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This sculpture is carved in the round and painted. It depicts a nude male with black hair and black and white painted eyes. His arms are joined at the shoulders; both hands are closed at his sides. His feet are made separately, in one with the base. There is black paint on top of the base, and red on the edges. The base does not belong to this piece.
Egyptian
H with base: 8 13/16 in. (22.4 cm)
medium: wood with black, white, and red paint
culture: Egyptian
Walters Art Museum, 1931, by bequest.
【中和公立流浪犬收容所】
臉書請搜尋：古代同盟。中和楊。
長期徵週六志工，晚上六點後撥志工楊小姐0920-707-611
country@ms60.url.com.tw臉書：古代同盟。中和楊。
新北市中和區興南路三段100號，諮詢電話：02-8668-5547
開放時間：週一至週六AM10:00-PM4:00（午休12:00-1:00）
古代同盟會-中和收容所資料庫-長期徵週六志工
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古代同盟會-新店收容所資料庫
gogohappylife.com:338/ggvideo/teresa/country/slogon/slogo...
流浪動物花園-中和收容所
www.doghome.org.tw/phpbb2/viewforum.php?f=28
流浪動物花園-新店收容所
www.doghome.org.tw/phpbb2/viewforum.php?f=327
新北市農業局
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This tsuba is a depiction of the sky filled with clouds. At the upper left, the moon appears with the depiction of a rabbit pounding rice for sweet rice cakes. This is the figure that the Japanese see in the moon. This tradition may have developed in part because the word for rice cake ("mochi") can also mean "full moon."
Japanese
H: 2 13/16 × W: 2 11/16 × D: 3/16 in. (7.2 × 6.9 × 0.5 cm)
medium: shibuichi (silver-copper alloy), silver, and gold
style: Kii School
culture: Japanese
Walters Art Museum, 1931, by bequest.
I never bothered to check this website to see what was so darn important. All I needed to know was that these guys were assholes and, therefore, wrong.
This frontal satyr face, easily recognized by its snub nose and equine ears, served numerous purposes. As an antefix, it capped the open end of a roof tile, preventing wind, water, and pests from entering the building below. With its naturalistic mold-made features, enhanced with pigment and perhaps additional stamped and carved details, the antefix would also have provided striking visual ornament, especially when seen in long rows high above.
Greek/South Italian, Taranto
terracotta
Overall: 25 cm (9 13/16 in.)
Did you know...
Despite the connections between satyrs and Dionysos, not all satyr-head antefixes belonged to Dionysian buildings.
The Charles W. Harkness Endowment Fund
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.
Egyptian
H: 8 3/16 x W: 5 11/16 x D: 2 1/16 in. (20.8 x 14.4 x 5.3 cm)
medium: bronze with gilt, gold inlay
culture: Egyptian
dynasty: 25th-26th Dynasty
Walters Art Museum, 1931, by bequest.
The city center features a mix of new and old buildings, with a large parking lot located a short distance from the street. Captured in 2023 with the GFX100S and GF23mmF4 R LM WR. Mito, Japan.
URL: portfoliogallery.net/old-and-new-buildings-in-city-center...
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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
China, Qing dynasty (1644–1911)
Silk, gold thread: embroidery
Overall: 94 x 177.8 cm (37 x 70 in.)
Did you know...
This was likely made for a wife of a wealthy merchant, whose business would rely on ships like the embroidered ones on the coat.
Gift of Mr. and Mrs. J. H. Wade
The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red "mummy braces" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.
Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22
gessoed and painted sycamore fig
Overall: 68 cm (26 3/4 in.)
Did you know...
Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.
Gift of the John Huntington Art and Polytechnic Trust
In the 1800s, native peoples began to use European fabrics to fashion fine formal garments; they favored sturdy cloth, such as velvet and wool broadcloth, which provided support for heavy decorative beadwork that was added by hand. Often the fabric was a dark color, providing dramatic contrast for the multicolored beads. Rather than encrusting the entire garment, beadwork was confined to cuffs, “epaulettes,” bib-like plackets and yokes, rectangular panels sewn to leggings, shirts, and dresses, and the like.
Northeast Woodlands, Great Lakes Region, Anishinaabe (Ojibwe) or Nehiyawak (Cree) People?
Velvet, satin, glass beads
Overall: 12.1 x 29.8 cm (4 3/4 x 11 3/4 in.)
Anonymous gift in memory of Sarah Ann Morrison