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Posts Tagged "Ivory"

Assyria to Iberia Exhibition Blog

New Perspectives on Phoenician Sailing

Elizabeth Knott, Hagop Kevorkian Research Associate, Ancient Near Eastern Art

Posted: Monday, November 10, 2014

In countless ways, Assyria to Iberia at the Dawn of the Classical Age represents the world of the Phoenicians and the world made possible by Phoenician expansion. Sailing westward from their homeland on the eastern coast of the Mediterranean Sea, the Phoenicians traded with indigenous peoples and established colonies as far west as the Atlantic coasts of Spain and Morocco, past the Straits of Gibraltar. The spread of these maritime people parallels—and can be often understood as the impetus behind—the movement of art objects and the exchange of materials and motifs across the Mediterranean in the first half of the first millennium b.c.

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Assyria to Iberia Exhibition Blog

Phoenicia and the Bible

Ira Spar, Research Assyriologist, Department of Ancient Near Eastern Art

Posted: Thursday, November 6, 2014

The ancient Phoenician city-states (principally Tyre, Sidon, Byblos, and Arwad) lay along the coast and islands of modern-day Lebanon. In Greece and Rome the Phoenicians were famed as "traders in purple," referring to their monopoly on the precious purple dye derived from the shells of murex snails found along its coast. In the Bible they were famed as sea-faring merchants; their dyes used to color priestly vestments (Ex. 28:4–8), adornments, curtains, yarns, and fabrics used in the Temple of Jerusalem (Ex. 26:31; 36:35; 2 Chr. 2:6; 3:14; cf. Jer. 10:9). Archaeologically, we know that their trading networks extended from the Levantine coast to the Iberian Peninsula, linking ports in the Mediterranean into a vast mercantile network.

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Now at the Met

Find the Chinese Treasury—if You Dare

Denise Patry Leidy, Curator, Department of Asian Art

Posted: Wednesday, May 21, 2014

The Florence and Herbert Irving Galleries for Chinese Decorative Arts, located on the mezzanine at the north end of the Museum, are filled with extraordinary objects made in materials that include silk, lacquer, and jade. These galleries can only be reached by an elevator or a staircase from the Chinese painting galleries, however, so finding the artworks displayed there can be categorized as "extreme" museum-going: It takes true commitment.

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Byzantium and Islam Exhibition Blog

Ivory Panels

Annie Labatt, 2012 Chester Dale Fellow, Department of Medieval Art and The Cloisters

Posted: Friday, July 6, 2012

In the interview with Pete Dandridge, we learned about the challenges involved in treating and displaying the delicate ivory panels from al-Humayma. The thoughtful and considerate conservation work on these pieces allows us to see amazing remnants of a large Abbasid residence located in the Hisma desert of southern Jordan. They also represent—through the figures' wardrobes and poses—a point of contact between multiple cultures.

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Byzantium and Islam Exhibition Blog

Interview with the Objects Conservator

Annie Labatt, 2012 Chester Dale Fellow, Department of Medieval Art and The Cloisters

Posted: Tuesday, July 3, 2012

I recently had the opportunity to speak with Pete Dandridge, Conservator and Administrator, The Sherman Fairchild Center for Objects Conservation, about his work preparing for the exhibition.

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The Game of Kings Exhibition Blog

Armed to the Teeth

Dirk H. Breiding, Assistant Curator, Department of Arms and Armor; and Michelle Jubin, Intern, Department of Arms and Armor

Posted: Tuesday, December 20, 2011

Knights from the Lewis group embody the visual ideal of a knight on horseback: a mounted warrior, protected by armor and shield, and armed with a sword and a spear, or lance. The Rooks (also known as Warders), rendered as battle-ready infantry, show very similar equipment (excluding the lance).

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The Game of Kings Exhibition Blog

From Tusk to Treasure: Part II

Pete Dandridge, Conservator and Administrator, The Sherman Fairchild Center for Objects Conservation

Posted: Tuesday, December 13, 2011

As I discussed in last week's post, the first step in the creation of these ivory sculptures was for the artist to establish the conceptual placement of each chess piece within the tusk, allowing for each distinct section of ivory to be cut out. The bottom sides of several chessmen retain the parallel marks of successive saw cuts often interspersed with the less regular cuts of chisels and files used to flatten and refine the base. The underside of the Knight from the Metropolitan, for example, shows the gently arching cut of the saw on the bottom right, chisel marks across the top center, and numerous, parallel cuts that resulted from filing.

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The Game of Kings Exhibition Blog

From Tusk to Treasure: Part I

Pete Dandridge, Conservator and Administrator, The Sherman Fairchild Center for Objects Conservation

Posted: Tuesday, December 6, 2011

All works of art strive to alter the perception of the viewer. The most successful meld a unique artistic vision with a thorough understanding of materials and a command of techniques. To discern how artists do what they do so well, conservators draw on a range of resources—including contemporary records of artistic practices, archaeological evidence, previous research, direct observation, and visual and material analyses.

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The Game of Kings Exhibition Blog

An Epic Battle

Barbara Drake Boehm, Paul and Jill Ruddock Curator, Department of Medieval Art and The Cloisters

Posted: Tuesday, November 22, 2011

In a chess match, opponents simulate a battle between warring kingdoms. But, if one is to believe medieval legend, even such mock battles could provoke intense competition. According to the Icelandic St. Olaf's Saga (written about 1230), King Knut murdered a chess opponent, Jarl Ulf, in 1027 following a dispute during a match.

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The Game of Kings Exhibition Blog

The Walrus and Its Tusks

Ross D. E. MacPhee, Curator of Mammals, American Museum of Natural History

Posted: Monday, November 14, 2011

Although the walrus (Odobenus rosmarus) is one of the iconic mammals of the Arctic, its evolutionary story actually began in the tropics. By adapting to cold conditions, the distant ancestors of walruses were able to prosper in the harsh conditions of the northern polar regions. This took time; walruses are distantly related to fur seals and sea lions, but they have been on their own as a separate lineage for more than twenty million years. Although moderately diverse in the past, the walrus family declined over time and is now represented by just one species.

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