GEONISTIL: AmarnaArt

The mystery of the Tiki Kea ancestral stone statue

AmarnaArt 9/30/2569

The mystery of the Tiki Kea

ancestral stone statue

The mystery of the stone and wooden Tiki statues in the Taipivai Valley on Nuku Hiva part of the Marquesas Islands in French Polynesia known as "The Land of Men" lies in the unique cultural symbolism expressed through their distinctive stone sculptures. Characterized by large round eyes and wide mouths with hands resting upon their abdomens these figures are carved from volcanic rock or basalt. They are found at sacred ceremonial sites known as ''me'ae'' or near the homes of high-ranking leaders.

A unique human-shaped stone carving an ancient stone statue or "Tiki" located on the ancient stone platform ''paepae'' of Piki Vehine on Nuku Hiva Island in the Marquesas Islands French Polynesia.

These statues range in size from massive ancient stone figures standing tall across islands like Nuku Hiva and Hiva Oa serving as ancestral representations that embody strength and protection through the balance of the four elements. Dance music and language are deeply intertwined with nature and the sea. Artistic expressions ranging from the creation of stone monuments like the Moai of Easter Island or the ceremonial stone platforms known as ''marae'' found throughout the region to the art of tattooing serve to signify social status lineage and tribal identity.

Central to this culture are the concepts of sacred power or ''mana'' and the social prohibitions or rules known as ''tapu''. Marquesan art and ornamentation rank among the most exquisite and distinctive artistic traditions in Polynesia. Art rooted in spiritual beliefs such as the Moai statues of Easter Island and the ceremonial stone platforms known as ''marae'' found across various territories reflects deep-seated convictions regarding ancestral spirits and the authority of tribal chiefs.

An ancient stone carving resembling a traditional Tiki located in the town of Atuona on Hiva Oa Island in the Marquesas Islands French Polynesia.

Notably the "Tiki Kea" stone figures from the Marquesas Islands mysterious in appearance and akin to the basalt or volcanic rock sculptures of the 18th and 19th centuries offer a profound insight into Polynesian cultural beliefs and craftsmanship. These ancient anthropomorphic stone sculptures embody the spiritual power of ancestors and serve as focal points for sacred rituals honoring the deities who protect the people and their traditional culture.

The Legend of Secret Chambers of the Egyptian Pyramids

AmarnaArt 9/08/2569

The Legend of Secret Chambers of the Egyptian Pyramids

The Enigma of the Carved Granite Obelisk in Aswan

Archaeological evidence and other historical records support the discovery of this unfinished obelisk in Aswan Egypt. Weighing approximately 1,168 tons if completed it would have been the largest obelisk in ancient Egypt. The unification of Upper and Lower Egypt by Pharaoh Narmer and the unfinished obelisk in Aswan can be considered the beginning of the earliest surviving obelisks. Historians discovered cracks in the rock during the carving process forcing the ancient Egyptian craftsmen to halt construction and leave the obelisk in the quarry.

The unfinished obelisk located in a quarry north of Aswan Egypt was left attached to its base after a large crack occurred in the rock during the carving process.

The site has been transformed into an open-air museum helping archaeologists understand the stone-cutting techniques and monument-building methods of the ancient Egyptians. Most predynastic archaeological discoveries are in Upper Egypt due to the large accumulation of Nile sediments in the Nile Delta. The gradual development of the predynastic period has led to debate about its end. The term "predynastic" generally encompasses the late Neolithic and Bronze Ages. This points out that settlements in Egypt's Nile River Valley resulted from complex interactions with African peoples.

The Enigma of the Secret Vault Beneath the Giza Sphinx

The Sphinx is a symbol of mystery and power in ancient Egyptian civilization. Archaeologists worldwide continue to study traces and internal structures that may resemble the cavities created beneath the Sphinx statue and its feet under its limestone base. There have long been archaeological beliefs about tunnels or "secret underground chambers" that may be hidden beneath the Sphinx including vertical shafts and voids beneath the Sphinx statue and its feet.

The secret chambers within the Great Sphinx of Giza circa 1913. Historical conception suggests there were only small natural cavities and a few man-made shafts not a large multi-story hall or hollow sun temple of any kind.

This is a concept of underground passageways and tunnels that may lead to these unexplored and unconfirmed underground cities detected by the global radar research institute GPR in the 1990s and later including the work of a team in 2025. Egyptian authorities and mainstream archaeologists consider these to be natural geological features.

Underground radar scans have revealed numerous small natural cavities within and beneath the limestone base or simply inspection shafts or ancient drainage systems. The mystery of the legendary underground library near the Sphinx is linked to the legend of the "Archives" a mythical underground library believed to have preserved the knowledge of the Atlanteans.

The Enigma of Pharaoh Khufu's Queen's Chamber

The discovery of a ventilation shaft in the central rectangular chamber with a high pointed ceiling continues to intrigue researchers. Archaeologists continue to explore the pyramid's interior and recently discovered new secret passageways using advanced scanning technology. It appears to be the lowest main burial chamber in the pyramid. No bodies or evidence of actual use have been found leaving its true purpose a mystery and subject to debate. The crypt was likely constructed for burial or storing artifacts in the past.

The queen's bedchamber inside the Great Pyramid of Giza is an intermediate room that was not originally designed for the queen. It consists of two narrow shafts extending from the north and south walls ending just before reaching the outside of the pyramid.

Intricate stone carvings including a wall on the east that may have once housed a statue of the pharaoh feature large elaborately carved niches constructed from superb limestone. The gabled ceilings helped to alleviate the pressure from the stone above. This cultural legacy endures throughout the Old Kingdom and the Egyptian Empire built during the reign of Pharaoh Khufu. Records written by ancient Egyptian and Greek historians provide a rather vague and controversial overview of Pharaoh Khufu, believing his empire consisted of two main chambers: the King's Chamber and the Queen's Chamber believed to have served as burial sites and treasurys.

Symbols of Wealth on the Lady of Elche Statue

AmarnaArt 8/29/2569

Symbols of Wealth on the Lady of Elche Statue

The Goddess of Elche represents the Iberian-Punic people. Archaeological evidence of their settlements city walls ancient stone temples and other artifacts related to Iberian culture such as ancient stone sculptures of high-ranking women or priestesses seated on thrones reveal stories of Iberian-Punic settlements. A bust resembling the "Goddess of Baza" shows a connection to a goddess who protects souls. The large ornamentation on the statue discovered in 1971 in Baza Spain dates back to around 400 BC Iberian period. Archaeologists found a cavity inside the sculpture for the ashes of the deceased similar to the "Goddess of Elche" representing the Iberian people.

The Late Tartessos culture developed in the Guadiana Valley in southwestern Iberian Peninsula. This was a union of indigenous Iberians with Phoenician seafarers an ancient civilization in the late Bronze Age until the 5th century BC after the collapse of the main archaeological culture in the Guadalquivir Valley. The elaborate ornaments and hairstyles believed to represent the first goddess of the Tartessos culture are thought to depict human figures representing divinity through animal plant or sacred stone motifs.

They may also be associated with Tanith of Carthage the goddess of the sky fertility the sun and the moon. Founded in the ancient city of Carthage on the Mediterranean coast in Tunisia she is revered as the mother of the gods and protector of the city represented by symbols of horizontal lines circles crescents and triangles resembling a figure with outstretched arms. Carthaginians often carved symbols of Tanith to invoke protection promote peace and for cultural rituals. Iberian culture in the pre-Roman era of the Iberian Peninsula presents much speculation regarding the identity and meaning of the ornaments on the Iberian Elche female sculptures.

The distinctive features of large wheel-shaped headdresses along with technical or technological descriptions date back to the 4th to 5th centuries BC. approximately 2,400 BC. Interpretations of symbolism exist within the indigenous Iberian and Greek cultures pre-Roman civilizations tribal and noble societies kings or priests craftsmen and slaves. It wasn't until the Roman culture which flourished in the Mediterranean with its trade in metals like copper tin and gold that craftsmen forged high-quality iron weapons. This pre-Roman era is enigmatic as seen in the bust of the Lady of Elche an ancient Iberian limestone sculpture discovered in 1897 at the La Alcudia archaeological site in Elche Spain.

Classical Persian art in the ancient Greek era

AmarnaArt 8/29/2569

The spirit of the Trojan War on the artwork the city

AmarnaArt 8/16/2569

Symbols of the spiritual world on ancient Greek vase art

AmarnaArt 8/16/2569

The fresco of the god Dionysus in the House of Thiasus in Pompeii

AmarnaArt 8/15/2569

The fresco of the god Dionysus in the House of Thiasus in Pompeii

This nearly life-sized ruby-red fresco depicts the ceremonial procession Thiasos of Dionysus the god of wine in the banquet hall of what archaeologists call the House of Thiasus This magnificent fresco was a new discovery in early 2025 in the Regio IX district of the ancient city of Pompeii Italy. The interior decoration typical of ancient Roman architecture features columns stained or painted in deep red tones reflecting the use of vibrant colors polychromy. The fresco includes fluted columns a style common in ancient architecture and ancient stone or stucco columns with deep vertical flutes. The surface shows signs of chipping and age.

This fresco is part of a ritualistic procession honoring the god Dionysus newly discovered in an ancient banquet hall in the Regio IX of Pompeii Italy.

The depiction shows satyrs playing flutes and maenads in various poses. One image shows a goat carried on a shoulder while another shows a young pointed-eared satyr playing a flute while another performs an acrobatic wine offering. Rare large-scale paintings such as those of the Villa of Secrets include traces of the cult of Dionysus. His festivals possibly influenced by foreign elements may have been inherited and played a significant role in the Greek tradition of grape harvesting and winemaking by the Mycenaean Greeks from approximately 1,500 to 1,100 BC.

The ancient frescoes in this image are near-life-sized works of art megalography found in the banquet hall of the historic House of Thiasus "Casa del Tiaso" in Pompeii Italy.

The mystery of Dionysus in the classical world depicted in the frescoes involves pouring wine from his mountain drinking it over his shoulder into low vessels. The depiction of the night approaching the resurrected god of the dead is shown in the frescoes. In the center of the painting a young woman and an old man named Silenus hold torches the young woman represents a deceased woman who underwent the ritual with the elderly Silenus. The large-scale frescoes reveal the mysteries of Dionysus in the classical world. Statues of important figures and Greek gods stretch around with a fresco-decorated hall appearing marking the beginning of the mystery and the procession and rituals of Dionysus's worship.

Ancient Roman frescoes at the House of Livia

AmarnaArt 8/15/2569

Art Deco in the era of prosperity

AmarnaArt 8/14/2569

Art Deco in the era of prosperity

Low and high relief stucco sculptures adorning Art Deco buildings along with small metal sculptures decorating buildings and objects emphasize geometric shapes such as circles and triangles and order in sculptures depicting human or animal figures. They are elegant agile and powerful conveying a sense of progress and often integrated seamlessly with architecture. Art Deco a design and aesthetic style highly popular in the 1920s and 1930s often utilized chrome-plated metal stainless steel and polished hardwoods. The blend of progressive elements with clear geometric decorative styles reflected a spirit of prosperity.

The Victory Monument also known as Man Riding a Lion or Young Man Conquering a Lion" is located in Gori Georgia.

During the golden age of streamlined and Art Deco design in France, winged figures in powerful aerodynamic poses were prominently featured. Art Deco sculptures also appeared in paintings and striking monuments blending seamlessly with Modern Equestrian Group sculptures conveying a sense of avant-garde form for the time. Similarities in the style of Geometric Line Art have evolved from ancient times to the modern art era. This art form primarily uses basic shapes simplifying the forms of objects or nature into rigid forms and often employs contrasting or gradient colors to create dimension.

The plaster sculpture "Speed" by Joseph E. Renier displayed in front of the Court of Communications building is an Art Deco and Streamline Moderne sculpture reflecting the Machine Age.

Notable bronze sculptures serve as significant historical landmarks. The Victory Monument known locally as Lomchabuki meaning man riding a lion or young man conquering a lion is located in Gori Georgia. Designed by Elguja Amashukeli and architect Vakhtang Davitaya it was completed in 1979 and sits at the foot of a hill near the Gori Fortress. The towering bronze statue depicts a shirtless young man riding a lion, his left hand holding a sword raised to the sky and his right hand extended forward. Today Art Deco art continues to influence contemporary art with its unique blend of modern geometric shapes symmetry and strong lines.

A symbol of the Roman Empire guardian of gold

AmarnaArt 8/14/2569

A symbol of the Roman Empire guardian of gold

The oldest surviving frescoes further emphasize the importance of the griffin. Griffins were highly revered as guardians representing power and protection. The eagle king of birds is another prominent symbol. The Greeks and Romans believed these loyal guardians of treasure were closely associated with the gods and their sacred chariots adorned bas-reliefs on tombstones and inscriptions. A Roman marble griffin sarcophagus depicts two griffins facing each other.

A mosaic depicting a griffin a mythical creature from ancient Greek mythology was discovered at the ancient city of Sikyon Greece during the Hellenistic period in the latter half of the 4th century BC. It is now on display at the Archaeological Museum of Sikyon Greece.

Symbolizing the guardian of tombs and treasure the main ritual carvings of the dead dating back to the Roman Empire are still found in surviving Greek marble slabs. These griffins with their winged bodies face each other standing beside acanthus petals and candlesticks symbols of protection in Roman times. In ancient Mesopotamia colossal griffin carvings depicting conquest and divine protection were created comprising highly detailed historical records on stone slabs.

This bas-relief on marble depicts two panther-griffins facing each other separated by an ancient vase-shaped vessel. It is a Roman sculpture from a sarcophagus dating from the 2nd century CE approximately 140–170 CE

The griffin guardian of abundant gold treasure played a significant role in ancient Greece. It is believed that griffins originated in the Near East and ancient Egypt a mythical creature with the body of a lion and the head of an eagle a fierce guardian of gold treasure. It is a symbol of ultimate power and courage and a symbol of fertility such as the bronze plaque depicting a griffin a guardian of gold believed to have originally been used as a decorative element on the wooden panels of a temple built around 630 to 620 BC.

The revival of art on the Sphinx sculpture

AmarnaArt 8/14/2569

The revival of art on the Sphinx sculpture

Artistic trends in the essence of Egyptian art led to what is called the Egyptian Revival. It is possible that sculptors attempted to revive the form of the ancient sphinx without necessarily being aware of its specific Egyptian characteristics due to the spread of Egyptian and Greek art architecture and language. The marble sphinx with wings and a lion's torso is part of an ancient Roman sarcophagus found in the underground cathedral of San Crisogono in Rome. The sphinx is depicted with one front paw resting on a wheel a motif often associated with fate or the cosmos in ancient art.

The Great Sphinx of Giza and the Pyramid of Khafre located on the Giza plateau in Egypt feature the world's largest stone sculpture of a lion with a human face believed to have been built during the reign of Pharaoh Khafre around 4,500 BC.

Hieroglyphic inscriptions adorning the walls the design and translation of the inscriptions and the interpretation of architectural elements all contribute to the flourishing Egyptian tradition. The intricate stone carvings of the Roman antiquity brought about significant changes in ancient monuments in Egyptian art and literature. The aesthetic quality of ancient art is reflected in numerous works of the 12th century. The variety and complexity of the traditional sphinx emphasize the continuity in art on sculpture particularly the winged sphinx made of Paros marble.

A marble sculpture of a winged sphinx in the style of ancient Greek-Roman art approximately the 1st century AD or the Roman period around 120–140 AD with the body of a lion and the wings of an eagle.

The Roman sphinx combines medieval details with ancient Egyptian forms. In the late 12th century the intricate rock carvings of the ancient Roman era brought about significant changes to ancient monuments and stone temples. Roman statues and other sphinxes from the 13th century show Cosmati's connection to the ancient Egyptian model wearing a nemes which differs from other ancient sphinxes during the Revival period and perhaps even predates the Sphinx of Viterbo which wore a headdress.

The Sphinx of Amenhotep III carved from sandstone is on display at the Museo Egizio Egyptian Museum in Turin It is an artifact from the 18th Dynasty the New Kingdom of ancient Egypt approximately 1,390–1,352 BC

The sphinx a Roman stone sculpture discovered near Lanuvium Italy is thought to have possibly served as a base for an ancient Greek-Roman table. This ancient marble sculpture over 2,000 years old serving as a guardian and created during the Ptolemaic dynasty has been distinctly altered from its original form. The medieval sphinx's nemes indicates Egyptian motifs. The medieval Egyptian revival of art and architecture is attributed to the group of sphinxes created by the Roman Cosmati from lost ancient Egyptian monuments in the 13th century.

The Sphinx of Lanuvium is a Roman marble sculpture dating from approximately 120–140 AD. It is a composite of a female human a lion and an eagle wings

Ancient stone temples existed before or after the creation of the fertile and beautiful land of ancient Egypt. 13th century excavations sought ancient stone for use as raw material for the Egyptian revival of art from some of the surviving monuments. From the very beginning the concept of an afterlife led the Egyptians to decorate tombs with various objects and build temples and tombs of stone to preserve them. This provides evidence of surviving burial beliefs and traditions. Literature and philosophical aspects of the afterlife became the foundation of the Greek and Roman civilizations.

The bust of Nefertiti is a limestone

AmarnaArt 8/14/2569

The bust of Nefertiti is a limestone

Nefertiti is one of the most famous queens of ancient Egypt in world history. Her name means "beautiful visitor" She was the principal wife of Pharaoh Akhenaten of the 18th Dynasty of the New Kingdom and one of the most influential women of the Amarna period making her bust a world-renowned artifact. 6 December 6 1912 during a major archaeological excavation at the site German archaeologists led by Ludwig Borshard discovered the bust in Pharaoh Thutmose's study.

The limestone bust of Nefertiti dating back to around 1345 BC represents Nefertiti the ancient Egyptian queen and wife of Pharaoh Akhenaten. It was discovered in 1912 in Amarna Egypt.

Made of limestone and covered with intricately painted stucco it stands 48 centimeters tall. It is believed that the Amarna art was created in 1345 BC by the sculptor Thutmose in Amarna Egypt. There is debate regarding the accuracy of the artistic interpretation of this digital reproduction which differs from the well-known idealized busts depicting a lighter complexion. This includes its current significance and status as a masterpiece of art.

The Nefertiti bust is a world-famous artifact made of limestone and covered with stucco

Amarna art is one of the most transformative periods in the aesthetic history of ancient Egypt. Unlike previous periods Amarna art depicts scenes of fertility private life of the royal family under the sun Aten frequent resting and sitting on laps. Sculptures often show long necks slender limbs striking faces dynamic movement and emotional intimacy in the art of ancient stone statues and temples abandoning the rigidity of traditional Egyptian art in favor of expressive realism and naturalism. Tel el-Amarna in ancient Egypt one of the most important archaeological sites in Egypt is located near Akhetaten once a center of worship for the sun god Aten.

This limestone carving depicts Queen Nefertiti offering a bouquet of flowers to the god Aten during the Amarna Period. Part of the Brooklyn Museum's collection Nefertiti wears her distinctive tall crown. Dated approximately 1,352–1,336 BC.

After Akhetaten's death the city was quickly abandoned and destroyed in an attempt to erase the memory of the new religion and return to the worship of the original gods. Although Nefertiti suddenly disappears from historical records and played a significant role in the governance and religious reforms alongside Pharaoh Akhetaten the location of her remains has left archaeologists baffled as to the exact location of her "missing tomb and body." Some believe her remains may be hidden in a secret chamber within the tomb of Pharaoh Tutankhamun.

Amarna art on Tutankhamun golden chair

AmarnaArt 8/14/2569

Amarna art on Tutankhamun golden chair

Tutankhamun and his beautiful and elaborate queen Ankhesenamun "Son of Ra" are inscribed with the symbol of the sun god's disc. The sun symbol is placed at the apex of the oval. Tutankhamun ruler of Upper Heliopolis uses the hieroglyph Neb-Kepera on his back paired with a golden serpent Uraeus a distinctive feature of Amarna art. The gilded wooden chair is a stunning artifact showcasing the intricate craftsmanship of the time particularly befitting a person of power and wealth.

Gold-plated carved patterns on the inner panels of the chariot of Pharaoh Tutankhamun from the 18th Dynasty New Kingdom of ancient Egypt.

The goddess Vadjet protector of Lower Egypt appears in the artwork as a cobra and has been recognized as the protector of Lower Egypt since predynastic times. Vadjet in ancient Egyptian means "the green one" The symbol of Vadjet crowning the pharaoh of divine power features four golden cobras adorned with double crowns protected by a protective island behind them. The backrest is decorated with carved lotus motifs spread across it embellished with precious stones stained glass and ebony. The chair legs resemble lion's paws.

The golden throne of Pharaoh Tutankhamun a work of art from the 18th Dynasty of ancient Egypt depicts the solar disc of the god Aten radiating rays ending at the hand of Ankh the symbol of life.

The front of the golden throne is a colorful and striking seat. Above the seat is a sun symbol of the god Ra shining down a style of art used during the Amarna period by his father Pharaoh Akhenaten. He was devoted to the sun god and his relationship and bond with his queen are shown on Tutankhamun's golden throne.

The Golden Throne of Pharaoh Tutankhamun is a wooden structure carved and covered with gold leaf elaborately decorated with silver jewels and colored glass. Its four legs are shaped like lion's paws. It was discovered in 1922 in his tomb KV62 in the Valley of the Kings Luxor Egypt.

Tutankhamun and his beautiful and elaborate queen Ankhesenamun "Son of Ra" are inscribed with the symbol of the sun god's disc. The sun symbol is placed at the apex of the oval. Tutankhamun ruler of Upper Heliopolis uses the hieroglyph Neb-Kepera on his back paired with the golden serpent Uraeus a distinctive Amarna period art style. The gilded wooden chair is a stunning artifact showcasing the intricate craftsmanship of the time particularly characteristic of the powerful and wealthy individual who owned the golden chair.

Pages

GEONISTIL

The mystery of the Tiki Kea ancestral stone statue

The Legend of Secret Chambers of the Egyptian Pyramids

Symbols of Wealth on the Lady of Elche Statue

Classical Persian art in the ancient Greek era

The spirit of the Trojan War on the artwork the city

Symbols of the spiritual world on ancient Greek vase art

The fresco of the god Dionysus in the House of Thiasus in Pompeii

Ancient Roman frescoes at the House of Livia

Art Deco in the era of prosperity

A symbol of the Roman Empire guardian of gold

The revival of art on the Sphinx sculpture

The bust of Nefertiti is a limestone

Amarna art on Tutankhamun golden chair

The beginning of Hellenistic Greek art

POST

The merging of celestial representations in the Hellenistic era

ARCHIVE POST