Snake goddess

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Statuette of a snake goddess. Early Aegean, Minoan Bronze Age, Late Minoan I Period or Modern about 1600–1500 B.C. or early 20th century. Height: 16.1 cm (6 5/16 in.). Gold, ivory. Museum of Fine Arts, Boston.
She has long been admired by many experts, but some have questioned her authenticity.

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Celestial being

Hutong Restaurant - The Shard, London Copyright - Richard Southall/Ilona Zielinska

Huton Restaurant, The  Shard. London. Lighting design Into.

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African Yoni

AfricanYoniTop

Bernard Perroud. African Yoni. Cardboard, paper, glue, dirt, pigments. Max. 35 cm.

AfricanYoniSide

Side view.

AfricanYoniBottom

Back side or bottom.

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Tantra Song III

Tantric17th Century Rajasthan

“The purer the consciousness, the bluer and clearer the sky.”  Tantra Song by Franck André Jamme, published by Siglio Press.

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African Yoni

AfricanYoni1

African Yoni in the making.

AfricanYoni2

Posted in My work, Process, Sculpture, Yoni - 2 comments

Efrain Almeida

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Efrain Almeida.

The-DreamerSem título.2010. 16,5 cm. The Dreamer. 2011. Umburana wood and oil. 2 1/4″ x 6 7/8″ x 4 1/8″. Third (?)

retrato-vitruviano
Sem título. 2010. 27 cm. Auto-retrato (self portrait), 2009. The Lonely . Retrato vitrubiano III. 2012. 27 cm.

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A strong woman

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Bronze female figure. Cretan. Late Minoan I. 1600-1450 BCE. Metropolitan Museum of Art, New York City.

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Bens Nashy

 

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Eric Valli

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Eric Valli. High-Himalaya.

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Hamra Abbas 2

Hamra Abbas Lesson on Love3, 2007

Hamra Abbas. “Lessons on Love 3” (2007), one of  a set of life-size works depicting the sexual embrace of a male and female. The sculptures, made of Plasticinine,  polystyrene and metal are based on erotic miniature paintings from the Kama Sutra (which loosely translates as “Lessons of Love”), and in particular, on an image that shows a man and a woman seated in a howdah—a canopied carriage mounted on horseback—in coitus while in the middle of a hunting scene. The Kama Sutra, an ancient Hindu text believed to have been compiled in the second century CE, proclaims hunting to be one of the important social arts, and that without mastering this activity one cannot achieve aesthetic and sexual pleasure. The one-ton clay sculptures, with their muted expressions, seem captured in stone rather than in the throes of love. By transforming the ancient illustrations into life-size sculptures, Abbas makes a wry comment on the paradoxical relationship between sex and violence. At Lawrie Shabibi.

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