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網誌一覽Background背景stage-design婚嫁場所WEDDING-decoration@christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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Elaborate diadems or necklaces featuring centerpieces of inlaid stones, pendants, and beaded chains go back to 3rd- and 2nd-century Greek jewelry. This necklace was found on the neck of the deceased; as the symbol of the soul, the butterfly was an appropriate motif for a burial gift.
Greek
2 15/16 x 13 x 1/2 in. (7.5 x 33 x 1.3 cm)
12 7/8 in. (32.7 cm) (l.)
medium: gold, amethyst, chalcedony, emerald, rock crystal, pearl, and colored glass
culture: Greek
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
1st May 2019
C Junioren Kreispokal Finale
Rot-Weiß Oberhausen v DJK Arminia Oberhausen Lirich 1920
Stadion Niederrhein
FT 3-0
The copyright for all photos remains with the author; me, Ashley Greb (@ashleygrebphoto).
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Communication with the author in advance is expected but if published - prior to permission being given - the images must be very clearly accredited "Photograph by Ashley Greb Photography at www.facebook.com/AshleyGrebPhotography/"... You are also free to add links to either twitter account also - "@putajumperon" or "@ashleygrebphoto". At worst you may be asked to make a donation to Teenage Cancer Trust in return for using the image.
Any other reproduction will be treated with utter disdain accompanied by an invoice.
The goddess of love and beauty wears her wavy hair in a topknot. This small head likely was once part of a statuette showing the goddess nude or partially nude.
Greek
2 3/8 in. (6.1 cm)
medium: marble
culture: Greek
Walters Art Museum, 1931, by bequest.
Shiva stands firmly on his lotus pedestal, arching his back in a stance associated with power in the region of Kerala, on India’s southwestern coast, where this sculpture was made. In his upper hands, he holds a battle axe—to cut through illusion—and an antelope, which expresses his role as lord of creatures. The goddess Ganga, a personification of the sacred Ganges River, looks out through Shiva’s hair. When she came to earth from the heavens, she traveled through Shiva’s thickly matted dreadlocks, in order to ease the force of her descent into a gentle flow. Shiva also wears the crescent moon in his hair, a symbol of time, marked by the moon’s waxing and waning. The crescent moon also appears at the peak of the flaming aureole that surrounds the god, along with a five-headed serpent (only two heads remain intact). The snake may allude to the time when Shiva destroyed the deadly poison that threatened both heaven and earth.
In Kerata, sculptures like this one are carried by priests seated on elephants during ritual processions in and around a temple's grounds.
Indian
Overall H: 11 15/16 × W: 6 5/16 × D: 4 15/16 in. (30.3 × 16 × 12.5 cm)
Base only H: 1 13/16 × W: 4 15/16 × D: 4 15/16 in. (4.6 × 12.5 × 12.5 cm)
medium: copper alloy
culture: Indian
given to Walters Art Museum, 1989.
The scene on this cylinder seal depicts a nude goddess with arms clasped at her midriff, and a star in the field over her right shoulder. It has a cuneiform inscription in three registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 13/16 x Diam: 7/16 in. (2.1 x 1.1 cm)
medium: quartz (?)
culture: Babylonian
Walters Art Museum, 1941, by purchase.
Saint Catherine (1347-1380) was the daughter of a prosperous Sienese cloth dyer. At the age of six, she saw a vision of Christ and thereafter dedicated herself to chastity, penance, and good works. She became much beloved in Siena for selflessly caring for victims of the Black Death. This panel, with 1966.2, was once part of a predella (or pedestal) of a large altarpiece painted for the Hospital Church of Siena. The main scene of this altarpiece, showing the Presentation of Christ in the Temple (now preserved in Siena) was ordered by the Pork Butchers Guild (the Pizzicaiuoli) in 1447. The predella was added later when Catherine was canonized in 1461. In the first panel, she kneels before an altar and reaches up to choose from the monastic garments offered by Saints Dominic, Augustine, and Francis, all founders of religious orders. Catherine takes the habit of Saint Dominic, which she wore as the founder of the Sisters of Penance. The second panel shows, at the right, Saint Catherine giving her cloak to a beggar. The beggar was really Christ in disguise, and at the left returns the cloak to her. For this act of charity, the cloak perpetually protected its wearer from the cold.
Italy, Siena
tempera and gold on wood
Framed: 35.6 x 35.7 x 4.5 cm (14 x 14 1/16 x 1 3/4 in.); Unframed: 28.7 x 28.9 cm (11 5/16 x 11 3/8 in.)
Did you know...
Giovanni di Paolo painted both large altarpieces and small manuscripts.
Gift of the John Huntington Art and Polytechnic Trust
Nicolas-Toussaint Charlet conveyed the fascinating complexity of early 19th-century French class structure and social change in "Old Man before a Prie-Dieu." Perhaps the solemn mood of the image relates to the devastating cholera epidemic that swept France in 1832, killing 18,000, mostly poor, Parisians. The central character has placed his walking stick against the prie-dieu on which he leans in front of a side altar in a medieval church. His hair is wild and ungroomed, and his dark wool overcoat, breeches, and silver buckled shoes are worn and unkempt, identifying him as an indigent aristocrat. His piety unites him with the bearded vagabond on the left, who kneels nearly prostrate to join in prayer at the side altar. In the background, a large congregation, including a Norman identifiable by her bonnet, a balding man, and a child, stands and faces the high altar. In contrast to the pious environment of the church, a shoeless street urchin of eight or nine leans in boredom against a column to the right of the aristocrat and stares up at the old man.
H: 6 15/16 x W: 5 3/16 in. (17.6 x 13.2 cm)
medium: transparent watercolor over graphite underdrawing with scraping on cream, thick, moderately textured wove paper
Walters Art Museum, 1931, by bequest.