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The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
19th century Ethiopian Healing Scroll from The Metropolitan Museum of Art. Scroll made of animal hide and pigment, W. 6 x L. 78 in. (15.24 x 198.12 cm). [12] The iconography of the scrolls includes important symbols, common colors, and the association between gaze and eyes. Talismans and representational images coexist on most scrolls. [13]
The Master of Animals, Lord of Animals, or Mistress of the Animals is a motif in ancient art showing a human between and grasping two confronted animals. [1] The motif is very widespread in the art of the Ancient Near East and Egypt. The figure may be female or male, it may be a column or a symbol, the animals may be realistic or fantastical ...
Lapidaries portrayed "the most common method of medical application" being wearing the stone on one's person in a jewelry setting, for example, in a ring or a necklace or held the stone against the skin. Allowing direct contact between the gem and the skin was encouraged to facilitate the transfer of healing properties. [19]
Animal-made art consists of works by non-human animals, that have been considered by humans to be artistic, including visual works, music, photography, and videography. Some of these are created naturally by animals, often as courtship displays , while others are created with human involvement.
Compartmented example from Tunisia. An example of the usual composition with animals in the 6th-century Gaza synagogue is identified as David by an inscription in Hebrew, and has added royal attributes. [4] Another adaptation is a Christian mosaic of Adam giving names to the animals (Genesis 2: 19–20) in a church of around 486–502 in Apamea ...
Gula (Sumerian: "the great" [1]) was a Mesopotamian goddess of medicine, portrayed as a divine physician and midwife.Over the course of the second and first millennia BCE, she became one of the main deities of the Mesopotamian pantheon, and eventually started to be viewed as the second highest ranked goddess after Ishtar.
J. E. Millais: The Return of the Dove to the Ark (1851). According to the biblical story (Genesis 8:11), a dove was released by Noah after the Flood in order to find land; it came back carrying a freshly plucked olive leaf (Hebrew: עלה זית alay zayit), [7] a sign of life after the Flood and of God's bringing Noah, his family and the animals to land.