crocket:

Hand of Akhenaten making an offering to Aten.

Ancient Egypt, from Ashmunein Dynasty 18 Sandstone Metropolitan Museum of Art

Akhenaten is my fav Pharaoh, by far the most interesting anyhow.

miamou:

Minoan Sea Daffodils

Late Bronze age

painted some time before 1630 BC

Akrotiri, Thera

(via treasurefield)

yama-bato:

La Lettre de la Photographie

Sarah Pickering

Egyptian Princess, Museum Collection. Salted Paper Print circa 1852-60. Unknown Photographer. Print size w14 cm x h18.5 cm with window matt in museum frame, 2010

Femme graine ?

(via journalofanobody)

Gold crown - Tellya Tepe

centuriespast:

Horse
ARTIST:Artist Unknown, Japanese.
DATE:Kofun period

Among the most distinctive and compelling works to survive from prehistoric Japan are the hollow clay figures of animals and humans called haniwa, literally clay cylinders.  

The Minneapolis Institute of Arts

(via eclektic)

heracliteanfire:

Unglazed jug of fritware of a bull with decoration incised and applied in relief, possibly Iran or Iraq, 12th century-13th century. (via Victoria & Albert Museum)

(via tumbleword)

androphilia:

Sculpture Representing Al-Burāq

(via lynnehoppe)

alainrichert:

SCULPTURE FOUND IN THE UNDERGROUND NEOLITHIC TEMPLE OF MALTA

3300   BC

(via alongtimealone)

Scent bottle - Sarmatian art

Sarmatians art

Taq-e-Bostan

Sarmatian jewelry

Griffin - Scythian art

Sarmatian crown

miss-mary-quite-contrary:

This tall, sensuously modeled and delicately painted terracotta figurine represents Aphrodite-Isis, a goddess combining attributes of the Egyptian goddesses Isis and Hathor and the Greek goddess Aphrodite. Although otherwise nude, she wears elaborate accessories, including an exaggerated calathos (the crown of Egyptian Greco-Roman deities) emblazoned with the sun disk and horns of Isis. Her long corkscrew curls are arranged in the semblance of a traditional Egyptian hairstyle.

Similarly garbed figures of goddesses and female figures associated with marriage, conception, and childbirth are found throughout the Greco-Roman world. The Egyptian version is distinguished by its compressed, frontal, and rather rigidly upright pose, and by its occurrence in burials. These features relate to pharaonic prototypes whose efficacy seems to have extended into the afterlife for women and men alike.

After being formed in a two-part mold, the front of the hollow figurine was dipped in a white engobe (slip), then painted with a white base coat and detailed in stark black, yellow, and a range of reds and pinks, even to an elusive blush over the cheeks.