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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.
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.
A Sword “Unmatched by Precedent” (Unlikely to Be Found):
Let us quote exactly what Tahsin Öz, the former museum director, wrote about the sword and its epitaph on pages 38 and 39 of this book:
“At the time this sword was opened for inventory, the sword had a thicker layer of rust than other swords. When it was cleaned, human images and writings were found on it, and it appeared that these were real.
The hilt of the sword is covered with black leather on wood and the cross guard is made of iron. Its length is 101 inches. The base is wide and the two edges are sharp and the tip is pointed. There is a picture of a person near the hilt of the base, holding a sword in one hand and a head in the other. There is an Arabic line under it, which is well deserved, and among the writings there is another type of writing (perhaps Nabati) whose type we cannot determine. In the last line, the names of David, Solomon, Musa, Harun, Joshua, Zekeriyya, Yahya, Isa, Muhammad can be read.
The iron of this sword is made of white metal, and it is extremely sharp and has a characteristic that cannot be matched. However, it was impossible to determine its nature from the partially readable writings on it. After a while, while the works in the palace’s warehouse called the Emanrt Treasure were being classified, a copper inscription caught our attention. Because it had the same pictures on the sword. One side of this inscription was in Arabic with 32 lines and 28 lines on the other side were in the aforementioned font. The picture here was more obvious than the sword.
Head of the Inscription of the Sword
After giving this technical information about the sword and its inscription, Tahsin Öz goes to the summary of the inscription. This is where the real oddities come together.
On one side of this strange inscription, there is a figure holding a sword in one hand and a severed head in the other hand, similar to the sword (as seen in the picture); However, there are major differences between them that seem small. It is as follows: The picture of the man with the sword -it is understood that this picture represents Prophet David – has a funnel-shaped cone on his head, while the figure in the inscription has two horns on his head. When this situation is evaluated together with the feet of the figure, it is clearly understood that this picture represents a genie. Because the two figures that look like the feet of the demon (that is, for show) are not actually feet, but the letter ط (Tı) in Arabic. When the letters ط (Tı) are excluded from the picture, the genie’s legs are bent backwards. The picture looks like a talisman when evaluated together with the vefks below. Perhaps the sword was made as a protective talisman.
Pictorial Part of the Sword
The figure holding a sword in one hand and a severed head in the other (the cut head is slightly faint) and depicting the event of Prophet David killing Goliath is depicted on the sword.
On the face of the copper inscription with a genie picture, a text that cannot be understood in which language and alphabet draws attention. Anyone familiar with occult sciences can understand that these writings, which Tahsin Bey, the former director of the museum, said “may be Nabataean”, are talismanic writings about demons. Historians are well aware of the genie issue. Therefore, Tahsin Bey may have guessed that these writings were jinn, but he did not want to express it from his book, which he wrote in an academic and official style, because this is a metaphysical issue..(?)
Jinn can be written in many different secret alphabets; We can see the common vefk characters here both on the sword and in the inscription.
The story of Talut and Goliath described in Surah Baccarat and the depictions on the sword and inscription in the Topkapı Palace Museum draw attention to the same event. And in the inscription of the sword, it is written that the sword will be delivered to the Mahdi. The relevant sections in the book are as follows.
“Ali says; I found this sword and plate in the treasury of Melik Mukavkis, the owner of Egypt. He had a narration from Prophet David in Syriac and Hebrew. He says; When Goliath became hostile to me, I made a sword and an arrow as my Lord had taught me. And after the galabeh, God made me victorious. One of the signs of this sword is that; On one side, there is a person with a sword and a head in his hand, and on the other side, a person sitting on the pulpit of the country. That severed head expresses my killing of Goliath, and the one sitting on the pulpit expresses his judgment on Solomon and everything. This blessed sword will reach Prophet Yusuf… After that, Hazrat. It reaches Zechariah, then Yahya, and then Jesus. Then it is presented to the Prophet Muhammad. After his death, he reaches Hazrat Abu Bakr. Then he inherited his son Muhammad. Ali bin Abu Talib appoints Muhammad as governor of Egypt. Then he dies. And the sword returns to the treasure of Prophet Yusuf. Then it remains hidden until the 880th year of the Hijra. Elif will be transferred to Egypt. After the Ottomans state is complete, they will fight until the time of Kuffar Mahdi. God bless them. Then the sword will pass to the Mahdi, the owner of the time, and it will reach the Prophet Jesus. With him, the one-eyed hypocrite ibn-i siyat will murder the Dajjal. Allah and His Messenger reported them as secret sciences.”
The strangeness in the copper inscription continues.
There is an Arabic text on the back of the inscription (Image above) and what is described in this text contains information that seems contradictory at first glance. The mystery of the text, which includes some of the prophecies that have come true, is knotted in a picture of a ship encrypted with the science of cifir. But before that, the point that draws our attention is that; There is something strange about saying that Prophet David’s sword will reach Prophet Yusuf. Because Prophet Yusuf lived and died centuries before Prophet David. How is it that the sword reaches other prophets after Prophet Yusuf and returns to Yusuf’s treasury this time. It’s like talking about a time spiral. The strangeness of the chronology given in this inscription, which was preserved and preserved by the Ottomans for centuries, must have been noticed by the Ottomans immediately, because the tradition of religious sciences was always very widespread and developed in the Ottoman Empire. Therefore, it is almost impossible that they did not notice this strangeness. Moreover, the inscription mentions the “Completion of the Ottoman Empire”, that is, the collapse of the state. At that time, even if anyone said such a thing, it would probably result in my extradition. So why did the Ottoman state preserve and protect these pieces for centuries? That is a separate question that remains a mystery.
This was the first time I saw spiritual offerings at a petroglyph site. You can see a couple of human stick figures at the upper right hand corner of this photo. I suspect the glyph in front is much older. I 'm not sure if that white patch on the rock was the result of vandalism. This area is also known for theft of these glyphs. The thieves just saw off the glyph from the rock completely. There is a Paiute Indian Reservation in Benton nearby. The melon offerings could be originated from there.
A rerelease of Hindu Dreams without watermarks.
Free to download under the Attribution-NonCommercial-NoDerivs copyright. Thank you for following me in my photographic journey - Wayne
photo rights reserved by B℮n
Ekvtime Takaishvili was a prominent Georgian historian, archaeologist and patron of national heritage. Takaishvili played a crucial role in collecting and preserving important artifacts of Georgian history. During the Soviet occupation and in the aftermath of the Russian Revolution, he managed to secure many Georgian national treasures. He led archaeological expeditions and ensured that important pieces of Georgian heritage were preserved. Takaishvili is often referred to as the man who saved Georgia’s treasures for his dedication to preserving cultural heritage. His efforts have led to many of these artifacts, including the ancient gold goblet, being on display in museums such as the Georgian National Museum in Tbilisi, where they offer a glimpse into Georgia’s rich history and culture. This ancient gold goblet is turned from a single piece of gold and was found in a burial mound in Trialeti: it dates between 1800 and 1600 BC. This means that it is 3,800 to 3,600 years ago. This time falls in the Bronze Age, a period in which many civilizations, including the Trialeti culture in Georgia, developed and flourished. This culture reached its peak around 1500 BC and is characterized by the extraction of metals from their ores, the smelting, casting and shaping of metals for the development of tools and weapons, but also for architecture and art.
The golden goblet at the Georgian National Museum in Tbilisi was crafted by artisans of the Trialeti culture, dates back approximately 3,600 years. This double-walled goblet, features scroll-shaped decorations and is inlaid with carnelian and lapis lazuli. Carnelian typically exhibits a red-orange hue and is favored in jewelry for its warm appearance, while lapis lazuli is known for its deep blue color and artistic applications. This unique piece is the only one of its kind found in modern-day Georgia. Georgian gold and silversmithing, dating back over four millennia, offers invaluable insights into the craftsmanship of ancient jewelers.
Ekvtime Takaishvili was een vooraanstaande Georgische historicus, archeoloog en beschermheer van het nationale erfgoed. Takaishvili speelde een cruciale rol in het verzamelen en behouden van belangrijke artefacten uit de Georgische geschiedenis. Tijdens de Sovjetbezetting en in de nasleep van de Russische Revolutie slaagde hij erin om vele Georgische nationale schatten in veiligheid te brengen. Hij leidde archeologische expedities en zorgde ervoor dat belangrijke stukken van Georgisch erfgoed bewaard bleven. Takaishvili wordt vaak de man die de schatten van Georgië heeft gered genoemd vanwege zijn toewijding aan het behoud van cultureel erfgoed. Zijn inspanningen hebben ertoe geleid dat veel van deze artefacten, waaronder de hierboven genoemde oude gouden kelk, te zien zijn in musea zoals het Georgian National Museum in Tbilisi, waar ze een blik bieden op de rijke geschiedenis en cultuur van Georgië. Deze oude gouden kelk is gedraaid uit één stuk goud en werd gevonden in een grafheuvel in Trialeti; het dateert tussen 1800 en 1600 voor Christus. Dit betekent dat het 3.800 tot 3.600 jaar geleden is. Deze tijd valt in de Bronstijd, een periode waarin veel beschavingen, waaronder de Trialeticultuur in Georgië, zich ontwikkelden en bloeiden. Deze cultuur bereikte haar hoogtepunt rond 1500 v.Chr. en wordt gekenmerkt door het winnen van metalen uit hun ertsen, het smelten, gieten en vormen van metalen voor de ontwikkeling van gereedschappen en wapens, maar ook voor architectuur en kunst. De gouden kelk is gemaakt door ambachtslieden van de Trialeti-cultuur. De dubbelwandige kelk is versierd met krulvormige applicaties en ingelegd met carneool en lapis lazuli. Carneool heeft meestal een rood-oranje kleur en wordt vaak gebruikt in sieraden en als edelsteen vanwege zijn warme uitstraling. Lapis lazuli is een diepblauwe edelsteen, bekend om zijn rijke kleur en gebruik in kunst en decoratie. Het wordt vaak geassocieerd met de oude beschavingen, zoals die in Egypte en Mesopotamië. Dit is een uniek voorwerp, aangezien er geen andere vergelijkbare kelk is gevonden in het huidige Georgië. De Georgische goud- en zilversmeedkunst is bijna net zo oud als het land zelf. De goud- en zilversmeedkunst in Georgië is van onschatbare waarde en biedt inzicht in het vakmanschap van juweliers uit meer dan vier millennia.
Além do seu caráter histórico e cultural, o cemitério de Hallstatt também oferece vistas deslumbrantes do Lago Hallstatt e das montanhas circundantes. A localização pitoresca e serena do cemitério, cercada por uma paisagem deslumbrante, adiciona um elemento de tranquilidade e contemplação ao local.
In addition to its historical and cultural character, Hallstatt Cemetery also offers breathtaking views of Lake Hallstatt and the surrounding mountains. The cemetery's picturesque and serene location, surrounded by stunning countryside, adds an element of tranquility and contemplation to the site.
Flags blowing in the wind at Kantharodai Dagobas, 10km north of Jaffna
Traditionally, prayer flags are used to promote peace, compassion, strength, and wisdom. The flags do not carry prayers to gods, which is a common misconception; rather, the Tibetans believe the prayers and mantras will be blown by the wind to spread the good will and compassion into all pervading space.
The story of the Popol Vuh:
The ancient Mayans' perspective of the universe is divided into multiple levels; their anthropomorphic artwork signified this by the way that the Mayans implemented compass-like designs to the image to represent the four directions of north, south, east and west.
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Mayan creational mythology discuss extraterrestrial overseers, visitors from outer space seen as gods, and that the Mayan existence was connected with these beings from other realms who came to Earth to seed the planet.
Copyright © 2011 Tomitheos Photography - All Rights Reserved
The zodiac of Dendera
The sculptured Dendera zodiac (or Denderah zodiac) is a widely known Egyptian bas-relief from the ceiling of the pronaos (or portico) of a chapel dedicated to Osiris in the Hathor temple at Dendera, containing images of Taurus (the bull) and the Libra (the scales). This chapel was begun in the late Ptolemaic period; its pronaos was added by the emperor Tiberius. This led Jean-François Champollion to date the relief correctly to the Greco-Roman period, but most of his contemporaries believed it to be of the New Kingdom. The now-accepted date for the relief is 50 BC, since it shows the stars and planets in the positions they would have been seen at that date. The relief has been conjectured to be the basis on which later astronomy systems were based. It is now on display at the Musée du Louvre, Paris.
The zodiac is a planisphere or map of the stars on a plane projection, showing the 12 constellations of the zodiacal band forming 36 decans of ten days each, and the planets. These decans are groups of first-magnitude stars. These were used in the ancient Egyptian calendar, which was based on lunar cycles of around 30 days and on the heliacal rising of the star Sothis (Sirius).
Its representation of the zodiac in circular form is unique in ancient Egyptian art. More typical are the rectangular zodiacs which decorate the same temple's pronaos.
The celestial arch is represented by a disc held up by four pillars of the sky in the form of women, between which are inserted falcon-headed spirits. On the first ring, 36 spirits symbolize the 360 days of the Egyptian year.
On an inner circle, one finds constellations, showing the signs of the zodiac. Some of these are represented in the same forms as their familiar names (e.g. the Ram, Taurus, Scorpio, and Capricorn, albeit most in odd orientations in comparison to the conventions of ancient Greece and later Arabic-Western developments), whilst others are shown in a more Egyptian form: Aquarius is represented as the flood god Hapy, holding two vases which gush water.
WIKIPEDIA
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
The British Museum in London is a renowned institution showcasing human history, art, and culture from around the globe. Established in 1753, it houses over eight million works, including iconic artifacts such as the Rosetta Stone and the Elgin Marbles. Visitors can explore ancient Egyptian mummies, Greek sculptures, and countless other treasures from diverse civilizations. The museum's neoclassical architecture, combined with the modern Great Court, creates a stunning backdrop for its collections. With free admission, the British Museum is a cultural and educational hub, offering a captivating journey through time and a deeper understanding of our shared heritage.
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
The British Museum, located in the heart of London, is a treasure trove of human history and culture. Established in 1753, it houses a vast collection of artifacts spanning over two million years. Visitors can explore iconic exhibits like the Rosetta Stone, Parthenon sculptures, and Egyptian mummies. The museum's architecture is a blend of classical and modern design, offering a stunning backdrop for its priceless collections. With free admission, it serves as an educational and cultural hub, attracting millions of visitors annually. The British Museum's commitment to preserving and sharing global heritage makes it a must-visit destination for history enthusiasts.
Two ancient Egyptian jars made of pottery and an old surviving plant at the Egyptian Museum of Cairo اوانى فخارية فى المتحف المصرى بالتحرير
Fragment of a limestone column, carved in sunk relief with a depiction of Queen Nefertiti.
Tell el-Amarna. Given by Flinders Petrie and H.Martyn Kennard.
Text: THE ASHMOLEAN MUSEUM - OXFORD
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
King Tut: Treasures of the Golden Pharaoh
From the exhibition at the California Science Center
Los Angeles, California
For more information, see:
californiasciencecenter.org/exhibits/king-tut-treasures-o...
California Science Center:
Tutankhamun (Wikipedia):
An excellent decorative Inca Urpus. Full human head over vase body. Red painted face with black eyes and bob haircut. Nose and ear ornaments. The back of the upper vessel comes to a point. Possibly representing a hunch-backed male. Sculpted low relief arms reaching out to front on upper chamber. Standard side strap handles mid torso with pointed bottom. Great rich original paint with decorated tocapu style designs over shoulders.
Peru, Late Horizon, 1476-1534 AD
Measures 11" /27.94 cm in height.
Galeriacontici.net
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