#inlay artefact

[paganimagevault]

The Kargaly/Wusun diadem 2nd C. BCE - 2nd C. CE. Note, Katheryn's article below is much longer and has more info, I just took snips of what I found most interesting. It can be found online.

"According to Chinese archaeologists, the excavated skeletal remains presumed to be Wusun are of the short-headed Europoid Central Asian interfluvial type (Mallory Mair 2000: 93-94). On the basis of six skulls from the last centuries BC/first centuries AD found in Semirechye and presumed to be those of the Wusun, Soviet archaeologists have described them as ranging from primarily Europoid with some Mongoloid admixture to pure Europeans (Mallory Mair 2000: 93-94). Evidence from ancient Chinese texts is contradictory about the appearance of these peoples and only DNA and other types of scientific testing will bring clarity to this issue.

Although gold artefacts and inlay can be found dating from the Late Neolithic through to the Bronze Age in China, it was most prevalent in its borderlands (Bunker 1993: 27-46) until the Qin and Han, when it found preference on a broader scale.

In addition, the lost-wax lost-textile casting technology was developed and used (Bunker 1988: 222-27) in the area adjacent to the very tombs from where the iconography and style of the diadem hails. Observations about the inlay technology used on the diadem are important clues as well. Inlay appeared on Chinese-produced objects almost exclusively where a cell was created into which the stone was placed and adhered with some fixative (Bunker 1993). This is not the technique used to produce the diadem, where the gold was hammered into a matrix-template, then engraved (or chased) on the surface. Many of the cells for inlay were created in the hammering process and after the stones were in place, secured by hammering the bezels surrounding each stone. In addition, there were pierced cells filled from behind with stone and secured with the addition of a gold sheet adhered behind the stone. Items produced using such techniques would probably not have been created in Chinese foundries.

Moreover, gold animal plaques known from earlier Xiongnu tombs (third century BC) use inlay to enhance the natural conformation of the beasts (Figure 5). By placing inlays at the points of movement such as at the haunches of quadrupeds or at the wing joints of birds, the potential of movement and thereby the power of these wild creatures is underscored. Inlays also mark such features as eyes. On the Kargaly diadem, however, circular inlays are used decoratively as a patterned design, still often at the haunches, but also throughout the clouds. They no longer emphasize the natural form or movement of the animals or the clouds, but create an overall pattern. This recommends a later date for the diadem, perhaps late first or second century AD.

But why would such models be used in south-eastern Kazakhstan at this time? This is a unique piece—its style and iconography were nor known before or after in the region. The models for the iconography were taken from types known near Han imperial military outposts in a place where the Chinese hoped their troops could contain barbarian incursions and where peace and stability were difficult to maintain. Those units often included conscripts whose allegiance was opportunistic. The models for diadems (Stark 2012: 134) or for applications to adorn carts or clothing come from further west.

So, was this piece made in the Western Regions, in the territory beyond the Jade Gate of the Great Wall (in present day Gansu) that marked the boundary of Han hegemony, and then carried west? Was it perhaps made as a gift for an embassy to present to a Wusun or Yuezhi leader far outside of Han territory, such as in Wusun? Or, alternatively, was it carried by a regional princess to her place of exile and burial as the partner of one of those 'foreign' leaders?"

-Katheryn Linduff, Immortals in a foreign land: the Kargaly diadem. 2014, Antiquity, Vol 88, issue 339

[merovingian-marvels]

How Merovingian cloisonné inlays were made

Cloisonné is the technique of inlaying Almandine. This mineral from the garnet family, previously referred to as a semi-precious stone was used plenty from 400-800 AD. It was imported from South East Asia (predominately Bangladesh and India) via the Eastern Roman Empire.

Cloisonné was usually done on a gold base or possibly used as a small detail on bronze with gold overlay jewelry.

The base was often cast. Some moulds and workshops have been found around Europe and indicate local variations in execution.

On the base of -for example- a bird brooch, a gold trim was soldered on, giving shape to the eye, wing, beak and optionally the wing and foot. How they shaped the Almandine isn’t clear yet, but it is assumed that bits were broken off from one large piece and carved to match one of the “cells” on the brooch.

A variety of putty/glue/cement was used to lock the almandine in place. Residue of these can be found on brooches with lost bits of almandine.

Optional security was to bend the gold edges over the stones. This was also dependent on regional varieties.

Additional decorations used, f.e. visible on the artefact above, are red glass paste, green glass paste and pearls. It was optional to back the garnet with reflectant gold foil to make sure the garnet would catch as much light as possible. Some researchers see this as a reference to the goddess Freya who wears a “flaming” necklace called Brísingamen. Brooches inlayed with garnet usually doubled as the base for string bead necklaces.

Metropolitan Museum of Art, New York - United States of America

Museum nr. 17.191.165

[miscellaneousvintageobjects]

Pharaoh Reveals Previously Unknown Ancient International Trade Routes

Ancient Egypt had a lot of gold, but very little silver. So how did Queen Hetepheres get her bracelets?

Sometimes in science, a breakthrough comes not with some new discovery, but with the re-examination of something we’ve had under our noses for decades. Take, for example, a new analysis of the jewelry collection of Hetepheres I, a queen of Egypt more than 4,500 years ago – research that has revealed a century-old museum display to in fact be some of the earliest evidence for long-distance trade in the ancient world.

“The origin of silver used for artefacts during the third millennium [BCE] has remained a mystery until now,” said Karin Sowada, researcher at the Department of History and Archaeology at Macquarie University and co-author of the new analysis, in a statement.

“This new finding demonstrates, for the first time, the potential geographical extent of trade networks used by the Egyptian state during the early Old Kingdom at the height of the Pyramid-building age.”

As wife of the Fourth Dynasty pharaoh Sneferu, mother of Khufu – you may know him as the guy responsible for the Great Pyramid of Giza – and carrying a bloodline that united two royal dynasties, Hetepheres was one of Ancient Egypt’s most important queens.

And in Ancient Egypt, that meant that her burial had to be appropriately flashy. Discovered almost by accident by a photographer in 1925, her tomb is “the richest known from the period,” the researchers note, “with many treasures including gilded furniture, gold vessels and jewellery” to see her into the afterlife in style.

It’s one of the more iconic of these finds that is making headlines once again: the collection of 20 silver deben-rings, or bracelets, which – with the exception of a brief analysis back in 1928 – have spent the majority of the past century simply languishing in museums around the world.

But while precise details on the pieces may have been scant, there were already hints that the jewelry may have been the result of long-distance trade between ancient kingdoms. Being more than 90 percent silver, the material for the bracelets was unlikely to have come from Egypt – while the country was rich in gold, there were no local sources for nature’s runner-up metal, meaning it was likely imported from mines in the Cyclades islands of Greece.

And yet the construction is inimitably Egyptian, the researchers explain. “The bracelets, made of a metal rare to Egypt, are a statement of royal privilege and taste,” they write. “The thin metal worked into a crescent shape and the use of turquoise, lapis lazuli and carnelian inlay, stylistically mark the bracelets as made in Egypt and not elsewhere.”

Combined, this makes the bracelets of Hetepheres the oldest known evidence of long-distance trade between Egypt and Greece, say the team.

“This kind of ancient trading network helps us to understand the beginnings of the globalised world,” Sowada told ABC News. “For me that's a very unexpected finding in this particular discovery.”

Not only does the new analysis rewrite the history of ancient international trade, it’s also provided eye-opening new evidence on early Egyptian silver working.

“[T]he bracelets were made by hammering cold-worked metal with frequent annealing to prevent breakage,” explained Damian Gore, a professor in Macquarie University’s School of Natural Sciences and co-author of the analysis.

“The bracelets were also likely to have been alloyed with gold to improve their appearance and ability to be shaped during manufacture,” he added.

While the links between Ancient Egypt and the surrounding kingdoms have been known for centuries – after all, the entire Ptolemaic Dynasty was Greek rather than home-grown – the silver in Hetepheres’s bracelets predates most previous evidence for these international connections by a good few centuries.

“In the Middle Kingdom and the New Kingdom much, much later, we have lots of papyrus that contain administrative records, trade records and so forth,” Brent Davis, a senior lecturer in archaeology at the University of Melbourne, told ABC.

“But for the Old Kingdom, it's just too long ago, those documents for the most part haven't survived.”

That makes the bracelets, and the new analysis of their composition, incredibly valuable – not only shedding new light on the ancient world, but also highlighting just how much we still have to discover.

“This is the start of a line of research that has got a long way to go,” Sowada told ABC.

“These networks wouldn't have happened overnight,” she added. “They would have been built over a long period of time and these bracelets are a window into that wider network.”

The study is published in the Journal of Archaeological Science: Reports.

Source: Facebook

Katie Spaulding Free Lance Writer

[seoprivatetourguide]

Taj Mahal from Bengaluru by Private tour guide India Company.

Private Tour Guide India Company offers Taj Mahal Tour from Bengaluru. Introduction Do you want to visit the Taj Mahal Tour from Bengaluru.? With a private tour guide from India Company, you can have a smooth and enriching travel to Agra to see this world-famous monument. This guide will coach you through everything from organizing your vacation to visiting the major sights.

What Makes a Private Tour Guide India Company Stand Out? Personalized experience. A private trip provides a personalized schedule tailored to your interests and pace, resulting in a one-of-a-kind and unforgettable experience.

Flexibility and Comfort. Traveling with a private guide allows you to have a flexible schedule and a comfortable travel with door-to-door assistance.

Knowledge from an expert Your guide enriches your tour to the Taj Mahal and other Agra landmarks by sharing unique insights into their history, culture, and architecture.

How to Plan Your Taj Mahal Tour Booking the tour is quick and easy to accomplish online. It is essential that you book ahead of time to assure your favorite dates and a seamless experience.

What to Expect. Expect a well-organized tour that includes flights, transfers, guided tours of main locations, and some free time for shopping and dining.

To prepare for the journey, pack light, wear comfortable clothes and shoes, and include essentials such as a camera, sunglasses, and sunscreen.

Flight options and details for Bengaluru to Agra. The itinerary begins with a flight from Bengaluru to Delhi. Several airlines provide direct flights that take about 2.5 to 3 hours.

Arrive in Delhi and transfer to Agra Upon arriving in Delhi, you will be greeted by your private tour guide and driven to Agra. The journey via the Yamuna Expressway takes roughly 3-4 hours.

Comfortable and convenient Enjoy a comfortable travel with scheduled rest stops and snacks.

Arrival to Agra First Impression Anticipation grows as you approach Agra. The city's historical charm is immediately obvious.

Meeting your Private Tour Guide Upon arrival, your private tour guide will greet you and give you a brief outline of the day's agenda.

Exploring the Taj Mahal: Historical Significance Emperor Shah Jahan created the Taj Mahal, a UNESCO World Heritage Site, to honour his beloved wife Mumtaz Mahal.

architectural beauty Admire the Taj Mahal's delicate inlay work, majestic dome, and lovely gardens, all combine to make it a Mughal architectural marvel.

Guided Tour Information Your professional tour guide will explain the Taj Mahal's history, structure, and meaning to you.

Visit to Agra Fort for Historical Background. Another UNESCO World Heritage Site, Agra Fort, served as the Mughal monarchs' principal home until 1638.

Main Attractions Explore the fort's palaces, mosques, and audience halls, each with their own unique story.

Experience on a Guided Tour Your guide will explain the fort's architecture and historical significance.

Recommended Restaurants for Lunch Break Enjoy lunch at one of Agra's well-known restaurants, which provide both traditional and foreign dishes.

Traditional cuisine in Agra Try Petha, a sweet delicacy, as well as Mughlai meals such as kebabs and parathas.

Exploring Local Markets Buying souvenirs Agra's markets are ideal for acquiring souvenirs. Look for marble inlay work, leather products, and handmade textiles.

Local Handicrafts and Artefacts Purchase handcrafted Agra-specific products to support local artists.

Go to Mehtab Bagh. Perfect View of the Taj Mahal Mehtab Bagh gives a breathtaking view of the Taj Mahal from across the Yamuna River, particularly at dusk.

Ideal for photography From this tranquil garden, photograph the Taj Mahal in a variety of lighting and viewpoints.

Optional visit to Itimad-ud-Daulah's Tomb with Historical significance. This tomb, sometimes referred to as the "Baby Taj," is an excellent specimen of Mughal architecture that predates the Taj Mahal.

Architectural marvel. Admire this tomb's beautiful marble latticework and detailed frescoes.

Return to Delhi. The departure from Agra After a great day of touring, you'll depart for Delhi in the late afternoon.

Travel Time: The trip back takes around 3-4 hours, including rest stops along the way.

Comfort Ends During the return trip to Delhi, enjoy some drinks and rest.

Return Flight to Bengaluru Flight Info and Timing Return to Bengaluru in the evening via aircraft. There are several flights available, allowing you to select a convenient time.

Arriving at Home When you arrive in Bengaluru, you will have vivid memories of your memorable day excursion to the Taj Mahal.

Tip for a Smooth Trip The Best Time to Visit The milder months, from October to March, are the finest time to visit Agra.

Pack only the essentials, such as water, food, a power bank, and travel documents.

Tips for Safety Stay hydrated, use sunscreen, and listen to your guide for a safe and fun tour.

Conclusion A Taj Mahal tour from Bengaluru is an unforgettable experience that mixes the splendour of Mughal architecture with the convenience of modern travel. With a private tour guide, you may explore the treasures of Agra at your leisure, obtaining insights that will enrich your vacation. This tour is a must-do for everyone visiting Bengaluru, as it combines history, culture, and local character.

[muddyheritage]

Conditions on Coins and Artefacts...

Surfaces may be wet cleaned if surface finishes are stable.Use a mild detergent and water. Follow with a rinsing wipe de-ionized or distilled water.Dry Cleaning Objects…Objects may be dusted with soft bristle brushes if the surfaces are solid.Do not clean if finish materials (paints, decals labels, paint inlays, etc.) are flaking, peeling cracking, or sticky.Do not clean if the object has…

[rajholidays]

Unveiling Majesty: Exploring the Enchantment of the Golden Triangle

The Indian subcontinent is a treasure trove of history, culture, and architectural marvels that span across centuries. Among its many tourist circuits, the "Golden Triangle" stands out as one of the most captivating and popular routes, showcasing the rich heritage of India. This article delves into the enduring charm of the cities that form this iconic Golden Triangle – Agra, Jaipur, and Ajmer – each offering unique experiences that bring the past and present together in a vibrant tapestry of sights, sounds, and emotions.

Agra: Where the Taj Mahal Reigns Supreme

Agra, a city steeped in Mughal history, is proud of the Taj Mahal, which serves as its centrepiece. This pristine marble mausoleum, built by Emperor Shah Jahan in memory of his beloved wife Mumtaz Mahal, stands as an eternal symbol of love and architectural brilliance. Its ethereal beauty, particularly during sunrise and sunset, has the power to leave visitors awe-inspired.

The Taj Mahal’s Timeless Allure

The Taj Mahal’s allure goes beyond its impressive façade. Its intricate marble inlays, meticulously designed gardens, and the surrounding reflecting pools create a sense of serenity that transports visitors to a different era. The play of light on the white marble throughout the day gives the monument an ever-changing persona, making it a photographer’s paradise and a dream for history enthusiasts.

Agra Fort: A Testament to Mughal Grandeur

While the Taj Mahal is Agra’s crown jewel, the Agra Fort is its sturdy foundation. This UNESCO World Heritage site showcases the architectural prowess of the Mughals. Its imposing red sandstone walls house elegant palaces, courtyards, and mosques that echo the tales of a bygone era. From the Diwan-i-Khas (Hall of Private Audience) to the Sheesh Mahal (Mirror Palace), every corner narrates the grandeur and opulence of Mughal rulers.

Jaipur: The Pink City’s Royal Grandeur

The next gem in the Golden Triangle is Jaipur, often referred to as the “Pink City” due to its distinctive pink-hued buildings. This city is a gateway to Rajasthan’s rich heritage, offering a kaleidoscope of traditions, architecture, and vibrant bazaars.

Amber Fort: Where History and Landscape Intertwine

Rising majestically from a hilltop, the Amber Fort is a testimony to Rajput’s valour and craftsmanship. Its ornate architecture, intricate mirror work, and breathtaking views of Maota Lake make it a must-visit destination. The fort’s design seamlessly blends with the rugged Aravalli hills, creating an awe-inspiring spectacle that reflects the harmonious coexistence of human ingenuity and nature’s beauty.

City Palace: Where Royalty Resides

At the heart of Jaipur lies the City Palace, an exquisite fusion of Rajput, Mughal, and European architectural styles. This sprawling complex includes museums, courtyards, and a royal residence. The Chandra Mahal within the palace still serves as the residence of the Jaipur royal family. Visitors can explore its opulent rooms, adorned with intricate artwork and historical artefacts, gaining a glimpse into the regal past of Rajasthan.

Hawa Mahal: The Palace of Breezes

A remarkable five-story structure with intricately designed windows, the Hawa Mahal was built to allow royal women to observe street festivals and daily life without being seen. Its unique honeycomb-like façade not only provided privacy but also allowed the passage of cooling breezes — a vital feature in Rajasthan’s scorching climate. This architectural marvel stands as a testament to the consideration of both aesthetics and practicality in its design.

Nestled at the base of the Aravalli Mountains, Ajmer is a city of spiritual significance and historical depth. The Ajmer Sharif Dargah, a Sufi shrine honouring the revered saint Khwaja Moinuddin Chishti, draws pilgrims from across the globe. The tranquillity and spiritual aura of the Dargah offer solace to those seeking a deeper connection, making it an integral part of the Golden Triangle Tour Packages.

Ajmer: A Spiritual Oasis

Nestled at the base of the Aravalli Mountains, Ajmer is a city of spiritual significance and historical depth. The Ajmer Sharif Dargah, a Sufi shrine honouring the revered saint Khwaja Moinuddin Chishti, draws pilgrims from across the globe. The tranquillity and spiritual aura of the Dargah offer solace to those seeking a deeper connection, making it an integral part of the Golden Triangle Tour Packages.

The nearby Ana Sagar Lake, commissioned by Anaji Chauhan, the grandfather of Prithviraj Chauhan, offers a serene escape from the city’s hustle and bustle. The marble pavilions, lush gardens, and reflective waters create a picturesque setting for introspection and leisurely walks.

Dargah Sharif: A Sufi Haven

The Dargah Sharif in Ajmer is a revered Sufi shrine that attracts millions of devotees and tourists each year. The shrine’s intricately designed entrance, the dargah’s marble courtyard, and the soothing Qawwali music create an atmosphere of devotion and tranquillity. The Urs festival, commemorating the death anniversary of Khwaja Moinuddin Chishti, transforms Ajmer into a colourful carnival of spirituality and communal harmony.

Ana Sagar Lake: Where Nature Embraces Serenity

Adjacent to the Dargah Sharif lies the Ana Sagar Lake, a man-made marvel that offers respite from the bustling city. The serene waters, flanked by marble pavilions and lush gardens, create a peaceful ambience for visitors to relax and reflect. The nearby Daulat Bagh Garden, with its marble pavilions and a Baradari (pavilion with twelve doors), adds a touch of royal charm to the tranquil setting.

Golden Triangle Tour Package FAQs: Top Questions Answered

How long does a typical Golden Triangle tour last??

A typical Golden Triangle tour lasts around 5 to 7 days, allowing ample time to explore the highlights of Agra, Jaipur, and Ajmer.

What’s the best way to travel between these cities?

The most convenient way to travel between these cities is by road, either through guided tours or self-driven options. Trains and flights are also available for certain routes.

2. When is the best time to visit?

The best time to visit the Golden Triangle is during the winter months, from October to March when the weather is pleasant and suitable for outdoor exploration.

3. What are some must-try dishes in these cities?

Agra offers the famous “Petha,” Jaipur is known for “Dal Baati Churma,” and Ajmer offers the delectable “Sohan Halwa,” giving tourists a taste of regional culinary delights. 

4. Are these cities safe for tourists?

Yes, these cities are generally safe for tourists. However, it’s advisable to follow common travel safety tips and be cautious of pickpocketing in crowded areas.

5. What should I wear when visiting religious sites?

Modest attire is recommended when visiting religious sites, covering shoulders and knees out of respect for cultural and religious sentiments.

Conclusion

In conclusion, the Golden Triangle Tour Packages offer a remarkable journey that is both an exploration of India’s past and a celebration of its present. Agra, Jaipur, and Ajmer stand as pillars of the nation’s heritage, inviting travellers to experience the enduring charm of their captivating stories, awe-inspiring architecture, and profound spirituality. Embarking on this tour is an invitation to witness the vibrant tapestry of India’s history, culture, and human spirit.

[saritahanda54]

Sarita Handa’s New Collection: ‘African Modern’

Sarita Handa’s new collection ‘African Modern’ brings together modern design sensibilities with the mesmerising African tribal art.

The seamless blend of art in textiles and decor to celebrate the uncommon beauty of common things has been an underlying design principle that Sarita Handa abides by. For more than 2 decades the company has been a unique platform for artistic expression in textiles. Throughout history, painters have been influenced by artefacts and art of other cultures. African tribal art has played an influential role in the history of European Art. Foraying further into the revival of ancient art and mixing it with modern decor design sensibilities, Sarita handa debuts African Modern, an ode to the African Tribal Art seamlessly blended with the minimal chic aesthetics of modern home decor.

The core philosophy this season has been to juxtapose modern furniture with tribal design aesthetics be it in home linen, artworks or furniture details. Materials used are wood, rattan/cane & bone in furniture. In home linen we have worked with heavy textured cottons & linen accentuated with rugs, accessories and plants to portray products that draw from African aesthetics yet compliment the modern furniture and design aesthetics perfectly. Hence, the name ‘African Modern’.

This collection is an ode to this lost art bringing it alive, the warmth of the sun and sand and the serenity of flora and fauna of Africa have been interpreted on textured fabrics with intricate needlework for cushions, and bedding. The furniture range features sculptural pieces crafted as functional art, mid-century modern styles & bone inlay furniture which when planned together create the right tension and drama. The emphasis of this collection has been on the entire composition of a space wherein every product is a statement and yet comes together for a surreal composition.

“We have made the collection and the entire setup of the theme look iconic. The range offers an experience for those seeking home decorating ideas. Thus, despite putting our attention on single pieces we have concentrated on the aesthetics of the space composition as a whole”, shares Suparna Handa, Brand Director.

Form factor and pattern direction have taken a crisper approach with this collection blending art and functionality. When you take the amazing wood-carved furniture and statuary as well as the beautiful patterns that are woven into Sarita Handa textiles and mix these with simple silhouettes and plush fabrics the composition comes alive!

African Modern by Sarita Handa is modern art, furniture and design blended skillfully into tangible home decor.

[craftfurnish-blog]

Incredibly Inlaid

THE INCREDIBLE INLAY ART

Beauty lies in the eyes of the beholder… But this common adage isn’t true in the case of inlay art. This indigenous art form is capable of leaving everyone spellbound at the first look. Taj Mahal, one of the Seven Wonders of the World is a perfect example of marble inlay art.

The beautiful art supposedly developed around the 16th century in Italy as Pietra Dura and was brought to India by the Mughal Emperor Akbar. Known as Parchin Kari, it is a technique of inlaying semi-precious stones such as jade, onyx, turquoise, mother of pearl, etc. in marble, wood, ivory, and even metals.

In this article, I will talk about two of the most precious and lavish forms of Inlay art – Marble Inlay and Bone Inlay.

MARBLE INLAY

This is the most ancient form of Inlay art practiced exclusively in Agra, Uttar Pradesh, and some areas of Rajasthan. Most of the works of architecture from the Mughal Era are designed in marble and bear this extravagant art form on their walls and floors. The intricate details of the pattern are filled beautifully with colourful stones. Besides thin slices of marble, the grooves carved on marble are filled with precious or semi-precious stones like onyx, jasper, carnelian, opal, jade, turquoise, etc. The love and attraction among people for the intricate and mesmerizing monuments from medieval times forced the artisans to replicate this beautiful art on various utility and home décor products. The never-ending list of marble inlay work includes flower vases, fruit bowls, marble inlay tiles, pen and candle stands, photo frames, wall hanging plates, trays, tables, jewellery boxes, figurines of animals and divinity, coasters, chess boards, etc.

THE PROCESS INVOLVED

The Marble is first to cut into the desired shape according to the decorative item to be made. Tabletops, coasters, plates, ashtray, flower vases, trinket boxes are some of the popular artifacts made in marble.

A design of either geometrical patterns or floral motifs is drawn on a brass sheet and transferred onto the marble. The carving tools called ‘tankiya’ and ‘narzi’ are used to engrave the pattern by creating grooves on the surface of the marble.

The semi-precious stones are selected on the basis of design i.e. flowers, leaves, animals, birds, etc., and are shaped using a hand-operated machine called Emery wheel.

The colourful stones are then stuck in the grooves on marble using traditional glue and left to dry. After it is dried completely, the inlaid marble surface and the edges are smoothened using fine sandpaper. It is finally polished and a remarkable piece ready for use.  

BONE INLAY

Another art form that has transcended medieval times with evidence of embellished furniture from the Mughal and Rajput eras is the magnificent Bone Inlay art.  

Bone inlay is the ornamental technique that involves inserting delicate, hand-carved pieces of bone or mother of pearl into the surface of an object. The patterns followed are generally floral and geometric. The sophisticated and timeless art of bone inlay is passed from one generation to the next and is practiced exclusively in the Jodhpur, Udaipur, and Jaipur regions of Rajasthan.

Bone inlay is a spectacular art with beautiful and unique patterns carved on various pieces of furniture and no two pieces designed by the skilled craftsmen are the same. The luxurious furniture crafted under this art lends an exotic appeal to a simple room and can never go unnoticed by anyone. Whether it is a cabinet, chest, table, chair, stool, bed, photo frame, cupboard, or even mirror, this intriguing Indian art in all its form is praised and exported to several places across the world.

THE PROCESS INVOLVED

Firstly, a pattern is carved out from the material. This material can be either mother of pearl or cruelty-free polished bone from camels that have died of natural causes. Then depending on the utility item that needs to be crafted, the base object is chosen. This can be either wood, metal, or ivory. The designs are carved on these to match the prepared design so that the delicate pieces of bone or mother of pearl can be neatly fit onto the surface. After this, the resin in contrasting colours is filled around the bone shapes giving the final touch to a magnificent piece of furniture.

CARING AN INLAY ARTIFACT

Since Inlay art is done using sensitive materials like marble, semi-precious stones, bones, and mother of pearl, dust the objects regularly with a dry soft cloth only for a long-lasting shine. The use of harsh chemicals must be avoided on surfaces. In case of spills or leaks, objects must be immediately cleaned with a mild cleanser using a soft cloth to avoid stains. Heavy and sharp pointed objects should not be brought in contact with these objects. Always handle these delicate artifacts with extreme care to avoid any sort of breakage.  

Indian handicrafts online

[swapnil1690]

Home #Decor #Beaut #KnickKnack #Collection #Brass #Inlay #Wood #Beautiful #ArtsAndCrafts #Artefacts #Antiques #Crafts #CraftsOfIndia #Heirloom #NoPlaceLikeHome #Home #HomeDecor #Jaipur #JaipurJournal #JaipurDiaries #Rajasthan #India #Travel #Travelogue #TravelDiaries (at Jaipur, Rajasthan)

[matharuarts]

Although most of our products are uniquely designed, embellishment and finished in different sizes and in different designs, but the same can be customary redesigned and resized as per your individual requirement. We can refurbish your products by polishing & repairing the same.

[lancelought]

#swordtember day 2 - Light. A holy artefact kept at the Cathedral of Light, this sword is known as the Heavenblade. The stained glass inlay seems to glow as if lit from behind even in the darkest of rooms, and some claim it is a window to heaven itself.

[dailyhistoryposts]

The Suontaka Viking

[from NPR]

The possibly-nonbinary Viking warrior has been a subject of interest and debate. What was this person's life like?

They were alive from the late Nordic Iron Age (1040-1174 CE) and buried in Finland. The Scandinavian Iron Age, and the Bronze Age preceding it, were characterized by extensive contacts with other cultures in the Fennoscandian Peninsula (today the Finnish, Norwegian, and Swedish mainlands, and some parts of what is now Northwestern Russia) and in the Baltic region (including what is now Denmark, Estonia, Latvia, Germany, Lithuania, and Poland).

[The objects buried with the Suontaka Viking]

Scandinavia had year-round settlements and animal husbandry for a while at this point. The population of the area was expanding rapidly and international trade was booming. They exported furs, slaves, falcons, and castoreum for perfumes, and imported silk, jewellery, glass, and swords.

The term 'Viking' often refers to the entire group of people also called the Norse, but more accurately it's a job. Vikings sailed abroad to raid, pirate, trade, and settle, and travelled to much of the Atlantic-accessible known world (and beyond--the Norse found and settled Greenland and Canada many hundreds of years before Columbus).

Culturally, the Norse spoke Old Norse, a North Germanic runic language. They mostly followed the Old Norse religion before being Christianized--our Suontaka Viking appeared to follow Finnish mythology. The culture was very centred around respect for and remembrance of the dead--most runestones told of dead family or comrades, numerous burial sites have been excavated as graveyards, tumuli (burial mounds). However, the majority of funerals took place at sea be either burial or cremation. When buried like our Suontaka Viking, they were buried with important possessions from their life.

Society was divided into three socioeconomic classes: Thralls (slaves in charge of chores and construction), Karls (landowning free peasants), and Jarls (landowning aristocracy). There were many intermediate positions and some degree of social mobility. Women were subordinate to their husbands and fathers but had rights and independence beyond what was seen in the rest of Europe at the time. Women had no political power but did have religious authority, artistic authority, and economic power, and some military power.

Norse diets were diverse. Meat was smoked, cured, preserved in whey, made into sausages, boiled, or fried. Seafood, bread porridges, dairy, and produce were abundant. People drank beer, mead, fruit wine, or imported wine.

Society had a number of sports and games. Society values the benefits of social gatherings, community participation, and festivals. They played instruments such as harps, fiddles, lyres, and lutes.

[A Tafl board, a Viking chess game]

Our Suontaka Viking was likely wealthy and well-respected. Poorer Norse fighters used spears, and wealthier Vikings used swords (mostly symbolically or decoratively--the seax remains the primary Viking battle weapon).

They were buried with a number of artefacts. These include a hiltless sword with silver inlays, three brooches, a sheathed knife, a twin-spiral chain-bearer, and a sickle. They were also buried with a bronze-hilted sword, but likely afterwards, perhaps by the next generation to hide it. This is a unique mix of gendered objects not seen in other burials from the same time.

The Suontaka Viking was buried in a grave that appeared to belong to a high-status and wealthy warrior woman. However, recent studies have found the possessed XXY chromosomes (Klinefelter syndrome). People with Klinefelter syndrome are assigned male at birth (AMAB). Symptoms, if there are any, would like present at puberty, potentially with less body hair and with breast growth, but some people with Klinefelter syndrome do not notice at all.

This means the Suontaka Viking was AMAB and raised as male, but at least sometimes wore women's clothing and was remembered by their society this way. They were buried as a wealthy person, meaning they were not shunned by their family or society. The Suontaka Viking was dressed in warm and well-made clothes, with valuable items, on a feathered pillow. They were raised male but lived life in a feminine way and were buried in a way that is, to quote to the original paper, 'gender-mixing'.

We don't know how this individual lived their life. We don't know what they would've called themself in their own day, and we certainly can't guess what they would call themself if they were alive today. However, we can be certain that this is a person who lived in a unique place in a society with typically rigid gender roles. They lived in a way not typical for their people and were accepted and loved.

Read the original paper here.

[bitchwhoreofastorm]

a birthday gift for the much-loved @ayrenn​, who taught me so much about TES over the years. hope you had a good one! 

--

Long long ago, back before Morrowind was even called Morrowind, the land of Resdayn was a great playpen for the Daedra. Very many important spirits sent their champions to the land so that they could all battle it out. Boethiah had her champion, and Mephala had her champion, and Azura had her champion, and Hermaeus Mora his, and Mehrunes Dagon his own, and even dead Lorkhan sent a piece of himself to get in on all the fun. Among Oblivion, it was well-known that anyone who was anyone was involved with the First Council.

So one day Clavicus Vile, the Child-God, began to wonder why he, too, shouldn't have a hand in the First Council. He had never much been interested in Morrowind, and until then had been happy to play cards with Morihaus and meddle with Hircine's Valenwood affairs. But when he glanced to his neighbor Boethiah's realm and saw how much fun she was having, he thought to himself: 'It's not fair that they get to have so much fun!' For Clavicus Vile is a very greedy Prince, and whatever someone else has, he shall start to covet, even if he cared not for it before. 

So it was that covetous Clavicus Vile decided that he’d ruin the fun of the other Princes and, in doing so, have a little fun of his own. These entertaining mortals were yet mortals, and they could easily be lead to cause their own ruin. In particular, the beloveds of Boethiah, Azura and Mephala were full of desire and hubris, and they were right in the thick of things, too, ripe for their own downfall.

So, Clavicus Vile went to Resdayn to destroy the Tribunal.

He appeared first to Almalexia, the Warrior-Queen of the Chimer who Boethiah so doted on. He found Almalexia in Mournhold's gardens surrounded by trees heavy with many colourful fruit. "Greetings, mortal," said he with a courteous bow. "I am Clavicus Vile, Daedric Prince of granting power through invocations and pacts. How would you like to make a deal?"

Almalexia regarded this with healthy suspicion. "I am the wife of the Hortator and the mother of the nation. My children may lack for many things in life, but I give more than I take. Why should I make a deal with you?"

"Your husband is a great man, but you are a greater woman still, and it seems unfair to me, Elf-Queen, that you should waste your life being a prop for a caravan guard. Make a deal with me, mortal, and I can grant you power that would see you alone exalted!"

This caught Almalexia's attention, because Clavicus Vile spoke truly: Almalexia had been a Queen before her marriage, while Nerevar was but a commoner, and for him to be elevated above her greatly hurt her pride. "You have a point," she conceded to the Daedra. "I alone should have the throne, and it is only right for me to have more power than him. But all things come with a cost. What price would you have me pay?"

"Your husband keeps a shrine to Azura in his chambers," said Clavicus Vile. "And on that shrine is a cup. I want you to steal that cup for me! It is a Daedric Artefact and very precious to Azura, and I want it for my own." Now, from a pocket of his flowing toga Clavicus Vile produced three tall columnar candles, with gilded inlays and pristine white wicks. "Take my candles," he bid Almalexia, who did so, "And when you have stolen the cup, use them to invoke me, and I shall make you the most powerful mer in Resdayn!"

With Almalexia so dealt with, Clavicus Vile went next to Sotha Sil, the Mage, that capricious wayward child of Azura whose meddlings in Oblivion were the vexation of all Daedra. He found Sotha Sil in a laboratory deep beneath the ocean, surrounded by all manner of chittering skittering mechanical beings. "Greetings, mortal," said Clavicus Vile with a curtsy, "I am Clavicus Vile, Daedric Prince of granting power through invocations and pacts. How would you like to make a deal?"

Sotha Sil regarded this with a decent amount of intellectual curiosity. "I would be interested in making a deal," said Sotha Sil, "But the Hortator has charged me with inventing new war magics for the good of the nation, and wasting time with Daedric dalliances would set me back in my work. Why should I make a deal with you?"

"Nerevar is a great warrior, but he is a simpleton and a commoner and does not understand the ways of magic. Indeed, you taught him all he knows! How is it fair that you pursue his interests and not yours? You are a great intellect, and you should be free to research whatever you find interesting. Indeed, Nerevar is so ignorant, he would not even know you aren't serving his cause!"

Sotha Sil scratched his bearded chin and contemplated this, for Clavicus Vile spoke truly: Nerevar was a worldly man, without formal education and ignorant in the complex vagaries that captivated Sotha Sil. "I am smarter than he," conceded Sil, "And smart enough to know that such deals come with a great cost. What would you ask of me?"

"In Nerevar's room there is a shrine to Azura, and on that shrine there is a cup. It is an enchanted cup, of no use to mortals but great use to Princes, and I could do a great many things with that cup." With a grand flourish of his arms, Clavicus Vile produced a set of elaborate silken robes, cerulean-blue and shining like glass. "Steal the cup and don my robes, and invoke me, and I shall make you the most knowledgeable mer in Resdayn!"

Now that Sotha Sil was taken care of, Clavicus Vile finally went to Vivec, the roguish plaything of Mephala. He found Vivec perched on a lakeside dock in the wilderness, composing poetry while his feet dangled in the cool waters. "Greetings, mortal!" proclamed Clavicus Vile, doffing a hat he'd conjured for the occasion. "I am Clavicus Vile, Daedric Prince of granting power through invocations and pacts. How would you like to make a deal?"

Vivec met this greeting with a broad grin. "Okay, I'll make a deal. What do you want?"

"Nerevar is greatly beloved by all, but he is crass and without romance, while you are fairer and your tongue sweeter than his. Yet everyone loves him and pay no heed to you. Why should he be beloved by all instead of you? Make a deal with me and--" Clavicus Vile paused. "Wait, did you say yes?"

"Sure. What can I get you? For myself, I want a golden lute, five beautiful lovers and the softest bed in creation."

"Now just you wait a minute!" said Clavicus Vile, a little flustered. "I wasn't going to offer you a bed or a lute or five beautiful lovers. Listen here, you hasty little twerp. In Nerevar's chambers, there is a shrine to Azura, and on that shrine is a golden cup. I want that cup!" Clavicus Vile approached Vivec, leaning close and whispering several secret words in his ear. "Steal that cup for me,” he finished, stepping back, “Then use those words to invoke me, and I shall make you the most beloved mer in all Resdayn!"

With his trap so set, Clavicus Vile returned to Oblivion. Now all he had to do was wait patiently for the Tribunal to unmake themselves. Though he always loved seeing mortals engineer their own ruin, this occasion was particularly exciting for the bother it would cause his fellow Princes; he couldn't wait to see the looks on their faces!

He was waiting a long time, as it turned out. A long, long time. In the meantime the Chimer went to war with the Dwemer over something silly, and the other Daedra got upset over various mortal shenanigans, some drama about 'tools' and 'a heart' and 'heresy', but by that time Clavicus Vile's ever-short attention span had already expired, and he'd moved on to messing about with the Direnni in the West.

Finally, at last, Clavicus Vile awoke from a pleasant dream and felt the familiar tug of invocation. "So they have finally undone themselves!" he thought with glee, donning his nicest toga. "How about that, Boethiah and Azura and Mephala? We'll see who gets the last laugh!"

So Clavicus Vile answered the invocation, appearing at a shrine on the dusty ash-covered slopes of a volcano. And he saw, to his horror, that the Tribunal were standing unharmed and healthy before him-- and on the ground by his feet lay Nerevar, stone-dead, wearing Vile's robes and surrounded by Vile's candles!

"There you are!" said Sotha Sil when Vile appeared. He himself wore plain robes and a single heavy gauntlet on one arm. "We wondered when you'd shown up."

"I thought you'd try to betray us," said Almalexia, who was armoured and carrying a hammer, "But you kept your word. I'm impressed."

"We wanted to thank you," said Vivec, wearing netch-leather and a smile, and holding a Dwemeri dagger. "Thank you, Clavicus Vile, you've helped us immensely."

"YOU FOOLS!" Clavicus Vile cried out, horrified. "What have you done? Those gifts were poisoned! How could you use them on the Hortator!"

"We knew they were poisoned from the moment you gave them to us," said Almalexia, haughty.

"But we realized your words held truth," Vivec added, "Nerevar was holding us back. He needed to be gotten rid of."

"Now we're free," proclaimed Sotha Sil with a smile. "We're going to use Kagrenac's Tools and raise ourselves to godhood. We shall be the most powerful, knowledgeable, and beloved mer in Resdayn, just as you promised us."

"So thank you, Clavicus Vile!" Vivec laughed. "Nerevar made us swear a pact with Azura not to use the tools, but you got us off the hook! By breaking the invocation and pact with Azura, we're going to receive a great deal of power!"  

"But this is all wrong!" protested a horrified Clavicus Vile. "I'm the Prince of power gained through pacts, not by breaking them! You were meant to use the gifts on YOURSELVES! I promised you power ALONE! You were supposed to ruin each other!"

"But you kept your side of the bargain," replied Vivec, "And now we'll keep ours." 

So the three approached Clavicus Vile, and Vivec extended his hands, in which was held a single, polished, golden, cup. "The cup, as you asked!"

Clavicus Vile pulled at his hair. "I never wanted the stupid cup!" he shouted, "IT’S NOT EVEN AN ARTIFACT! It’s just a CUP! There's nothing special about it!"  

But Clavicus Vile, aghast and furious and upset beyond mortal comprehension, snatched the cup from Vivec, not wanting to come away empty-handed. Ranting and raving and hurling every insult he could think of at the arrogant mortals, he disappeared and went off to sulk in his realm.

So the Tribunal attained godhood, and they became the most powerful, knowledgeable, and beloved mer in all Resdayn, just as the Child-God had promised. Clavicus Vile, meanwhile, kept the cup that had been stolen on his behalf, and in time he placed a curse on it and threw it back to Morrowind, where it could vex the children of the three mer who were now his most accursed enemies. Clavicus Vile has never forgiven them for foiling his plans, and the cup has come to be called 'Bitter Cup'.

[seoprivatetourguide]

Sunrise Taj Mahal tour from Delhi by Private tour guide India Company.

Sunrise Taj Mahal Tour from Delhi with Private Tour Guide India Introduction Have you ever imagined seeing the Taj Mahal drenched in the golden hues of sunrise? A sunrise tour from Delhi to Agra is the best way to see this architectural marvel in all its magnificence. A private tour guide from India Company will provide you with a personalized, pleasant, and enriching journey.

What Makes a Private Tour Guide India Company Stand Out? Personalized experience. A customized tour provides a personalized experience, allowing you to explore at your own pace and concentrate on what interests you the most.

Flexibility and Comfort. Traveling with a private guide guarantees a flexible schedule and a comfortable ride in a private, air-conditioned vehicle.

Knowledge from an expert A skilled guide will provide you with vital insights into the Taj Mahal's history and significance, making your visit more meaningful.

Organizing a Sunrise Taj Mahal Tour is simple and may be booked online. To ensure a seamless experience and a secure spot, book ahead of time.

What to Expect. Expect an early start, a stunning view of the Taj Mahal at sunrise, a tour to Agra Fort, and some time for breakfast and shopping.

To prepare for the journey, pack light, wear comfortable clothes and shoes, and include essentials such as a camera, sunglasses, and sunscreen.

Starting from Delhi Departure time The tour begins early, about 2-3 a.m., so that you can get in Agra before daylight.

Routes and travel times The Yamuna Expressway takes roughly 3-4 hours to reach Agra from Delhi.

Stops for comfort and refreshment To guarantee a comfortable ride, scheduled stops for refreshments and rest will be made along the way.

Arrival to Agra First Impression The excitement increases as you reach Agra. The city's historical charm is immediately obvious.

Meeting your Private Tour Guide Upon arrival, your private tour guide will greet you and give you a brief outline of the day's agenda.

Seeing the sunrise at the Taj Mahal Why Sunrise is special Seeing the Taj Mahal at sunrise is a surreal experience. The warm morning light highlights the elegance of the white marble, providing an unforgettable image.

The best places to view Your guide will take you to the ideal locations to see and photograph the Taj Mahal at sunrise.

Guided Tour Information Your professional guide will explain the history, architecture, and love story of the Taj Mahal.

Exploring the Taj Mahal's Historical Significance. The Taj Mahal is a UNESCO World Heritage Site that was erected by Emperor Shah Jahan in memory of his beloved wife Mumtaz Mahal.

architectural beauty Admire the Taj Mahal's delicate inlay work, majestic dome, and lovely gardens, which elevate it to masterpiece status.

Details about the tour Your guide will explain the Taj Mahal's structure, significance, and tales.

Visit to Agra Fort for Historical Background. Another UNESCO World Heritage Site, Agra Fort, served as the Mughal monarchs' principal home until 1638.

Main Attractions Explore the fort's palaces, mosques, and audience halls, each with their own unique story.

Experience on a Guided Tour Your guide will explain the fort's architecture and historical significance.

Restaurant recommendations for breakfast breaks. Breakfast can be enjoyed at one of Agra's well-known restaurants, which provide both traditional and foreign cuisine.

Traditional cuisine in Agra Try Petha, a sweet delicacy, as well as Mughlai meals such as kebabs and parathas.

Exploring Local Markets Buying souvenirs Agra's markets are ideal for acquiring souvenirs. Look for marble inlay work, leather products, and handmade textiles.

Local Handicrafts and Artefacts Purchase handcrafted Agra-specific products to support local artists.

Go to Mehtab Bagh. Perfect View of the Taj Mahal Mehtab Bagh gives a breathtaking view of the Taj Mahal from across the Yamuna River, particularly at dusk.

Ideal for photography From this tranquil garden, photograph the Taj Mahal in a variety of lighting and viewpoints.

Optional visit to Itimad-ud-Daulah's Tomb with Historical significance. This tomb, sometimes referred to as the "Baby Taj," is an excellent specimen of Mughal architecture that predates the Taj Mahal.

Architectural marvel. Admire this tomb's beautiful marble latticework and detailed frescoes.

Return to Delhi. The departure from Agra After a great day of touring, you'll depart for Delhi in the late morning.

Travel Time: The trip back takes around 3-4 hours, including rest stops along the way.

Comfort Ends During the return trip to Delhi, enjoy some drinks and rest.

Tip for a Smooth Trip The Best Time to Visit The milder months, from October to March, are the finest time to visit Agra.

Pack only the essentials, such as water, food, a power bank, and travel documents.

Tips for Safety Stay hydrated, use sunscreen, and listen to your guide for a safe and fun tour.

Conclusion A sunrise tour of the Taj Mahal departing from Delhi is an incredible experience. With a private tour guide, you may explore the treasures of Agra at your leisure, obtaining insights that will enrich your vacation. This tour combines history, culture, and local flavor, making it a must-see for anybody visiting Delhi.

[skippyv20]

Thank you😊❤️❤️❤️❤️

               Fengguan 

Fengguan, which literally means phoenix crown, is a Chinese traditional ceremonial headgear worn by noblewomen. These crowns were first developed under the Tang Dynasty and were worn through the Ming and Qing periods. Many changes were made with time, and from the 19th century, it would be worn either by a bride on her wedding day or by an aristocratic lady on formal occasions, as an indication of her wealth and status.

In ancient China, the dragon marked the Emperor, and the Phoenix the Empress. (Ming Dynasty empress’s 6-dragons-3-phoenixes crown). 

Bride wearing fengguan

Fengguan of Tang Dynasty worn by empresses. 

The crown is decorated with gold dragons, phoenixes made with kingfisher feathers, beaded pheasants, pearls, clouds, flowers, and gemstones. The number of pearls used range from 3426 to 5449, while the number of gemstones used range from 95 to 128.

The technique of using kingfisher feathers (‘tian-tsui’) has been mastered in China for centuries. For 2,000 years, the Chinese have been using the iridescent blue feathers of kingfisher birds as an inlay for fine art objects and adornment, from hairpins, headdresses, and fans to panels and screens.

Ming Dynasty empress’s fengguan worn with dashan, with dangling string of pearls by the sides. 

These pearls, gemstones, and more kingfisher feathers are made into ornamental flowers, leaves, clouds and phoenixes.  

The striking iridescent blue of kingfisher feathers has been highly prized in China for at least 2500 years.  The weight of the entire crown range from 2–3 kilograms (4.4–6.6 lb). 

Depending on the number of dragons, phoenixes and pheasants, and the presence or absence of certain ornaments, there are different varieties of fengguan.

For example, the fengguan of empresses includes the 12-dragons-9-phoenixes crown, 9-dragons-9-phoenixes crown, and the 6-dragons-3-phoenixes crown. These were worn only during important events: obtaining the title, visiting the Ancestral Temple, and receiving ministers.

The fengguan worn by royal concubines and princesses (includes wives of princes) included the 9-pheasants crown, 7-pheasants crown, and 5-pheasants crown, which was adorned with beaded pheasants and gold phoenixes, with the number of pheasants representing the wearer’s royal rank.

Artefact of Ming Dynasty empress’s 3-dragons-2-phoenixes crown, with the bobin detached and laid at the sides. 

Artifact of Ming Dynasty empress’s 3-dragons-2-phoenixes crown, back view.

The art of ‘tian-tsui’ which literally means “dotting with kingfishers”, died in the 1940s, but some pieces may still be found in Europe and in America.

[diviandecor]

For just $799.00 Black furniture never goes wrong, we keep this in mind and apply in such artefacts with beautiful handmade geometric bold white patterns. This bone inlay round table has an appealing nature and makes a perfect side table for your living room or just adorn it at a corner with some blooms. This is purely hand made table that requires lot of precision to acquire this fine finish. Would like to know more? I would love to email production pictures and more details on diviandecor@gmail.com