385 Sentences With "zoomorphic" | Random Sentence Generator

"The oldest surviving example of zoomorphic architecture on Earth," boasted her human handler and lifelong cheerleader, Richard Helfant.

Perched on stick legs and composed of animal hides, bedraggled garments, and zoomorphic masks, the hybrid creatures are menacing marvels, evoking the fear inherent in fairy tales.

Two sexologists I spoke with speculated that imitation animal penises are fetish items likely not intended for the mainstream women's market, but zoomorphic vibrators represented another beast entirely.

The catalogue suggests that a few of the flake tools have been sculpted to be zoomorphic forms — one resembles the profile of a fish, another an elephant's head.

Advertise on Hyperallergic with Nectar Ads The Nazca Desert in Peru is famous for the ancient geoglyphs known as the Nazca lines, which form enigmatic geometric shapes and zoomorphic designs.

Institutionalized since 1950, Scott saw a fiber art class being conducted by visiting artist Sylvia Seventy and began making anthropomorphic and zoomorphic sculptures that resemble cocooned body parts and elongated totemic poles.

Sonic's success sparked a flood of comparably zoomorphic avatars featuring in their own releases, ostensibly much the same gameplay wise as Sega's breakthrough, featuring a whole lot of leaping, landing, and enemy lamping.

In 2013, when the Spanish design artist Nacho Carbonell created a family of eight massive bronze zoomorphic sculptures for his Time Is a Treasure collection with Galerie BSL in Paris, he planned to use slices of blue agate.

Based on the 80,000-odd cultural and household artifacts that have been recovered from this ancient hunting camp, these people produced zoomorphic figurines, engravings, and jewelry, and wore clothes made of rawhide and Arctic fox fur, sewed together with animal veins as threads.

Those impulses help explain how a straightforward need — to rebuild the PATH commuter railroad terminal under the trade center — turned into a $4 billion shopping mall, transit center and pedestrian network, crowned at street level by a fantastic, zoomorphic, dazzling white structure with stout ribs and outspread wings.

Bowie, and his many incarnations, served as the guide through many chapters of my youthful explorations: the gender-bending alien Ziggy Stardust; the zoomorphic freak-show act Halloween Jack; the glamorous Thin White Duke, whose sadness and debauchery provided a mirror as I tried to party through the low points of my 20s.

The essentially anthropomorphic and zoomorphic designs included horses identifiable by their characteristic manes, aurochs with mouths and nostrils detailed, and deer. Other paintings dating back to the Epipaleolithic period were of zoomorphic semi-naturalist design. Some anthropomorphic and zoomorphic designs, both geometric and abstract, date from the Neolithic period. Others, primarily anthropomorphic, date back to the Chalcolithic and Bronze Age.

The minor initials within the text are decorated with interlace and curvilinear motifs with zoomorphic terminals.Brown 1996, p. 69.

The column is decorated with vegetal and zoomorphic sculptures throughout and topped by a sphere and flame-like sculpted burst.

Zoomorphic Varaha, Khajuraho. On its body are carved saints, sages, gods, seven mothers and numerous beings which he symbolically protects. The goddess earth is ruined and missing. Like Vishnu's first two avatars – Matsya (fish) and Kurma (turtle) – the third avatar Varaha is depicted either in zoomorphic form as an animal (a wild boar), or anthropomorphically.

Therefore, most animal figurative representation in Islamic art comes from secular objects. The zoomorphic style allows artists to stylize animal forms and designs, a tradition that has been present as early as the seventh century after the spread of Islam beyond the Arabian Peninsula. One example of a zoomorphic object is the incense burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, today located at the Metropolitan Museum in New York. Incense burners were common objects for zoomorphic forms that served as a container for aromatic material to be burned.

Carvings of various zoomorphic creatures, including in particular, a horse Paleolithic rock engravings breaking the natural rock formation Various zoomorphic and anthropomorphic designs on granite slabs The earliest drawings appearing in the Côa Valley date between 22–20 thousand years B.C., consisting of zoomorphic imagery of nature.António Martinho Baptista and Mário Varela Gomes (1995), p. 350–384 Between 20–18 thousand B.C. (Solutense period), a secondary group of animal drawings included examples of muzzled horses. There was greater elaboration during 16–10 thousand years B.C. (Magdalenense period), with a Paleolithic style.

The lateral pillars are candelabra in nature, sculpted with ropes and vegetal elements, over bases decorated with zoomorphic and vegetal elements, and frieze of foliage. In each jamb is a niche, with vegetal corbels and zoomorphic lintels, with the images of Santo André and São Tiago (on the right) and São Bartolomeu and São Jerónimo (on the left).

The Early Classic period emblem glyph of El Perú consists of an Ajaw glyph connected to a zoomorphic head. According to Stanley Paul Guenter, this is similar to the Chapa(h)t logogram. Guenter also believes the zoomorphic head represents a centipede or creature with a face like a centipede's. The main sign of this glyph says Wak.

Wood is carved into ceremonial masks, smoking pipes, chairs known as apyká, and anthropomorphic and zoomorphic effigies. Gourds are also carves with images.

A N Khan (1997). Studies in Islamic Archaeology of Pakistan Sang-e-Meel Publications Influence of Hindu architecture is seen in the zoomorphic corbels.

Caiger-Smith, Chapters 6 and 7 Metalwork forms like the zoomorphic jugs called aquamanile and the bronze mortar were also introduced from the Islamic world.

42Muñoz Castiblanco, 2013, p.44Muñoz Castiblanco, 2013, p.55 The motives show a possible tobacco plant, commonly used by the Muisca, zig-zag patterns, anthropomorphic figures, concentric lines similar to those in Soacha and Sáchica, zoomorphic motives and anthropo-zoomorphic composites in the shape of frogs.Muñoz Castiblanco, 2013, p.45Muñoz Castiblanco, 2013, p.43Muñoz Castiblanco, 2013, p.48Muñoz Castiblanco, 2013, p.49Muñoz Castiblanco, 2013, p.

Almost all of these letters are ornamented with abstract zoomorphic/animal motifs, with the exception of one anthropomorphic image found on folio 91 verso.Brown 1996, p. 69.

The moustache, beard, and eyebrows were made with black wool, horsehair, or hemp fibers, and the teeth with beans. Zoomorphic and anthropo- zoomorphic masks might have white, black, or red painted horns attached to them. The costumes were prepared from ragged clothes, sheepskins with the wool turned outside, and calf hides. An ox tail with a bell fixed at its end was sometimes attached at the back of them.

Local style sculptures are generally boulders carved into zoomorphic shapes, including three-dimensional representations of frogs, toads and crocodilians.Orrego Corzo and Schieber de Lavarreda 2001, pp. 786, 792.

The church was built in alternate courses of single-line stone and three-line bricks. Valuable ceramic decoration makes use of geometrical patterns, floral motifs, zoomorphic and anthropomorphic shapes.

The second trigger facilitates playing the otherwise problematic low B. A buccin is a trombone with a round, zoomorphic bell section. They were common in 19th-century military bands.

White marble was used in the lintels, the arches, the inscription plaques, and the cornice of the dome. The tomb is most known for its elaborate vegetal and zoomorphic carvings.

The Book of Haggai has large 13th-century flourished initial (folio 391v). In all there 79 extant large historiated initials. The beginnings of the prologues have large zoomorphic and foliate initials.

The similarities between the incense burner and the lamp demonstrate how zoomorphism was used throughout Islamic culture. Dagger with Zoomorphic Hilt, dated to the second half 16th century, Hilt made of copper; cast, chased, gilded, and inlaid with rubies, Blade made of steel; forged, L: 15 5/8 in. Zoomorphism appears on objects beyond household items. An example of this is the Dagger with Zoomorphic Hilt also located at the Metropolitan Museum of Art in New York.

The remaining objects in the Mildenhall assemblage are all small eating utensils; five round-bowled ladles or spoons, and eight long-handled spoons of the common late-Roman cochlear type. The round 'ladles' have zoomorphic handles cast in the form of dolphins. There is a comparable piece in the Traprain treasure,Curle 1923, pp.70-71 and there are two sets each of ten ladles of this type, though not with zoomorphic handles, in the Hoxne hoard.

The importance of symbolism eventually outweighs the functional aspect with the more elite examples found in the Naqada III period, but there is also a reversion to non-zoomorphic designs among non-elite individuals.

Matsya iconography is on occasion zoomorphic and depicts a giant fish with a horn. It is usually anthropomorphic with depictions of a form of human torso connected to the rear half of a fish.

The Yellow Dragon ( Huánglóng) does not have a precise body of water of which he is the patron. However, as the zoomorphic incarnation of the Yellow Emperor, he represents the source of the myriad things.

Although some anthropomorphic images take on dynamic poses, they rarely interact with other decorations. Besides, the sites figurative inventory also includes zoomorphic representations. They can embody snake- (fig. 3), lizard-, bird- or tapir-like creatures.

Primarily, these elements were the decorations in the internal faces of the portico (the urns, medallions, masks, cornucopias, fantastical animals, sphinxes and birds), the vegetal forms (leaves, flowers) and zoomorphic elements (birds, dragons and dogs).

An image in the Le Gabillou Cave in Dordogne shows a deeply engraved zoomorphic figure with a head in frontal view and an elongated neck with part of the forelimb in profile. It has large round eyes and short, rounded ears which are set far from each other. It has a broad, line-like mouth that evokes a smile. Though originally thought to represent a composite or zoomorphic hybrid, it is probable it is a spotted hyena based on its broad muzzle and long neck.

The cloister From the 16th century room the visitor can go up to the Romanesque cloister (late 12th century), in white marble and green serpentine, characterized by original zoomorphic capitals created by the Master of Cabestany.

Tell el-Yahudiyeh Ware juglet. Rockefeller Museum Israel Tell el-Yehudiyeh Ware is primarily seen in the form of juglets, but also includes a large variety of zoomorphic (animal-shaped) vessels and even some shaped like fruit.

89, 2004, Prestel, Islamic law deprecated the use of such representational figures, and the Islamic zoomorphic aquamanile tradition died out. The tradition was taken up enthusiastically in Europe, however, where the form remained popular until the Renaissance.

Gold bracelet with horse heads from Vad-Făgăraș, Brașov County at Kunsthistorisches Museum, Vienna. In the past, on the basis of a relatively small selection of archaeological finds, some scholars considered that the art of Geto-Dacians was geometrical and non-iconic. This led to the zoomorphic representations of Dacian bracelets being seen as an expression of the art of the steppes people, and Scythian art in particular. The majority of archaeological finds to date show that the main aspect of Geto-Dacian toreutics is in fact a zoomorphic motif style of its own.

Effigy pots were a mainstay of many Mississippian peoples, although they come in many different varieties. Some come in anthropomorphic shapes, some zoomorphic shapes and others in the shape of mythological creatures associated with the Southeastern Ceremonial Complex.

For camouflage, hunters wear differently colored kulapara in different seasons: white in winter, green in summer, and yellow in autumn. A takiya is a light, round hat decorated with patterns which include zoomorphic embroidery, flowers, and anima horns.

Architects used a lattice of stonework to create the combs, and this method proved to be strong and permanent. “Roof combs often were carved or painted with zoomorphic or anthropomorphic motifs as well as texts”.Cole, Emily. The Grammar of Architecture.

Many are also used for healing, while others provide success in hunting or trade, among other things. Important minkisi are often credited with powers in multiple domains. Most famously, minkisi may also take the form of anthropomorphic or zoomorphic wooden carvings.

Koledari prepared themselves during several days before the start of the koleda: they practiced the koleda songs, and made their masks and costumes. The masks could be classified into three types according to the characters they represented: the anthropomorphic, the zoomorphic (representing bear, cow, stag, goat, sheep, ox, wolf, stork, etc.), and the anthropo-zoomorphic. The main material from which they were produced was hide. The face, however, could be made separately out of a dried gourd shell or a piece of wood, and then sewn to hide so that the mask could cover all the head.

The western settlement is an approximately 3 m high mound with a diameter of about 80 m, and contains five cultural layers. Levels 2-5 represent the aceramic Neolithic phase. There's also some imported obsidian. There are many zoomorphic and anthropomorphic figurines.

Although some anthropomorphic images take on dynamic poses, they rarely interact with other decorations. Besides, the sites figurative inventory also includes zoomorphic representations. They can embody snake- (fig. 3), lizard-, bird- or tapir-like creatures. In contrast, phytomorphic motifs doesn’t appear clearly.

The Bulls of Guisando, in El Tiemblo, Castile and León, Spain. Verraco in Mingorría, Castile and León, Spain. Verraco located in the Plaza mayor of Villanueva del Campillo. It is the Vettones's largest zoomorphic sculpture found until now in the Iberian Peninsula.

These consisted on a zoomorphic-shaped metal tablet with an inscription using a variant of the Northeastern Iberian script (also known as Celtiberian script), written in a form of celtiberian language.«Nueva tésera celtibérica en la provincia de Burgos». Universidad de La Rioja.

In the anthropomorphic form, Varaha often has a stylized boar face, like the zoomorphic models. The snout may be shorter. The position and size of the tusks may also be altered. The ears, cheeks, and eyes are generally based on human ones.

The beads resembled grasshoppers and cyclical cicadas. He proposed that the beads involved an element of magic that spread across the southern states in multicultural contexts. He argued there was no evidence for cultural unity among the sites where the zoomorphic beads appeared.

It is adorned with a decorative tripartite arcade framed by massive projecting pilasters and bears frescoes and zoomorphic sculptures in relief. The frescoed outer walls at Nakipari are among the earliest in Svaneti and façade sculptures are unusual for the region's architecture.

The lateral walls included doors with double archivolts over simple tympanum, although the northern facade also has a door with smooth archway. Circling the entire building is a squared-off cornice, consisting of undulating or flat diamond-shaped forms decorated with zoomorphic or geometric motifs.

The Cosmetic palette in the form of a Nile tortoise The zoomorphic palette is a type of cosmetic palette made during the predynastic period of Egypt. The palettes are found at burial sites, for example Abydos in the second half of the 4th millennium BC.

An altar has been discovered at El Peru, featuring a quatrefoil on the back of a zoomorphic creature in which sits a ruler.FREIDEL, D.A., L. SCHELE & J. PARKER. 1993. Maya Cosmos: Three Thousand Years on the Shaman's Path. New York: William Morrow: 215TAUBE, K. 1998.

Arundel 536 The initial letters are large, written on the margin, in red and yellow, or red, black, and yellow. The decorations are zoomorphic (birds, fishes, snake) or anthropomorphic (hands). The lessons of the codex were read from Easter to Pentecost in the weekdays and on Saturday.

She is found in Lithuanian folklore. Gabija could take zoomorphic forms of a cat, stork or rooster, or she could appear as a woman clothed in red. Gabija was greatly respected and cared for like a living creature. People would feed Gabija by offering bread and salt.

As a child Cheucarama watched his father carved intricate zoomorphic sculptures. He began carving tagua seeds, known as "vegetable ivory", as well. The linguist Ron Binder noticed Cheucarama's artistic skills in the village of Aruza in the early 1970s. The teenager carved representational toys from balsa wood.

Monument 8 is found on the west side of Structure 12\. It is a zoomorphic sculpture of a monster with feline characteristics disgorging a small anthropomorphic figure from its mouth. Monument 9 is a local style sculpture representing an owl.Orrego Corzo and Schieber de Lavarreda 2001, p. 792.

Paddles from Tybrind Vig show traces of highly developed and artistic woodcarving. This is an example of the embellishment of functional pieces. The population also polished and engraved non-functional or not obviously functional pieces of bone or antler. Motifs were predominantly geometric with some anthropomorphic or zoomorphic forms.

Chorrera human effigy fragment, Musée d'Aucha Chorerra zoomorphic whistling spout effigy bottle, 23 cm high, Museum zu Allerheiligen The Chorrera culture or Chorrera tradition is a Late Formative indigenous culture that flourished between 1300 BCE and 300 BCE in Ecuador.White, Nancy. "Early Horizon, First Civilization." South American Archaeology.

Schumacher noted in 1884 the presence of zoomorphic stone reliefs from the Roman period, such as Roman eagles.Schumacher, 1888, p. 70. The remains of two ancient synagogue have been discovered at al-Ahmadiyah, which is possibly the site of the ancient Roman Jewish settlement of Ecbatana.Applebaum, p. 53.

These masks are angled at 45°. The lowest is a zoomorphic mask with feline features that measures . Immediately above it is another mask measuring . It is an anthropomorphic mask in a good state of preservation with circular eyes, a prominent upper lip, a flattened nose and a downturned mouth.

16 (1959), pg.1-212. Webb's work shed light on the site, which had received minimal study prior to this due to an absence of major ceramic period occupations. He found zoomorphic locust beads at the site that were made from carved and polished stone, usually red jasper.

There are several major initials which are historiated, zoomorphic, or decorated. Major initials are found at the beginning of Psalms 1, 51 and 101. This tripartite division is typical of Insular Psalters. In addition, the psalms beginning each of the liturgical divisions of the Psalter are given major initials.

Like the Hindu art, both zoomorphic (giant eagle-like bird) and partially anthropomorphic (part bird, part human) iconography is common across Buddhist traditions. Garuda in Koh Ker style. Made of sandstone, this statue is from the first half of 10th century, (Angkor period). On display at the National Museum of Cambodia.

Bazhov believed that the most ancient creature of the Ural mythology is Azov Girl, the Snake appeared next, and the last one was the Mistress. It is further proved by the fact that Poloz is a zoomorphic being, as he probably comes from the era of totemistic beliefs.Shvabauer 2009, p. 59.

The use of animals as decoration and for supporting columns also parallels contemporary Frankish usage.Guilmain, "Zoomorphic," 24. More Carolingian and less Byzantine influence is evident in the Codex Aemilianensis, a copy of the Vigilanus made at San Millán de la Cogolla in 992 by a different illustrator.Guilmain, "Forgotten," 36-37.

The ointment juglet is the most important piece of pottery of the period. The fashion of juglets swings gradually from piriform ones to cylindrical. Amongst these vessels we find zoomorphic shapes like animals or human heads. These designs are often accompanied by “puncturing”, which used to be filled by white lime.

Hu continued to be cast in the Han dynasty. They were still lavishly applied with gold inlay and decorated with interlace of zoomorphic and geometric patterns. However, after Han, they mainly appear in ceramic form. In addition, their function was no longer tied to ritual offerings and is utilitarian for daily life.

The vessels had a ceremonial function. They were decorated with varying geometric designs and zoomorphic motifs, possibly symbolizing varying religious beliefs. There are several theories as to the origin and meaning of the symbolic iconography. Early Chinese scholars extended their traditional beliefs as regarded the symbolic meanings of the designs and motifs.

The concentric arches became peaked and ogival, instead of the half- pointed arches. They were adorned with vegetal, zoomorphic or human representations. The vaults began being as simple-ribbed but finally they were used terceletes. Most of the buildings were begun in the 14th century, but only Santiago's cathedral was ended then.

A fish palette- (dolphin type). The fish palettes of predynastic Egypt are one of the common types of cosmetic palettes, or more specifically zoomorphic palettes, which are shaped in the form of the animal portrayed. The fish palettes are mostly ovoid in shape. The palettes are made mostly of schist, greywacke, mudstone, etc.

The excavations have produced a great deal of evidence regarding cult practices in Pistiros. Among the artifacts discovered are preserved or fragmented clay altars with various forms and decorations (several of them preserved in situ), cult zoomorphic figurines made of clay or stone, clay anthropomorphic figurines, and miniature objects and portable hearths (pyraunoi).

It has been determined that some of the petroglyphs could date back thousands of years. Due to the plastic quality of the glyphs, the site is considered one of the most important places of rock art in American continent. Various forms of plants, flowers, fish, humans and zoomorphic figures are strangely stylized.

Bazhov mentions real locations such as Sysert, the Polevskoy Copper Smelting Plant, the Gumyoshevsky mine, the villages Kosoy Brod and Krasnogorka, the Ryabinovka river. Mythical creatures in The Malachite Box are either anthropomorphous (primarily femaleKharitonova, E. "Tipologija zhenskih obrazov v skazah P. P. Bazhova Типология женских образов в сказах П. П. Бажова [Classification of female characters in P. P. Bazhov's skazy]" in: P. P. Bazhov i socialisticheskij realizm.) or zoomorphic. The animals that appear in the stories and have zoomorphic attributes are lizards, snakes ("The Great Snake"), cranes ("Dikes of Gold"), ants ("Zhabrei's Path"), swans ("Yermak's Swans"), cats, the deer. All these creatures, with the exception of the cats, were depicted on the Permian bronze casts (the 5–15 centuries).

At the material level, prophets in manuscripts can have their face covered by a veil or all humans have a stroke drawn over their neck, a symbolical cut defending them to be alive. Calligraphy, the most Islamic of arts in the Muslim world, has also its figurative side due to anthropo- and zoomorphic calligrams.

The Moche Crawling Feline The Moche Crawling Feline is a specific stirrup spout vessel dating from 100—800 CE. This Moche ceramic effigy is currently in the collection of Larco Museum, in Lima, Peru. It comes from the North Coast of Peru. It represents a zoomorphic character: a lunar dog, or a crawling feline.

The central church, known as Chiesa plebana, is of the Latin Cross layout with a nave, two aisles and transept. The aisles are divided by cruciform pilasters with alternating capitals with zoomorphic motifs and of Corinthian style. The walls above the colonnade are polychrome. The trefoil-arched wooden ceiling dates from the 14th century.

Capulí goldwork is similar to that of later Ecuadoran and Columbian cultures. Smiths hammered and soldered high-carat gold into geometric and zoomorphic designs. The most abstract Precolumbian works in gold come from the Capulí era in the Colombian/Ecuadorian highlands. Capulí graves contained a mix of grave goods including conch shells and stone axes.

The four supporters (angels) of the celestial throne Bearers of the Throne or ḥamlat al-arsh are a group of angels in Islam. The Quran mentions them in and . In Islamic traditions, they are often portrayed in zoomorphic forms. They are described as resembling different creatures: An eagle, a bull, a lion and a human.

These types considerably extended the size of the terminals, which now presented a flattish area often decorated with enamel or glass inlay, mostly using abstracted patterns but sometimes zoomorphic decoration. The length of the pin is now often about twice the diameter of the ring.Youngs, 21–22, and catalogue nos. 16–19; NMI, no.

These two letters are also unified, which first appears in the late 7th century in Irish manuscripts. The decoration with the animal heads and the interlace shows the Breton tradition of imitating Irish and similar art in manuscripts. Folio 79r. The beginning of John has a zoomorphic word with the initials 'IN' with bird heads and interlace.

Although they more or less kept their political and commercial independence, it seems that from a religious perspective, the Cretan influence was very strong. Objects of worship (zoomorphic rhyta, libation tables, etc.), religious aids such as polished baths, and themes found on frescoes are similar at Santorini or Phylakopi and in the Cretan palaces.Les Civilisations égéennes, p. 353-354.

The decorations are zoomorphic (birds, fishes) or anthropomorphic (human figures, hands, other body parts), also harpies, or vases. The text is written in old Slavic language. It is a mixture of Slavic Cyrillic and Greek where few letters are borrowed from Persian, Hebrew, and Latin. This type of language/letter was used by Serbians and Bulgarians.

In the 2000s, researchers unearthed several Gothic graves. Artifacts included medical kits, a chain mail, and characteristic Germanic jewellery, including belt buckles and fibulae (brooches) decorated with gold, gemstones and zoomorphic motifs. In one of the graves, researchers found the remains of a woman with the artificial cranial deformation typical for noble persons among the Goths, Sarmatians and Bulgars.

Especially singular was the cult to the dead, practicing the mummification of corpses. In addition, small lithic and clay figurines of the anthropomorphic and zoomorphic type associated with rituals, interpreted as idols, have appeared on the island. Among these stands out the so-called Idol of Guatimac, which is believed to represent a genius or protective spirit.

Among the artefacts found were polished ceramics with geometric patterns and enameled ceramics, bronze and iron tools, engraved bronze belts, bones, zoomorphic bronze figures, as well as agates and other jewels. The upper layer of the cemetery dates from the second century - I to C. It contained stone tombs, cistas, stone sarcophagi, ashlars crypts, and slab or brick tombs.

These forms' motifs appear across cultures in many mythologies around the world. Such hybrids can be classified as partly human hybrids (such as mermaids or centaurs) or non-human hybrids combining two or more non-human animal species (such as the griffin or the chimera). Hybrids often originate as zoomorphic deities who, over time, are given an anthropomorphic aspect.

Although the Muisca Confederation had no gold, they obtained it from trading with other tribes. They manufactured diverse pieces, the most outstanding are tunjos; small anthropomorphic or zoomorphic figures they offered to their gods. Among diverse techniques they used to manufacture those pieces are lost wax, hammering and repouseé. Gold objects served for funerary and sacred sacrifices.

Folio 24 verso, zoomorphic initial The codex contains lessons from the Gospels of John, Matthew, Luke lectionary (Evangelistarium) and the Epistles. The manuscript has lacuna at the beginning (three leaves). These three leaves were supplemented by a later hand on paper (probably in the 15th century). They are unfoliated modern paper flyleaves, numbered as I-III leaves.

The feathered serpent was furthermore connected to the planet Venus because of this planet's importance as a sign of the beginning of the rainy season. To both Teotihuacan and Maya cultures, Venus was in turn also symbolically connected with warfare.Florescano 2002 p. 821 Temple of the Feathered Serpent at Xochicalco, adorned with a fully zoomorphic feathered Serpent.

The chancel is groin vaulted. The north transept contains an organ and in the south transept is a gallery. The stalls in the chancel are made from Spanish chestnut; they were designed by Wilson and carved by Arthur Grove with zoomorphic images. These include a hare, a tortoise, squirrels, rabbits, an owl, a mouse, a kingfisher, and a dolphin.

The letters are clearly but unskilfully written. The manuscript is decorated, with geometric, occasionally with zoomorphic decorations, in brown and red. The initial letters, titles, colophons, and rubrics in red.Harleian 5777 at the British Library The text is divided according to the (chapters), whose numbers are given at the margin, and their (titles) at the top of the pages.

Zoomorphic palettes were commonly made in the shapes of turtles. A stone vase in the form of a turtle was found in Naqada. Other art representations of turtles in Ancient Egypt were common. The earliest representations of the Nile turtle date back to pre-dynastic times and were associated with magical significance that was meant to ward off evil.

As of 2012, the lines are said to have been deteriorating because of an influx of squatters inhabiting the lands. The figures vary in complexity. Hundreds are simple lines and geometric shapes; more than 70 are zoomorphic designs, including a hummingbird, spider, fish, condor, heron, monkey, lizard, dog, cat, and a human. Other shapes include trees and flowers.

Works from this period are imbued with bold colours and broad, free brushstrokes. They anticipate the forms in a series of large sculptures he would later create from the hull of a wrecked wooden fishing trawler found in the Greek port of Lavrion. These zoomorphic and anthropomorphic compositions are often linked to the "embrace" or union between two figures.

The Zhaobaogou culture (Chinese: 趙宝溝文化) (5400–4500 BC)Archaeology of Asia, p. 129 was a Neolithic culture in northeast China, found primarily in the Luan River valley in Inner Mongolia and northern Hebei. The culture produced sand- tempered, incised pottery vessels with geometric and zoomorphic designs. The culture also produced stone and clay human figurines.

The large initial letters are decorated (zoomorphic motifs), the small initials are written in gold.Harley 1810 at the British Library It has breathings (spiritus asper and spiritus lenis) and accents. The nomina sacra are written in an abbreviated way. Folios 1–13 were added on paper (possibly in the 16th century), with small initials and simple headpiece in red.

The numerous artifacts discovered at these sites have shed light on the material and spiritual culture of this ancient people during the late Eneolithic period. Amongst the finds are stone and bone tools, metal objects, and a huge cache of clay vessels. There are also anthropomorphic and zoomorphic figurines made of clay or bone. Grain residues were also excavated.

The pig-like base of the pillory The structure is located within an isolated area of the urbanized area of Sé, Santa Maria e Meixedo, in a square within the Castle of Bragança (PT010402420003), near the keep tower, occupying an area where the old Church of São Pedro was located, opposite an area of village homes. The pillory is unique, owing to its base, resembling a proto-historic, Lusitanian bore carved in a rough, stocky appearance, that includes short legs. The main shaft is crossed by four arms, that are sculpted in zoomorphic images, where rings were fixed to hold the prisoners, still preserving their holes. Between each arm are zoomorphic or anthropomorphic representations, leading Louis Key to include this example in the pillories featuring mythological scenes or punishment.

The Hēixiān (黑仙 "Black Immortal") is a function occupied by different zoomorphic deities. The most common one is the Wūyāxiān (乌鸦仙 "Crow Immortal") and another popular one is the Huīxiān (灰仙 "Rat Immortal"), although the latter is said to be a misinterpretation of the former. The position can be taken also by the Lángshén (狼神 "Wolf God").

Nanda filed for a patent and, with support from her family, left MIT after a master's degree to found Nanda Home and develop the invention for commercial production. The newer version, though not carpeted, is still designed to appear zoomorphic. Production is outsourced to Hong Kong. In October 2012 during a video interview, Gauri mentioned that over 500,000 units had already been sold.

The animal forms are many, including variations of mythical birds, snakes and beasts, usually depicted in profile. Plant motifs vary from intricately carved individual leaves to complete plants, often combined with animal forms and interlace. Interlace is more commonly seen combined with zoomorphic and plant motifs, rather than on its own. When used singly, the interlace pattern is typically simple and closed.

The arched water portal is designed in Renaissance forms and disagrees with the overall Gothic ensemble. The facade also offers a large and recent dormer window—a symptom of a rear extension that added terraces above the roof. The rear facade overlooks a large garden and is decorated with zoomorphic paterae. It has two central triforas surrounded by single-light windows.

The Mramorac belts were Iron Age Mramorac style luxurious silver and gold belts used in ceremonial and religious aspects by the prominents of Triballi, a Thracian tribe then inhabiting the Pcinja District of southern Serbia and western Bulgaria. The belts are characterized by special patterns, including anthropomorphic, Zoomorphic and Swastika symbolism. The type is named after Mramorac, a place in Serbia.

"Silver Hoof" (, lit. "Small Silver Hoof") is a fairy tale short story written by Pavel Bazhov, based on the folklore of the Ural region of Siberia. It was first published in Uralsky Sovremennik in 1938, and later included in The Malachite Casket collection. In this fairy tale, the characters meet the legendary zoomorphic creature from the Ural folklore called Silver Hoof.

It is said the La Huaca Esmeralda could have been the palace of a great Chimú lord of the Mansiche area. Its architecture has three terraces adorned with zoomorphic and geometric figures (diamonds) all in relief, has a fairly steep ramp that connects its two levels. Huaca meaning ceremonial cup. Huaca La Esmeralda translates as the ceremonial cup of Esmeralda.

Saladoid people are characterized by agriculture, ceramic production, and sedentary settlements. Their unique and highly decorated pottery has enabled archaeologists to recognize their sites and to determine their places of origin. Saladoid ceramics include zoomorphic effigy vessels, incense burners, platters, trays, jars, bowls with strap handles, and bell-shaped containers. The red pottery was painted with white, orange, and black slips.

In late 1999, and without a record deal, Keane recorded their first promotional single, "Call Me What You Like". Released on CD format through Keane's own label, Zoomorphic, it was sold after live performances at the pubs where Keane used to play in early 2000. Only five hundred copies were printed. The track, however, can be found on the internet.

Judas Ullulaq (ooloolah) (born 1937, died January 9, 1999) was a Canadian Inuit artist recognized for his sculpture works that are mainly figural and zoomorphic. Ullulaq's medium for sculpting is stone as well as other mixed medias such as ivory, antler, bone, sinew, and musk-ox horn, which he uses to create askewd, wide-eyed, open-mouthed faces, with abstract gestures.

In the zoomorphic form, Varaha is often depicted as a free-standing boar colossus, for example, the monolithic sculpture of Varaha in Khajuraho (c. 900-925) made in sandstone, is long and high. The sculpture may not resemble a boar realistically, and may have his features altered for stylistic purposes. The earth, personified as the goddess Bhudevi, clings to one of Varaha's tusks.

In this middle era, which lasted until around 1100, the pottery was painted with floral and zoomorphic scenes and showed distinct Umayyad and even Sassanian influences. The late period during Makuria's decline saw domestic production again fall in favour of imports from Egypt. Pottery produced in Makuria became less ornate, but better control of firing temperatures allowed different colours of clay.

Within many of his paintings he also utilized the combination of an open space or landscape with various other forms, usually biological or zoomorphic figures that served to represent other structures. This can be seen for example in his 1937 painting View of a Shell , where the macroscopic depiction of two barnacle shells appear as mountains in an underwater seascape.

EU_HSHR from Karkemish. The British Museum, London, no. 105006. The Euphrates Handmade Syrian Horses and Riders (EU_HSHR's ) are zoomorphic clay figurines representing both solely horses or horses provided with riders and dating from the late Iron Age period (mid 8th–7th centuries BCE). These figurines are produced in the Middle Euphrates region and they belong to a production comprehending some anthropomorphic specimens, i.e.

In the previous section there are remains of what must have been a Maiestas Domini with the Tetramorph, of which anthropo-zoomorphic figures have survived that would have represented two Evangelists, a seraph and the archangel Gabriel. There are also representations of animals inscribed in circles beneath the figures of the Apostles, which generically resemble the subjects on Oriental textiles.

Zoomorphic reliefs can be found along with the anthropologic reliefs, including a rampaging lion, and the eagle from the coat of arms of Mexico. The east facade is less ambitious, but contains figures from the Old Testament as well as the images of John Nepomucene and Ignacio de Loyola. Construction dates for the phases of the tabernacle are also inscribed here.

Thirty-four graves of children and adults, as well as infants, were uncovered. They included pit graves, graves in stone setting, and infant burials in kitchen vessels. The child burials yielded the richest and most diverse grave furnishings, consisting of vessels as well as jewelry made of bronze, stone, shells, and other materials. The finds included zoomorphic beads and pendants.

Cueva Lucero () is a cave and archeological site in the Guayabal barrio of the Juana Díaz municipality, in Puerto Rico. The cave includes more than 100 petroglyphs and pictographs "making it one of the best examples of aboriginal rock art in the Antilles." It has been known to archeologists since at least the early 1900s. Most of its images are zoomorphic.

Persian aquamaniles predate any zoomorphic aquamaniles known in Europe. An Iranian (Abbasid caliphate), Aquamanile in the form of an eagle, bearing the date 180 AH/CE 796-797, of bronze, inlaid with silver and copper, in the State Hermitage Museum, St. Petersburg, is the earliest dated Islamic object in metalwork.Piotrovsky M.B. and Rogers, J.M. (eds). Heaven on Earth: Art from Islamic Lands.

In 2002, a metal detectorist in a field of Pentwyn Triley Farm unearthed an upturned vessel. A zoomorphic handle was found detached at the bottom of the pit. The form of this handle has led to the cup being called the Abergavenny 'Leopard Cup'. It was displayed shortly in Abergavenny and is currently displayed in the National Museum and Galleries Wales (Cardiff).

These finds contain examples of chain work, and ornate decoration on the fragments. They are now on display at the National Museum in Edinburgh. Other Pictish hoards have often found torcs, and different kinds of penannular brooches, some zoomorphic, though bronze brooches are more common than silver. In the Middle Ages, ornate jewellery was a sign of a high class.

The Circumpueño style trays have been identified through anthropomorphic (human) and zoomorphic (animal) figures performing ceremonial acts or rituals. These trays have been dated back to the Late Intermediate period (100A.D.-1450). The second style of snuff tray is referred to by scientists as the San Pedro style. This style of tray is identified through carved human figures that are not decorated.

This page from the Book of Nunnaminster contains a zoomorphic initial 'd'. The Book of Nunnaminster (London, British Library, Harley MS 2965) is a 9th- century Anglo-Saxon prayerbook. It was written in the kingdom of Mercia, using an "insular" hand (as used in the British Isles), related to Carolingian minuscule. It was probably later owned by Ealhswith, wife of Alfred the Great.

Caruso, Rossella (January 1992). "ateleta". In Sergio Sarra: ateleta, video-catalogue, Rome: Galleria Cecilia Nesbitt Federici. – comprising zoomorphic figures that were almost always mirror images. The artist was invited to take part in the Aperto '93 Emergency/Emergenza \- 45 Venice Biennale, where he created an environment consisting of a long wooden platformplatform-container, 1993, wood chipboard, 1266 x 211 x 30 cm.

This design value is based on the idea that nature (i.e. all sorts of living organisms, numerical laws etc.) can provide inspiration, functional clues and aesthetic forms that architects and industrial designers should use as a basis for designs.ALDERSEY-WILLIAMS, H. (2003) Zoomorphic : new animal architecture, London, Laurence King Publ.PEARSON, D. (2001) New organic architecture: the breaking wave, Berkeley, University of California Press.

Zoomorphic graffiti at La Blanca, Petén. Incised lines overwritten in black for clarity. Early opinions on Maya graffiti were that they represented the crude scrawls of Postclassic squatters in Classic-period ruins. Later investigators, such as George F. Andrews, regarded graffiti as folk art produced by the Classic Maya elite in their own residences and workplaces.Andrews 1980, pp. 2–3.

The statues can be twice the height of someone or taller and can weigh two tons. The statues leave people in awe with their fiery eye of Re and jaw structure of the goddess Sekhmet. The statue is a zoomorphic form of a lioness. Egyptian artists were great at putting human and animal forms together in equal power and truth.

Khorasan or Central Asia Incense burners (miqtarah in Arabic) were used in both religious and secular contexts, but were more widely utilized in palaces and houses. The earliest known examples of dish-shaped incense burners with zoomorphic designs were excavated in Ghanza, while the earliest examples of zoomorphic incense burners are from 11th-century Tajikistan.Piotrovsky M.B. and Rogers, J.M. (eds), Heaven on Earth: Art from Islamic Lands, pp 86-87, 2004, Prestel, It is most likely that this practice was inspired by Hellenistic style incense burners as well as the frankincense trade present in the Arabian peninsula since the 8th century BCE. Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, 12th century, alt=Source of photo: The Metropolitan Museum of Art A wide variety of designs were used at different times and in different areas.

Temple of the Dragon King of the South Sea in Sanya, Hainan. The Dragon King, also known as the Dragon God, is a Chinese water and weather god. He is regarded as the dispenser of rain as well as the zoomorphic representation of the yang masculine power of generation. He is the collective personification of the ancient concept of the lóng in Chinese culture.

The Wǔdàxiān (五大仙 "Five Great Immortals"), also known as Wǔdàjiā (五大家) and Wǔdàmén (五大门), meaning the "Five Great Genii", are a group of five zoomorphic deities of northeastern Chinese religion, and important to local shamanic practices. They are the localised adaptation of the Five Forms of the Highest Deity (五方上帝 Wǔfāng Shàngdì) of common Chinese theology.

The relief of Tarvos Trigaranus on the Pillar of the Boatmen. Another prominent zoomorphic deity type is the divine bull. Tarvos Trigaranus ("bull with three cranes") is pictured on reliefs from the cathedral at Trier, Germany, and at Notre-Dame de Paris. In Irish literature, the Donn Cuailnge ("Brown Bull of Cooley") plays a central role in the epic Táin Bó Cuailnge ("The Cattle-Raid of Cooley").

For body, armament and harness ornaments, they employed all of the metalwork techniques common at the time. These consisted of casting, chasing, engraving, gilding, inlaying, stonesetting and others. The images of fantastic animals, (griffins, sphinxes, winged animals, and beasts with human heads) were depicted in their works with a distinctive style. Stylization of images developed into a realistic method of interpreting complicated zoomorphic compositions.

Nakchivan, related to the 16th century. Is kept in Azerbaijan State Museum of History Stone sculptures of horses and sheep – are zoomorphic headstones, spread in the South Caucasus, Western Armenia (now the eastern part of Turkey) and Iranian Azerbaijan, the main part of which is dated back to the 13th-19th centuries. Most of the animal sculptures reach considerable sizes. Some of them stand on pedestal.

Replica of the harp by Davy Patton, 2007 The Queen Mary harp is noted for being the most complete and best-preserved of all the old harps. It is covered in original and intricate carving. The forepillar or Lamhchrann is elaborately carved with a double-headed zoomorphic figure and the instrument retains traces of pigment. Some traces have been analyzed and identified as vermilion.

Artifact in the form of a pig dragon. A pig dragon or zhūlóng () is a type of jade artifact from the Hongshan culture of neolithic China. Pig dragons are zoomorphic forms with a pig-like head and elongated limbless body coiled around to the head and described as "suggestively fetal". Early pig dragons are thick and stubby, and later examples have more graceful, snakelike bodies.

The portrait of Luke, which is the only surviving original miniature, strongly resembles the Evangelist portraits of the Book of Mulling. The Anglo-Saxon miniatures are done in an early version of the Winchester Style and were influenced by Carolingian illumination. The manuscript originally contained decorated initials. These were erased in the 10th century and new zoomorphic initials were repainted in an Anglo-Saxon style.

The Cucuteni–Trypillia culture is known by its distinctive settlements, architecture, intricately decorated pottery and anthropomorphic and zoomorphic figurines, which are preserved in archaeological remains. At its peak it was one of the most technologically advanced societies in the world at the time, developing new techniques for ceramic production, housing building, agriculture and producing woven textiles (although these have not survived and are known indirectly).

He is shown either in zoomorphic form (giant bird with partially open wings) or an anthropomorphic form (man with wings and some bird features). Garuda is generally a protector with power to swiftly go anywhere, ever watchful and an enemy of the serpent. He is also known as Tarkshya and Vynateya. Garuda is a part of state insignia in India, Myanmar, Thailand, Cambodia and Indonesia.

One of the most characteristic styles in the manuscript is the zoomorphic style (adopted from Germanic art) and is revealed through the extensive use of interlaced animal and bird patterns throughout the book. The birds that appear in the manuscript may also have been from Eadfrith's own observations of wildlife in Lindisfarne. The geometric design motifs are also Germanic influence, and appear throughout the manuscript.

Trewhiddle is a 9th-century art style named after the animated decorative elements of the Trewhiddle Hoard. The discovered treasure contained a number of objects, including Anglo-Saxon coins, a silver chalice, and other gold and silver pieces. Characteristics of the Trewhiddle style are: the use of silver, niello inlay, and zoomorphic, plant and geometric designs, often interlaced and intricately carved into small panels.

Their technique involved were decorated open weave, brocade, embroidery, and painting. Brushes were used to paint anthropomorphic, zoomorphic, geometric and other creative designs directly on the canvases. The Chancay are known for the quality of their painted tapestries. The typically geometric designs also included drawings of plants, animals such as fish, cats, birds, monkeys and dogs (most notably the hairless Peruvian dog) as well as human figures.

The vertical arms are inscribed with three separate knotwork designs, the horizontal arms with keywork designs. The central roundel has a spiral design composed of three interconnecting triskeles. Bordering the cross are a number of Celtic zoomorphic designs, reminiscent of Northumbrian designs and designs from the Book of Kells. A hole has been bored through the upper part of the stone some time after its sculpting.

It is possible there was a cornice here above it. The building corresponds to around 200 AD. The subject of the mural is a feast, featuring personages drinking what is most likely pulque. Several of the displayed figures are wearing cloth turbans and maxtlatl sashes, and most of them wear zoomorphic masks. The figures sit in facing pairs, serving themselves from vessels placed between them.

Benin vessels have a greater significance than their utilitarian function; they refer to the Oba's ancestral authority, to Ewuare, and to the power that stems from the Oba's relationship to Olokun. The leopard is the most common form of zoomorphic aquamanile made in Benin. The leopard, "king of the bush," is one of the principal symbols of the Oba in Benin art, expressing his ferocious, aggressive nature.

Turtle shells were also used to make norvas, an instrument resembling a banjo. An example of a Zoomorphic palette, a turtle. In a meticulously documented discussion, Fischer traces the Nile turtle's decline in popularity as food, showing that while eaten in Predynastic, Archaic, and Old Kingdom periods, turtles were used only for medicinal purposes after the Old Kingdom. Carapaces were used well into the New Kingdom.

Basically it is similar to the previous, but for some reason native groups of similar cultures to the constructors, visited it and painted zoomorphic designs on its walls; these are streamlined figures that represent elongated birds, the beak is apparent. It is possible that these artists were the original inhabitants, which returned to celebrate some type of ritual that could not be made elsewhere.

This manuscript was decorated and embellished with four painted full-page miniatures, major and minor letters, continuing panels, and litterae notibiliores. The ornamental elements include zoomorphic/animal, floral, interlace, and curvilinear motifs and designs. The color palette employed by the artist/illuminator consisted of pigments of gold, purple, blues, red, red/brown, yellow, green, white, and black. The pigment binding medium was clarified egg white or clarea.

Within the top roundel the Evangelist is depicted with both his hands holding his closed Gospel book. His beast symbol within the arch consists of a full-figure frontal eagle figure with its head turned to its right in profile in an "imperial" fashion.Brown 1996, p. 73. The capitals consist of distinctive elaborate masks from which spring the arch as well as foliate and zoomorphic motifs.

A good example is found at Izapa. The quatrefoil portrayal continued into the Classic period, as evidenced in the iconography of numerous Classic Maya monuments. A good example is the altar from El Perú (Maya site), which features a quatrefoil on the back of a zoomorphic creature in which sits a ruler. The associated hieroglyphic text refers to the creation narrative of the Maize god's rebirth.

Purse lid from Sutton Hoo, c. 625 The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard SalinBiography on swedish Wikipedia in a work published in 1904.Die altgermanische Thierornamentik, Stockholm 1904, The Open Library online text, written in German and heavily illustrated. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.

The terminal adornments of this gold bracelet look like animals' heads, but the zoomorphic motif almost disappeared because of the geometric stylization (see picture Mosna 1 above). It is dated to the Hallstatt period. This is not an isolated item, since it is stylistically connected to the geometric and zoomorphism of a collar and two bracelets from Veliki Gaj (Hungarian Nagygáj, Romanian Gaiu Mare) in Serbia.

Egyptian deities typically had an associated cult, role and mythologies. Around 200 deities are prominent in the Pyramid texts and ancient temples of Egypt, many zoomorphic. Among these, were Min (fertility god), Neith (creator goddess), Anubis, Atum, Bes, Horus, Isis, Ra, Meretseger, Nut, Osiris, Shu, Sia and Thoth. Most Egyptian deities represented natural phenomenon, physical objects or social aspects of life, as hidden immanent forces within these phenomena.

As the Tairona of the Colombian Caribbean coast, the Muisca made the zoomorphic figurines based on the fauna with their habitat of the area. Main animals used for their figures were the frog and serpents. The serpents were made in zig-zag shapes with eyes on top of the head. Many serpentiform objects have the typical forked tongue of the snake represented as well as the fawns clearly added.

It has an incised ring and the shaft and roundel are decorated with knotwork interlace designs, with the arms and portion above the roundel holding zoomorphic interlaces. The cross is surrounded by incised symbols and figural representations. In the lower left-hand quadrant is depiction of two bearded, long-haired men apparently fighting with axes. Above them is what appears to be a cauldron with human legs dangling out of it.

The La Barge Bluffs Petroglyphs is a historic site which was listed on the National Register of Historic Places in 2014. The site includes nine panels of petroglyphs along of the Green River. The panels show "ancient anthropomorphic and zoomorphic figures, narrative battle and dance scenes and depictions of two locomotives." All of the panels have been affected negatively by graffiti, bullets, and/or other human-caused or natural damage.

The ear is typical of the spotted hyena, as it is rounded. An image in the Le Gabillou Cave in Dordogne shows a deeply engraved zoomorphic figure with a head in frontal view and an elongated neck with part of the forelimb in profile. It has large round eyes and short, rounded ears which are set far from each other. It has a broad, line-like mouth that evokes a smile.

Pottery fragments painted with geometric lines, a Starčevo flint knife, and anthropomorphic and zoomorphic figurines from the sixth millennium BC have been unearthed. A decorated baked- clay pot typical of the Vinča culture (third millennium BC), Bronze Age baked- clay table vessels and a 3.72-gram coin dating to 55 BC have also been found.Berisha, p. 13. A rock shelter with painted spirals is about west of the site.

The church, built in the 12th century AD (probably in 1150–60), is built of rubble masonry with dressed quoins and is particularly noted for its Romanesque archway, zoomorphic carvings and Scandinavian-influenced knotwork. There is also a granite font. An inscription near the door reads ORAIT DO DIARMAIT RI LAGEN, Middle Irish for "a prayer for Diarmait, king of Leinster", referring to Diarmait Mac Murchada (r. 1126–71).

Siltstone was first utilized for cosmetic palettes by the Badarian culture. The first palettes used in the Badarian Period and in Naqada I were usually plain, rhomboidal or rectangular in shape, without any further decoration. It is in the Naqada II period in which the zoomorphic palette is most common. On these examples there is more focus on symbolism and display, rather than a purely functional object for grinding pigments.

The temple has the floor plan of a latin cross, with three naves and 3 chapels, with a semicircular apse and a square tower at the foot, in grey stone and blank walls, with semicircular arches, 3 floors, and stone and wood niches. The lateral porticos are supported by columns. It ends with an octagonal capital of exposed ashlars crowned by one giant stone. In the corners there are zoomorphic gargoyles.

The codex contains saints' day lessons from the Gospels of John, Matthew, Luke lectionary (Evangelistarium), on 220 parchment leaves (), with lacuna at the beginning. The text is written in Greek minuscule letters, in one column per page, 21 lines per page.Handschriftenliste at the INTF It has accents and breathings (in red). The initial letters are decorated; some of decorations are zoomorphic (birds, fishes), anthropomorphic (hands), and other motifs.

The Veraguas culture cast zoomorphic pendants out of gold and tumbaga, using the lost wax method. When using tumbaga, artists would often use acid to remove copper from the surface, allowing for a shinier piece. This process is known as depletion gilding. This goldwork was practiced until the early 16th century CE. An example of Veraguas goldwork The Veraguas culture also produced painted tripod bowls and anthropomorphic figures.

It is a zoomorphic mask that still has traces of red, cream and black paint. The other mask is located immediately above it and is covered in a layer of stucco. It is an anthropomorphic mask with just a part of the right cheek exposed. It also has red, cream and black pigment traces, as well as orange spots in a band around the cheek that are similar to jaguar pelt.

"Rebranding Himiko, the Shaman Queen of Ancient History." Mechademia, An Annual Forum for Anime, Manga and the Fan Arts. University of Minnesota Press, 2014. "Cute masquerade and the pimping of Japan." International Journal of Japanese Sociology 20 (1), 2011. "Subversive script and novel graphs in Japanese girls’ culture." Language & Communication 31 (1), 2011. "Japan’s Zoomorphic Urge." ASIA Network Exchange: A Journal for Asian Studies in the Liberal Arts 18 (1), 2010.

There were one-hundred and three individuals recovered from the site of Kʼaxob and seventy-two burials.Lockard, McAnany and Storey (1999) Cambridge University Press pp.129 The individuals recovered are male and female, of all ages, infant to adult.Aizpurúa and McAnany (1999)Lockard, McAnany and Storey (1999) Cambridge University Press Excavations yielded beads, pendants, including zoomorphic pendants as well as ceramics and unworked shells interned with the individuals.

Mughal dagger, Louvre. Dagger with Zoomorphic Hilt, ca. 16th century, Metropolitan Museum of Art The dagger was very popular as a fencing and personal defense weapon in 17th- and 18th-century Spain, where it was referred to as the daga or puñal. During the Renaissance Age the dagger was used as part of everyday dress, and daggers were the only weapon commoners were allowed to carry on their person.

Zoomorphic representation of Béhanzin as a shark. The arts in Dahomey were unique and distinct from the artistic traditions elsewhere in Africa. The arts were substantially supported by the king and his family, had non- religious traditions, assembled multiple different materials, and borrowed widely from other peoples in the region. Common art forms included wood and ivory carving, metalwork (including silver, iron and brass, appliqué cloth, and clay bas-reliefs).

Certain geometric designs and sun symbols, such as the circle and rosette, recur at Pazyryk but are completely outnumbered by animal motifs. Such specifically Scythian features as zoomorphic junctures, i.e. the addition of a part of one animal to the body of another, are rarer in the Altaic region than in southern Russia. The stag and its relatives, however, figure as prominently in Altai-Sayan as in Scythian art.

Both men and women were tattooed to represent their social class. Tattoos, as well as other forms of art in Rapa Nui, blends anthropomorphic and zoomorphic imagery. Nowadays, young people are bringing back Rapa Nui tattoos as an important part of their culture and local artists base their creations on traditional motifs. The tattooing process was performed with bone needles and combs called Uhi made out of bird or fish bones.

Several anthropomorphic and zoomorphic figurines have been recovered at Franchthi from the Neolithic era,L.E. Talalay (1993) "Deities, Dolls, and Devices. Neolithic Figurines from Franchthi Cave, Greece" Excavations at Franchthi Cave, Greece, fasc. 9, Indiana University Press, Bloomington and Indianapolis and it has been suggested that the site may have served as a workshop for making cockle- shell beads to trade with inland communities during the Early Neolithic.

Pächt compares the scene to a medieval bestiary, comprising a "whole fauna of zoomorphic fiends". Van Eyck's hell is inhabited by demonic monsters whose only visible features are often "their glittering eyes and the white of their fangs".Pächt, 192–194 The sinners fall head first into their torment, at the mercy of devils taking recognisable forms such as rats, snakes and pigs, as well as a bear and a donkey.

The zoomorphic feathered serpent deity (Kukulkan, Quetzalcoatl). In Maya culture, Kukulkan has been the supreme creator deity, also revered as the god of reincarnation, water, fertility and wind. The Maya people built step pyramid temples to honor Kukulkan, aligning them to the Sun's position on the spring equinox. Other deities found at Maya archaeological sites include Xib Chac – the benevolent male rain deity, and Ixchel – the benevolent female earth, weaving and pregnancy goddess.

The deity concept was likely more complex than these historical records. In Aztec culture, there were hundred of deities, but many were henotheistic incarnations of one another (similar to the avatar concept of Hinduism). Unlike Hinduism and other cultures, Aztec deities were usually not anthropomorphic, and were instead zoomorphic or hybrid icons associated with spirits, natural phenomena or forces. The Aztec deities were often represented through ceramic figurines, revered in home shrines.

A range of objects was made of the precious minerals; crowns, nose rings, pectorals, earrings, diadems, tunjos (small anthropomorphic or zoomorphic offer pieces), brooches, scepters, coins (tejuelo) and tools. To produce their objects, the people used melting pots, torches and ovens. The tumbaga was poured into heated stone moulds filled with beeswax to elaborate the desired figures. The heat would melt the wax and leave space for the gold to replace it.

The earliest known cave paintings of lions were found in the Chauvet Cave and in Lascaux in France's Ardèche region and represent some of the earliest paleolithic cave art, dating to between 32,000 and 15,000 years ago. The zoomorphic Löwenmensch figurine from Hohlenstein-Stadel and the ivory carving of a lion's head from Vogelherd Cave in the Swabian Jura in southwestern Germany were carbon-dated 39,000 years old, dating from the Aurignacian culture.

Zoomorphic guardian spirits of certain Hours. On the left is the guardian of midnight (from 11 pm to 1 am) and on the right is the guardian of morning (from 5 to 7 am). Han dynasty (202 BCE – 220 CE) Chinese paintings on ceramic tile Mythology of time and the calendar includes the twelve zodiacal animals and various divine or spiritual genii regulating or appointed as guardians for years, days, or hours.

250px Kʼinich Yat Ahk II likely commissioned the construction of Throne 1, which details either the death or abdication of Haʼ Kʼin Xook. The entire throne is covered in images and glyphs, with a prominent zoomorphic face featured on the back.O'Neil (2014), p. 19. Discovered in a special recess in J-6 (a gallery wing of the main Piedras Negras palace acropolis), the throne was in pieces, but has since been reconstructed.

Pottery and stone incense burners were the most common while those made of metals were reserved for the wealthy. Artisans created these incense burners with moulds or the lost-wax method. Openwork zoomorphic incense burners with lynx or lion designs were popular in the Islamic world; bronze or brass examples are found from the 11th-century until the Mongol conquests of the 13th-century. These were especially popular during the Seljuq period.

Fragment of a clay vessel with an M-shaped incision. Most of the inscriptions are on pottery, with the remainder appearing on ceramic spindle whorls, figurines, and a small collection of other objects. The symbols themselves consist of a variety of abstract and representative pictograms, including zoomorphic (animal-like) representations, combs or brush patterns and abstract symbols such as swastikas, crosses and chevrons. Over 85% of the inscriptions consist of a single symbol.

The floor is dominated by romantic trifora filled with floral, zoomorphic and anthropomorphic motifs, placed between modernist treated window openings without special emphasis. The façade ends with a decorative pronged roof attic. The motif of the pointed arch and Baroque volutas is repeated on the monumental entrance gate, whose doors are resolved in the form of a very decoratively treated metal grille. Today, the Embassy of Belarus is located in this luxurious city mansion.

The right portal is decorated with classically inspired foliage, while the arch on the left one features an ornament of the Sicilian- Norman style. At the top is spread between a lion and a griffin, the loggia above the entrance has nine columns and ten arches. The semicircular apse is covered by pilasters and bands of arches. The interior has columns and pillars with romanesque capitals also carved with plant and zoomorphic motifs.

The section inside the chancel shows a globe and symbols of creation, including animals, plants and planets. The four sections are unified by interlaced Celtic and zoomorphic border designs. The representations of the sun and night stars at the entrance signify both the new day and the resurrection, as Jesus is traditionally believed to have risen at dawn. Reflecting 12th-century Christian art, the presence of signs of the zodiac symbolises God's dominion over time.

These female fairy creatures foil the cruel and ruthless Ojáncanu. In most stories, they are the good fairies of Cantabria, generous and protective of all people. Their depiction in the Cantabrian mythology is reminiscent of the lamias in ancient Greek mythology, as well as the xanas in Asturias, the janas in León, and the lamias in Basque Country, the latter without the zoomorphic appearance. Oral tradition provides different explanations for the nature of the Anjana.

Mbudye members call the twin projections sprouting along the board's outer edge the "head" and "tail" of the lukasa, zoomorphic elements that are meant to evoke the crocodile. An animal equally at home on land and in water, the crocodile's dual nature is suggestive of Luba political organization, whose existence relies on the interdependence of the kikungulu (the head of the Mbudye) and the kaloba (the "owner of the land," or chief).

Black, Glory Remembered, 13. The Kodiak Islanders adopted a similar hat shape to the Yup’ik, whose headgear were characterized by the closed crown hats. The style of peaked tops found in closed crown hats were influenced by the Tlingit, whose grass woven hats with split cylindrical tops indicated high-rank and privilege, and were reserved for chiefs. Stylized zoomorphic features on Kodiak hats were influenced by Haida headmasks, which featured carved animal heads.

The bottom face depicts a mother holding her child, flanked by two women who seem to be midwives and priestesses of Hathor who have helped the mother give birth. Behind them is the symbol of Hathor, a horned cow head perched upon a stick. Hathor is closely related to fertility and childbirth. The other four sides that have been somewhat preserved depict zoomorphic and anthropomorphic deities, which are also found on the magic wands.

Marduk was a significant god among the Babylonians. He rose from an obscure deity of the third millennium BCE to become one of the most important deities in the Mesopotamian pantheon of the first millennium BCE. The Babylonians worshipped Marduk as creator of heaven, earth and humankind, and as their national god. Marduk's iconography is zoomorphic and is most often found in Middle Eastern archaeological remains depicted as a "snake-dragon" or a "human-animal hybrid".

Artisans reached a very high level of technical proficiency. The Benedictine monk Theophilus rated jewelers of Kyivan Rus second only after the Byzantines . Besides the pendants, rings, torques, armlets, fibulas, necklaces and other such jewellery, which had been common to all nations, Slavs had original jewellery – silver armlets of a distinctive Kyiv type, temple rings, enameled s and diadems. Slavic metal amulets such as spoons, hatchets, horses, ducks, zoomorphic and anthropomorphic sewed plates are also well known.

There are nine annual streams and approximately 25 additional small creeks and tributaries that flow into Lake Whatcom, accounting for 23 sub-watersheds in all. Lake Whatcom drains into Bellingham Bay by way of Whatcom Creek. The lake has only one island, the Reveille Island, owned by Camp Firwood, which is believed to be the site of past ceremonies by Native Americans, due to the presence of pictographs and a zoomorphic stone bowl found on the island.

Maya art was at its height during the "Classic" period—a name that mirrors that of Classical European antiquity—and which began around 200 CE. Major Maya sites from this era include Copan, where numerous stelae were carved, and Quirigua where the largest stelae of Mesoamerica are located along with zoomorphic altars. A complex writing system was developed, and Maya illuminated manuscripts were produced in large numbers on paper made from tree bark. Many sites "collapsed" around 1000 CE.

In the early 20th century, the Ratu Boko site was thoroughly studied by researcher FDK Bosch, who published his findings in a report entitled "Keraton Van Ratoe Boko". From this report concluded that the ruins was the remnant of a keraton (palace). During these researches, Mackenzie also found a statue of gold-headed man and woman embracing each other. A stone pillar with ornaments of zoomorphic figures among which are elephants, horses, and others, also found among the ruins.

The ciborium was built in Byzantine style by the architect Giovanni Maggi and the sculptor Giannino Castiglioni in 1932. The columns, arches, and facades are made in yellow marble of Mori and Siena, while the columns and background of the superior side are made of onyx. The ciborium is made of four archivolts, which were designed with the reliefs of angels and four zoomorphic creatures. The interior dome of the ciborium is covered in gold leaf.

Pottery-making is the only craft that is primarily a female activity; men usually fashion pots or pipes depicting anthropomorphic or zoomorphic figures. The various Akan groups speak various dialects of the Akan language, a language rich in proverbs, and the use of proverbs is considered to be a sign of wisdom. Euphemisms are also very common, especially concerning events connected with death. The coastal Akans were the first to have relations with Europeans during the "Scramble for Africa".

The manuscript is of a large size, measuring 40.5 cm x 28 cm, which makes it the largest Irish vellum manuscript to have been written by a single scribe.Royal Irish Academy, "Leabhar Breac" It contains 40 folios, which are written in double columns. Capitals are decorated in a simple style, with some letters having been interwoven with zoomorphic patterns and coloured in red, vermilion, yellow and blue. There are two drawings, a flower-like diagram on p.

The manuscript has 155 vellum folios. This manuscript may have been the Latin text on which the Alfredian Old English translation of Bede's Ecclesiastical History was based. The manuscript is decorated with zoomorphic initials in a partly Insular and partly Continental style. The manuscript has given its name to the 'Tiberius' group of manuscripts, connected on stylistic grounds and sometimes also known as the 'Canterbury' group, though the region of their production remains unknown – Mercia has also been suggested.

It is named that because of its abundance of gold and other minerals in the subsoil. The “Colorado” word (safiqui) MANA means “beautiful, big” which is attributed to the fertility of the land. La Mana was inhabited by the Tsachilas or “Los Colorados”. In the sector, many vestiges of their presence have been discovered, such as pieces of clay, zoomorphic statuettes with ornaments, and clay pots, where presumably, they melted metals like the gold that abounded in the mountains.

Luke. The manuscript contains canon tables set within architectural arcades which are decorated with zoomorphic and foliate designs. There are four Evangelist portraits. Each evangelist is shown as a scribe and is identified by a half-length symbol above him and by an inscription. The portraits show some similarities to some Insular manuscripts and some Court School manuscripts, as might be expected given the nationality Fridugisus, who was English, and from his connections to the Carolingian court.

Concomitant with pottery, plant cultures and animal breeding, the new culture introduces implements of polished stone and the first clay statuettes. The dead are buried on the grounds of the settlements sometimes directly under the dwellings. Gura Baciului is the first site on the territory of Romania attesting incineration as a funerary practice. Anthropomorphic and zoomorphic plastic art reveals a bipolar system of beliefs: the Great Mother, representing the female principle, and the Bull, representing the male principle.

The statues and the majority of the petroglyphs and pottery at Zapatera have been dated to between 800 and 1350 CE, and is ascribed to the Chorotega, an indigenous Mesoamerican culture. Finds from this period also include utensils and zoomorphic figurines in a similar style to examples from the mainland. Some of the petroglyphs and pottery may date back as far as 500 BCE, and others are contemporary with Spanish colonies. The most prominent finds from Zapatera were statues.

Aizpurúa and McAnany (1999) Cambridge University Press pp. 123 Burial 28: Adult burial, yielding irregularly shaped beads, and dates to the Middle Formative Period.Aizpurúa and McAnany (1999) Cambridge University Press pp. 120 Burial 30 A: Adult burial, yielding irregularly shaped beads and dates to the Middle Formative Period.Aizpurúa and McAnany (1999) Cambridge University Press pp.120 Burial 35: Adult Burial, yielding irregularly shaped beads. Burial 41: Adult burial, interned with zoomorphic pendants.Aizpurúa and McAnany (1999) Cambridge University Press pp.

The king was key in supporting the arts and many of them provided significant sums for artists resulting in the unique development, for the region, of a non-religious artistic tradition in the kingdom. Artists were not of a specific class but both royalty and commoners made important artistic contributions. Kings were often depicted in large zoomorphic forms with each king resembling a particular animal in multiple representations. Suzanne Blier identifies two unique aspects of art in Dahomey: 1.

This is because of the zoomorphic or animal figures flanking the top of the tray. Scientists have tried to categorize these trays based on carvings, geographical significance, time periods and stylistic features. Yet, many trays do not fully represent one style or the other because they are "blank" or lacking significant stylistic features to differentiate them from one style or the other. Snuff trays lacking significant stylistic features make up about 90% of the snuff tray collection to date.

The Irish monks who converted Northumbria to Roman Catholicism, and established monasteries such as Lindisfarne, brought a style of artistic and literary production. Eadfrith of Lindisfarne produced the Lindisfarne Gospels in an Insular style. The Irish monks brought with them an ancient Celtic decorative tradition of curvilinear forms of spirals, scrolls, and doubles curves. This style was integrated with the abstract ornamentation of the native pagan Anglo-Saxon metalwork tradition, characterized by its bright colouring and zoomorphic interlace patterns.

Spencer MacCallum The pre Hispanic pottery tradition had been completely lost, but clay was still abundant in the area. Juan Quezada is credited for the revival and development of pottery making in the area. In the early 1960s, he was a very poor farmer who also collected firewood in the area of the Paquimé archeological site. He found fragments of Paquimé pottery and the even older Mimbres style, characterized by bold black-on-white zoomorphic designs.

Strickland Brooch, British Museum Trewhiddle style is a distinctive style in Anglo-Saxon art that takes its name from the Trewhiddle Hoard, discovered in Trewhiddle, Cornwall in 1770. The most outstanding metalwork produced in ninth century England was decorated in the animated, complex style. Trewhiddle ornamentation includes the use of silver, niello inlay, and zoomorphic, plant and geometric designs, often interlaced and intricately carved into small panels. Famous examples are: the Pentney Hoard, the Abindgdon sword, the Fuller Brooch, and the Strickland Brooch.

Under the spout, the beast's forepaws appear posed in a position indicating the animal is rearing up on its hind legs. The second animal motif is that of a taotie, a mask designed to look like a monstrous animal. The taotie cast into this vessel sits at the end of the lid, depicted with zoomorphic horns and a sharp, upward curved base. The final animal motif consists of a scaled, serpent-like dragon along the rear register of the vessel.

The principal facade, complete with gable, includes an archway portico comprising four archivolts, three of which are mounted on column capitols with alternating vegetal and zoomorphic designs. An important part of the church is this axial portico, which represents theAnnunciation. The central columns include sculpted forms; on the left is a representation of an angel with long hair, beard and parchment (likely the Angel Gabriel), while the right form is the Virign with veil and raised hands.Carlos Almeida and Mário Barroca (2002), p.

The Czechoslovakian pavilion at the EXPO '58 in Brussels garnered attention for its modern architectural design, its film, acting and ballet presentations, it was Czech glass that attracted the attention of the judges.Petrová, 2001, pp. 49, 51 The entry designed by Libenský and Brychtová, "Animal Reliefs" (later known as "Zoomorphic Stones"), were cast glass "stones". These were smooth on the obverse; on the reverse, animals inspired by the cave paintings of Altamira and Lascaux were cast in negative low relief.

The brooch and pin were cast in silver with exquisite geometric and zoomorphic interlace patterns and inset with three green-glass cabochon gems (one of which is missing). Several moulded sections were used, although the main ring was cast in one piece, other goldsmith's techniques were used in the decoration. both front and back were partially gilded, with gold and gold foil also used in parts of the decoration. There may have been inset pieces of amber, which are now missing.

Dun Emer continued to thrive, with Gleeson working on designs with her niece Katherine MacCormack and Augustine Henry's niece May Kerley. In 1910 Gleeson became one of the founding members of the Guild of Irish Art Workers, becoming a master in 1917. The workshops eventually moved from Dundrum to Hardwicke Street, Dublin in 1912. Gleeson's rugs, tapestries and embroideries took inspiration from Early Christian interlace and zoomorphic design, with the patronage of the Church remaining their main source of income.

Rong Cheng Shi . The Taotie is often represented as a motif on dings, which are Chinese ritual bronze vessels from the Shang (1766-1046 BCE) and Zhou dynasties (1046–256 BCE). The design typically consists of a zoomorphic mask, described as being frontal, bilaterally symmetrical, with a pair of raised eyes and typically no lower jaw area. Some argue that the design can be traced back to jade pieces found at Neolithic sites belonging to the Liangzhu culture (3310–2250 BCE).

The hilt or handle of the dagger merges into the shape of a dragon attacking a lion who is performing the same act onto a deer. Each attacking animal is connected by its claws and teeth to form the handle. The inclusion of Persian and Indian symbols of power was common in zoomorphic imagery on hilts of daggers. In this dagger there is a figure of a bird in front of the deer who is meant to represent the Indian deity Garuda.

The medium used to create the art was bat guano. More than 750 images have been identified. Painted signs can be organised into four thematic groups: anthropomorphic, zoomorphic, geometric, and symbolic (astronomic?) figures. For the first group, there are bitriangular silhouettes with raised rounded arms (females with a sort of a waist bow, males with legs and sex like a trident, sometimes stylised like a "bottle opener"), archers, ithyphallic figures, copula, linear schematic anthropomorphic figures with raised arms (sometimes like dancing) and "fungiforms".

These masks were revealed by an enormous looters' trench and gave rise to the name of the site. One of the masks is anthropomorphic and the other zoomorphic, although both have jaguar features. Structure A-2 supports 3 additional structures (A-4, A-5 and A-6).Ponciano 1995, pp.485, 491. Structure A-3 is a mound on the south side of the main platform, it is flanked by structure A-7 and the two together limit access to the platform.

The Strickland Brooch is similar in appearance to the Fuller Brooch, also in the British Museum. Both brooches are circular in shape, made from sheet silver and inlaid with niello and gold. The Strickland Brooch is decorated with highly complex zoomorphic patterns that are deeply carved within the quatrefoil, whereas the Fuller Brooch is ornamented in a more anthropomorphic style. In the case of the Strickland Brooch, the design includes a series of Trewhiddle style dogs interspersed between canine-like heads.

Webb did extensive archaeological work in Louisiana and adjoining areas, where the prehistory record was replete with pottery-making and mound building cultures. This was partly because northern Louisiana's fertile land was suitable for the agricultural peoples. Early in his career Webb concluded there was evidence for a fleeting Folsom-Yuma (Clovis) horizon in the state, and he later excavated the later Paleoindian San Patrice John Pearce site.Webb, Clarence H. “Archaic and Poverty Point Zoomorphic Locust Beads.” American Antiquity, Vol.

Zhou, Shanghai Museum A you is a lidded vessel that was used for liquid offerings by the Chinese of the Zhou and Shang Dynasties. It sometimes lacks taotie in favor of smoother surfaces. Sometimes these vessels are zoomorphic, especially in the form of two owls back to back. Usually the handle of the you is in the form of a loop that attaches on either side of the lid, but it is occasionally a knob in the center of the lid.

In Zapotec art Cocijo is represented with a zoomorphic face with a wide, blunt snout and a long forked serpentine tongue. Cocijo often bears the Zapotec glyph C in his headdress. A similar glyph is used in Mixtec codices as the day sign Water and it is likely that its meaning in Zapotec is identical, therefore being the appropriate glyph for the rain and storm god. Representations of Cocijo combine elements earth-jaguar and sky-serpent, which are associated with fertility.

The border and the letters themselves are further decorated with elaborate spirals and knot work, many of them zoomorphic. The opening words of Mark, Initium evangelii ("The beginning of the Gospel"), Luke, Quoniam quidem multi, and John, In principio erat verbum ("In the beginning was the Word"), are all given similar treatments. Although the decoration of these pages was most extensive in the Book of Kells, these pages were decorated in all the other Insular Gospel Books.Calkins 1983, 82–85.

In this form, it helps the dead cross the Chicnahuapan, a river that separates the world of the living from the dead. Zapotec mask of the Bat God. The great breadth of the Mesoamerican pantheon of deities is due to the incorporation of ideological and religious elements from the first primitive religion of Fire, Earth, Water and Nature. Astral divinities (the sun, stars, constellations, and Venus) were adopted and represented in anthropomorphic, zoomorphic, and anthropozoomorphic sculptures, and in day-to-day objects.

Their culture is comparable with Persia'. Samguk Sagi— the official chronicle of the Three Kingdoms era, compiled in 1145—contains further descriptions of commercial items sold by Middle Eastern merchants and widely used in Silla society. The influence of Iranian culture was profoundly felt in other ways as well, most notably in the fields of music, visual arts, and literature. The popularity of Iranian designs in Korea can be seen in the widespread use of pearl-studded roundels and symmetrical, zoomorphic patterns.

A beaded outer rim contains a central cross motif with expanded terminals, each containing a boss (raised ornament). Three of the five bosses positioned in the center of the brooch, connect the pin attachment to the base of the brooch. The ornamentation of the brooch includes animal motifs with beaked heads The zoomorphic designs on the brooch are nonidentical, and are mixed with interlacing and ivy-scrolls. The second, larger brooch is a flat, silver disc brooch plainly decorated with abstract motifs.

Chesapeake pipes were often decorated, with such decorations either encircling the lip of the pipe bowl, covering the middle of the pipe bowl, or extending down the pipe stem. These decorations were produced by incising, stamping or punching into the clay prior to firing it, after which the clay hardened. Various types of decorations were employed in the creation of Chesapeake pipes, including "a range of geometric, figural, and zoomorphic motifs as well as abstract geometric designs."Emerson 1999. p. 53.

Bell of a buccin (MDMB 369), 1800–1860, in the musical instrument collection of the Museu de la Música de Barcelona. A distinctive form of tenor trombone was popularized in France in the early 19th century. Called the buccin, it featured a tenor trombone slide and a bell that ended in a zoomorphic (serpent or dragon) head. It sounds like a cross between a trombone and a French horn, with a very wide dynamic range but a limited and variable range of pitch.

Merovingian illumination is the term for the continental Frankish style of illumination in the late seventh and eight centuries, named for the Merovingian dynasty. Ornamental in form, the style consists of initials constructed from lines and circles based on Late Antique illumination, title pages with arcades and crucifixes. Figural images were almost totally absent. From the eight century, zoomorphic decoration began to appear and become so dominant that in some manuscripts from Chelles whole pages are made up of letters formed from animals.

The events start with the building of a huge barrel and ends with its burning with the effigies of the King and Queen. On Saturday, the main parade takes place with masked groups, zoomorphic figures, music, and percussion bands, and groups with fireworks (the devils, the dragon, the ox, the female dragon). Carnival groups stand out for their clothes full of elegance, showing brilliant examples of fabric crafts, at the Saturday and Sunday parades. About 5,000 people are members of the parade groups.

Many of the beliefs in charms, the supernatural and the magical world survived Christianization and were incorporated in Popular Religion and a "Cultural Paganism" that was not always seen as being at odds with Christian beliefs.Owen-Crocker, Gale R. 1981. Rites and Religions of the Anglo-Saxons. Newton Abbot, Devon : Totowa, N.J.: David & Charles, Pg. 157 Charms were continued to be used and often contained zoomorphic symbolism such as the Wolf, Raven or Boar, obviously influenced by sacral worship of these creatures from Anglo-Saxon Paganism.

Jarmo is one of the oldest sites at which pottery has been found, appearing in the most recent levels of excavation, which dates it to the 7th millennium BC. This pottery is handmade, of simple design and with thick sides, and treated with a vegetable solvent. There are clay figures, zoomorphic or anthropomorphic, including figures of pregnant women which are taken to be fertility goddesses, similar to the Mother Goddess of later Neolithic cultures in the same region. These constitute the inception of the Art of Mesopotamia.

Three elite burials have been excavated from the pyramid, two males and a female, accompanied by extremely high quality funerary offerings. The offerings include polychrome ceramics and objects crafted from shell, conch and mother of pearl that are inscribed with anthropomorphic and zoomorphic imagery. These associated finds are of sufficient quality that it is possible that the deceased were members of the royal family. The burials have been dated to the reign of Yax Nuun Ayiin II, who ruled from AD 769 to 794.

Both head and pin were ornamented with geometric and zoomorphic patterns and inset with amber pieces, some now missing. On the back of the head there are two blue glass studs near where the large terminal joins the hoop. There are many small differences between the decoration of the right and left sides of the head, although the overall impression is one of symmetry. Many details of the decoration recall the earlier Tara Brooch and the Breadalbane Brooch (the latter also in the British Museum).

Volume IV Antiga Casa Bertrand, 1896 "And if by chance any whale or sperm whale or mermaid or coca or dolphin or Musaranha or other large fish that resembles some of these die in Sesimbra or Silves or elsewhere[.]" In Catalonia, the Cuca fera de Tortosa was first documented in 1457. It is a zoomorphic figure that looks like a tortoise with a horned spine, dragon claws and a dragon head. The legend says she had to dine every night on three cats and three children.

The Mycenaean period has not yielded sculpture of any great size. The statuary of the period consists for the most part of small terracotta figurines found at almost every Mycenaean site in mainland Greece—in tombs, in settlement debris, and occasionally in cult contexts (Tiryns, Agios Konstantinos on Methana). The majority of these figurines are female and anthropomorphic or zoomorphic. The female figurines can be subdivided into three groups which were popular at different periods, as Psi and phi type figurines, the Tau-type.

The artist prefigured the symbiosis of anthropomorphic and zoomorphic figures, where all the alchemy of his pictorial expression is clearly visible. It is paradoxical that the artist’s very style counteracts the narrative aspect of the painting and concentrates totally on the pictorial value with the strength on an unconscious neo-primitive. His palette is restricted. He often paints surfaces with different applications of transparent colours, one over the other, without waiting for the earlier layer to dry, which leads to mixing and assimilation of colours.

The Pillory of Bragança () is a 15th-century sculpted stone column with symbolic political, administrative and judicial significance, erected over a four-step octagonal platform, located in the civil parish of Sé, Santa Maria e Meixedo, municipality of Bragança. It consists of a cylindrical column erected over a square platform, sculpted with zoomorphic symbols, anthropomorphic scenes and the shield of the city of Bragança. Its structural design and sculptural ornamentation is characteristics of the era; the column is classified as a National Monument since 1910.

Quimbaya Museum is a museum located in Armenia, Colombia designed by Colombian architect Rogelio Salmona. It displays a large collection of precolumbian artcrafts, about 390 gold objects, 104 pottery, 22 stone sculptures, carved woods, and other issues, mainly from the precolumbian Quimbaya civilization, Embera and some other amerindian tribes. Some of the most important pieces are the gold Poporos (traditional gadgets for the chewing of the coca leaves) and the zoomorphic vases. Most of the pieces have been preserved for experts from Gold Museum of Bogotá.

Coin with Varaha on a Gurjara-Pratihara coin possibly from the reign of King Mihira Bhoja, 850–900 CE, British Museum. The earliest Varaha images are found in Mathura, dating to the 1st and 2nd century CE. The Gupta era (4th–6th century) in Central India temples and archaeological sites have yielded a large number of Varaha sculptures and inscriptions; signifying cult worship of the deity in this period.Krishna 2009, p. 46 These include the anthropomorphic version in Udayagiri Caves and the zoomorphic version in Eran.

Notable pottery classifications found were examples of Mound Place Incised, Matthews Incised var. Matthews, Manly Incised and Beckwith Incised, with Beckwith Incised being found in the largest numbers. A few pieces of effigy pottery were also found, mostly of zoomorphic figures such as fish, frogs, and ducks although some examples with anthropomorphic shapes were found. These humans effigies often depicted a standing woman with top-knots in her hair, a pronounced hunchback and ear spools Similar ceramic and stone statues are found throughout the Middle Tennessee area.

The Inner Long and Short Text are alternate blocks, respectively with thirteen lines of text upright and with eight lines inverted (cf. Greek Boustrophedon). Jao Tsung-I (Lawton 1991:178) proposes the former section is written right side up because it discusses the creation myths of the Chu people, and the latter is upside down because it describes events when heaven is in disarray. The Surrounding Text in the four margins pictures a color-symbolic tree in each corner plus twelve masked zoomorphic figures with short descriptions.

In Tamtoc, several sculpture workshops have been found in the La Noria area, among which a fragment of a stela of a zoomorphic character stands out, of which only the legs of a human being with the claws of a bird instead of feet can be seen. The sculptural fragment measures approximately one meter high by 1.5 wide and weighs 90 kilos. The lapidary workshops add to the evidence that sculptures of the highest quality were made on the site by highly specialized artists.

This Dacian style of animal art occurs at the time when various ancient historical sources begin to record the Geto-Dacians as an ethnic entity of the larger Thracian family; therefore, this artistic expression might be considered as specific to the Dacian society of the last centuries BC. Some scholars sustain that the zoomorphic motifs of that particular time do not represent any kind of zoolatry of the Geto-Dacians. These would be iconographic motifs highlighting and multiplying certain attributes of the deities or of the kings.

It is analogous to the bracelet from Feldioara but its head is different in that the head is almost triangular. It has been made in a richer figurative manner than others. The multi-spiral bracelet with zoomorphic (snake?) ends, found in 1859 with a treasure from Feldioara, is different because of the widened muzzle of the protome terminals. In the middle of the snake head the Dacian silversmith engraved braids, by the use of puncheons, consisting of two rows of small, oblique, divergent traits.

Tile with Chi Rho from Andalusia, Museo Arqueológico de Córdoba Decorated ceramic tiles are paleochristian ceramic bricks with relief designs made by molding, used in the architecture of Late Antiquity in the south of the Iberian Peninsula, with two production centres identified in the valley of the Guadalquivir. The decorative motifs are mostly religious (in particular, the Chi Rho), although there are also zoomorphic and vegetal examples. Their function is not known, although use as funerary or, more recently, as ornamental elements in ceilings have been proposed .

In one of the rarer depictions, there is a solitary anthropomorphic figure with a phallus, dating to the Magdalenense period in the Ribeira de Piscos site. The artists' motives are unclear, and the image appears isolated and over-drawn by other figures. At the Faia site, there are unique painted carvings, with ocre paint highlighting the nostrils and mouth of a figure. Other groups of carvings in Vale Carbões and Faia, dating from the Epipaleolithic and Neolithic, include zoomorphic designs, also painted with ocre.

The Natufian culture of ancient Middle East produced zoomorphic art. The Khiamian culture which followed moved into depicting human beings, which was called by Jacques Cauvin a "revolution in symbols", becoming increasingly realistic. According to him, this led to the development of religion, with the Woman and the Bull as the first sacred figures. He claims that this led to a revolution in human thinking, with humans for the first time moving from animal or spirit worship to the worship of a supreme being, with humans clearly in hierarchical relation to it.

Among the filigrees is the representation of a bird, an unusual zoomorphic figure in Islamic art that could represent a pigeon, a pheasant or a symbol of the king as winged. The traces of interlocking mixtilinear arches are characteristic of this palace and are given for the first time in the Aljafería, from where they will be diffused to the future Islamic constructions. On the eastern side of the portico is a sacred space, the mosque, which is accessed through a portal inspired by caliph art and described below.

To express himself, Živković used the natural shape of the trunk with or without branches, then smaller and thinner parts of branches, even ivy roots. Natural protuberances and hollows, various gnarls, and the mere mass of the matter inspired the artist to create the most diverse forms.Ото Бихаљи- Мерин, Снови и трауме у дрвету, Београд, 1962 His chisel followed the natural configuration of the wood, thus liberating, cutting, trimming and shaping anthropomorphic and zoomorphic figures, and less frequently animal or architectural shapes. He mostly carved in relief, which he used to cover his monumental columns.

Assorted uncleaned gold fittings, three with cloisonné gold and garnet. Sword fitting with garnet The contents include many finely worked silver and gold sword decorations removed from weaponry, including 66 gold sword hilt collars and many gold hilt plates, some with inlays of cloisonné garnet in zoomorphic designs (see lead picture). The 86 sword pommels found constitute the largest ever discovery of pommels in a single context, with many different types (some previously unknown) supporting the idea that the pommels were manufactured over a wide range of time.

The main characteristic of the museum's ethnographic fund is defined by the variety of its objects and their diverse origin. Craft works composed in ceramic, copper and textiles from local craftsmen representing the city and the region are present for display. So is a large collection of works from the Northern, North-Eastern and Southern regions of Albania. The elements of the traditional costumes from these regions are distinguished for their level of mastery and finesse, for the richness of the ornaments and symbols merged into geometric, zoomorphic and anthropomorphic forms.

Though originally thought to represent a composite or zoomorphic hybrid, it is probable it is a spotted hyena based on its broad muzzle and long neck. The relative scarcity of hyena depictions in Paleolithic rock art has been theorised to be due to the animal's lower rank in the animal worship hierarchy; the cave hyena's appearance was likely unappealing to Ice Age hunters, and it was not sought after as prey. Also, it was not a serious rival like the cave lion or bear, and it lacked the impressiveness of the mammoth or woolly rhino.

The falcon- headed Horus and crane-headed Seth. Examples of humans with animal heads (theriocephaly) in the ancient Egyptian pantheon include jackal-headed Anubis, cobra-headed Amunet, lion-headed Sekhmet, falcon-headed Horus, etc. Most of these deities also have a purely zoomorphic and a purely anthropomorphic aspect, with the hybrid representation seeking to capture aspects of both of which at once. Similarly, the Gaulish Artio sculpture found in Berne shows a juxtaposition of a bear and a woman figure, interpreted as representations of the theriomorphic and the anthropomorphic aspect of the same goddess.

Some places such as rock shelters or cliffs show rock paintings next to the roads, which can be interpreted as a reinforcement of the signalization. The generally zoomorphic painted representations correspond to stylized camelids, in the typical Inca design and color. Figures directly carved on the stone are also found. Rocks of varying size at the road side can represent the shapes of the mountains or important glaciers of the region, as an expression of the sacralization of geography; they can be made up of one or more rocks.

British Museum Collection The soapstone figures, which are both anthropomorphic and zoomorphic, might have been part of a votive offering, as they were discovered near what appeared to be an altar. Mutare was founded in 1897 as a fort, about 8 km from the border with Mozambique, and is just 290 km from the Mozambican port of Beira, earning Mutare the title of "Zimbabwe's Gateway to the Sea". It is sometimes also called "Gateway to the Eastern Highlands". Many Zimbabwean locals refer to it as 'Kumakomoyo' (place of many mountains).

Kʼawiil effigy cast from Tikal Kʼawiil, in the Post-Classic codices corresponding to God K, is a Maya deity identified with lightning, serpents, fertility and maize. He is characterized by a zoomorphic head, with large eyes, long, upturned snout and attenuated serpent tooth.Stone and Zender 2011: 49 A torch, stone celt, or cigar, normally emitting smoke, comes out of his forehead, while a serpent leg represents a lightning bolt. In this way, Kʼawiil personifies the lightning axe both of the rain deity and of the king as depicted on his stelae.

Birds are also depicted, which symbolize witchcraft. Finally, according to diviners from Oyo, Nigeria, snakes may symbolize the efficacy of Ifá divination as a whole, as it is believed that snakes obtained their venomous capacity from Ifá – as outlined in the odu okaran asa. Furthermore, snakes may symbolize Ifá himself, perhaps responsible for their prevalence in opon Ifá and in other Yoruba art. When abstract or crisscross markings are incorporated with zoomorphic imagery, they may offer a kinetic and sentient quality to the depicted animals, further enhancing the tray's divine potency.

Lucy the Elephant Margate is the home of Lucy the Elephant, the "largest elephant in the world"Clark, Michael. "Familiar sites / Area landmarks give flavor to southern New Jersey", The Press of Atlantic City, July 16, 2007. Accessed August 3, 2012. "At 65 feet tall and 38 feet long, the elephant that towers over Margate City is considered the largest elephant in the world and generates about $340,000 per year in income from tours and concessions sales." and is the oldest remaining example of zoomorphic architecture left in the United States.

Hacienda Grande is a culture that flourished in Puerto Rico from 250 BC to 300 AD. The main site in which Hacienda Grande culture was studied was in Loíza. Similar to the Saladoid culture, out of Venezuela, the Hacienda Grande culture was known primarily for its ceramic works. Ceramic techniques include vessel forms, such as zoomorphic effigy vessels, platters, jars and bowls with D-shaped strap handles, and many other types of vessels. These potters decorated their vessels with polychrome designs mainly utilizing white-on-red, black paint, and negative-painted designs.

The Fountain of the Iron Waters (), is a Baroque fountain in the civil parish of Fraião, municipality of Braga. The fountain, with ornate backrest, is located in an "L"-shaped courtyard, with a zoomorphic spout, niche and contorted frame. The design integrates details approximating decorative elements used by André Soares, most notably the Municipal Hall and Church of the Congregados, highlighting the abilities of master-mason Paulo Vidal. However, this project was actually designed by Carlos Amarante, at the beginning of his career, having been appointed the inspector of public works in 1773.

The fountain and backrest in stone, is embedded in the wall, and composed of a three-part trapezoidal niche frame. In the center is a zoomorphic spout, which is cut into the base frame, surmounted by a trimmed cornice, adorned by relief stave geometry. An inscription is carved on the fountain access; without frame or decoration, and carved into stone: FONTE DE FRAIÃO 1773 RECONSTRUÍDA EM MAIO DE 1997 O PATRIMÓNIO É UM ESPELHO DO PASSADO (Fountain of Fraião 1773 Reconstructed in May 1997 The patrimony is a window on the past).

King Manuel I was a member of the Order of Christ, thus the cross of the Order of Christ is used numerous times on the parapets. These were a symbol of Manuel's military power, as the knights of the Order of Christ participated in several military conquests in that era. The bartizans, cylindrical turrets (guerites) in the corners that served as watchtowers, have corbels with zoomorphic ornaments and domes covered with ridges unusual in European architecture, topped with ornate finials. The bases of the turrets have images of beasts, including a rhinoceros.

The figure is standing with the legs together and is wearing a feathered headdress and bears a zoomorphic head on its back, from which hang more feathers. The hands of the figure are extended forward and appear to bear a staff of rulership. The stela bears a hieroglyphic panel with an incomplete dedicatory date that must fall within the range from December 740 to November 805. The text also contains the name of the king who dedicated the stela, Shield Jaguar, and the Emblem Glyph of El Chal.

Laporte et al 2005, pp.157, 197-198. Due to the similarity of the ruler's image and the similar dating to Stela 1, Stela 4 is believed to have been dedicated by "Rabbit God K". The stela has a hieroglyphic text consisting of 26 glyphs and containing a date equivalent to AD 796. The principal figure, that of the ruler, is depicted standing and facing left, wearing a feathered headdress representing a zoomorphic deity, from the forehead of which emerges a waterlily that is being nibbled by a fish.

Ordos culture, belt buckle, 3rd–1st century BC Sutton Hoo purse-lid, 7th century, with Style II animals. British Museum: Animal style art is an approach to decoration found from China to Northern Europe in the early Iron Age, and the barbarian art of the Migration Period, characterized by its emphasis on animal motifs. The zoomorphic style of decoration was used to decorate small objects by warrior-herdsmen, whose economy was based on breeding and herding animals, supplemented by trade and plunder.Emma C.Bunker, Animal Style Art from East to West, Asia Society. p.

Dwelling houses also emerged from chaotically planned one room houses to larger houses with many rooms with the interiors painted (lac paintings) and with a hearth. Defensive forts were part of the settlements. Chalcolithic stone amulets with geometric shapes, pottery traditions with two-tiered furnaces for firing ceramics, terracotta figurines, stamp seals of clay and stone, and centres of metallurgical production were uncovered. Rosette and zoomorphic patterns were unearthed, representing various periods, both at Namazga-Tepe and also at other settlements in the foothills of the Kopetdag mountains.

In 1830, the Giugni family sold the palace to the Della Porta family, and between 1829-1839, the English painter and writer Walter Savage Landor, resided with the family. Federico Fantozzi in his guide of Florence from 1842: described the palace as Beautiful, simple, and balanced in the facade, but more importantly, exceeding beautiful in the doric portal. The portal, with rusticated borders, is decorated with classical and other zoomorphic touches. Landor did criticize as a design flaw that the height of the portal exceeds the pediments above the windows.

Bambara carvers have established a reputation for the zoomorphic headdresses worn by Tji-Wara society members. Although they are all different, they all display a highly abstract body, often incorporating a zig-zag motif, which represents the sun's course from east to west, and a head with two large horns. Bambara members of the Tji-Wara society wear the headdress while dancing in their fields at sowing time, hoping to increase the crop yield. ;Statuettes Bambara statuettes are primarily used during the annual ceremonies of the Guan society.

The northern Mesopotamian sites of Tell Hassuna and Jarmo are some of the oldest sites in the Near-East where pottery has been found, appearing in the most recent levels of excavation, which dates it to the 7th millennium BCE. This pottery is handmade, of simple design and with thick sides, and treated with a vegetable solvent.For Jarmo pottery photograph, see There are clay figures, zoomorphic or anthropomorphic, including figures of pregnant women which are taken to be fertility goddesses, similar to the Mother Goddess of later Neolithic cultures in the same region.

The southeast lateral chapel is rectangular and covered in vaulted ceiling, with a mural painting that represents St. Bartholomew with the devil at his feet (in ochres and burnt sienna) and decorative flourishes (in grey). Covered in shell-type covering, the chapel of Our Lady of the Rosary, integrates the upper part of the wall, dating to 1593, and is decorated with geometric, zoomorphic, cruciform and angel heads. There are also vestiges of a mural painting between the two chapels, that represents Calvário, Cruz de Cristo and Santo António.

The former is highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a triumphal column and other fittings at Hildesheim Cathedral, the Gniezno Doors, and the doors of the Basilica di San Zeno in Verona are other substantial survivals. The aquamanile, a container for water to wash with, appears to have been introduced to Europe in the 11th century. Artisans often gave the pieces fantastic zoomorphic forms; surviving examples are mostly in brass.

This is an example of a San Pedro de Atacama snuff tray that is identified as a San Pedro example of the two groups (Circumpueño and San Pedro). This is because of the anthropomorphic human figure on top of the tray. It can also be identified as a San Pedro tray because it does not have zoomorphic or animal within the carving. This is an example of a San Pedro de Atacama snuff tray that is identified as a Circumpueño style tray of the two groups (Circumpueño and San Pedro).

There were both monochrome and polychrome type clay vessels discovered in Kultepe II. The red colored pots found on the upper layers of II Kultepe were identical to the materials of the I and II Makhta residential areas. The painted pottery remains found in Uzerliktepe (Aghdam) were divided into two groups. While the first group was light red, resembles Kizilveng type painted dishes and featuring geometric and zoomorphic figures, the second group was polished. In addition to stamped black and gray decorations, there were also monochrome type dishes in Karaköpektepe region.

Newer painted designs include zoomorphic shapes such as lizards, snakes, fish, birds and others, almost always related to the desert environment. The most common decoration is burnishing to give a soft shine and fine lines in black and ochre. Another form of decoration adds decorative elements in clay over the walls of the vessel and sgraffito is usually done with only one color such as black on black. A relatively rare form of decoration for the pottery is the incision of the clay vessel while the clay is still moist.

The Chalcolithic pottery is of excellent quality and its varied and rich decoration shows the high aesthetic vision of the craftsmen. The typical household inventory includes tools and weapons made of stone, copper, bone and antler. The varied anthropomorphic, zoomorphic and ornitomorphic figurines as well as the syncretic combinations between the three reveal some aspects of the religious beliefs of the people. Additionally, at Tell Yunatsite was attested one of the earliest “surgical operations” discovered in Europe – the wrist amputation of a woman who continued to use her arm for years afterwards.

In the 2nd and 1st centuries BC gold and silver military objects are replaced so that the treasures of the late Dacian La Tène comprise ceremonial ensembles of silver ornaments and clothing accessories, bracelets along with some mastos or footed cup vases . The geometrical and spiral motif ornamentation of earlier bracelets is more often replaced with zoomorphic and vegetal representations. The decorations of bracelets that have been found, across the whole territory inhabited by Dacians, consist of lines cut into fir-tree shapes, dots, circlets, palmettes, waves, and bead motifs.

Locations of the 1st-century BC to 1st-century AD multi-spirals with protome and palmettes ornaments' finds . Silver snake-headed multi-spirals bracelet 1st century BC to 1st century AD (Transylvania, Romania). The multi-spiral bracelets made of plates with zoomorphic extremities, all of them made of silver and sometimes gilded, are characteristic of the north-Danubian Dacian elite, in particular ones from Transylvania. Also, according to Medelet (1976), one Dacian silver bracelet from Malak Porovets (Isperih Municipality Bulgaria) and one Dacian silver bracelet from Velika Vrbica (Serbia), belong to the same typology.

The last period of art dates from the modern era, and includes religious motifs, both anthropomorphic and zoomorphic figures, in addition to inscriptions, dates, boats, trains, bridges, planes and landscapes. The importance of this prehistoric art site is due to its rareness and extension. Although there are numerous prehistoric art sites in caves, open-air sites are rarer (including Mazouco (Portugal), Campôme (France) and Siega Verde (Spain), and few spread over 17 kilometres. Archaeologists acknowledge sites like this as open-air sanctuaries of prehistoric humankind, with particular relevance to West European Hunter- Gatherer (WHG) history.

Mae, an only child, has returned home to Possum Springs—a town populated by zoomorphic humans. Now living in her parents' attic, she discovers how much times have changed since the closing of the town's coal mines, uncovering a dark mystery that leads her into the nearby woods. She is forced to confront a horrible secret the town has hidden for decades involving not only the town's mine, but also the recent disappearance of her longtime friend Casey. Mae's friends also include Bea, a cigarette- smoking crocodile and Mae's childhood friend; Gregg, a hyperactive fox; and his boyfriend, a bear named Angus.

He can take a variety of forms, the most important ones being the cosmological Sihai Longwang ( "Dragon King of the Four Seas") who, with the addition of the Yellow Dragon ( Huánglóng) of Xuanyuan, represent the watery and chthonic forces presided over by the Five Forms of the Highest Deity ( Wǔfāng Shàngdì), or their zoomorphic incarnation. One of his epithets is Dragon King of Wells and Springs. The dragon king is the king of the dragons and he also controls all of the creatures in the sea. The dragon king gets his orders from the Jade Emperor.

Once recomposed, some of these horns appear to bear small spheres at their terminal ends, like in some bronzetti, either anthropomorphic (in this case only warriors, never archers) or zoomorphic. The best preserved warrior's statue is among the most striking pieces of Mont'e Prama. Besides the horned helmet – whose horns are broken – it is marked by the presence of an armour with vertical stripes, short on the back but solid on the shoulders and more expanded on the breast. By analogy with armours visible on several bronze figurines, it is thought that the breastplate was built of metal strips applied on hardened leather.

The hundreds of facets of the Muqarnas ceiling were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Egyptian Fatimid Art, these paintings are innovative in their more spatially aware representation of personages and of animals. Most muqarnas are made out of stucco or stone but the muqarnas in the Cappella Palatina are molded and carved with wood. There are arch shaped panels as the main construction and hidden panels that help center wood cuts for the small vaults in the muqarnas.

Grand Hall of the Palace of the Catholic Monarchs Under the Artesonado coffered ceiling there is an airy gallery of passable arches and with open windows, from which the guests could contemplate the royal ceremonies. Finally, all this structure is based on an arrocabe with moldings in carved navicella with vegetal and zoomorphic themes (cardina, branches, fruits of the vine, winged dragons, fantastic animals...), and in the frieze that surrounds the whole perimeter of the room, there appears a legend of Gothic calligraphy that reads: The translation of this inscription is: Gothic window built by the Catholic Monarchs in 1512.

The building has a ground floor with a water portal and two noble floors decorated with quadriforas flanked by pairs of monoforas. The brick facade on the Grand Canal is divided vertically into three sections, each of which has late Gothic decorations: top flowers, trefoil window frames, serrated frames, and Corinthian capitals. The vertical edges of Istrian stone, the string course, and two coats of arms of the Da Lezze family are also present on the facade. The most interesting element of the composition is the quadrifora on the first noble floor, decorated by a projected balcony, columns, elaborate shelves, and zoomorphic figures.

The Bissagos peoples produce many artifacts for daily use and ritual following a traditional iconography that is unique to their culture, but shows variations from island to island. Among the most striking Bidyogo art pieces are the portable ancestor shrines ("iran") and the zoomorphic masks representing cows ("vaca-bruta"), sharks, stingrays and, occasionally, other local animals. Traditionally-decorated artifacts are also produced for "fanado" coming-of-age ceremonies (wood masks, spears, shields, headgear, bracelets), daily activities (fishing, agriculture) and personal use (stools, basketry, foodware). Its unique aesthetics make Bidyogo art easily distinctive from other African tribal arts.

Surkhan oasis is known with its plain pile rugs with geometric, zoomorphic, anthropomorphic and islimi patterns, representing the religious beliefs and faith of the people. These rugs were woven of the cotton thread, first they waved the lower part which consisted of variety of colors and was called "suv yuli"- the way of the water. There was also "kosh uyurma" pattern which was waved from the 3-4 layers of white and black threads. One of the main parts of the carpet is "chetki kora"; it is a train of the edges were used for its manufacture.

The fibula's foot is vertical and ends in a small knob, though later models had a sinuous, s-shaped profile. The La Tene I era also saw the introduction of the first animal, or zoomorphic, designs. These included birds and horses and could either be flat, with a short bilateral spring on the back, or three-dimensional ("in the round") with a long bilateral spring at the head. In the La Tene II, or La Tene C era (2nd century BC), the foot of the fibula actually bent back to touch the bow and was wrapped around it.

The headdresses of the goddesses in the relief display imagery that is inconsistent with early traditions in that the vulture would not have related to both. These Greek rulers embraced the Ancient Egyptian traditions, albeit with their own differing interpretations and styles and, at times introducing concepts that the Ancient Egyptians would not have represented, that were based upon parallels made to their Greek traditions and concepts. Greek and Roman religious beliefs were significantly less zoomorphic than Ancient Egyptians. In indigenous Egyptian traditions, these goddesses might have been portrayed as women with the heads of the respective animals more typically representing the deities.

The Parţa settlement, thoroughly researched, demonstrates that the culture reached a high level of civilization, attested to by the one storey buildings and by a complex spiritual life, partly decoded by the components of the great sanctuary studied here. The cult edifice (with maximum dimensions of 12x6x7m), with two stages of construction, had two chambers, the one to the east, the other to the west, separated by an altar table and then a wall. The west chamber served as a depository for daily offerings. In the foundation of the south entrance to this chamber was laid a zoomorphic idol and a tiny vessel.

Bowles also recorded a large charred timber, between points G and H. The barrow contained a large assemblage of items, of a quality indicating the high-status nature of the burial. There were at least seven vessels: three pottery, two hand-made jars, a Merovingian bottle, and a small silver bowl or cup. Fragments of foil, five of which were stamped with zoomorphic interlace patterns, suggest the burial of a decorated drinking horn, and a pear-shaped mount was both patterned and gilded. Other items appear to have been made of bone, and were likely pieces from a gaming set.

Coordinates: The village of Vallaç is situated north of Zhitkoc-Karagaç, in close vicinity of the Ibar river delta, set on the upraised terrace known as the Vallaç rock, in the Municipality of Zveçan. This archaeological settlements was investigated during 1955 and 1957. Remains or dwellings of this settlement are mainly composed of the huts constructed by timber beams and protected ditches around circular dwellings. The most characteristic objects found in this site belong to the Late Neolithic Vinca Culture, and include considerable amount of the anthropomorphic and zoomorphic figurines, modeled and carefully designed terracotta statues.

" There is a definite connection between animals and spirituality among the Olmec, especially with animal characteristics combined with human features. This is represented in Olmec "art" and those with elite status would have worn elaborate headdresses of feathers and other animal forms.Tate 2007 Ocean creatures were also sacred to the Olmec—Pohl (2005) found shark teeth and sting ray remains at feasting sites at San Andres and it is clear that those at La Venta shared in the same ideology. "Zoomorphic forms reference sharks and birds, and both collections contain representations of the quincunx symbol, a conceptualization of the cosmos in Mesoamerican thought.

The Vettones left behind similar figures across the territory they occupied, both in Spain and Portugal. These zoomorphic statues represent breeding pigs, but also other animals such as bulls, bears, and wild boars. They are recognizable artistic expressions of their culture, but the meaning is unclear and several theories have tried to explain their significance. For example, it has been said that the verracos served as boundary markers for borders and lands dedicated to cattle grazing, that they are related to Heracles, or had a mystic or religious role in the worship of nature deities, fertility, or the dead.

Jewelry (such as brooches), weapons (including swords with decorative hilts) and clothing (such as capes and sandals) have been found in a number of grave sites. The grave of Queen Aregund, discovered in 1959, and the Treasure of Gourdon, which was deposited soon after 524, are notable examples. The few Merovingian illuminated manuscripts that have survived, such as the Gelasian Sacramentary, contain a great deal of zoomorphic representations. Such Frankish objects show a greater use of the style and motifs of Late Antiquity and a lesser degree of skill and sophistication in design and manufacture than comparable works from the British Isles.

The helmet's horns are also 'S'-shaped, with a twist recalling both a bull's horns and the twist in a pair of lurs. Fittings between horns and crest held bird's feathers, and it has been suggested that the crest was originally adorned with a hair. The helmet has a human appearance coupled with select zoomorphic elements. Overall the design takes cues from both Urnfield and Nordic culture, though some elements, such as bulls' horns are found elsewhere - such as Iberia, and Sardinia, and horned helms are also seen in contemporary descriptions of the Sea Peoples in the Mediterranean and near East.

Cross-culturally, representational models of gods' minds take an array of diverse forms, such as anthropomorphic or zoomorphic figures, abstract forces, or some combination of these. Models of gods' minds typically fall within a spectrum between two extremes: on one end there are Big Gods, and on the other there are Local Gods. Big Gods are usually moralistic, punitive and omniscient, whereas Local Gods are often concerned about ritual behaviors, amoral and limited in knowledge. The subject matter that gods are believed to care across cultures fall into three categories, but may involve an admixture of more than one.

Healy remarks that the vessels found in the caves are “distinctively Early and Middle Preclassic (Formative)”. A series of techniques were applied in these vessels, ranging from monochrome to bichrome to polychrome, from simple straight spout vessels to human and zoomorphic effigy vessels, etc. One remarkable vessel that originated in this area was a “black polished and excised cylinder vase” identical to Olmec vessels. Healy noted that similar black wares were characteristic of the Mesoamerican Formative period. He remarked on the “incised motif, a stylized jaguar face with tufted eyebrows, full frontal mouth, [that] appears clearly Olmec- inspired, if not actually Olmec manufactured”.

He also wrote about the collection of indigenous gold objects at the Pre-Columbian Gold Museum in San José. He also contributed to the study of cultural sequences in the Central Area of Costa Rica. In 1974, he published research on zoomorphic monoliths at Guayabo de Turrialba and began fieldwork at the site of El Monito. He published two articles about his research on the archaeology of the Arenal Volcano Area; one in 1977 in National Geographic Society Research Reports over Tephrastratigraphy and Cultural Sequences and one in 1984 in Annals of the Academy of Geography and History of Costa Rica.

The Eran boar inscription of Toramana, is a stone inscription found in Eran in the Malwa region of Madhya Pradesh, India. It is 8 lines of Sanskrit, first three of which are in meter and rest in prose, written in a North Indian script. It is carved on the neck of a freestanding high red sandstone Varaha statue, a zoomorphic iconography of Vishnu avatar, and dated to the 6th century. The inscription names king Toramana, ruler of the Alchon Huns, as ruling over Malwa ("governing the earth") and records that a Dhanyavishnu is dedicating a stone temple to Narayana (Vishnu).

The two silver brooches found in the hoard are representative of the ninth century Trewhiddle style of Anglo-Saxon England. Characteristics of the style are: the use of silver, niello inlay, intricate carving, and interlaced animal, plant and geometric patterns. Each brooch represents different features of the style, the smaller brooch belongs to the class of intricately designed openwork brooches with zoomorphic motifs and the larger brooch is characteristic of the more simple, flat disc brooches with abstract ornamentation. Sheet disc brooch, Beeston Tor hoard The smallest brooch has an openwork design with a niello background.

It is worth mentioning bronze deposits of Cugir, Ighiel, Zlatna and Vintu de Jos, as well as the pottery, the zoomorphic idols and the iron, bronze and stone tools, discovered in the fortified great settlement of Teleac. Especially interesting are the marble statuette depicting Liber Pater, the bronze collection, the glass collection, bone, horn and ivory objects as well as the monetary hoards from Alba Iulia, Tibru, Geomal, Șpring and Medves. These include the silver hoard from Lupu and the materials discovered in the Princely tomb of Cugir. The numismatic collection includes ancient, medieval and modern coins, plaques and coins.

Atop the foundational layer of iron were placed decorative sheets of tinned bronze. These sheets, divided into five figural or zoomorphic designs, were manufactured by the pressblech process. Preformed dies similar to the Torslunda plates were covered with thin metal which, through applied force, took up the design underneath; identical designs could thus be mass-produced from the same die, allowing for their repeated use on the helmet and other objects. Fluted strips of white alloyed moulding—possibly of tin and copper, and possibly swaged—divided the designs into framed panels, held to the helmet by bronze rivets.

The Elliot Bay Petroglyphs, also known as 45KI23, are petroglyphs created before recorded times by the Duwamish people in present-day Seattle. According to various archaeological reports (involved in Washington State Route 519 and other works), the petroglyphs "at the southern end of Elliott Bay near the mouth of the Duwamish River", today in Seattle's Industrial District, may have been buried or stolen when the Duwamish estuary and tidal flats were developed and filled during settlement of the city. Richard McClure, a researcher from The Evergreen State College described the inscriptions as "pecked figures of a zoomorphic nature".

The walls are painted with geometric, anthropomorphic and zoomorphic patterns in red, black and white. Some statues and remains of pottery and fabrics can be seen scarcely due to grave robbery before the hypogea were constituted as protected areas. The pre-Columbian culture that created this funeral complex inhabited this area during the first millennium A.C. Tierradentro Archaeological park features hypogea dating from 6th to 9th centuries AD. The details in the sculptures and pictoric patterns are similar to the San Agustín culture. The park generates significant revenue to the local economy due to the high volume of tourists, both Colombian and foreigners.

The beginning letters of the other Psalms have smaller "minor" initials which are decorated or zoomorphic and are done in what is called the "antenna" style. The only surviving full-page miniature shows King David with his court musicians, and is now folio 30 verso. It is possible that this miniature was originally the frontispiece or opening miniature of the psalter, and that a decorated incipit page at the start of the Psalms is missing, as well as a carpet page at the end.Brown Sir Robert Cotton pasted a cutting from the Breviary of Margaret of York on folio 160 verso.

390px The Stuttgart Psalter contains 162 decorated initials, including one at the beginning of each psalm, which show floral, geometrical, zoomorphic, and interlaced patterns and motifs. The text is written in Carolingian minuscule. Two or three miniatures are included within each psalm text, which can be categorized in three ways: literal, illustrating the actual psalm text; historical, where the psalm text refers to other episodes in the Hebrew Bible; or Christological, where the text is seen as predictive or relevant to the life of Christ in the New Testament.Dodwell, C.R.'The Pictorial Arts of the West, 800-1200.

In some places of Hebei, the cult comprises four instead of five zoomorphic gods, including the Fox, the Weasel, the Hedgehog and the Snake Gods (四大仙 Sìdàxiān, 四大门 Sìdàmén). While the Fox God and the Weasel God always remain the two prominent members of the cult, the other positions vary in some regions including the Tiger, the Wolf, the Hare and the Turtle Gods. Li Qingchen (?-1897), a scholar of Tianjin, explained the images of the Five Great Immortals as follows: ::[...] the Five Immortals [...] are: 狐 Hú is fox, 黄 Huáng is weasel, 白 Bái is hedgehog, 柳 Liǔ is snake and 灰 Huī is rat.

A dragon seen floating among clouds, on a golden canteen made during the 15th century, Ming dynasty Chinese dragons are strongly associated with water and weather in popular religion. They are believed to be the rulers of moving bodies of water, such as waterfalls, rivers, or seas. The Dragon God is the dispenser of rain as well as the zoomorphic representation of the yang masculine power of generation. In this capacity as the rulers of water and weather, the dragon is more anthropomorphic in form, often depicted as a humanoid, dressed in a king's costume, but with a dragon head wearing a king's headdress.

Headpiece from "Triodion", a religious manuscript from 1642 Headpiece (also spelled head-piece), is a decoration printed in the blank space at the beginning of a chapter or other division of a book, usually an ornamental panel, printer's ornament or a small illustration done by a professional illustrator. The use of decorative headpieces in manuscripts was inherited by the medieval West from late Antique and Byzantine book production, and enjoyed particular popularity during the Renaissance. Headpieces, sometimes incorporating a rubric or heading, as well as Zoomorphic and anthropomorphic motifs were used widely in manuscripts and in editions of the Bible in the 15th-century.

Roughly between 200 BCE and 800 CE, the San Agustín culture, masters of stonecutting, entered its "classical period". They erected raised ceremonial centres, sarcophagi, and large stone monoliths depicting anthropomorphic and zoomorphic forms out of stone. Colombian art has followed the trends of the time, so during the 16th to 18th centuries, Spanish Catholicism had a huge influence on Colombian art, and the popular baroque style was replaced with rococo when the Bourbons ascended to the Spanish crown. More recently, Colombian artists Pedro Nel Gómez and Santiago Martínez Delgado started the Colombian Murial Movement in the 1940s, featuring the neoclassical features of Art Deco.

Fish-shaped door handle from Germany, an example of a zoomorphic artwork The word zoomorphism derives from the Greek ζωον (zōon), meaning "animal", and μορφη (morphē), meaning "shape" or "form". In the context of art, zoomorphism could describe art that imagines humans as non-human animals. It can also be defined as art that portrays one species of animal like another species of animal or art that uses animals as a visual motif, sometimes referred to as "animal style." In ancient Egyptian religion, deities were depicted in animal form which is an example of zoomorphism in not only art but in a religious context.

Spirals and curved designs appear with frequency especially in the center and south of the country. In addition to flowers, other themes from nature in woven and embroidered designs include plants, animals such as squirrels, rabbits, deer, armadillos, doves, hummingbirds, pelicans, seagulls and fish. Mazahua embroidered belts are known for their zoomorphic designs and those of Santo Tomás Jalieza tend to have images of large plumed birds. The cloth napkins of San Mateo del Mar have images of aquatic birds such as pelicans and seagulls, with those of the Tacuates of Santiago Zacatepec have borders with many diminutive animals such as centipedes, scorpions, birds, iguanas, cats, foxes and more.

Proposed by Axel May and Heike Zechner; the original reconstruction however featured a bent tube toward the mouthpiece. Due to the absence of valves and crooks, melodies were created by producing harmonics with overblowing techniques, as the reconstructional work by John Kenny has convincingly shown (see External links for a recording sample).John Kenny, Reconstruction of the Deskford Carnyx ; it is also possible to produce bends and multiphonics. However, the zoomorphic restriction to boar-inspired sounds should only be applied to the Deskford Carnyx, because it featured a boar head in contrast to many other carnyx bells, which were inspired by different animals (see above).

The boli can be zoomorphic (mostly a buffalo or a zebu) or even sometimes anthropomorphic. The populations of Mali who practice the so-called bamanaya cult, that is to say who indulge in the sacrifices of animals on the boliw and who communicate with the afterlife through masked dancers say they are Bamana.Jean-Paul Colleyn, Images, signes, fétiches. À propos de l’art bamana (Mali) In the Mandingo religions a boli is an object said "charged", that is to say that by its magic it is able to accomplish extraordinary things, such as to give death, to guess the future, to take possession of someone, etc.

Anthropomorphic and zoomorphic portal in the Romanesque Church of Rates. Rates Ecomuseum (Portuguese: Ecomuseu de Rates or Ecomuseu de São Pedro de Rates) is a historic countryside pedestrian circuit or ecomuseum in the parish of Rates in Póvoa de Varzim, Portugal. Highlights of the 8 km-long circuit are the Romanesque Church of Rates, the bell-tower of the former monastery, the Praça, the rural architecture using shale as a construction material, the local section of the way of Saint James, the countryside landscape, windmills, watermills and the linen, bread and wine-making cultures. The ecomuseum includes maps and plates with information in Portuguese and English.

Zoomorphic pictogram on stone slab from the MSA of Apollo 11 Cave The oldest known figurative art from Sub-Saharan Africa are seven stone plaquettes painted with figures of animals found at the Apollo 11 Cave complex in Namibia, and dated to between 27,500 and 22,500 years ago.Coulson, pp. 76–77 There is a substantial amount of rock art attributable to the Bushmen (San) found throughout Southern Africa. Much of this art is recent (as evident from the subject matter depicted, including depictions of wagons and of white settlers wearing hats), but the oldest samples have been tentatively dated to as early as 26,000 years ago.

The bocio are religiously designed to include different forces together to unlock powerful forces. In addition, the cloth appliqué of Dahomey depicted royalty often in similar zoomorphic representation and dealt with matters similar to the reliefs, often the kings leading during warfare. Dahomey had a distinctive tradition of casting small brass figures of animals or people, which were worn as jewellery or displayed in the homes of the relatively well-off. These figures, which continue to be made for the tourist trade, were relatively unusual in traditional African art in having no religious aspect, being purely decorative, as well as indicative of some wealth.

Jagannath in the Narasimha or Nrusingha Besha in Koraput The tribal origin theories rely on circumstantial evidence and inferences such as the Jagannath icon is non-anthropomorphic and non- zoomorphic. The hereditary priests in the Jagannath tradition of Hinduism include non-Brahmin servitors, called Daitas, which may be an adopted grandfathered practice with tribal roots. The use of wood as a construction material for the Jagannath icons may also be a tribal practice that continued when Hindus adopted prior practices and merged them with their Vedic abstractions. The practice of using wood for making murti is unusual, as Hindu texts on the design and construction of images recommend stone or metal.

Narmer, a Predynastic ruler, accompanied by men carrying the standards of various local gods The beginnings of Egyptian religion extend into prehistory, though evidence for them comes only from the sparse and ambiguous archaeological record. Careful burials during the Predynastic period imply that the people of this time believed in some form of an afterlife. At the same time, animals were ritually buried, a practice which may reflect the development of zoomorphic deities like those found in the later religion. The evidence is less clear for gods in human form, and this type of deity may have emerged more slowly than those in animal shape.

Celtic cross stitch is a style of cross-stitch embroidery which recreates Celtic art patterns typical of early medieval Insular art using contemporary cross-stitch techniques. Celtic cross stitch typically employs rich, deep colors, intricate geometrical patterns, spirals, interlacing patterns, knotwork, alphabets, animal forms and zoomorphic patterns, similar to the decorations found in the Book of Kells. Although they share design inspirations, today's Celtic cross-stitch differs from the embroidery of the Celtic Revival of the late 19th and early 20th century which employed freehand surface embroidery stitches in line with the principles of the Arts and Crafts Movement (see art needlework).Sheehy 1980, pp.

German archaeologist Karl von den Steinen was the first European visitor to observe evidence of ancient dogs in the Marquesas in 1897–98. In his excavation of meʻae Iʻipona, a temple complex near the village of Puamaʻu on the northeastern coast of the island of Hiva Oa, he uncovered several stone tiki including two with zoomorphic (animal shaped) quadruped figures carved on them. During this period, the property and temple site was owned by Reverend James Kekela, a Hawaiian Protestant missionary, who von den Steinen befriended. He also relied on an elderly Marquesan named Pihua, who was the only living person who knew the names of the tiki at the site.

Archaeological finds indicate that it developed at the same site as an earlier non-fortified settlement in the of the 3rd to 2nd century BCE in the period of the Kingdom of Dardania. Pottery fragments painted with geometric lines, a Starčevo flint knife, and anthropomorphic and zoomorphic figurines from the sixth millennium BC have been unearthed. A decorated baked- clay pot typical of the Vinča culture (third millennium BC), Bronze Age baked- clay table vessels and a 3.72-gram coin dating to 55 BC have also been found at the site. To the north of the site stand the ruins of a medieval church.

Dacian fortress of Sarmizegetusa (Hunedoara County – Romania) Some two dozen of the gold multi-spiral zoomorphic-headed bracelets were discovered by archaeological looting in different spots in the area of Sarmisegetusa Regia, in the Orăștie Mountains. By 2011, twelve out of the twenty-four looted gold bracelets had been recovered and are housed at the Romanian National History Museum in Bucharest. An archaeological context has been reconstituted on the basis of a forensic science approach, technical description, and archaeological interpretation. The multi-spiral bracelets had been uncovered from pits near to the "Sacred area" of the Dacian capital at Sarmizegetusa Regia (Hunedoara County), around 600 m from the sacred enclosure.

Prehistoric Rock-Art Site of the Côa Valley – Penascosa – BullThe art in the Faia site occupies several vertical panels of granite. Two groups of authors were identified in this region, including 230 carvings from the Epipaleolithic and Bronze Ages. The more archaic period of Côa corresponds to 137 rocks with 1000 carvings and rare paintings, by artists who concentrated on zoomorphic representations: equine (horses), bovine (aurochs), caprines and deer (the latter primarily associated with the final phase of the Magdalense period). There are also representations of fish, intermediary animals, along with a small group of geometric or abstract shapes (including lines and symbols in Penascosa and Canada do Inferno).

The visual appeal of band members in uniform playing instruments with zoomorphic heads (in addition to the buccin, serpents, bass horns, bassoons and Russian bassoons—a form of upright serpent—all were made with decorative bells) was indisputable and manufacturers were quick to supply more and more exotic designs. The buccin bell was often vividly painted red, green and gold and the protruding metal tongue included by many makers would flap while marching and playing. Bell of a buccin (MDMB 369), 1800–1860, in the musical instrument collection of the Museu de la Música de Barcelona. The sound of the buccin is something of a cross between a trombone and a French horn.

For one of the longest he said: "This is neither a drawing nor a painting – it is a condensed sorrow!" Made of a series of smaller or larger pieces of cartridge paper, they were mostly treated as an uninterrupted compositional thread, like a symbol of tightly bound, unbreakable fastening of the conscience. That strange, black man, as they used to call him because he permanently wore black, drew attention like unpleasant conscience, a personification of an outcast, a betrayed, while his anthropomorphic and zoomorphic forms exuberated under the radiation of human animosity. Strong linearism of hallucinate, multiplied texture without a beginning and an end creates unique atmosphere where the powerful presence of the artist’s sensuality and agony is felt.

Löwenmensch figurine From the beginnings of human behavioral modernity in the Upper Paleolithic, about 40,000 years ago, examples of zoomorphic (animal-shaped) works of art occur that may represent the earliest evidence we have of anthropomorphism. One of the oldest known is an ivory sculpture, the Löwenmensch figurine, Germany, a human-shaped figurine with the head of a lioness or lion, determined to be about 32,000 years old. It is not possible to say what these prehistoric artworks represent. A more recent example is The Sorcerer, an enigmatic cave painting from the Trois-Frères Cave, Ariège, France: the figure's significance is unknown, but it is usually interpreted as some kind of great spirit or master of the animals.

St. Lawrence Island was first occupied around 2,000 to 2,500 years ago by coastal people characterized by artifacts decorated in the Okvik (oogfik) style. Archaeological sites on the Punuk Islands, off the eastern end of St. Lawrence Island, at Kukulik, near Savoonga and on the hill slopes above Gambell have evidence of the Okivik occupation. The Okvik decorative style is zoomorphic and elaborate, executed in a sometimes crude engraving technique, with greater variation than the Old Bering Sea and Punuk styles. The Okivik occupation is influenced by and may have been coincident with the Old Bering Sea occupation of 2000 years ago to around 700 years ago, characterized by the simpler and more homogeneous Punuk style.

The ruler of the Middle world is a deity (mother goddess) depicted in the center, and an animal at her feet is as a rule hybrid animal consisting of parts of different terrestrial animals – it marks the borders of Lower invisible world. The hallmark of the Perm animal style is the images of elk peoples, and to be more precise, the image of man-bird-elk, found nowhere else in the territory of Eurasia.The second group is the Transural, Western-Siberia animal style. There are a lot of applied and decorative artifacts – decorations, including costume decorations – belt plates, buckles, clasps, bracelets with zoomorphic images, pendants, beads, pommels, sheaths, needle cases, ear-picks, stills and combs.

Their dates range from the mid-4th to 1st centuries BC. There are some similar zoomorphic monument markers in lands of Poland from the same period or older. Though they were perhaps not confined to a single usage, the verracos were an essential part of the landscape of the Vettones, one of the Pre-Roman peoples of the Iberian Peninsula. It has generally been assumed, from their high visibility in their original open fields surroundings, that these sculptures had some protective religious significance, whether guarding the security of livestock or as funerary monuments (some of them bear Latin funerary inscriptions). The verracos are particularly numerous too in the vicinity of the walled Celtiberian communities that Romans had called oppida.

Side view showing the transverse gouges on the left arm The Löwenmensch figurine or Lion-man of the Hohlenstein-Stadel is a prehistoric ivory sculpture discovered in the Hohlenstein-Stadel, a German cave in 1939. The German name, Löwenmensch, meaning "lion-human", is used most frequently because it was discovered and is exhibited in Germany. The lion-headed figurine is the oldest-known zoomorphic (animal-shaped) sculpture in the world, and one of the oldest-known uncontested example of figurative art. It has been determined by carbon dating of the layer in which it was found to be between 35,000 and 40,000 years old, and therefore is associated with the archaeological Aurignacian culture of the Upper Paleolithic.

The geoglyphs of Chug-Chug are a series of ancient geoglyphs located in the Atacama Desert in northern Chile, northeast of María Elena. The area includes 23 archaeological sites, preserving nearly 500 geoglyphs distributed along old caravan routes between the oasis of Calama and Quillagua, the base of an extinct pre-Hispanic town. Geoglyphs of Chug-Chug, Chile The oldest of the geoglyphs date back to 1000 BC, while most originated between 900 and 1550 AD, supposedly by the Atacama and Tarapacá tribes that inhabited the surrounding areas. Similar to the Nazca Lines, the geoglyphs of Chug-Chug include human figures, zoomorphic designs of animals such as birds and llamas and geometric figures like circles and rhombuses.

This does not exclude the possibility that other social groups, mainly children and adolescents, performed a secondary role. The transport of receptacles over long distances, in the absence of good roads, must have been an equally difficult operation, requiring itinerant craftsmen or special workshops near the more important centers. The partial representations, the schematic physiognomies, as well as the faithful thematic rendering, though rare, all speak of a new symbolic expression that dominated the art of statuettes too. The moulding of the zoomorphic and anthropomorphic statuettes no longer attain the rich realism of the prior epoch, which is explained by the changes occurring in the religious and cult structure of the society.

He is also an Honorary Research Fellow at the Institute of Archaeology at Oxford. Speake's 1980 work Anglo-Saxon Animal Art and its Germanic Background, written as the basis for his Ph.D., is considered "a major break-through in Anglo-Saxon style studies". It provided a comprehensive look at "style II" art, the form of zoomorphic decoration used in Northern Europe from the middle of the sixth century AD to the end of the seventh. Hitherto the least understood style of Anglo-Saxon and Scandinavian animal art, style II is thought to have been reserved for the upper classes and is found prominently on the objects found in the Sutton Hoo ship-burial and in the Vendel boat graves.

A prominent zoomorphic deity type is the divine bull. Tarvos Trigaranus ("bull with three cranes") is pictured on reliefs from the cathedral at Trier, Germany, and at Notre-Dame de Paris. In Irish mythology, the Donn Cuailnge plays a central role in the epic Táin Bó Cúailnge ("The Cattle Raid of Cooley"), which features the hero Cú Chulainn, which were collected in the seventh century Lebor na hUidre ("Book of the Dun Cow"). Pliny the Elder, writing in the first century, describes a religious ceremony in Gaul in which white-clad druids climbed a sacred oak, cut down the mistletoe growing on it, sacrificed two white bulls and used the mistletoe to cure infertility:Miranda J. Green.

The Mitanni-period layers yielded residential houses and graves. After a settlement hiatus, which lasted until the Neo-Babylonian period, domestic structures reappeared; finds from this period include cylinder seals. The excavators also discovered the remains of a caravanserai from the 3rd millennium BC. The excavations at Tell Arbid yielded a rich assemblage of 577 zoomorphic and 67 anthropomorphic clay figurines, dated to the 3rd and 2nd millennium BC. Stone beads (made of carnelian and lapis lazuli, among others), cylinder seals, and stone tools were also found. An interesting group of objects consists of 40 terracotta chariot models, preserved whole or in fragments, dating from the Ninevite 5 culture to the Khabur culture.

The hoard dates from the Iron Age and was probably buried around 100 BC. Even though this part of Spain had recently been conquered to become part of the Roman Empire, the style of jewellery reflects Celtic aesthetic traditions. The silver treasure includes a large circular torc with terminals in the form of double cones, eight armlets with zoomorphic relief decoration, a brooch in the shape of two horses' heads, a conical bowl, over three hundred coins, two lumps of silver and other miscellaneous objects including rods and ingots. The coins enable archaeologists to date the treasure, as 82 of them were locally made and 222 were minted in a Roman city.

In the pre-Hispanic era, the territory of the Venezuelan plains was inhabited by groups that arrived from the Amazon region by river (probably Colombia or Ecuador). The oldest known occupation occurred between 300 and 600 BC in the Barinas and Portuguesa plains, perhaps because it was one of the least affected by periodic flooding in the region. Over the next 1200 years, these communities moved northwards from Venezuela and were also influenced by groups from the Orinoco. Among the traces left by these pre- Colombian inhabitants are numerous petroglyphs of geometric, anthropomorphic and zoomorphic figures, as well as a complex network of roads believed to have served to drain swamps or control water.

It cannot be proven that every drinking horn or libation vessel was pierced at the bottom, especially in the prehistoric phases of the form. The scoop function would have come first. Once the holes began, however, they invited zoomorphic interpretation and plastic decoration in the forms of animal heads—bovids, equines, cervids, and even canines—with the fluid pouring from the animals' mouths. Rhyta occur among the remains of civilizations speaking different languages and language groups in and around the Near and Middle East, such as Persia, from the second millennium BC. They are often shaped like animals' heads or horns and can be very ornate and compounded with precious metals and stones.

The Gurjara-Pratihara king Mihira Bhoja (836–885 CE) assumed the title of Adi-varaha and also minted coins depicting the Varaha image. Varaha was also adopted as a part of royal insignia by the Chola (4th century BCE–1279 CE) and Vijayanagara Empires (1336–1646 CE) of South India. In Karnataka, a zoomorphic image of Varaha is found in a carving on a pillar in Aihole, which is interpreted as the Vijayanagara emblem, as it is seen along with signs of a cross marked Sun, a disc and a conch. However, the boar and its relative the pig started being seen as polluting since the 12th century, due to Muslim influence on India.

The sculpture typically show the symbolic scene of the return of Varaha after he had successfully killed the oppressive demon Hiranyaksha, found and rescued goddess earth (Prithivi, Bhudevi), and the goddess is back safely. Whether in the zoomorphic form or the anthropomorphic form, the victorious hero Varaha is accompanied by sages and saints of Hinduism, all gods including Shiva and Brahma. This symbolizes that just warriors must protect the weak and the bearers of all forms of knowledge and that the gods approve of and cheer on the rescue. Various holy books state that the boar form was taken to rescue the earth from the primordial waters, as the animal likes to play in the water.

Silver amphora-rhyton with zoomorphic handles; circa 500 BC; Vassil Bojkov Collection (Sofia, Bulgaria) An amphora (; , amphoreús; English plural: amphorae or amphoras) is a type of container with a pointed bottom and characteristic shape and size which fit tightly (and therefore safely) against each other in storage rooms and packages, tied together with rope and delivered by land or sea. The size and shape have been determined from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. They are most often ceramic, but examples in metals and other materials have been found.

Many objects recovered by archeologists are believed to be related to a cult of the sun and the solar deity. Those include ceramics with painted solar images and molded into bird figures, bronze wheeled mini-carts with animal ornaments and bronze clasps with bird images, probably worn as parts of a ceremonial robe by priests-sorcerers. Anthropomorphic figurines and zoomorphic containers and plates related to solar or other forms of cult are found in the Lusatian western zone; they come from the last centuries of the Bronze Age and continue into the Iron Age. Engraved on a vase-urn found in Łazy in Milicz County and dated 850–650 BC are representations of mythical deer-man figures.

The presence of a significant layer of ash, found in the excavations, has led to the conclusion that in Roman times the site suffered a serious fire that devastated it completely.Zucca, Raimondo (1988). Il santuario nuragico di Santa Vittoria di Serri in Sardegna Archeologica - Guide e Itinerari n. 7 - Carlo Delfino Editore – Sassari - Italia The various excavation campaigns, started in 1909 by Antonio Taramelli, extracted objects such as stylized nuraghes, bronze and stone bull protomes, votive weapons, fragments of lamps and numerous ex-voto mostly in bronze consisting of anthropomorphic and zoomorphic figurines and models of everyday objects as well as other important findings that testify the relationships the Nuragics had with the Etruria, Phoenicia and Cyprus.

Bronze pendant from Hedeby (Haithabu) Borre Style embraces a range of geometric interlace / knot patterns and zoomorphic (single animal) motifs, first recognised in a group of gilt- bronze harness mounts recovered from a ship grave in Borre mound cemetery near the village of Borre, Vestfold, Norway, and from which the name of the style derives. Borre Style prevailed in Scandinavia from the late 9th through to the late 10th century, a timeframe supported by dendrochronological data supplied from sites with characteristically Borre Style artifactsDated Borre sites include Borre (c. 900), Gokstad (900–905), Tune (905–910), Fyrkat (980) and Trelleborg (980/1), as well as several coin-dated hoards; cf. Bonde and Christensen 1993.

The bowl is a fine golden bronze only wide and in thickness, being cast or beaten into shape before being finished and polished by being spun on a lathe. The neck was finished off against an internal mould. The principal decorative feature of the bowl is its cast bronze zoomorphic handle, following the graceful shape of a bird-beast head of a somewhat nondescript appearance influenced by the flamboyant ornamentation of its time, soldered to the body of the vessel at the base and loosely connected to the vessel neck. The ridge at the front of the bird-head, the 'shield' below, and impression of a beak turning-backward, are all characteristic of the male-Shelduck.

The folk religion of northeast China has unique characteristics deriving from the interaction of Han religion with Tungus and Manchu shamanisms; these include chūmǎxiān ( "riding for the immortals") shamanism, the worship of foxes and other zoomorphic deities, and the Fox Gods ( Húshén)—Great Lord of the Three Foxes ( Húsān Tàiyé) and the Great Lady of the Three Foxes ( Húsān Tàinǎi)—at the head of pantheons. Otherwise, in the religious context of Inner Mongolia there has been a significant integration of Han Chinese into the traditional folk religion of the region. In recent years there has also been an assimilation of deities from Tibetan folk religion, especially wealth gods.Mark Juergensmeyer, Wade Clark Roof.

Portrait of the Hongwu Emperor in a silk yellow dragon robe featuring embroidered the Yellow Dragon The Yellow Dragon ( or ) is the zoomorphic incarnation of the Yellow Emperor of the center of the universe in Chinese religion and mythology. The Yellow Emperor or Yellow Deity was conceived by a virgin mother, Fubao, who became pregnant after seeing a yellow ray of light turning around the Northern Dipper (in Chinese theology the principal symbol of God). Twenty-four months later, the Yellow Emperor was born and was associated with the color yellow because it is the color of the earth (Dì ), the material substance in which he incarnated. The Yellow Dragon is a part of Wuxing and the Four Symbols.

Perm animal style objects include metalwork of bronze with the usage of single- or double-sided forms for casting, bone and wooden carvings, engravings on metal and bone objects. Figures depicted on the images are elks, rain-deers, bears, fur-bearing and other types of animals, horses, different waterfowl and birds of prey, snakes, insects and a number of "complex creatures" of mixed nature (hybrids), mixed zoomorphic and anthropomorphic half-human creatures; there are also a number of images of horsemen. The stories, which the Perm animal style plaques tell, are numerous and diverse.The objects are found in the hoards, on the sites of the temples, among the skeletons, in burials, as part of sacrificial complexes or on the sites of metallurgical workshops.

The pillory of Bragança The top of the pillory, with zoomorphic sculptures The pillory was erected in 500 A.D. In 1187, D. Sancho I conceded the municipality's foral, ordering the reconstruction of the pillory, while promoting the region's growth. In 1219, Afonso II confirmed the municipal charter established by his predecessor which was later extended by D. Afonso III on 20 May 1253. The first fair conceded to the region occurred on 15 July 1455: for a period of 16 days, allowing merchants and vendors to sell goods at the site. Bragança's growth was progressive and cumulative, finally resulting in its reclassification as city on 20 February 1464, by Afonso V. The pillory's politico-administrative and judicial importance was made obvious in 1507.

Meehan, 53 & illustration 35 The animal iconography derives from Germanic zoomorphic designs; the depictions of the Jesus and the Evangelists from Pictish stones. The geometric borders and the carpet pages cause more disagreement. The interlace, like that of the Durham fragment, is mostly large compared to the Book of Lindisfarne, but the extreme level of detail found in later Insular books begins here in the Celtic spirals and other curvilinear decoration used in initials and in sections of carpet pages. The page illustrated at left has animal interlace around the sides that is drawn from Germanic Migration Period Animal Style II, as found for example in the Anglo- Saxon jewellery at Sutton Hoo, and on the Benty Grange hanging bowl.

The received canon of Chinese classics first mentioned the Three Corpses and Three Worms in the Han dynasty period (206 BCE-220 CE). Beginning in the Jin dynasty (265-420 CE), Daoist texts portrayed them in both zoomorphic and bureaucratic metaphors (Campany 2005:43). According to Isabelle Robinet (1993: 139), the Three Worms or Corpses are well known by all of the Daoist schools; for instance, they are mentioned in early Shangqing School texts such as the Huangting jing 黃庭經 "Scripture of the Yellow Court" and Dadong zhenjing 大洞真經 "Authentic Scripture of the Great Cavern". The Three Corpses are among the most widely‑documented body parasites in early and medieval Chinese literature (Huang 2011: 36).

An important feature on the site is the Sayhuite monolith, an enormous rock containing more than 200 geometric and zoomorphic figures, including reptiles, frogs, and felines. Found at the top of a hill named Concacha, the stone was sculpted as a topographical hydraulic model, complete with terraces, ponds, rivers, tunnels, and irrigation channels. The functions or purposes of the stone are not known, but researcher Dr. Arlan Andrews, Sr. believes the monolith was used as a scale model to design, develop, test, and document the water flow for public water projects, and to teach ancient engineers and technicians the concepts and practices required. The rock was "edited" several times, with new material, either altering the paths of the water or adding routes altogether.

The building was remodelled a number of times in the Early Classic. Stage 1B consisted in the division of the room into three chambers, the addition of a bench inside the north chamber and the addition of small zoomorphic masks to the sunken panels of the cornice. Phase 1C consisted of the addition of a small platform to the western facade. The Early Classic substructure has suffered subsidence at the southern end due to movement of a geological fault. Stage 2A dates to the Late Classic, during the 8th century AD. The western facade became the main facade, the height of the corbel vaulting was reduced and the previous structure was filled. Structure 218 Sub 2A measured long and was raised upon a high platform.

In the upper city features in Stratum VII, include a mudbrick city wall, megaron-type buildings, hearts, a limestone bathtub, and an industrial kiln area. In Strata VI–V, a major feature was the mudbrick glacis, a cultic room with an incised scapula similar to those found in the 12th and 11th century BCE shrines at Enkomi and Kition on Cyprus. In the lower city, along the ridge of the southern slope of the tell, behind the Iron I mudbrick city wall of Stratum VI, were a number of architectural units and finds, which included a bull-shaped zoomorphic vessel, an incised ivory tube, and a bronze pin and needle. Stratum V monumental building was constructed on a similar scale as the one in the elite zone.

Trialeti petroglyphs () is prehistoric rock art in the Trialeti area, in the Tsalka Municipality, engraved over a number of periods from the Mesolithic to the Middle Bronze Age. The depictions include geometric, zoomorphic and anthropomorphic images. It is recognized as a monument of the Cultural Heritage of Georgia and is part of the Prehistoric Rock Art Trails, a cultural route designated by the Council of Europe. The Trialeti petroglyphs are located some 12 km east of the town of Tsalka, in the narrow gorge of the Avdris-Tsqali or Patara Khrami river—a right tributary of the Ktsia River—on the outskirt of the village of Gantiadi (former Tikilisa) in the Kvemo Kartli region, in an area which was historically known as Trialeti.

The aquamaniles made in the Mosan – or Meuse valley – region, using the brass alloy of silvery tint called dinanderie (from the center of its manufacture in the region of Dinant) were often fantastic and zoomorphic in their forms, which were constrained only by the need for a larger opening for filling the vessel and a spout for pouring. Church records inventory aquamaniles in silver or gilt copper, but the great majority of surviving examples are in base metals, which were not worth melting down. Aquamanile, about 1170/80, (Aachen Cathedral Treasury) As well as the altar, aquamaniles were used at the tables of the great, where extravagant designs of symbolic or fantastical beasts – lions were especially popular – were developed in purely secular iconography. A gold aquamanile, c.

The mound was built between 750 and 1200 AD by Late Woodland peoples. It was part of a tradition of effigy mound building which began in 750 and declined in 1000-1200; these effigy mounds were defined by a central zoomorphic or anthropomorphic mound, often surrounded by smaller geometric mounds. The mounds were often used as burial sites and often held religious significance for their builders; while the Man Mound has not been excavated, it has been hypothesized to be a burial site as well, and the figure it represents may have been a shaman or a god. As the mound is still relatively intact, it has significant potential to shed light on the religious and cultural significance of effigy mounds in Late Woodland culture.

Small and simple penannular brooches in bronze, iron, and, rarely, silver were common in the Roman period as a practical fastener, but were not used for high-status objects, and any decoration was normally limited to bands around the ring or other simple patterns.Johns, 150–151. Examples of Romano-British penannular broches from Darwin Country Often the extra thickness at the terminal, necessary to prevent the pin just falling off, is achieved simply by turning back the ends of the ring.Example from the UK Detector Finds Database In the late Roman period in Britain in the 3rd and 4th centuries, a type of penannular brooch with zoomorphic decoration to the terminals appeared, with human or animal heads, still not much wider than the rest of the ring.

The names entered Jewish tradition during the Babylonian captivity (605 BCE). Babylonian folklore and cosmology, a early Mesopotamian beliefs under the dualistic influence of Zoroastrianism, centered around anthropomorphic and zoomorphic representations of stars, planets, and constellations, including the four sons of the Sky Father carrying the Winged Sun, the throne of Wisdom. First the prophet Daniel, then authors such as Ezekiel hebraized this mythology, equating the Babylonian constellations with abstract forms held to be "sons of the gods", angels of the Lord of Israel, and heavenly animal cherubim. The 2 BC Book of the Parables (Ch XL) names the four angels accompanying the Ancient of Days, standing before the Lord of Spirits, "the voices of those upon the four sides magnifying the Lord of Glory": Michael, Raphael, Gabriel, and Phanuel.

This importance derives from the archaeological site of Aleria, that was not only one of the ancient capitals of Corsica, but that has also been during its history, colony of the Greeks from Phocaea, then of the Carthaginians, then of the Romans and that it has finally been invaded and destroyed by the Vandals in the 5th century. Among the remarkable artifacts in the museum that can be mentioned there are a dish representing one of the elephants of Hannibal in march, two Greek cups for the libations (rhyton) having an extraordinary and rare zoomorphic shape reproducing a head of dog and that of a mule or an horse. Finally there are Greek, Roman and Etruscan ceramics and vases, arms of bronze, amphoras, coins and many objects of daily life.

Originally the church of a former Benedictine monastery, the present building began as a Romanesque church of the 12th century. It has been the object of many attempts at beautification over the centuries, however, particularly since becoming a cathedral, and the original structure is overlaid by the many later works, largely of painted terracotta and stucco, such as the Neoclassical west front. The crypt, which dates from the second half of the 10th century and is thus older than the main structure, is of especial interest, for its unusual arrangement of pillars, which divide the space into nine small aisles, and for the elaborately carved zoomorphic capitals of the pillars themselves. The crypt also contains a blood-stained stone said to come from the Holy Sepulchre in Jerusalem, whence the dedication.

One of the distinctive "canonical" types of Luristan bronze, the "Master of Animals standard", here on two levels, showing "zoomorphic juncture"; 8.5 inches high. Horse bit cheekpiece with "Master of Animals" motif, about 700 BC Harness ring with ibex and felines Luristan bronzes (rarely "Lorestān", "Lorestāni" etc. in sources in English) are small cast objects decorated with bronze sculptures from the Early Iron Age which have been found in large numbers in Lorestān Province and Kermanshah in western Iran."Luristan" remains the usual spelling in art history for the bronzes, as for example in EI, Muscarella, Frankfort, and current museum practice They include a great number of ornaments, tools, weapons, horse-fittings and a smaller number of vessels including situlae,Muscarella, 112–113 and those found in recorded excavations are generally found in burials.

It is significant that he has structured the discussion by placing the arguments on the steps of a ladder leading to the most odious positions. So now the chaotic multiplicity of facts and ideas relating to the subject has received a structure and an order. It has become easier to evaluate the meaning of every reason when one has in mind its place in the whole discussion. #Klejn is also responsible for certain other original archaeological studies and hypotheses: the identification of the so-called zoomorphic sceptres of Eneolithic; the study of dice in steppe barrows; the detailed study of Karbuna hoard of Early Tripolyean culture; the identification of pre-Hittites with Baden culture; the reconstruction of Phrygian migration to India a thousand years before Alexander the Great; etc..

The scholar Ernesto Cavour in his book Alasitas, makes reference to anthropomorphic and zoomorphic stone, mud and gold figures that were found in the areas belonging to the Bolivian departments of La Paz, Oruro and Potosí. Cavour considers that these figures were made using basalt—extracted from the pre-Columbian mines in the shores of the Lake Poopó—and andesite from the Copacabana peninsula. Carlos Ponce Sanginés, for his part, focus his researches in the anthropomorphic figures with phallic elements and prominent humps which, in his opinion, go back to the Inca civilization and, according to his observations, they would correspond to the predecessors of the colonial Ekeko. The historian Antonio Paredes Candia considers that these figures would be the remains of ancient sacred festivities during the summer solstice in the southern hemisphere.

These traits are unlikely to represent a specific ophidian form and the longitudinal axis is marked by a stylistically different means. The zoomorphic motif of the bracelets depicts a fantastic animal with the head and body of a serpent but the muzzle of a mammal, pointed or square, with a thick mane flowing on its back prolonged by a poly-lobed (multiple palmettes) body. The analysis of these Dacian symbols, performed by scholars—such as Florescu (1979), Pârvan (1926), and Bichir (1984)—conclude that the symbol of the snake or dragon appears on the Geto-Dacian La Tène bracelets and on the Dacian standard (flag) that can be seen on Trajan's Column. The Dacians dragon probably combines two meanings: the agility and redoubtable ferocity of the wolf with the protective role of the snake.

Based on those articles, he compiled a massive study Contributions to the solving Trojan problems, which was published in the Serbian Royal Academy's journal Glas SKA (1906, LXX). In his study, Vasić pointed out that the Neolithic cultures of Danube valley are clearly connected to the simultaneously existing cultural complex of the Southeastern Europe (Aegean region, Asia Minor, Ionia), rather than those of the Northern Europe, which was a dominant scientific opinion at the time. He continued with excavations of the prehistoric, late Neolithic settlements throughout Serbia, including Žuto Brdo in 1906, near Veliko Gradište, and Gradac in 1909, near Zlokućane. Findings in Gradac, which was a large settlement, include the anthropomorphic and zoomorphic figurines, mostly from the later Neolithic (end of the older phase of Vinča cultural group), but also some from the Eneolithic and the later Iron Age (La Tène culture).

Two views of the Venus of Hohle Fels figurine (height ), which may have been worn as an amulet and is the earliest known, undisputed example of a depiction of a human being in prehistoric art The Venus of Hohle Fels (also known as the Venus of Schelklingen; in German variously ') is an Upper Paleolithic Venus figurine made of mammoth ivory that was unearthed in 2008 in Hohle Fels, a cave near Schelklingen, Germany. It is dated to between 40,000 and 35,000 years ago, belonging to the early Aurignacian, at the very beginning of the Upper Paleolithic, which is associated with the earliest presence of Cro- Magnon in Europe. The figure is the oldest undisputed example of a depiction of a human being. In terms of figurative art only the lion-headed, zoomorphic Löwenmensch figurine is older.

Another pilgrimage place where Varaha resides is mentioned in the Brahma Purana near Vaitarana river and Viraja temple, Utkala (modern-day Odisha) (See Varahanatha Temple). In Muradpur in West Bengal, worship is offered to an in-situ zoomorphic image of Varaha (8th century), one of the earliest known images of Varaha. A 7th century anthropomorphic Varaha image of Apasadh is still worshipped in a relatively modern temple. Other temples dedicated to Varaha are located across India in the states of Andhra Pradesh (including Varaha Lakshmi Narasimha temple, Simhachalam dedicated to a combined form of Varaha and Narasimha), in Haryana Pradesh at Baraha Kalan, and Lakshmi Varaha Temple, in Karnataka at Maravanthe and Kallahalli, Panniyur Sri Varahamurthy Temple in Kerala, in Madhya Pradesh, in Odisha at Lakshmi Varaha Temple, Aul, in Tamil Nadu and in Uttar Pradesh.

Aizpurúa and McAnany (1999) Cambridge University Press pp. 121 Burial 5: Adult male burial, yielding jade beads as well as an obsidian blade.Lockard, McAnany and Storey (1999) Cambridge University Press pp.137 Burial 7: Adult burial, yielding pendants made from gastropod and bivalve shells, as well as beads with a uniform and regular shape, from the late period Burial 10: Adult male, from the Early Classic Period, interned with multiple ceramics. Burial 12: Young adult, from the Late Classic Period, yielding beads as well as zoomorphic pendants. Burial 13: Adult burial, from the Late Classic Period, interned with beads placed in a 'carpet' beneath the individual. Burial 18: Infant female burial, from the Early Classic Period, buried with Burial 19. Burial 19: Adult, female burial, from the Early Classic Period yielding irregularly shaped beads that were placed in a 'carpet' beneath the individual.

One of the workstones at the Mt. Rich Petroglyphs While the original meaning of the Mt. Rich engravings can only be speculated, archaeologists have made several observations about rock art in the Caribbean, generally: #they always occur near water #there are often "workstones" nearby #some images occur on ceramics, but most do not #there are three general categories: simple faces, elaborate faces, and geometric patterns #the elaborate faces often have zoomorphic (animal-like) features Most Caribbean archaeologists hold that petroglyphs were drawn by shamans, perhaps to denote places where ancestors would gather. Like much of the New World, Amerindian groups in the Caribbean were animists, and sought to communicate with their ancestors. If petroglyphs are ritual spaces, then the accompanying workstones may be mortars upon which the shamans mixed hallucinogenic concoctions to connect with the ancestors before carving (or re-carving).

There are apparently two main zones with many petroglyphs, one to the east of the ball game, near the Temazcal and another more important section to the north. The petroglyphs were engraved on the surface of igneous rock outgrowths, by natives, in high and low relief, holes, circles, dotted lines, continuous lines, spiral, concentric circles, zoomorphic figures, planes and isolated building models and complex sites. Plazuelas model, carved in rock, located at the edge of the western ravine The model outline Bajio architectonic elements, such as sunken patios and other features from gar away regions, such as Teuchitlán (Guachimontones), that confirms the multi-ethnicity hypothesis of these lands.Castañeda and Casimir, 1999 An important sample is the model, depicting details of the Casas Tapadas complex, the details of elements engraved such as accesses, stairways, walkways and structures architectonic lay out is remarkable.

At temples such as the aptly named "Quetzalcoatl temple" in the Ciudadela complex, feathered serpents figure prominently and alternate with a different kind of serpent head. The earliest depictions of the feathered serpent deity were fully zoomorphic, depicting the serpent as an actual snake, but already among the Classic Maya, the deity began acquiring human features. In the iconography of the classic period, Maya serpent imagery is also prevalent: a snake is often seen as the embodiment of the sky itself, and a vision serpent is a shamanic helper presenting Maya kings with visions of the underworld. The archaeological record shows that after the fall of Teotihuacan that marked the beginning of the epi-classic period in Mesoamerican chronology around 600 AD, the cult of the feathered serpent spread to the new religious and political centers in central Mexico, centers such as Xochicalco, Cacaxtla and Cholula.

The earliest extant grave contained two young people, buried in a sitting position, dating to the late 4th millennium. On top of the kurgan was a Sarmatian grave of the 3rd century BCE. A woman had been buried here in extended position on the back, together with an exceptionally rich treasure of grave-goods: six solid golden necklets, two golden spiral bracelets, two golden finger rings made from Hellenistic coins, a gilded wooden cup decorated with zoomorphic figures, a short sword with gold-decorated pommel (the presence of a weapon in a woman's grave is not an unusual feature in Sarmatian contexts) and a gold-covered scabbard, a sheet gold buckle, a gilded wooden cosmetics container, and clay vessels. In the final phase, over one hundred simple graves were dug into the southern slope of the barrow; probably 18th century burials of the nomadic Turkic Nogai people.

On his excavation Moore recorded eleven sites and partially excavated eight, including Holly Bluff: "with a large force to dig, including May who had been in our service before, we go directly to work on such mounds". Moore commented on the physical appearance of the site: "Strewn over the enclosed area, among the mounds and on them…are chert pebbles; fragments of chert; bits of mussel shell; and small parts of earthenware vessels" Most of the earthenware was undecorated, he recorded, and mostly shell-tempered with some stone tempering which is common in the Yazoo-Sunflower region. C. B. Moore's excavations produced various small artifacts including projectile points, a pebble ax of fossilized wood, a chert hammerstone, and a zoomorphic effigy pipe of shell- tempered pottery. He was disappointed, however, in finding nothing of great importance other than two disturbed burials in a mound on the lake front.

During the preceramic era, the people of the highlands produced petrographs and petroglyphs representing their deities, the abundant flora and fauna of the area, abstract motives and anthropomorphic or anthropo-zoomorphic elements. The self-sufficient sedentary agricultural society developed into a culture based on ceramics and the extraction of salt in the Herrera Period, usually defined as 800 BC to 800 AD. During this time, the oldest existing form of constructed art was erected; the archaeoastronomical site called El Infiernito ("The Little Hell") by the catholic Spanish conquistadors. The Herrera Period also marked the widespread use of pottery and textiles and the start of what would become the main motive for the Spanish conquest; the skilled fine goldworking. The golden age of Muisca metallurgy is represented in the Muisca raft, considered the masterpiece of this technology and depicts the initiation ritual of the new zipa of Bacatá, the southern part of the Muisca Confederation.

1995 It has produced scientists such as Avicenna, Al-Farabi, Al-Biruni, Omar Khayyam, Al- Khwarizmi, Abu Ma'shar al-Balkhi (known as Albumasar or Albuxar in the west), Alfraganus, Abu Wafa, Nasir al-Din al-Tusi, Sharaf al-Dīn al-Ṭūsī, and many others who are widely well known for their significant contributions in various domains such as mathematics, astronomy, medicine, physics, geography, and geology. Khorasan artisans contributed to the spread of technology and goods along the ancient trade routes have been traced to this ancient culture, including art objects, textiles and zoomorphic metalworks. Decorative antecedents of the famous "singing bowls" of Asia may have been invented in ancient Khorasan. In Islamic theology, jurisprudence and philosophy, and in Hadith collection, many of the greatest Islamic scholars came from Khorasan, namely Imam Bukhari, Imam Muslim, Abu Dawood, Al-Tirmidhi, Al-Nasa'i, Al- Ghazali, Al-Juwayni, Abu Mansur Maturidi, Fakhruddin al-Razi, and others.

After the initial Pre-Pottery Neolithic phase from northwestern Mesopotamia to Jarmo (red dots, circa 7500 BC), the art of Mesopotamia in the 7th–5th millennium BC was centered around the Hassuna culture in the north, the Halaf culture in the northwest, the Samarra culture in central Mesopotamia and the Ubaid culture in the southeast, which later expanded to encompass the whole region. The northern Mesopotamian sites of Tell Hassuna and Jarmo are some of the oldest sites in the Near-East where pottery has been found, appearing in the most recent levels of excavation, which dates it to the 7th millennium BC. This pottery is handmade, of simple design and with thick sides, and treated with a vegetable solvent.For Jarmo pottery photograph, see There are clay figures, zoomorphic or anthropomorphic, including figures of pregnant women which are taken to be fertility goddesses, similar to the Mother Goddess of later Neolithic cultures in the same region.

On the wall of the building there is an opening, locked by a wrought iron gate, which leads to the internal staircase that leads to the upper floors, next to the gate, there are three and two doors, respectively, to the municipal offices and the coffeehouse. There is a marble medallion with the effigy of Francesco Montanari (Colonel of Mirandola who died during the expedition of the Thousand) and some commemorative plaques of Filippo Corridoni (1898), of the partisans who died during the Resistance in the Second World War and the anniversary of the award of the title of City (1597–1997). The upper part of the north facade, made of exposed bricks, is decorated with four biforas with marble columns and a French window, all embellished with terracotta friezes with floral and zoomorphic motifs, similar to those of the nearby Bergomi Palace. The biforas, which have Russian-style sliding shutters that enter the cavity of the wall, are placed symmetrically and in line with the columns of the portico below.

The Vinča culture, [ʋîːntʃa] also known as Turdaș culture or Turdaș–Vinča culture, was a Neolithic archaeological culture in southeastern Europe, in present-day Serbia, and smaller parts of Bulgaria, Macedonia and Romania (particularly Transylvania), dated to the period 5700–4500 BC or 5300–4700/4500 BC.. Named for its type site, Vinča-Belo Brdo, a large tell settlement discovered by Serbian archaeologist Miloje Vasić in 1908, it represents the material remains of a prehistoric society mainly distinguished by its settlement pattern and ritual behaviour. Farming technology first introduced to the region during the First Temperate Neolithic was developed further by the Vinča culture, fuelling a population boom and producing some of the largest settlements in prehistoric Europe. These settlements maintained a high degree of cultural uniformity through the long-distance exchange of ritual items, but were probably not politically unified. Various styles of zoomorphic and anthropomorphic figurines are hallmarks of the culture, as are the Vinča symbols, which some conjecture to be the earliest form of proto- writing.

Alessandro Allori was then the one who integrated it completed the decorative program of the Salon, and worked there between 1578 And 1582, more than fifty years after the commencement of the decorations of the other painters, was commissioned by Francesco I de' Medici, who lived in the villa in particular with his Venetian noblewoman Bianca Cappello. In addition to expanding the existing panels, he created two new ones: Numidia's Syphace Receiving Scipione, alluding to the journey Lorenzo the Magnificent made to Naples at Ferdinand II of Aragon; The Consul Flaminio speaks to the council of the Achaeans, in which he refers to the intervention of Lorenzo the Magnificent in the Dieta di Cremona. He also frescoed, with numerous aids, the two boxes above the portals, the second bezel With the Garden of the Hesperides and the space between the lunettes and the windows and the lunettes. The elaborate and fantastic compositions with floral, zoomorphic and anthropomorphic figures are typical of the taste for the whim that is typical of the time.

In ancient times, the firefighting was undeveloped. Once a building fired, it was straightforward that the nearby building burned. To prevent the spreading of fire, the ancient Huizhou residents created the Horse-like wall which could cut off fire effectively; just because of this, the horse-like wall was also known as fire seal wall. Horse-like Wall The height of the horse-head wall varied from high to low, and typically, it had the two-lap wall or three-lap wall. The horse-head wall had various types, such as the ‘Magpie Tail Type,’ the ‘Print Bucket Type,’ the ‘Sit Kiss Type’ and others. The ‘Magpie Tail Type’ referred to using the magpie tail shaped bricks as the corner of the horse-head wall. The ‘Print Bucket Type’ referred to using the bucket type bricks as the corner of the horse-head wall. Those bucket type bricks were fired from kiln printed with “卐.” The ‘Sit Kiss Type’ referred to using zoomorphic ornaments as the corner of the horse-head wall.

The National Library of Wales possesses a photographic facsimile of a small part of the manuscript (NLW Facsimile 196). CCCC 199 is the work of the scribal artist Ieuan ap Sulien, who both copied the text of Augustine's treatise and vigorously decorated it with over 150 coloured initials in a version of Irish zoomorphic interlace style. Francoise Henry stated that Ieuan was "the scribe and probably also the painter, of CCCC 199" ("Remarks on the decoration of three Irish psalters" (1960) 61C Proceedings of the Royal Irish Academy pp. 23–40, at p. 39). The close interrelationship between the initials and the text of the manuscript, the stylistic match between the decoration of CCCC 199 and Ieuan's artistic work in the Psalter and Martyrology made for his brother Rhigyfarch, and Ieuan's failure, in his concluding poem in CCCC 199, to mention anyone other than himself as having had a hand in producing the manuscript, establish that the initials are his work. See Timothy Graham, "The poetic, scribal, and artistic work of Ieuan ap Sulien in Corpus Christi College, Cambridge, MS 199: addenda and assessment" (1996) 29(3) National Library of Wales Journal 241–256.

The obelisk-like fountain with ornate dish and vegetal/zoomorphic decorative elements The ornate dish with decorative carrancas and waterspouts In the 18th century, Nicolau Nasoni was charged with a project to integrate a group of decorative elements into the gardens of Quinta da Prelada, then- property of the Noronha e Meneses family. Following the purchase of Quinta da Prelada by the municipal authority of Porto in the 20th century, the fountain was de-constructed and transferred to the garden of Passeio Alegre located along the mouth of the northern bank of the Douro. On 15 April 2008, there was a proposal by the DRCNorte to establish a Special Protection Zone that included the fountain of Foz Velha, Dois Obeliscos da Quinta da Prelada, Forte de São João Baptista, Igreja de São João Baptista e Zona do Passeio Alegre and revoking the ZEP for the Torre, Farol e Capela de São Miguel-o-Anjo the church of São João Baptista and the garden of Passeio Alegre.This process involved the revocation of a prexisting ZEP that included the tower, lighthouse and chapel of São Miguel-o-Anjo.