long-nosed god maskette

Examples of long-nosed god maskette in the following topics:

• Woodlands in the East

  • The majority of the information known about the SECC is derived from examination of the elaborate artworks left behind by its participants, including pottery, shell gorgets and cups, stone statuary, copper plates such as the Wulfing cache and long-nosed god maskettes.
  • Artisans produced religious items, such as long-nosed god maskettes, ceremonial earrings with a symbolic shape, thought to have been used in fictive kinship rituals.

• Sculpture of the New Kingdom

  • The Osirian statues of Hatshepsut, located at her tomb, follow the Egyptian tradition of depicting the dead pharaoh as the god Osiris.
  • Statues typically depicted Egyptian pharaohs, often representing them as gods.
  • Most of the larger sculpture survives from Egyptian temples or tombs, where massive statues were built to represent gods and pharaohs and their queens.
  • Figures are depicted less idealistically and more realistically, with an elongation and narrowing of the neck; sloping of the forehead and nose; prominent chin; large ears and lips; spindle-like arms and calves; and large thighs, stomachs, and hips.
  • The illustration of figures' hands and feet showed great detail, with fingers and toes depicted as long and slender.

• Architecture and Mosaics in the Middle Byzantine Empire

  • However, the Orthodox makes a clear doctrinal distinction between the veneration paid to icons and the worship which is due to God alone.
  • The mosaic is located in the apse over the main alter and depicts the Theotokos, or the Mother of God.
  • The figures in the scenes, such as those seen in the apse mosaic of Christ washing the feet of his disciples, are depicted with naturalistic faces that are modeled and with long, narrow noses and small mouths.
  • The figures in these scenes are depicted with naturalistic faces that are modeled and with long, narrow noses and small mouths.

• Akhenaton and the Amarna Period

  • Many works depicted important people with an elongation and narrowing of the neck, a sloping of the forehead and nose, a prominent chin, large ears and lips, spindle-like arms and calves and large thighs, stomachs, and hips .
  • The illustration of figures' hands and feet showed great detail, with fingers and toes depicted as long and slender.
  • Decorations clearly worshiped the Aten, with excerpts from the Hymn to the Aten often present in the tombs; there is an absence of other gods and goddesses and no mention of Osiris or the underworld.

• Temple Architecture in the Greek Orientalizing Period

  • Minoan shrines, as seen at Knossos, were tripartite shrines fronted by three columns, while the plan of the Mycenaean king's chamber (or megaron) was appropriated for use by the gods.
  • Each rider has a stylized nose, eyes, and eyebrows and wears a helmet.
  • While their feet protrude from beneath their long skirts, the blocks that define the lower parts of their bodies provide no acknowledgement of the body beneath the clothing.

• Painting in the Late Byzantine Empire

  • The Annunciation portrays the Virgin Mary seated on a throne as the angel Gabriel approaches her to deliver the news of her conception of the son of God.
  • The figures themselves are rendered with Byzantine faces—small mouths and long, narrow noses.
  • The Annunciation portrays the Virgin Mary seated on a throne as the angel Gabriel approaches her to deliver the news of her conception of the son of God.

• Architecture under Constantine

  • Although he attributed this victory to the aid of the Christian god, he did not convert to Christianity until he was on his deathbed.
  • When Constantine took over and completed the grand building, it was 300 feet long, 215 feet wide, and stood 115 feet tall down the nave.
  • Only parts of the Colossus remain, including the head that is over eight feet tall and 6.5 feet long.
  • It shows a portrait of an individual with clearly defined features: a hooked nose, prominent jaw, and large eyes that look upwards.
  • Like the porphyry bust of Galerius, Constantine's portrait combines naturalism in his nose, mouth, and chin with a growing sense of abstraction in his eyes and geometric hairstyle.

• Etruscan Sculpture

  • The garment's folds are patterned and stylized but cling to the body, allowing the viewer to clearly distinguish the god's chest and thigh muscles.
  • The figures' torsos are modeled, and their heads are in a typical Etruscan egg-shape with almond shaped eyes, long noses, and full lips.