↑ objectName, objectTitle:

objectTitle :

collectionName : collectionName
inventoryNb : inventoryNb
objectName : objectName
objectTitle : objectTitle
objectCulture : objectCulture
geography : geography
dating : dating
material : material
technique : technique
dimensions : dimensions
legalRightOwner : legalRightOwner

objectDescription : objectDescription

↑ , :

:

collectionName : Percussion instruments
inventoryNb : 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 ◊

↑ , :

:

collectionName : String instruments
inventoryNb : 2834
objectName :
objectTitle :
objectCulture :
geography :
dating : AD 1809
material :
technique :
dimensions : Height: 63,2 cm, Width: 22,4 cm, Depth: 11 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : This small viola (inv. no. 2834) differs in several respects from the instruments with a Cuypers label from 1761 and 1782 (inv. no. 2833 and 2832). The two-part back is made of strongly and finely flamed maple and has a wider three-part purfling that lies quite far from the edge. The top, in two-part spruce, has a similar purfling and multiple fractures. The corners are not very wide and unequal in shape, and the C-bouts are elongated. The arching is rather low gradually rising out of the fluting. The f-holes are cut fairly angularly, stand 5 cm apart and point a little inwards at the bottom. The lower band of the ribs is made of two parts. The flame is less pronounced. Linings have been provided all around. The neck, in very lightly flamed maple, has been joined to the body by means of a screw, most probably replacing an older metal nail. It has a very low overhang above the top. The wedge-shaped ebony fingerboard has an incision at the bottom above the connection between neck and body, and from there it becomes thinner on both sides. The spiral of the scroll widens lengthwise, making the scroll look oval, and the pegbox is roughly trimmed in the area under the scroll. The heel is fairly wide. Tailpiece and bridge are modern. The transparent golden yellow varnish forms a thin protective layer. The sometimes hesitating realization may be due to the high age of Johannes Theodorus Cuypers (1724-1808), or it can indicate the cooperation or termination by the master’s sons Johannes Franciscus I (1766-1828) or Johannes Bernardus (1781-1840). The handwritten label reads: "Johannes Cuypers, fecit s'Hage 1809 (aetatis suae 80)" 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. Musée Instrumental de Bruxelles, Instruments de musique des Pays-Bas, 17e-19e siècles, Europalia 1971, Catalogue, p. 23. Karel Moens, Instrumentenmuseum Brussel, Tentoonstelling Europese strijkinstrumenten, Brussels, 1980. L. approx. 64,5 cm L. of body approx. 38,2 cm. W. approx. 22,6 cm. H ribs approx. 3,5 cm String length approx. 34,6 cm

↑ , Quinton:

Quinton :

collectionName : String instruments
inventoryNb : 2884
objectName :
objectTitle : Quinton
objectCulture :
geography :
dating : AD 1761
material :
technique :
dimensions : Height: 60 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 by Henri Joseph De Lannoy in very good condition (inv. no. 2884) is covered with an orange-brown varnish. The back is composed of three pieces of mahogany, interspersed lengthwise with two pieces of flamed maple. It has an angle in the upper part. The double purfling, each composed of three strips, follows the V-shape of the heel. The ribs are made of lightly flamed mahogany, the grain of which sometimes runs almost diagonally. 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 not undercut. A soundpost plate is fitted inside. The very thin, wide neck is adorned with a simple pegbox with normal violin scroll, of which the eye and the beveled edges are blackened. The wedge-shaped fingerboard is veneered with ebony. The ebony tail piece and the ebony tuning pegs are modern. The instrument feels rather heavy and sturdy. The printed label reads: "I. J. De Lannoy sur la petite Place / au dessus des Halles, à Lille, 1761". The numbers "61" are handwritten. 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. 61.5 cm W. approx. 19.9 cm. H. ribs: approx. 5.1 cm String length approx. 32.5 cm

↑ , Mummy label in Greek and Demotic:

Mummy label in Greek and Demotic :

collectionName : Egypt
inventoryNb : E.00397
objectName :
objectTitle : Mummy label in Greek and Demotic
objectCulture : Egyptian
geography :
dating : AD 101 - AD 300
material :
technique :
dimensions : Height: 8,7 cm, Width: 5,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : From the Roman Period, a wooden label was attached to the neck of a mummy, usually with a string. These rectangular, wooden labels have the shape of a small stela. The texts were written in Greek or Demotic, and sometimes even in both languages. They contain short religious formulas and personal information about the deceased. This label is written in Greek and Demotic, and belongs to Psentailouros, from the city of Akhmim.

↑ , Mummy label in Greek:

Mummy label in Greek :

collectionName : Egypt
inventoryNb : E.00400
objectName :
objectTitle : Mummy label in Greek
objectCulture : Egyptian
geography :
dating : 30 BC - AD 395 (uncertain)
material :
technique :
dimensions : Height: 8,7 cm, Width: 5,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : From the Roman Period, a wooden label was attached to the neck of a mummy, usually with a string. These rectangular, wooden labels have the shape of a small stela. The texts were written in Greek or Demotic, and sometimes even in both languages. They contain short religious formulas and personal information about the deceased.

↑ , Mummy label in Greek:

Mummy label in Greek :

collectionName : Egypt
inventoryNb : E.00401
objectName :
objectTitle : Mummy label in Greek
objectCulture : Egyptian
geography :
dating : 30 BC - AD 395 (uncertain)
material :
technique :
dimensions : Height: 12,5 cm, Width: 6,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : From the Roman Period, a wooden label was attached to the neck of a mummy, usually with a string. These rectangular, wooden labels have the shape of a small stela. The texts were written in Greek or Demotic, and sometimes even in both languages. They contain short religious formulas and personal information about the deceased.

↑ , Stela of Hor-ka:

Stela of Hor-ka :

collectionName : Egypt
inventoryNb : E.00513a
objectName :
objectTitle : Stela of Hor-ka
objectCulture : Egyptian
geography :
dating : 3000 BC - 2890 BC
material :
technique :
dimensions : Height: 19 cm, Width: 17 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Stelae of private individuals of the first dynasty are mainly originating from Abydos. They were roughly executed and state the name (and sometimes titles) of their owner. The stela of Hor-ka was found in one of the small mastabas surrounding the Royal Tombs. Excavation: Petrie 1902

↑ , Scarab with monkeys shaking palm tree:

Scarab with monkeys shaking palm tree :

collectionName : Egypt
inventoryNb : E.05388
objectName :
objectTitle : Scarab with monkeys shaking palm tree
objectCulture : Egyptian
geography :
dating : 1295 BC - 715 BC
material :
technique :
dimensions : Height: 1,9 cm, Width: 1,4 cm, Depth: 0,9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The ancient Egyptians sometimes use the data palm as a symbol for the word ‘year’ (“rnpt”). The monkeys can also have the phonetic value “nfr” (‘good, beautiful’). The scene can thus be ‘translated’ in ‘good year’, a hidden new year’s wish. Scarabs with similar compositions date from the 19th-22nd dynasty.

↑ , Standard or idol:

Standard or idol :

collectionName : Iran
inventoryNb : 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.

↑ , Spiked axe head:

Spiked axe head :

collectionName : Iran
inventoryNb : IR.0053
objectName :
objectTitle : Spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 18 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Standard or idol:

Standard or idol :

collectionName : Iran
inventoryNb : 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 : Iran
inventoryNb : 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.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0245
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 19,5 cm, Width: 18 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated jar with a handle and a spout:

Decorated jar with a handle and a spout :

collectionName : Iran
inventoryNb : IR.0254
objectName :
objectTitle : Decorated jar with a handle and a spout
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 22 cm, Width: 23 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0255
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 19 cm, Width: 19 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0273
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 20 cm, Width: 30,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0294
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 20 cm, Width: 29 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spouted bowl with a handle and red painted decoration. On one end of the spout, a spiral is placed. The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Spouted bowl:

Spouted bowl :

collectionName : Iran
inventoryNb : IR.0295
objectName :
objectTitle : Spouted bowl
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 25,5 cm, Width: 30 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Decorated jar with a handle and a spout:

Decorated jar with a handle and a spout :

collectionName : Iran
inventoryNb : IR.0296
objectName :
objectTitle : Decorated jar with a handle and a spout
objectCulture : Iranian
geography :
dating : 1000 BC - 601 BC
material :
technique :
dimensions : Height: 21 cm, Width: 24,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The white slip pottery with red painted decoration from Tepe Siyalk can be seen as a local development of the grey ceramics from the Iron Age I. This pottery dates to the Iron Age II-III (10th - 7th century BCE). The spout is usually connected to the neck of the vase, while a "crop" in the spout sometimes takes the form of a human head or animal. In general, this type of pottery is entirely painted, including the bottom. In addition to geometric patterns, animals, human figures and fabulous creatures are depicted. This type was discovered for the first time during the French excavation at a cemetery near Tepe Siyalk, an archaeological site close to the modern city of Kashan. Between 1933 and 1937, this site was excavated under the direction of Roman Girshman, on behalf of the Louvre. Similar vases, sold on the art market, probably also came from this site.

↑ , Standard or idol of the “Master of the Animals type”:

Standard or idol of the “Master of the Animals type” :

collectionName : Iran
inventoryNb : 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 spiked axe head:

Bronze spiked axe head :

collectionName : Iran
inventoryNb : IR.0526
objectName :
objectTitle : Bronze spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 5,5 cm, Width: 18,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Bronze spiked axe head:

Bronze spiked axe head :

collectionName : Iran
inventoryNb : IR.0542
objectName :
objectTitle : Bronze spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 10 cm, Width: 23 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Spiked axe head:

Spiked axe head :

collectionName : Iran
inventoryNb : IR.0543
objectName :
objectTitle : Spiked axe head
objectCulture : Iranian
geography :
dating : 1300 BC - 801 BC
material :
technique :
dimensions : Height: 7 cm, Width: 19 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Spiked axe head. The spikes (or "fingers") on the socket are a typical characteristic of Luristan axes. The blade is often strongly bent. The "fingers" are sometimes modelled as animals, while in other case small animal figurines were added to the axe blade. Some of these spiked axes, found on the art market, bear dedication inscriptions of Elamite and Neo-Babylonian kings, indicating that they were kept in temples. This was confirmed by the discovery of miniature spiked axes in a temple at Surkh Dum-i Luri, and in a deposit of bronze objects in Sangtarashan, probably also originating from a temple. However, the fact that they were also found in tombs at Bard-i Bal, Kutal-i Gulgul and Khatunban indicates that they were actually used. They can be dated to the early Iron Age, between the 13th and 9th century BCE.

↑ , Idol or banner:

Idol or banner :

collectionName : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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 : Iran
inventoryNb : 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.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0635
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 33 cm, 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0638
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 15 cm, 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with horned man. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0647
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 27 cm, 12 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with a human head, surrounded by a frieze with fantastic and naturalistic animals. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0649
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 17 cm, 5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with a human head, flanked by two standing lions. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0662
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin, person sitting on a lying lion. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0672
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 22 cm, 10,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin, woman holding palm branches in both hands, flanked by two lions. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0673
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 13,5 cm, 7 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Disc-shaped pin head, decorated with the head of a woman. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0685
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1300 BC - 601 BC
material :
technique :
dimensions : Dimensions H x D: 21 cm, 11,3 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0691
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Dimensions H x D: 24,5 cm, 11,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0692
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Votive pin with seated man and bird. The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0704
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 18 cm, Width: 9,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0705
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 6 cm, Width: 7,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Disc-headed pin:

Disc-headed pin :

collectionName : Iran
inventoryNb : IR.0716
objectName :
objectTitle : Disc-headed pin
objectCulture : Iranian
geography :
dating : 1000 BC - 701 BC
material :
technique :
dimensions : Height: 6 cm, Width: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The pins with cast or hammered disc-shaped heads all belong to the former collection of Egbert Graeffe, acquired by the RMAH in 1954. They were purchased by Graeffe in Iran between 1936 and 1945, and probably originate from Surkh Dum-i Luri. In June 1938, a sanctuary was excavated by an American expedition, after the authorities stopped clandestine excavations there. Even though the sanctuary had been largely looted, the expedition still managed to discover hundreds of votive objects hidden in the walls and floors of the building. They found a large amount of similar looking pins, some even identical. Up till now, no such pins have been found during scientific excavations. Although it cannot be excluded that such large, and sometimes heavy, pins were made as votive objects, it is likely that they were worn effectively before they were deposited in the sanctuary. Other types of pins were found in Surkh Dum-i Luri, which are also known from tombs and houses and were known to have a practical function. The dating of these disc-shaped pins is particularly difficult because objects are sometimes kept in shrines for a very long period. The majority probably dates from the 10th to the 8th century BCE. The combination of iron pins with cast bronze heads seems to confirm this. The motifs are very diverse and include scenes with plants, naturalistic and fantastic animals, human heads, human figures and geniuses.

↑ , Decorated cheek piece from a horse bit:

Decorated cheek piece from a horse bit :

collectionName : Iran
inventoryNb : IR.0782
objectName :
objectTitle : Decorated cheek piece from a horse bit
objectCulture : Iranian
geography :
dating : 1300 BC - 791 BC
material :
technique :
dimensions : Height: 19 cm, Width: 16 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Bronze cheek piece in the shape of a winged bull with the head of a genie (?). Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Decorated cheek piece from a horse bit:

Decorated cheek piece from a horse bit :

collectionName : Iran
inventoryNb : IR.0783
objectName :
objectTitle : Decorated cheek piece from a horse bit
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 12 cm, Width: 14,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Cheek piece in the shape of two winged lions, standing face to face. They hold two goats on their hind legs, while resting their own hind leg on the head of the goats. In the central part of the goat's bodies, a hole was made for the bit. Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Horse bit with decorated cheekpieces:

Horse bit with decorated cheekpieces :

collectionName : Iran
inventoryNb : IR.0785
objectName :
objectTitle : Horse bit with decorated cheekpieces
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Horse bit with decorated cheekpieces:

Horse bit with decorated cheekpieces :

collectionName : Iran
inventoryNb : IR.0788
objectName :
objectTitle : Horse bit with decorated cheekpieces
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 10,8 cm, Width: 10 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Horse bit with decorated cheekpieces:

Horse bit with decorated cheekpieces :

collectionName : Iran
inventoryNb : IR.0790
objectName :
objectTitle : Horse bit with decorated cheekpieces
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 15 cm, Width: 13 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The cheek plate shows a mythical animal, a winged bull with a horned human head. Its wing is shaped like the head of an animal. Its tail resembles the long tail often found on bronze idols, where it represents the tail of feline predators. Even the baseline on which the creature stands, has the form of an animal, more specifically of two lying hares. Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Horse bit with decorated cheekpieces:

Horse bit with decorated cheekpieces :

collectionName : Iran
inventoryNb : IR.0791
objectName :
objectTitle : Horse bit with decorated cheekpieces
objectCulture : Iranian
geography :
dating : 1300 BC - 750 BC
material :
technique :
dimensions : Height: 10 cm, Width: 11 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Horse bits with decorative cheek pieces form an important group of the Luristan bronzes. Simple figurative cheek pieces in the shape of walking horses are known, among others, from Marlik tepe in N-Iran and are also sporadically depicted on Neo-Assyrian reliefs in Mesopotamian palaces. Only in Luristan, however, did the cheek plates show a varied iconography. They depict either animals, fabulous creatures, mythological scenes or battle scenes. The cheek plates were sometimes remarkably large and heavy. Therefore, it was often stated that such horse bits were not intended for practical use, and were produced as votive or grave gifts. However, clear traces of wear have been seen on several bits, indicating a prolonged or intensive use. So far, not a single horse bit with decorative cheek plates was discovered during a scientific excavation, so that their precise dating and evolution is still controversial. Their origin from the art market also explains why cheek plates of the same horse bit ended up in different collections. By analogy with other characteristic Luristan bronzes, e.g. idols and axes, an evolution from a fairly simple naturalistic to an increasingly complicated iconography can be proposed for the 13th to the 9th or early 8th century BCE.

↑ , Pitcher:

Pitcher :

collectionName : Iran
inventoryNb : IR.1043
objectName :
objectTitle : Pitcher
objectCulture : Iranian
geography :
dating : 800 BC - 501 BC
material :
technique :
dimensions : Height: 14,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Northern-Iranian orange ware. In Northern Iran, as elsewhere in Iran, a clearly recognizable local culture developed during the Iron Age. The orange-coloured ware, sometimes polished in order to create a shiny surface, is particularly characteristic of the Late Iron Age (8th-6th centuries BCE). This type of pottery was found in tombs, e.g. in Kaluraz.

↑ , Orange-coloured dish:

Orange-coloured dish :

collectionName : Iran
inventoryNb : IR.1261
objectName :
objectTitle : Orange-coloured dish
objectCulture : Iranian
geography :
dating : 800 BC - 501 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Northern-Iranian orange ware. In Northern Iran, as elsewhere in Iran, a clearly recognizable local culture developed during the Iron Age. The orange-coloured ware, sometimes polished in order to create a shiny surface, is particularly characteristic of the Late Iron Age (8th-6th centuries BCE). This type of pottery was found in tombs, e.g. in Kaluraz.

↑ , Jar with spherical body:

Jar with spherical body :

collectionName : Iran
inventoryNb : IR.1747
objectName :
objectTitle : Jar with spherical body
objectCulture : Iranian
geography :
dating : 800 BC - 501 BC
material :
technique :
dimensions : Height: 13,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Northern-Iranian orange ware. In Northern Iran, as elsewhere in Iran, a clearly recognizable local culture developed during the Iron Age. The orange-coloured ware, sometimes polished in order to create a shiny surface, is particularly characteristic of the Late Iron Age (8th-6th centuries BCE). This type of pottery was found in tombs, e.g. in Kaluraz.

↑ , Spherical vase:

Spherical vase :

collectionName : Iran
inventoryNb : IR.1759
objectName :
objectTitle : Spherical vase
objectCulture : Iranian
geography :
dating : 800 BC - 601 BC
material :
technique :
dimensions :
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Northern-Iranian orange ware. In Northern Iran, as elsewhere in Iran, a clearly recognizable local culture developed during the Iron Age. The orange-coloured ware, sometimes polished in order to create a shiny surface, is particularly characteristic of the Late Iron Age (8th-6th centuries BCE). This type of pottery was found in tombs, e.g. in Kaluraz.

↑ , Hyakunin isshu uba ga etoki (One hundred poets, one poem each, explained by the wetnurse): Fujiwara no Yoshitaka:

Hyakunin isshu uba ga etoki (One hundred poets, one poem each, explained by the wetnurse): Fujiwara no Yoshitaka :

collectionName : Japan
inventoryNb : JP.03149
objectName :
objectTitle : Hyakunin isshu uba ga etoki (One hundred poets, one poem each, explained by the wetnurse): Fujiwara no Yoshitaka
objectCulture :
geography :
dating : ca. AD 1835 - AD 1836
material :
technique :
dimensions : Dimensions H x Lo: 25,2 cm, 36,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Iseya Sanjirô, publisher. Kiwame, censor's stamp. Ôban format. A group of men and women are taking the air and resting on the terrace of the public baths. 'We are no doubt meant to see in the wisps of steam and the languid poses of the figures a subtle allusion to the love poem by Fujiwara no Yoshitaka (954-974): Let my life, wbich meant nothing to me, be prolonged for your good: such is my thought. Traditionally artists had been content to illustrate poems with a portrait of their author until this point. Hokusai broke new ground by making a graphic interpretation of the poem in a way that was both free and personal, and by resorting to sometimes abstruse associations of ideas. It was generally very profitable for the publishing world to take up a theme from the anthology 'A hundred poems by a hundred poets', as a surprisingly large number of Japanese people knew the work by heart. In fact it featured in one of the most popular New Year entertainments involving two packs of cards. The leader read aloud the first few lines of a poem from a card picked at random from the first pack of cards, and the other players then had to rush to find the next lines among the cards from the second pack that were spread out before them in no particular order.

↑ , :

:

collectionName : African musical instruments
inventoryNb : KUM0048
objectName :
objectTitle :
objectCulture : Mijikenda, Digo Mijikenda, Duruma
geography :
dating : before AD 2018
material :
technique :
dimensions :
legalRightOwner : Kenyatta University - Department of Music and Dance

objectDescription : "The ndonga is a vessel rattle which can be made of all kind of tins. some are bigger, some are smaller. Sometimes they have small holes to let out the sound. Sometimes used in a pair; used in the Mshago dance. Always accompanying other instruments such as the mambumbumbu (plural for bumbumbu)" (Daniel Mabonga, Music department, Kenyatta University, 24 November 2018)

↑ , :

:

collectionName : African musical instruments
inventoryNb : KUM0055
objectName :
objectTitle :
objectCulture : Iteso
geography :
dating : before AD 2016
material :
technique :
dimensions :
legalRightOwner : Kenyatta University - Department of Music and Dance

objectDescription : "Lamellophone resembling the Central African likembe, but with the sound box made of a carved out piece of wood with no glued on piece of wood closing the side (as is the case with the likembe). No rattling objects at the inside. Nine lamellas of different length to produce different pitches. The Adong'o can be used as a solo instrument, but is also played in ensembles. As a solo instrument it accompanies the singing, for instance in lamenting. Sometimes accompanied by a Atenusi drum." (Daniel Mabonga, Geoffrey Aswani, Music department, Kenyatta University, 24, 26 November 2018)

↑ , Isikuti isatsa:

Isikuti isatsa :

collectionName : African musical instruments
inventoryNb : KUM0058
objectName :
objectTitle : Isikuti isatsa
objectCulture : Luhya, Isukha
geography :
dating : before AD 2016
material :
technique :
dimensions :
legalRightOwner : Kenyatta University - Department of Music and Dance

objectDescription : "The sound box is a log carved out, leaving out two protuberances to put the strap through. A lizzard skin is attached to the log with pins going through a rubber strap to hold the skin. The leather strap has been replaced by a cloath one. Isikuti are played in sets of three; this is the biggest one, representing the father of the family; it plays the decorative rhythm; played with the palms of the hands. It is the lowest sounding one of the three. Hung around the shoulder when played. Tuning by placing it next to the fire. Sometimes liquid is poured in the drum to lower the sound. The instrument is quite old, much used, also during community social events such as festivals of bull fighting, marriages an during ritual performances. The isikuti accompany the isikuti dances and is used for communication: used to summon the people; the people know what it means "something is happening, let's go and see" (Valentine Kihuha, Daniel Mabonga, Music Department, Kenyatta University, 22-24 November 2018)

↑ , :

:

collectionName : African musical instruments
inventoryNb : KUM0072
objectName :
objectTitle :
objectCulture : Iteso
geography :
dating : AD 2015
material :
technique :
dimensions :
legalRightOwner : Kenyatta University - Department of Music and Dance

objectDescription : "Lamellophone resembling the Central African likembe, but with the sound box made of a carved out piece of wood with no glued on piece of wood closing the side (as is the case with the likembe). No rattling objects at the inside. Nine lamellas of different length to produce different pitches. The Adong'o can be used as a solo instrument, but is also played in ensembles. As a solo instrument it accompanies the singing, for instance in lamenting. Sometimes accompanied by a Atenusi drum." (Daniel Mabonga, Geoffrey Aswani, Music department, Kenyatta University, 24, 26 November 2018)

↑ , Cylinder seal with figures and altar (?):

Cylinder seal with figures and altar (?) :

collectionName : Near East
inventoryNb : O.00042
objectName :
objectTitle : Cylinder seal with figures and altar (?)
objectCulture : Mesopotamia
geography :
dating : 2000 BC - 1600 BC
material :
technique :
dimensions : Dimensions H x D: 2,1 cm, 1,1 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : Three figures wearing long robes approach a large rectangular structure. This is sometimes interpreted as a shrine, or as the stylized version of an inscription panel.

↑ , Jar with rounded body:

Jar with rounded body :

collectionName : Near East
inventoryNb : 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.

↑ , Libation spoon:

Libation spoon :

collectionName : Near East
inventoryNb : O.04710
objectName :
objectTitle : Libation spoon
objectCulture : Syrian
geography :
dating : 1000 BC - 751 BC
material :
technique :
dimensions : Depth: 8,6 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of libation or offering spoons boomed at the beginning of the first millennium, until the Aramaic states of northern Syria became part of the Assyrian empire. The al-Ghab Plain, east of the Orontes, was one of the major production centers of these objects. They were either not decorated, or were adorned with a hand or Sacred Tree in relief on the back of the spoon. The spoons were sometimes in the shape of a lion holding a cup between his teeth. Sometimes, they were decorated with inlay and imitating, in a rather baroque way, the style of ivory objects. Some authors presume, based on Egyptian and Hittite prototypes, that they were originally mounted on a long, perforated handle, and used to perform libations. Others believe that they served as corks and small drinking cups for the wine that was kept in wine bags made from animal skin.

↑ , Libation spoon:

Libation spoon :

collectionName : Near East
inventoryNb : O.04711
objectName :
objectTitle : Libation spoon
objectCulture : Syrian
geography :
dating : 1000 BC - 751 BC
material :
technique :
dimensions : Depth: 6,8 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of libation or offering spoons boomed at the beginning of the first millennium, until the Aramaic states of northern Syria became part of the Assyrian empire. The al-Ghab Plain, east of the Orontes, was one of the major production centers of these objects. They were either not decorated, or were adorned with a hand or Sacred Tree in relief on the back of the spoon. The spoons were sometimes in the shape of a lion holding a cup between his teeth. Sometimes, they were decorated with inlay and imitating, in a rather baroque way, the style of ivory objects. Some authors presume, based on Egyptian and Hittite prototypes, that they were originally mounted on a long, perforated handle, and used to perform libations. Others believe that they served as corks and small drinking cups for the wine that was kept in wine bags made from animal skin.

↑ , Statue of a worshipper:

Statue of a worshipper :

collectionName : Near East
inventoryNb : O.04754
objectName :
objectTitle : Statue of a worshipper
objectCulture : Mesopotamia
geography :
dating : 2550 BC - 2350 BC
material :
technique :
dimensions : Height: 8 cm, Width: 5,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : During the Early Dynastic period, statues of private individuals emerged. Usually, these were small statues of men or woman with their hands clasped together. They sometimes hold a bowl or animal, probably symbolizing an offer to the gods. These statues were left in temples, in order to repeat the daily offer to the gods. This particular worshipper, his head was already lost in antiquity, wears the famous kaunakes, a garment of which it is still unknown whether it was worn daily or only during religious ceremonies. The quality of this statue is rather poor, and it cannot match the standards of statues found in the Diyala or Mari. It does nevertheless contain some interesting features. The hairstyle with two long strands ending in a curl is very exceptional, especially when compared to other regional types.

↑ , Libation spoon:

Libation spoon :

collectionName : Near East
inventoryNb : O.04760
objectName :
objectTitle : Libation spoon
objectCulture : Syrian
geography :
dating : 1000 BC - 501 BC
material :
technique :
dimensions : Height: 4 cm, Width: 5 cm, Depth: 9 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of libation or offering spoons boomed at the beginning of the first millennium, until the Aramaic states of northern Syria became part of the Assyrian empire. The al-Ghab Plain, east of the Orontes, was one of the major production centers of these objects. They were either not decorated, or were adorned with a hand or Sacred Tree in relief on the back of the spoon. The spoons were sometimes in the shape of a lion holding a cup between his teeth. Sometimes, they were decorated with inlay and imitating, in a rather baroque way, the style of ivory objects. Some authors presume, based on Egyptian and Hittite prototypes, that they were originally mounted on a long, perforated handle, and used to perform libations. Others believe that they served as corks and small drinking cups for the wine that was kept in wine bags made from animal skin.

↑ , Libation spoon:

Libation spoon :

collectionName : Near East
inventoryNb : O.04765
objectName :
objectTitle : Libation spoon
objectCulture : Aramean
geography :
dating : 1000 BC - 501 BC
material :
technique :
dimensions : Height: 9,5 cm, Width: 6,8 cm, Depth: 3,2 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of libation or offering spoons boomed at the beginning of the first millennium, until the Aramaic states of northern Syria became part of the Assyrian empire. The al-Ghab Plain, east of the Orontes, was one of the major production centers of these objects. They were either not decorated, or were adorned with a hand or Sacred Tree in relief on the back of the spoon. The spoons were sometimes in the shape of a lion holding a cup between his teeth. Sometimes, they were decorated with inlay and imitating, in a rather baroque way, the style of ivory objects. Some authors presume, based on Egyptian and Hittite prototypes, that they were originally mounted on a long, perforated handle, and used to perform libations. Others believe that they served as corks and small drinking cups for the wine that was kept in wine bags made from animal skin.

↑ , Libation spoon:

Libation spoon :

collectionName : Near East
inventoryNb : O.04766
objectName :
objectTitle : Libation spoon
objectCulture : Aramean
geography :
dating : 1000 BC - 501 BC
material :
technique :
dimensions : Height: 9 cm, Width: 5,5 cm, Depth: 3,5 cm
legalRightOwner : Musées royaux d'art et d'histoire/Koninklijke Musea voor Kunst en Geschiedenis

objectDescription : The production of libation or offering spoons boomed at the beginning of the first millennium, until the Aramaic states of northern Syria became part of the Assyrian empire. The al-Ghab Plain, east of the Orontes, was one of the major production centers of these objects. They were either not decorated, or were adorned with a hand or Sacred Tree in relief on the back of the spoon. The spoons were sometimes in the shape of a lion holding a cup between his teeth. Sometimes, they were decorated with inlay and imitating, in a rather baroque way, the style of ivory objects. Some authors presume, based on Egyptian and Hittite prototypes, that they were originally mounted on a long, perforated handle, and used to perform libations. Others believe that they served as corks and small drinking cups for the wine that was kept in wine bags made from animal skin.