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Scythian art makes great use of animal motifs, one component of the "Scythian triad" of weapons, horse-harness, and Scythian-style wild animal art.The cultures referred to as Scythian-style included the Cimmerian and Sarmatian cultures in European Sarmatia and stretched across the Eurasian steppe north of the Near East to the Ordos culture of Inner Mongolia.
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.
Opposed animals are used in Insular art, the style of which is derived from a mixture of Celtic and northern European design traditions. Confronted animals, or animals intertwined in very intricate patterns, often depicted grabbing at each other to form the "gripping beast" pattern, are a main feature of some periods of Viking art. So ...
A motif may be repeated in a pattern or design, often many times, or may just occur once in a work. [1] A motif may be an element in the iconography of a particular subject or type of subject that is seen in other works, or may form the main subject, as the Master of Animals motif in ancient art typically does.
Sometimes the animals are clearly alive, whether fairly passive and tamed, or still struggling, rampant, or attacking. In other pieces they may represent dead hunter's prey. [5] Other associated representations show a figure controlling or "taming" a single animal, usually to the right of the figure.
The flesh of Trionyx was eaten from Predynastic times to as late as the Old Kingdom; later the flesh of turtles began to be considered an "abomination of Ra" and the animals were thought of as evil. Turtle carapaces and scutes from Red Sea turtles (Eretmochelys imbricata) were used in rings, bracelets, dishes, bowls, knife hilts, amulets, and ...
Certain animal species, such as the ornate boxfish, have detailed markings. How do these intricate patterns materialize? A team of engineers may have an answer.
In Africa, the spotted hyena is usually portrayed as an abnormal and ambivalent animal, considered to be sly, brutish, necrophagous and dangerous. It further embodies physical power, excessiveness, ugliness, stupidity, as well as sacredness. Spotted hyenas vary in their folkloric and mythological depictions, depending on the ethnic group from ...