perhaps
↑ 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
↑ , Sculpture of the Parthenon pediment: female figure, perhaps Hestia:
Sculpture of the Parthenon pediment: female figure, perhaps Hestia :
collectionName : Moulds and Plaster-castsinventoryNb : 0150.01
objectName :
objectTitle : Sculpture of the Parthenon pediment: female figure, perhaps Hestia
objectCulture :
geography :
dating : AD 1846 - AD 1926
material :
technique :
dimensions : Height: 140 cm, Width: 340 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The aforementioned information refers to the mold with which the cast (shown) has been created. This mold forms part of the historical collection of molds and casts of the Royal Museums of Art and History, of which parts no longer exist or can no longer be used. Some molds are still used today for the production of casts. For more information, please contact us at moulages@kmkg-mrah.be
↑ , Sculpture of the Parthenon pediment: two female figures, perhaps Dione en Aphrodite:
Sculpture of the Parthenon pediment: two female figures, perhaps Dione en Aphrodite :
collectionName : Moulds and Plaster-castsinventoryNb : 0150.02
objectName :
objectTitle : Sculpture of the Parthenon pediment: two female figures, perhaps Dione en Aphrodite
objectCulture :
geography :
dating : AD 1846 - AD 1926
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The aforementioned information refers to the mold with which the cast (shown) has been created. This mold forms part of the historical collection of molds and casts of the Royal Museums of Art and History, of which parts no longer exist or can no longer be used. Some molds are still used today for the production of casts. For more information, please contact us at moulages@kmkg-mrah.be
↑ , Sculpture of the Parthenon pediment: female figure, perhaps Hebe:
Sculpture of the Parthenon pediment: female figure, perhaps Hebe :
collectionName : Moulds and Plaster-castsinventoryNb : 0151.00
objectName :
objectTitle : Sculpture of the Parthenon pediment: female figure, perhaps Hebe
objectCulture :
geography :
dating : AD 1846 - AD 1926
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : The aforementioned information refers to the mold with which the cast (shown) has been created. This mold forms part of the historical collection of molds and casts of the Royal Museums of Art and History, of which parts no longer exist or can no longer be used. Some molds are still used today for the production of casts. For more information, please contact us at moulages@kmkg-mrah.be
↑ , Quinton:
Quinton :
collectionName : String instrumentsinventoryNb : 0220
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1730 - AD 1790
material :
technique :
dimensions : Height: 60 cm, Width: 19 cm, Depth: 10 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", 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 à cinq cordes" and the violin-shaped quinton were played vertically, had five strings and were partially tuned in fifths. This five-string pardessus (inv. 0220) is covered with an orange-yellow varnish. The body shows various fractures. The two-part back is, just like the ribs, composed of broadly flamed maple. It has an angle in the upper part and a triple purfling of irregular width. The lower strip of the ribs is made in one piece. Four wooden nails are located near the lower nut and the turned knob for the tailpiece. Presumably pins for sympathetic strings were inserted here at a certain point and later removed. The top made of two parts of fine grained spruce has, just like the back, an irregular double purfling with three strips each. The C-shaped sound holes are situated quite far towards the neck. Inside a soundpost plate is visible. The glue seams are reinforced with linen strips. The neck seems a bit narrowed and is glued directly to the upper block without recess or reinforcement with just the heel as an extra joint. The two wooden nails that were probably attached later through the heel of the back into the neck probably served to consolidate the restored joint. The pegbox is, perhaps in the studio of the mysterious sculptor Lafille (or La Fille), decorated on all sides by punches with small circular motifs, and crowned by an open curl with a daisy and a frame in low relief. The solid black-coloured fingerboard and perhaps also the tailpiece veneered with ebony are probably not original. Space is provided under the fingerboard as for a series of sympathetic strings. This pardessus (inv. No. 0220) is anonymous, but carries a brand on the back: “de Paris”. It was owned by François-Joseph Fétis (1784-1871), the first director of the Brussels Royal Conservatory of Arts and maestro di capella for King Leopold I. In 1872, his collection of musical instruments was acquired by the Belgian State and stored in the Royal Conservatory, until the 1877 opening of the Musical Instrument Museum. L. approx. 60 cm. L. approx. 19 cm H sides approx. 4,4cm String length approx. 31,8 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, vol. 1, Ghent, 1880, 2/1893, p. 319.
↑ , :
:
collectionName : String instrumentsinventoryNb : 0221
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1745
material :
technique :
dimensions : Height: 60,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Six-string pardessus with wide flamed ribs and unflamed one-piece back. The latter is flat with an angle in the upper part and a purfling consisting of three strips black-white-black. The top, with similar purfling and composed of two symmetrical sections of spruce, shows fractures and closed woodworm channels. Inside is a thin soundpost plate, also in spruce. This pardessus inv.no. 0221 was later converted into a four-string instrument and perhaps tuned in fifths like a violin. The neck, the fingerboard, the unadorned pegbox, the tuning keys, the scroll and the tailpiece were probably replaced at that time, and thus are not original. The varnish is light brown. This pardessus (inv.no. 0221) has a printed label on which the last digit of the year has been added in handwriting and is no longer legible today: “Ouvrard, luthier, place / de l'École, à Paris, 1745 [or 1743/1748]. " Jean Ouvrard was established in Paris since around 1720 and died in 1748. From his making several five and six-string pardessus have been preserved, along with larger viols, violas d’amore, and some violins and cellos. The pardessus was developed at the end of the 17th century to perform solo music within the range of the violin. The preservation of the viol shape, the use of frets and the vertical playing position made it acceptable for men and especially ladies of the higher class. This pardessus was owned by François-Joseph Fétis (1784-1871), the first director of the Brussels Royal Conservatory of Arts and maestro di capella for King Leopold I. In 1872, his collection of musical instruments was acquired by the Belgian State and stored in the Royal Conservatory, until the 1877 opening of the Musical Instrument Museum. L. approx. 63 cm B. approx. 20.2 cm H sides: approx. 4.8 cm String length approx. 33.3 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1880, 2/1893, p. 320.
↑ , :
:
collectionName : String instrumentsinventoryNb : 0224
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1761 - AD 1764
material :
technique :
dimensions : Height: 78,1 cm, Width: 24,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Viola d’amore by the Viennese violin maker Michael Andreas Bartl or Partl (1704-1788). The instrument has 7 stopped strings and 7 sympathetic strings. The back is flat, without purfling and with an angle in the upper part. A large fracture runs the entire length of the back, and a soundpost plate is visible inside. In the top, with three-part purfling, two flame-shaped sound holes are cut out and a rosette with a geometric pattern is inserted. It shows various repaired and non-repaired fractures. The sympathetic strings are attached to the bottom of the body with seven metal nails with spherical heads. A blindfolded Cupid head adorns the top of the pegbox with a shell-shaped pattern in low relief at the neck heel. The otherwise unadorned pegbox is open at the front for the first seven tuning pegs and at the back for the seven others. L approx. 80 cm L.ca. 24.5 cm. H sides: approx. 5.2 cm String length approx. 37.5 cm Labels: 1) Michael Andreas Partl / fecit Viennae 1762 [printed; the last two digits of the date are handwritten and the last digit is difficult to read: 1761, 1762 or 1764] 2) Diplôme d'honneur Liège 1954 / Bernard Jacques / N ° fait [this word has been deleted] réparé Anno 22-11-1960 [printed, handwritten date] This viola d'amore (inv. No. 0224) was owned by François-Joseph Fétis (1784-1871), first director of the Brussels Royal Music Conservatory and “maestro di capella” of Leopold I. In 1872 his collection of musical instruments was purchased by the Belgian State and since preserved in the Conservatory, until the opening of the Instrument Museum in 1877. This viola d’amore shows a number of similarities with the viola d’amore, listed by Fétis as “kemângeh roumy” (inv.no. 0225). The latter instrument was brought from Egypt in the early nineteenth century. The dark color and especially the shape of the fingerboard, with notches at the bottom, suggest that both instruments were restored by the same repairman, perhaps when they were in the possession of Fétis. Another viola d’amore by Michael Andreas Bartl from 1746 is kept in the Museum für Musikinstrumente der Universität Leipzig (inv. No. 0835). Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, p. 320. Paul Raspé, ‘Viola d’amore. Michaël Andreas Bartl, Wenen, 1764’, in François-Joseph Fétis en het muziekleven van zijn tijd. 1784-1871, Brussels, pp. 219-220.
↑ , Quinton:
Quinton :
collectionName : String instrumentsinventoryNb : 0480
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1754
material :
technique :
dimensions : Height: 59,7 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", previously 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, had five strings and were partially tuned in fifths. This five-string pardessus (inv. No. 0480) by Louis Guersan (1700-1770) from 1754 carries a golden-yellow varnish and is in fairly good condition. The back is composed of three pieces of yew, interspersed with two symmetrical pieces of flamed maple. It has an angle in the upper part. The double purfling, each time composed of three strips, ends at the heel in a V-shaped pattern. The ribs are made of two strips of maple with a strip of yew in the middle. The top made of two parts of fine grained spruce has, just like the bottom, a double purfling with three strips each. The C-shaped sound holes are undercut. Inside, glue strips and a soundpost plate are provided. The glued joints of the back and the sides are reinforced with partially overwritten paper strips. The neck is glued directly to the upper block without recess or reinforcement with only the heel as an extra joint. The pegbox has been decorated, perhaps in the workshop of the mysterious sculptor Lafille (or La Fille), with punches with small circular motifs, and crowned by a head with curly hair and a diadem. Inside, the semicircular cut-out is typical of the French instruments of the time. Two elements indicate that the neck joint has been adapted later. First the neck joint is reinforced from the outside with a dowel . Secondly, under ultra-violet light there is a difference in color visible between the ribs and the neck end. Also the soundpost plate inside does not fit in well with the sides. The instrument comes from the Tolbecque collection. The text in the shield-shaped label reads: "Ludovicus GUERSAN prope Comoediam Gallicam Lutetiae Anno 1754" L. c. 62 cm L.c. 19,7 cm. H sides c. 4,9 cm String length c. 31 cm Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, p. 466.
↑ , Quinton d'amour:
Quinton d'amour :
collectionName : String instrumentsinventoryNb : 0481
objectName :
objectTitle : Quinton d'amour
objectCulture :
geography :
dating : AD 1754
material :
technique :
dimensions : Height: 66 cm, Width: 20 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : «Quinton d’amour» from the Paris-based maker Jean Baptiste Dehaye, called “Salomon” (1713-1767), with 5 stopped strings and 5 sympathetic strings. This instrument is built like a violin, with linings, corner blocks, f-holes and protruding edges. The curved back with a three-part inlay is composed of two parts of maple, fairly deeply flamed, just like the ribs and the neck. Like the instruments of the "da gamba" family, the shoulders run flush with the wider neck, which, like the veneered fingerboard, shows traces of lost frets. On older photo’s frets are still present, see Anthony BAINES, European and American musical instruments (New York, 1966), fig.133.The ten strings are attached at the bottom of the sound box on a white plate with seven cut out pins and three holes, which resembles the other quinton d'amour (inv. No. 1358) and the viola d'amore (inv. No. 1389) by Salomon . So no tailpiece is provided. The two-part spruce top has a three-part purfling. The pegbox, adorned with a normal violin scroll and with stylized punched flower motifs, is open at the front and only closed at the rear for the first four tuning pegs. The five pegs for the resonance strings are smaller and closer to each other. This instrument was probably used in the same way as the regular quinton and the five-string pardessus: played vertically and with frets. The lower strings were then tuned in fifths and the upper in quarters (GDadg). The elements pleading in favor of this theory are the use of typical violin characteristics, and the flat broad neck (note the differences with the viola d’amore inv. No. 1389). L approximately 66.5 cm L.c. 20.8 cm. H sides: approx. 3.3 cm String length: approx. 32.5 cm Inscriptions. 1. Label: «Salomon, Lutier à Ste Cecille, Place de L’ecole à Paris, 1754» (the two last digits are not very legible) 2. Brandmark on the heel: «SALOMON A PARIS» This quinton d 'amour (inv. No. 0481) 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 MIM was exhibited in London. Perhaps this instrument is meant, or else the quinton d’amour (inv. No. 1358) or the viola d’amore (inv. No. 1389), both also by this maker. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 2/1893, p. 466.
↑ , :
:
collectionName : String instrumentsinventoryNb : 0483
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1701 - AD 1800
material :
technique :
dimensions : Height: 70,8 cm, Width: 25,7 cm, Depth: 10,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Six-string treble viol with a label bearing the name of Nicolas III Médard (1628-after 1673) from Nancy. Most probably this instrument was put together in the nineteenth century using old and new elements, perhaps by violin maker and collector Tolbecque himself. The multi-part back is completely flat with French lilies ("fleurs de lys") in gold paint in the corners and with various strips of inlay lengthwise. There is no purfling and no angle in the upper part. The back is reinforced inside by a wide soundpost plate. The ribs are also made of rosewood layers interspersed with cypress and thin strips of veneer. The top made of two-part spruce contains a fringed rosette and is also decorated with painted French lilies in the corners. It shows a number of repaired fractures. The fringed C-holes have a notch on the inside and a circle on the outside. The thin flat neck in pearwood contains a fingerboard with ebony veneer and an ivory top nut. The simply decorated pegbox is open at the back. It has a curly plant motif and is crowned with a sculpted female head with curly hair. The tuning pegs are made of boxwood, while the tailpiece and the tailpiece bar are in ebony. The top and neck are varnished dark brown and the back and ribs are covered with a transparent, almost colorless varnish. The angular way in which the shoulders overflow into the neck base, and the unusual features of the sound box suggest that an old neck was combined with a more recent sound box. This treble viol (inv.no. 0483) has a printed label, most probably false, on which the last two digits of the year are added by hand: “Nicolas Medar à Paris 1701”. Treble viols were tuned an octave higher than the six-string bass gamba and were often used to perform similar music. L. approx. 71 cm. L. approx. 25.1 cm. H sides approx. 4.4 cm. String length approx. 38 cm. This instrument (inv. No. 0483) was part of the Auguste Tolbecque collection. In 1879 his collection of musical instruments was purchased by the Instrument Museum. In 1885 a "viol" by Nicholas Medaer from the Museum, dated 1700, was exhibited in London. Probably this instrument was meant. Bibliography Victor-Charles Mahillon, Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, pt. 1, Ghent, 1893, p. 467.
↑ , 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.
↑ , Rectangular spinet virginal:
Rectangular spinet virginal :
collectionName : Keyboard instrumentsinventoryNb : 1593
objectName :
objectTitle : Rectangular spinet virginal
objectCulture :
geography :
dating : AD 1632
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Spinet virginal on 4 legs, bearing the serial number 4/38, built by Andreas Ruckers in 1632. Underwent two refurbishments: a first in the bass, perhaps already in the seventeenth century, a second time in the high register in the eighteenth or nineteenth century, based on the assumption that the changes in the case’s decoration are linked to these refurbishments. Around 1930, the instrument was given a new stand and fallboard. The papers decorating the front side of the sound box, the nameboard, the fallboard and inner walls were replaced.
↑ , :
:
collectionName : Gallo-RomaninventoryNb : B000308-001
objectName :
objectTitle :
objectCulture : Gallo-Roman
geography :
dating :
material :
technique :
dimensions : Height: 5,5 cm, Width: 6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Square shaped weight with GILTAR inscription on two lines, inlaid with silver. Perhaps this weight served as a model or authentic standard for the Celtic or Gallic (actually Byzantine) pound.
↑ , Figurine of a bird with human head:
Figurine of a bird with human head :
collectionName : EgyptinventoryNb : E.00294
objectName :
objectTitle : Figurine of a bird with human head
objectCulture : Egyptian
geography :
dating : 1985 BC - 1773 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Wooden statue of a bird with a human head, covered in painted plaster. Perhaps from a coffin or stela.
↑ , Capital with interlace ornament and animal heads:
Capital with interlace ornament and animal heads :
collectionName : EgyptinventoryNb : E.08041
objectName :
objectTitle : Capital with interlace ornament and animal heads
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 53 cm, Width: 45 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In the Byzantine Empire, the stonemasons of column capitals demonstrated great creativity. This example from Egypt shows an interlace ornament and four animal heads (probably rams heads). Two vertical cut-outs may have held a closure system, perhaps of a pulpitum.
↑ , Capital with interlace ornament and animal heads:
Capital with interlace ornament and animal heads :
collectionName : EgyptinventoryNb : E.08042
objectName :
objectTitle : Capital with interlace ornament and animal heads
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 42 cm, Width: 48 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : In the Byzantine Empire, the stonemasons of column capitals demonstrated great creativity. This example from Egypt shows an interlace ornament and four animal heads (probably rams heads). Two vertical cut-outs may have held a closure system, perhaps of a pulpitum.
↑ , Tomb sculpture of a woman:
Tomb sculpture of a woman :
collectionName : EgyptinventoryNb : E.08239
objectName :
objectTitle : Tomb sculpture of a woman
objectCulture : Egyptian
geography :
dating : AD 395 - AD 640
material :
technique :
dimensions : Height: 1,2 cm, Width: 48 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : This funerary high relief sculpture was originally located in a niche. The woman wears the costume of the goddess Isis: a tunic covered with a garment (palla contabulata with a knot) folded and tied on the chest (Isis knot), with a fringed edge and decorated with a vegetable garland. She holds a situla containing the water from the Nile in her right hand, and probably an incense box in her left. The deceased was an initiator to the Isiscultus, perhaps even a priestess.
↑ , 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.
↑ , 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.
↑ , Bowl with highly stylized inscription (perhaps 'al-baraka', blessing):
Bowl with highly stylized inscription (perhaps 'al-baraka', blessing) :
collectionName : Collection Art of the Islamic WorldinventoryNb : IS.O.3102
objectName :
objectTitle : Bowl with highly stylized inscription (perhaps 'al-baraka', blessing)
objectCulture : Islamic
geography :
dating : AD 900 - AD 1100
material :
technique :
dimensions : Diameter: 20,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : item has no descption
↑ , :
:
collectionName : JapaninventoryNb : JP.00218
objectName :
objectTitle :
objectCulture :
geography :
dating : unknown
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Yamaguchiya Chûsuke, publisher. Ôban format. A young woman is outside on the gallery, perhaps to sober up. At any rate she seems by her gesture to be refusing more sake offered by an attentive hand through the half-open shôji. Research carried out jointly by Asano Shûgô and Timothy Clark has positively identified the young woman as Orise, who worked at the Chiyozuru. This house was far more than just an outdoor tea shop (mizuchaya), as it is referred to in a leaflet from the period; it was in fact quite a large establishment with salons and an upper floor where banquets were held. In all three of his known prints on the theme of tea houses and the beauties who worked there Utamaro used the same basic device: a play of Chinese shadows captured on the shôji, linking the young woman outside the establishment with the action taking place inside.
↑ , :
:
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.00649
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1766
material :
technique :
dimensions : Height: 28 cm, Width: 20,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Chûban format. Blue background. A young woman in shirabyôshi costume sits in a boat tied beneath a willow tree. Shirabyôshi was the original name given to professional dancers, who were often highly cuitivated and very much accepted in higher society at the end of the Heian peiod (794-1185). Thanks to their professional talents, which were often combined with those of highranking courtesans, some even became the mistresses or concubines of major figures. In the troubled times at the end of the XIIth and beginning of the XIIIth centuries, the women of the aristocracy, deprived of their resources, were forced to embrace the shirabyôshi profession, and excelied at dancing, singing and poetry thanks to their excellent education. The Asazuma Creek on the eastern shore of Lake Biwa was formerly served by a ferry on the route from the imperial capital to the eastern provinces. As at any stopping point or station, prostitution had prospered in the area and women sold their charms on the ferryboats. However Asazuma is also the name of a mistress of the shôgun Tokugawa Tsunayoshi (1646-1709), who prefered to abandon himself to the pleasures of boating with her rather than to worry about matters of state. In this scene Harunobu perhaps wished to evoke both a bygone era and the recent past. It should be noted however that in the Edo period any allusion to political affairs or to the private life of a shôÓgun would have been very severely punished by the government. But this print is of particular interest when considered as a calendar print. In fact an indication of the year, Meiwa inu (1766), is carved into the keyblock and appears quite well hidden among the last branches on the left-hand side of the weeping willow; but the numbering of the months, usually engraved into a colour block, does not appear on any known example. It is as though the client who ordered this print changed his mind about the purpose of the print during the woodcarving process. In some ways this seems to show that the private sponsors in print production were now no longer interested in their function as calendars but rather in their content itself, that is in the transposition or the parodying of classical subjects.
↑ , Actor Ichikawa Danjūrō VII, perhaps as Fuwa Banzaemon:
Actor Ichikawa Danjūrō VII, perhaps as Fuwa Banzaemon :
collectionName : JapaninventoryNb : JP.01226
objectName :
objectTitle : Actor Ichikawa Danjūrō VII, perhaps as Fuwa Banzaemon
objectCulture :
geography :
dating : unknown
material :
technique :
dimensions : Height: 37,2 cm, Width: 25,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : JP.01226 at Ritsumeikan University, Art Research Center, Ukiyo-e database Vandeperre, Nathalie (éd./red.) 2016, Ukiyo-e. Les plus belles estampes japonaises des Musées royaux d’Art et d’Histoire (Bruxelles), p. 239, 303, n. 301
↑ , Fūryū Genji (An elegant adaptation of the Genji novel): Chapter 5:
Fūryū Genji (An elegant adaptation of the Genji novel): Chapter 5 :
collectionName : JapaninventoryNb : JP.03679
objectName :
objectTitle : Fūryū Genji (An elegant adaptation of the Genji novel): Chapter 5
objectCulture :
geography :
dating : ca. AD 1788 - AD 1789
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Ôban diptych. Benigirai. Two groups of women and a little girl have met near the veranda of a palace. The scene illustrates Chapter V of the novel Waka Murasaki (The young Murasaki). This chapter tells how the main hero develops a deep affection for a ten-year-old child and settles her in a wing of his palace. The two prints are possibly the first of the predominately grey polyptychs drawn by Eishi taking this novel as his theme. They seem to have been designed as a diptych, although the rest of the set consists of triptychs. In any case, no plate has been found to complete this composition on the left. In around 1788-1789 there appeared on the market prints with subdued colours in which violet tones were substituted for the pinks (benigirai). These were to be produced for some years. The emergence of this particular range of colours is perhaps an effect of the Kansei reforms which sought among other things to temper the luxury of polychrome prints. Consequently publishers were forced to reduce the numbers of colour blocks used. But it is also possible that this was a deliberate aesthetic choice made by the publishers and artists in a desire to be innovative.
↑ , Cylinder seal with king and dignitary:
Cylinder seal with king and dignitary :
collectionName : Near EastinventoryNb : O.01388
objectName :
objectTitle : Cylinder seal with king and dignitary
objectCulture : Babylonian
geography :
dating : 612 BC - 539 BC (uncertain)
material :
technique :
dimensions : Height: 2,3 cm, Width: 1,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : A king and dignitary take the place of Gilgamesh and Enkidu, defeating the Bull of Heaven, a theme that (perhaps) only appears in glyptic of the neo-Babylonian age. The long inscription in mirror writing mentions name and title of the owner: “Qerub-dini-ili, governor of Ragattu”.
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.02670
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 5,7 cm, Width: 4 cm, Depth: 0,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.02671
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 3,8 cm, Width: 2,5 cm, Depth: 0,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Cylinder seal with fish:
Cylinder seal with fish :
collectionName : Near EastinventoryNb : O.02710
objectName :
objectTitle : Cylinder seal with fish
objectCulture : Mesopotamia
geography :
dating : 3200 BC - 2900 BC
material :
technique :
dimensions : Height: 1,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Decoration in the shape of the 'tail' of a fish. Small incisions at the top and bottom of the seal, perhaps created when drilling the hole?
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.03377
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 4,2 cm, Width: 2,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.03378
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 5 cm, Width: 4,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.03379
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 4,2 cm, Width: 2,7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Eye idol:
Eye idol :
collectionName : Near EastinventoryNb : O.03380
objectName :
objectTitle : Eye idol
objectCulture : Syrian
geography :
dating : 3900 BC - 2950 BC
material :
technique :
dimensions : Height: 4,3 cm, Width: 2,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : During the excavation of the terrace of the Eye Temple in Tell Brak - and meanwhile also in numerous other archaeological sites of the region - more than 300 idols or votive amulets were found, in the shape of a bust with enlarged eyes instead of a head. They were associated with the numerous references to the "evil eye", a concept that is still present in the Arab world. Whether the devout pilgrims who visited this sanctuary wanted to protect themselves against evil forces with these idols, cannot be confirmed due to the absence of texts. Perhaps the sanctuary of the city of Nagar was dedicated to a deity renowned for its healing powers, in particular for the eye diseases that were common in the ancient Near East.
↑ , Cuneiform tablet:
Cuneiform tablet :
collectionName : Near EastinventoryNb : O.05007
objectName :
objectTitle : Cuneiform tablet
objectCulture : Mesopotamia
geography :
dating : after 2300 BC
material :
technique :
dimensions : Height: 3,7 cm, Width: 2,8 cm, Depth: 1,4 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis
objectDescription : Beer dispensing to different people, perhaps messengers, perhaps Naram-Sin time.
