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The gentle face of the cow goddess Hathor, from Dendera temple.
Hathor , (Hwt Hr Egyptian for Horus's enclosure), was an Ancient Egyptian goddess who personified the principles of love, motherhood and joy. She was one of the most important and popular deities throughout the history of Ancient Egypt. Hathor was worshiped by Royalty and common people alike in whose tombs she is depicted as “Mistress of the West” welcoming the dead into the next life. In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth.
The cult of Hathor pre-dates the historical period and the roots of devotion to her are therefore difficult to trace though it may be a development of predynastic cults who venerated the fertility, and nature in general, represented by cows.
Hathor is commonly depicted as a cow goddess with head horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace. Hathor may be the cow goddess who is depicted from an early date on the Narmer Palette and on a stone urn dating from the 1st dynasty that suggests a role as sky-goddess and a relationship to Horus who, as a sun god, is “housed” in her.
The Ancient Egyptians viewed reality as multi-layered in which deities who merge together for various reasons, whilst retaining divergent attributes and myths, were not seen as contradictory but complementary. In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, and associated with Bat and Sekhmet.
The cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor and men with Osiris.
The Ancient Greeks identified Hathor with the goddess Aphrodite and the Romans as Venus.
WIKIPEDIA
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Ancient African. Bronze mask with a raised braided headdress with horns, wide opened eyes, long thin nose, protruding lips, the ears with dangling earrings, a loop to the top for hanging. Green patina. 1800's AD (9" x 4 ¾")
Rare and impressive zoomorphic dish from the Tairona culture. Two upturned zoomorphic rattling heads on ends and six animal heads centered on dish body. No repairs. Choice condition. Measures 16.8cm. Santa Marta region, Columbia. 1000-1500 AD.
Poseidon, a brother of Zeus, who was given control of the seas. He married the sea goddess, Amphitrite.
National Archaeological Museum
IMG_3914
Portrait bust of a woman with a scroll, Marble, Byzantine, 5th - 6th Century A.D, 505 mm x 380 mm x 145 mm
Private portrait sculpture was most closely associated with funerary contexts. Funerary altars and tomb structures were adorned with portrait reliefs of the deceased along with short inscriptions noting their family or patrons, and portrait busts accompanied cinerary urns that were deposited in the niches of large, communal tombs known as columbaria. This funerary context for portrait sculpture was rooted in the longstanding tradition of the display of wax portrait masks, called imagenes, in funeral processions of the upper classes to commemorate their distinguished ancestry.
It is in portraiture that Rome makes its most characteristic contribution to the tradition founded by the Greeks, a contribution that matured much earlier than in other types of sculpture and which caused the development of sculpture in Rome to be divided into two fields, with different patterns of evolution, portraiture and the other types. From the time of the Republic, portraiture was highly valued and over time it oscillated cyclically between an idealising classicist tendency and one of great realism, derived in part from the expressiveness typical of Hellenistic art.
Among the portraits, the bust and head were the most frequent forms. Full-length portraits were less common, although not rare. The preference for the bust and head is a typical Roman cultural trait that created a huge market throughout the Mediterranean basin, and is explained firstly by economic reasons, being much cheaper than a full-length statue, but also by the conviction of a better individual identification that prevailed among them. For the Romans it was the head, and not the body, nor the costumes or accessories, that were the attributes of the centre of interest in the portrait.
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Bronze statue of Zeus or Poseidon, found at the bottom of the sea off cape Artemision, in north Euboea ca. 460 BC.
The god, shown in great stride, extends his left arm forward, while throwing the thunderbolt or the trident, which he held in his right hand. The identification as Zeus or Poseidon is controversial (the former seems more probable). The bronze statue is one of the few preserved original works of the Severe Style, notable for the exquisite rendering of motion and anatomy.
Poseidon was given control of the seas. He married the sea goddess, Amphitrite.
National Archaeological Museum
IMG_3912
In the heart of a vast, glowing forest stands an ancient pyramid, a silent witness to a lost civilization.
Ancient Egyptian. Blue glazed flat faience portrait of a female Egyptian ruler. Light earthen patina. 18th Dynasty. 1570-1342 BC (2 ¾" x 2")
These were at an exhibit at Þjöðmenningarhúsið, the Culture House, about the sagas and their origins. Lots of original manuscripts on display.
Ancient African. Carved wooden mask, a beard made from raffia attached. Earthen patina. 1900 AD (17" x 6 ½")
Portrait head of a bearded man, Limestone, Roman, Mid-Second Century A.D, 300 mm x 200 mm x 145 mm, Life size
After the long Flavian period (and even that of Trajan, the first emperor of the new dynasty), portrait sculpture underwent a major change with Hadrian.
He introduced the beard (worked with a trephine), which would be maintained by his successors (the Antonine dynasty, such as Marcus Aurelius and Commodus), and a greater idealisation of the portrait.
The gaze changes completely, with the iris emphasised with greater depth (thus creating a more powerful gaze, as Michelangelo would later do in his Moses) and, together with it, a greater closeness to the viewer.
Private portrait sculpture was most closely associated with funerary contexts. Funerary altars and tomb structures were adorned with portrait reliefs of the deceased along with short inscriptions noting their family or patrons, and portrait busts accompanied cinerary urns that were deposited in the niches of large, communal tombs known as columbaria. This funerary context for portrait sculpture was rooted in the longstanding tradition of the display of wax portrait masks, called imagenes, in funeral processions of the upper classes to commemorate their distinguished ancestry.
It is in portraiture that Rome makes its most characteristic contribution to the tradition founded by the Greeks, a contribution that matured much earlier than in other types of sculpture and which caused the development of sculpture in Rome to be divided into two fields, with different patterns of evolution, portraiture and the other types. From the time of the Republic, portraiture was highly valued and over time it oscillated cyclically between an idealising classicist tendency and one of great realism, derived in part from the expressiveness typical of Hellenistic art.
Among the portraits, the bust and head were the most frequent forms. Full-length portraits were less common, although not rare. The preference for the bust and head is a typical Roman cultural trait that created a huge market throughout the Mediterranean basin, and is explained firstly by economic reasons, being much cheaper than a full-length statue, but also by the conviction of a better individual identification that prevailed among them. For the Romans it was the head, and not the body, nor the costumes or accessories, that were the attributes of the centre of interest in the portrait.
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