Vessel Stand with Ibex Support in the Metropolitan…
Persian Relief with Two Servants in the Metropolit…
Vessel Terminating in the Forepart of a Fantastic…
Vessel Terminating in the Forepart of a Fantastic…
Vessel Terminating in the Forepart of a Fantastic…
Head of a King, Probably Shapur II in the Metropol…
Bricks with a Palmette Motif in the Metropolitan M…
Carved Stucco Standing Figure in the Metropolitan…
Detail of a Carved Stucco Standing Figure in the M…
Tile Frieze in the Metropolitan Museum of Art, Feb…
Horse Frontlet with Nude Goddess in the Metropolit…
Bull's Head from the Top of a Column in the Metrop…
Bull's Head from the Top of a Column in the Metrop…
Kneeling Bull Holding a Spouted Vessel in the Metr…
Kneeling Bull Holding a Spouted Vessel in the Metr…
Ewer with Dancing Females Within Arcades in the Me…
Detail of an Ewer with Dancing Females Within Arca…
Human-headed Winged Lion (Lamassu) in the Metropol…
Human-headed Winged Bull (Lamassu) in the Metropol…
Detail of a Human-headed Winged Bull (Lamassu) in…
Marble Head of a Greek General in the Metropolitan…
Marble Head of a Greek General in the Metropolitan…
Etruscan Amber of a Woman and Youth Reclining in t…
Detail of a Rhyton Terminating in the Forepart of…
Sasanian Helmet in the Metropolitan Museum of Art,…
Plate with Hunting Scene from the Story of Bahram…
Beaker with Birds and Animals in the Metropolitan…
Cup with a Frieze of Gazelles in the Metropolitan…
Fragmentary Plaque in the Metropolitan Museum of A…
Pendant with the Head of Pazuzu in the Metropolita…
Gold Ewer Decorated with Concentric Circles in the…
Shaft-hole Axe Head with a Bird-Headed Demon, a Bo…
Head of a Persian Guard in the Metropolitan Museum…
Persian Relief Figure in Procession in the Metropo…
Assyrian Male Apkallu Figure with a Fish-Skin Hood…
Assyrian Relief in the Metropolitan Museum of Art,…
Stele of the Protective Goddess Lama in the Metrop…
Foundation Peg in the Form of the Forepart of a Li…
Human-Headed Bison in the Metropolitan Museum of A…
Stele of Ushumgal in the Metropolitan Museum of Ar…
Ivory Plaque Fragment with a Cow and Suckling Calf…
Seated Female in the Metropolitan Museum of Art, F…
Openwork Plaques with Ram-headed and Human-headed…
Openwork Plaques with Ram-headed and Human-headed…
Assyrian Ivory Plaque with Two Winged Sphinxes, ea…
Location
Lat, Lng:
Lat, Lng:
You can copy the above to your favourite mapping app.
Address: unknown
Lat, Lng:
You can copy the above to your favourite mapping app.
Address: unknown
See also...
Keywords
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
1 010 visits
Rhyton Terminating in the Forepart of a Wild Cat in the Metropolitan Museum of Art, February 2008
Rhyton terminating in the forepart of a wild cat, 1st century B.C.–1st century A.D.; Parthian period
Iran
Gilded silver; H. 10 13/16 in. (27.5 cm)
Purchase, Rogers Fund, Enid A. Haupt, Mrs. Donald M. Oenslager, Mrs. Muriel Palitz and Geert C.E. Prins Gifts; Pauline V. Fullerton Bequest; and Bequests of Mary Cushing Fosburgh, Edward C. Moore and Stephen Whitney Phoenix, by exchange, 1979 (1979.447)
Elaborate bowls, animal-headed drinking vessels, and rhytons—vessels with a hole at the front from which liquid flows—were highly valued in ancient Near Eastern society. During the pre-Achaemenid, Achaemenid, and Parthian periods, examples made of silver, gold, and clay were used throughout a vast area extending both to the east and west of Iran. The animals on these vessels included the ram, horse, bull, ibex, supernatural creatures, and female divinities; some were engraved with royal inscriptions. Rhytons made of precious materials were probably luxury wares used at royal courts. Both the rhyton and the animal-headed vessel were adopted by the Greek world as exotic and prestigious Oriental products.
Dating from the Parthian period, this silver rhyton is a fine example of the enduring influence of Hellenistic culture, which owes much to the artistic traditions of Achaemenid Iran. The horn-shaped vessel ends in the forepart of a wild cat; a spout for pouring is in the middle of its chest. A gilded fruit-laden grapevine winds around the animal's chest; at the other end of the rhyton, an ivy wreath encircles the rim. These are the symbols of the Greek god of wine Dionysos, whose cult spread eastward with the invasion of Alexander. Dionysiac images—wild felines, grapevines, and dancing females—were absorbed by the Parthians and continued to appear in the art of Near Eastern cultures in the later Sasanian period (224–651).
Text from: www.metmuseum.org/toah/ho/05/wai/ho_1979.447.htm
Iran
Gilded silver; H. 10 13/16 in. (27.5 cm)
Purchase, Rogers Fund, Enid A. Haupt, Mrs. Donald M. Oenslager, Mrs. Muriel Palitz and Geert C.E. Prins Gifts; Pauline V. Fullerton Bequest; and Bequests of Mary Cushing Fosburgh, Edward C. Moore and Stephen Whitney Phoenix, by exchange, 1979 (1979.447)
Elaborate bowls, animal-headed drinking vessels, and rhytons—vessels with a hole at the front from which liquid flows—were highly valued in ancient Near Eastern society. During the pre-Achaemenid, Achaemenid, and Parthian periods, examples made of silver, gold, and clay were used throughout a vast area extending both to the east and west of Iran. The animals on these vessels included the ram, horse, bull, ibex, supernatural creatures, and female divinities; some were engraved with royal inscriptions. Rhytons made of precious materials were probably luxury wares used at royal courts. Both the rhyton and the animal-headed vessel were adopted by the Greek world as exotic and prestigious Oriental products.
Dating from the Parthian period, this silver rhyton is a fine example of the enduring influence of Hellenistic culture, which owes much to the artistic traditions of Achaemenid Iran. The horn-shaped vessel ends in the forepart of a wild cat; a spout for pouring is in the middle of its chest. A gilded fruit-laden grapevine winds around the animal's chest; at the other end of the rhyton, an ivy wreath encircles the rim. These are the symbols of the Greek god of wine Dionysos, whose cult spread eastward with the invasion of Alexander. Dionysiac images—wild felines, grapevines, and dancing females—were absorbed by the Parthians and continued to appear in the art of Near Eastern cultures in the later Sasanian period (224–651).
Text from: www.metmuseum.org/toah/ho/05/wai/ho_1979.447.htm
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.