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Ancient Angel Statue 30″
This statue is carefully handmade of best-quality off-white sandstone, rendering it extremely durable and long-lasting. The statue is perfect for any indoor or outdoor placement.
The antique lady stone statue replica is a finely crafted work of art that captures the elegance and grace of ancient female sculptures. The statue is made of high-quality stone and looks beautiful with intricate details carved into its surface, depicting a woman in a serene and peaceful pose. Its delicate features, flowing gown, and poised posture exude timeless beauty and tranquillity.
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Perfect as holiday gifts...! 3 Ancient beads on modern earring settings. Egyptian mummy beads (600 BC), Sumerian terracotta beads (3000 BC); Caananite terracotta beads (1200 BC). All around 1 ¾".
Greek, made in Rhegion, about 540 BC
The Greek hero Odysseus grasps the head of a Thracian warrior and slits his throat. The Thracian's comrades lie asleep—or perhaps already dead—on the ground, and on the other side of the vase, Diomedes dispatches their king, Rhesos.
The Thracians were allies of the Trojans, and as recounted in Homer's Iliad, had just arrived at Troy. Odysseus and Diomedes infiltrated their camp in a night-time raid, hoping to steal their fine horses. This vase is the only extant depiction of the murder of Rhesos in the Archaic period; it is remarkably close to Homer's account, down to the display of armor and the Thracian horses who panic on their tethers under the handles of the vase. The equine theme continues in the separate scenes on the shoulder of the vase, with young men riding horses.
When the Greeks began founding colonies in Italy and Sicily in the 600s B.C., they initially imported fine decorated pottery. Soon, however, local pottery workshops arose. Chalcidian pottery, one of these local productions in the black-figure technique, was probably made in the city of Rhegion, a colony of the Greek city of Chalkis.
The principal figures on this vase—Odysseus, Diomedes and Rhesos—are all identified with inscriptions. Odysseus's name reads left to right, but those of Diomedes and Rhesos run right to left. Such variability is by no means unusual at this time.
Round multicolored fused glass bead with hole for stringing. Light earthen patina. 500-300 BC (1 ¼")
Augustus. 27 BC-AD 14. AR Denarius (17mm, 3.37 g). Rome mint. L. Aquillius Florus, moneyer. Struck 19 BC. Radiate head of Sol right / Slow quadriga right, containing three grain ears. RIC I 303; RSC 357.
Etruscan goddess of the underworld, on the lid of a coffin. Note the wings, one of the characteristics of Vanth.
(I apologize for the slant in this photo, as I'm pretty short.)
Taken at the Glyptoteket in Copenhagen, Denmark.
Greek, 320 BC
Originally part of a funerary monument, this head of a girl displays facial features and a hairstyle typical of Athenian sculpture in the late 300s B.C. The girl's oval face, small, bow-shaped mouth, and deep-set, thick-lidded eyes derive from features made popular in the preceding decades in the work of the sculptor Praxiteles. She wears her hair parted in rows, braided and pulled back, a style called a melon coiffure by scholars. On the girl's neck, there are two widely spaced fleshy rings with an indentation between them, so-called "Venus rings." This trait was probably a status symbol, indicating the health and good nutrition provided by wealth.
This head was made separately and inserted into a body carved in relief on the back slab of a naiskos, or small three-sided funerary monument. The flat surfaces on the back of the head rested against the slab. They show that the girl was posed in a three-quarter frontal view.
An undated merchant token. If anyone knows what the M A S or the B C I on the reverse stand for, please let me know in the comments.
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Bronze
Northeastern Thailand
approx. 1500 - 1000 BCE
Available light photo
Taken at the Asian Museum of Art, San Francisco
Greek,500-480 BC
The Greater Panathenaia, a state religious festival, honored Athena, the patron goddess of Athens. Held every four years, the festival included athletic and musical competitions, and amphorae filled with oil from Athena’s sacred olive trees were given as prizes in the Panathenaic Games.
These Panathenaic Amphorae had a distinctive form with narrow necks and feet, and received standard decoration, always in the black-figure technique. On the front, Athena in her guise as “Promachos” – in the frontline of battle - strides forth between columns. Running along one of the columns is the official inscription, "of the prizes from Athens." The back depicts the event for which the vase was a prize, in this case the four-horse-chariot race, one of the most prestigious events in the games.
Leading vase-painters decorated these prize amphorae, which were commissioned in large quantities by the state, and their work can often be differentiated by the motif they used to decorate the shield of Athena. For example, the winged horse Pegasos seen here seems to have been typical for the Kleophrades Painter.
Though the oil within was the real prize, the vessels that contained it could be highly valued, as lasting symbols of prowess and excellence. This example preserves ancient repair holes at one of the handles.
Ancient Egypt, probably New Kingdom or later, 1570 t 1070 BC
faience
Legion of Honor
Lincoln Park, San Francisco
gift of Michael H de Young
20181202_135701
This scene is thought to represent a battle between the Navajo and the Spanish that occurred in 1705 according to Larry Baker, director of Salmon Ruins Museum
This mask falls within the "more typical" Piro style. Oval or U-shaped mask in orange with red, green and white highlights. This is the mask above the two figures in 050 of this set.
Bronze horse in alert attitude. Very detailed geometric designs on the body. Dark green patina, front left leg up depicting the horse is in motion. Very attractive. 200 AD (5" x 4")
Roman, early 1st Century A.D. , marble, Height 37.4 cm. Inv. No. 1960.57.
What seems at first sight to be an idealized Classical sculpture of a head is in fact the portrait of a member of the Julio-Claudian dynasty, and probably formed part of an alto-relief comprising several figures. The typical arrangement of the hair above the brow leaves this in no doubt, although the exact identity of the person depicted still has to be determined - Augustus, Gaius Caesar, Drusus Minor and Germanicus have been suggested to date.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.