The earliest known works of Oceanic sculpture are a series of ancient stone figures unearthed in various locations on the island of New Guinea, primarily in the mountainous highlands of the interior.
William Blake was an English poet, Artist, and printmaker now known as a major figure of the Romantic age. During his life many of Blake's peers considered him mad, yet his creative often mythical Art was truly prophetic.
These twelve remarkably beautiful Ancient Greek Patterns in full color illustrate designs based on honeysuckles, lilies, rosettes, and more.
A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. – The … Continue reading "41 Fabulous Old Photographs of Ancient Rune Stones in Sweden"
Irene in Ancient Greek style. This belongs with my ‘ ancient times inspired Queen’s Thief ‘ style experiment. I don’t have enough art history knowledge, so there may be inaccuracy ¯\_(ツ)_/¯ I want...
Some of the rock art in this remote part of Canyonlands National Park is more than 6,000 years old. No one is sure what it means, but it speaks powerfully nevertheless.
Leighton House Museum set today’s quiz, which enables you to explore the art collections of British museums closed due to Covid-19 – while answering some fiendish questions along the way
Reproduction of ancient Minoan art. The ancient Minoan civilization included settlements on the pre-eruption island of Thera. Some think the colapse of the volcanic crater into the sea lead to the myth of the lost continent of Atlantis.
Photographed at the Metropolitan Museum of Art in New York City, New York.
A contemporary land-art performance curiously produces the same patterns engraved on prehistoric petroglyphs. Maybe a relationship with the landscape, real or symbolical, should be considered? Here the voices of Sonja
Predating the New Mexican flag, this sun, according to one source, is a symbol of happiness that appears in the iconography of a number of Native American cultures. I think it's from the historical period as is the handprint to the right. members of the southern plains nations seem to have painted it over what appears to be prehistoric horned dancing figures. (I should probably look at my notes again). As is the case of many historical paintings in Pecos River region, the artist was probably not from the region but was en route to present-day Mexico.
Cottagecore Aesthetic Painting -"Pomegranate" fruits and trees were popular symbols in ancient Asian and Mediterranean art. It is customary to have it on New Year's Eve or Thanksgiving tables, with the belief that it will bring abundance to the home. As a symbol in ancient art it is generally used to denote fertility and abundance, a meaning which holds true in traditions throughout the Orient. The connection that the pomegranate bears to fertility and abundance is derived from the fact that it has many sweet and beautiful seeds that are contained within the fruit itself. Aside from being a source of healthy sweet juice, the pomegranate was useful by textile & felt artists for color purposes. The dye makers would produce a red color dye from the pomegranate’s flowers and the tannin within its rind was used for tanning leather hides. Tannin is also a useful compound that is frequently used in natural medicine with a variety of applications. Needle felted merino wool, with nuno-felted silk inclusions, hand-dyed silk tops, sari silk waste, mohair tops, viscose tops, Harris tweed threads, curly locks, spun silk threads, and hand-dyed silk carrier rods. For all of these reasons, the pomegranate design and fruit itself is always highly prized. Predominantly for its aesthetic look, medicinal properties and practical uses (Schneider). When used as a symbol in art from these regions it can thus be interpreted as representing fertility, healthy and plentiful bounty. Turkish Pomegranate- Original Felt Art Painting, Abstract Painting, Needle Felt Art, Wool Painting, Felt Picture, Embroidery Wall Artwork Abstract Home Decor, Felt Art which enriched with silk embroidery evil eye bead / amulet motifs of Turkish / Asian ancient kilim /rug & head scarfs. Perfect gift or home wall art decor for Easter. ❤️ DIMENSIONS -- 16.5 x 20 inches ( 50 x 42 cm) ❤️ NEEDLE FELT WALL ARTWORK -- Felt painting enriched with Tussah silk, Mulberry silk, multicolor beads and embroidery details. Brings a sophisticate touch into your home and office with its unique dimensional texture and strong colors. ❤️ INSPIRATIONAL NEEDLE FELT PAINTING -- Unique piece, perfect as decoration in any room of the house as well as in a stairwell. ❤️ MATERIALS -- Natural felt, Angora and Merino wool, Tussah silk & Mulberry silk yarns. ❤️ FRAME /HANGING -- My all artworks send without any frame within bubble envelope for easy & safe shipping. Please make sure to get it framed so it will remain the beauty for years. But I prefer to use with a simple frame without any glass. You can also use the felt painting by attaching it on a canvas with double-sided tape. ❤️ WONDERFUL CHRISTMASS GIFT -- The texture of felt and rich color creates warm and luxury feelings. Looks great in the bedroom, living room and even in the nursery! Perfect for anyone who are both stylish and artful. Great for birthdays, other special occasions and holidays; Christmas, New Year, etc. An original and unique gift to be incorporated into your décor or that of a loved one. ❤️ DELIVERY -- By UPS Courier Service. Shipment cost is free. ❤️ CARE INSTRUCTION -- You can always clean and remove dust by shaking in the open air. Only if it is necessity, you may hand-wash in cold water with very gentle movements. Please do not use any detergent & soap. Please lay it flat and leave it to dry. Do not dry clean. you can iron by covering it with a clean & slight wet cheesecloth or similar thin cotton fabric. Just keep in your mind that, you can use "hairspray" to keep the felt fibers smooth and intact or to prevent the fibers from spreading around. On the other hand, the most effective and care-free solution for a long time is a glass frame which will be kept it appropriately from all environmental effect Please contact me with any questions! I'm always happy to help! Thanks for visiting my shop!
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Dragon Tracks The task of tracking dragon image amulets from one side of the Himalayas to the other is a matter of following the old -- now probably approaching ten thousand years old -- paths of the migrant people of the Mediterranean, Mesopotamia, Central Asia and Northwestern China. As the neolithic methods of farming developed in the desert oases of that huge region of the planet, which was drying out, the people were forced to follow sources of water and favorable conditions for growing their crops and herds of domesticated animals. Migrant paths became trade routes with time and by the fourth millennium B.C., there were trading posts or caravanserai operating in certain places along the roads that the caravans followed. Migration also continued to follow those roads to greener pastures and more fertile land to farm. From pigs to camels, different varieties of sheep and goats, even the horse and of course the dog were part of the entourage of a migrant clan leader. Ancient Sousiana in Persia was one of those hubs of human movement and socio-economic exchange. By about 3,000 B.C. there were people in that area that spoke a language related to the pre-Anglo-Saxon language of England, Ireland, Scotland, Wales, Asia Minor, Galicia and part of France, the old Celtic root. The speakers of this now dead or dying branch of this Indo-European language group did not show up only in the historical record in Europe. The Tocharians from Susiana in Persia spoke a version of this same Celtic language in Persia and in the place they migrated to: northwestern China. Also to be noted is that the Indo part of the Indo-European (at this point, really Indo-Aryan) language group was spoken in the Indus Valley by this time. But what has this to do with dragon symbols? We will focus on the dispersal of the dragon symbol in Greater Persia and Northwestern China. There is a connection of similar uses of the dragon symbol in ancient Susiana (Elam, Gutin) and the area of China that is just over the Himalayas in northwestern China. To recap a bit here: Susiana was located near the Persian Gulf where Syria and Iraq join Greater Persia which stretched from central Turkey to the western side of the Himalayas. The trade routes are known because long stretches of them are still in use. I have traveled along some of them. A small sketch here of how the roads developed into the Silk Road(s) in the last millennium B.C. : Note that the road from Bactria in Afghanistan, part of Greater Persia at the time, follows what had probably been the migrant New Stone Age oasis farmers of thousands of years before the route became known as the Silk Road. It crosses the Hindu Kush range of the Himalayas into Tashkorgan in the land of the Jade Rivers: the White Jade River and the Black Jade River. It is the sprawling northwest part of China, now called Xinjiang, once known as Sinkiang and list of other names. By 2,000 B.C. the people who spoke the Indo-European language related to the Celtic branch, the Tocharian, lived in this province. Their mummies are on display in a museum at the provincial seat, Urumqi. Tashkorgan, the first landing of those migrants or traders over the high mountain passes from the west (Persia) or south (Indus Valley), was one of the world's busiest market places. Goods were exchanged there to be passed along by resident or traveling merchants to the remainder of China, Mongolia and other parts of the East. Merchants had come from the other end of the route to Tashkorgan to make the exchanges and take the newly acquired goods to sell along the remainder of the route. Beads or raw stones to make beads and other ornaments were very important items of trade. They were portable enough that they could be used as 'money.' The eastern side of the Himalayas actually have ancient jade 'coins' with an assigned value. Agate, quartz, jade and lapis lazuli were the prized gemstones of the area. They were carried as far as Egypt from their source in what are now Iran and Afghanistan. It is from that very area that the beads in the photograph below originate. They are probably from about 1,500 B.C. The brown banded agate bead was highly prized at this time. Ancient Brown Banded Agates from proto-Iranian Civilization So now we know a bit about how the people traveled from the border of Mesopotamia and Iran and carried their culture along to be mingled to various extents with the residents of each area into which they settled. They trekked along routes that came to be known much later as trade routes. By 3,000 B.C., they were introducing copper smelting and manufacture of refined and alloyed metal ornaments, weapons and household goods. They no doubt assimilated culturally and adopted some of the symbols used in ornamentation by the indigenous people of the place. These Indo-European speaking people had moved along this route to settle south of the Caspian in what is now Iran (Persia), in Margiana (Turkmenistan), Bactria (Afghanistan), Indus Valley (Pakistan) and in northwestern China. From Susiana to central Persia and eastern Persia (Bactria), they brought their own dragon symbols such as these found in the Kerman District south of the Caspian Sea: This is the time-honored symbol of the twin dragons with the phoenix, a glorious mythical bird that is very often shown with a dragon or the twin dragon symbol. Here it is worked in steatite, a soft stone. In other times and places, it has been produced in jade, especially in what are now the modern autonomous zones of China: Inner Mongolia and Xinjiang province nearby. The pig images at the bottom of this amulet coin show the honored animal in the Neolithic Hongshan culture that lasted until about 3,000 B.C. At about that time, the pig gradually became a dragon with a pig's head. This jade coin is a modern interpretation of that cultural development. At the bottom are the pigs, then the dragon and finally the victorious phoenix, of which we will see more in these blog posts. As mentioned above, from some other influence, by about 3,000 B.C., the people on the eastern side of the Himalayas had adopted the dragon, and their amulet became a symbol much like the Iranian one above. A circle of two dragons or entwined dragons with pig-like features, or like this single one that shows the mixed symbolism of pig-dragon: Modern reproduction of Neolithic Hongshan culture fetal pig/dragon symbol Especially in the emphasis on the eye of the creature, you will note a similarity between the image above and this one from Bactria, worked in a softer stone from ancient times: Bactrian amulet in soft white stone. So now the dragon appears in similar form on both sides of the Himalayas. I am not trying to establish any real connection between languages, customs or genetics. I am only following an interesting mystery in the attraction that humans have for dragons as ornaments. The similarity of certain of the images at or near the same time but found at great distances apart intrigues me. And where we find tartan plaids and/or Indo-Aryan features, we find these whorled dragon images, but I grant that there is probably no causal relationship. Maybe they are found all over the globe at this time, but since my interest is mainly in Central Asia, especially the Himalayan countries, I certainly find dragon tracks there. Sources and credits: Tocharian and the Tocharians; Friends of Jade; Linguists on Jiagu/Tocharian;Iran Chamber Society; Cultural China; Crafts of the Past
Winged genie. Detail of a relief from the palace of Assyrian king Sargon II, 722-705 BC. Found in the collection of Musée du Louvre, Paris. Artist : Assyrian Art.
Mosaic glass, 1st century B.C.E./C.E. 113.Decorative Plaques with Palmettes-Lotus Motifs 114.Decorative Plaques with Plant Motifs 115.Decorative Plaques with Floral Motifs 116.Decorative Plaques with Geometric Patterns 117.Decorative Plaques with Trefoil Garland Patterns From the Ptolemaic period through the early Imperial Roman period, mosaic glass was made into a variety of decorative panels showing stylized floral patterns or abstract patterns resembling flowers, in addition to the more specific expression of individual human or vegetable forms. These patterns include the following four-petal flower, a combined arrangement of a flower centered circular or square shape with palmetto leaves, lotuses, ivy or grapes and other such plant motifs arranged the central flower (cat. No. 114), layered horizontal arrangements of plants (cat. No. 113), and bundles of three long leaves and two branches tipped with fruit arranged horizontally or in floral garland patterns (cat. No. 117), continuous arrays of abstracted forms such as small flowers, leaves, stars, and waves (cat. Nos. 115,116), and patterns which look like landscape elements. These would have been made to fit the shape of the inlay being applied to furnishings or small boxes, and thus finished in circular, square, polyhedral, vertical and horizontal rectangles, or curved forms. There are many examples where the small individual mosaic units have been combined into complex patterns, for example, the second plaque from the right of the second row from the top of cat. No. 114, is a combination of 16 different mosaic units. The majority of these decorative panel motifs were widely used as decoration in Greek architecture, or in the wall paintings and stucco of the Roman period. Text and image from the website of the Miho Museum.
A detail of a female portrait coming from Hawara, a site near the Fayum oasis, Egypt, dated 54-68 AD, is on display in the exhibition "Roman Imperial Painting", in Rome, Tuesday, Sept. 22, 2009. The exhibition, made of frescoes, portraits on wood and...
The palmette (gol-e eslīmī, lit. “patterned” or “arabesque flower”) is one of the most popular Persian rug decorations, and you will find it included in many rug designs regardless the country of origin.
Banebdjedet of MendesIllustration of the god Banebdjedet, ram with four heads, from the Ptolemaic temple of Hathor and Ma’at in Deir el-Medina, Theban Necropolis. Engraving by Antoine Maxime Monsaldy...
