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lordthoth: ancient-egypts-secrets: Weighing of the Feather and...

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lordthoth:

ancient-egypts-secrets:

Weighing of the Feather and the Heart

The Egyptians viewed the heart as the seat of intellect and emotion; as such, it played a central role in the rebirth of an individual in the afterlife. The heart of the individual was weighed against the feather representing the goddess of truth, Ma’at, in a judgment process overseen by Osiris, the lord of the underworld. The judgment was a frequent subject for funerary art, especially on papyri and coffins. Central to the scene was a large balance, with the heart in one pan and either a feather or a tiny figure of Ma’at, in the other pan. In most scenes, a demon called Ammit, “the Devourer,” crouches below the balance, anxiously awaiting the outcome. Should the heart of the deceased prove to be heavy with wrongdoing, it would be eaten by the demon, and the hope of an afterlife vanished. Oddly enough, the Egyptians never seem to have depicted the negative outcome of the weighing, only the joyful individual being received by Osiris and presented with offerings.

It was crucial that the heart remain with the body during the mummification process, in order to be present for the judgment. A protective amulet or heart scarab was typically wrapped with the mummy, in case the heart should be damaged or removed. Such amulets were frequently inscribed with a spell to prevent the heart from bearing false witness against the deceased before Osiris.

Mısır, antiquity


amare-habeo: Ossip Zadkine (1890-1967) Tête de Femme, 1930 via...

acidadebranca: akiamudesu: Oyasumi PunPun - Asano Inio ~ My...

tierradentro: “Light Red Over Black”, 1957, Mark Rothko.

ancientart: Terracotta column-krater (bowl for mixing wine and...

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ancientart:

Terracotta column-krater (bowl for mixing wine and water) Attributed to the Group of Boston. Greek, Late Classical, ca. 360–350 B.C.

Obverse, artist painting a statue of Herakles Reverse, Athena with deities

Representations of artists at work are exceedingly rare. This vase illustrates a craft for which virtually no evidence survives, that of applying pigment to stone sculpture using the technique of encaustic. The column and phiale (libation bowl) at the far left indicate an interior space, probably a sanctuary. In the foreground stands a statue of Herakles with his club, bow, and lion-skin. The painter, characterized by his cap and his garment worn to leave his upper body bare, applies a mixture of pigment and wax with a spatula to Herakles’ lion-skin. To the left, an African boy tends the brazier on which rods are heating that will spread the tinted wax. Above, Zeus, ruler of the gods, and Nike, personification of victory, preside as Herakles himself ambles in from the right to survey his image.

The reverse, in an outdoor setting, shows Herakles’ staunch protectress, Athena, seated in conversation with one of the Dioskouroi. To the left, Hermes, the messenger god, turns away from Pan, his son, while Eros plays with a bird below. Surely complementary, the pictures may refer to the apotheosis of Herakles. Rather than driving to Mount Olympos in a chariot, Herakles sees himself monumentalized in stone, while Athena, her task accomplished, takes her ease between divine travelers. 

Courtesy & currently located at the Metropolitan Museum of Art, New York, via their online collections.

Camille Corot - Corot’s Studio [c.1873] by Gandalf’s...

Camille Corot - Corot’s Studio [c.1873] by Gandalf’s...

archaicwonder: Roman Marbled Glass Snake - Eastern...

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archaicwonder:

Roman Marbled Glass Snake - Eastern Mediterranean or Italy, circa late 1st Century BC - early 1st Century AD

There were snakes in use in various oracle temples in ancient Greece and the early Roman Empire. The snake, in pre-Christian cultures, often represented eternal life, as the snake sheds its skins regularly, and keeps growing and surviving.


the-unknown-friend: Ernst Fuchs… Vision… 1953

nataliakoptseva: ле-желательности де-Шарко : Франсис...

nataliakoptseva: Rothko, Mark

http://my-ear-trumpet.tumblr.com/post/78561289114/pedestrian-palamite-the-oldest-hymn-to-the

hadrian6: Soldier attaching his breeches to his...

This Armenian Gospel book was produced in 904 of the Armenian...

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This Armenian Gospel book was produced in 904 of the Armenian era (1455 CE) at the monastery of Gamałiēl in Xizan by the scribe Yohannēs Vardapet, son of Vardan and Dilšat, and was illuminated by the priest Xačʿatur. The priest Pʿilipos commissioned the manuscript as a memorial to himself, his parents Łazar and Xutʿlumēlikʿ, and other relatives listed in the colophon on fols. 300r to 301v. Pʿilipos is depicted on fol. 14v alongside his brothers Yusēpʿ and Sultanša, as they kneel before the Virgin and Child enthroned (Theotokos). The book contains twenty-six full-page polychrome miniatures, including four Evangelist portraits; ornately designed canon tables; four decorated incipit pages; numerous marginal miniatures of floral and faunal motifs; and nineteen marginal miniatures of biblical characters or allusions to biblical narratives.

elpasha71: Mark Rothko Saffron 1957 Rothko, 1957


newsweek: Google just launched this treasure trove of old,...

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newsweek:

Google just launched this treasure trove of old, extinct newspapers, indexed for the internet. Google says this new feature is best used by, typing ‘site:google.com/newspapers, followed by the search terms you’d like to use. For example, if you’re searching for a scanned article on the Berlin wall, you would typing in: site:google.com/newspapers “the Berlin wall”.’

Illustration: Jan. 1, 1910 issue of L’abeille de la Nouvelle-Orleans, a New Orleans-based newspaper that ran from Jan. 1, 1846 - Dec, 28, 1929, covering some of the most tumultuous times in the American South, including the end of slavery, the U.S. Civil War and Black Tuesday, Oct. 29, 1929. 

Zengin bir koleksiyon gibi duruyor. theonides: You already...

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ancientart: A quick look at: Pulque in Mesoamerica. “In daily...

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ancientart:

A quick look at: Pulque in Mesoamerica.

In daily life and ceremonies, pulque (a fermented cactus drink) was poured from clay pots or containers which had the image of the god with an elegant bi-conical cup. The affect of drunkenness can be seen in this anthropomorphic sculpture where the eyes are represented with red shells." (NMOA)

Used as an intoxicating ritual sacred drink, pulque was consumed by priests, scattered on the ground, and was offered to the gods to drink. It appears to have also been associated with some forms of sacrifice, a sculpture at El Tajín shows a figure conducting a bloodletting-sacrifice, and adding his blood to the pulque. The intoxication it caused helped people in experiencing an altered state of being, which was done to aid their communication with the supernatural. 

The use of pulque also appears to have been used in the Day of the Dead festivities. Bernardino de Sahagún (1499-1590), sometimes referred to as the “first anthropologist”, spent over 50 years studying Aztec beliefs, culture and history. He conducted interviews with Aztec elders and other survivors of the war against Tenochtitlan. The following section from one of his accounts:

They also used to place the image of the dead on those grass wreaths. Then at dawn they put these images in their shrines, on top of beds or reed mace, sedge, or rush. Once the images were placed there, they offered them food, tamales, and gruel, or a stew made of chicken or dog’s meat. […] And the rich sang and drank pulque in honor of these gods and their dead, while the poor offered them only food. (via: Davíd Carrasco’s Religions of Mesoamerica: Second Edition)

Artifact shown courtesy & currently located at the National Museum of Anthropology, Mexico. Photo taken by Travis S.

The Metropolitan Museum of Art - The Eighteenth-Century Woman, Bernier Olivier (1982)

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The Metropolitan Museum of Art - The Eighteenth-Century Woman, Bernier Olivier (1982):

a-l-ancien-regime:

The hallmarks of the eighteenth century—its opulence, charm, wit, intelligence—are embodied in the age’s remarkable women. These women held sway in the salons, in the councils of state, in the ballrooms, in the bedrooms; they enchanted (or intimidated) the most powerful of men and presided over an extraordinary cultural flowering of unprecedented luxury and sophistication. It is this captivating world that Olivier Bernier recreates. A world in which the shrewdness of Madame de Pompadour or the beauty of Madame du Barry could change the course of great nations. A world that could encompass the piquant frankness of Abigail Adams and the dark plotting of the queen of Naples. This world has been swept away, but its great ladies, the first modern women, still speak to us.

Fourteen dashing and sometimes tragic women—empress and dressmaker, bluestocking and courtesan—come to life here in a series of lavishly illustrated essays. Delightfully informative, this timely book charts the beginnings of women’s liberation, illuminates the century for those who are unfamiliar with it, and provides new insights for those who know it well.

Guan Zilan (1903-1986) - 1929 Portrait of Miss L. by RasMarley...

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