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Engraved with two nude male figures, the figure on the right standing wearing a helmet and mantle, leaning on a shield with his left hand and holding a spear in his right hand, and the figure on the left, a satyr wearing a fillet tied around his head, leaning on a thyrsus in his right hand and holding a bone in his left hand, with foliate decoration on either side and below,
Regency Period Convex Mirror http://www.windsorhouseantiques.co.uk/stock/d/regency-period-convex-mirror/127704 #regency #period #convex #mirror #mirrorselfie #Eagles
Regency Period Gilt Wood Convex Mirror http://www.windsorhouseantiques.co.uk/stock/d/regency-period-gilt-wood-convex-mirror-/220823 #regency #mirror #convex #antiques
This represents one of the great heroes of Greek mythology, Jason, famous for his role as the leader of the Argonauts and their quest for the Golden Fleece: according to the epic poem, in order to regain the throne of his father (Aeson, dispossessed by his half-brother Pelias), Jason left for Colchis (a region located on the eastern coast of the Black Sea, centered on present-day western Georgia) with his companions; there, the king Aites (the Fleece was given to him by Phrixus) promised to give him the Fleece if he could perform three certain tasks. Jason succeeded in the challenges with the help of Medea (the daughter of Aites and Jason’s future wife), took the Fleece and went back to Thessaly, where he reacquired his father’s kingdom after killing his uncle, once again thanks to a trick by Medea.
This relief, which illustrates an episode of this long legendary voyage, represents Jason standing as a young athlete, quickly moving to the left. Except for a cloak that flutters in the wind behind him, he is entirely nude. He is armed with a sword, hanging from his shoulder, and with a spear; as defensive weapons, he wears a helmet of the Attic type and a large, richly incised round shield. Between his feet lies the ram’s fleece, which, according to the myth, was guarded by a serpent/dragon, and that Jason is about to steal: the incised tree behind the arm of Jason would have represented the shrub in which the monster was hidden.
Ancient Etruscan Mirror with Female Figure and Engraved Scene, bronze, 3rd century BC.
The handle of this mirror is cast as a female figure with bracelets, armband, and necklace. She holds an object in her right hand, her arm is bent, and her outstretched wings curve around the mirror. There is an engraved scene on the reverse of the mirror, depicting a warrior and a woman standing before a building, with a man and woman at the sides.
Courtesy & currently located at the Walters Art Museum, USA.
Japanese bronze mirror
Japan, 12th century AD
Mirrors in Asia are usually flat metal disks, polished on one side to allow reflection, and ornamented on the other side.
Early Japanese mirrors used a number of designs based on Chinese originals. However, from the Nara period (AD 710–94), Japanese mirror-makers began to substitute native Japanese motifs: for example, plants of good omen such as cherry-blossom and pine replaced auspicious Chinese flowers, and we find cranes instead of phoenixes.
In this example, the birds are separated by twigs of pine needles and an outer circle contains more fronds of pine needles. The central boss of the mirror is pierced with a hole to take a cord loop for holding it or suspending it.
Cranes mate for life, so they are often used as emblems of marital fidelity. They also appear at New Year to signify long life. Here the cranes fly together in perfect symmetry, while the pine boughs, also symbols of New Year, are scattered more informally across the design.
This mirror was one of a group of 18 donated to the Museum in 1927. The patina suggests that this particular one may be ‘Haguro mirror’, from a group of 600 mirrors recovered from a sacred pond in front of the shrine on Hagurosan mountain in Yamagata prefecture.
It is thought the mirrors were brought by pilgrims from the imperial capital Kyoto and other areas, and offered to the divine spirit in the pond.
What was Japan like when the mirror was made?
For many centuries Japan was influenced by China. Then, in AD 894, the Heian emperor took the momentous decision to cease contact with China. For the next three centuries Japanese culture developed in isolation. The Heian court during this period became renowned for its style and aestheticism. Courtiers communicated by writing poetry and held incense fragrance contests. It was during this period that the Tale of Genji was written, arguably the world’s first novel.
Cosmetic boxes are not a modern invention. They date back all the way to ancient Egypt. Ancient Egyptian toiletry items began in the Predynastic Period with ivory cosmetic articles, such as bone, stone, or even pottery. Ivory combs and kohl spoons were among the first. Kohl is an ancient eye cosmetic, traditionally made by grinding galena (lead sulfide) and other ingredients, to darken the eyes and was used as a mascara type for the eyelashes. The desert sun or Nile floodwaters during inundation produced a need for facial-eye protection, using ‘eyepaint’ or eyeliner, when working in the flooded lands; theoretically it was also used by males. The Kohl spoon was designed in many shapes, the most common being the ankh symbol, ducks, and lotus flowers, all symbolizing life and rejuvenation. This Cosmetic box of the Cupbearer Kemeni dates to the Middle Kingdom (12th Dynasty) during the reign of Amenemhat IV (a. 1814 - 1805 BC). Found in Upper Egypt of Thebes in the Tomb of Reniseneb, this Cedar box with ebony and ivory veneer and silver mounting, shows decoration on the front illustrating Kemeni presenting an ointment to Amenemhat IV. The inlaid inscription around the top of the lid contains the names of the king on the front and reads, from the front right to the back: “A royal offering of (the crocodile god) Sobek, lord of the wetlands, giving a good burial and being led to a state of honor, to the ka (life force) of the secretary of the king’s breakfast in preparing the tables of the Lord of the Two Lands, roomkeeper and cupbearer Kemeni possessor of honor and justified.” In the inscription from the front to the left, Kemeni is called “born by Any.” The box contains a mirror and four stone ointment jars, which were found around the box in the vicinity. #AncientEgypt #Egypt #Egyptian #Egyptology #Cosmetic #Box #Kohl #Makeup #EyeLiner #Mascara #Mirror #Ointment #Tomb #Museum #MET #History #Art #Archaeology #ArtHistory #Artifacts
Bronze mirror decorated with two falcons
From Egypt Middle Kingdom (about 2040-1750 BC)
The form of the ancient Egyptian mirror changed little from its first appearance in the Old Kingdom (about 2613-2160 BC) and consisted of a polished disc of bronze or copper, attached to a handle. The reflective surface was interpreted as the sun disc, because of its shape and shiny qualities. The falcons on this example might represent the sun-god Re.
The handle of the mirror was of wood, metal or ivory. This example has been made to appear as if it has been plaited. A papyrus stalk, or the figure of Hathor were also common. The handle could also be surmounted by the head of Hathor. She was particularly associated with the mirror, which had connotations of sexuality and rebirth.
The same theme can be seen in the handles in the form of nude female figures. They sometimes have their arms outstretched to hold the crosspiece below the disc. Adults were seldom shown without clothes, as this could be interpreted as a lack of status. One exception was dancers, whose erotic dances in tomb scenes, like the figures on the mirrors, were associated with rebirth in the Afterlife.
(Source: The British Museum)
