alloftime




thekimonogallery:

Traditional Japanese archery, called Kyudo
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herzogtum-sachsen-weissenfels:

André Derain (French, 1880-1954), Road to Castel Gandolfo, c. 1921. Oil on canvas, 62.5 x 50.8 cm.
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animus-inviolabilis:

Head of the Young Bacchus
Roman
c. A.D. 1 - 50
On view at The Getty Villa in Malibu
"The final secrets of existence and non-existence transfix mankind with monstrous eyes… Here there is nothing but encounter, from which there is no withdrawal… Because it is the god’s nature to appear suddenly and with overwhelming might before mankind, the mask serves as his symbol and his incarnation in cult. The mask has no reverse side. ‘Spirits have no backs’, people say. It has nothing which might transcend the mighty moment of confrontation. It is the symbol and the manifestation of that which is simultaneously there and not there: that which is excruciatingly near, that which is completely absent – both in one reality."
- Walter F. Otto, “Dionysus: Myth and Cult”
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spacestaralien:

Comet Lovejoy photographed by astronaut Dan Burbank aboard the International Space Station, 21 December 2011.
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thekimonogallery:

Kimono with peonies | 1930s | Japan | Lent by the Museum of Fine Arts, Boston. 
 Kimono: A Modern History
September 27, 2014–January 4, 2015, at the Metropolitan Museum of Art, New York

“Some twenty-five robes on loan from private and public collections, including the Boston Museum of Fine Arts, the John C. Weber Collection, Julia Meech Collection, and others will complement examples from the Metropolitan’s Asian Art and Costume Institute collections; they will be exhibited together with paintings, prints, and illustrated books, as well as lacquerware and ceramics that share common design patterns with kimono. These T-shaped robes, decorated with a seemingly infinite variety of designs, not only reflect fashion trends but reveal much about Japanese culture, history, and society if we unlock the circumstances of their manufacture, sale, and ownership.”
175
26

Venus (Aphrodite). Marble, probably made in Rome, 1st or 2nd Century AD, after an earlier Greek original. Now in the British Museum. Photo Credit: Clio Ancient Art and Antiquities
Photo Credit: Clio Ancient Art and Antiquities
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vintagehandsomemen:

"Fawn Marsyas teaching young Olympia to play the flute" painted by Petr Vasilevich Basin (1793 – 1877, Russian)
83
ancientpeoples:

Statue of Dionysos leaning on a female figure (Hope Dionysos)
c. 27 BC - AD 86
Augustan or Julio Claudian
The head is ancient but from another statue. Restorations by the eighteenth-century Italian sculptor Vincenzo Pacetti: (on Dionysos) ivy wreath, neck, both arms, lower right leg, calf and boot of left leg, hanging drapery on right side; (on the archaistic image) uplifted corner of drapery, both arms, lower half of lower legs, feet, pedestal, entire base.Roman copy of Greek original. Adaptation of a Greek work of the 4th century B.C.Dionysos, god of wine and divine intoxication, wears a panther skin over his short chiton and his high sandals with animal heads on the overhanging skin flaps. Hestands beside an archaistic female image whose pose and dress imitate those of Greek statues carved in the sixth century B.C. It is difficult to know whether the original Greek bronze statue of Dionysos, of which this is a copy, included the female figure. Supports in the form of pillars, herms, and small statues were not uncommon in Classical art, but this figure may have been added to support the outstretched arm and may represent Spes, a Roman personification of Hope, who was commonly shown as an archaistic maiden.
(Source: The Met Museum)
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