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The Apotheosis of War. The Apotheosis of War is a mid 19th century painting by Russian war artist Vasily Vereshchagin. Following his completion of the painting, Vereshchagin dedicated his work "to all great conquerors, past, present and to come". Done in oil on canvas, the painting depicts a pile of skulls outside the walls of a city in Central ...
Summary. Description Bison skull pile edit.jpg. English: Photograph from 1892 of a pile of American bison skulls in Detroit (MI) waiting to be ground for fertilizer or charcoal. Date. 27 May 2011, 22:06 (UTC) Source. Original taken at Michigan Carbon Works, Rougeville, Michigan. 1892.
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The Killing Fields (Khmer: វាលពិឃាត, Khmer pronunciation: [ʋiəl pikʰiət]) are sites in Cambodia where collectively more than 1.3 million people were killed and buried by the Communist Party of Kampuchea during Khmer Rouge rule from 1975 to 1979, immediately after the end of the Cambodian Civil War (1970–75). The mass ...
Voting period ends on 4 Jun 2011 at 15:51:01 (UTC) Original - A pile of bison skulls in the 1870s. Alt 1: unrestored version. Alt 2: much more conservatively restored version. Reason. Previously featured (recently delisted for resolution) for its high EV and impact nothing has changed except its size. Articles in which this image appears.
A tzompantli, illustrated in the 16th-century Aztec manuscript, the Durán Codex. A tzompantli (Nahuatl pronunciation: [t͡somˈpant͡ɬi]) or skull rack was a type of wooden rack or palisade documented in several Mesoamerican civilizations, which was used for the public display of human skulls, typically those of war captives or other sacrificial victims.
The human skull is an obvious and frequent symbol of death, found in many cultures and religious traditions. [1] Human skeletons and sometimes non-human animal skeletons and skulls can also be used as blunt images of death; the traditional figures of the Grim Reaper – a black-hooded skeleton with a scythe – is one use of such symbolism. [2]
Pyramid of Skulls is an oil on canvas painting produced in 1901. The subject matter was depicted in a pale light against a dark background. The composition is notable for the closeness of the skulls to the viewer. [3] Paul Cézanne. Three Skulls, 1902–1906, graphite and watercolor on paper. Art Institute of Chicago.