Ancient Egyptian Sculptures

Sculptures representing deities and burial figures from ancient Egypt, showcasing intricate craftsmanship and symbolic details from various dynastic eras.

Isis with Horus;

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591064

Seated Isis with Uraeus Modius Holding Child on her Lap. Egypt, Late Period - Ptolemaic Period (711 - 30 BCE). Sculpture. Bronze

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12 × w. 4.2 × d. 3.4 cm (4 3/4 × 1 5/8 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Khonsu. Dimensions: H. 11.3 cm (4 7/6 in.); W. 2.9 cm (1 1/8 in.); D. 2 cm (13/16 in.). Date: 664-30 B.C..This figure represents a child deity standing and holding a scepter. The moon disk, sidelock, and close-fitting mummiform garment identifies him as Khonsu the Child, the son of the deities Amun and Mut, who together formed the great Theban triad. The sidelock worn just below the moon disk marks him as a child god. Child gods grew to great prominence in the first millennium BC, and many statuettes of such gods were produced beginning in the Third Intermediate Period through the Ptolemaic Period. After Horus the Child (Harpokrates), the son of Isis and Osiris, Khonsu was one of the most celebrated and most frequently represented child gods. Museum: Metropolitan Museum of Art, New York, USA.

Bamboo TubeStopper

Overseer Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Overseer Shabti of Henettawy (C), Daughter of Isetemkheb 590979

Nefertum. Dimensions: H. 17.7 cm (6 15/16 in.); W. 2.7 cm (1 1/16 in.); D. 5.7 cm (2 1/4 in.). Date: 664-30 B.C..The god Nefertum was born out of a lotus flower on the mound of creation; thus he was closely connected with the sun, creation, and with the lotus, but also, more broadly, sweet-smelling, pleasant things. Nefertum was the son of Ptah and of the lion-goddess Sakhmet, and is sometimes envisioned as the son of Bastet or certain other great female lion goddesses. He had a martial aspect, but also a protective one, mirroring some of the contrasting but complementary qualities of Sakhmet and Bastet. In later periods, his protective aspect expanded and he was a symbol of good fortune, which perhaps in part explains his prominent role as a subject for statuettes and amulets.In copper alloy statuettes, he is shown, almost without exception, as a beautiful man who wears a crown comprised of a lotus blossom framed by menat symbols and topped with two tall feathers; the menats derive

Isis with Horus;

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12.2 × w. 4.5 × d. 3.4 cm (4 13/16 × 1 3/4 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591123

Terracotta statuette of a seated woman. Culture: Greek, Rhodian. Dimensions: H. 7 in. (17.8 cm). Date: early 5th century B.C..The figure represents a well-established type in both the small-scale terracottas and large stone sculpture of Eastern Greece. Her seated pose and the garment covering the back of her head and body suggest that she may be a goddess. Museum: Metropolitan Museum of Art, New York, USA.

Attendant, 386-535, Dia.14-1/4 in., Terra cotta, China, 4th-6th century

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623373

Uszebti. unknown, author

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625498

Statue of Wadjet inscribed for Minirdis, son of Panehsy and of Aarwt() whose parents are Horwedja and Nitocris 664-525 BC Late Period The goddess Wadjet and her very ancient city of Buto (known as the cities of Pe and Dep) are from earliest times mythic reference points for the emergence of a unified Egyptian kingship. Wadjet might take cobra form, the form she wears as the uraeus on the king’s brow. But she was also an Eye of Re goddess, a female relative of the sun god who acted as his emissary/enforcer, and, like other Eye of Re goddesses, she generally adopted the form of a lioness as she does in this statue. And, perhaps influenced by the proximity of Buto to the marshes where Isis hid her young vulnerable son Horus after the death of his father Osiris, Wadjet was regarded as another protectress of Horus, who, of course, grew up to ascend the throne.In the Late Period, impressively large metal statues of Wedjat as a lion-headed goddess, such as this one, and of Horus, the latter

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591795

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: H. 11.9 × W. 4.4 × D. 3.2 cm (4 11/16 × 1 3/4 × 1 1/4 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C..See 25.3.19. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.9 × w. 4.4 × d. 2.9 cm (4 11/16 × 1 3/4 × 1 1/8 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.2 × w. 4.3 × d. 3 cm (4 7/16 × 1 11/16 × 1 3/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Mingqi: Sitted character ". Terracotta, traces of coating and polychromy. Han dynasty (206 BC-220 AD). Paris, Cernuschi museum. Chinese art, seated, han dynasty, han time, mingqi, character, statuette, funeral substitute, terracotta

Monkey and Man Playing Instruments ca. 945-525 B.C. Third Intermediate Period-Late Period This figure is part of a repertoire of figures created in a distinctive spotted faience from dynasty 22 into dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production. Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the returning goddess, whose arrival brought the return of good fortun

Overseer Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Overseer Shabti of Henettawy (C), Daughter of Isetemkheb 590985

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12.1 × w. 4.5 × d. 3.6 cm (4 3/4 × 1 3/4 × 1 7/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Stand of a funeral figure in the shape of a woman with an instrument, anonymous, c. 220 - c. 589 Wooden pedestal from later date. China wood (plant material) painting Wooden pedestal from later date. China wood (plant material) painting

Pre-Columbian art. Pre-Incan. Tumaco-Tolita culture. Region of the Pacific Colombo-Ecuadorian coast from 300BC-600 AD. Ceramic object. Female figure. 44 x 22 cm. From Ecuador. Private collection.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 12 × w. 4.4 × d. 3.4 cm (4 3/4 × 1 3/4 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Figure of Servant carrying jars ca. 1850-1700 B.C. Middle Kingdom. Figure of Servant carrying jars. ca. 1850-1700 B.C.. Blue faience. Middle Kingdom. From Egypt, Memphite Region, Lisht North, south of Tomb of Nakht (493), south cemetery, Pit 453, MMA excavations, 1913-14. Dynasty 12, late-13 to 1700 B.C.

Osiris ca. 1070-664 B.C. Third Intermediate Period The wrapped body, scepters, and white crown characterize Osiris, and appear on innumerable copper alloy statues from the first millennium BC. Notably, however, this statuette has facial features that recall early Ramesside royal sculpture, such as a curving nose, and a wide slightly smiling mouth. These stylistic features indicate it is one of the still relatively rare copper alloy figures that date to the early centuries of the first millennium BC, when nineteenth dynasty (ca. 1295-1184 BC) represented the model of choice. Traces of inlays are preserved in the eyes, brows, beard straps and scepters. The beard itself is missing.At the crown and foot and at certain points of damage in the surface the fine-grained grayish casting core inside the statue can be seen. This statue provides a remarkably preserved illustration of ancient Egyptian casting technique, discussed in detail on the Conservation and Scientific Analysis tab.. Osiris. c

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625480

Boat; New PA

Bastet statuette. Dimensions: H. 7.9 cm (3 1/8 in.); W. 2.2 cm (7/8 in.); D. 2.1 cm (13/16 in.)H. (with tang): 8.5 cm (3 3/8 in.). Date: 664-30 BC.Bastet, here shown as a cat-headed goddess, was a powerful protective figure who also was known for her fertility. She could be represented with a lion head as well, but as a cat-headed goddess her peaceful traits were emphasized. Her personal adornments and garments are elaborate on statuettes, often more so than other goddesses, and she usually carries numerous attributes. This figure holds a banded basket in the crook of her elbow, a protective lion-headed aegis against her chest and a sistrum in her other hand. A suggestion that the basket held kittens seems unfounded, but statuettes of this type do sometimes show the goddess with kittens in front of her, alluding to her fertility. Her dress has a striped herring bone pattern with a defined hem. Bastet does not always wear a decorated dress, but it is much more common for her than for

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623364

Seated Female Figure

Harpokrates in double crown. Dimensions: H. 8.8 cm (3 7/16 in.); W. 2 cm (13/16 in.); D. 3.8 cm (1 1/2 in.). Date: 664-30 B.C..The figure represents a child god in a striding/standing position, wearing the double crown, which alludes to his royal status. The child god is distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and the sidelock on the right side of his head. The faint incised outline of a string is visible at his neck, intended for the suspension of an amulet, an attribute common to child gods but not adult gods.Child gods grew in popularity and cult from the Third Intermediate Period onwards, rivaling even the most powerful and ancient gods, especially as temple offerings. Without an inscription, it can be very difficult to securely distinguish and identify particular child gods, but here the double crown identifies the god as Harpokrates (Horus the Child), who was the son of Osiris and Isis. T

Antique statue of anubis, Egyptian god of embalmment

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591031

Terracotta Figureines of a woman Late Neolithic, 5300-4500 Bc Probably from Greece. Terracotta figurines were widely produced in the eastern Mediterranean region during the Neolithic period. The rounded forms of this figure evoke the concept of female fertility, though male figures, groups and animals are also known. the use of clay died out in the Cyclades in the Early Bronze age

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 623261

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: H. 11.9 × W. 4 × D. 3.5 cm (4 11/16 × 1 9/16 × 1 3/8 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C..See 25.3.19. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: H. 12.4 × W. 4.3 × D. 3.4 cm (4 7/8 × 1 11/16 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C..See 25.3.19. Museum: Metropolitan Museum of Art, New York, USA.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia36. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Figure, 11th-6th century BCE, 8 7/8 x 7 in. (22.54 x 17.78 cm), Ceramic, Mexico, 11th-6th century BCE, The Olmec people developed the first cities of Mesoamerica. Situated in the tropical lowlands of Mexico, these early urban societies produced most of the major features of later regional civilizations: monumental architecture and sculpture, hieroglyphic writing, a calendrical system, and intensive agriculture. The distinctive Olmec art style, expressive of their religion, greatly influenced subsquent Mesoamerican art.A prominent motif in Olmec art is the 'baby face,' a fleshy human face with drooping mouth, squinting eyes, and snub nose. Here the distinctive features are part of a naturalistic depiction, but in many Olmec pieces they merge with feline traits like snarling lips and fangs. These pervasive references to the spiritual union of a jaguar and a human allude to an Olmec conception of the supernatural status of rulers.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591006

Figure of a Striding Man with a Long Kilt ca. 1978-1940 BC Middle Kingdom This fine statuette depicts a man with a large shaved head and a long kilt. Based on comparison with more complete statues, the figure originally held a ritual object in his outstretched proper right hand, while the left arm probably hung vertically at his side. The rounded breasts, rippled flesh, and slightly swelling abdomen all indicate a mature individual. The statue was likely originally deposited in a burial, or perhaps stood in a cult chamber, where it received offerings on behalf of the deceased.. Figure of a Striding Man with a Long Kilt. ca. 1978-1940 BC. Wood. Middle Kingdom. From Egypt. Dynasty 12

ESTATUILLA FEMENINA DE TERRACOTA (ESTILO PUNICO EBUSTIANO). DEPOSITO: MUSEO PUIG DES MOLINS.

Terracotta figure of a woman late 6th-early 5th century B.C. Greek Figure of an enthroned woman with long hair, round earrings, a diadem and a low polos. A short, cape-like garment covers her upper torso and arms.. Terracotta figure of a woman 257438

FIGURA TERRACOTA ROMANA. Location: MUSEO DE CADIZ-ARQUEOLOGIA. Cadiz. SPAIN.

Terracotta statuette of a nude woman ca. 1450-1200 B.C. Cypriot The statuette is hollow. The groove on the left breast is accidental. Such figures were placed in tombs and may symbolize fertility and regeneration.. Terracotta statuette of a nude woman 241105

Figurka Imhotepa. unknown, author

Isis with Horus. Dimensions: H. 19.9 × W. 5.1 × D. 10.4 cm (7 13/16 × 2 × 4 1/8 in.). Date: 332-30 B.C..Isis with her son Horus seated on her lap is sculpted here in a marble with a distinctive bluish cast. It is notable that dense whitish stones are popular choices for statuettes of the goddess and her son. The statuette fits into a separate ancient base of limestone. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.8 × w. 4.1 × d. 3 cm (4 5/8 × 1 5/8 × 1 3/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Female figure playing a lyre ca. 945-525 B.C. Third Intermediate Period-Late Period This figure is part of a repertoire of figures created in a distinctive spotted faience from dynasty 22 into dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production. Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the returning goddess, whose arrival brought the return of good fortune to E

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb. ca. 990-970 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb MMA 60, Chamber B, Burial of Henettawy C (4), MMA excavations, 1923-24. Dynasty 21

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.9 × w. 4.4 × d. 3.3 cm (4 11/16 × 1 3/4 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Clay figurines, Tumaco civilization

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591777

Uszebti. unknown, author

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: h. 11.8 × w. 4.4 × d. 3.3 cm (4 5/8 × 1 3/4 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Emilia-Romagna Bologna Bologna Museo Civico Archeologico Sale III, IV, V44. Hutzel, Max 1960-1990 Specific Location: Sale III, IV, V (Egyptian antiquities) Owner: Museo Civico Archeologico Antiquities: III: basalt sculptural fragments; reliefs from the tomb of Horemheb; funerary stele; dynasties XVIII, XIX, XX, Ptolomeic dynasty reliefs, generally in limestone. IV: XVIII, XIX dynasty sculptures in granite, limestone, sarcophagi, statuette in basalt, statuette in wood, statuettes in bronze, statuette faience, mummy mask: V: basalt sculptures of Horus, Sekhmet, limestone stele (Antiq. count: 202); Republican portrait sculpture, Republican cippi with portrait bust, cippus with portraits (single and group), cippi with inscriptions from all periods, architectural fragments, basin with inscription, torso fragment of cuirassed figure of the 1st century AD (Nero) (Antiq. count: 185); disk lamps from the late republic to 6th century, with erotes, animals, erotica, mythological scenes, menorah,

Statuette of Seated God, probably Osiris-lah, 664-525 BC. Egypt, Late Period, Dynasty 26 or later. Bronze, solid cast; overall: 15.7 x 7 x 8 cm (6 3/16 x 2 3/4 x 3 1/8 in.).

Figura antropomorfa. Cerámica. Cultura Guangala. Desarrollo Regional (500 Ac-500 d. C). Ecuador. Museo de América. Madrid. España.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625514

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb. ca. 990-970 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb MMA 60, Chamber B, Burial of Henettawy C (4), MMA excavations, 1923-24. Dynasty 21

RESEF. FENICIO. (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591768

Worker Shabti of Henettawy (C), Daughter of Isetemkheb. Dimensions: H. 12 × W. 4.6 × D. 3.4 cm (4 3/4 × 1 13/16 × 1 5/16 in.). Dynasty: Dynasty 21. Date: ca. 990-970 B.C..See 25.3.19. Museum: Metropolitan Museum of Art, New York, USA.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb. ca. 990-970 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb MMA 60, Chamber B, Burial of Henettawy C (4), MMA excavations, 1923-24. Dynasty 21

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625420

Sakhmet Amulet 664-30 B.C. Late Period-Ptolemaic Period. Sakhmet Amulet 552677

Human figure. Ceramics. Colima style. Late Preclassic Period (400 BC-100 AD). Western Mexico. Museum of the Americas. Madrid, Spain.

Osiris figure for Henettawy, daughter of Isetemkheb. Dimensions: H. 55 cm. Dynasty: Dynasty 21. Date: ca. 990-970 B.C..This crudely carved figure of Osiris was used as a container for Henettawy's Book of the Dead papyrus. Made of roughgrained sycomore wood, the figure was painted black, with the pedestal on which it was set left the natural color of the wood. A slot for the papyrus was hollowed out in the back; once the papyrus was in place, this was closed by gluing a thick piece of wood over the opening. Museum: Metropolitan Museum of Art, New York, USA.

Bronze statuette of Osiris. Artist: Unknown

Alabaster statuette in female form, circa 2500 b.c., from Temple of Ishtar at Mari, Tell Hariri (Syria)

KneelingApsaras

Terracotta statuette of a man holding a quadruped ca. 750-600 B.C. Cypriot The figure represents a worshipper bringing an offering. In its original condition, it would have had movable legs, attached through the holes on either side of the lower body, and it would have been suspended by the hole at the top of the headdress.. Terracotta statuette of a man holding a quadruped 241169

Prisoner Jar. Culture: Moche. Dimensions: H. 10-3/4 in. (27.3 cm). Date: 2nd-7th century.Prisoners are often represented naked in Moche art. In painted scenes, they are stripped of their clothes and other power attributes such as weapons, headdresses, and earspools, in sign of defeat. They are also paraded by warriors, with ropes around their necks and hands tied behind their backs. This sculpted kneeling prisoner wears a sleeved tunic and a headdress ornamented with a spread-winged owl. However, the empty holes in his earlobes, his exposed genitals, and his tied neck clearly indicate his condition. Statuettes similar to this jar were found in a sacrificial site on the Huaca de la Luna, a major Moche mudbrick platform. The statuettes have been intentionally smashed among the bodies of more than seventy sacrificed men. Like their ceramic representation, actual human prisoners had tied hands and ropes around their necks. Museum: Metropolitan Museum of Art, New York, USA.

GUERRERO CON ESCUDO(PODRIA SER DEL EJERCITO LUSITANO)PROC PORCUNA IBERICO S V/II AC. Location: MUSEO ARQUEOLOGICO-COLECCION. JAEN. SPAIN.

Figure of a Court Lady. Culture: China. Dimensions: H. 14 5/8 (37.1 cm); W. 4 1/2 in. (11.4 cm); D. 3 1/4 in. (8.3 cm). Date: 8th century. Museum: Metropolitan Museum of Art, New York, USA.

Depiction of the Egyptian deity Horus of Buto. Bronze. Late Period (715-332 BC). The so-called Horns of Buto is portrayed with a male human body and a lionís head. On the platform is a text addressed to the Delta goddess Wadjet

Shabti of Djedhor Late Period-Ptolemaic Period ca. 360-300 BC View more. Shabti of Djedhor. ca. 360-300 BC. Faience. Late Period-Ptolemaic Period. From Egypt, Northern Upper Egypt, Abydos, Cemetery G, Petrie Tomb 50 (Djedhor), Egypt Exploration Fund excavations. Dynasty 30 or later

Ancestor Figure(Bulul)

Human-Faced Tomb Guardian Creature(Zhenmushou)

Staff Terminal with the God Ichneumon. Egypt, probably Ptolemaic Period (332 - 30 BCE). Architecture; Architectural Elements. Bronze

Seated Female Figure. Culture: Nayarit. Dimensions: H. 8 7/8 x W. 4 7/8 x D. 5 3/4 in. (22.6 x 12.4 x 14.6 cm). Date: 100 B.C.-A.D. 200. Museum: Metropolitan Museum of Art, New York, USA.

Guardian with aShield

Figurka kapłana z posążkiem boga Ozyrysa. unknown, author

Figure of a Warrior 6th century China. Figure of a Warrior. China. 6th century. Pottery. Northern Wei dynasty (386-534). Tomb Pottery

House Post Figure Sentani people 19th century This sculpture once formed the top of a wooden beam that supported a house in Kabiterau village on Lake Sentani. The carving depicts a female figure holding an infant in her hands just above the navel. Simple circular forms indicate her breasts, and on the back are strong shoulder blades carved in low relief. Her face tapers sharply to form the chin, in opposition to the distinctively round head, which may depict the typical coiffure of Sentani women. Her arms and torso are thin and elongated, as are the hands which delicately prop up the child. The infants hands and arms are similarly elongated, and its detailed face mirrors the mothers with a pointed chin, perfectly circular eyes, and round head. Both figures have long toes at the end of feet which flatten at a dramatic angle - the childs toes grip onto the mothers biceps, while the mothers feet rest firmly on a rounded base, merging with the post that would have disappeared from view thr

Standing male figurine Cypriot ca. 600-480 BCE The cylindrical body, the lower part of which is missing, is handmade and solid.

Iberian bronze votive offering, sanctuary of the Lobera cave, Castellar, Iberian Museum of Jaén, Andalusia, Spain.

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 625394

Riding Eros from a Canosan Vase. Unknown

Madonna and Child. Henry Spencer Moore; English, 1898-1986. Date: 1943. Dimensions: 6 × 2 7/8 × 3 1/2 in. (15.2 × 7.2 × 9 cm). Bronze. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Female Holding Dog Figurine, 200 BC-AD 300. Mesoamerica, West Mexico, Michoacán. Ceramic; overall: 11 x 6.7 cm (4 5/16 x 2 5/8 in.). Clay figurines were the earliest and most common art form in Mexico and other countries in the ancient Mesoamerican (Middle American) culture region. Made first by hand and later with molds, most figurines belong to the traditions of commoners, such as farmers, rather than those of elites.

Standing female figure, 250 BCE - 300 CE, 3 7/8 x 2 5/8 x 1 in. (9.8 x 6.7 x 2.5 cm), Earthenware, Mexico, 3rd century BCE - 4th century CE

Jina, 11th or 12th century, 7 3/16 x 2 9/16 x 2 9/16 in. (18.26 x 6.51 x 6.51 cm), Bronze, India, 11th or 12th century, This liberated being (Jina) is one of 24 teachers that Jain devotees worship. Standing on a lotus petal base in a meditative symmetrical posture, his nudity links him to the digambara (sky-clad) sect of Jainism. This small sculpture might have been part of a larger assemblage of 24 Jina sculptures, expressing the same concept as the devotional plaque currently installed next to it. Just like any other ritual bronze, this sculpture would have been rubbed with sandal paste and received regular lustrations of water, milk, curds, and clarified butter.

Shawabty of Ditamenpaankh, 715-656 BC. Egypt, Late Period, Dynasty 25. Terracotta; overall: 6.7 x 2.4 x 1.5 cm (2 5/8 x 15/16 x 9/16 in.).

Funeral Figure of A Standing Person. Graffigure of pottery, in the form of a standing person. Remnants of painting in red, white and black. The figure has a flat hairstyle; The left hand extended with the palm upwards and the right hand out of the chest to a fist. The right arm misses the wide sleeve.

Monumental Figure 9th century Maya This grand sculpture portrays the Maya deity Chahk as an axe-wielding personification of rain, storms, and lightning. Clutching the handle of a large axe - symbolic of lightning - Chahk is shown as the Storm God with an open mouth and pronounced cheeks as if shouting or threatening. The two holes in the axe would have been filled with blades of stone, perhaps greenstone or obsidian. Scenes from a bench at the Temple of the Chacmool at Chichen Itza and a doorjamb at Kabah confirm that multiple axe blades were common in the northern Maya lowlands. Although the left hand of this sculpture is missing, it would have likely held a battle shield, as in many depictions of the warrior Chahk. Further adding to his menacing appearance, Chahks headdress seems to be the head of an animal, perhaps a feline or a serpent, with its two blunt teeth protruding above his eyes. This Chahk also wears a large belt and loincloth assemblage, similar to the padded waistbelts

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