LaurieAnnie's photos with the keyword: Serapis

Panel with the god Zeus/Serapis/Ohrmazd and worshiper ca. 3rd century A.D. Object Details Title: Panel with the god Zeus/Serapis/Ohrmazd and worshiper Period: Kushan Date: ca. 3rd century A.D. Geography: Bactria Culture: Kushan Medium: Terracotta, gouache Dimensions: H. 56.8 cm, W. 52.3 cm, D. 5.4 cm 43 lbs Classification: Ceramics-Paintings Credit Line: Purchase, Raymond and Beverly Sackler Gift, 2000 Accession Number: 2000.42.2 This rare Central Asian votive panel depicts a deity (with nimbus) being approached by a male worshiper, probably nonroyal but portrayed as of equal stature to the god. Compositionally, they follow scenes of homage and investiture from the post-Hellenistic West and from Iran in which a king and a god appear side by side. A majestic figure with a full beard and long wavy hair, who has been identified as the supreme deity Zeus/Serapis/Ohrmazd, receives a suppliant in the characteristic Iranian short tunic and leggings, hands clasped in adoration. Here, the rich intercultural style that developed in the Kushan realm is clearly displayed: Indian divine iconography; the Iranian type of two-figured composition; and Greco-Roman naturalism in the drapery and pose, as well as in the use of light and shadow to suggest modeling. The panel has holes at the corners and was probably set up, together with three others acquired by the Museum (MMA 2000.42.1, .3, .4), on the interior walls of a sanctuary, perhaps a family shrine. Text from: www.metmuseum.org/art/collection/search/327830

Panel with the god Zeus/Serapis/Ohrmazd and worshiper ca. 3rd century A.D. Object Details Title: Panel with the god Zeus/Serapis/Ohrmazd and worshiper Period: Kushan Date: ca. 3rd century A.D. Geography: Bactria Culture: Kushan Medium: Terracotta, gouache Dimensions: H. 56.8 cm, W. 52.3 cm, D. 5.4 cm 43 lbs Classification: Ceramics-Paintings Credit Line: Purchase, Raymond and Beverly Sackler Gift, 2000 Accession Number: 2000.42.2 This rare Central Asian votive panel depicts a deity (with nimbus) being approached by a male worshiper, probably nonroyal but portrayed as of equal stature to the god. Compositionally, they follow scenes of homage and investiture from the post-Hellenistic West and from Iran in which a king and a god appear side by side. A majestic figure with a full beard and long wavy hair, who has been identified as the supreme deity Zeus/Serapis/Ohrmazd, receives a suppliant in the characteristic Iranian short tunic and leggings, hands clasped in adoration. Here, the rich intercultural style that developed in the Kushan realm is clearly displayed: Indian divine iconography; the Iranian type of two-figured composition; and Greco-Roman naturalism in the drapery and pose, as well as in the use of light and shadow to suggest modeling. The panel has holes at the corners and was probably set up, together with three others acquired by the Museum (MMA 2000.42.1, .3, .4), on the interior walls of a sanctuary, perhaps a family shrine. Text from: www.metmuseum.org/art/collection/search/327830

Panel with the god Zeus/Serapis/Ohrmazd and worshiper ca. 3rd century A.D. Object Details Title: Panel with the god Zeus/Serapis/Ohrmazd and worshiper Period: Kushan Date: ca. 3rd century A.D. Geography: Bactria Culture: Kushan Medium: Terracotta, gouache Dimensions: H. 56.8 cm, W. 52.3 cm, D. 5.4 cm 43 lbs Classification: Ceramics-Paintings Credit Line: Purchase, Raymond and Beverly Sackler Gift, 2000 Accession Number: 2000.42.2 This rare Central Asian votive panel depicts a deity (with nimbus) being approached by a male worshiper, probably nonroyal but portrayed as of equal stature to the god. Compositionally, they follow scenes of homage and investiture from the post-Hellenistic West and from Iran in which a king and a god appear side by side. A majestic figure with a full beard and long wavy hair, who has been identified as the supreme deity Zeus/Serapis/Ohrmazd, receives a suppliant in the characteristic Iranian short tunic and leggings, hands clasped in adoration. Here, the rich intercultural style that developed in the Kushan realm is clearly displayed: Indian divine iconography; the Iranian type of two-figured composition; and Greco-Roman naturalism in the drapery and pose, as well as in the use of light and shadow to suggest modeling. The panel has holes at the corners and was probably set up, together with three others acquired by the Museum (MMA 2000.42.1, .3, .4), on the interior walls of a sanctuary, perhaps a family shrine. Text from: www.metmuseum.org/art/collection/search/327830

Panel with the god Zeus/Serapis/Ohrmazd and worshiper ca. 3rd century A.D. Object Details Title: Panel with the god Zeus/Serapis/Ohrmazd and worshiper Period: Kushan Date: ca. 3rd century A.D. Geography: Bactria Culture: Kushan Medium: Terracotta, gouache Dimensions: H. 56.8 cm, W. 52.3 cm, D. 5.4 cm 43 lbs Classification: Ceramics-Paintings Credit Line: Purchase, Raymond and Beverly Sackler Gift, 2000 Accession Number: 2000.42.2 This rare Central Asian votive panel depicts a deity (with nimbus) being approached by a male worshiper, probably nonroyal but portrayed as of equal stature to the god. Compositionally, they follow scenes of homage and investiture from the post-Hellenistic West and from Iran in which a king and a god appear side by side. A majestic figure with a full beard and long wavy hair, who has been identified as the supreme deity Zeus/Serapis/Ohrmazd, receives a suppliant in the characteristic Iranian short tunic and leggings, hands clasped in adoration. Here, the rich intercultural style that developed in the Kushan realm is clearly displayed: Indian divine iconography; the Iranian type of two-figured composition; and Greco-Roman naturalism in the drapery and pose, as well as in the use of light and shadow to suggest modeling. The panel has holes at the corners and was probably set up, together with three others acquired by the Museum (MMA 2000.42.1, .3, .4), on the interior walls of a sanctuary, perhaps a family shrine. Text from: www.metmuseum.org/art/collection/search/327830

Title: Cup with Zodiacal Signs Artist/Maker: Unknown Culture: Romano-Egyptian Place: Egypt (Place created) Date: about A.D. 150 Medium: Steatite Object Number: 83.AA.327 Dimensions: 14.9 cm (5 7/8 in.) Credit Line: Gift of Stefan Hornak Object Type: Cup This cup is decorated with relief representations of Isis, Serapis and the Zodiac. On the exterior, Isis-Sothis seated on a dog, holding a torch and a cornucopia. Around the tondo, two bands of decoration - the twelve signs of the Zodiac (inner) and several god-busts and emblems (outer). On the interior, at the centre, a rectangular fish pond. Around it, a river god (Nile) with cornucopia, crocodile with a hawk's head, and two standing figures. The one on the left is hawk-headed with a double-horned crown, holding staff-like attributes. The other is a goddess with kithara and Isis crown. Below, a lotus flower and Isis-Demeter with a fringed dress, two ears of grain in her right hand, and her left possibly placed in her hair. Text from: www.getty.edu/art/collection/objects/10592/unknown-maker-cup-with-zodiacal-signs-romano-egyptian-about-ad-150

Title: Cup with Zodiacal Signs Artist/Maker: Unknown Culture: Romano-Egyptian Place: Egypt (Place created) Date: about A.D. 150 Medium: Steatite Object Number: 83.AA.327 Dimensions: 14.9 cm (5 7/8 in.) Credit Line: Gift of Stefan Hornak Object Type: Cup This cup is decorated with relief representations of Isis, Serapis and the Zodiac. On the exterior, Isis-Sothis seated on a dog, holding a torch and a cornucopia. Around the tondo, two bands of decoration - the twelve signs of the Zodiac (inner) and several god-busts and emblems (outer). On the interior, at the centre, a rectangular fish pond. Around it, a river god (Nile) with cornucopia, crocodile with a hawk's head, and two standing figures. The one on the left is hawk-headed with a double-horned crown, holding staff-like attributes. The other is a goddess with kithara and Isis crown. Below, a lotus flower and Isis-Demeter with a fringed dress, two ears of grain in her right hand, and her left possibly placed in her hair. Text from: www.getty.edu/art/collection/objects/10592/unknown-maker-cup-with-zodiacal-signs-romano-egyptian-about-ad-150

Regio III - Insula XVII - Serapeum (III,XVII,4) This temple was connected with the Domus del Serapeo to the south and the Caseggiato di Bacco e Arianna to the north, through passages and via a corridor behind the buildings. The three buildings were excavated in 1939-1940 and 1946-1953. The Serapeum was a temple dedicated to Serapis, an Egyptian deity, resulting from syncretism between Osiris-Apis (hence the name Serapis) and Jupiter. Brick stamps show that the building was erected between 123 and 126 AD. Most likely this temple is mentioned in the Fasti Ostienses, the official calendar of the city. In that case it was donated to the city by a private person, Caltilius P..., and inaugurated 24 January 127 AD, the birthday of the Emperor Hadrian: VIIII K FEBR TEMPLVM SARAPI QVOD [.] CALTILIVS P[? ---] SVA PECVNIA EXSTRVXIT DEDICATVM [es]T A dedication to Isis Bubastis has been found in Ostia, the initiative of a woman from the same family (Caltilia Diodora). It may come from the Serapeum, or from the temple of Isis, which has not yet been found. The Ostian temple complex was made of opus mixtum. In the centre of the facade was a porch, perhaps from the end of the second century AD. The bases of two columns have been preserved, and two niches, lined with marble. In the porch is a black-and-white mosaic of the bull Apis (a relief of Apis was found in the neighbourhood). A triangular inscription with the words: IOVI SERAPI(di) "(Dedicated to) Jupiter Serapis", was probably on top of the porch (broken in two, it had been reused as pavement in the building). To the right of the entrance, in the north-east corner of the building, is a water basin. It is a distribution reservoir, from which water was taken to a simple basin on the street, and to the House of Bacchus and Ariadne and the House of the Serapeum. Behind the porch is a courtyard (c. 8 x 11 metres) with a porticus with brick piers (replacing columns) to the left and right. In the courtyard is a mosaic with Nilotic scenes, the porticus has a floor of opus sectile. To the north was a passage to the House of Bacchus and Ariadne. It was blocked by an exedra (in the late third or early fourth century?). The walls and floor of the exedra were decorated with marble, in the entrance were two columns. In the same period a passage to the House of the Serapeum was blocked. The actual temple was behind the courtyard. It was on top of a brick podium, and was reached along a wide staircase with marble steps. In front of the staircase is a large altar, decorated with marble (1.80 x 1.50). In the pronaos were two granite columns, and a mosaic combined with pieces of marble and alabaster, dated to the third century. In the back of the cella were high podiums. Remains of the decoration were found: thin sheets of precious material, such as agate and mother of pearl. At a later date the sides of the pronaos were closed, thus creating an extension of the cella. In and near the temple two bases were found with dedications to Hercules, the Dioscures and I(upiter) O(ptimus) M(aximus) S(erapis), from the late second or early third century AD. Note that the Dioscures were worshipped in Ostia as protectors of ships. I(ovi) O(ptimo) M(aximo) S(erapidi) CASTORIBVS MMMM (= Marci quattuor) IVLI(i) CHRY SOPHORVS SEVIR AVG(ustalis) IDEM Q(uin)Q(uennalis) CVM AELIANO QVI ET SA RAPIONE FIL(io) ET ZOSI MO ET PHILIPPO FIL(io) V(oto) S(uscepto) R(eddiderunt) [I(ovi)] O(ptimo) M(aximo) S(erapidi) HERCVLI MMMM (= Marci quattuor) IVLI(i) CHRYSO PHORVS SEVIR AVG(ustalis) IDEM Q(uin)Q(uennalis) CVM AELIANO QVI ET SARAPIONE FIL(io) ET ZOSIMO CVM PHI LIPPO FIL(io) VOTO SVSC EPTO REDDIDERVNT Inscriptions testify to the existence of a Serapeum in Portus. Here most inscriptions referring to his cult are in Greek, contrary to Ostia, where Latin is the language used most often. In Portus there is a clear link with the Alexandrian grain fleet, and it is possible that the building of the Ostian Serapeum was related to the first arrival of the Alexandrian grain fleet at the mouth of th

Terracotta lamp Period: Imperial Date: late 1st–2nd century A.D. Culture: Roman Medium: Terracotta Dimensions: length 13.89 cm. Classification: Vases Credit Line: Fletcher Fund, 1942 Accession Number: 42.11.47 Description: The discus on the top of this lamp depicts Serapis seated on a throne, holding a long scepter. To his right is Cerberus, the mythical dog who guarded the entrance to the Underworld. Text from: www.metmuseum.org/Collections/search-the-collections/1300...

Terracotta lamp Period: Imperial Date: late 1st–2nd century A.D. Culture: Roman Medium: Terracotta Dimensions: length 13.89 cm. Classification: Vases Credit Line: Fletcher Fund, 1942 Accession Number: 42.11.47 Description: The discus on the top of this lamp depicts Serapis seated on a throne, holding a long scepter. To his right is Cerberus, the mythical dog who guarded the entrance to the Underworld. Text from: www.metmuseum.org/Collections/search-the-collections/1300...

Title: Bronze votive tablet Medium; Technique: Bronze Culture: Roman Period: Imperial Date: ca. 2nd century A.D. Dimensions: H.: 1 3/4 x 5 1/16 in. (4.4 x 12.9 cm) Classification: Bronzes Credit Line: Rogers Fund, 1921 Accession Number: 21.88.172 Description: The tablet is in the form of a small tabula ansata, often used as the frame for dedicatory or funerary inscriptions. Here it is inscribed on both sides with a dedication in Greek to the Egyptian god Serapis. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Silver bust of Serapis Roman, 2nd century AD Accession # 1991.127 By the second century AD, Serapis had become one of the most popular deities in the Roman Empire. Many images of the god took the form of portrait busts, suitable for dedication or for private worship. Silver busts of Serapis are mentioned in an inscription found in Rome, but this is apparently the only extant example. The modius (grain basket) always shown on the god's head is now missing. Text from the Metropolitan Museum of Art label.

Silver bust of Serapis Roman, 2nd century AD Accession # 1991.127 By the second century AD, Serapis had become one of the most popular deities in the Roman Empire. Many images of the god took the form of portrait busts, suitable for dedication or for private worship. Silver busts of Serapis are mentioned in an inscription found in Rome, but this is apparently the only extant example. The modius (grain basket) always shown on the god's head is now missing. Text from the Metropolitan Museum of Art label.

Plaque Representing a Greco-Roman Type Temple with Corinthian Columns 1st- 2nd century AD Bronze Accession # 04.2.522 From left to right, on bases of increasing height, Isis, Serapis, and another goddess stand among the columns. On the pediment is an eagle with spread wings, an emblem of the god Serapis. Text from the Metropolitan Museum of Art label.

Head of Serapis Creator: Roman (Artist) Period: 1st century (?) (Roman) Medium: marble (Sculpture) Accession Number: 23.120 Measurements: 21 7/16 x 15 9/16 x 15 3/16 in. (54.5 x 39.5 x 38.5 cm) Geographies: Rome, Italy (Place of Origin), Baliana (in present-day Egypt) (Place of Discovery) A Roman version of the Greek cult statue of Serapis from his temple at Alexandria, the head retains the majestic air of a classical god. The size of the head and the treatment at the back and neck indicate that it was part of a seated statue of colossal size. A hole at the top of the head once served to attach the god's attribute, a kalathos (woven basket) or modius (grain measure), which emphasized his role as a fertility deity. Serapis became important during the reign of Ptolemy I of Egypt (304-284 BC), because he blended aspects of Egyptian and Greek gods. Text from: art.thewalters.org/detail/36748/head-of-serapis/

Head of Serapis Creator: Roman (Artist) Period: 1st century (?) (Roman) Medium: marble (Sculpture) Accession Number: 23.120 Measurements: 21 7/16 x 15 9/16 x 15 3/16 in. (54.5 x 39.5 x 38.5 cm) Geographies: Rome, Italy (Place of Origin), Baliana (in present-day Egypt) (Place of Discovery) A Roman version of the Greek cult statue of Serapis from his temple at Alexandria, the head retains the majestic air of a classical god. The size of the head and the treatment at the back and neck indicate that it was part of a seated statue of colossal size. A hole at the top of the head once served to attach the god's attribute, a kalathos (woven basket) or modius (grain measure), which emphasized his role as a fertility deity. Serapis became important during the reign of Ptolemy I of Egypt (304-284 BC), because he blended aspects of Egyptian and Greek gods. Text from: art.thewalters.org/detail/36748/head-of-serapis/

Head of Serapis Creator: Roman (Artist) Period: 1st century (?) (Roman) Medium: marble (Sculpture) Accession Number: 23.120 Measurements: 21 7/16 x 15 9/16 x 15 3/16 in. (54.5 x 39.5 x 38.5 cm) Geographies: Rome, Italy (Place of Origin), Baliana (in present-day Egypt) (Place of Discovery) A Roman version of the Greek cult statue of Serapis from his temple at Alexandria, the head retains the majestic air of a classical god. The size of the head and the treatment at the back and neck indicate that it was part of a seated statue of colossal size. A hole at the top of the head once served to attach the god's attribute, a kalathos (woven basket) or modius (grain measure), which emphasized his role as a fertility deity. Serapis became important during the reign of Ptolemy I of Egypt (304-284 BC), because he blended aspects of Egyptian and Greek gods. Text from: art.thewalters.org/detail/36748/head-of-serapis/

Relief Mask of Jupiter as Serapis Roman, made in Asia Minor (present-day Turkey), 1-150 AD Silver Inventory # 82.AM.88 The use of silver, an expensive material, to make this sculpture suggests that it represents a god rather than a human. The facial features, the full beard, and the wavy hair swept up high over the forehead are characteristic of depictions of Jupiter (Roman king of the gods) as Serapis, an Egyptian god of fertility adopted by the Greeks and Romans. This relief may have been used to decorate processional armor. Text from the Getty Villa museum label.