111 Sentences With "ceremonial objects" | Random Sentence Generator

Their clothing, food, shelter, tools, transportation and sacred ceremonial objects all come from the animals.

The exhibition also features ceremonial objects, weapons, and articles of clothing related to the treaty conferences.

Zapata's feminist investigation of ceremonial objects is an interesting, if expansive, undertaking — one worth a lifetime.

The people he painted also hold ceremonial objects, from weapons to evergreens, gourd rattles to live snakes.

They're mostly religious or ceremonial objects, and aesthetically subdued compared to the gaudy colors and items of today.

Carrying ritual significance, they would then have been laid to rest along as ceremonial objects that helped fulfill this significant rite.

"If you look on Ebay sometimes, if you look on Amazon, you'll see ceremonial objects or things for sale," he said.

The 2010 exhibit "Intolerance," curated by Willem de Rooij, explored the parallels between 17th-century Dutch paintings and 18th-century Hawaiian ceremonial objects.

"We suggest that ancient Egyptian attributed great value to meteoritic iron for the production of fine ornamental or ceremonial objects," the article said.

In "Constellations," a grab bag of an opening gallery, artworks and Jewish ceremonial objects play off one another in aesthetically pleasing, if historically nebulous, counterpoint.

But few people today know of the Nazis' systematic theft of their victims' property, including priceless works of art such as paintings, sculptures, books and sacred or ceremonial objects.

While the European and European-derived museums offer intellectually and aesthetically refined displays of ritual and ceremonial objects, they often dissociate these objects from the purposes they were created for.

THE LAM COLLECTION OF ABORIGINAL ART Over 100 works created by Aboriginal artists, many of them women, since the mid-1990s include works on paper, ceremonial objects and sculptures. Feb.

It is one of many instances where Leigh's brand-new sculptures court seeming old, as in artifact old, great-great grandmother's things old, African ceremonial objects from several centuries ago old.

Acting on tips from pickers or other sources, the Webbs were sometimes able to purchase the entire holdings — banners, costumes, ceremonial objects and more — from small-town fraternal-society lodges that were closing down.

Over 219 works of painting, drawing, enamelwork, laquerware, carpet, jewelry, costumes, and decorative and ceremonial objects are on display, thematically installed in four rooms that are ravishingly designed by French haute couture fashion designer, Christian Lacroix.

But it also houses a collection of more than 5,000 mostly modern and contemporary works of art by a roster of world-class artists, in addition to 1,703 Jewish ceremonial objects that constitute the Derfner Judaica Museum.

On the garden terrace, A.S.T.R.A.L.O.R.A.C.L.E.S, an itinerant artist group that performs psychic readings and healing rituals, will arrange ceremonial objects, scents, and elixirs to channel the multiverse and serve as a backdrop to the live devotional music of ambient singer and composer Ana Roxanne.

Most of the work in the show are bits and pieces that Vo found, borrowed, or bought at sales and auctions: correspondence between US government officials and professional acquaintances, keepsakes from his mother and father, the velvet on which ceremonial objects were displayed at the Vatican, photographs and documents of Americans carrying out research in Vietnam, the engine of a motor vehicle.

"Pacific Voices" was a cultural exhibit that told the stories or traditions of 19 different Native American and Pacific Rim cultures through art, artifacts, ceremonial objects, and audio/visual documentaries.

Exposed in the room are fabrics and ceremonial objects from the Pacific Ocean islands, especially from the islands of the Melanesia region, dated between the 19th and the 20th century.

Kevin Coates (born 1950) is a British goldsmith and musician. He is chiefly known for his work with jewels, but has also made table-pieces, ceremonial objects, small sculptures, and a number of medals.

As Associate Minister of Aboriginal Affairs, Calahasen sponsored the First Nations Sacred Ceremonial Objects Repatriation Act, a 2000 government bill that allowed for the repatriation of first nations artifacts. It passed with full opposition support.

Article 12 of the Declaration States: #Indigenous peoples have the right to manifest, practise, develop and teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect, and have access in privacy to their religious and cultural sites; the right to the use and control of their ceremonial objects; and the right to the repatriation of their human remains. # States shall seek to enable the access and/or repatriation of ceremonial objects and human remains in their possession through fair, transparent and effective mechanisms developed in conjunction with indigenous peoples concerned.

The warm colour and dyed silk objects evoke both flesh and the countryside, the world recalls the palette of Buddhist pagoda frescoes and ceremonial objects. noon- nom (2001-2002),Toh, Joyce. Siuli, Tan. Ng, Rachel. “Pinaree Sanpitak: noon-nom”.

This room offers an important collection of wooden masks and furnishings, ceramics, jewels and ceremonial objects dating from 500 AD in the first half of the XX century coming from all over Africa. There is also a polychrome wooden mask from Ancient Egypt.

Sonneborn have presented the university with a collection of Jewish ceremonial objects. At the Cohen residence was a library valuable to Bible students, collected by Dr. Joshua I. Cohen (a catalogue of this library, compiled by Cyrus Adler, was privately printed in 1887).

339 Vessels filled with achiote seeds, found in associated with ceremonial objects suggest that the eruption may have interrupted a ceremony. Additionally, archaeologists propose that a north corridor for used for food preparation, while the east corridor may have been used for storage.

In the case of Ancient Egypt, foundation deposits took the form of ritual mudbrick lined pits or holes dug at specific points under temples or tombs, which were filled with ceremonial objects, usually amulets, scarabs, food, or ritual miniature tools, and were supposed to prevent the building from falling into ruin.

The first involved an ascent of Nevado Quehuar at . There investigators recovered the remains of a mummified child, whose gravesite had been blasted open with dynamite and looted of ceremonial objects by treasure hunters. Researchers carefully salvaged the pieces of the body, which had been left scattered on the mountaintop.

Christ washing the feet of the Apostles, by Giotto di Bondone (Cappella Scrovegni a Padova) Ablution, in religion, is a prescribed washing of part or all of the body of possessions, such as clothing or ceremonial objects, with the intent of purification or dedication."ablution." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 28 Jun.

Museums, schools and theatres were closed. Professors were arrested. Jewish synagogues were devastated, despoiled of ceremonial objects and turned into storehouses for ammunition, firefighting equipment and Nazi general storage sites. On January 18, 1945, the Soviet forces of the 2nd Ukrainian Front under the command of Marshal Ivan Konev entered Kraków and forced the German army to withdraw.

A village bundle is a bundle or basket filled with ceremonial objects. It represents the spiritual and social organization of the village or community to which it belongs. These are associated with Native American groups including the Caddoan farming villages. The bundle is possessed by an individual, but the power it contains binds the group together.

Ancient Greek Hydria at North Carolina Museum of Art The museum's permanent collection includes European paintings from the Renaissance to the 19th century, Egyptian funerary art, sculpture and vase painting from ancient Greece and Rome, American art of the 18th through 20th centuries, and international contemporary art. Other strengths include African, ancient American, pre- Columbian, and Oceanic art, and Jewish ceremonial objects.

C. Michael Hogan, Knossos fieldnotes, Modern Antiquarian (2007) In ancient Egypt, daggers were usually made of copper or bronze, while royalty had gold weapons. At least since pre-dynastic Egypt,Iorwerth Eiddon Stephen Edwards, Cyril John Gadd, Nicholas Geoffrey Lemprière Hammond, 1970 (c. 3100 BC) daggers were adorned as ceremonial objects with golden hilts and later even more ornate and varied construction.

The Jewish Museum's collections date back to the 1970s, when the Society for a Jewish Museum formed. The first acquisitions were Jewish ceremonial artworks belonging to the Münster Cantor Zvi Sofer. Soon, fine art, photography and family memorabilia were acquired. The collection is now divided into four areas: ceremonial objects and applied arts, fine arts, photography, and lastly, everyday culture.

In 1958, Miller was studying Abstract Expressionism with Hans Hoffman, but decided he wanted to move into bronze welding after taking a welding class. As he honed his skills, he began to create more sophisticated designs. He focused initially on wall sculptures for banks or ceremonial objects for churches and synagogues. In the late 1960s, Miller taught art at Virginia Polytechnic Institute.

Classes are given in guitar, dance, candlemaking, ceramics, and sewing. There is also an area for major event which can hold 1,500 people. The community museum of San Miguel Teotongo on the highway to Puebla contains finds related to the ancient inhabitants of the area. Most relate to the pre-Hispanic period and include utensils, ceremonial objects, ceramics, obsidian blades and arrowheads and jewelry.

This collection was built up by Isaac Strauss, a French Jew from the 19th century. He collected 149 religious objects during his travels throughout Europe, including furniture, ceremonial objects, and Hebrew manuscripts. A Holy Arch from Italy from the 15th century, wedding rings, and illuminated ketubbot (marriage contracts) are examples of artefacts in his collection. Strauss is regarded as the first collector of Jewish objects.

This has resulted in local and international legislation such as NAGPRA and the 1995 UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects which take Indigenous perspectives into consideration in the repatriation process. Notably, Article 12 of UNDRIP states: > Indigenous peoples have the right to manifest, practise, develop and teach > their spiritual and religious traditions, customs and ceremonies; the right > to maintain, protect, and have access in privacy to their religious and > cultural sites; the right to the use and control of their ceremonial > objects; and the right to the repatriation of their human remains. States > shall seek to enable the access and/or repatriation of ceremonial objects > and human remains in their possession through fair, transparent and > effective mechanisms developed in conjunction with indigenous peoples > concerned. The process of repatriation has often been fraught with issues though, resulting in the loss or improper repatriation of cultural heritage.

Evidence of occupation by indigenous peoples can be dated back 10,000 years through archaeological evidence of projectiles and ceremonial objects. European settlement of the island began in 1788 when the land was leased to Thomas McKee by the Ojibwa and Odawa tribes. William McCormick bought the island in 1823 and the McCormick family settled permanently in 1834. In addition to subsistence agriculture, the island's lumber, stone quarries, and fishing supported inhabitants.

Thus Binyinyuwuy's career as an artist began. He grew to be an influential artist in his community and abroad, both because of his skill, and because of his high ritual authority. As he grew older, Binyinyuwuy became a central part of ceremonial life in his community, and his works were featured in many different collections at various museums across the globe. He kept making ceremonial objects and paintings until his death in 1982.

The European Aleph Institute is a group, founded in 2005 and based in Brussels, dedicated to ensuring the rights of an estimated 3,500 to 5,000 Jews imprisoned in Europe to practice their religion. They arrange for prisoners to be provided with kosher meals, religious texts and ceremonial objects, as well as counseling, education, and financial support to families of prisoners.blog entry detailing organization's 2007 accomplishments The expressed intent is to avoid recidivism.

Klallam people and canoe, ca. 1914 Western red cedar has an extensive history of use by Native Americans of coastal Oregon to southeast Alaska. Some northwest coast tribes refer to themselves as "people of the redcedar" because of their extensive dependence on the tree for basic materials. The wood has been used for constructing housing and totem poles, and crafted into many objects, including masks, utensils, boxes, boards, instruments, canoes, vessels, houses, and ceremonial objects.

The museum featured an extensive collection of Jewish ceremonial objects and art and, for decades featured the 1790 correspondence between President George Washington and Moses Seixas, sexton of the Touro Synagogue in Newport, Rhode Island. Although the organization's move from its own building to rented offices necessitated closing of the museum to public view, select pieces of the collection are still on display at B'nai B'rith's current headquarters and are available for viewing by appointment.

In 1965, Ina Golub began pursuing art full-time. Golub custom- designed fiber art, primarily Jewish ceremonial objects such as Torah mantles, wedding canopies, wall hangings, prayer shawls, as well as textiles with secular content for synagogues, museums and private collectors. She worked in tapestry, hand weaving, applique, quilting, stitchery, beadwork and fabric painting. Her first commission was the renovation of the ark at Temple Sharey Tefilo-Israel in South Orange, New Jersey.

The terreiro has a public school, the Escola Eugênia Anna dos Santos, founded in 1976. The Ilê Ohum Lailai, also known as the Museu do Axé Opô Afonjá, is a museum founded to house physical objects related to the terreiro, including ceremonial objects, clothing, and cooking implements. It was founded in 1981. The Ikojopo Ilê Iwe Axé Opô Afonjá, also known as the Biblioteca do Axé, is a library opened by the terriro in 1996.

His stepfather Charlie James, a noted Northwestern artist, was his principal influence in honing his natural talent. Martin developed as one of the first traditional artists to adopt many types of Northwest Coast sculptural and painting styles. He carved his first commissioned totem pole in Alert Bay c1900, and titled it "Raven of the Sea." Martin also restored and repaired many carvings and sculptures, totem poles, masks, and various other ceremonial objects.

Then, in 167 BCE, the Seleucid king Antiochus IV invaded Judea, entered the Temple, and stripped it of money and ceremonial objects. He imposed a program of forced Hellenization, requiring Jews to abandon their own laws and customs, thus precipitating the Maccabean Revolt. Jerusalem was liberated in 165 BCE and the Temple was restored. In 141 BCE an assembly of priests and others affirmed Simon Maccabeus as high priest and leader, in effect establishing the Hasmonean dynasty.

In the tombs there were various cultural objects found such as pottery, textiles, wood carvings the size of statues, clothing, silver, personal ornaments, and even ceremonial objects used in their rituals. The mausoleums of the Lagoon of the Mummies were still replete with funeral deposits, approximately two hundred. In the mausoleums personages were buried of high rank and. During Inca domination of the region, there were officials from Cuzco, the Inca capital, who resided in Cochabamba.

Dover chert "swords" similar to objects in the Duck River Cache, found at the Etowah Mounds site in Georgia The cache has been called "perhaps the most spectacular single collection of prehistoric Native American art ever discovered in the eastern United States". "Nearly four dozen ceremonial stone knives, daggers, swords, maces, and other striking examples of prehistoric stonework". The ceremonial objects are made from Dover chert, a type of flint found exclusively in the nearby Dover, Tennessee area.

The iwisa was not typically used in combat – though they were occasionally used as thrown weapons in place of the throwing spear or isijula. Instead, the Zulu used iwisa as swagger sticks, ceremonial objects, or even as snuff containers. In the 20th century, the Zulu nationalist movement Inkatha viewed iwisa as traditional weapons and lobbied for the right to carry such weapons in public. The Ndebele variant was known as induku and similar in design to the Zulu iwisa.

Elizabeth II in her regalia, 1953 The Crown Jewels of the United Kingdom, originally the Crown Jewels of England, are a collection of royal ceremonial objects kept in the Tower of London, which include the regalia and vestments worn at their coronations by British kings and queens. Symbols of 800 years of monarchy,Mears, et al., p. 5. the coronation regalia are the only working set in Europe – secular ceremonies have replaced coronations in other European monarchiesMorris, p. 27.

Their motifs commonly include disembodied parts of the human body (vulvae in particular), animals, plants, ceremonial objects, and boats. A prominent motif is also that of the "birdman" figure which is associated with the tangata manu cult of Makemake. The most well-known rock art assemblage of Rapa Nui, however, are the moai megaliths. A few paintings mostly of birds and boats have also been discovered which are associated with the engravings, rather than being separate artforms.

By this time, Binyinyuwuy had already established himself in this Indigenous community as a skilled painter and maker of ceremonial objects. The elders told Wells of his skill, and Wells declared that if Binyinyuwuy gave him one of his bark paintings, he would not be punished for his crimes. Binyinyuwuy agreed to these terms. When Wells saw the painting, he admired it so much that he added young Binyinyuwuy to a list of paid artists providing artworks to the mission station.

Sixty pottery vessels were placed on the east wall including the above effigy pottery. After many subsequent burials and the addition of more yellow clay in layers, the mound was shaped as a larger circular mound about tall. These burials took place on the eastern side of the mound, and the skulls face eastward, the direction of the rising sun, apparently for religious reasons. Burial objects made from iron and copper and pearl beads were included as ceremonial objects with the burials.

The first district museum in Brody (district, meaning raion or regional) was created at the end of the 1950s. It was a one-story house on the street of Velyki Filvarky. Collections of numismatists, plain weapons, ceremonial objects, saved in the museum, document the 19th to the beginning of the 20th century ethnography of region. At the end of the 1960s to the beginning of the 1970s, however, the exhibition was closed down and a considerable part of the exhibits disappeared.

Many of these had been painted with black, white, gray-blue, and brownish-red pigments. Unique to archaeology as these things were, Cushing was distressed to feel that even by merely exposing and inspecting them, the expedition was dooming so many of them to destruction, rather than preserving them as permanent examples of primitive art. There were a few groups of utensils, like mortar cups and pestles, and sets of tools; and there were also some bundles or packs of ceremonial objects.

In settler-colonial contexts, many Indigenous people that have experienced cultural domination by colonial powers have begun to request the repatriation of objects that are already within the same borders. Objects of Indigenous cultural heritage, such as ceremonial objects, artistic objects, etc., have ended up in the hands of publicly and privately held collections which were often given up under economic duress, taken during assimilationist programs or simply stolen. The objects are often significant to the Indigenous ontologies possessing animacy and kinship ties.

Wedding certificate for Esther Solomon and Benjamin Levy, Wellington, New Zealand, 1 June 1842, witnessed by Alfred Hort and Nathaniel William Levin. The ketubah is a significant popular form of Jewish ceremonial art. Ketubot have been made in a wide range of designs, usually following the tastes and styles of the era and region in which they are made. Many couples follow the Jewish tradition of hiddur mitzvah which calls for ceremonial objects such as the ketubah to be made as beautiful as possible.

The Jumbun Aboriginal community is known for its basket weavers who have retained the cultural knowledge for making the distinctive lawyercane bicornal basket styles including burrajingal, gundala and mindi. In recent times, these baskets were used for both everyday and ceremonial uses including carrying bush foods, babies, message sticks and ceremonial objects. The jawun style of bicornal basket is unique to the rainforest Aboriginal peoples of North Queensland. Other unique lawyercane artefacts include the wungarr, which was used in freshwater creeks to catch eels.

Silver Tora Crowns and Jewish ceremonial objects from Opatów Synagogue lost in the Holocaust Opatów was the first town in the Sandomierz Voivodeship, in which Jews settled. The original Jewish privileges were issued in 1545 by the Grand Crown Hetman Jan Tarnowski, the starost of Sandomierz and the owner of Opatów. Local Jewish community was first mentioned in the books of the Roman Catholic ecclesiastical Chapter in 1612. Remnant of Jewish cemetery, Opatow, Poland Prior to World War II, Opatów had a substantial Jewish population.

It is from these masks that the modern practice of covering wooden sculptures of snakes, dolls, small animals, jaguar heads and other forms is derived. Nearika are highly decorated ceremonial objects that can be circular or diamond-shaped. When Carl Lumholtz did his writing on the Huichol, he named the circular ones "frontal shields" and the diamond-shaped ones as "eyes" and giving rise to the concept of the "God's eyes," applied to a Huichol cross. Nearika are tablets of wood or bamboo which are heavily decorated placed into certain sacred areas.

The original late Renaissance style edifice underwent a number of changes during the 17th and the 18th centuries. The current building traces its design to the restoration work of 1829, to which some technical improvements were introduced during the restoration of 1933 conducted under the supervision of the architect Herman Gutman. During the Holocaust, the synagogue was sequestered by the German Trust Office (Treuhandstelle) and served as a storehouse of firefighting equipment, having been despoiled of its valuable ceremonial objects and historic furbishing, including the bimah. However, the building itself was not destroyed.

There has been a proposal to install a 1:1 replica at the original site, with artists studying over 1,500 photographs of the original. In 2003, archeologists sponsored by the National Geographic, University of Michigan and the Universidad Autónoma de Chapingo discovered a number of pre-Hispanic artifacts in an area which has been proposed for building an airport. The finds are at areas that are or were the shores of Lake Texcoco and sheds light on water tables over the centuries. Some of the pieces found include ceramics, utensils and ceremonial objects.

All property, including the Synagogues and cemeteries, was sold to finance the emigration of the Danzig Jewry. The Great Synagogue on Reitbahn street was taken over by the municipal administration and torn down in May 1939. The American Jewish Joint Distribution Committee paid up to $50,000 for the ceremonial objects, books, scrolls, tapestries, textiles and all kind of memorabilia, which arrived at the Jewish Theological Seminary of America on 26 July 1939. The extensive collection of Lesser Giełdziński was also shipped to New York City, where it was placed at the Jewish museum.

When the knot appears in this culture, it often denotes royal status; thus, it is featured on crowns, tunics, and other ceremonial objects. Also in Africa, the Knot is found on Kasai velvet, the raffia woven cloth of the Kuba people. They attribute mystical meaning to it, as do the Akan people of West Africa who stamp it on their sacred Adinkra cloth. In the Adinkra symbol system, a version of Solomon's knot is the Kramo-bone symbol, interpreted as meaning "one being bad makes all appear to be bad".

Detail of a marginal illustration from the Prayer Book of Maximillian I by Albrecht Dürer, depicting a battle scene between farmers and Landsknecht. One Landsknecht on the right holds a large dart. Feathered spears, often called darts or javelins, were used in medieval and Renaissance Europe, both as ceremonial objects and as weapons. It is possible no examples have survived, presumably due to their fragility or the deterioration of their fletching making them indistinguishable from spears, but they appear in multiple illustrations from the 15th and 16th century.

The Museum has a collection of Masonic artworks, ceremonial objects and regalia, as well as everyday objects with Masonic decoration, including clocks, furniture, glassware, jewellery, porcelain, pottery and silver. The Library is open to the public for reference use and users are required to register. The Library contains a comprehensive collection of printed books and manuscripts on every facet of Freemasonry in England, as well as material on Freemasonry elsewhere in the world, and on subjects associated with Freemasonry or with mystical and esoteric traditions. The Library catalogue is available online.

During the Terminal Coles Creek period (1150 to 1250 CE), contact increased with Mississippian cultures centered upriver near St. Louis, Missouri. This resulted in the adaption of new pottery techniques, as well as new ceremonial objects and possibly new social patterns during the Plaquemine period. As more Mississippian culture influences were absorbed, the Plaquemine area as a distinct culture began to shrink after CE 1350. Eventually, the last enclave of purely Plaquemine culture was the Natchez Bluffs area, while the Yazoo Basin and adjacent areas of Louisiana became a hybrid Plaquemine-Mississippian culture.

Map showing geographical extent of Mississippian stone statues Mill Creek chert is a type of chert found in Southern Illinois and heavily exploited by members of the Mississippian culture (800 to 1600 CE). Artifacts made from this material are found in archaeological sites throughout the American Midwest and Southeast. It is named for a village and stream near the quarries, Mill Creek, Illinois and Mill Creek, a tributary of the Cache River. The chert was used extensively for the production of utilitarian tools such as hoes and spades, and for polished ceremonial objects such as bifaces, spatulate celts and maces.

Most synagogues of Kraków were ruined during World War II by the Nazis who despoiled them of all ceremonial objects, and used them as storehouses for ammunition, firefighting equipment, as general storage facilities and stables. The post-Holocaust Jewish population of the city had dwindled to about 5,900 before the end of the 1940s. Poland was the only Eastern Bloc country to allow free Jewish aliyah (emigration to Israel) without visas or exit permits upon the conclusion of World War II.Devorah Hakohen, Immigrants in Turmoil: Mass Immigration to Israel and Its Repercussions... Syracuse University Press, 2003 – 325 pages.

The Green Corn Ceremony is a celebration of many types, representing new beginnings. Also referred to as the Great Peace Ceremony, it is a celebration of thanksgiving to Hsaketumese (The Breath Maker) for the first fruits of the harvest, and a New Year festival as well. The Busk is the celebration of the New Year, so at this time all offenses are forgiven except for rape and murder, which are executable or banishable offenses. In modern tribal towns and Stomp Dance societies only the ceremonial fire, the cook fires and certain other ceremonial objects will be replaced.

During his ten years of flying experience, DeLay conducted aerial rides with politicians, actors, and unusual personalities, such as an opera diva (Luisa Tetrazzini) and a princess (Tsianina). He threw out the game opener baseball from his plane to DeLay Field as he flew over. The semi-pro baseball team he named for Venice, was called the Highflyers.Venice Players to Be Called "Highflyers", Venice Vanguard, May 3, 1921 He dropped event tickets, flew city engineers to produce aerial maps of Venice, and showered other promotional or ceremonial objects for events, such as masses of flowers over the ocean as tributes to war heroes.

Three men performing a ritual, Bohuslän, Sweden During the 3rd millennium BCE, the Bronze Age began in Europe, bringing with it a new medium for art. The increased efficiency of bronze tools also meant an increase in productivity, which led to a surplus — the first step in the creation of a class of artisans. Because of the increased wealth of society, luxury goods began to be created, especially decorated weapons. Examples include ceremonial bronze helmets, ornamental ax-heads and swords, elaborate instruments such as lurer, and other ceremonial objects without a practical purpose, such as the oversize Oxborough Dirk.

"Mutton fat" jade for sale at Hotan Jade Market Large "mutton fat" nephrite jade displayed in Hotan Cultural Museum lobby. During Neolithic times, the key known sources of nephrite jade in China for utilitarian and ceremonial jade items were the now depleted deposits in the Ningshao area in the Yangtze River Delta (Liangzhu culture 3400–2250 BC) and in an area of the Liaoning province in Inner Mongolia (Hongshan culture 4700–2200 BC). Jade was used to create many utilitarian and ceremonial objects, ranging from indoor decorative items to jade burial suits. Jade was considered the "imperial gem".

Dressed limestone The lowest temple is astronomically aligned and thus was probably used as an astronomical observation and/or calendrical site. On the vernal and the autumnal equinox sunlight passes through the main doorway and lights up the major axis. On the solstices sunlight illuminates the edges of megaliths to the left and right of this doorway. Although there are no written records to indicate the purpose of these structures, archaeologists have inferred their use from ceremonial objects found within them: sacrificial flint knives and rope holes that were possibly used to constrain animals for sacrifice (since various animal bones were found).

By the end of the 1930s there was a much larger staff of missionaries and lodgings for 250 indigenous students. There were plantations and ranches, but the schools largely depended on contributions by parents of about of flour per pupil per year. By 1950 there were 40 staff in the mission, most of them alumni of the boarding schools, the largest Salesians establishment in the Rio Negro region. The missionaries demanded that to receive sacrament and participate in trade the Indians give up their ceremonial objects and move from their traditional malocas into individual houses grouped around a chapel.

After the Conquest, the Spanish demanded European style furniture, which was usually made by indigenous craftsmen. As colonial Mexico was Spain's gateway to Asia, oriental techniques such as parquetry and other types of inlay became common as well. The state of Michoacán is a major producer of handcrafted furniture, which can be simply varnished or stained or painted in bright colors. Decorated skull made of sugar for Day of the Dead Ceremonial objects are produced in every region of the country in all different shapes, sizes and colors, whose sole purpose is to celebrate saints and holidays and honor the dead.

In the pre-Hispanic period the area was part of the chieftainship of Tutul Xiu and it was a ceremonial center, where the annual festival to Kukulcan was held. At the conquest, Maní became part of the encomienda system with its lands assigned to the Spanish Crown, which was still the sole trustee in 1565. In 1562, Franciscan priest Diego de Landa ordered an Inquisition in Maní ending with a ceremony called the auto de fé, where the Maya were whipped and ceremonial objects and Maya codices were burned. Much of the heritage of the Maya was lost due to these actions.

The Native American Graves Protection and Repatriation Act (NAGPRA) was passed in 1990 and provides a process for museum and federal agencies to return human remains, funerary objects, sacred objects, and objects of cultural patrimony to their descendent Native American Communities. The Peabody Museum is in full compliance with the NAGPRA law for culturally affiliated materials. In 1999, the Peabody took part in the largest American repatriation to date in collaboration with the Peabody Museum of Archaeology and Ethnology at Harvard University and the Pecos National Historic Park. Together they returned approximately 2,000 sets of human remains and 1,020 burial and ceremonial objects to the Pueblo of Jemez.

Lars Krutak (Lincoln, Nebraska April 14, 1971) is an American anthropologist, photographer, and writer known for his research about tattoo and its cultural background. He produced and hosted the 10-part documentary series Tattoo Hunter on the Discovery Channel, which traveled the indigenous world to showcase vanishing art forms of body modification.Discovery Channel: Tattoo Hunter Between 1999-2002 and 2010-2014, Krutak worked as an Archaeologist and Repatriation Case Officer at the National Museum of the American Indian and National Museum of Natural History, facilitating the return of human remains, funerary objects, sacred and ceremonial objects. Today, he is a Research Associate at the Museum of International Folk Art.

Article 12 in particular provides significant political leverage for developing appropriate policies for the protection and recognition of sacred natural sites at the national level. It states: “Indigenous peoples have the right to manifest, practice, develop and teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect, and have access in privacy to their religious and cultural sites; the right to the use and control of their ceremonial objects; and the right to the repatriation of their human remains.”.UNDRIP (2007) ‘Declaration on the Rights of Indigenous Peoples, United Nations’, General Assembly, 61st session, agenda item 68, Report of the Human Rights Council.

It was found deposited part way down in an Iron Age pit (c. 1200 BC). Since it must have been deliberately placed there, this could indicate one of the first (known) human finds of a meteorite in Europe. Some Native Americans treated meteorites as ceremonial objects. In 1915, a iron meteorite was found in a Sinagua (c. 1100–1200 AD) burial cyst near Camp Verde, Arizona, respectfully wrapped in a feather cloth.H. H. Nininger, 1972, Find a Falling Star (autobiography), New York, Paul S. Erikson. A small pallasite was found in a pottery jar in an old burial found at Pojoaque Pueblo, New Mexico.

Beginning as lethal weapons of medieval knights, maces evolved into ceremonial objects carried by sergeants- at-arms and now represent a monarch's authority. The House of Commons can only operate lawfully when the royal mace – dating from the reign of Charles II – is present at the table. Two other maces dating from the reigns of Charles II and William III are used by the House of Lords: One is placed on the Woolsack before the house meets and is absent when a monarch is there in person. In the late 17th century there were 16 maces, but only 13 survive, 10 of which are on display at the Tower of London.

Throughout her career as an artist, Ruth Nalmakarra has been a weaver, painter, and curator. She has been weaving since she was a little girl, and was later taught painting by her family. From 1988 to 1993, she was a teacher's aid and tutor at Milingimbi Primary School, and from 2001-2003, she worked as an administration assistant and researcher at the Elcho Island Knowledge Centre. Nalmakarra's late-brother Mickey Durrng, and his brother, Tony Dhanyala were the only people authorized to paint the Dijirri-didi: the Liyagauwumirr's clan design that is painted on the body during the Ngarra cleansing ceremony, in which the Liyagauwumirr paint their bodies and ceremonial objects.

During the Terminal Coles Creek period (1150 to 1250 CE) contact increased with Mississippian cultures centered upriver near St. Louis, Missouri. This led to the adaption of new pottery techniques, as well as new ceremonial objects and possibly new forms of social structuring. As more Mississippian culture influences were absorbed the Plaquemine area as a distinct culture began to shrink after 1350 CE. Eventually the last enclave of purely Plaquemine culture was the Natchez Bluffs area, while the Yazoo Basin and adjacent areas of Louisiana became a hybrid Plaquemine-Mississippian culture. Historic groups in the area during first European contact bear out this division.

The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. Documented archaeological finds throughout the 20th century, together with records on the Aboriginal Heritage Information Management System of the Office and Environment and Heritage, indicate that Queanbeyan Showground has archaeological potential. Whilst the more recently found artefacts are thought to possibly have originated in fill material brought on to the site, there are records of a burial being found beneath the grandstand and another nearby in West Avenue. There are also records that refer to ceremonial objects being found on the site.

The palace contains royal ceremonial objects, such as a gold-plated crown set with diamonds, a golden throne and personal objects of Sultan Syarif Qasyim and his wife, such as the "Komet", a multi-centennial musical instrument which is said to have been made only two copies in the world. Komet still works, and is used to play works by composers such as Beethoven, Mozart and Strauss. The foundation of the palace of Siak has its share of myth. It is said that while the Sultan and his dignitaries were discussing the project, suddenly appeared a white dragon on the surface of the river Siak.

Evidence for onsite copper metallurgy at Lamanai consists of ingots, pigs, blanks, sheet pieces, mis-cast objects, and casting debris. Pigs are the product of pouring remainder metal from a cast out to cool; in contrast to ingots, pigs are usually not formed into standardized or even semi-standardized shapes or sizes. The discussion of the forms and styles of copper artifacts from Lamanai follows Pendergast's (1962) typology of metal artifacts in Mesoamerica. This classification is based on the division of objects into one of three major functional categories: utilitarian objects, objects of personal adornment, and ceremonial objects Dating of these metal artifacts is based primarily on their association with stylistically diagnostic ceramic forms.

Kahn's early works draw on the tradition of American visionary landscape painting, and his more recent pieces reflect his fascination with contemporary science, inspired by the micro-images of cell formations and satellite photography. Kahn's work has been featured in over 70 solo exhibitions including at the Butler Institute of American Art, Fort Wayne Museum of Art, Museum of Fine Arts, Houston, the Neuberger Museum of Art, The Philadelphia Museum of Jewish Art, the Weatherspoon Art Museum, and most recently at the Museum of Art - DeLand. Kahn also creates ceremonial objects (Judaica). A practice which began as a private one, creating objects for his family, he began to include his ritual art in exhibitions in the late 1990s.

Exclusively at San José Mogote mirrors of polished magnetite were made and traded to the Olmec Gulf Coast, some distant. Trade with other areas is also suggested by the greater quantities of obsidian and ceremonial objects, such as drums made from turtle shells, conch-shell trumpets, and stingray spines, as well as pottery designs associated with the Olmec groups, especially at the site of San José de Mogote (Price and Feinman 2005, p. 321). By 700 BC the population of San José Mogote continued to increase. Between 700 and 500 BC, 3500 people occupied the Valley of Oaxaca, with about 1000 living at San José Mogote, which covered approximately 60 Hectares (150 acres) (Evans 2004, p. 187).

The museum collection of African art is composed by wood carvings, masks, ceremonial objects, functional objects, ivory and bronze sculptures, textiles, body ornaments, and other items related to several ethnic groups, most part of which indigenous to Western Africa, more specifically, to the Bight of Benin. The collection is of particular importance for its coherent geographical unity, which allows the identification of interethnic flows among groups such as the Ashanti, Bassa, Baoulé, Dan, Bambara, Fon, Fulani, Senufo, Yoruba, and unidentified groups of Benin. It is, therefore, an important register of the common symbols of political, social and economic power, concerning the Pan- African theories. Other important aspect of the collection is the fact that several artworks, mainly of devotional nature, are closely related to Afro- Brazilian culture.

He was the museum's first director, remaining in the position until 1983 when he was named founding director emeritus and a Smithsonian senior scholar, and replaced as director by Sylvia H. Williams. The museum was relocated to the National Mall in 1987 and renamed the National Museum of African Art. By the time of his death in 2008, the Museum included more than nine thousand objects from Africa, including headdresses, pottery, copper reliefs, musical instruments, baskets, and ceremonial objects, as well as more than 30 thousand volumes on African art, culture and history. Robbins died at age 85 on December 4, 2008 at George Washington University Hospital from complications resulting from a fall at his home a month before his death.

The general term in Western desert languages for the plant is tjanpi, the plain where it grows is pila, the plant itself, in the Pitjantjatjara and Yankunytjatjara languages was tjapura, while the Spinifex resin extracted from it is called kiti. Spinifex grasses were worked to produce cakes of resin that had four basic uses: (a) as a waterproofer, by caulking any wooden object employed for carry around water; (b) as a putty to fill holes or fissures in work materials; (c) as an adhesive to bind materials when making tools, weaponry and ceremonial objects; and (d) as a basic stuff for moulding beads, figurines and other assorted objects. These resin products are commodities also, used as gifts and as important tradewares between tribes. The grasses were cut with stone halfway down the stem.

In an "upstairs- downstairs" format exhibition (Roy Boyd Gallery, 1987) reflecting his studio set-up, Piatek introduced a new medium in his more intimate body of work: a decade's worth of collage-assemblages on the theme of art-making, which he displayed in a lower gallery beneath his paintings on the main floor.Artner, Alan G. "Piatek's collages provide a new interest," Chicago Tribune, October 30, 1987, p. 58. The collage work breaks with linear time, joining photocopy- transferred, early notebook images (of Piatek, his studio and ceremonial objects), present work, text, and mythic forms in an overlay of memory and archetype that suggests both a psychic archaeology and connection to a greater collectivity.Jacobs, Jodie. "Art `Pleasures' easy to see but often difficult to define," Chicago Tribune, December 12, 2003.

The cock is an important animal in the religion of Benin, treated as a worthy animal sacrifice to deities such as Olokun, a spirit of wealth and of the sea. More than two dozen bronze cocks (Eson) are known in the art of Benin, dated between the 17th and 19th centuries. These statues of male chickens were typically cast using a lost wax process, modelled with comb, tail and spurs, and incised patterns representing feathers, mounted on a large square base which was often decorated with a guilloche pattern. They may have been ceremonial objects, displayed on an ancestral altar commemorating a queen mother (Iyoba), an unusual example of a male animal being used to commemorate a woman, attributable to the traditional power and privileges of the queen mother.

She was especially interested in illuminated medieval Hebrew manuscripts, which she studied in the collections of St. Petersburg. In 1912 Rachel (Bernstein) married Mark Wischnitzer (1882-1955), a sociologist and historian, who was one of the editors of the Russian-language edition of the Jewish Encyclopedia (Evreiskaia entsiklopediia), where her first writings on synagogue architecture and ceremonial objects were published."Dr. Mark Wischnitzer, Jewish historian, dies; was 73" Jewish Telegraphic Agency, 18 October 1955. The couple moved to Berlin in the 1920s, where they together launched the Hebrew and Yiddish illustrated companion journals Rimon and Milgroym. Featuring perspectives on art, literature and scholarship by both East European and German-Jewish writers and artists, six issues of the journal appeared between 1922 and 1924, with Mark serving as general editor and Rachel Wischnitzer as artistic editor.

Using these valued materials, Mississippian artists created exquisite works of art reflecting their cultural identity and their complex spiritual beliefs. When commercial excavators dug into Craig Mound in the 1930s, they found many beautifully crafted ritual artifacts, including stone effigy pipes, polished stone maces, finely made flint knives and arrowpoints, polished chunkey stones, copper effigy axes, Mississippian copper plates (Spiro plates), mica effigy cut outs, elaborately engraved conch shell ornaments, pearl bead necklaces, stone earspools, wood carvings inlaid with shell, and specially made mortuary pottery. The conch shells were fashioned into gorgets and drinking cups engraved with intricate designs representing costumed men, real and mythical animals, and geometric motifs, all of which had profound symbolic significance. Spiro Mounds' ceremonial objects are among the finest examples of pre-Columbian art in North America.

The earliest gold solidus coins from the Eastern Roman Empire found in China date to the reign of Byzantine emperor Theodosius II (r. 408–450) and altogether only forty-eight of them have been found (compared to thirteen-hundred silver coins) in Xinjiang and the rest of China. The use of silver coins in Turfan persisted long after the Tang campaign against Karakhoja and Chinese conquest of 640, with a gradual adoption of Chinese bronze coinage over the course of the 7th century. The fact that these Eastern Roman coins were almost always found with Sasanian Persian silver coins and Eastern Roman gold coins were used more as ceremonial objects like talismans confirms the pre-eminent importance of Greater Iran in Chinese Silk Road commerce of Central Asia compared to Eastern Rome.

Museum of Freemasonry, North Gallery with Three Centuries of English Freemasonry exhibition, 2018 Museum of Freemasonry, South Gallery, 2018 Museum of Freemasonry (previously known as the Library and Museum of Freemasonry), based at Freemasons’ Hall, London, is a fully accredited museum since 2014, with a designated outstanding collection of national importance since 2007 and registered charitable trust (Registered Charity number 1058497) since 1996. The facility encompasses a museum, library, and archive. The collections are composed of masonic ceremonial objects, jewellery, regalia, ceramics, glassware, silverware, clocks, furniture, books, prints and manuscripts relating to English freemasonry and its interactions with overseas lodges and orders. It also retains artefacts relating to other associated fraternal orders and friendly societies such as the Oddfellows, Hermetic Order of the Golden Dawn, Sons of the Phoenix and Societas Rosicruciana in Anglia.

The museum argued in federal district court in 2000 that the law applied to ceremonial objects made by the tribes, not to objects such as the meteorite, which occurred naturally and may be revered by peoples. It sued to be named as official owner of the meteorite. The museum and CTGR tribe reached agreement in June 2000 to share custody of the meteorite to preserve it for both religious and scientific purposes. > The American Museum of Natural History and the Confederated Tribes of the > Grand Ronde Community of Oregon today signed a historic agreement that > ensures access to the Willamette Meteorite, a world famous scientific > specimen at the Museum, by the Grand Ronde for religious, historical, and > cultural purposes while maintaining its continued presence at the Museum for > scientific and educational purposes.

An altar society or altar guild is a group of laypersons in a parish church who maintain the ceremonial objects used in worship. Traditionally, membership was limited to women and their most common functions are making floral arrangements for the sanctuary, caring for linens, and holding fundraisers to purchase items for the sanctuary, including vestments and altar vessels. Once the major volunteer organization for women in almost every parish, but with an increase in other lay ministries, and women working outside the home, there has been a decline in the number of parishes who still have altar societies.Langlois, Ed. "Parish altar societies provide quiet, prayerful service to God", Catholic Sentinel, December 31, 1998 Today, especially in the United States, membership may include both men and women and functions in a similar manner as before, oftentimes with less emphasis on fundraising.

The Jewish Art and History Museum, also known as the Museum of the Silvers ('Museo degli Argenti'), was designed by Giulio Bourbon and is located in part in the former women’s gallery of the synagogue. On display are precious silver ceremonial objects and embroidered textiles, as well artefacts related to Jewish festivals and domestic life.'The Jewish Art and History Museum: Collections', Casale Monferrato Jewish Museal Complex The Museum of Lights (‘Museo dei Lumi’) occupies an underground room formerly used for baking Matzot and houses a growing collection of Menorahs created by contemporary Jewish and non-Jewish artists including Elio Carmi, Emanuele Luzzati, Aldo Mondino, Gabriele Levy, Marco Porta, Tobia Ravà, Antonio Recalcati and David Gerstein.The Museum of Lights: Introduction, Casale Monferrato Jewish Museal Complex.‘The Museum of Lights: Conversations with five artists’, Casale Monferrato Jewish Museal Complex.

Kraków was an influential centre of Jewish spiritual life before the outbreak of World War II, with all its manifestations of religious observance from Orthodox, to Chasidic and Reform flourishing side by side. There were at least ninety prayer-houses in Kraków active before the Nazi German invasion of Poland, serving its burgeoning Jewish community of 60,000–80,000 (out of the city's total population of 237,000), established since the early 12th century. Most synagogues of Kraków were ruined during World War II by the Nazis who despoiled them of all ceremonial objects, and used them as storehouses for ammunition, firefighting equipment, and as general storage facilities. The post-Holocaust Jewish population of the city had dwindled to about 5,900 before the end of the 1940s, and by 1978, the number was further reduced in size to a mere 600 by some estimates.

Spread of shell tempered pottery eastward into southern Plaquemine area Beginning during the Terminal Coles Creek period (1150 to 1250 CE), Mississippian cultures far upstream from the Plaquemine area began expanding their reach southward. Excavations in the Yazoo Basin area of Mississippi have shown a Cahokia Horizon as extra-regional exotic goods, such as Cahokian pottery and other artifacts, began to be deposited in Coles Creek- Plaquemine culture sites. Through repeated contacts, groups in Mississippi and then Louisiana began adopting Mississippian techniques for making pottery, as well as ceremonial objects and possibly social structuring. By the mid 15th century influences from Pensacola culture peoples (from the Bottle Creek Site on the Gulf Coast near Mobile) had begun spreading westward across Barataria Bay and the Atchafalaya Basin and by 1700 had Mississipianized the local populations as far north as modern day Baton Rouge, Louisiana.

The collection that seeded the museum began with a gift of Jewish ceremonial art objects from Judge Mayer Sulzberger to the Jewish Theological Seminary of America on January 20, 1904, where it was housed in the seminary's library. The collection was moved in 1931, with the Seminary, to 122nd and Broadway. The Jewish Theological Seminary received over 400 Jewish ceremonial items and created, 'The Museum of Jewish Ceremonial Objects', previously the Jacob Schiff Library. The collection was subsequently expanded by major donations from Hadji Ephraim Benguiat and Harry G. Friedman. In 1939, in light of WWII, Poland sent about 350 objects to New York city from homes and synagogues in order to preserve them. Following Felix Warburg's death in 1937, in January 1944 his widow Frieda donated the family mansion to the seminary as a permanent home for the museum, and the site opened to the public as 'The Jewish Museum' in May 1947.

Skirball Museum The Skirball Museum predates the Skirball Cultural Center, having been established in 1972 at the Hebrew Union College-Jewish Institute of Religion in L.A. The Museum moved into the Skirball Cultural Center after the center's completion. The Skirball's core exhibition, Visions and Values: Jewish Life from Antiquity to America, traces the history, experiences and values of Jews over 4,000 years. Featuring changing displays of works from the Skirball's museum collection, the exhibition's galleries contain multimedia installations, rare artifacts, historical documents and photographs, works of fine art, interactive computer stations and sound recordings that lead visitors on the Jewish people's journey, culminating with their experiences in the United States. Comprising more than 30,000 objects, the Skirball's museum collection includes archaeological artifacts from biblical and later historical periods; Jewish ceremonial objects from countries all over the globe; an extensive group of Old World Jewish objects; the Project Americana collection, comprising objects that document the “everyday life of ordinary people” in the United States since the 1850s; and works of fine art in a variety of media.

Bernhard Hagen at the museum, the printing costs were financed by the Anthropological Society of Frankfurt, at that time playing an important role in the cultural life of Frankfurt and supported by wealthy benefactors, some from Frankfurt's prominent Jewish families. In return, the museum obtained a major collection of artefacts and sacred objects at a reduced price, unfortunately largely destroyed in World War Two. These included the usual spears, boomerangs, woomeras, digging sticks, stone knives and everyday objects, but also tjurungas, ceremonial objects and decorations of various kinds which were usually destroyed when the ceremony was finished, kurdaitcha boots, pointing sticks and so on with a view to enabling Europeans to get a full and comprehensive picture of Aranda and Loritja people and their inner world in conjunction with the explanations in the book. After the export of indigenous material was restricted by the Act of November 1913, a collection intended for Cologne's Rautenstrauch-Joest Museum was impounded at Port Adelaide, and was purchased by the South Australian Museum.

Krutak was born in Lincoln, Nebraska, to Dr. Paul Krutak, a traveling geologist and university professor, who moved the family to Mexico City in 1979 and then to a series of states including Louisiana, Texas, and eventually Colorado where Lars grew up in the small mountain town atmosphere of Rye, Colorado. Krutak attended the University of Colorado at Boulder studying art history and anthropology and upon graduation (1993) he moved to San Francisco to work as an art gallery preparator for Paul Thiebaud, the son of American Pop artist Wayne Thiebaud. In 1996, Krutak attended graduate school at the University of Alaska at Fairbanks where his thesis One Stitch at a Time: Ivalu and Sivuqaq Tattoo focused on the ancient tattooing traditions of the St. Lawrence Island Yupik people. Krutak briefly attended Cambridge University as a PhD student in 1998 but he returned stateside joining the National Museum of the American Indian (Smithsonian Institution) where he worked as a Repatriation Research Specialist (between 1999–2002) facilitating the return of sacred and ceremonial objects and human remains to indigenous peoples throughout North America and Mexico.

Tobi Kahn, Silver Omer Counter The solo exhibition, Tobi Kahn: Aura- New Paintings From Nature will be on view at Museum of Art - DeLand June 3 - August 5, 2018. In 2017, Anointed Time: Sculpture and Ceremonial Objects by Tobi Kahn was on view at The Butler Institute of American Art, Youngstown, OH. This exhibition involved Kahn's work from the early 1980s to 2017 and was first time his shrines, sculpture, and ceremonial art were all on view together. Kahn had paintings included in the group show, Golem, at the Jewish Museum Berlin September 23, 2016 to January 29, 2017. In 2015, Reverie: Tobi Kahn, a solo show of current work opened at the Cornell Museum of Rollins College, Winter Park, FL. In that same year Meridian: Paintings and Ceremonial Art of Tobi Kahn was on view at the Fort Wayne Museum of Art, Indiana. Tobi Kahn, ALIGNED, Paintings by Tobi Kahn, 2011 In 2012, IMMANCE: The Art of Tobi Kahn, a solo exhibition of paintings from 1987-2012 opened at the Philadelphia Museum of Jewish Art, Philadelphia, PA. Another exhibition, RIFA-Sky and Water Installation, ran concurrently in Philadelphia at the National Museum of American Jewish History and had an accompanying catalogue.