The Neo Art’s Post

Antiquità: All You Need To Know #Antiquità #AntiquitiesGuide #HistoryAndCulture #AncientTreasures #ExploringAntiquità #CulturalHeritage #LearnAntiquities https://lnkd.in/eGfGvbXu

Exchange of Goods, Interconnected Civilisations, Trade A Buried Ancient Egyptian Port Reveals the Hidden Connections Between Distant Civilisations | Smithsonian : Pre Islamic Maritime Trade with Romans and Arabs with India Berenike was the Roman Empire’s southernmost port, from which fleets of merchant ships rode monsoon winds across the Indian Ocean and fueled an ocean trade that rivalled, and likely surpassed, the terrestrial Silk Road in economic importance. Now findings on both sides of the ocean are driving a broad reassessment of the interconnectedness of the ancient world. In antiquity, a site, known as Berenike, was described by chroniclers such as Strabo and Pliny the Elder as the Roman Empire’s maritime gateway to the East: a crucial entry point for mind-boggling riches brought across the sea from eastern Africa, southern Arabia, India and beyond. It is hard to imagine how such vast and complex trade could have been supported here, miles from any natural source of drinking water and many days’ arduous trek across mountainous desert from the Nile. Yet excavations are revealing that the stories are true. The finds are not only painting a uniquely detailed picture of life at a lesser known but critical crossroads between East and West. They are also focusing scholarly attention on a vast ancient ocean trade that may have dwarfed the terrestrial Silk Road in economic importance and helped sustain the Roman Empire for centuries. The stele is just one of a series of remarkable finds that have specialists scrambling to reassess their understanding of Rome’s connections to the Eastern world. Others include a magnificent Buddha statue, carved from Mediterranean marble and mixing Indian and Roman-Egyptian features, the first ever found anywhere in the ancient Western world. A second stele features a carved Greco-Roman arch that frames a triad of early Indian gods. Nothing like these objects, with their unmistakable blend of Eastern and Western styles, has ever been seen in the Roman world. Peter Stewart, a historian of classical art at the University of Oxford, described himself as “flabbergasted” by them. Shailendra Bhandare, an expert in ancient India at Oxford’s Ashmolean Museum, said that when he heard about the Indic triad, “I fell off my chair.” A Greco-Roman arch framing Indic gods, from left: Balarama, with a plough; Ekanamsa; Vasudeva, who later became Krishna, with a wheel and club. https://lnkd.in/di-mHYKc If you read ancient history - trade - culture - civilisation - innovation of yesteryear, it is but a given, that humans loved to exchange goods they created with that they did not create, and it was called trade. The geopolitics of trade - business - supply chain is a given, and very few in the modern world have understood this better than China, and India may be finally waking up to these global realities! 

Ancient Egyptian art was created to serve a practical purpose, not for its own sake, and so every piece had a specific function. At the same time, these works were crafted in accordance with the cultural value of ma'at (harmony) and so attention was paid to symmetry, balance, and aesthetics. A statue of a deity was made as a home for that god or goddess just as one made of a king – or a peasant – was created as an eternal image of that person that their soul would recognize and respond to after death but still needed to be aesthetically pleasing. Intricate amulets, bangles, and charms served to protect one from evil spirits, bad luck, and ghosts but were also decorative. Even ceramics, cosmetic spoons and boxes, and perfume bottles, all created for functional purposes, ornamented with symbols of protection and reminders of the gifts of the gods, were still fashioned to be visually stunning. The images in this gallery include some of the most famous works of ancient Egyptian art and others seldom seen. Statues range from deities to kings and queens to peasants and pets and wall paintings from simple domestic scenes like preparing a duck to the afterlife image of judgment before the god Osiris. The artists of ancient Egypt addressed all aspects of one’s journey through life and after death and, in doing so, created some of the most memorable artworks in world history. #EgyptianMythology #EgyptianCulture #EgyptianArt #History #WHE

𝗧𝗵𝗲 𝗜𝗻𝗱𝘂𝘀 𝗩𝗮𝗹𝗹𝗲𝘆 𝗖𝗶𝘃𝗶𝗹𝗶𝘇𝗮𝘁𝗶𝗼𝗻 𝗦𝗲𝗮𝗹𝘀 𝗮𝗻𝗱 𝗶𝗺𝗮𝗴𝗲𝘀 𝗣𝗮𝗿𝘁 𝟳 The IVC seals and images are a vital part of understanding this ancient culture. Here are some key aspects: 𝗧𝘆𝗽𝗲𝘀 𝗼𝗳 𝗦𝗲𝗮𝗹𝘀: 1. Stone seals (steatite, soapstone) 2. Terracotta seals 3. Metal seals (copper, bronze) 𝗖𝗼𝗺𝗺𝗼𝗻 𝗠𝗼𝘁𝗶𝗳𝘀: 1. Animals: - Unicorn-like creature (often considered a mythical animal) - Bull - Elephant - Tiger - Rhinoceros 2. Human figures: - Priest-king - Dancing girl - Male figures with elaborate headdresses 3. Geometric patterns: - Swastika - Spiral motifs - Grid patterns 4. Symbolic motifs: - Pipal leaf - Wheel 𝗡𝗼𝘁𝗮𝗯𝗹𝗲 𝗜𝗺𝗮𝗴𝗲𝘀: 1. Priest-king seal (Mohenjo-Daro) 2. Dancing girl statue (Mohenjo-Daro) 3. Great Bath (Mohenjo-Daro) 4. Unicorn seal (Harappa) 5. Bull seal (Harappa) 𝗜𝗻𝘁𝗲𝗿𝗽𝗿𝗲𝘁𝗮𝘁𝗶𝗼𝗻𝘀: 1. Religious symbolism 2. Economic and trade representations 3. Social hierarchy and governance 4. Artistic expression 𝗦𝗶𝗴𝗻𝗶𝗳𝗶𝗰𝗮𝗻𝗰𝗲: 1. Earliest known examples of Indian art 2. Insights into IVC's culture, trade, and daily life 3. Connection to later Indian art and symbolism

Amid Prime Minister Narendra Modi’s visit earlier this week, the US formally handed over 297 antiquities that were stolen or trafficked from India. The 297 artefacts are from a period between 2000 BCE and 1900 CE. While they originate from different parts of the country, the majority are terracotta works from eastern India. There are also artefacts of stone, metal, wood and ivory. India is pursuing agreements pertaining to the return of antiquities through both bilateral and multilateral routes. The US has so far returned a large number of such antiquities — ten in 2016, 157 in 2021, and 105 in 2023. The total number of artefacts returned to India by the US stands at 578, which is the highest number of cultural artefacts returned by any country to India. Time to shift the pressure onto the British Museum. :) https://lnkd.in/dy3K452N

Ancient Perfection: The Mystery of the Barabar Caves The Barabar Hill Caves are some of the oldest surviving rock-cut caves found in India, around 40km (25 miles) from Bodh Gaya in the state of Bihar. Mainly there are four caves: Karan Chaupar, Lomas Rishi, Sudama, and Visvakarma. They are carved from granite, and monolithic rock and are supposed to have been constructed by Emperor Ashoka. Additionally, there are three more caves in the Nagarjuni Hills. They have inscriptions that give the names of the kings they were built for (or under). The oldest is thought to date back to the 3rd century BC. The caves themselves were used by ascetics from the Ajivika, an Indian philosophy dating from the 5th century. These are people who would abstain from sexual gratification in order to pursue spiritual goals. The movement was founded by Makkhali Gosala, a contemporary of Buddha. Thus, it is no surprise that there are also Buddhist and Hindu sculptures from later periods. Most of the caves are made up of two chambers carved from stone. The surfaces are well-polished as are the decorations that adorn the chambers. But the effort to construct them in this way would have been immense: why were they carved out of solid rock? The Barabar caves have greatly influenced the tradition of rock-cut architecture across the Indian subcontinent. udama cave was dedicated by a Mauryan Emperor named Ashoka in 261 BC. The Mauryan empire ruled a huge swathe of India in the Iron Age and lasted from around 322 to 185 BC. The arches of this cave are more of a bow shape and consist of a vaulted chamber with a circular shape and a pillared rectangular hall. It is also located on the Southern side of the granite hill. The cave was likely the first one and is adorned with an inscription in Brahmi using the name Priyadarsin, meaning “He who brings joy”. One of the most interesting characteristics of this cave is the fact that the interior walls are perfectly flat and polished. It creates a mirror effect on the stone and allows the sound to bounce off the walls quite dramatically. The effect creates an amplified echo which may have been used to enhance the songs of monks or religious ceremonies.

Single source of truth on the chronological positioning of the Rgvedic Composition Period, Rama Era, Pandava Era and the Puranic Composition Period. Before 7000-6000 BCE, Sutlej joined Sarasvati. Then, it drifted towards Sindhu in progressive steps, forming hundreds of channels. Yamuna, too, joined Sarasvati before 10000-9000 BCE. Then, it drifted towards the Ganga in progressive steps, forming intermediate rivers like Yavyavati and Hariyupiya (also known as Drishadvati / Chautang). Thus, before 6000 BCE, the river networks or the hydrological picture of the Gangatic plain were drastically different from what is reflected in the Rgveda! Sutlej is already a tributary of Sindhu Rgveda, and Yamuna is a tributary of Ganga. This put an upper limit on the Rgvedic Composition Period and set the condition that it must be later than 6000 BCE. Similarly, the mention of technologies like Iron usage, horse chariot usage, etc., puts an upper limit of 2000 BCE on the Aitihasic Period, divided into the Rama Era and the Pandava Era. The Puranas mention the Nandas, Mauryas, Sungas, and Guptas as contemporary kings. Hence, the Puranic Composition Period is later and continued as late as 400 CE. Some of the Puranas, like Skanda Purana and Padma Purana, were edited as late as 1500 CE and mention many temples built in these periods as contemporary. Bhavishya Purana mentions even British Queen Victoria as a contemporary. Hence, it was edited as late as 1900 CE.

Tried using LLM as a historical art expert to have it identify country of origin and the time period it’s from. Here’s the output This statue appears to be from the Pala Empire, which flourished in the regions of Bengal and Bihar in India. The Pala style is known for its intricate stone carvings and detailed depictions of Buddhist deities. The characteristic features of this statue include: 1. **The seated posture** with legs crossed in the dhyana asana (meditative pose). 2. **The hand gesture** (mudra) suggests a teaching or meditative posture, often seen in Pala-period Buddha representations. 3. **The halo behind the head**, which is intricately carved and typically seen in Pala sculptures. 4. **The presence of smaller figures around the main statue**, which is a common trait in Pala art, depicting various attendant figures and bodhisattvas. Based on these features, this statue is likely from the 9th to 12th centuries, during the Pala period, which is renowned for its contribution to Buddhist art and iconography. See actual country and date in comment

Pearl: A Symbol of Piety and Vanity Since ancient times, pearls have been both adornments and symbols of deep meaning, embodying piety and spiritual purity, as well as worldly vanity. In various cultures and eras, pearls have held diverse significances. Reflection of Eternity in Painting Pearls have fascinated many, including artists like Anderson Bengal and K. Balmont. They’ve been a vital element in art, symbolizing beauty and purity, with origins traced back to myths of Aphrodite. Ancient Rome highly valued pearls, which symbolized nobility, and were traded by specialized merchants. Christian Symbolism In Christian art, pearls represented the Word of God and the promise of the Kingdom of Heaven, used to highlight the holiness and righteousness of figures like Christ and the Virgin Mary. Artists skillfully incorporated pearls into their works, reflecting their deep spiritual meanings. Renaissance and Beyond During the Renaissance, pearls symbolized purity and social status in portraits, especially of women. They represented chastity and nobility, crucial in conveying virtues in “wedding portraits.” Artists like Piero della Francesca and Holbein highlighted these themes. Royal Splendor Pearls adorned royals like Elizabeth I and Mary I Tudor, symbolizing purity and power. The story of pearls, like the Peregrina pearl, is intertwined with the history of European monarchs, representing their grandeur and elegance. Changing Times By the 18th century, the popularity of pearls declined as diamonds became the new symbol of power. However, pearls continued to be cherished in art and society, reflecting the changing tastes and cultural shifts. In conclusion, pearls have journeyed through history as symbols of luxury, purity, and power, deeply embedded in cultural and historical contexts. Their enduring allure continues to inspire and captivate generations.