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Antinous holding the thyrsus while posed as Dionysus (Museo Pio-Clementino). In Ancient Greece a thyrsus (/ ˈ θ ɜː r s ə s /) or thyrsos (/ ˈ θ ɜːr s ɒ s /; Ancient Greek: θύρσος) was a wand or staff of giant fennel (Ferula communis) covered with ivy vines and leaves, sometimes wound with taeniae and topped with a pine cone, artichoke, fennel, or by a bunch of vine-leaves and ...
An Eagle headed protective spirit holding a bucket and cone. A four-winged genie in the Bucket and cone motif. Relief from the north wall of the Palace of king Sargon II at Dur Sharrukin, 713–716 BC. Winged genie is the conventional term for a recurring motif in the iconography of Assyrian sculpture.
Bucket and cone refer to twin attributes that are frequently held in the hands of winged genies depicted in the art of Mesopotamia, and within the context of Ancient Mesopotamian religion. The iconography is particularly frequent in art from the Neo-Assyrian Empire (911–605 BCE ) , and especially Assyrian palace reliefs from this period.
The Cone Nebula, sometimes referred to as the Jesus Christ Nebula because of its resemblance to the popular depictions of Jesus with his hands in a prayer position.. People have been found to perceive images with spiritual or religious themes or import, sometimes called iconoplasms or simulacra, in the shapes of natural phenomena.
The boteh (Persian: بته), is an almond or pine cone-shaped motif in ornament with a sharp-curved upper end. [1] Though of Persian origin, it is very common and called buta in India , Azerbaijan , Turkey and other countries of the Near East . [ 1 ]
The Umayyads were known to employ Coptic and Orthodox Christian architects who would have been familiar with the classical motifs we see on the Mshatta facade. [7] Parallel to this theory, scholars have argued that the Sasanian motifs reproduced on the facade differ enough from their origins that they were likely influenced by Sasanian textiles ...
Since palm fronds are blessed before they are distributed on Palm Sunday, they hold a Holy status. That means you can't simply throw your Palm Cross away when the service is over.
David Wade [b] states that "Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration – which is to say, of transformation." [11] Wade argues that the aim is to transfigure, turning mosques "into lightness and pattern", while "the decorated pages of a Qur’an can become windows onto the infinite."