#bronze figure

[skf-fineart]

Statue of a Victorious Youth, Greek, 300–100 B.C.

Bronze with inlaid copper

59 5/8 × 27 9/16 × 11 in., 142 lb.

The J. Paul Getty Museum, Villa Collection, Malibu, California

A naked youth stands with his weight on his right leg, crowning himself with a wreath, probably olive. The olive wreath was the prize for a victor in the Olympic Games and identifies this youth as a victorious athlete. The eyes of the figure were originally inlaid with colored stone or glass paste, and the nipples were inlaid with copper, creating naturalistic color contrasts. Found in the sea in international waters, this statue is one of the few life-size Greek bronzes to have survived; as such, it provides much information on the technology of ancient bronze casting. 

[beckerantiques]

Grey Schist Bodhisattva Gandhara

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[lunegrimm]

I decided to quickly add some textures to a 3D "sketch" (I don't know what else to call it ) I started a few months ago as a test for a new potential figure idea

Fitting for the wolf moon and werewolf wednesday :)

[zegalba]

Do Ho Suh: Grass Roots Square (2012)

bronze sculptures cast next to each other and attached to a steel plate by welding. A lone tree is planted along with the sculptures. It is approx. 400 different human figures.

[thatshowthingstarted]

"Celestial horse," Han dynasty, 1st-2nd century CE.

Bronze, 44 7/8 x 34 1/2 x 14 1/2 in. (113.98 x 87.63 x 36.83 cm),

Courtesy China Institute of America

[blueiscoool]

Ancient Egyptian Bronze Figure of Bastet Cat 21st/26th Dynasty, 1075-525 B.C.

[thesilicontribesman]

Roos Carr Figures, Late Bronze Age to Early Iron Age (606 to 508 BCE), Yew and Quartzite, The Hull and East Riding Museum of Archaeology, Hull

[figureskatingpenguin]

Rion Sumiyoshi (JPN): Adiemus | 2024 Grand Prix de France, FS

a glimpse at rion sumiyoshi's spritely program, which projects "the joy of plants receiving the blessing of rain!" 🌱

[miamaimania]

"Space Venus" by Salvador Dalí

[fromthedust]

Anthropomorph - bronze - India - Bronze Age, c. 1500-1000 BCE

[dapurinthos]

oHO the complete cross-section image of the jedi temple. the leftmost corner is cut-off in the actual book. it's not really anything new but i demand completion if the completion has already been achieved.

- christian a piccolo

the room of 1000 fountains is supposed to be seven storeys tall (the lake level is five) & the way the cross-section sets it up is that the arcade that goes around the entirety of the temple (as can be seen in the whole cross-section) is also seven storeys tall. which works. it works with how the main entrance is seen in the films.

[blondebrainpowered]

An Art Deco patinated and silvered bronze, frosted glass and ivory 'Harlequin' figural lamp. Cast and carved from a model by Marcel-André Bouraine, ca. 1925.

[beckerantiques]

Early Kamakura Period Katana

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[city-of-ladies]

"The prominence of female divinity in Minoan culture might well have reflected the prominence of Minoan women in daily life. In Shang dynasty China, the authority of goddesses such as the Eastern and Western Mothers was echoed to some degree by the authority of women in elite society and even the army. Fu Jing and Fu Hao, wives of King Wu Ding, led men into battle before being honoured in death with monumental tombs containing the victims of human sacrifice, battle axes, knives and arrowheads. In Egypt, many of the images of Hatshepsut were destroyed or defaced after her death when her name was removed from the official list of rulers by her male successors, who sought to claim direct descent from her husband. It is possible that images of powerful Minoan women were subject to similar mistreatment.

While there is no evidence that Minoan women ruled in the same manner as Hatshepsut, or joined battle like the women of Shang China, the sheer number of artworks depicting them centrally placed and on a larger scale than men has prompted some historians to speculate that Minoan society was matriarchal or matrilineal. ‘Neopalatial Crete,’ writes one scholar, ‘presents the best candidate for a matriarchy – if one ever existed.’ There is nothing to say that the position of Minoan women was in any way secondary to that of men. 

Minoan women were certainly not confined to the weaving room. Sculptures show them playing lyres, flutes and zithers, sashaying in flounced chevron-patterned skirts and raising their arms in the air in ecstasy. In the ‘Grandstand Fresco’ from Knossos the women are more carefully delineated in paint than the men. Each woman has her own identity, her own style. The women appear to occupy the main rooms of the palace while the men congregate as an anonymous mass beyond. Women depicted seated – a sign of divinity or authority – are often being approached by men or animals. A highly enigmatic fresco at Thera (Santorini), for example, features a woman wearing large hoop earrings, a snake in her hair, and a neck-chain of ducks, sitting on a dais with a griffin beside her while a blue monkey pays her court.

 On a gold ring, a female deity, we may presume, is seated beneath a tree, where she receives flowers from two women. A smaller figure of a man with a double-headed axe over his head hovers between them.  By depicting the man beneath the axe, and on a smaller scale than the women, the engraver of the ring perhaps hoped to convey that he was a divine vision, almost a thought-bubble, originating in one of the female worshipper’s heads. Trees, as Arthur Evans recognised, were sacred in Minoan culture, and were perhaps believed to be capable of inspiring divine visions in those who honoured them. Such artworks contribute to the picture of Minoan women exerting considerable religious authority in the palace complexes and society more widely. 

Minoan women also played a crucial role in ritual. The early Minoans sometimes interred their dead twice by exhuming the bones of their family members and resettling them later in jars. The more usual custom, however, was to bury the dead in chamber tombs or stone beehive-shaped ‘tholos’ tombs, clay sarcophagi or, in the case of infants, under the floorboards of the home. The colourful paintings on a rare limestone sarcophagus from Hagia Triada, circa 1400 bc, show three men carrying young animals and a model boat to the deceased, who stands in front of his tomb, ready to receive his provisions for the afterlife. There are also three women present, the first of whom pours a libation into a cauldron placed between two upright axes mounted by birds; the second carries further vessels; the third – darker skinned like the men and thus possibly of lower social status – has a lyre. On the other side of the sarcophagus the women assist in the sacrifice of a bull on an altar. Other wall paintings show women involved in rituals of their own involving blood.  A fresco from Akrotiri features a group of women, one of whom sits beside a sunken room or ‘lustral basin’ with a bleeding foot. A tree also bleeds. It is possible that lustral basins were used for purification by women during or after menstruation."

The Missing Thread: A Women's History of the Ancient World, Daisy Dunn

[lunegrimm]

A bith day gift for my good friend @artofmaquenda I finished lat year but never posted here. Sinc either brithday today again I felt it was the perfect time finally to do so :)

[thatshowthingstarted]

Figurine, Nordic Bronze Age, Ca. 740-550 B.C.

Tollense Valley, Germany,

Bronze, 5.5 inches tall; weight 5.4 ounces