could
↑ objectName, objectTitle:
objectTitle :
collectionName : collectionNameinventoryNb : inventoryNb
objectName : objectName
objectTitle : objectTitle
objectCulture : objectCulture
geography : geography
dating : dating
material : material
technique : technique
dimensions : dimensions
legalRightOwner : legalRightOwner
objectDescription : objectDescription
↑ , Quinton:
Quinton :
collectionName : String instrumentsinventoryNb : 0219
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1730 - AD 1790 (uncertain)
material :
technique :
dimensions : Height: 60 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Pardessus inv. nr. 0219 Around 1730, a variant of the "pardessus de viole" arises in France, with only five strings, the three lowest of which are now tuned as a violin (GDa) and the two highest maintain a fourth (d and g). The name "quinton", mainly used for the violin-shaped variant, indicates the hybrid character of these instruments, which are fully interchangeable in terms of social context, playing method and repertoire. Both these "pardessus a cinq cordes" and the violin-shaped quinton were played vertically, contained five strings and were partially tuned in fifths. This five-string pardessus (inv. 0219) is covered with a brown varnish and is in fairly good condition. The two-part back in highly flamed maple is arched, and a small wooden nail is inserted at the top and bottom. The purfling is composed of three strips. The ribs are made of less deeply flamed maple and show some fractures. The belly made of two parts of fine grained spruce has a double purfling with three strips crossing each other at the corners. The C-shaped sound holes with notches on both sides are undercut. Linings are applied inside. The neck is probably narrowed and made rounder later to enable playing horizontally on the shoulder. The heel, originally angular in shape, was also rounded off, so the purfling partly lies too close to the edge in that area. Fingerboard and tailpiece contain a layer of ebony veneer. The tailpiece is attached to a turned knob with a gut loop running over a small nut. The modern, strongly trimmed and simplified violin bridge carries the stamp of the "Aubert" brand. The pegbox is decorated in a style reminiscent of the 18th-century sculptor Lafille (or La Fille), adorned on the four sides by small circular punches, and crowned by a bearded man's head with a feather hat and a collar. The eyes are inlaid with white oval buttons. The sculptural style could be 19th century. The (false) printed label inside contains the words: "Jacobus Staainer Filius, in absam / prope omnipontum 1558", this year added in manuscript. This pardessus was in the possession of François-Joseph Fétis (1784-1871), first director of the Brussels Royal Conservatory and “maestro di capella” of Leopold I. In 1872 his collection of musical instruments was purchased by the Belgian State and kept in the conservatory until the opening of the Instrument Museum in 1877. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1880, 2/1893, pp. 313-319. François-Joseph Fétis en het muziekleven van zijn tijd, 1784-1871: exhibition, Brussels, Koninklijke bibliotheek Albert I, 1972. Catalogue edited by Bernard Huys a.o., Brussels, 1972, p. 216. L c. 61 cm L.c. 19,2 cm. H ribs: c. 4,4 cm String length: c. 31,5 cm
↑ , Quinton d'amour:
Quinton d'amour :
collectionName : String instrumentsinventoryNb : 1358
objectName :
objectTitle : Quinton d'amour
objectCulture :
geography :
dating : AD 1730 - AD 1772
material :
technique :
dimensions : Height: 64,6 cm, Width: 20,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Quinton d'Amour with 5 stopped strings and 6 sympathetic strings, covered with a red-brown varnish. The strings are attached to a white plate with pins, at the bottom of the ribs, as was the case with the other quinton d’amour and the viola d’amore by Salomon (inv. No. 0481 and 1389). The sympathetic strings run over the top of this plate, which serves as a kind of high bottom nut, in which holes for the melodic strings were provided. A tailpiece was not necessary with this construction. The two parts back with three-part purfling is arched. Ribs and back are made of flamed maple. The sound box has a normal violin shape, with corner blocks and glue strips on the inside and with f-holes in the two-part spruce top, also with three-part purfling. The top has repaired fractures. In the upper block one can see three holes where there used to be nails for the attachment of the neck. A classic violin curl closes the pegbox. The latter is decorated with floral patterns at the back and on the sides. Furthermore, it is fully open at the front and closed at the back for four of the five melody strings. The fingerboard, open at the back for the resonance strings, has a layer of veneered ebony at the front and bears traces of bound frets. This instrument (inv. No. 1358) is similar to Salomon's other quinton d'amour (inv. No. 0481), but the edges and corners of top and back seem heavier, while the varnish also differs in color and texture from those of both other Salomon instruments from the collection (inv. no. 0481 and 1389). Moreover the neck is more rounded, which does not facilitate playing in the "da gamba" position. The instrument may have been assembled, rebuilt or completely constructed by a certain Jean Leclerc, who then signed the instrument inside with a pencil. Maybe this could be Joseph-Nicolas Leclerc from Mirecourt, working in Paris since 1760. This quinton d 'amour (inv. No. 1358) was part of the Auguste Tolbecque collection. In 1879 his collection of musical instruments was purchased by the Instrument Museum. In 1885 a viola d’amore by Salomon from the Museum in London was exhibited. Perhaps this instrument was meant, or else the quinton d’amour (inv. No. 0481) or the viola d’amore (inv. No. 1389), both also by his hand. Labels: 1) "SALOMON / A PARIS" (brand) 2) "Jean nicolas / leclerc" (handwriting on the back) L. approximately 65.2 cm L. approx. 25 cm H. sides approx. 31 cm String length approx. 32.8 cm. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 3, Ghent, 1900, p. 26.
↑ , :
:
collectionName : String instrumentsinventoryNb : 1392
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1751 - AD 1800
material :
technique :
dimensions : Height: 78,5 cm, Width: 21,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Viola d’amore with 6 melody strings and 6 sympathetic strings. The intact, one piece back made of flamed maple is arched and lined with a three-part purfling. The ribs are made of similar wood, the lower band consisting of two parts. At the transition to the neck, two strips of three-part inlay have been inserted in the ribs with a wider strip of maple veneer in between. In the curved, one-part top with wide three-part purfling, a rosette is inserted just in front of the fingerboard. The two flame-shaped sound holes are unusual. and the corners of the body bend slightly outwards, but the rest of the body outline has an elongated gamba shape. The six sympathetic strings are attached to white pins at the bottom of the ribs. The blindfolded head with collar is small compared to the black-lined pegbox. The latter is open at the front and back. Fingerboard and tailpiece are covered with a layer of veneer in walnut, boxwood and mother-of-pearl. The tailpiece is attached to a turned knob in brown and white. The instrument is covered with an orange-yellow varnish. This instrument was purchased before 1900. It has been attributed before to Giovanni Guidantus, Giuseppe or Ferdinando Gagliano or another member of the Neapels school, but who produced it remains unclear. It carries a printed label: “Joseph Guarnerius fecit / Cremonensis anno 1719 I.H.S” The last two digits (19) are written by hand and could also be read as "43". Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, III, Ghent, 1900, p. 38. L approx. 78.5 cm W approx. 21.6 cm. H ribs: approx. 4.6 cm String length approx. 38.7 cm
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:
collectionName : Percussion instrumentsinventoryNb : 1975.027
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1664
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : For more than three centuries, this bell was the soul of Avignon-lès-Saint-Claude, a small village in the Jura Mountains (eastern France). With its ringing it watched over the surrounding woods and fields. It was cast in 1664, and it hung in the tower of a chapel that had been erected some years before, in 1649, in gratitude after the village had escaped the plague epidemic that had hit the area in 1629 and 1636. The chapel was devoted to Saint Roch, the patron saint against the plague. The inscription ‘STE ROCHAE ORA PRO NOBIS’ on the bell bears testimony to this. The body bears different images: a big crucifix adorned with vegetal garlands, a baroque calvary crowned with the sun and the moon, effigies of the Virgin Mary, of Saint Roch himself with his dog, and of a blessing bishop with a child at his feet. This is Saint Claudius, who was reputed to revive stillborn babies for the time of their baptism. In 1975, as the bell was cracked, it was replaced by a new one, after which it was donated to the Musical Instruments Museum. This bell was made by Michel Jolly, a bell-founder from the village of Breuvannes-en-Bassigny, who would be succeeded by his four sons. The Bassigny is an area in the neighbourhood of Langres. In those times it was a hotbed of highly reputed wandering bell-founders. From the sixteenth century onwards they travelled all over eastern France and the neighbouring Swiss cantons from spring to autumn. They set up their workshops wherever their services were required. The first permanent workshops only arose late in the nineteenth century. Until then, bells were cast on the spot, in front of, and sometimes even inside the church. Two casting moulds are still to be seen in the basement of the nearby church of Saint Lupicin. The casting of a bell was an important occasion in the life of a village community. The extant contracts of parishes with bell-founders often show the enthusiasm the event sparked off, and they also provide surprising details about the bulk of the materials the client had to provide: up to thirty cartloads of stone and clay to make the mould and the oven, and up to thirty cartloads of coal and firewood. Workers had to be hired to mould the clay and cleave the wood, and to hang the finished bell in the tower. The bell-founder could count on the passionate help of the local community around him. When the mould was ready, it was buried in a hole and carefully covered with earth. Then the bell-metal – an alloy containing around 80% copper and 20% tin – was heated to 1200° C. Every maker had his own ‘secret’ recipe, which added to the mystery around bell founding. When the metal was liquid, the trapdoor of the oven was opened. Through a channel the metal slid into the mould like a fire snake, and disappeared into the earth. The whole process only took a few moments. In the old times the bell makers liked to wait until night had fallen. Then the scene looked even more magical and spectacular in the eyes of the excited villagers who had gathered to experience the ‘miracle’. Once the cast was taken from the mould, it was washed and consecrated, or ‘baptized’ in popular speech, as it was given godparents and a Christian name. This bell was baptized Marie-Joseph, and ‘F. IAILLO’ and ‘DENISE COLIN’ were named as godparents. We don’t know exactly who they were. However, both surnames were well attested in the village at the time. ‘F. Iaillo’ undoubtedly points at a member of the Jaillot family, which produced two brothers who made a career at the court of Louis XIV: Hubert (1640-1712), a prominent geographer, and Pierre Simon (1631-1681), a famous ivory sculptor. Some other Jaillots from Avignon-lès-Saint-Claude were also successful in Paris. In a village of barely 120 souls at the time, all these Jaillots must have been relatives of the godfather of our bell. Further investigation could clarify this. Stéphane Colin Inscription : + IHS MAR JOSEPH ◊ STE ROCHAE ORA PRO NOBIS ◊1664 ◊ + HON ◊F◊ IAILLO FILӠ DE FEUT ◊P◊ IAILLO DAVIGNON BOURGOIS DE ST CLAUDE PARAIN + ◊ ET DENISE COLIN FEMME DHON IACQUE WILLERME DUDICT AVIGNON BOURGOIS DE ST CLAUDE MARAINE ◊
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:
collectionName : String instrumentsinventoryNb : 2828
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1660
material :
technique :
dimensions : Height: 66,8 cm, Width: 23,8 cm, Depth: 10,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This viola (inv. no. 2828) has similarities with, among others, the viola by Jooris Willems (inv. no. 2831) and could also be a late seventeenth or early eighteenth-century Ghent work. The two-part back is made of fine and lightly flamed maple. The arching and the three-part purfling are irregular. Two wooden nails are inserted through the back into the lower block, and even three in the upper block, with an extra nail through the heel, which is has probably been replaced. The back joint is slightly open. The low ribs are made of irregular and finely flamed maple. The belly is made of spruce, the grain of which becomes wider towards the sides. This medium-sized viola is not very refined in terms of finish and materials used. The sound holes, the long narrow corners and the high arching indicate that the maker was directly or indirectly inspired by Italian violins from the first half of the seventeenth century, but then proceeded more roughly. The graft of the new neck is clearly visible at the pegbox. A wedge in maple underneath the fingerboard increases the inclination. The scroll shows clear gouge marks towards the center. The repair label in handwriting reads: “Reparé par I. Ondereet / rue des Semeurs N ° 60, Gand”» This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 411. L approx. 67.5 cm L. of body approx. 40.5 cm. W. ca. 23.8 cm. H. ribs approx. 3.3 cm String length approx. 34.8 cm
↑ , :
:
collectionName : String instrumentsinventoryNb : 2830
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1660
material :
technique :
dimensions : Height: 69,2 cm, Width: 25,5 cm, Depth: 10,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This viola (inv. no. 2830) could be a late seventeenth or early eighteenth century Ghent work, somewhat inspired by the Cremonese examples of the late sixteenth or early seventeenth century. The two-part back is made of lightly flamed maple with an irregular grain. The top is made of two parts of spruce, the grain of which widens somewhat towards the sides. Both top and back have high arching without purfling and show multiple fractures, which, together with the rather ragged cut of the sound holes and the inconvenient blunt corners, gives this violin a somewhat primitive appearance. The ribs are made of non-flamed maple and the lower band is made from one piece. Linings have been provided all around. The neck, pegbox and head are made from one piece of maple and joined to the body only later. The old upper block has been replaced as well. The short neck (approx. 13.2 cm), which at the joint still bears traces of another top, is quite narrow and has a thin fingerboard of blackened wood. The narrow pegbox is doubled in two places and is crowned with a stylized lion’'s head. The tailpiece in the old style is attached with a metal loop that runs over a white bottom nut. The instrument is covered with a brownish transparent varnish. Labels or inscriptions were not found. According to Victor-Charles Mahillon, this instrument was made by Hendrick Willems, but stands too far from his other work to be attributed to this maker. This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 412. L. approx. 70 cm L. of body approx. 43 cm W. approx. 25.7 cm H. ribs: approx. 3.9 cm String length approx. 37.5 cm
↑ , :
:
collectionName : String instrumentsinventoryNb : 2835
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1753
material :
technique :
dimensions : Height: 75,6 cm, Width: 26,3 cm, Depth: 11,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This large viola, or tenor viola (inv. no. 2835), with an in all likelihood authentic label from Jean Hyacinthe Rottenburgh, is inspired by Cremonese violin makers from the seventeenth century. Jean-Hyacinthe Rottenburgh II (1713? -1783) was a violinist and instrument maker at the Brussels court until his death. However, this instrument could also be attributed to his fellow citizen Marcus Snoeck (1694-1762). It is covered with a red-brown varnish with wear marks. The two-part back is made of lightly and finely flamed maple. Top and bottom are provided with a purfling that runs quite far from the edge. The corners are rather blunt, but sharply cut off on the C's side. The archings are rather low with a fluting that more or less retains the same width all around. The sound holes are directed inwards at the bottom, especially the f-hole of the bass side. The notches are asymmetrical and thus refer to the old traditional lutherie-style. The ribs are made of stronger flamed maple and the lower band is made from one piece. Linings have been provided all around. The instrument is well preserved. Only the two-part top has a number of fractures, amongst others a soundpost crack. The neck in flamed maple, set in with a dovetail joint, has a modern rounded touch in ebony. The joint of the new neck on the old pegbox is clearly visible and stops abruptly. The winding of the curl widens in the longitudinal direction, so it takes the shape of an oval. Pegs and tailpiece are in eighteenth-century style. The bridge carries the brand: "P. Darche". The handwritten label reads: "Jean Hyacinth Rottenburgh / maior fecit à Bruxelles 1753" This viola was part of the César Snoeck collection and was donated in 1908 to the former Instrument Museum by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 413. Wim Raymaekers, How the f-hole arose. Sound hole shapes and bridge position on bowed instruments between 1500 and 1800, in The Galpin Society Journal, LXXI, March 2018, pp. 41-42. L approx. 76.5 cm L. sound box approx. 45.3 cm. W. approx. 26.4 cm. H ribs: approx. 3.9 cm String length approx. 41.8 cm
↑ , Quinton:
Quinton :
collectionName : String instrumentsinventoryNb : 2882
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1738
material :
technique :
dimensions : Height: 58,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Around 1730, a variant of the "pardessus de viole" arises in France, with only five strings, the three lowest of which are now tuned as a violin (GDa) and the two highest maintain a quarter interval (d and g). The name "quinton", which is mainly used for the violin-shaped variant, indicates the hybrid character of these instruments, which are fully interchangeable in terms of social context, playing method and repertoire. Both these "pardessus a cinq cordes" and the violin-shaped quinton were played vertically, contained five strings and were partially tuned in fifths. This five-string pardessus (inv. no. 2882) is covered with an orange-brown varnish. The two-part back in broadly flamed maple is flat, without purfling, and with a very slight angle to the neck. Just like the non-flamed ribs, it is weakened by numerous woodworm holes, padded or not. The curved top, composed of two parts of fine grained spruce, has a purfling with three strips, contrary to the bottom, and has several repaired fractures. The C-shaped sound holes are not undercut. A soundpost plate is visible inside. The neck is quite thin and wide and appears to have retained its original shape, just like the wedge-shaped fingerboard, provided with a layer of ebony veneer. The relatively long pegbox is adorned with a classical violin scroll and has notches near the ebony nut, to facilitate the passage of the outer strings. Some of the pegs could be original. At the bottom an ebony nut has been inserted in the top. Bridge and tailpiece are missing however. In the bottom block, on which the lower one part rib is glued, a hole has been drilled for a turned button. The handwritten label inside contains the words "hyacinthe Lorret Dit / Janrot, rüe de la cles / 1738”. This pardessus was part of the César Snoeck collection and was donated to the former Instrument Museum in 1908 by Louis Cavens. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, IV, Ghent, 1912, p. 421. L. approx. 59 cm W. approx. 20 cm. H. ribs approx. 4.6 cm String length approx. 31 cm
↑ , Rectangular muselar virginal:
Rectangular muselar virginal :
collectionName : Keyboard instrumentsinventoryNb : 2930
objectName :
objectTitle : Rectangular muselar virginal
objectCulture :
geography :
dating : AD 1614 (uncertain)
material :
technique :
dimensions : Length: 1667 mm, Width: 490 mm, Height: 240 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Muselar virginal on 6 legs, bearing the serial number 6/20, probably built in 1614. Restyled several times according to current tastes. In the first half of the 18th century, the original porphyry decoration was covered with a brownish colour. During the 19th century, that brown was then hidden under faux-wood and the instrument was given a new lid. Also during the 19th century, the instrument was redecorated with geometrical motifs. A new fallboard and jackrail were added. A flap was cut out of the lid above the keys while the soundboard and bridges were painted in a milky brown. The soundboard was enhanced with decorative motifs. Some of these alterations could have been the work of a certain I.B.P., who left his signature on the nameboard liner. Restored in the 1960s.
↑ , Harpsichord:
Harpsichord :
collectionName : Keyboard instrumentsinventoryNb : 4276
objectName :
objectTitle : Harpsichord
objectCulture :
geography :
dating : AD 1738
material :
technique :
dimensions : Length: 226,2 cm, Width: 90,8 cm, Height: 27,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Though this harpsichord was formerly considered a seventeenth-century instrument built by Hans Ruckers, analyses show that it is actually a Flemish eighteenth-century instrument. Its keyboard bears the initials c.p. and the date 1738, consistent with that of the soundboard’s wood (1730). Several authors, considering it a seventeenth-century instrument, suggested it had been considerably altered. On the contrary, as an eighteenth-century instrument, it appears to have undergone practically no modifications. The oak cladding on the case could date from the nineteenth or even twentieth century, at which time the soundboard was also decorated. The painted canvas backed onto the lid seems to date from the eighteenth century.
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collectionName : Middle Ages and Modern TimesinventoryNb : B004917-002
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Width: 23,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-003
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Width: 24,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-004
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-005
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Diameter: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-006
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Diameter: 3,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-007
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 5,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
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dimensions : Length: 8,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-037
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-038
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-039
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 4,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-040
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-041
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-042
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-043
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : B004917-044
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , Glass drinking horn with metal fitting:
Glass drinking horn with metal fitting :
collectionName : MerovingiansinventoryNb : B005829-001
objectName :
objectTitle : Glass drinking horn with metal fitting
objectCulture : Merovingian
geography :
dating :
material :
technique :
dimensions : Height: 20,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In the early Middle Ages, people were buried with various grave goods. This drinking horn, acquired by the museum in 2010, is probably from the cemetery of Anderlecht, where it was unearthed during early excavations. Its previous owner discovered it as a child in the attic of his grandfather, a Brussels notary. A greenish yellow, heightened with a net pattern and three rings, all bluish green, it is distinctive for its large size. Related to similar net-decorated horns form Lombardy, it could nonetheless be a local product. Intact ancient or medieval glass drinking horns are quite rare.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-001
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 27,3 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-002
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 8,3 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-003
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-004
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 3,7 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-005
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Diameter: 3,2 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-006
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 3,7 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-007
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-008
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-009
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-010
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-011
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions : Length: 13,8 cm
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-012
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , :
:
collectionName : Middle Ages and Modern TimesinventoryNb : D0095-013
objectName :
objectTitle :
objectCulture :
geography :
dating :
material :
technique :
dimensions :
legalRightOwner : Société Royale d'Archéologie de Bruxelles
objectDescription : The motte-and-bailey castle ‘Senecaberg’ (Grimbergen, Borgt) was first excavated by A. de Loë en A. Rutot (Société Royale d’Archéologie de Bruxelles) in 1890-1891. The first large-scale excavation campaign took place between 1966-1968 and was conducted by René Borremans (assistant of ME. Mariën, curator of the National Archaeology Department from 1957 to 1983). The site was founded in the last quarter of the 11th century by the Lords of Grimbergen and was taken in 1159 by Godfrey III, count of Leuven. In that same year the site was abandoned. In addition to a large amount of artefacts and bone-material, the excavators could document the foundations of different successive wooden structures on top of the mound.
↑ , Scarab with the name of Amun-Ra (cryptogram):
Scarab with the name of Amun-Ra (cryptogram) :
collectionName : EgyptinventoryNb : E.04579c
objectName :
objectTitle : Scarab with the name of Amun-Ra (cryptogram)
objectCulture : Egyptian
geography :
dating : 1550 BC - 1069 BC
material :
technique :
dimensions : Height: 0,8 cm, Width: 0,6 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the New Kingdom scarabs appeared with inscription that could be read, on the basis of the phonetic value of the signs, as cryptograms of the name Amon or Amon Ra. The cobra, for example, has the phonetic value “i”, the duck “mn” and the solar disk “re”. Thus, the signs could form the name “imn ra”. Excavation: B.S.A.E. 1906
↑ , Scarab:
Scarab :
collectionName : EgyptinventoryNb : E.05354c
objectName :
objectTitle : Scarab
objectCulture : Egyptian
geography :
dating : 747 BC - 525 BC
material :
technique :
dimensions : Height: 1,5 cm, Width: 1 cm, Depth: 1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab with high profile is worn. It shows a few signs, among them the solar disk of Ra and, possibly, the hieroglyph “mn”. The inscription could form the name Amon Ra.
↑ , Scarab:
Scarab :
collectionName : EgyptinventoryNb : E.05379
objectName :
objectTitle : Scarab
objectCulture : Egyptian
geography :
dating : 1295 BC - 1069 BC
material :
technique :
dimensions : Height: 1,3 cm, Width: 0,9 cm, Depth: 0,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab shows three motifs. From right to left: the obelisk, the seated goddess Maat and the solar disk “ra”. This could be a cryptogram of the name Amon Ra, “imn ra”. The scarab probably dates from the Ramessid Period or somewhat later.
↑ , Scarab:
Scarab :
collectionName : EgyptinventoryNb : E.05601
objectName :
objectTitle : Scarab
objectCulture : Egyptian
geography :
dating : 945 BC - 715 BC
material :
technique :
dimensions : Height: 1 cm, Width: 0,7 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab shows a recumbent human-headed sphinx and several hieroglyphs. Above, they form the royal title “nTr [nfr] nb tAwy”, ‘the good god, lord of the Two Lands”. Below, a papyrus plant (“wAdj”) and lotus flower – symbols of Upper and Lower Egypt, placed on either side of two small vertical strokes. Since the sphinx can have the phonetic value “nb”, ‘lord’, the inscription on this scarab could be “lord of Both Lands”. Similar scarabs are ascribed to the 22nd dynasty. The perforated sides point to a date between the 22nd and the 26th dynasty.
↑ , Scarab of Setshasw-Imeniat:
Scarab of Setshasw-Imeniat :
collectionName : EgyptinventoryNb : E.06364
objectName :
objectTitle : Scarab of Setshasw-Imeniat
objectCulture : Egyptian
geography :
dating : 747 BC - 525 BC
material :
technique :
dimensions : Height: 3,5 cm, Width: 1,7 cm, Depth: 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab shows a hieroglyphic inscription in four vertical columns, which mention the title of a governor of Herakleopolis: “rp’t Haty-‘ imy-r (?) mS’ n nn-nswt Haty- ‘wr-ntjr ‘qq chr-Hat pri chr-pHt mdt n.f. nsw m ‘w stja-s(w)-imn-iat”, ‘the hereditary prince, general of Herakleopolis, governor, priest, the one who enters first and exits last, to whom the king speaks when they are alone, Sestsha-Su-Imn-Iat’. According to Luc Limme (personal communication), the circle at the end could be read as “iat”: “Amun-iat”, ‘Amun-of-the-hill’ is a rare form of Amun, typical for the region of Herakleopolis. The Y-shaped line which delineates the pronotum of the scarab, is characteristic for the 25th and 26th dynasties.
↑ , Scarab with ichneumon:
Scarab with ichneumon :
collectionName : EgyptinventoryNb : E.06591e
objectName :
objectTitle : Scarab with ichneumon
objectCulture : Egyptian
geography :
dating : 747 BC - 656 BC
material :
technique :
dimensions : Height: 1,1 cm, Width: 0,8 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab bears several hieroglyphs: the ichneumon (Egyptian mongoose), the solar disk “ra” and the ostrich feather “maat”. The inscription could be read as ‘Amun ra’. Similar scarabs date from the 25th dynasty.
↑ , Scarab with ichneumon:
Scarab with ichneumon :
collectionName : EgyptinventoryNb : E.06591f
objectName :
objectTitle : Scarab with ichneumon
objectCulture : Egyptian
geography :
dating : 747 BC - 656 BC
material :
technique :
dimensions : Height: 1 cm, Width: 0,7 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab has several hieroglyphs: the ichneumon (Egyptian mongoose), the solar disk “ra” and the ostrich feather “maat”. The inscription could be read as ‘Amun ra’. Similar scarabs date from the 25th dynasty.
↑ , Scaraboid with ichneumon:
Scaraboid with ichneumon :
collectionName : EgyptinventoryNb : E.06591g
objectName :
objectTitle : Scaraboid with ichneumon
objectCulture : Egyptian
geography :
dating : 747 BC - 656 BC
material :
technique :
dimensions : Height: 0,9 cm, Width: 0,6 cm, Depth: 0,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The base of this scarab has several hieroglyphs: the ichneumon (Egyptian mongoose), the solar disk “ra” and the ostrich feather “maat”. The inscription could be read as ‘Amun ra’. Similar scarabs date from the 25th dynasty.
↑ , Seal imprint:
Seal imprint :
collectionName : EgyptinventoryNb : E.07789
objectName :
objectTitle : Seal imprint
objectCulture : Egyptian
geography :
dating :
material :
technique :
dimensions : Height: 62 mm, Width: 65 mm, Depth: 37 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Door seal (?). Fragment of sealing with seal impression, with clearly defined signs on the obverse and possible traces of organic material. Irregular surface with three imprints. One of these, curved, could be the negative imprint of a small rope or of a curved device. Another is straighter with a smooth part. Dark traces identical to those on the obverse are located on this imprint. The last cannot be identified with any certainty.
↑ , Seal imprint:
Seal imprint :
collectionName : EgyptinventoryNb : E.07800
objectName :
objectTitle : Seal imprint
objectCulture : Egyptian
geography :
dating :
material :
technique :
dimensions : Height: 43 mm, Width: 63 mm, Depth: 32 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Door seal (?). Sealing fragment with seal impression. Obverse: partial seal impression with rather shaded off but well defined signs. There is a characteristic trace of the edge of a cylinder seal. Reverse: three imprints arranged in triangle with numerous dark traces which could be carbonised remains of wood or other organic material.
↑ , Seal imprint:
Seal imprint :
collectionName : EgyptinventoryNb : E.07802
objectName :
objectTitle : Seal imprint
objectCulture : Egyptian
geography :
dating :
material :
technique :
dimensions : Height: 33 mm, Width: 45 mm, Depth: 12 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Sealing of a door or box? Fragment of sealing with seal impression. Obverse: partial impression of seal and a characteristic trace of the edge of a cylinder seal. There are dark traces (carbonised remains of wood?). Reverse: two elongated parallel imprints. Inscription and translation (REGULSKI 2009: 39): šn(...); ? ‘nḫ.j (?); personal name Start of two visible signs, on the left-most part of the inscription, which could be the Nḫb (Nekheb / Elkab) group. Legible parts associated with the Elkab /5 sequence (REGULSKI 2009: 39-40, fig.11-12). The sequence corresponds to the Type B of the B. Van de Walle’s classification (VAN DE WALLE 1954: 92). It is also resumed by P. Kaplony (KAPLONY 1963b: 1166; 1963c, fig. 571). Associated fragments: E.7799, E.7800, E.7801, E.7803, E.7804 and E.7805.
↑ , Seal imprint:
Seal imprint :
collectionName : EgyptinventoryNb : E.07806
objectName :
objectTitle : Seal imprint
objectCulture : Egyptian
geography :
dating : unknown
material :
technique :
dimensions : Height: 2,5 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Vessel cap. Fragment of sealing with seal impression. The obverse shows a partially shaded off seal impression. There are dark traces which could be carbonised remains of wood or other organic material. The left and thickest side of the fragment is rather regular and rounded off. The reverse has an irregular surface.
↑ , Fragment of a frieze with vines:
Fragment of a frieze with vines :
collectionName : EgyptinventoryNb : E.08066
objectName :
objectTitle : Fragment of a frieze with vines
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 90 cm, Width: 35 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In Egypt, during Late Antiquity, the classic iconography and texts continued to be an integral part of the culture and education of the elites, even after many of them had converted to Christianity. Some buildings and artworks demonstrated a remarkable mixture of classical and ancient Egyptian characteristics. The artists also discovered that they could reconcile pagan gods and motifs with a Christian interpretation. The vine is in the Greco-Roman tradition one of the attributes of the wine god Dionysos, but it is also depicted as a purely decorative motif. In early Christian art it is a symbol of Christ, referring to the biblical words 'I am the vine, and you are the branches' (John XV, 5).
↑ , Architectural fragment with acanthus leaves and birds drinking from a bowl:
Architectural fragment with acanthus leaves and birds drinking from a bowl :
collectionName : EgyptinventoryNb : E.08215
objectName :
objectTitle : Architectural fragment with acanthus leaves and birds drinking from a bowl
objectCulture : Egyptian
geography :
dating : AD 200 - AD 640
material :
technique :
dimensions : Height: 23 cm, Width: 53 cm, Depth: 9,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In Egypt, during Late Antiquity, the classic iconography and texts continued to be an integral part of the culture and education of the elites, even after many of them had converted to Christianity. Some buildings and artworks demonstrated a remarkable mixture of classical and ancient Egyptian characteristics. The artists also discovered that they could reconcile pagan gods and motifs with a Christian interpretation. The birds drinking from a bowl, a common motif in antique art since Hellenistic times, may refer to the source of life or, in a Christian context, to Christ.
↑ , Frieze with plant motifs around animals:
Frieze with plant motifs around animals :
collectionName : EgyptinventoryNb : E.08247
objectName :
objectTitle : Frieze with plant motifs around animals
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 27 cm, Width: 49,5 cm, Depth: 14 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In Egypt, during Late Antiquity, the classic iconography and texts continued to be an integral part of the culture and education of the elites, even after many of them had converted to Christianity. Some buildings and artworks demonstrated a remarkable mixture of classical and ancient Egyptian characteristics. The artists also discovered that they could reconcile pagan gods and motifs with a Christian interpretation.
↑ , Cylinder seal with figure in front of a tree of life:
Cylinder seal with figure in front of a tree of life :
collectionName : IraninventoryNb : IR.0018
objectName :
objectTitle : Cylinder seal with figure in front of a tree of life
objectCulture : Achaemenid
geography :
dating : 559 BC - 330 BC
material :
technique :
dimensions : Dimensions H x D: 2,7 cm, 1,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This seal has been quite famous ever since the identification of its inscription as an Old Persian name by the assyriologists J. Ménant and J. Oppert. Given in 1861 by the art collector Gustave Hagemans to the then Musée des Armures in the Porte de Hal, Brussels (now preserved in the Musées royaux d’Art et d’Histoire), the cylinder seal was first published, with a picture and a transliteration, in Ménant 1877. At that time Old Persian inscriptions were scarce, hence its success. The seal shows a male figure, a wreath (?) in his hand, standing near a tree. The stylized tree is reminiscent of Neo-Assyrian iconography, and the offering of a crown is uncommon and attested rather from the Parthian period in the 3rd century BC. No parallel found. The framed inscription is composed of three lines, vertically written, from bottom to top, and to be read on the seal, which is unusual for the Achaemenid period. The bizarre spelling of Xerxes was first read as “Kharsā…siyā” (Kharsā son of Siyā or Kharsāisiyā; Ménant 1878a), “Khsarasasya” or alternatively “the woman Khsarsya” (Ménant 1886, 172), then as “Kharšadašia” (Speleers 1923, 217). The particle ma- was interpreted as a logogram for “seal” by Ménant, some sort of abbreviation of the Old Persian māraka (cf. also Oppert 1884; Kent 1953, 201) and by a 1st person pronoun by Speleers (“Je (suis) Kharšadašia”). Yet, the 1st person should be adam, as in other seals, and this ma- is considered as dubious (Kent 1953, 201). In the da-sign, the top horizontal wedge is missing. The stroke after the first sign (ma) is a divider, transliterated here as “:”. The form X-r-š-a-d?-š-y-a should probably be read X-š-y-a-r-š-a, after inverting line 2 and line 3 (Mayrhofer 1979) to have a nominative sing. ending in –ša. ma:x- r-š-a- da!-š-y-a “Seal of (?) Xerxes” This inscription is either a late (but genuine) imitation, or a modern forgery. The unusual lay-out of the inscription, the misshaped design and the bizarre spelling for the name of Xerxes, not to mention the iconography, could point to a forgery. However, in 1888 only three additional cylinder seals with Old Persian cuneiform signs were known to scholars (Ménant 1888, 12), all preserved in the collections of the British Museum, but we know that copies were produced in Iran at that time.
↑ , Stamp seal with Gayomart:
Stamp seal with Gayomart :
collectionName : IraninventoryNb : IR.0035
objectName :
objectTitle : Stamp seal with Gayomart
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Two depictions of Gayomart (a humanoid figure with long phallus) holding two sticks, standing above a dog. A common religious theme, connected to myths on the birth of man and the star signs Orion and Canis Maior. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.00809.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0039
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 17 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze standard with 'master of animals'. The standard represents a male figure holding two stylised lions. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0040
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 18 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze standard with 'master of animals'. The standard represents a male figure (Gilgamesh?) holding two stylised lions by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0041
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 9,5 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze standard with 'master of animals'. The standard represents a male figure (Gilgamesh?) holding two stylised lions by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol:
Standard or idol :
collectionName : IraninventoryNb : IR.0045
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 11 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Idol or standard of two lions standing. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol's stand:
Idol's stand :
collectionName : IraninventoryNb : IR.0067
objectName :
objectTitle : Idol's stand
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Dimensions H x D: 9 cm, 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Idol's stand:
Idol's stand :
collectionName : IraninventoryNb : IR.0068
objectName :
objectTitle : Idol's stand
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Dimensions H x D: 8,2 cm, 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze pedestal of an idol. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Idol's stand:
Idol's stand :
collectionName : IraninventoryNb : IR.0069
objectName :
objectTitle : Idol's stand
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Dimensions H x D: 17 cm, 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze pedestal of an idol. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0123
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 19,8 cm, Width: 8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze standard with 'master of animals'. The standard represents a male figure (Gilgamesh?) holding two stylised lions by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol:
Standard or idol :
collectionName : IraninventoryNb : IR.0124
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 11,8 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Standard or idol:
Standard or idol :
collectionName : IraninventoryNb : IR.0125
objectName :
objectTitle : Standard or idol
objectCulture : Iranian
geography :
dating : ca. 1180 BC - AD 300
material :
technique :
dimensions : Height: 10 cm, Width: 4,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0328
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 13 cm, Width: 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standard represents a male figure (Gilgamesh?) holding two wild animals by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Bronze axe:
Bronze axe :
collectionName : IraninventoryNb : IR.0497
objectName :
objectTitle : Bronze axe
objectCulture : Iranian
geography :
dating : 2500 BC - 2001 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 12 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This axe has three spikes on the socket. These are also known from pickaxes dating to the end of the third millennium. Representations indicate that these spikes not only had decorative purposes, but that they could also be used as a weapon.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0609
objectName :
objectTitle : Idol or banner
objectCulture : Culture unknown
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 10,5 cm, Width: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Bronze idol:
Bronze idol :
collectionName : IraninventoryNb : IR.0610
objectName :
objectTitle : Bronze idol
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 35 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0611
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 13 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0613
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0615
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 15,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0616
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 17,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Bronze idol:
Bronze idol :
collectionName : IraninventoryNb : IR.0618
objectName :
objectTitle : Bronze idol
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 13,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Idole in the shape of two standing ibex. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This motif was particularly popular in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0619
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 8,5 cm, Width: 3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0620
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 9 cm, Width: 2,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Idol or banner:
Idol or banner :
collectionName : IraninventoryNb : IR.0621
objectName :
objectTitle : Idol or banner
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 14,5 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors. The oldest standards date to the 13th century, the beginning of the Iron Age. They consist of two standing ibex or wild animals, probably lions or leopards. The style of the oldest pieces is very naturalistic, while the more recent pieces are more stylized. Sometimes the animals are attached to a ring, or their anterior and posterior paws merge to form the ring. Some standards are characterized by the presence of a rolled bronze sheet forming a pipe. It is possible that in the perforation thus obtained or in the small pipe, a branch could be inserted, which gave rise to the motif of animals flanking a tree of life. This was a particularly popular motif in Luristan.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0622
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 15 cm, Width: 7,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze idol, "master of animals" The standard represents a male figure (Gilgamesh?) holding two stylised lions by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0624
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 36 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standard represents a male figure (Gilgamesh?) holding two stylised lions by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Standard or idol of the “Master of the Animals type”:
Standard or idol of the “Master of the Animals type” :
collectionName : IraninventoryNb : IR.0625
objectName :
objectTitle : Standard or idol of the “Master of the Animals type”
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 27 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The standard represents a male figure (Gilgamesh?) holding two wild animals by the throat. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Bronze idol's stand:
Bronze idol's stand :
collectionName : IraninventoryNb : IR.0846
objectName :
objectTitle : Bronze idol's stand
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Dimensions H x D: 16 cm, 4,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Bronze idol's stand, in the shape of a bottle with a long neck. The stand has no bottom. The standards or idols are perhaps one of the most characteristic groups among the Luristan bronze. They are small sculptures cast in lost wax and mounted on a "bottle-shaped" base. As a rule, they are fully pierced vertically and their front and back are completely identical. These characteristics indicate that they were mounted on something (perhaps a staff), and that they could be viewed from all sides. For a long time, it was unclear whether the "pedestals" were an actual part of the standards and idols. In 1970, Belgian archaeologists discovered a standard during a scientific expedition to Tattulban in Luristan. This was the first standard from a documented archaeological context. Several others would follow, and these discoveries finally confirmed the connection between the pedestals. From now on, it was not only possible to date them, but also to understand their chronological and formal development. The oldest standards date to the 13th century, the beginning of the Iron Age. The precise function and meaning of the idols or standards remains uncertain. They always occur in tombs with weapons, i.e. in tombs of warriors.
↑ , Stamp seal with bird:
Stamp seal with bird :
collectionName : IraninventoryNb : IR.0868
objectName :
objectTitle : Stamp seal with bird
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 10,8 mm, Width: 13,7 mm, Depth: 12,2 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Bird, facing right. Two thick lines in the background. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02384.
↑ , Stamp seal with monogram:
Stamp seal with monogram :
collectionName : IraninventoryNb : IR.0869
objectName :
objectTitle : Stamp seal with monogram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 11,7 mm, Width: 14,3 mm, Depth: 13,8 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Monogram (symmetrical composition). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02812.
↑ , Stamp seal with standing antelope:
Stamp seal with standing antelope :
collectionName : IraninventoryNb : IR.0870
objectName :
objectTitle : Stamp seal with standing antelope
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 16,3 mm, Width: 19,7 mm, Depth: 18,8 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Stamp seal with the representation of a standing antelope. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02813.
↑ , Stamp seal with a man and antelope:
Stamp seal with a man and antelope :
collectionName : IraninventoryNb : IR.0871
objectName :
objectTitle : Stamp seal with a man and antelope
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,3 mm, Width: 17,4 mm, Depth: 17,4 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. A man (to the left, facing right) and a crouched antelope (to the right). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02814.
↑ , Stamp seal with monogram:
Stamp seal with monogram :
collectionName : IraninventoryNb : IR.0872
objectName :
objectTitle : Stamp seal with monogram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 10,5 mm, Width: 15 mm, Depth: 13,3 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Monogram (symmetrical composition), two globes and two crescents (?). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02815.
↑ , Stamp seal with sitting zebu:
Stamp seal with sitting zebu :
collectionName : IraninventoryNb : IR.0873
objectName :
objectTitle : Stamp seal with sitting zebu
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 13,2 mm, Width: 16,4 mm, Depth: 14,3 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Zebu, crouching, facing right. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02816.
↑ , Stamp seal with griffon:
Stamp seal with griffon :
collectionName : IraninventoryNb : IR.0874
objectName :
objectTitle : Stamp seal with griffon
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 17,9 mm, Width: 19 mm, Depth: 18,3 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Griffin, facing right, crouching. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02817.
↑ , Stamp seal with scorpion:
Stamp seal with scorpion :
collectionName : IraninventoryNb : IR.0875
objectName :
objectTitle : Stamp seal with scorpion
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 16,6 mm, Width: 20,8 mm, Depth: 14,7 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Scorpion. Behind its back, a star (?). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02818.
↑ , Stamp seal with bird of prey:
Stamp seal with bird of prey :
collectionName : IraninventoryNb : IR.0877
objectName :
objectTitle : Stamp seal with bird of prey
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 15,4 mm, Width: 19,9 mm, Depth: 18,5 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Bird of prey, its head lowered, facing right. Several (indented) globes. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02820.
↑ , Stamp seal with monogram:
Stamp seal with monogram :
collectionName : IraninventoryNb : IR.0879
objectName :
objectTitle : Stamp seal with monogram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 10 mm, Width: 13 mm, Depth: 10,7 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Monogram (symmetrical composition). A thick circle (wreath?) surrounds the depiction. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02822.
↑ , Stamp seal with unidentified animals:
Stamp seal with unidentified animals :
collectionName : IraninventoryNb : IR.0881
objectName :
objectTitle : Stamp seal with unidentified animals
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642 (uncertain)
material :
technique :
dimensions : Height: 11,3 mm, Width: 14,8 mm, Depth: 14,8 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. An unidentified animal, facing right, and its child, facing left. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02824.
↑ , Stamp seal with monogram:
Stamp seal with monogram :
collectionName : IraninventoryNb : IR.0882
objectName :
objectTitle : Stamp seal with monogram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,6 mm, Width: 15,7 mm, Depth: 10,5 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Monogram (symmetrical composition). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02825.
↑ , Stamp seal with several people and animals:
Stamp seal with several people and animals :
collectionName : IraninventoryNb : IR.0883
objectName :
objectTitle : Stamp seal with several people and animals
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 15,4 mm, Width: 23,8 mm, Depth: 20,8 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. A sketchy representation of several people and animals. A scorpion and bird are depicted on the back, accompanied by an inscription in Pahlavi: n/wkdl (?). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02826.
↑ , Stamp seal with sitting lion:
Stamp seal with sitting lion :
collectionName : IraninventoryNb : IR.0884
objectName :
objectTitle : Stamp seal with sitting lion
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,2 mm, Width: 15,3 mm, Depth: 12,2 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Lion to the right, sitting. In the background, the head of an animal (antelope?). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02827.
↑ , Stamp seal with ram, sitting:
Stamp seal with ram, sitting :
collectionName : IraninventoryNb : IR.0885
objectName :
objectTitle : Stamp seal with ram, sitting
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 11,4 mm, Width: 14 mm, Depth: 13,2 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Ram, sitting, facing right. A 'diadem' (cylinder-shaped object) behind its head. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02828.
↑ , Stamp seal with griffon:
Stamp seal with griffon :
collectionName : IraninventoryNb : IR.0886
objectName :
objectTitle : Stamp seal with griffon
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 14 mm, Width: 14,6 mm, Depth: 14,4 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Griffin, facing right, crouching. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02829.
↑ , Stamp seal with deer, standing:
Stamp seal with deer, standing :
collectionName : IraninventoryNb : IR.0888
objectName :
objectTitle : Stamp seal with deer, standing
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 9,7 mm, Width: 13,9 mm, Depth: 13,1 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Deer (?), standing, head facing right. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02831.
↑ , Stamp seal with winged sheep:
Stamp seal with winged sheep :
collectionName : IraninventoryNb : IR.0889
objectName :
objectTitle : Stamp seal with winged sheep
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 15,5 mm, Width: 18,9 mm, Depth: 10,9 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Winged sheep, crouching, head turned to the left. In the background, a crescent. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02832.
↑ , Stamp seal with two horses:
Stamp seal with two horses :
collectionName : IraninventoryNb : IR.0890
objectName :
objectTitle : Stamp seal with two horses
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 15,5 mm, Width: 18 mm, Depth: 12,6 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Mare, facing right. Below, a small foal is feeding. An inscription in Pahlavi reads: yzdklty l’ty, “Yazdgird, generous”. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02833.
↑ , Stamp seal with zebu:
Stamp seal with zebu :
collectionName : IraninventoryNb : IR.0896
objectName :
objectTitle : Stamp seal with zebu
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 15,7 mm, Width: 19,5 mm, Depth: 12,7 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Zebu, standing, facing right. Letters in Pahlavi, for decoration: ’pst’n. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02840.
↑ , Stamp seal with antelope:
Stamp seal with antelope :
collectionName : IraninventoryNb : IR.0897
objectName :
objectTitle : Stamp seal with antelope
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,2 mm, Width: 14,2 mm, Depth: 10,5 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Stamp seal with representation of an antelope. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02841.
↑ , Stamp seal with the head of an ox:
Stamp seal with the head of an ox :
collectionName : IraninventoryNb : IR.0898
objectName :
objectTitle : Stamp seal with the head of an ox
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,4 mm, Width: 14,5 mm, Depth: 9,9 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular/Ellipsoid shape. Head of an ox, facing right. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02842.
↑ , Stamp seal with winged horse:
Stamp seal with winged horse :
collectionName : IraninventoryNb : IR.0899
objectName :
objectTitle : Stamp seal with winged horse
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 13,5 mm, Width: 16 mm, Depth: 12,3 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Winged horse, facing right. An inscription in Pahlavi is present: ‘pst’n ‘L yzd’n, “trust in the gods”. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02843.
↑ , Stamp seal with ram:
Stamp seal with ram :
collectionName : IraninventoryNb : IR.0900
objectName :
objectTitle : Stamp seal with ram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 13,3 mm, Width: 16 mm, Depth: 13,6 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Ram, sitting, facing right. To the right, a tree. Several large dashes above the depiction. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02844.
↑ , Stamp seal with monogram:
Stamp seal with monogram :
collectionName : IraninventoryNb : IR.0903
objectName :
objectTitle : Stamp seal with monogram
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 12,9 mm, Width: 14,8 mm, Depth: 9,7 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Monogram (symmetrical composition). A thick circle surrounds the depiction. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02847.
↑ , Stamp seal with antelope:
Stamp seal with antelope :
collectionName : IraninventoryNb : IR.0915
objectName :
objectTitle : Stamp seal with antelope
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 2,2 cm, Width: 2,5 cm, Depth: 0,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shaped ring. Decorated with a sitting antelope, facing right. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02859.
↑ , Stamp seal with a woman:
Stamp seal with a woman :
collectionName : IraninventoryNb : IR.0987
objectName :
objectTitle : Stamp seal with a woman
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 18,7 mm, Width: 22,7 mm, Depth: 15,5 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Women facing right, carrying in her right arm a ring with two bands, a theme which also appears at the relief of king Narseh, at Naqsh-i Rustam, where the woman represents the goddess Anahita. There is an inscription in Pahlavi in lapidary writing: plwtky, “Abrodga”. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02931.
↑ , Stamp seal with the sacrifice of Jacob:
Stamp seal with the sacrifice of Jacob :
collectionName : IraninventoryNb : IR.0988
objectName :
objectTitle : Stamp seal with the sacrifice of Jacob
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 14,3 cm, Width: 19,8 cm, Depth: 18,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. To the left a ram, facing right, an alter with fire to the right and a man in the centre (a depiction of the "sacrifice of Jacob"). Above, an inscription in Hebraic reads: hyll bl k……, “Hillel, son of…”. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02932.
↑ , Stamp seal with winged horse:
Stamp seal with winged horse :
collectionName : IraninventoryNb : IR.0991
objectName :
objectTitle : Stamp seal with winged horse
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 18,6 mm, Width: 22,6 mm, Depth: 16,1 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Winged horse, facing right, and crescent moon in the background. An inscription in Pahlavi reads: ’pst[’n], “Confidence”. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02935.
↑ , Stamp seal with deer:
Stamp seal with deer :
collectionName : IraninventoryNb : IR.0993
objectName :
objectTitle : Stamp seal with deer
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 16,9 mm, Width: 20,9 mm, Depth: 17,5 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Deer, sitting, its head turned to the left, a ribbon around its neck. A border of dashes. In the background, a floral element (?). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02937.
↑ , Stamp seal with scorpion:
Stamp seal with scorpion :
collectionName : IraninventoryNb : IR.0998
objectName :
objectTitle : Stamp seal with scorpion
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 20,9 mm, Width: 24,4 mm, Depth: 16,1 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular shape. Scorpion, facing right. Behind it, a pair of wings. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02942.
↑ , Stamp seal with bust:
Stamp seal with bust :
collectionName : IraninventoryNb : IR.1009
objectName :
objectTitle : Stamp seal with bust
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 3,3 mm, Width: 15,9 mm, Depth: 12,2 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Bust of a man with beard and moustache, wearing a headdress, facing right. He is surrounded by leaves and an inscription in Arabic which mentions his name and function (a writer). The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.02953.
↑ , Gold earrings with pendants:
Gold earrings with pendants :
collectionName : IraninventoryNb : IR.1151
objectName :
objectTitle : Gold earrings with pendants
objectCulture : Iranian
geography :
dating : 300 BC - AD 300
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Glass paste in various colours and colour combinations was often used as an imitation of semi-precious stones, as is the case with these earrings with pendants in blue-veined glass. By using hollow pearls and box-shaped constructions with inlaid semi-precious stones or glass pearls, one could produce impressive, solid-looking gold jewels, without using a large amount of actual gold.
↑ , Necklace with pendants:
Necklace with pendants :
collectionName : IraninventoryNb : IR.1156
objectName :
objectTitle : Necklace with pendants
objectCulture : Iranian
geography :
dating : 300 BC - AD 300
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Glass paste in various colours and colour combinations was often used as an imitation of semi-precious stones. By using hollow pearls and box-shaped constructions with inlaid semi-precious stones or glass pearls, one could produce impressive, solid-looking gold jewels, without using a large amount of actual gold. It is not certain whether this necklace is a genuine reconstruction, nor that it is complete. A very similar fragment, preserved at the Rijksmuseum voor Oudheden at Leiden, might have the same provenance.
↑ , Stamp seal with a bust:
Stamp seal with a bust :
collectionName : IraninventoryNb : IR.1249
objectName :
objectTitle : Stamp seal with a bust
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 3,3 mm, Width: 15,9 mm, Depth: 12,2 mm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ellipsoid shape. Bust of a man in profile, facing right, wearing a headdress. Above his head, a cross, which shows the man is a christian. An inscription in Syrian reads: dsbt’ (left) dysw‘ (right), “Of Sabta, of Jesus.” The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.03227.
↑ , Bulla with four seal imprints:
Bulla with four seal imprints :
collectionName : IraninventoryNb : IR.1292
objectName :
objectTitle : Bulla with four seal imprints
objectCulture : Sasanian
geography :
dating : AD 224 - AD 642
material :
technique :
dimensions : Height: 5,5 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Circular. Four stamps are present on this bulle: an administrative stamp with inscription, a large seal with camel and inscription, a seal with a quadruped and a fourth, unidentified seal. The Sassanids had a highly developed administration, but only the clay bullae, that accompanied the documents, and a number of stamp seals and rings have been preserved. The stamp seals were made from different stones, and the shapes could alter. Generally, the inscriptions mention the name and the profession of the owner. Figurative representations often have a religious meaning, or refer to the life at the court. Old number: O.03283.
↑ , Bell with horses:
Bell with horses :
collectionName : IraninventoryNb : IR.1766
objectName :
objectTitle : Bell with horses
objectCulture : Iranian
geography :
dating : 400 BC - 301 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The three bells (IR.1766, IR.1767 and IR.1776) share a conical shape and originally had an iron clapper. They have a flat handle in the shape of an animal. The piercing of the handle indicates that the bells could be hung. The handle of IR.1766 has the shape of a horse, that of IR.1767 is shaped like the front of two horse. The same motif, although reduced in size and highly stylised, can be seen on IR.1776. The shape of the horses with their pronounced, curved necks closely resembles the shape of the cosmetic spatulas. this suggests that they belong to the same culture, all originating from Northern Iran. Similar conical bells, without the horse-shaped handle, were found in late Achaemenid (Ghalekuti) and Parthian graves (Noruzmahale) in Dalaiman (Northern Iran).
↑ , Bell with horses:
Bell with horses :
collectionName : IraninventoryNb : IR.1767
objectName :
objectTitle : Bell with horses
objectCulture : Iranian
geography :
dating : 400 BC - 301 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The three bells (IR.1766, IR.1767 and IR.1776) share a conical shape and originally had an iron clapper. They have a flat handle in the shape of an animal. The piercing of the handle indicates that the bells could be hung. The handle of IR.1766 has the shape of a horse, that of IR.1767 is shaped like the front of two horse. The same motif, although reduced in size and highly stylised, can be seen on IR.1776. The shape of the horses with their pronounced, curved necks closely resembles the shape of the cosmetic spatulas. this suggests that they belong to the same culture, all originating from Northern Iran. Similar conical bells, without the horse-shaped handle, were found in late Achaemenid (Ghalekuti) and Parthian graves (Noruzmahale) in Dalaiman (Northern Iran).
↑ , Bell with horses:
Bell with horses :
collectionName : IraninventoryNb : IR.1776
objectName :
objectTitle : Bell with horses
objectCulture : Iranian
geography :
dating : 400 BC - 301 BC
material :
technique :
dimensions : Dimensions H x D: 4,2 cm, 3,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The three bells (IR.1766, IR.1767 and IR.1776) share a conical shape and originally had an iron clapper. They have a flat handle in the shape of an animal. The piercing of the handle indicates that the bells could be hung. The handle of IR.1766 has the shape of a horse, that of IR.1767 is shaped like the front of two horse. The same motif, although reduced in size and highly stylised, can be seen on IR.1776. The shape of the horses with their pronounced, curved necks closely resembles the shape of the cosmetic spatulas. this suggests that they belong to the same culture, all originating from Northern Iran. Similar conical bells, without the horse-shaped handle, were found in late Achaemenid (Ghalekuti) and Parthian graves (Noruzmahale) in Dalaiman (Northern Iran).
↑ , :
:
collectionName : Collection Art of the Islamic WorldinventoryNb : IS.0096.1
objectName :
objectTitle :
objectCulture : Islamic
geography :
dating : AD 1150 - AD 1250
material :
technique :
dimensions : Height: 9,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The double band with inscription goes around the cylindrical belly of this inkwell and represents the following blessing: "Honour and prosperity and power and happiness and happiness and strength and prestige and [here the artist was interrupted because of a lack of space], to his possessor. The ink was in a glass container that was slid into the cavity. An inkwell or davat of this kind could be attached to the belt with a buckle.
↑ , The twelve hours of the green houses: the hour of the Hare (Seirô jûni toki tsuzuki: U no koku):
The twelve hours of the green houses: the hour of the Hare (Seirô jûni toki tsuzuki: U no koku) :
collectionName : JapaninventoryNb : JP.00004
objectName :
objectTitle : The twelve hours of the green houses: the hour of the Hare (Seirô jûni toki tsuzuki: U no koku)
objectCulture :
geography :
dating : ca. AD 1794
material :
technique :
dimensions : Dimensions H x Lo: 36,5 cm, 24 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Tsutaya Jûsaburô, publisher. Kiwame, censor's stamp. Ôban format. Yellow background; application of powdered brass. A courtesan holds out a jacket to a rich client - out of sight - who is about to return home at around six o'clock in the morning. This jacket has a luxurious lining decorated with a portrait of the patriarch of the Zen sect, Bodhidharma (Japanese Daruma), painted by an artist of the Kanô school, Suzuki Rinshô (+ 1802). This was a way of getting round the sumptuary laws governing the dress of the common city-dwellers, given that clothing in itself indicated social rank. Under the laws in question, rich merchants and the male bourgeoisie in general were forbidden to wear luxurious clothing in too fine a cloth, or in anyhing other than dark, neutral shades. Ostentatiousness of dress carried the risk of confiscation of possessions and banishment. Hence luxury and refinement concealed themselves in undergarments and linings. This set of twelve plates is one of Utamaro's master works. The box takes the form of a clock showing the title of the set between the two counterweights, the title of the plate on the bell and a flower between the two in place of the mechanism. This frame is a reminder that keeping track of time was of great importance at the Shin-Yoshiwara. The client paid according to the time of day and length of his visit; daytime encounters were more expensive as they added to the brothels' heavy evening schedules. In these plates Utamaro shows the courtesans going about various different activities during the day and suggests the changes of mood they could provoke. This set is one of the jewels in the Museums' collection. Of all the prints known they are undoubtedly the finest for their print quality and beauty and for the preservation of the colours.
↑ , Japanese print “The courtisan Takigawa, inhabitant of the house Gomeirô' from the series “Beauty contests between the most beautiful”.:
Japanese print “The courtisan Takigawa, inhabitant of the house Gomeirô' from the series “Beauty contests between the most beautiful”. :
collectionName : JapaninventoryNb : JP.00219
objectName :
objectTitle : Japanese print “The courtisan Takigawa, inhabitant of the house Gomeirô' from the series “Beauty contests between the most beautiful”.
objectCulture :
geography :
dating : AD 1794 - AD 1795
material :
technique :
dimensions : Height: 36,7 cm, Width: 23,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Takasu Sôshichi, pubrisher. Kiwame, censor's stamp. Ôban format. Background micaceous dark grey. Doing up the tie on her robes - a tie which will be hidden beneath her wide decorative belt (ôbi) - Takigawa turns her head away, seemingly about to leave the scene. Takigawa was one of the small number of courtesans who rose to the very top of the hierarchy and were treated with deference: clients could only meet with them if they first made arrangements through the intermediary of a tea house. Takigawa lodged in the top-class house run by Ôgiya Uemon. This famous house was also known by the name Gomeirô. This close-up portrait is one of the boldest of the period for its asymmetrical composition. There are four portraits in the set; another version of this plate exists with a light micaceous background.
↑ , :
:
collectionName : JapaninventoryNb : JP.00246
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1794 - AD 1795
material :
technique :
dimensions : Height: 36,9 cm, Width: 24,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Tsutaya Jûsaburô, publisher. Ôban format Dark grey micaceous background. Two young women are talking across an embroidered robe of black gauze, carelessly draped on a clothes hanger. The effects of transparency had challenged print artists from the beginning of ukiyo-e, but they had to wait until polychrome techniques were developed before they could really render them. From the beginning of his career Utamaro strove to achieve such effects, perfectly mastered in this set. Here he uses a light drape as a screen, elsewhere, an unrolled mosquito net or blind - and by contrasting the luminous foreground colours with the muted shades of the background he creates an impression of depth and life. Only three prints from this set are known," all with the same composition. The print owned by the Museums is the only recorded example of this print to date.
↑ , :
:
collectionName : JapaninventoryNb : JP.00517
objectName :
objectTitle :
objectCulture :
geography :
dating : ca.
material :
technique :
dimensions : Dimensions H x Lo: 52,5 cm, 19,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Iwatoya Chô, publisher. Naga-ôban format. Grey background, light mica. A very small boy is crouching on the ground looking up at his mother through the transparent material of her robe while his big sister tries to restrain him. Utamaro drew eight untitled prints in the long vertical ôban (naga-ôban) format for this publisher, whose identity is not known for certain. The prints all show scenes from everyday life, with two figures - except in this case. They could have been called: jetty under snow, women the worse for drink, peach tree beneath bridge, mirror, brazier, washbowl, flowering cherry trees. Rare and often badly preserved, these remarkably well drawn prints were flawlessly carved and printed. Nearly all have had further refinements added: here in the form of the grey background and the mica on the mother's collar; elsewhere in the use of gold, mica and lacquered colours.
↑ , :
:
collectionName : JapaninventoryNb : JP.00584
objectName :
objectTitle :
objectCulture :
geography :
dating : ca. AD 1767
material :
technique :
dimensions : Height: 27,5 cm, Width: 20,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Chûban format. The subject of this print is traditionally regarded as the transposition of a chapter of the Ise monogatari (Tales of Ise) . This literary work relates the amorous adventures and poetic reflections of a "man from the past", the model for whom is assumed to be the poet, courtesan and seducer Ariwara no Narihira (825-880). Many of the literary themes treated in prints have pictorial antecedents. Thus the classic illustration from the chapter Akutagawa showed a courtesan by a river, carrying a young child on his back; but the text itself did not elaborate on the circumstances of this nocturnal abduction. Harunobu also drew another print in which the allusion to the Akutagatua chapter is very clear. In this instance he perhaps wished simply to produce a parodic version of it, transposing the theme of the abduction into the world of ordinary people, but nothing here suggests an escape into the night. R. Keyes puts forward two hypotheses as to the identity of the subjects. On the one hand, the two figures could represent the lovers Ohan and Chôemon, who ended their lives beneath the weeping willows along the River Katsura. Chóemon was a middle-aged and rather ugly merchant from Kyôto, and Ohan was a girl from the same milieu who was not yet fifteen. Admittedly the first theatrical version of their story was not performed in Edo until 1776, but a ballad about them seems to have been very popular in the Kyôto-Ôsaka region from before 1764. On the other hand, there could be a connection with Ômori Hikoshichi, who carried the princess Chihiya, posthumous daughter of Kusunoki Masayoshi (+ 1336), across the River Dôgogawa, having snatched her from bandits in the mountains near Matsuyama. A historical kabuki play with precisely this couple, Kusunoki and Ômori, as the principal heroes was staged in 1767. Harunobu may have used it as a source of inspiration here.
↑ , :
:
collectionName : JapaninventoryNb : JP.01664
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1795
material :
technique :
dimensions : Height: 36,8 cm, Width: 23,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Iwatoya Kisaburô, publisher. : Ôban format. Grey background. In the fourth month of 1795, the Miyako-za and the Kiri-za theatres in Edo both staged the play Kanadehon Chûshingura (The treasure of the faithful vassals) at the same time. Here Segawa Kikunojô III is seen playing Oishi, the wife of the principal hero Yuranosuke, in Act IX, at the Miyako theatre. The plot, divided into twelve acts, not all of which were performed usually, is based on an incident much talked about at the time, which threw the government into turmoil. ln 1703, forty-six faithful vassals who had been premeditating vengeance for a long time (a forty-seventh one having died meanwhile) finally avenged the death of their lord from Akô, Asano Takumi no Kami Naganori. At his Edo residence they killed the man who two years earlier had been responsible for having their master condemned to lose all rights over his domain and to commit suicide by disembowelment. This act of vengeance coresponded perfectly with the samurai code of honour which according to a unilateral ethic advocated the selflessness of the vassal to the point of total abnegation. This meant Iiving an austere, frugal life spent in servitude, obedience and loyalty, being entirely devoted to one's lord and prepared to sacrifice oneself for him. This ideal accorded with the principles of neo-Confucianism championed by the regime. But the vendetta conducted by these vassals contravened the laws in force in the administrative capital and in other towns: clearly it set an example that could incite others to settle scores and could undermine public order. Despite the universal admiration for their action these forty-six warriors, deprived of their master and prepared to die to avenge his honour, were in turn condemned to commit suicide by disembowelment. In 1748 three playwrights collaborated to write the Treasure of the faithful vassals, but they altered the names of the protoganists, added invented episodes and set the action in 1338, as any allusion to recent or contemporary events concerning the military class was forbidden. The play was written for the puppet theatre before later being staged in the kabuki theatre. It became one of the masterpieces in the kabuki repertoire and was performed very frequently, always with succes.
↑ , :
:
collectionName : JapaninventoryNb : JP.01916
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1776
material :
technique :
dimensions : Height: 31,5 cm, Width: 15 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Hosoban format. In this print, Ichikawa Monnosuke II, wearing a woman's wig to play Obana Saizaburó, is visiting Yoshizawa Iroha I who is in the role of Okoma, daughter of the merchant Shirokiya Shôbei (whose name appears on the book of tales hanging on the wall). Okoma and Saizaburô were famous tragic lovers, and their story was brought to the kabuki stage for the first time on the third day of the third month of 1776 at the Nakamura-za theatre in Edo. According to the great Japanese specialist Asano Shûgô, Ichikawa Monnosllke II had been hired by the Morita-za theatre for one year from the start of the season in the eleventh month of 1775. On the poster for the fifth month of 1776 this theatre was staging the play in question. However according to the programme it was actually Monnosuke II who was playing the role of Saizaburô with Nakamura Tomijûrô I as Okoma, while Iroha I was in a different role. It is easy to assume that this print was produced before the first performance of the new play, i.e. before this cast change was made. The fact that the print was first and foremost à souvenir of a particular show obliged the publishers to familiarise themselves with the programmes of the various theatres, the cast and the details of the costumes, so that they could either produce their prints in advance and sell them from the premiere onwards or go to print as soon as the play had opened. The latter solution was of course safer but the alternative, riskier option usually brought greater financial reward.
↑ , :
:
collectionName : JapaninventoryNb : JP.01935
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1789
material :
technique :
dimensions : Height: 37,1 cm, Width: 24,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ôban format. Blue background. Here Shunkó portrays the actor Nakamura Nakazô I in his final interpretation of the character Kudô Suketsune at the Nakamura-za theatre in the first month of 1789. The actor fell ill soon afterwards and died the following year. His remarkable career was exceptional within the system governing the acting profession. It was subject to a strict internal hierarchisation and compartmentalised in the same way as the social order in general. So however talented he was an actor from the small popular theatres could not perform in the big theatres. In Edo these had dwindled in number to only three since 1774. In any case, here as in many other domains lineage prevailed over talent, the profession having become hereditary within a family. Yet Nakamura Nakazô, the son of a samurai without a master (rónin), succeeded in raising himself to the heights of great stardom without patronage and enjoyed a reputation equal to that of Ichikawa Danjurô V in the 1770s and 1780s. An excellent dancer, he was the first to dare to dance in the great roles in the male repertoire; this had previously been the prerogative of actors specialising in female roles. He also reinterpreted some famous roles in his own style and specialised in playing demonic lovers or truly evil characters.
↑ , :
:
collectionName : JapaninventoryNb : JP.01938
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1789
material :
technique :
dimensions : Height: 36,7 cm, Width: 24,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ôban format. Blue background. The actor is shown in the role of Shôgatsuya Shôbei (in reality Ki no Natora) that he played in the Nakamura-za theatre in the eleventh month of 1789. This print, like the previous one, is part of a series of close-up portraits of actors drawn by Shunkô over a period of around one and a half years between the winter of 1788 and the summer of 1790. Seventeen of these, representing twelve different actors, are now known. It was the first time that the ôban format had been used for this genre of portrait known as "large heads" (ôkubi-e). The genre had had its antecedents in the history of the print, particularly in the works of Katsukawa Shunshô, but these had been smaller in size or had taken the form of illustrations. Shunkô's big heads of actors in the ôban format began a vogue that lasted a whole decade, peaking in popularity in the mid-I790s. It should be noted also that such portraits by Shunkô are rare and nearly all surviving examples are beginning-of-run prints, which means that they were produced in small numbers. None has a publisher's mark, although such marks usually appeared on commercial prints from the end of the 1780s. Was this a private publication for a group of kabuki enthusiasts? Some of these prints could be connected with a special order placed with Shunkô by a circle of Edo poets in the spring of 1789. The order was for a total of five hundred copies of portraits of five actors - some of whom appear in this set.
↑ , Ryōgokubashi and the Sumida River:
Ryōgokubashi and the Sumida River :
collectionName : JapaninventoryNb : JP.02721
objectName :
objectTitle : Ryōgokubashi and the Sumida River
objectCulture :
geography :
dating : ca. AD 1791 - AD 1792
material :
technique :
dimensions : Dimensions H x Lo: 37 cm, 127,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Nishimuraya Yohachi, publisher. Kiwame, censor's stamp. Ôbon pentaptych. Here groups of city dwellers - the vast majority of them women, by artnistic convention - stroll along the banks of the river, past various open air tea shops. A number of boats are sailing about on the river while a crowd of people crosses the bridge. The Ryôgoku bridge was built after the terrible fire in 1657 that almost completely destroyed Edo, in which more than a hundred thousand people died in two days. Afterwards the rather rough parts of the town had spread along the eastern bank of the river. This neighbourhood was one of the liveliest areas in Edo, famous for its spectacles, its theatres, its fireworks in the summer, its storytellers, its fortune tellers and street entertainers, its pedlars and stalls; it was always a hive of activity, day or night. Traditionally outdoor areas near bridges or where land and water met, and equally outlying urban areas such as the theatre and brothel districts, were places of liberty, outside social norms and rules. So the common people could amuse themselves here without being subiect to any of the constraints imposed by the government.
↑ , Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei):
Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei) :
collectionName : JapaninventoryNb : JP.03211
objectName :
objectTitle : Ryūkyū hakkei (Eight views of the Ryūkyū Islands): The sacred source at Jōgaku (Jōgaku reisei)
objectCulture :
geography :
dating : ca. AD 1832 - AD 1833
material :
technique :
dimensions : Dimensions H x Lo: 25,9 cm, 28,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Moriya Jihei, publisher. Kiwame, censor's stamp. Ôbon format. This landscape in vivid shades resembles an idyllic postcard with its waterfall flowing into a pool near ricefields, its wooded hills, its drifts of snow -layered to render depth - and its red mountain in the background. As Hokusai had never been to this remote archipelago he takes inspiration here directly from illustrations in the Abridged history of the Ryûkyû (Ryûkyû kokushi ryaku), a work published under the auspices of the government in 1831. This book merely transposed a Chinese publication brought out in 1757. This set was probably produced to mark the arrival in Edo of an official delegation from the court of the Ryûkyû, a realm still semi-independent at the time, in the tenth month of 1832. Certainly this was a sensational event that could not fail to be exploited by the publishers in order to please a public avid for novelty and exoticism.
↑ , Party on the pleasure boat Yoshinomaru:
Party on the pleasure boat Yoshinomaru :
collectionName : JapaninventoryNb : JP.04268
objectName :
objectTitle : Party on the pleasure boat Yoshinomaru
objectCulture :
geography :
dating : AD 1789 - AD 1793
material :
technique :
dimensions : Height: 38,4 cm, Width: 128,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ôban pentaptych. A group of young women on the boat Yoshinomaru have hired two young dancers and a female orchestra to entertain them. But in the bow the attention of some of the women is distracted by an ape showman who is passing in a small boat. Eishi produced some triptychs on the same theme plus another pentaptych almost identical in composition to this one. This is the older of the two; its style still shows the strong influence of Kiyonaga at the peak of his art. The banks of the River Sumida-gawa were a fashionable place where the population of Edo would gather to enjoy the fresh air in the stifling heat of the summer. The river was open to boats from the 28th day of the fifth month until the 28th day of the eighth month, even at night, so that people could practise the custom of "taking the cool air of an evening". All kinds of boats would be sailing about on the river: long floating palaces hired for receptions by the rich merchant classes, open boats like this one, more numerous and highly sought after, and simple taxi boats. The season was marked by opening and closing ceremonies that included a firework display on the Ryôgoku bridge.
↑ , Actor Arashi Rikan II as Sasaki Saburō Moritsuna (Sasaki Saburō Moritsuna Arashi Rikan):
Actor Arashi Rikan II as Sasaki Saburō Moritsuna (Sasaki Saburō Moritsuna Arashi Rikan) :
collectionName : JapaninventoryNb : JP.05883
objectName :
objectTitle : Actor Arashi Rikan II as Sasaki Saburō Moritsuna (Sasaki Saburō Moritsuna Arashi Rikan)
objectCulture :
geography :
dating :
material :
technique :
dimensions : Height: 37 cm, Width: 25,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Honya Seibei, publisher. Ôban format. Blue background; embossed, metallic pigments. The identities of the actor and the character he is playing, Sasaki Saburô Moritsuna, are shown on the print. Arashi Rikan II performed this role in the play Ômi Genji (The Minamoto clan in tbe province of Ômi), at the Kado-za theatre in Ôsaka. The action is directly inspired by a play written by several playwrights for the puppet theatre and performed for the first time in Ôsaka, at the Takemoto-za, in the twelfth month of 1769. Only Act VIII has come into our hands. The plot transposes a major event from the beginning of the Edo period: the victorious attack carried out by the Tokugawa on Ôsaka castle, where Toyotomi Hideyori had entrenched himself, in the summer of 1615. Toyotomi Hideyori was heir to Toyotomi Hideyoshi (1537-1598; the man who succeeded in bringing about the political reunificatron of Japan). This battle finally put an end to the likelihood of any clan challenging the hegemony of Tokugawa Ieyasu and his descendants. According to the usual practice for avoiding censorship the action is shifted further back into the past, at the beginning of the Kamakura period (1185-1333). It takes place near Lake Biwa, in the camp of Sasaki Moritsuna, a valiant general and sensitive soul who was a supporter of Minamoto no Yoriie (son of Minamoto no Yoritomo, assassinated in 1204; transposition of the Toyotomi Hideyori case). It sets Sasaki Moritsuna against the machinations of his machiavelian brother Sasaki Takatsuna (transposition of the Tokugawa Ieyasu case), a general in the clan of Hôjô Tokimasa, the man really holding the power in Kamakura. One of the most eagerly awaited scenes in the play was that in which Moritsuna examines the severed head that has been presented to him as the head of Takatsuna. The part of Moritsuna could only be entrusted to a very great actor, capable of expressing complex emotions through the appropriate poses: chagrin at learning of the death of his brother Takatsuna, bewilderment and then joy at realizing that the head is not his, sudden realization of his brother's evil designs, respect for the suicide of his nephew (who wished to cleanse the paternal dishonour) by acceptance of the head as belonging to Takatsuna.
↑ , Bulla with ten seal imprints:
Bulla with ten seal imprints :
collectionName : Near EastinventoryNb : O.00208
objectName :
objectTitle : Bulla with ten seal imprints
objectCulture : Seleucid
geography :
dating : 175 BC - 164 BC
material :
technique :
dimensions : Height: 4 cm, Width: 4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The bulla has an elliptical shape with a similarly-shaped hole through the middle. Ten imprints can be observed; Speleers mentioned “multiple imprints” and published seven of them. The largest is a well-known Amtssiegel depicting a standing Nike and its use can be dated to the reign of Antiochus III (223-187 BC). As is the case for some of the other bullae (see remarks under O.206 and § 4. Images), a number of stamp imprints have been partly or even completely destroyed since their discovery and therefore, if available, additional images of the imprints are provided below. In case the new scans of the imprints on the bulla could not be associated with the pictures published by Speleers, they are discussed at the end of the general descriptions. 208 A: standing Nike, holding object; inscription 208 B: unidentifiable (worn) imprint 208 C: kneeling Eros 208 D: winged human-headed scorpion monster; facing seated dog 208 E: uncertain (standing/walking bull) 208 F: unidentifiable (worn) imprint 208 G: unidentifiable (worn) imprint 208 H: unidentifiable (worn) imprint 208 I: standing quadruped (standing/walking bull?) 208 J: unidentifiable (worn) imprint
↑ , Cuneiform tablet with cylinder seal impression:
Cuneiform tablet with cylinder seal impression :
collectionName : Near EastinventoryNb : O.00322
objectName :
objectTitle : Cuneiform tablet with cylinder seal impression
objectCulture : Mesopotamia
geography :
dating : 2037 BC - 2029 BC
material :
technique :
dimensions : Height: 4,2 cm, Width: 4 cm, Depth: 1,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The second year of the rule of Shu-Suen. Year in which the schip “ibex of Abzu” was build (mu ma2 dara abzu ba-du8). Line 2, the trace of the last sign is an horizontal stroke; it could be a LUGAL-sign as well. An individual with the same name and patronym is attested in Girsu on a tablet dating from Amar-Sîn 2, 10 years earlier than this receipt (ITT 2, 741, rev. col.v,3’; cf. http://cdli.ucla.edu/P110610). ˹lugal-ú˺-˹šim˺ dub.sar ˹maḫ?˺ DUMU ur-sa6-ga “Lugal-ušim, chief (?) scribe, son of Ur-saga”.
↑ , Votive axe:
Votive axe :
collectionName : Near EastinventoryNb : O.00353
objectName :
objectTitle : Votive axe
objectCulture : Mesopotamia
geography :
dating : 2037 BC - 2029 BC
material :
technique :
dimensions : Height: 16 cm, Width: 7 cm, Depth: 5,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Different types of weapons and tools could be used as votive offerings in temples. This votive axe is a gift to the temple of Shara, son of Inanna, on behalf of the commander of the police of the kingdom of Shu-Sin of Ur, the king of the four winds.
↑ , Fragment of a shell-shaped bowl:
Fragment of a shell-shaped bowl :
collectionName : Near EastinventoryNb : O.00710
objectName :
objectTitle : Fragment of a shell-shaped bowl
objectCulture : Mesopotamia
geography :
dating : 2255 BC - 2219 BC
material :
technique :
dimensions : Height: 14 cm, Width: 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : When four cylinder seals obtained by the museum from the art dealer E. Géjou, appeared to be forgeries, the Abbot Henri de Genouillac offered this fragment of a shell-shaped dish to the museum as a compensation. The text reads: "Naram-Sin, the mighty, king of the four winds, who shattered the [conquered] head of [the kingdoms] of Armanu and Ebla." According to Old Babylonian copies of Akkadian texts, he did this (metaphorically) with the macehead of the god Dagan, to whom this lamp or dish might have been dedicated. Thanks to the spectacular finds of Paolo Matthiae in Tell Mardikh, Ebla could be identified as the capital of a vast kingdom in Central-Syria. The city of Armanu (previously incorrectly identified as Aleppo, or even Armenia) is often mentioned in the Ebla archives in the form of Armi. More and more researchers believe that it was located in the north of the Ebla empire, near Karkemish (Tell Bazi and/or Tell Banat?).
↑ , Relief slab:
Relief slab :
collectionName : Near EastinventoryNb : O.00854
objectName :
objectTitle : Relief slab
objectCulture : Mesopotamia
geography :
dating : 1900 BC - 1750 BC
material :
technique :
dimensions : Height: 7,7 cm, Width: 9,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The symmetrical composition with the two ostriches might be slightly older, and could possibly be related to the production phase of Isin.
↑ , Jar with rounded body:
Jar with rounded body :
collectionName : Near EastinventoryNb : O.04487
objectName :
objectTitle : Jar with rounded body
objectCulture : Southern Levant
geography :
dating : ca. 3200 BC
material :
technique :
dimensions : Height: 15,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ban edh-Dhra’ is situated on the Jordan side of the Dead Sea, east of the Ghor el Mazra’a and the Lisan peninsula, at an altitude of 240m above sea level. The site contains, among others, a fortified city on the southern bank of the Wadi Kerak and a vast necropolis south-west of the urban settlement, both dated to the Early Bronze Age. Tomb A79 consists of four cylindrical chambers and contains the remains of human skeletons as well as numerous grave goods primarily consisting of pottery. The pottery of this period was always sculpted by hand, sometimes finished with a thin , possibly polished, layer of red slip, and is characterized by its diverse functional shapes. These could be middling size bowl to big deep bowls, Jugs with or without vertical handles, storing jars with overhanging handles, miniature jars or bottles and small shallow bowls. Bowls were often supplied with horizontal handles or clay knobs set onto the edge of the bowl at regular intervals. The pots could be decorated with one or two bands of stamped dots, presumably pressed into the still wet clay by the potter with a rood. This kind of ornamentation could also be found on jars and was considered characteristic to the Bab edh-Dhra’ pottery. Sometimes bowls would have a rounded bottom – as opposed to jugs, which often contained fluids and thus needed a flattened bottom to stabilize the vessel. In order to better handle the jars and to easily pour or draw water and other fluids, the jugs were supplied with vertical handle. Sometimes horizontal overhanging handles were also found, always placed on the belly of the vessel. To improve the quality of the clay the pots were produced with, the potters had to add supplementary material such as wadi sand, quartz, limestone grit and pebblestones to the clay mixture. I.M.S.
↑ , The first Dalai Lama Dge-'dun grub-pa (1391-1475):
The first Dalai Lama Dge-'dun grub-pa (1391-1475) :
collectionName : India and Southeast AsiainventoryNb : Ver.337
objectName :
objectTitle : The first Dalai Lama Dge-'dun grub-pa (1391-1475)
objectCulture : Tibetan
geography :
dating : AD 1650 - AD 1750
material :
technique :
dimensions : Height: 76,5 cm, Width: 50 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : A thang-ka (literally 'object that unrolls') is a painted Tibetan scroll. Creating these images is considered a religious act on the part of both the patron and the artist, and they are consecrated in a special ceremony. Thang-kas with gilt hand- and footprints of a lama are exceedingly rare. This one could belong to a series commissioned for the long life of the fifth Dalai Lama (1617-1682) or one of his successors. The centre of the thang-ka contains a portrait of Dge-'dun grub-pa, the nephew and disciple of Tsong-kha-pa, the founder of the most important monastic order of Tibet, the Gelugpa school. In the middle at the top is Tsong-kha-pa, surrounded by protector deities. Dge-'dun grub-pa received the title of first Dalai Lama posthumously.
