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The west pediment depicted the Centauromachy, the fight at the wedding of Peirithoos between the Lapiths and the centaurs, who had violated xenia, the sacred rules of hospitality that support the social norms.
or martelé et ciselé
animal mythique et oiseaux
époque des Han postérieurs.
Ier - IIeme siècle
Musée National des arts asiatiques : Guimet, Paris
This is what gives the Pergamon Museum its name, the Pergamon Altar, excavated in Anatolia and then shipped and reconstructed in Germany
A well done human footprint pointing toward the north star/venus/morning star/evening star. The outlined cross has been interpreted as all of these and probably more. Jonada-Mogollon/Mimbres style.
Greek, made in Athens, 450 BC.
Scenes of reveling men and youths cover this Athenian red-figure kylix or cup. On the interior of the cup, a youth holds out his kylix to be filled by a bearded man holding an oinochoe or pitcher. A volute-krater, the vessel that would have held the mixture of wine and water favored by the Greeks, stands behind the youth, and the front legs of a chair appear behind the man. The party continues on the exterior of the cup. Men and youths converse, play musical instruments, drink, and dance. The revelry depicted on this cup was fitting decoration for a vessel designed to be used at a symposion, or aristocratic drinking party.
The cup was broken and repaired in antiquity. When the stem of the cup snapped, elaborate measures were taken to fix the vessel, attesting to how much the owner valued it. A thin sheet of bronze, only as wide as the interior diameter of the cup stem, was welded onto a bronze disk, which fit snugly into the opening at the base of the stem. When this device was in place, the mender drilled a hole through the stem of the cup and the bronze sheet within, above the line of the break. He then threaded a bronze pin through these holes to anchor the pieces together.
Wall fresco from the Villa Ariadne.
Taken in the Palazzo Massimo Alle Terme, one of the National Museums of Rome.
I have enhanced the color and contrast on most of these figures to make them stand out from the rock they are painted on. Otherwise they hardly show at all. This appears to be a flute player of sorts. I don't know if the orange on his back is originally part of the painting or is something later.
Multi-national kut-kut workshop grads from ages 4 to 74 years old show their artwork with renowned international Fil-Am artist, Fred DeAsis. The workshop is a part of the Gateway to the Philippines program at the Chicago Children's Museum, Navy Pier on June 15, 2008.
Greek, made in Athens,530-520 BC
The apotheosis of Herakles decorates the front of this Athenian black-figure amphora. Identified by his attributes of club and lionskin, Herakles waits while the goddess Athena, his protective deity, mounts the chariot that will drive him to the home of the gods on Mount Olympos. Hermes, the messenger of the gods, stands behind the horses' heads preparing to lead the chariot. The back of the vase shows a battle scene in which a hoplite, or heavily armed infantryman, falls to the ground between two cavalrymen.
Herakles being escorted to Olympos in a chariot was an especially popular subject in Athenian art in the late 500s B.C. Some scholars have suggested that the image's popularity was politically motivated: the tyrants of Athens in this period, Peisistratos and his sons, had adopted Herakles as their symbol. An account of Peisistratos's return from exile, in fact, describes how he had a woman dressed as Athena ride in the chariot with him. This vase was broken and extensively repaired in antiquity. One handle was reattached with staples, and the mouth of the amphora was replaced with one taken from another similar vessel. The substitute mouth appears to be at least twenty years later than the original, indicating that the vase had been used for some time before it was damaged.
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A mystreious or mythical figure etched into a rock on the "Temani Pesh-wa" trail (also "written on rock" trail) in Columbia Hills State Park on the Washington Side of the Columbia River Gorge. This petroglyph was removed from the famous "Petroglyoh Canyon" along the Columbia River before it was flooded by construction of The Dalles Dam in 1957. The Army Corps Of Engineers stored the rock art until 2004 when Temani Pesh-wa trail was built.