View allAll Photos Tagged ancientart
In my previous post I showed you the rocks that were natural gifts to the southwestern coast of India. This is one of the reliefs that now adorn one of the rocks! These carvings were completed between the 5th and 8th centuries AD. The area is home to the biggest relief collection in the world and has another distinction.
Take a close look for those who have been in Cambodia. You will be struck by how much the carvings look like those at Angkor Wat. It is believed that this site in India was the source of inspiration for the masterpieces that adorn the area of Siem Reap.
A close-up framing of an ancient statue depicting Thutmose III with noble facial features, youthful and smiling face, a hallmark of his reign's artistic standard.
The statue is noted for its exceptionally high quality and soft, human-like features, representing a peak in the artistic standards of the mid-18th Dynasty.
Wearing a nemes headdress and a ceremonial beard, stylistic features characteristic of Egyptian pharaohs. The tight centered composition filling the frame with the statue's details allows for an appreciation of the sculptural artistry and the preserved features.
The statue is dramatically lit, with a strong, directional light source from the front and slightly to the left, creating prominent shadows that emphasize the contours of the face, headdress, and beard. The background is dark, isolating the subject and drawing the viewer's attention to the statue.
The figure's face is serene, with distinct eyes, nose, and lips. The shoulders are broad, and the upper part of a broad collar or necklace is visible around the neck and shoulders.
The lighting highlights the smooth, polished surface of the stone, while also revealing subtle textures in the headdress and beard. The intricate details of the headdress stripes and the braided ceremonial beard are clearly visible.
The discovery of this statue in 1904 was part of the Karnak Cachette, one of the largest caches of statues ever found, containing artifacts from Egypt's Dynastic Age.
Crafted from greywacke, a type of sandstone. Greywacke was a commonly used material for sculptures in ancient Egypt due to its durability and fine grain.
A monochromatic or near-monochromatic color scheme, dominated by shades of grey and black, emphasizes the form and texture of the stone sculpture and contributes to a sense of power and serenity.
Taken from the Luxor Museum, a fascinating insight into the history of Luxor and ancient Egyptian civilization.
Established in 1975, it holds a carefully curated selection of wonderful artifacts from the Theban area in excellent preservation state.
Scenic framing of the Colossi of Memnon with the Theban mountain visible in the background.
These colossal statues depict Pharaoh Amenhotep III seated on a throne and facing eastwards towards the Nile.
Each about 18 meters (60 feet) high and weighs approximately 720 tons. They were originally around 21 meters with the crown and carved from a single block of quartzite sandstone, quarried at el-Gabal el-Ahmar near modern-day Cairo and transported over 600 miles to the ancient site of Thebes at the entrance of his mortuary temple in Luxor. This journey was a significant feat of ancient engineering.
They originally served as guardians to the entrance of Amenhotep III's vast mortuary temple, although very little of the temple remains today being largely destroyed by an ancient earthquake.
The Colossi of Memnon have remarkably endured for millennia. One of the statues was famously known as the "Vocal Memnon" in antiquity due to a phenomenon where it was said to "sing" at sunrise, a sound attributed to the effects of temperature changes on the damaged stone.
The Colossi are a prominent historical landmark and a significant archaeological site on the west bank of Luxor, offering a glimpse into the grandeur of ancient Egyptian architecture and beliefs.
Where the ceiling still shines and columns still smile. A masterpiece of ancient Egyptian art
Stepping back in time within the beautifully preserved Dendera Temple of Hathor, framing the interior of the grand hypostyle hall and marveling at the vibrant colors. A journey through history, where every column has a story to tell.
The massive columns feature capitals carved on four sides with the face of the goddess Hathor, who was associated with joy, music, and motherhood. The columns and walls are covered in extensive, detailed hieroglyphic carvings and reliefs, providing insights into ancient Egyptian mythology and rituals.
The ceiling above still retains much of its original, vibrant paint and is decorated with detailed astronomical scenes, including stars, the goddess Nut, and zodiac signs.
Portions of the vibrant blue ceiling decoration, which once featured astronomical carvings like the famous Dendera zodiac, are still visible.
The image uses a low-angle perspective, looking upwards and through the massive columns towards the rear of the hall. This technique emphasizes the monumental scale and height of the ancient Egyptian architecture, creating a sense of awe and grandeur.
The composition is dominated by the large, intricately carved columns which fill the foreground and midground. They feature distinctive Hathor-headed capitals. The columns act as leading lines and framing elements, drawing the viewer's eye deeper into the temple interior.
Natural light enter from the front and above, illuminating the foreground columns brightly and creating strong contrasts and shadows that highlight the depth and texture of the carvings. The back of the hall is more dimly lit, adding to the sense of mystery and depth.
The photograph showcases the remarkable preservation of color on the ceiling and the column capitals, with vibrant blues and yellows still visible. The entire surface of the columns and ceiling is covered in detailed hieroglyphs and reliefs depicting divine scenes and mythologies.
The structure showcases the advanced artistry and ingenuity of ancient Egyptian architecture, making it one of the best-preserved temple complexes from ancient Egypt.
A portion of Fisher Towers frames the Colorado River along with the Wingate cliffs below Dome Plateau on the west rim (left side) of the canyon. In the distance (to the north) snow falls on the Book Cliffs as a winter storm makes its way into the area. The formation with the cupola-like tops is Ancient Arts, with the middle portion of Cottontail Tower on the far right showing nicely the striated texture of its sides. A hiking trail is visible across the bottom.
Fisher Towers is made up of the strikingly colorful hematite-rich (iron oxide) Cutler Formation, 290 million year old deposits from the uplift of the Uncompahgre highlands. The towers are popular with rock climbers in part due to the conglomerates containing billion year old cobbles of precambrian rock embedded in the sandstone that provide foot- and hand-holds.
I had a wonderful trip to this area and the White Rim in Canyonlands last week- though it was a bit eventful and shortened- more on that later.
A detailed low-angle close-up of ancient Egyptian carvings on a dark stone granite surface with both hieroglyphic inscriptions and figurative representations.
The bas-relief carving is showcasing Seshat, an ancient Egyptian deity - the goddess of wisdom, knowledge, writing -
wearing her distinctive headdress featuring a seven-pointed star and two inverted plumes. She is shown in profile, a common artistic convention in ancient Egyptian art, with her arms extended in a record-keeping gesture.
Another deity figure - Thot - is partially visible to the left, also in profile, interacting with Seshat.
The background and surrounding areas are densely covered with intricate hieroglyphic carvings, which appear to be well-preserved. These inscriptions would likely detail the actions of the figures depicted, religious texts, or historical records related to the monument's construction or purpose.
The play of light and shadow highlights the depth and precision of the carvings, emphasizing the three-dimensional quality of the relief.
The photograph is taken from a low angle, looking upwards, which emphasizes the monumental scale of the carving and the structure it adorns. The natural sunlight casts dramatic shadows that enhance the contours and details of the figures and hieroglyphs.
Taken from the Great Court of Ramses II at Luxor Temple
Low angle perspective looking upwards along the wall and towards the ceiling, emphasizing the grandeur and height of the reliefs and incised hieroglyphs carved into the stone walls.
Above the walls, a vibrant blue ceiling with horizontal bands, represent a starry blue sky. The blue paint shows signs of age and wear. The vibrant 'Egyptian blue', the first synthetic pigment created by humans symbolized the sky and the primordial waters of creation, crucial elements in Egyptian cosmology. .
Shot from the magnificent temple of Ramses III at Medinet Habu, Luxor.
Primera mitad del siglo IV a.C.
La Dama se interpreta como la representación de una mujer de la aristocracia de la ciudad de Basti, (Baza, Granada) heroizada mediante un destacado ritual funerario.
The Church of Panagia Kapnikarea (Greek: Εκκλησία της Παναγίας Καπνικαρέας) or just Kapnikarea (Greek: Καπνικαρέα) is a Greek Orthodox church and one of the oldest churches in Athens.
La vía procesional estaba situada al lado este del palacio principal y del palacio norte en dirección norte sur. La construcción esta basada en arcilla, arena y escombros.Entre los muros, la anchura de la vía era de 20-24 metros. Cerca de la puerta de Ishtar la vía alcanzaba una medida de 12-14 metros de altura. Los leones están en dirección contraria de la vía, simbolizan la protección del pueblo y quieren mantener alejados a bandidos y otros.
Scenic framing of an ancient Egyptian architecture featuring large, inscribed columns and walls adorned with hieroglyphs and carvings.
A beam of natural sun light illuminates a part of the hall, emphasizing the ancient stonework textures and the depth of the structure creating a sense of grandeur perspective within the temple's halls.
Shot with a Canon EOS 700D from the splendid temple of Seti at Abydos
A striking low-angle shot, emphasizing the height and grandeur of the ancient structures against the vast blue sky.
The towering obelisk on the right and the colossal statue fragment on the left create a strong diagonal line, drawing the eye upwards and adding depth to the scene. The framing by the surrounding stone structures further enhances the sense of scale and enclosure. The large weathered stone structures on the left, possibly parts of colossal statues or temple pylons, frame the scene. These ruins hint at the grand scale of the ancient temple complex and the artistry of the period.
The bright overhead sunlight rays create harsh shadows and highlights, visibly flaring from the top center, indicating a direct light source and adding a dramatic effect to the sky. This strong contrast accentuates the textures of the ancient stone.
The obelisk symbolized a connection between the earthly and divine realms.
The composition highlights the monumental scale and enduring presence of these ancient artifacts.
Portrait of the Neo-Assyrian king Ashurnasirpal II, making an offering. He lived 910-859 BC, and ruled from 883. He built Nimrud as a new capital of the Assyrian kingdom (in Assyrian called Kalḫu), and in the city a suitable palace. This alabaster relief is from that place.
Now on display at the Fitzwilliam Museum, Cambridge.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
This Assyrian relief comes from the royal palace in Nimrud and is made of alabaster. The area in the middle of the piece looks like it is damaged, from this distance, but it is actually an area covered writing (in cuneiform) about the king Ashurnasirpal II, reigning 883-859 BC. He built Nimrud as a new capital of the Assyrian kingdom (in Assyrian called Kalḫu).
Now on display at the Fitzwilliam Museum in Cambridge.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
Fragments of the colossal statue of Emperor Constantine in the Courtyard of the Capotoline Museum in Rome, Italy
Ancient Perisa | Silver Rhyton in the shape of an ibex of the Achaemenian era (Persia, 6th to 4th century BC): Louvre Museum, Paris.
Escultura íbera realizada en piedra caliza entre los siglos V y IV a.C.. Se trata de un busto que representa una dama, ricamente ataviada, cuyo rostro muestra unas facciones perfectas. En la cabeza lleva un tocado compuesto por una tiara cubierta por un velo, una diadema sobre la frente y, en los laterales, dos rodetes que enmarcan el rostro y en los que iría recogido el peinado.
Magnificent hypostyle hall
Magnificent view inside the great hypostyle hall of the Hathor temple in Dendera elaborately decorated and supported by 24 Hathoric sistrum columns and gorgeous wall carvings.
Renowned for its beautifully decorated ceilings, featuring intricate reliefs and astronomical depictions.
Shot with a Canon EOS 700D
Near Moab, Utah. This view is deeper within the Fisher Towers complex. Climbing is popular and difficult on Fisher Towers. On the far right is Titan Towers with the highest elevation gain. Ancient Art, the small, strange formation to the right of the first peak from the left edge, ranks very high in terms of difficulty.
Thank you very much for your views, faves and comments!
Corridor of the Ancestors &
Whispers on the Walls
The feeling of walking through a passage to the Past.
A narrow, stone-walled corridor adorned with carved hieroglyphs. The ceiling shows signs of age and some darker patches, while the walls have a warm, earthy hue.
The composition utilizes strong leading lines from the converging walls and ceiling, drawing the viewer's eye towards the brightly lit opening at the far end. This creates a sense of depth and perspective, with the light acting as a vanishing point. The symmetry of the corridor is also a key compositional element.
The image is dominated by strong backlighting from the exit, which creates a high contrast scene. The interior is dimly lit, highlighting the textures of the stone and carvings.
The color palette is warm, with various shades of brown, beige, and tan dominating the stone surfaces. The rough, carved texture of the walls contrasts with the slightly smoother, though weathered, surface of the ceiling.
The photograph was captured using a relatively wide focal length suitable for capturing the confined space of the corridor. The aperture setting provides a shallow depth of field, helping to keep the immediate surroundings in focus while leading the eye forward.
On the right side, a valuable historical document 'The Abydos Table', also known as the 'Abydos King List' and 'Abydos Canon' lists 76 Egyptian pharaohs in three rows of 38 cartouches (oval borders enclosing a king's name). The third row repeats the name of the pharaoh who built the list, Seti I.
The list was created for ritualistic purposes to invoke and honor the spirits of past kings. Some scholars suggest the list, as set down by Seti I, was to represent the royal ancestors in a ritual, performed on their behalf. Seti I himself may have constructed a grand temple worthy of the gods and filled it with the names of ancestors.