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H. 2 in. (5.1 cm); W. 1 in. (2.5 cm)
medium: Ivory
Metropolitan Museum of Art, New York, NY 10.211.452 1910
Gift of Mrs. Russell Sage, 1910
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This may be a portrait of Otacilia Severa, wife of Emperor Philip the Arab (reigned 244-249 CE), or of a private citizen influenced by Otacilia's public images. Her tranquil, idealized appearance is typical of mid 3rd-century statuary, and although she is depicted as a mature matron, her forehead and cheeks are smooth, without the deep lines of concern that characterize male portraits of the period.
Roman
6 1/4 x 4 1/4 x 4 5/8 in. (15.9 x 10.8 x 11.8 cm)
medium: marble
culture: Roman
Walters Art Museum, 1931, by bequest.
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A nude female figure with falling drapery is depicted on this plaque squared for inlaying. The left edge and lower section are broken. The work is summary but well designed.
H: 3 3/8 in. (8.5 cm)
medium: bone
style: Hellenistic
Walters Art Museum, 1946, by purchase.
Outdoor entertaining area with fire pit and chairs, outdoor table and large chairs, stone floor, and plants and floral landscaping.
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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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/
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
The scarab displays a ritual scene on its bottom, which shows the standing figure of King Ramesses II in front of the god Thoth. The king wears the so-called "Blue Crown" with Uraeus-serpent and crown sash, as well as a long elaborate, pleated dress. He presents a squatting figure of the goddess Maat with his right hand, while his left hand is raised in an adoration gesture towards the god. Thoth, the god of wisdom, is depicted as a squatting baboon with the hands upon his knees, and moon disk combined with crescent above his head. Above both figures appears an inscription, containing Ramesses' royal throne name without a cartouche. Below both figures is a large mr-sign, which functions as base for both figures. The nb-sign in the lower round is not only a filler character, but also creates a balance to the inscription in the upper round. The layout of the figures and hieroglyphs is balanced, only the moon-ensemble and the sun disk are somewhat deformed and collide with the borderline. The figure of Ramesses II is very slim in comparison to the compact figure of the baboon-shaped god. The moon crescent and disk are not attached to the deity and have the same distance to the head of the god as the sun disk does to the head of the king. The pleated dress of the king and the mane of the baboon have hatch lines, the mantel of the baboon has a crossed-line pattern. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) show dark blue glazed borderlines, single separation lines, and V-shaped marks for humeral callosities (shoulder thickenings). Small side-depressions are visible below the pronotum. The semicircular head is flanked by triangular eyes. The side plates are irregularly trapezoidal and have curved outer edges, and the clypeus (frontal plate) is four times serrated. The proportions of the top are well balanced. The raised extremities are slender and have natural form, with vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The background between the legs is deeply hollowed out. The base is long-oval, and the drill-hole openings framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. The presentation of the Maat-figure by Ramesses II to Thoth is part of the ritual, in which the king states to follow and strengthen the ethical rules. This version of the motif has a second level of meaning: Thoth appears in his moon-god function, and the king, with the sun disk above his head, as representative of the sun god, father and creator of Maat (principle of justice, truth, and order). They meet to strengthen Maat in this and the other world, and the throne name of the king can be read in two directions, and interpreted as: "Strong is the Maat of Re", but also as "Strong is the Maat of Thoth". Therefore, it is likely that the scarab was made for a funeral context, either for the burial of the king himself, or for a private person, who trusted in the divine, Maat-guaranteeing power of the king.
Egyptian
H: 13/16 x W: 9/16 x D: 3/8 in. (2 x 1.5 x 0.9 cm)
medium: light beige steatite with blue glaze
culture: Egyptian
dynasty: 19th Dynasty
reign: Ramesses II (1279-1269 BC)
Walters Art Museum, 1931, by bequest.
This faience amulet represents Hapy, the baboon-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected he vital organs of the body after mummification. The image is that of a baboon-headed mummiform human. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a tripartite wig, but unlike the other three in this set he does not wear a broad collar. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture at knee level separated the amulet into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.
Egyptian
H: 3 9/16 x W: 1 x D: 1/4 in. (9 x 2.5 x 0.7 cm)
medium: Egyptian faience with blue and black glaze
culture: Egyptian
dynasty: 23rd-25th Dynasty
Walters Art Museum, 1931, by bequest.
Konstantin Yegorovich Makovskii (1839-1915), a popular artist and member of the Peredvizhniki, or Wanderers, is best known for historical genre scenes. Depicted in glossy enamel is The Bride's Attire (or Dressing the Bride) (1889). In a 17th-century interior, some lavishly attired women and a solitary youth have assembled to watch the bride as she is being dressed. A young girl kneels at the bride's feet a young girl and behind, an elder woman combs the subject's hair. To convey a sense of verisimilitude, the artist has included such details as a jewel box and a teremok-shaped casket in walrus ivory and bone of the type associated with the town of Kholmogory in northern Russia. An icon is also discernible on the wall in the background.
An unusual feature of this casket is the Viking-style interlace in turquoise over black enamel on the lid's sloping deck. These patterns bear striking resemblance to those in an illustration of the Aberlemno Cross in Inigo Jones's The Grammar of Ornament (1856), a resource that would most likely have been available in Moscow. Another possible source for the interlace could have been found in late 17th-century Russian manuscripts. The sides and ends of the box have vignettes of brightly colored flowers and buds over a cream ground. These, in turn, are framed by patterns of interlace in blue, olive, violet, and black. By this time, Rückert increasingly employed black enamel in his works.
The lid of the box opens to reveal a turquoise, en plein counter enamel over a ground engraved with flowers and buds.
The box is equipped with handles at both ends and with bracket feet.
H: 2 1/2 x W with handles: 5 7/16 x D: 3 7/8 in. (6.3 x 13.8 x 9.9 cm)
medium: silver gilding, painted filigree and en plein enamel, en plein counter enamel
by bequest to Walters Art Museum, 2010.