inside the temple. Thus, spells were recited on them and then tied with ropes and placed into the fire to destroy the enemies of Egypt. Moreover, they were buried in the corners of temples or forts to eliminate their evil as well.
New Kingdom, 19th dynasty
Tura el-Asmand/Mud
NMEC National Museum of Egyptian Civilization, Fustat Cairo
DESCRIPTION:
Nature morte, statuette exotique, de dos, posée à côté d’un vase contenant un large bouquet floral, au premier plan un pichet.
Titre attribué: Roses et statuette
Titre inscrit à l'inventaire: Nature morte à la statuette maori
Peintre: Paul GAUGUIN
Paris, 1848 - Atuona (Iles Marquises), 1903
École, pays: France
Lieu: Clohars-Carnoët, Le Pouldu
Époque, datation: 1889
Bronze statuette of the sacred Egyptian Apis bull, with a Greek inscription recording its dedication to 'Panepi' (Apis) by a worshipper named Sokydes. The Apis bull is always shown with a triangular marking on his forehead, here seemingly in silver. On his back is a patterned fabric, and he wears a similarly patterned collar - both probably representing actual decoration of an Apis bull, particularly when seen in a procession. He also displays the sun-disk symbol of his mother Hathor between his horns, in addition to a uraeus (cobra). Apis came to be considered a manifestation of the king, as bulls were symbols of strength and fertility, qualities that are closely linked with kingship. "Strong bull of his mother Hathor" was a common title for Egyptian gods and male kings.
Two images of the goddess Nekhbet in vulture form are laid across the shoulders and hindquarters of the bull, symbolizing protection.
This is one of two such statuettes in the museum's collection which suggest the existence of trading and cultural links between Greece and Egypt at this period, which was before Alexander's conquest and the ascendancy of the Greek Ptolemaic dynasty.
Archaic Greek, about 500-450 BCE, found in Lower Egypt.
Height: 10 cm (3.94 in.)
Length: 8.70 cm (3.43 in.)
British Museum, London (1898,0225.1)
Art work
Statuette
60 cm high
Wood, clay, feathers
Artist: Mark, 7 years old
Date: 2003
Price: not for sale or make crazy offer ;-)
One of the most valuable elements of Saint-Martin's collection is a little statue (barely 13 inches) from the second half of the XVIth century representing the Virgin about to breast-feed the Infant Jesus. Though its polychromy disappeared, this statue still keeps its preciosity through the great delicacy of the details of the costume and hands, and also the slight exaggeration of the posture.
Dans le Rock Garden, un environnement visionnaire créé par Nek Chand (né en 1924) à Chandigarh capitale des États du Pendjab et de l'Haryana en Inde du nord.
Commencé en 1957, le Rock Garden s’étend aujourd’hui sur 12 hectares et comprend près de 1400 figures sculptées. Il est ainsi considéré comme le plus vaste environnement d’art populaire au monde. Il est entièrement composé de déchets industriels, ménagers et autres objets usagés.
Prise en octobre 2007 d'après photographie argentique.
Copper alloy statuette of Nero in the guise of Alexander. Silver and copper-plating and deliberately patinated black bronze detail. The figure, which is hollow cast, stands with the weight on the right leg whilst the left foot is raised and may have originally rested on a globe or helmet (now missing). The right hand originally held a spear or sceptre (now missing) and the left arm is also missing. The figure wears imperial dress of decorated boots, a short tunic and a cuirass which is richly adorned with inlaid silver and niello patterns. The face is full and plump and the hair upstanding above the brow; the lips are slightly parted and the eyes, originally inlaid with colours (now missing) gaze upwards.
Though idealized, the facial features on this statuette do resemble those of Nero, the fifth Roman emperor (AD 54-68). This we know from his likeness on coins and official portraiture. The iconography is appropriate for an image of an emperor: the figure's upward gaze is reminiscent of traditional representations of Alexander the Great, the Macedonian emperor (reigned 336-323 BC). Alexander was seen as the paradigm of a great leader, even in the late-Roman period.
The piece is of very high quality, with lavish use of silver- and copper-plating and deliberately patinated black bronze.
The high quality of workmanship, the use of inlay, the patterning of the cuirass, and the rather soft figure-style have all suggested that it was made in Gaul and imported into Britain, presumably in antiquity. Neither its original context nor the circumstances of its discovery can be establised with any certainly (CSIR I, 8).
Romano-British, 1st century CE, copper alloy with copper and silver plating. Said to be from Barking Hall, Suffolk, but probably from Baylham Mill, near Ipswich.
Height: 62 cm (24.4 in.)
British Museum, London (1813,0213.1)
The conventional name of these sculptures, "Venuses", derives from a trait they have in common: the accentuation of the distinctive elements of the female anatomy. In fact, the anatomical parts linked to procreation are exasperated: the belly, buttocks, breasts and vulva.
VII/VIIIème siècle. Provient d'un tombeau de la dynastie Tang ( province du Shaanxi)
Musée Guimet, Paris
Venus Anadyomene (‘rising from the sea’), wringing out her wet hair. Found in a niche overlooking the garden of the Casa del Camillo in Pompeii (VII 12, 22-23), one of four. The niche was painted a vibrant blue, creating a dramatic effect, particularly when the sculpture was new and fully painted. You can still see her orangish-blonde hair, and painted details on her face.
1st century CE.
Museo Archeologico Nazionale di Napoli (MANN inv. 6292)