This image is included in Building Oregon: Architecture of Oregon and the Pacific Northwest, a digital collection which provides documentation about the architectural heritage of the Pacific Northwest.
This image is included in Building Oregon: Architecture of Oregon and the Pacific Northwest, a digital collection which provides documentation about the architectural heritage of the Pacific Northwest.
Painted limestone statue of Nenkheftka; damage to feet. --The British Museum, Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006
Marble statue of Demeter seated on a throne (the back part and arm-rails of the throne have broken away and are missing); her lower arms and hands are missing, but probably held a torch or libation bowl. The head was carved separately from the body and socketed into the neck. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and the dorsal pillar are inscribed with hieroglyphs. Curator's comments Jones 1990 [Information relating to registration nos. 1897,1009.1 (a) and 1921,0507.1 (b)] The period from about 700 BC to the Roman conquest witnessed a remarkable revival in Egyptian art, seemingly stimulated by the Nubian rulers who gained control of Egypt towards the end of the eighth century BC. One of the most influential factors in this revitalisation of art was the so-called 'archaising tendency', a harking back to the glories of what were regarded as the 'golden ages' of Egypt's past - the Old, Middle and New Kingdoms. The monuments of those periods were studied in detail and those qualities considered to be their finest were imitated in contemporary art, architecture, writing and religion. This was not done with any intention to deceive, but rather out of respect and admiration for the great achievements of the past, and out of a desire to identify the present more closely with those earlier epochs. Nowhere is this tendency more apparent than in private sculpture. The statue of the priest Tjayasetimu (b), which would have been placed in a temple to enable the owner's spirit to partake of the offerings, is clearly copied from the tomb statues made for private individuals in the Old Kingdom. That of Nenkheftka from Deshasha (a), is an excellent example of such a figure. The sculptor of the late statue has copied both the stiff formal pose, with left foot advanced and arms held rigidly at the sides, and the simple costume, reproducing carefully the short curled wig, fashionable in the Old Kingdom but not usual in the Late Period. Archaising sculptures of the 25th and 26th Dynasties are sometimes such successful imitations of earlier works that dating would be difficult were it not for the inscriptions, which provide essential clues. Since there is no reason to suppose that the texts of the present statue were later additions, the name of the owner, Tjayasetimu - not attested before the Late Period - is a reliable guide, while among his titles is that of Priest of the statues of King Psammetichus I (664-610 BC), demonstrating that the figure cannot be dated earlier than the middle of the seventh century BC. --The British Museum, Russmann, Edna R, Eternal Egypt: Masterworks of Ancient Art from the British Museum, London, BMP, 2001; Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990
Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. --The J. Paul Getty Museum