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Chalice, Pottery, Bucchero, Etruscan, 7th - 6th Century B.C, 100 mm x 110 mm, Good condition, restored
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #etruscan #etruria #ancientworld #history #classical #archaeology #pottery #vessel #chalice #bucchero www.yourantiquarian.com/product/etruscan-chalice-3/
Romano-Egyptian cartonnage mummy mask depicting a female head, Linen and Gesso, Egyptian, Roman period, 1st Century B.C – 1st Century A.D, 208 mm x 200 mm x 200 mm (without stand)
During the Roman period in Egypt, which spanned from the 1st century BCE to the 4th century CE, a unique blend of Egyptian and Greco-Roman artistic influences emerged. This period saw the production of cartonnage mummy masks that often depicted female heads, showcasing a fusion of traditional Egyptian religious beliefs with the cultural impact of the Roman Empire. Cartonnage was a material made from layers of linen or papyrus soaked in plaster, creating a rigid surface suitable for painting and decoration.
The female heads depicted on these mummy masks during the Roman period often reflected the idealized beauty standards of the time. These masks were not just functional elements for preserving the deceased's features, but also served a ritualistic and symbolic purpose. The depictions frequently incorporated Roman hairstyles and fashion trends, showcasing the blending of cultural elements.
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Sheet decoration, possibly a belt fitting, with repoussé technic. Depicts a procession of warriors carrying spears and shields accompanied by charioteers with Silenus, Bronze, Etruscan, 7th - 5th Century B.C, 71 mm x 323 mm (without stand)
Etruscan processions were religious and cultural events held in the ancient Etruscan civilization, which thrived in the region of Etruria in what is now Italy, roughly between the 8th and 3rd centuries BCE. These processions were a significant part of Etruscan religious and social life, offering a fascinating glimpse into their culture.
Key aspects of Etruscan processions included their primary religious purpose, involving rituals to honor various gods through music, dance, and song. Priests and priestesses played pivotal roles in organizing and conducting these rituals, often carrying sacred objects and statues of deities in the procession. Participants and religious leaders wore special attire adorned with religious symbols, and these processions held both religious significance and social importance, fostering community gatherings and strengthening social bonds. Additionally, the Etruscan culture had a profound influence on ancient Rome, with some of their religious and cultural practices, including processions, being adopted and adapted by the Romans over time.
These pieces generally showed scenes of a dinner or drinking party with guests lounging on benches; musicians and dancers, including one acrobatically doing a cartwheel; and a procession of warriors carrying spears and shields accompanied by charioteers.
Bronze belts are quite common in aristocratic tombs, especially in female and child burials. The lozenge-shaped belt is associated with the female sphere of life and the matrimonial status of women (Iaia 1999:62). However, the presence of these belts in child burials indicates that they are not only a symbol for married women.
Satyr and Silenus, in Greek mythology, creatures of the wild, part man and part beast, who in Classical times were closely associated with the god Dionysus. Their Italian counterparts were the Fauns (see Faunus). Satyrs and Sileni were at first represented as uncouth men, each with a horse’s tail and ears and an erect phallus. In the Hellenistic age they were represented as men having a goat’s legs and tail.
The occurrence of two different names for the creatures has been explained by two rival theories: that Silenus was the Asian Greek and Satyr the mainland name for the same mythical being; or that the Sileni were part horse and the Satyrs part goat. Neither theory, however, fits all the examples in early art and literature.
From the 5th century BC the name Silenus was applied to Dionysus’ foster father, which thus aided the gradual absorption of the Satyrs and Sileni into the Dionysiac cult. In the Great Dionysia festival at Athens three tragedies were followed by a Satyr play (e.g., Euripides’ Cyclops), in which the chorus was dressed to represent Satyrs. Silenus, although bibulous like the Satyrs in the Satyr plays, also appeared in legend as a dispenser of homely wisdom.
#ancient #ancientart #ancienthistory #artefact #artifact #ancientartifacts #antiquities #antiquity #art #artobject #etruria #ancientworld #history #classical #archaeology #etruscan #silenus #bronze #warrior #shield #procession #belt
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Trapezophorum (table leg) with the head of a panther, Marble, Roman, 2nd - 3rd Century A.D, 492 mm x 170 mm x 200 mm
Trapezophoron, the Greek term (from τράπεζα, table, and φέρειν, to bear) given to the leg or pedestal of a small side table, generally in marble, and carved with winged lions or griffins set back to back, each with a single leg, which formed the support of the pedestal on either side. In Pompeii there was a fine example in the house of Cornelius Rufus, which stood behind the impluvium. These side tables were known as mensae vasariae and were used for the display of vases and lamps. Sometimes they were supported on four legs, the example at Pompeii (of which the museums at Naples and Rome contain many varieties) had two supports only, one at each end of the table. The term is also applied to a single leg with lion's head, breast and forepaws, which formed the front support of a throne or chair.
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientrome #ancientworld #history #classical #archaeology #roman #trapezophorum #table #panther #marble #head
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Head of a goddess, Marble, Roman, 1st Century B.C - 1st Century A.D, 280 mm x 240 mm x 217 mm (without stand), Life size
Roman mythology, like that of the Greeks, contained a number of gods and goddesses, and because of the early influence of Greece on the Italian peninsula and the ever-present contact with Greek culture, the Romans adopted not only their stories but also many of their gods, renaming a number of them. One exception to this practice is the god Apollo, the only god whose name is common to both cultures. Originally, before their association with the Greeks, many of the Roman gods were more closely associated with cults rather than myths (as was the case with the Greek hero Heracles who became the Roman champion Hercules). Much of this change came, however, when the Romans turned from farming to war.
Early in the development of Roman mythology, there was Saturn, equivalent to the Greek god Cronus. His temple at the foot of Capitoline Hill included the public treasury and decrees of the Roman Senate. The triad of early Roman cult deities were recreated as Jupiter, Juno, and Minerva; the latter was the patron saint of craftsmen and goddess of school children (later associated with Athena). Jupiter, the sky-god, became more akin to the Greek Zeus.
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientrome #ancientworld #history #classical #archaeology #roman #marble #head #bust #portrait #goddess #venus #diana #muse
Head of a woman / Portrait of a princess or an empress, Type Hanovre-Palazzo Corsini, Marble, Roman, Severan period, 193 - 235 A.D, 350 mm x 210 mm x 230 mm, around 15kg
The Severan period, spanning from 193 to 235 CE, marked a significant era in the Roman Empire characterized by the rule of the Severan dynasty. This period began with the ascension of Septimius Severus, who secured his position after a year of civil war following the assassination of Commodus. The dynasty included his sons Caracalla and Geta, as well as later emperors such as Elagabalus and Alexander Severus. The Severan period is noted for its military expansion, legal reforms, and architectural achievements. It also witnessed increasing cultural syncretism, with the blending of Roman and Eastern influences, as the Severan emperors had strong ties to the provinces, particularly in North Africa and the Middle East.
Art and portraiture from the Severan period reflect the political and social changes of the time. One of the distinctive features of Severan portraiture is its realistic and often idealized depiction of imperial family members. Portraits were used as a means of propaganda to convey the authority, divinity, and continuity of the ruling dynasty. These portraits were disseminated throughout the empire in various forms, including marble busts, coins, and reliefs. They emphasized the emperor’s military prowess, divine favor, and the continuity of Roman traditions.
Marble portrait heads of women from the Severan period exhibit a blend of idealism and realism, capturing both the physical likeness and the social status of the subject. These portraits often feature elaborate hairstyles, which were a significant aspect of Roman fashion and could indicate the individual’s wealth, status, and adherence to contemporary trends. The intricate hairstyles of Severan women, such as those seen in portraits of Julia Domna, the wife of Septimius Severus, are particularly notable. Julia Domna’s portraits often show her with a distinctive coiffure of waves and curls, reflecting her influential status and the period’s aesthetic preferences.
In terms of artistic technique, Severan marble portraits are characterized by their meticulous attention to detail and the use of drilling to create deep shadows and intricate textures, especially in the hair and eyes. This technique allowed for a greater contrast between light and shadow, enhancing the lifelike quality of the sculptures. The eyes of the portraits were often inlaid with colored stones or painted, adding to the realism and intensity of the expression. The high level of craftsmanship in these portraits demonstrates the skill of Roman sculptors and the importance placed on accurate and expressive representations.
The Severan period also saw the continuation and expansion of public works and monuments, which served to reinforce the power and legacy of the ruling family. Portraits of women, often placed in public and private spaces, were part of this broader program of visual propaganda. These images not only celebrated the beauty and virtue of the imperial family but also served to legitimize their rule by associating them with traditional Roman values and divine favor.
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Portrait head of a Patrician, Marble, Roman, 1st Century B.C, 250 mm x 175 mm x 215 mm (without stand), Life-size
During the first century B.C., many men throughout the Mediterranean world chose to be represented in an uncompromisingly realistic manner that accentuated their individual features and the effects of age. This style of portraiture accorded especially well with the austere values of the Roman Republic, which lasted from the fifth century until the late first century B.C.
The traditional Roman concept of virtue called for old-fashioned morality, a serious, responsible public bearing, and courageous endurance in the field of battle. Prestige came as the result of age, experience, and competition among equals within the established political system.
Hyperrealism in sculpture where the naturally occurring features of the subject are exaggerated, often to the point of absurdity. In the case of Roman Republican portraiture, middle age males adopt veristic tendencies in their portraiture to such an extent that they appear to be extremely aged and care worn. This stylistic tendency is influenced both by the tradition of ancestral imagines as well as a deep-seated respect for family, tradition, and ancestry.
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientrome #ancientworld #history #classical #archaeology #roman #portrait #head #patrician #marble #bust #republican
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Bowl, Pottery, Bucchero, Etruscan, 7th - 6th Century B.C, 45 mm x 170 mm
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientworld #history #classical #archaeology #pottery #vessel #etruscan #etruria #bowl #patera #bucchero www.yourantiquarian.com/product/etruscan-bowl-2/
Military diploma (fragment), Bronze, Roman, 2nd Century A.D, 70 mm x 57 mm.
Published: HOLDER P., A Breucus and his family on a fragmentary auxiliary diploma. Zeitschrift für Papyrologie und Epigraphik 222 (2022) 256–258
Awarded to an auxiliary soldier from the tribe of the Breuci in Pannonia. His wife also came from this tribe. They had three children, two sons and one daughter.
A Roman military diploma was a document inscribed in bronze certifying that the holder was honourably discharged from the Roman armed forces and/or had received the grant of Roman citizenship from the emperor as reward for service. Issued to Roman Auxiliary soldiers uponcompletion of their standard 25 year term of service.
The diploma was a notarised copy of an original constitutio (decree) issued by the emperor in Rome, listing by regiment (or unit) the eligible veterans. The constitutio, recorded on a large bronze plate, was lodged in the military archive at Rome (none such has been found; presumably they were melted down in later times).
The diploma consisted of two bronze tablets hinged together. Inscriptions would be engraved on each side of both plates. The full text of a diploma was engraved on the outer side of the so-called tabula 1, while the outer side of tabula 2 displayed the names of 7 witnesses, their seals covered and protected by metal strips (such seals have rarely survived, being of organic material). The text of tabula 1 was reproduced exactly on the two inner sides. The plates would then be folded shut and sealed together, so that the external inscription would be legible without breaking the seals. The internal inscription was the official notarised copy of the text on the constitutio published in Rome. The double-inscription and seals were presumably to prevent forgery or alteration.
Over 800 diplomas from the Principate have been found and over 650 published (although the majority have survived in only fragmentary form)
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The Sinister Doomstone of York Minster — a haunting relic from the 12th century, depicting scenes of eternal damnation and torment. Believed to have once formed part of a larger medieval tympanum, this remarkable limestone carving illustrates demons dragging the damned into the jaws of Hell. A rare and chilling example of Norman sculptural art, it reflects the medieval Church’s vivid imagery of sin and salvation.
Statuette of a rabbit, Pottery, Chinese, Han Dynasty, 206 B.C - 220 A.D, 143 mm x 134 mm x 310 mm, Include Thermoluminescence test by QED Laboratoire (Reference QED2205/EC-0146)
It is likely that the original purpose of the figure was that of a mingqi, terracotta figures designed to be included in a burial in order to accompany the deceased in the afterlife for protection, service and companionship.
They included daily utensils, musical instruments, weapons, armor, and intimate objects such as the deceased’s cap, can and bamboo mat. Mingqi also could include figurines, spiritual representations rather than real people, of soldiers, servants, musicians, polo riders, houses, and horses. Extensive use of mingqi during certain periods may either have been an attempt to preserve the image of ritual propriety by cutting costs, or it may have a new idea separating the realm of the dead from that of the living.
Though these were particularly popular during the Tang dynasty (618-906 AD), mingqi from a broad range of historical periods have been found, with this piece acting as a particularly early example of the practice.
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Unguentarium, Glass, Roman, 1st - 3rd Century A.D, 80 mm x 26 mm
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientrome #ancientworld #history #classical #archaeology #roman #flask #bottle #glass #unguentarium
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Piriformed aryballos with strip decoration, Pottery, Greek, Etruscan-Corinthian, 6th Century B.C, 100 mm x 55 mm
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The top half of this dart point is very finely worked and still has a sharp point and well made serrations, while the bottom half has been damaged and probably reworked.
It is almost 2 inches in length (50 mm) and was found near Salineno in South Texas in the mid 1960's.
Chalice, Pottery, Bucchero, Etruscan, 7th - 6th Century B.C, 300 mm x 180 mm
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #etruria #etruscan #ancientworld #history #classical #archaeology #pottery #vessel #chalice #bucchero www.yourantiquarian.com/product/etruscan-chalice/
Alabastron decorated with a lion and swan, Pottery, terracotta, Greek, Etruscan-Corinthian, 6th Century B.C, 83 mm x 45 mm (without stand)
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientgreece #ancientworld #history #classical #greek #archaeology #pottery #vessel #corinthian #etruscan #etruria
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Chalice, Pottery, Bucchero, Etruscan, 7th - 6th Century B.C, 100 mm x 135 mm
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientworld #history #classical #archaeology #pottery #vessel #bucchero #chalice #etruscan #etruria www.yourantiquarian.com/product/etruscan-chalice-2/
Votive head, Terracotta, Etruscan, 5th - 4th Century B.C, 235 mm x 180 mm x 115 mm
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientworld #history #classical #archaeology #etruscan #etruria #votive #head #terracotta
Oil lamp with theatre mask handle, Bronze, Roman, 1st Century A.D, 90 mm x 73 mm x 165 mm
The theatre mask was a staple to Greek and Roman theatre. This gave the actors their identity during their performances. It also allowed one person to play multiple roles in one show. The masks were predominantly used by actors. The theater mask was a popular devices in theatrical performances as it conveyed emotion to far-away audiences in the amphitheater. The theater mask portrayed very expressive faces in order to emphasis the emotions being shown.
The mask is used to display an expression of emotion, the carving of these features into stone helps convey the emotion the actor aims to express. The mask is fashioned as to show a look of shock, surprise or awe, as seen by the gaping mouth and wide eyes. It can be assumed that from the short hair and masculine features that the mask was meant to portray a male.
The importance of this mask in Greek society was so the actor could express emotion and create a character for audiences. Theater in Greek culture was an extraordinarily important and was a primary source of entertainment. It was seen as a way of investigating further into the world they lived and the meaning of humanity. The Romans had a tendency to adopt greek traditions and artifacts into their own culture.
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientrome #ancientworld #history #classical #archaeology #roman #theatre #mask #lamp #bronze
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Statuette of a polo player, Pottery, Chinese, Tang Dynasty, 618 - 907 A.D, 275 mm x 350 mm x 115 mm, Include Thermoluminescence test by QED Laboratoire (Reference QED2205/EC-0110)
It is likely that the original purpose of the figure was that of a mingqi, terracotta figures designed to be included in a burial in order to accompany the deceased in the afterlife for protection, service and companionship.
They included daily utensils, musical instruments, weapons, armor, and intimate objects such as the deceased’s cap, can and bamboo mat. Mingqi also could include figurines, spiritual representations rather than real people, of soldiers, servants, musicians, polo riders, houses, and horses. Extensive use of mingqi during certain periods may either have been an attempt to preserve the image of ritual propriety by cutting costs, or it may have a new idea separating the realm of the dead from that of the living.
Though these were particularly popular during the Tang dynasty (618-906 AD), mingqi from a broad range of historical periods have been found, with this piece acting as a particularly early example of the practice.
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #ancientworld #history #classical #archaeology #china #tang #tangdynasty #polo #poloplayer #ancientchina #ancientchinese
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Piriformed aryballos with strip decoration, Pottery, terracotta, Greek, Etruscan-Corinthian, 6th Century B.C, 105 mm x 60 mm (without stand)
#ancient #ancientart #ancienthistory #antiquity #artefact #artifact #ancientartifacts #antiquities #art #artobject #etruscan #ancientgreece #ancientworld #history #classical #etruria #archaeology #greek #greece #corinthian #pottery #vessel
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