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Double-headed eagle in Jiroft, Iran, 3rd millennium BC. The double-headed eagle is an iconographic symbol originating in the Bronze Age.The earliest predecessors of the symbol can be found in Mycenaean Greece and in the Ancient Near East, especially in Mesopotamian and Hittite iconography.
While the art can be realistic or cartoonish, characters often have large eyes (female characters usually have larger eyes than male characters), small noses, tiny mouths, and flat faces. Psychological and social research on facial attractiveness has pointed out that the presence of childlike, neotenous facial features increases attractiveness ...
Holbein's The Ambassadors (1533) is a complex work whose iconography remains the subject of debate.. Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style.
“A flying eagle may be showing you that it’s time to rise to a higher perspective, to get beyond your own limited beliefs and thoughts and consider the issue at hand from other points of view ...
To differentiate them from mature eagles, alerions were shown as an eagle displayed inverted without a beak or claws (disarmed). To difference it from a decapitate (headless) eagle, the alerion has a bulb-shaped head with an eye staring towards the dexter (right-hand side) of the field. This was later simplified in modern heraldry as an ...
Matthew the man, Mark the lion, Luke the ox, and John the eagle. A tetramorph is a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape. The word comes from the Greek for "four forms" or "shapes". In English usage ...
An Eagle headed protective spirit holding a bucket and cone. A four-winged genie in the Bucket and cone motif. Relief from the north wall of the Palace of king Sargon II at Dur Sharrukin, 713–716 BC. Winged genie is the conventional term for a recurring motif in the iconography of Assyrian sculpture.
The symbolism also often links the deities with a particular natural or human attribute, or profession. It is important to understand the symbolism, in order to appreciate the allegorical references in not only Hindu scriptures (for instance, Puranic tales), but also in both ancient and modern secular works of authors from the Indian subcontinent.