• Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.   Gray background.
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , white background
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , black background
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , against grey
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.  Black background.
  • Minoan Kamares Ware jar with natural decorations of fish in a net, Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
This pot is one of the earliest known examples of the shift of Minoan art towards depicting the natural world
  • Minoan Kamares Ware jar with natural decorations of fish in a net, Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This pot is one of the earliest known examples of the shift of Minoan art towards depicting the natural world
  • Minoan Kamares Ware jar with natural decorations of fish in a net, Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This pot is one of the earliest known examples of the shift of Minoan art towards depicting the natural world
  • Minoan Kamares Ware jar with natural decorations of fish in a net, Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This pot is one of the earliest known examples of the shift of Minoan art towards depicting the natural world
  • Minoan Kamares Ware jar with natural decorations of fish in a net, Phaistos 1900-1700 BC; Heraklion Archaeological  Museum.<br />
<br />
This pot is one of the earliest known examples of the shift of Minoan art towards depicting the natural world
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of Oc
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of O
  • Roman Mosaic - close up river god Oceanos The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of Ocen
  • Roman Mosaic - close up of  Tethys wife of river god Oceanos. The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the div
  • Roman Mosaic - close up of  Oceanos and his wife Tethys. The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversif
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of Ocenaos through unification wit
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of O
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey. Against a grey background.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of Ocen
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.  Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3. Black background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  White background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  Gray background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791. Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755. <br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788. Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.  Black background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Grey background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Gray background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Assyrian Traders terra cotta imported teapot with side spout . 1900 - 1600 BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground. Against a warm art bacground.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Hittite terra cotta fragmants of a defenive wall tower shaped vessel . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta fragmants of a defenive wall tower shaped vessel . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta ceremonial libation vessel in the shape of a mug being held in a hand and an arm. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta sleremonial libation rhython in the shape of a bull. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta two handled drinking vessel. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta bowl. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta beak spout pitcher. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta red glazed beak spout pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta red glazed beak spout pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite  terra cotta pot woth two handles. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta side spout with stainer basket handles pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta teapot with strainer spout on a charcoa; burner base  . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta beak spout pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta beak spout pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta long necked pitcher on base. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta pi;grim flask. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta big handled tankard mug. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cube shaped libation vessel. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta twa handles fluted vase. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cooking pot with perforated lid on a charcoal burner pot stand. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta side spouted tapered base teapot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta beak shaped long top neck pitcher. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta ceremonial libation rhython in the shape of a bull . Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta ceremonial libation rhython in the shape of an anmial . Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite ceremonial stone cult axe head. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite ceremonial stone cult axe head. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cult pilgrim flask. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuvwa .  Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cult side handled spouted jug. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuvwa .  Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cult vessel decorated with a goat relief. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuvwa . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta cult vessel decorated with a goat relief. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta side spout with strainer basket handle pitcher. Hittite Period, 1600 - 1200 BC, Ortakoy Sapinuva . Ortakoy Sapinuvwa . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta head of a lion. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta water bottle carried by straps on the back. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta water bottle carried by straps on the back. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite long neck beak spout pointed base terra cotta vessel. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite long neck beak spout pitcher. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite long neck pointed base terra cotta vessel. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite long neck pointed base terra cotta vessel. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite long neck pointed base terra cotta vessel. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Assyrian Traders terra cotta imported beak spout pictcher. 1900 - 1600 BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Po;ychrome Relief vessel, partially finished, 16th century BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, top frieze depicting a procession of musicians and dancers, , 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel depicting a procession of musicians and dancers, ox wagon, bulls and sacrificial altar, 16th century BC.  Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel depicting a procession of musicians and dancers, ox wagon, bulls and sacrificial altar, 16th century BC.  Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel depicting a procession of musicians and dancers, ox wagon, bulls and sacrificial altar, 16th century BC.  Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel depicting a procession of musicians and dancers, ox wagon, bulls and sacrificial altar, 16th century BC.  Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey . Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Close up of the Inandik Hittite relief decorated cult libation vase decorated with women relief figures coloured in cream, red and black playing instruments, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Close up of the Inandik Hittite relief decorated cult libation vase decorated with relif figures coloured in cream, red and black. The processional figures include musicians and acrobats, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. In the top register is a couple having sex along with musicians and acrobats processing to an altar that can be seen in the second register, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. In the top register is a couple having sex along with musicians and acrobats processing to an altar that can be seen in the second register, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped side spouted pitcher - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped side spouted pitcher with lid - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped spouted pitcher - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped spouted pitcher - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Terra cotta Hittite beaker shaped spouted pitcher - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Hittite terra cotta double handled jug with a relief human face- 17th - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite Terra cotta lion shaped ritual vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite Terra cotta lion shaped ritual vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta two handled vessel and a ritual vessel in the shape of a bunch of grapes - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta tower shaped vessel representing a two storey tower of the city walls complete with merlons - 14th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta tower shaped vessel representing a two storey tower of the city walls complete with merlons - 14th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey. Against grey art background
  • Hittite terra cotta ritual vessel in the shape of a duck with two heads - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta long neck pitcher - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta pitcher - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta bull head - 17th -16th century BC- Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta vessel with strainer - 19th 17th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta double handled jug with a relief human face- 17th - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta double handled jug with a relief human face- 17th - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite Terracotta statue of a bull - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite pithos with reliefs of animals - 17th - 16th century BC -  Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta ceremonial libation rhython in the shape of a boar. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta beak spout pitcher. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta side spouted teapot . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta two handled pitcher. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite axe head mould and bronze axe heads. Hittite Period 1600 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Assyrian Traders terra cotta imported two handled pointed base vase. 1900 - 1600 BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel close up  depicting top and second friezes showing a procession of musicians and dancers moving towards a temple building, 16th century BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Close up of the Inandik Hittite relief decorated cult libation vase decorated with a women and man relief figures coloured in cream, red and black playing instruments, in the register below is a cult altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The top two registers show  processional figures include musicians and acrobats processing round the vase, the third register from the top shows an altar -  mid to late 16th century BC - İnandıktepe, Turkey. Against a warm art background
  • Terra cotta side spouted pitcher with lid - 1700 BC to 1500 BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Hittite terra cotta ritual vessel in the shape of a duck with two heads - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite Terracotta statue of a bull - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian decorated terra cotta tea pot with strainer - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta antilope shaped ritual vessel- 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Decorated terra cotta tree handled vessel with a spout - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian eagle shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta two handled beakers - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta vessel with strainer - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta three spouted teapot - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta double boxes for storage - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian two headed disk shaped alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta duck shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra Cotta eagle shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta basket with handle & a beaker shaped as a bunch of grapes - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta side spouted pitcher with bill shaped end - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta double boxes for storage - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian decorated terra cotta water flask - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta wolf shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian relief Vase with bulls - 19th to 17th Century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta vtwo headed bull shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Art Nouveau (szecessziós Stilus) style town hall (1912) with Zolnay ceramic tiles , Kiskunfélegyháza, Southern Hungary
  • Mycenaean pottery funiture decorations from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens.  Black Background
  • Mycenaean pottery funiture decorations from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens.  White Background.
  • Mycenaean pottery funiture decorations from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens.
  • Mycenaean pottery funiture decorations from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens.  Grey Background
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 569,  White Background.<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 569.  Black Background<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 569.  Grey Background<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 569<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 553.  White Background.<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 553.  Black Background<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 553.  Grey Background<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Mycenaean pottery sacral knots from Grave IV, Circle Grave A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 553<br />
<br />
These pottery sacral knots were a religious symnol of Minoan Crete
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan pconical rhython with lilies decoration made in Minoan Crete, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan pconical rhython with lilies decoration made in Minoan Crete, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.

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