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Breathtaking front-lit portrait of a wonderful wall sculpture representing youthful Pharaoh Seti Ist wearing the 'uraeus' Wadjet. Because the goddess Wadjet was the right eye of Ra, her presence above the eyes of a pharaoh served as an animal third eye and indicated that Ra was always at the pharaoh's side.
Shot from his magnificent temple at Abydos with perfects natural light's intensity and angle illuminating facial features and textures.
La inscripción aramea junto a su cabeza dice "Soy Barrakib, hijo de Panammwua". Después de esto, aparece un símbolo de luna creciente y luna llena y es seguido por otra inscripción que dice "Mi Señor, el Ba'al de Harran". Desde el edificio del salón norte en la ciudadela de Sam'al / Zincirli, el sur de Turquía moderno .
Deméter, la diosa de la abundancia agrícola, se encuentra a la izquierda, a la derecha está Perséfone, su hija y esposa de Hades, el dios del inframundo. Cada diosa extiende su mano derecha hacia un joven desnudo, pero ya no es posible determinar qué sostenía. Se cree que el niño es Triptolemos, quien fue enviado por Deméter para enseñar a los hombres a cultivar cereales. En los vasos atenienses contemporáneos, se le suele representar como un adulto barbudo sentado en un carro alado a punto de emprender su misión civilizadora. El relieve de mármol original se encontró en el santuario de Deméter en Eleusis, el sitio de los misterios de Eleusis, un culto secreto que fue famoso a lo largo de la antigüedad.
Per ricordare quello che è successo 60 anni fa: la tragedia del "Grande Torino".
To remember what it has succeeded 60 years ago: the tragedy of the " Great Torino".
One reason I love to visit Pompeii and Ercolano as often as I can, is the ease in which one is transported back to ancient times thanks to the wealth of buildings, objects and art that were preserved during the eruption of Vesuvius in 79AD.
Every visit is full of intrigue and wonder, my imagination on overdrive, contemplating ancient times and lives within the two cities.
This most beautiful lararium can be seen within the thermopolium of Vetutius Placidus.
Located on the via dell’ Abbondanza, the tavern sold drinks and hot food. Placidus' home quarters are at the rear.
The shrine seen here, is placed on the back wall of the tavern, visible from the outside. The art work depicts the lari (the protectors of the household), holding aloft horns, then the genius (divine spirit) protector of the owner at centre. One can also see Mercury, the god of trade and Dionysus, the god of wine.
A hoard of nearly 3 kg of coins was found in one of the large clay jars placed in the counter. Probably the last collections of Placidus and perhaps attesting the profitable activity of his tavern.
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Candid street photography in Athens
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.
It is estimated that the church was built some time in the 11th century, perhaps around 1050. As it was common with the early Christian churches, this was built over an ancient Greek pagan temple dedicated to the worship of a goddess, possibly Athena or Demeter. When King Otto I King of the Kingdom of Greece brought the Bavarian architect Leo von Klenze to draw the new city plan of Athens, The church was considered for demolition and it was the King of Bavaria, Ludwig I who objected the decision and saved the church.
It appears that the Kapnikarea church may have originally been the katholikon of a monastery. Presently, the building is formed by a complex of three different units attached together; these units were built in succession: a) the largest south church dedicated to the Presentation of Mary to the Temple, b) the chapel of St Barbara on the northern side; and c) the exonarthex with the propylon to the west.
The larger of the two churches, the south one, is a domed complex, cross-in-square, which has been dated (on the basis of morphological criteria) to just after the middle of the 11th century.
The church is located in the center of the modern city of Athens, right in the middle of the high-traffic shopping area of Ermou street, at the edge of the Plaka district.
La tumba egipcia de Aline es de la época del emperador romano Tiberio (14-37 d.C.) excavada en Hawara en 1892. Está pintado directamente sobre el lienzo de la envoltura de la momia.
Proveniente de un sitio no identificado llamado Laxtunich, muestra al rey de Yaxchilán Chel Te 'Chan K'inich en el interior de un palacio recibiendo tres cautivos de parte del "teniente provincial" Aj Chak Maax. El texto enfatiza que los cautivos son "para su señor", lo que indica que Yaxchilán tenía la supremacía en Laxtunich.
A close-up framing of a large, ancient Egyptian statue made of light-colored stone, wearing a distinct headdress and a ceremonial beard, characteristic of pharaonic imagery.
The details of the headdress and the facial features are visible, though some wear and tear are evident on the statue's surface. The statue shows signs of age and damage, particularly around the shoulders and lower torso.
In the background, remnants of a larger stone structure and architectural elements, possibly a temple or gateway with hieroglyphic carvings, are partially visible.
The strong sunlight casts shadows, highlighting the contours and textures of the stone evoking a sense of timelessness and the enduring legacy of a powerful civilization. The details of the statue, despite its age and partial damage, still communicate authority and artistic craftsmanship.
Shot from Karnak temple, a location of great historical and archaeological significance.
El gobernante de Yaxchilán, Yaxuun B'ahlam IV (Pájaro Jaguar), realiza un sacrificio de derramamiento en presencia del sajal de La Pasadita, Tilo:m, en una fecha de final de período. 9. 16. 15. 0. 0 (766 d.C.)
"La Pasadita" un sitio que se ha ubicado sobre el margen derecho del río Usumacinta, en el Petén guatemalteco.
Mosaico con escena de circo de la cuadriga de la "Factio Veneta". El iubilator, también en el carro, levanta la mano aclamando al vencedor. Delante de la cuadriga, el sparsor sujeta la cara del equus funalis con una mano y con la otra un ánfora. Está preparado para efectuar la sparsor, dar de beber a los caballos que han competido en la carrera. Un ánfora pequeña se encuentra en el suelo, tal vez como recurso para acentuar el efecto de perspectiva o para servirse el sparsor en su cometido. El mosaista ha utilizado teselas de una rica policromía, aplicando líneas oscuras para resaltar el perfil o contorno de los animales, así como de los personajes. Es de destacar también el efecto de sombra que se ha conseguido para el sparsor.
El relieve pertenecía al templo mortuorio de la reina Hatshepsut. Los soldados estan armados con hachas y palos arrojadizos y sostienen ramas de olivo.
Las escenas de la estela ricamente decorada se dividen en tres registros. En el lado derecho del campo pictórico superior, cuatro miembros de la familia de Hormes están representados presentando ofrendas a Osiris, señor del Inframundo, que está sentado detrás de una mesa de ofrendas. En el lado izquierdo del segundo registro, Hormes y su esposa Sati están sentados detrás de la mesa mientras su hijo Sapair y su nieto Khaemwaset les presentan ofrendas. El lado derecho de la escena presenta a los padres de Hormes: su padre Hui, “joyero de Amón” y su madre Amunemusekht, “señora de la casa”. En el registro inferior, otros miembros de la familia están representados en posición de cuclillas; debajo de ellos hay una breve inscripción en la que el propietario de la estela pide ofrendas a Osiris.
The Fisher Towers have some of the brightest sunset hues among the many formations of the Colorado Plateau, particularly at last light as shown here. The main rock formation is Cutler sandstone, capped by more resistant Moenkopi sandstone. I’ve desaturated this a bit, although it still looks quite neon. The formation to the left is Ancient Arts, and the one to the right is King Fisher. A pair of climbers were rappelling off of Ancient Arts, in the thin shaded crack just to the right of the corkscrew summit (although not visible here).
As others have noted in previous posts, the Fisher Towers have been the backdrop for many classic western movies, including Rio Grande, Comancheros, and Cheyenne Autumn. It was even the opening scene for Austin Powers in Goldmember…
Tazón blanco procedente de una tumba en Delfos, Apolo toca la lyra mientras derrama vino como ritual.
The Egyptian Museum is the most important collection in the world after the one in Cairo. It documents the history and civilisation of ancient Egypt and contains about 30,000 exhibits - artefacts, papyri and funeral caskets.
Among these, the exceptional rock temple of Ellesjia, the intact tomb of Kha and Merit and the imposing statues of Ramses Il, Thutmoses I, Tutanchamon.
Panel de un juego de pelota de finales del siglo VIII muestra a dos hombres, vestidos con trajes elaborados, participando en un juego de pelota ritual. Rodeando a las figuras, y claramente destacadas de ellas, se encuentran glifos.
El cuenco presenta un texto jeroglífico inciso alrededor del borde y está decorado con tres escenas. Cada escena presenta a un individuo diferente, que mira a su derecha y extiende una mano sosteniendo algo. El hombre barbudo visible en esta fotografía está sentado con una fauce de serpiente convencional, lo que indica proximidad a lo divino. Se inclina hacia adelante, como si ofreciera una corta barra ceremonial de serpiente, insignia de poder. En el extremo de la barra, sobre la cara de la serpiente, se encuentra el símbolo del número siete.
Neo-Babylonian Art at Ishtar Gate, Babylon 575 BC, modern-day Iraq. Reconstruction at Pergamon Museum, Berlin.
La Collegiata dell'Assunta. Sita nella piazza principale della città, piazza 3 Novembre. I lavori di edificazione furono intrapresi nel 1613 sui resti di un'antica e precedente chiesa di origine romanica, affidando il progetto all'architetto trentino Giovanni Maria Filippi da Dasindo. I lavori, finanziati anche dalle diverse comunità della zona, si protrassero per alcuni decenni fino al 1630 quando dovettero essere interrotti a causa della violenta epidemia di peste che decimò - quasi tremila vittime - la comunità arcense. La collegiata fu ufficialmente consacrata il 15 maggio del 1671.
(fonte: Wikipedia)
The Collegiate Church of the Assumption. Situated in the city's main square, Piazza November 3. The building works were undertaken in 1613 on the ruins of an ancient and earlier Romanesque church, entrusting the project architect Giovanni Maria Filippi from Trentino Dasindo. The work, also funded by the various communities in the area, went on for several decades until 1630 when it had to be abandoned due to violent plague that decimated - nearly three thousand victims - the community Arco. The college was officially consecrated on May 15, 1671.
(source: Wikipedia)
Light and time are primary materials of photography. Strange images frozen in time and space would give time to think about metaphysical ideas.
Taken from the temple of Seti Ist at Abydos.
That each day I may walk unceasingly on the banks of my water, that my Soul may repose on the branches of the trees which I planted, that I may refresh myself under the shadow of my sycamore.
Inscription found in an Egyptian tomb.
Sycamore trees were held to be sacred in Ancient Egypt and are the first trees represented in Ancient Art.
Photography by Pryere - Pryere
Painting using acrylics, inks, pigment and enamel
for Flickriver - Sophie Shapiro
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El material funerario de Pebôs fue encontrado en una tumba familiar. La momia fue envuelta en un sudario y colocada en un ataúd de madera con un epitafio en griego. Retoma temas iconográficos egipcios como en el registro inferior, el difunto sobre un lecho funerario es embalsamado por Anubis y custodiado por Isis y Neftis.
Descubierto en 1935 en la sala de recepción de un edificio que fue sin duda, desde los años 415-420 d.C. el palacio del gobernador de la provincia de Siria Secunda, el gran mosaico de caza de Apamea es una de las composiciones más prestigiosas de este arte. Realizada con toda probabilidad por un taller procedente en esta ocasión del mismo centro del Imperio, la obra puede compararse, técnica y temáticamente, con el conjunto descubierto en el "Palacio de los Emperadores Bizantinos" de Constantinopla.