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The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
Katsina tihu (Kokopol), probably late 19th century, Brooklyn Museum Hopi katsina figures or Hopi kachina dolls (also spelled Hopi katsina figures or Hopi katsina dolls; Hopi: tithu or katsintithu) are figures carved, typically from cottonwood root, by Hopi people to instruct young girls and new brides about kachinas or katsinam, the immortal beings that bring rain, control other aspects of the ...
Yellow mountain to the north, blue mountain to the west, red mountain to the south, white mountain to the east, the multicolored mountain above, and the black mountain below. [2] Each direction is represented by a Prey God, or guardian animal, and are listed by Cushing as follows: north: yellow mountain lion
The Chinese classic Book of Rites mentions the Vermillion Bird, Black Tortoise (Dark Warrior), Azure Dragon, and White Tiger as heraldic animals on war flags; [3] they were the names of asterisms associated with the four cardinal directions: South, North, East, and West, respectively.
Pangantucan stallion – a wise white horse who saved the domain of Pangantucan from a massacre by uprooting a bamboo and alerting the tribesmen of the enemy's approach. Panigotlo – a loyal deer-like messenger and pet of the Aklanon supreme god Gamhanan. It alerted the people about an incoming disaster or a prosperous future.
Her appearance is that of a naked old monster, black in colour, with long pendulous breasts. [1] She is also described as having bedraggled hair. [ 2 ] In masks and totem pole images she is shown with bright red pursed lips [ 3 ] because she is said to give the call "Hu!"
Totem poles, a type of Northwest Coast art. Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
J. E. Millais: The Return of the Dove to the Ark (1851). According to the biblical story (Genesis 8:11), a dove was released by Noah after the Flood in order to find land; it came back carrying a freshly plucked olive leaf (Hebrew: עלה זית alay zayit), [8] a sign of life after the Flood and of God's bringing Noah, his family and the animals to land.