Make your gift stand out this holiday season by buying your loved ones ancient artifacts. Check out our latest Christmas Flyer loaded with exclusive deals and unique gift ideas. Visit our website sadighgallery.com or call us Toll Free at 1(800)426-2007 if you need additional information.
Happy Holidays, from all of us at Sadigh Gallery.
CHRISTMAS DELIVERY GUARANTEED!
Also check out the video below to see more of our staff-picked items for the holiday.
Friday, December 7, 2012
Friday, November 23, 2012
Sadigh Gallery Update November 23 2012
Greetings from Sadigh Gallery!
Well, December, the final month of the year, is approaching,
and New York City is becoming a more festive city than ever before. The retail stores are dressed up in their fascinating
holiday decorations, and Christmas songs can be heard from anywhere in the
city! Before the cold and long winter is
here, this would be the best timing to experience the cheerful and lively New
York City atmosphere. If you are visiting New York
City during this holiday season--Here are some ongoing shows and events that
may interest the ancient artifacts aficionados.
Metropolitan Museum
Chinese Gardens
Pavilions, Studios, Retreats
August 18, 2012–January 6, 2013
Buddhism along the Silk Road
5th–8th Century
June 2, 2012–February 10, 2013
Objects from the Kharga Oasis
August 14, 2012–August 4, 2013
Of course, after going to those places, we would like you to
come visit us, too! Unlike in Museums
and high-end galleries in uptown Manhattan area, you may come in to our
showroom to touch and feel the ancient relics on display. We are currently holding a special sale during
holiday seasons as well. If you are
looking for unique gifts for this holiday that are not like any other, feel
free to consult with us and we will be happy to present great ancient artifacts that
would make great gifts. If you live far from New York but are still interested in
knowing what we have, visit our website http://www.sadighgallery.com
or request for our free color catalog!
Here are some of the new collections of ancient artifacts
that are currently available at the gallery:
Ancient Egyptian. Carved amethyst horse, in a reclining pose. Translucent colors include light purple and green. A symbol of prestige, wealth and status. Ptolemaic. 305-30 BC
(3" x 3")
Ancient Egyptian. Carved pale carnelian scarab with traces of red. 26th Dynasty. 633-532 BC (¾" )
Ancient Egypt. Light green glazed faience amulet shows a triad of three Gods, Harpokrates, Isis, and Neith, traces of light blue. In Egyptian mythology, a "triad" is a group of three Gods that make up a family unit. Loop on the backside. Ptolemaic. 305-30 BC (1 ¾" x 1 ¼" )
Ancient Greek. Bronze reclining sphinx with an elaborate braided coiffure, the braided necklace draping across her naked breasts, a small rectangular platform resting on her back. Finely detailed with serene face. Green patina with a light earthen patina. 400 BC(3 ½" x 2 ½")
Thank you, and stay tuned for more updates from Sadigh
Gallery!
Friday, October 19, 2012
New Announcement from Sadigh Gallery!
Sadigh Gallery is currently holding a limited-time online sale!
Sadigh Gallery's ONLINE
FALL SALE
10 % Discount PLUS FREE SHIPPING on Online
Artifacts!
*10 % Discounts will not be applied on already discounted
(40%~50%) Bargain Lots items.
Free Shipping is offered only on orders from U.S. and Canada
only.
Don't miss the opportunity...The sale ends on October 31,
2012! Visit our website, www.sadighgallery.com to
view more artifacts!
Ancient Egyptian Artifacts are number one on an average
collector’s list. Educate yourself on the history, significance and various
uses of these artifacts by visiting sadighgalleryegpyt.com.
This new website, from Sadigh Gallery, serves as a portal into
the world of ancient Egypt. Dive right in to explore this world and be prepared
to be informed about ancient Egyptian gods, animal symbolism, the function of
Scarabs and Ushabtis, Cartonnage, Sarcophagus
and many more. Sadigh Gallery is every collector’s dream come true. We boast an impressive collection of Egyptian artifacts, all guaranteed authentic and at affordable price.
and many more. Sadigh Gallery is every collector’s dream come true. We boast an impressive collection of Egyptian artifacts, all guaranteed authentic and at affordable price.
Don't miss this opportunity to purchase any Egyptian artifacts
you see on this site with 10% Discount and Free shipping deals!
Monday, September 10, 2012
New Additions at Sadigh Gallery
Greetings from Sadigh Gallery!
We have recently acquired a collection of many exquisite
artifacts from collectors and estates.
Here are some of the beautiful pieces currently available at
Sadigh Gallery:
Ancient Egyptian Alabaster Vessel
Carved beige alabaster flask with two small loops protruding
from the sides. Middle Kingdom. 2040 - 1786 BC (5" x 2 ½" )
Ancient Roman Bronze Cupid Inlay
Bronze winged Cupid, aiming with a bow and arrow. Green patina. 100 AD - 200 AD (2" x 1
¾" )
Ancient Roman Silver Cupid Pendant
Silver pendant of winged Cupid, a loop on the top for
stringing. 200 AD
(1")
European Marble Statue
Carved marble statue of a muscular male, the left hand to
the forehead, the right hand broken, the robe from the shoulder and covering
the lower part of the body. The face
shows intricately carved details. 1800's
AD (36" x 12" x 7")
European Bronze Statue of a Soldier
Hollow bronze statue of a standing soldier on a decorative
base. The soldier holds a spear in one hand, wears an armor, cloak over one
shoulder, and a helmet decorated with a
winged dragon. Extremely fine details. 1700's
AD (18" x 7" )
These are some of our favorite pieces and we believe they
will be well received by any collectors.
The details on these pieces are simply magnificent.
Stay tuned for more Sadigh Gallery updates in future!
Wednesday, August 29, 2012
Sadigh Gallery's New Collection of Stegosaurus Eggs!
We
are pleased to announce that we just acquired a small collection of Stegosaurus
(Dinosaur) Eggs! This is surely a unique opportunity for us, as we concentrate
on dealing in ancient antiquities and not paleolithic items (although we do
have some collections of fossils).
FOR
LIMITED TIME ONLY–we offer these eggs to
you with Discounted Prices + Free
Shipping!
We
have only 20 of them…and believe us, they will go very fast!
Thisoffer is on the basis of first-come, first-served, so please contact us to place your order today. Call Sadigh Gallery Toll Free (800) 426-2007, or e-mailus at info@sadighgallery.com
Here
is the sample picture of one of them:
Stegosaurus
dinosaur egg from the Henan Provenance, China. 65 Million Years Old. Sizes are
3 1/2″ – 4″ . It
is known that many dinosaurs, including the stegosaurus, laid clutches of
relatively small eggs in shallow holes scraped in the ground. They may have
been covered with sand and left to hatch in the warmth of the sun. Once the
eggs hatched, the young would have grown quickly as some measure of protection
from predators. The young would have been further protected by remaining in the
middle of the herd. As an animal that lived in herds, the stegosaurus probably
would have fought to establish breeding rights and herd leadership.
Wednesday, August 8, 2012
Satisfied with the Gallery’s Swift Service - Sadigh Gallery Customer Testimonial
So far I am very satisfied with Sadigh Gallery. The
gallery has been very swift with my orders and the free shipping has been
FABULOUS!! Hopefully, I can order more in near future.
By Melanie P.
Thursday, July 26, 2012
Quality Artifacts and Customer Service - Sadigh Gallery Customer Testimonial
I have ordered from
Sadigh Gallery several times over the past several years and I have always been
happy with the quality of the artifacts and with the customer service.
Written by Paul W.
Written by Paul W.
Friday, July 20, 2012
Your Artifact is Well-Received by My Family - Sadigh Gallery Customer Testimonial
I wanted to write this brief note to express my appreciation
in regard to a recent purchase of mine. I can’t tell you how pleased I was (and
continue to be) when I opened the package from your gallery and saw the
beautiful bottle, which is now on my display in my home. My children agree that
the piece is “really cool”. My eldest son even ran to his room to retrieve his
history book in order to show us a section that discussed the period in which
the bottle was created.
Again, I thank you for enabling me and my family to own a
“piece of history” (and such a delightful one at that.)
Thursday, July 19, 2012
Thank You for Your Artifacts - Sadigh Gallery Customer Testimonial
I am
pleased with my order. I like the fact that I now own ancient artifacts. My
Biblical Archeology professor, whom I gave the link to your site to, was
impressed as well. He thought you had an incredible amount of oil lamps from
the Holy Land.
Wednesday, July 18, 2012
Quality and Authenticity Leads To Special Bonds between Collector and Dealer - Sadigh Gallery Customer Testimonial
There are some among us
who have a special feeling about history; the thrill of touching, owning,
something truly ancient and wonder about the times of their birth, use, and who
it belonged to and why.
Perhaps, ultimately, it’s a secret frustration
of not being a museum curator. Someone with special access to notable collections
and able to develop personal relationships with certain pieces in a special, private
way.
These days, it is not
easy to do that but there are those among us who can facilitate that special
bond; antiquity dealers. People who
share that sense of history and have the knowledge that allows them to be value
to prospective buyers. They can guarantee
the quality and authenticity of the artifacts that allows that bond, the sense
of satisfaction mentioned above, or something for an investment.
Mr. Sadigh is such a
Man and his New York gallery is a very special place. You can browse to your heart’s content,
handle items that speak to you, acquire them, and get questions answered about
anything you want to know more about.
Come by, you will be glad you did.
Friday, July 13, 2012
Ancient Egyptian Writing
The scribes of Egypt used three distinct scripts in their
writing: hieratic, hieroglyphic and demotic.
The hieratic and demotic are merely cursive derivatives of
hieroglyphics. By the Roman period, the
Coptic, a fourth script was used, which was based on the Greek alphabets and
different principles.
The ancient Egyptians called Hieroglyphic scripts “mdju
netjer”, which meant “words of the gods”.
Hieroglyphs were the earliest and longest-lived form of Egyptian
script. It is the most familiar to the
modern observers when starting in awe at the columned halls at Karnak, the
beautiful tomb paintings in the Valley of Kings & Queens, and on sarcophagi
and coffins.
The Ibis-headed god Thoth was considered the patron deity
of writings and scribes. A relief from
the temple of Ramesses II at Abydos shows the god sitting on a throne, holding
a long scribal palette in one hand and in the other, holding the reed with
which he is writing. King Ramesses
himself is shown assisting the god by holding an ink pot-like jar.
The first hieroglyphs appeared on labels and pottery
objects dating back to about 3100 BCE, in the late Predynastic period and the
last glyphs appeared on the island of Philae in a temple inscription carved in
394 ACE. Originally, hieroglyphs were
used to write different kinds of texts on different surfaces, but as hieratic
script developed, hieroglyphic script became confined to religious and
monumental usage, mostly carved in stones.
The Greeks, upon seeing these temple and other religious inscriptions,
called the script “hiera grammata”, which meant “the sacred letters”, or “ta
hierogyphica”, which meant “the sacred carved letters”.
A hieroglyphic inscription is arranged on its surface
either in columns or in horizontal lines.
There are no punctuation marks or spaces to indicate the divisions
between words. The signs are generally
inscribed facing rightward, when appeared in columnar form; they are usually
read from right to left. If they appear
in horizontal lines, they are read from upper to lower.
Hieroglyphic script is largely pictorial in
character. Most are recognizable
pictures of natural or fabricated objects, often symbolically
color-painted. The ground plan of a simple
house, or pr, might stand for the word “house”.
These are called ideograms.
Hieroglyphic script also includes phonograms, sign-words
for concepts that cannot be conveyed by a simple picture. The phonogram is best represented by the
“rebus principle”. A rebus is a message
spelled out in pictures that represent sounds rather than the things.
Hieratic were the ancient Egyptian cursive writings, used
from the first dynasty (c. 2925 – c. 2755 BC) until about 200 BC. Derived from the earlier, pictorial
hieroglyphic writing used in carved or painted inscriptions, hieratic writings
were generally written in ink with a reed pen on papyrus; its cursive form was
more suited to such a medium than were the formal hieroglyphs. It was originally written vertically and
later horizontally from right to left.
After about 660 BC, demotic script replaced hieratic in most secular
writings, but hieratic continued to be used by priests in the transcriptions of
religious texts for several centuries.
Hieratic is an adoption of the hieroglyphic script, the
signs being simplified to make their writing quicker. Hieratic was the administrative and business
script throughout most of its history and recorded documents of a literary,
scientific and religious nature. The
earliest body of hieratic texts, thus far, is estate records, that date from
the Fourth Dynasty.
Writing was not one, but two inventions: first, the
script by itself – a comprehensive series of signs made by a series of brush
strokes, capable of representing all the words or sounds of human speech and
second, the remarkable invention of the materials used to record, transmit and
preserve these scripts, like the papyrus, the pen and the ink.
The word “Demotic” comes from Greek, which meant “popular
script”. By the Hellenistic period of
the Ptolemies, demotic was the only native script in general daily use. It is very cursive script, having been
derived from hieratic, making it difficult to read and almost impossible to
transcribe into hieroglyphic context.
Demotic scripts were generally administrative, legal and
commercial, though there are a few literary composition as well as scientific
and religious scripts.
Sunday, July 8, 2012
Sadigh Gallery—Mail Order Antiquity Business
In the previous articles, we discussed about the
characteristics of our gallery which make us one-of-a-kind in the highly
competitive antiquities business.
Although we have a physical gallery in the heart of New York
City which people can walk in at anytime during our business hours, we are
mainly a mail-order company. Because of
this nature of our business, we have customers and various networks of dealers
and collectors from everywhere in the United States and even overseas. We often process a large volume wholesale
trade with established dealers, but also work closely with individual
collectors, schools and museums to fill their specific needs.
Along with a wholesale catalog, we hold 6 mail-in auctions
every year. These auction catalogs feature pictures and prices of everything for
many different cultures of the ancient world, and gives our customers a chance
to purchase unique artifact at price as low as 50% of the listed amount. Of course you would have to bid higher amount
to outbid your competitors but this auction experience certainly makes
antiquity collection more interesting. Most of our walk-in trade is catalog
customers, some who happen to be in the neighborhood and others who travel from
around the country to browse and touch the ancient pieces.
Thursday, July 5, 2012
Sadigh Gallery Ancient Art—New York City’s One-of-a-kind Ancient Artifacts Wholesale Dealer
We have been sharing our knowledge on the history of ancient
artifacts and cultures for quite some time now, but at this time we would like
to come to a brief pause…and instead, write briefly about history of our very
own gallery.
Just what exactly is Sadigh Gallery Ancient Art, Inc?
If you have learned about us from the Smithsonian Magazine
or any other cultural/history magazines, you may have seen from the ads that we
are a wholesaler on antiquities. We
recognize that this fact perks up some interest in people, who must wonder how
is it possible for us to wholesale something as valuable and unique as
treasured antiquities from ancient societies? Are they not supposed to be
collected and secured safely in museums?
We must admit we do receive many questions from our visitors. One of the
reasons why a question like this is common, is perhaps because of the general
notion that everything that ancient and found in archaeological digs are rare
and, therefore, expensive. Museums often
make us think that way too, having pieces of ancient jewelries showcased behind
highly guarded glass windows. While some artifacts--such as ancient Egyptian
sarcophagus fragments from funeral grounds of pharaohs-- are indeed exclusive
and may cost well over thousands in auctions, most are not so as highly
valued. The reason of this is simple: People in
ancient times generally lived the same way as we did although in much simpler
ways. People had items that they would use daily, such as currency, jewelry,
coins, and pottery. These types of items
were owned by common people were produced in mass numbers, and, these are the
artifacts that we mainly deal with.
Ancient coins are maybe available from $20.00 and up. Broken pieces of abundantly produced pottery
or glass vessels can be purchased as low as $10 each. Such
items may not be diamonds yet they attribute historical values, and are popular
among creative jewelers who would rearrange these finds in modern beautiful
jewelry or ornamental settings. Sometimes, the quality or the history of an
artifact does affect the price. For
example: An ancient Egyptian ushabtis made of alabaster for higher officials
which still retain clear hieroglyphs, is available for sale over $1000
range. Even so we gladly offer
discounts and chances for public to purchase exclusive items for lower prices
during our bi-monthly auctions.
Sadigh Gallery has accumulated the collection of these
artifacts over 30 years in New York, and even more—the family-owned gallery has
been running for several generations.
In next update we will discuss farther about our unique antiquities business
method, which can be categorized as a mail order business.
Monday, July 2, 2012
Sadigh Gallery’s New Ancient Chinese Jade Collection
Sadigh Gallery has recently acquired an estate collection of
ancient jade Lohan statues from 1300’s AD.
So what exactly are these Lohans that we are talking of? Lohans (also known as Arhats) are the 18
followers of Buddhism’s “Eightfold Path”, who have reached the state of
complete freedom from worldly desires
and were no longer subject to reincarnation. Their saintly
characteristics are sometimes regarded as similar to guardian angels of western
world, and are thought to protect people from all kinds of evil. Each Lohan embodies philosophy of life, and
the statues/drawings of them are often placed in Buddhist temples for people to
open themselves to spiritual exploration.
The translated names of the eighteen Lohans are:
Deer Sitting Lohan: Signifies spiritual awakening
Happy Lohan: Bringer
of eternal happiness, dispels any obstacles that prevents one from happiness
Raised Bowl Lohan: The begging bowl signifies humility, and
teaches that if one could only be rich spiritually, he/she may reach eternal
happiness.
Raised Pagoda Lohan: Bringer of auspiciousness
Meditating Lohan: Enhances the serenity of the home.
Oversea Lohan: Lohan who spread the teachings of Buddha
overseas, the father of Japanese zen Buddhism, and the master of martial arts
Elephant Riding Lohan: Bringer of fortune, the elephant is a
symbol of victory over evil forces
Laughing Lion Lohan: Embodies
compassion and wisdom. The lion is the powerful protector against worldly
disturbances.
Open Heart Lohan: Represents purity of the mind
Raised Hand Lohan: Bring harmony among the siblings.
Thinking Lohan: Brings
blessing through meditation
Scratched Ear Lohan: Symbolizes purification of the sense of
hearing in search for peace and quiet.
Calico Bag Lohan: Protects one from evil of the world
Plantain Lohan:
Bringer of the guru
Long Eyebrow Lohan:
Embodies virtues and wisdom.
Doorman Lohan: Teaches one that one must practice diligently
in order to eradicate the greed, anger and ignorance in one's mind
Taming Dragon Lohan:
Symbolizes bravery and wisdom
Taming Tiger Lohan: Teaches one to overcome the “tiger”--
desire, greed, anger and hatred-- in one’s mind.
It is a rare occasion for us to obtain a full collection
of 18 Lohan statues that are still in a
beautiful condition. View our collection
at our website here:
Sunday, July 1, 2012
Ancient Chinese Jade Artworks
The Chinese have had a love affair with Jade - and other
beautiful stones - for thousands of years. The appeal of Jade to the ancient
Chinese was due to its toughness, luster, multiplicity of colors and the
transformation it underwent when heated. The burning of Jades in pre-burial
cremation ceremonies was essential for members of the ruling class in many
areas and periods of ancient China. Confucius compared the qualities of Jade to
those of a cultured man. The appreciation of archaic Chinese Jades involves
more than just the enjoyment of their solemn aloofness and brilliant luster.
One must look beyond their physical properties - what can be seen and touched -
to the metaphysical spirit that they embody. This spirit is born of the Chinese
veneration of heaven and ancestors. It grows moreover from a culture that seeks
to live in harmony with nature.
With the exception of a few simple objects like round and
flat discs with central holes (called Bi or pi, symbolizing Heaven, and
deriving from early sun-worship) and drilled beads for stringing, the earliest
Jades are prohibitively rare.
Starting about 2,000 BC the population in China was
expanding, and with it the demand for and ability to find and transport the raw
stone (usually from far away places) to craft centers where fine Jade objects
were created for the arising nobility. Being a large and diverse land, the
Chinese found many raw materials suitable for object creation, all of which
were called Yu.
“Stone of heaven” is a term used by the Chinese to describe
what they view as the most precious of gems - Jade. To understand the
importance of Jade to the Chinese is to gain insight into their culture and
history. Jade is woven into the very fabric of Chinese ethos and it has been
from the earliest Neolithic cultures that thrived in what became known as
China.
It is only recent, owing to controlled archaeological digs
of the last few decades and the use of modern scientific dating techniques,
that it has become clear that Jade work in China extends back over a long
period prior to the Shang era. In fact, Chinese archaic Jades of the Bronze Age
and later are the product of a long development process, extending so far back
through the Neolithic period (to about 5500 B.C.) that the period of Jade
working before the Shang era now appears to be longer than what used to be
considered the classic period of archaic Jades, i.e. the Shang to Western Han.
Please enjoy our collection of fine jade artworks from ancient Chinese era:
Friday, June 29, 2012
Ancient Egyptian Coffin and Cartonnage Masks
Thousands of years ago, the Egyptians hoped to achieve
eternal life through identification with the funerary god Osiris. They believed that the deceased would attain
immortality if the body was preserved for resurrection and if proper funerary
rites were observed. The mummy masks and
the anthropoids sarcophagus emulated the divine Osiris, and aided the deceased
in the perilous journey to the next world where it was believed that
resurrection would magically occur.
The embalmed bodies of the dead were wrapped for protection
before they were deposited in coffins, called sarcophagi, which were usually
made of wood. This wrapping, made of
layers of linen or papyrus stiffened with gesso (plaster) and then painted with
bright multi-colored decoration that carried symbolic significance is called
cartonnage. It was most commonly used
for mummy masks, mummy cases, anthropoid coffins and other funerary items.
These two pieces, the covering for the head and torso, were
the most significant elements of the cartonnage, as they protected the most
vital areas of the body of the deceased.
At the top of the breastplate is a winged Sun disc with “Uraeus”
serpents appended at each side. Below it
is the representation of the deceased, pictured as he or she lays mummified within
his or her cartonnage.
At the bottom, and dominating the decorative scheme, is a
large standing winged goddess, with a Sun disk on her head. The features on the head covering are
idealized according to the conventions of Egyptian style. Its smiling face has the character of a mask,
with its smooth transitions between the facial planes and the absence of
naturalistic details. The eyes are given
special emphasis and are rendered as large, full almond shapes clearly
outlined. Above them, are heavily
painted brows that lay in drawing attention to the eyes below.
Once the mummy was entombed within the wooden sarcophagus, a
life size image of the deceased – a “Kah” – was placed over the face. The “Ka” or “Kah” masks were made of cedar
wood from Lebanon, as wood was scarce in ancient Egypt. Wooden mummy masks were unusually constructed
of small pieces joined together and pegged into place on the front of the
sarcophagus. The mask and the
sarcophagus were then covered with plaster and religious motifs to help the
deceased in his or her voyage.
Thursday, June 28, 2012
Ancient Greco-Roman Medical & Surgical Instruments
Just like today, physicians in the Classical World had
access to a variety of intricate medical & surgical instruments that were
designed to aid them in their treatment of the sick and injured.
Several ancient texts mention the use of surgical tools and
instruments used by doctors in antiquity. The precise date when each instrument
was first employed is largely unknown. The most of the instruments seemed to
have been available to Hippocrates (c. 460) and continued to be used throughout
the late Roman Empire with several existing in a similar form still being used
by physicians today. The Greco-Roman Age
covers the period when the Romans ruled the Greek World. Greek medicine and surgery grew up side by
side, as partners and medicine continued to develop under the Romans who had
gained much of their medical knowledge from the Greeks; so much so that Julius
Caesar gave Roman citizenship to all free-born Greek physicians practicing in
Rome. The Romans easily conquered
Macedonia and Greece in 197 BC but proclaimed “the freedom of Greece” the
following year only to return in 167 BC to abolish the Macedonian kingdom that
refused to follow their wishes. Roman
armies swept into Southern Greece taking action against those who disobeyed
their orders. Another recognized period known as the Greco-Roman occurred from
the time of the great physician, Galen, until the fall of the Roman
Empire. Toward the end of this era,
Greek influence began to fade. Only a
few medical men were respected but most were little better off than slaves do.
After a time, Roman medicine fell into the orbit of Byzantine Culture and lost
the original virility inherited from the Greeks.
Following are types of ancient medical instruments:
Scalpels: Could
be made of steel, bronze, or a combination of the two metals (such as a steel
blade and a bronze handle). Ancient scalpels had almost the same form and
function as their modern counterparts do today. The two long steel scalpels
that make up the first and third columns of the accompanying image are examples
of the most ordinary type of scalpel from antiquity. These long scalpels could
be used to make a variety of incisions, but they seem to be particularly suited
to making either deep or long cuts. The four bronze scalpels, which make up
columns two and four, are generally referred to as "bellied
scalpels." This variety of scalpel was another favorite of physicians in
antiquity since the shape of its handle allowed more delicate and precise cuts
to be made (such as incisions between ribs).
Hooks: Another common instrument used regularly by
Greek and Roman doctors. The hooks, the ancient doctors used, came in two basic
varieties: sharp and blunt. Both of these types of hooks are still used by
modern surgeons for many of the same purposes for which the ancient doctors
first used them. For instance, blunt hooks were primarily used as probes for
dissection and for raising blood vessels. Sharp hooks, were used to hold and
lift small pieces of tissue so that they could be extracted and to retract the
edges of wounds.
Forceps: Probably designed to facilitate the amputation
of the uvula. This procedure, as described by Aetius in the first half of the
sixth century, called for the physician to crush the uvula with forceps before
cutting it off in order to prevent hemorrhaging. Forceps also were used by ancient doctors to
extract the small fragments of bone, which could not be grasped by the fingers.
Naturally, physicians often used such forceps in conjunction with bone drills.
Bone Drills: Generally
driven in their rotary motion by means of a thong in various configurations.
Greek and Roman physicians used bone drills in order to excise diseased bone
tissue from the skull and to remove foreign objects of considerable thickness
(such as a weapon) from a bone.
Ancient medical tools are popular at Sadigh Gallery, and we
have variety sets of medical instruments available to purchase. We also have ones that are mounted in frames.
Some of our customers who practice medicines have informed us that they are
displaying these artifacts on the walls of their medical offices.
Click on the below
link to see Sadigh Gallery Ancient Art’s collections of ancient Greco-Roman
medical tools:
Wednesday, June 27, 2012
Cuneiform Clay Cones
Writing in ancient Mesopotamia evolved in response to a need
for accurate record keeping. Once the idea that sounds and ideas could be
communicated by a series of consistent symbols was understood, the script
developed and was quickly pressed into practical service. Cuneiform script
evolved directly from picture drawings becoming more and more stylized until a
standard script developed. The first known cuneiform texts are from the ancient
city of Uruk, in southern Iraq and date from about 3,000 BC. They reveal a
complex business structure already in operation.
Side by side with the economic texts were dedication texts.
The practice of consecrating the foundations of new buildings seems to have
started almost as early as building itself.
In order to insure that the sanctuaries of the various gods
would last forever, they were built on sacred ground and the foundations were laid
with great ceremony. Special deposit objects were carefully placed in the
foundations and walls.
Foundation deposits took many forms and inscribed clay cone
and nails were often placed in the corners, and under entrance halls. The inscriptions
usually named the king and the deity to whom the sanctuary was being dedicated.
FOR EXAMPLE:
TO MARDUK, HIS LORD, NEBUCHADEZZAR, THE KING OF BABYLON, FOR
HIS LIFE, HE PRESENTED IT.
Sadigh Gallery has acquired a collection of ancient cuneiform
clay cones dating from 2,000 – 1,000 BC each with its own translation. These
cones are made of terra cotta and stand from 4 to 6 inches tall. Each one is
mounted on a custom made base.
View our collection of Foundation cones here:
http://www.sadighgallery.com/search.asp?keyword=foundation
cones&sortby=0&catid=34
Tuesday, June 26, 2012
Ancient Egyptian Beads
Ancient Egyptian faience beads are
generally found in the Egyptian burial grounds mummies and the scientific
explorations of ancient mummies have brought a huge treasure of beads to the
modern man for their collection. Each and every bead is unique and they are
definitely a treasure to be kept in collection.
Beads, worn by both men and woman
in Egypt, were believed to bring good luck.
The Egyptian word “sha” means luck and sha became the word for
bead. A number of semi-precious stones
were available from Egypt’s natural resources but in ancient times, the
greatest number of beads was made from faience, an inexpensive ceramic paste
that was developed around 4000 BC in Egypt and Mesopotamia. Faience is the forerunner of glass and
although the recipe was a closely guarded secret, the technology spread throughout
the Ancient World.
During the late Dynastic Period in
Egypt (circa 1085 BC), faience beads were produced primarily for funerary
use. Egyptians believed that to insure
comfort in the Netherworld, the deceased should be surrounded by items from
daily life. Quantities of faience beads
were buried with the mummy and sometimes they were strung in an intricate
manner to fashion a shroud that served as an outer covering for the mummy’s
linen wrapping.
In the second millennium BC, the
Romans emerged from a small settlement near Rome to begin a course of expansion
that was to make them the dominant power in the Mediterranean. By the 1st Century AD, Roman territories
expanded from Britain in the north to Egypt in the south. Much of the Roman culture and crafts
reflected the preceding Hellenistic period; however, their extensive trade
network provided them with a great variety of materials. Artisans often combined styles and materials
creating their own unique designs. While
personal adornment was frowned upon by the early Romans, their attitude of
austerity had diminished by the 1st Century BC and a rich variety of jewelry
abounded. Roman jewelry reflected both
the Hellenistic influence and the Eastern taste for colored stones.
Sadigh gallery houses thousands of
authentic ancient Egyptian beads. We
also carry already made necklaces, earrings, and bracelets with these ancient
beads. At the same time, the unstrung
beads are extremely popular among our jewelry making customers who wish to
combine beauty of the past history and their creativity together.
Click on the below link to find
collection of ancient Egyptian beads from Sadigh Gallery:
Monday, June 25, 2012
Ancient Egyptian Canopic Jars and the Four Sons of Horus
Canopic jars were stone and ceramic vessels used for the
burial of the viscera removed during mummification. The term, canopic, derives from the
misconception that they were connected with the human-headed jars that were
worshipped as personifications of the God Osiris by the inhabitants of the
ancient Egyptian port of Canopus, named after the Homeric character who was
Menelaus’ pilot. The "Canopus of
Osiris" image appeared on some Roman coins from the Alexandrian mint and
the name was therefore chosen by early Egyptologists to refer to any jar with a
stopper in the form of a human head. The
practice of preserving eviscerated organs.
During mummification, it is first attested in the burial of
Hetepheres, mother of the 4th dynasty ruler, Khufu (2589-2566 BC), at
Giza. Her viscera were stored in a
travertine (Egyptian alabaster) chest divided into four compartments, three of
which contained the remains of her organs in natron while the fourth held a dry
organic material. In later burials,
specific elements of the viscera were placed under the protection of four
anthropomorphic genii known as the sons of Horus who were themselves protected
by tutelary deities guarding the four cardinal points. The human-headed Imsety, linked with Isis and
the south, protected the liver; the ape-headed Hapy, linked with Nephthys and
the North, cared for the lungs; the jackal-headed Duamutef, linked with Neith
and the east, guarded the stomach; and the falcon-headed Qebehsenuef, linked
with Serket and the west, looked after the intestines.
During the first intermediate period (2181-2055 BC), the
jars began to be provided with stoppers in the form of human heads and, at this
time, the canopic bundles were sometimes decorated with human-faced masks. By the late Middle Kingdom, a set of canopic
equipment could be comprised of two chests, a stone-carved outer container and
a wooden inner one holding four jars furnished with stoppers in the form of
human heads. In the early 18th Dynasty,
the stoppers were still human-headed, as in the case of the canopic equipment
of Tutankhamen, but from the later 18th Dynasty onwards, it became more common
for the stoppers to take the form of the characteristic heads of each of the
four genii and, by the 19th Dynasty, these had completely replaced the
human-headed type. In the third
intermediate period (1069-747 BC), mummified viscera were usually returned to
the body, sometimes accompanied by models of the relevant genii, but empty or
dummy canopic jars were occasionally still included in rich burials. Canopic equipment is found in Ptolemaic tombs
but had ceased to be used by the Roman period.
The last known royal canopic jars belonged to après (589-570 BC) and one
of these survived through its reuse as a vessel containing the body of a
mummified hawk at Saqqara.
Find authentic
ancient Egyptian carnopic jars at Sadigh Gallery website!
http://www.sadighgallery.com/search.asp?keyword=canopic
jar&sortby=0&catid=17
Sunday, June 24, 2012
Egyptian Coffins & Sarcophagus
The term
“Coffin” is usually applied to the rectangular or anthropoid container in which
the Egyptians placed the mummified body, whereas the word “Sarcophagus” (Greek:
“Flesh-Eating”) is used to refer only to the stone outer container, invariably
encasing one or more coffins. The
distinction made between these two items of Egyptian funerary equipment is
therefore essentially an artificial one, since both shared the same role of
protecting the body of the deceased. In
terms of decoration and shape, coffins and sarcophagi drew on roughly the same
iconographic stylistic repertoire.
The earliest
burials in Egypt contain no coffins and were naturally desiccated by the hot
sand. The separation of the body of
deceased from the surrounding sand by the use of a coffin or sarcophagus
ironically led to the deterioration of the body, perhaps stimulating
developments in mummification. The
religious purpose of the coffin was to ensure the well-being of the deceased in
the afterlife, literally providing a “house” for the “Ka”.
The earliest
coffins were baskets or simple plank constructions in which the body was placed
in a flexed position. From these
developed and valuated house-shaped coffins that remained in use into the
fourth Dynasty (2613 – 2494 BC). At
around this time, the Egyptians began to bury the deceased body in an extended
position, perhaps because the increasingly common practice of evisceration made
such an arrangement more suitable. By
the end of the Old Kingdom (2181 BC), food offerings were being painted on the
inside of coffins as an extra means of providing sustenance for the deceased in
the event of the tomb chapel being destroyed or neglected. In the Old & Middle Kingdom, a pair of
eyes was often painted on the side of the coffin that faced east when it was
placed in the tomb. It was evidently
believed that the deceased could therefore look out of the coffin to see his or
her offerings and the world from which he or she had passed, as well as to view
the rising Sun.
Decorated
coffins became still more important in the First Intermediate Period (2181 –
2055 BC), when many tombs contained little mural decoration. It was thus essential that coffins themselves
should incorporate the basic elements of the tomb and by the Middle Kingdom
(2055 – 1650 BC), they often incorporated revised extracts of the Pyramid
Texts, known as the coffin texts. This
change reflects the increased identification of the afterlife with Osiris,
rather than the Sun-God “Ra”.
Anthropoid coffins
first appeared in the 12th Dynasty (1985 – 1795 BC), apparently serving as
substitute bodies lest the original be destroyed. With the New Kingdom (1550 – 1069 BC), this
form of coffins became more popular and the shape became identified with Osiris
himself; his beard and crossed arms sometimes being added. The feathered, rishi coffins of the 17th and
early 18th Dynasty were once thought to depict the wings of the goddess Isis,
embracing her husband Osiris, but are now considered by some scholars to refer
to the BA bird. Rectangular coffins were
effectively replaced by anthropoid types in the 18th Dynasty; but some of their
decorative elements were retained.
In the Third
Intermediate Period (1069 – 747 BC), coffins, papyri and stelae became the main
vehicles for funerary scenes that had previously been carved and painted on the
walls of tomb chapels. The principal
feature of most of the new scenes depicted on coffins was the Osirian and solar
mythology surrounding the concept of rebirth, including the judgment of the
deceased before Osiris and the journey into the underworld, the voyage of the
Solar Bark and parts of the Litany of Ra.
Among the new scenes introduced in the decoration of coffins and on
funerary papyri was the depiction of the separation of the earth-god Geb from
the sky-goddess Nut.
The excavation
of the 21st & 22nd Dynasty royal tombs at Tanis has provided a number of
examples of the royal coffins of the period (although the sarcophagi were
sometimes reused from the New Kingdom).
The cache of mummies of high priests of Amun at Deir el-Bahri has also
yielded a large number of private coffins of the 21st Dynasty (1069 – 945
BC). It was also from the end of the New
Kingdom onwards that the interiors of the coffins began to be decorated again;
beneath the lid-especially in the 22nd Dynasty (945 – 715 BC), there was often
a representation of Nut, while the “goddess of the West”, Hathor, or the Djed
Pillar began to be portrayed on the coffin floor. During the Late Period, extracts from the
Book of the Dead were sometimes also inscribed inside the coffin.
In the 25th
Dynasty a new repertoire of coffin types, usually consisting of sets of two or
three (including an inner case with pedestal, an intermediate anthropoid outer
coffin), was introduced, becoming established practice by the 26th
Dynasty. Late Period coffins were
characterized by archaism, involving the reintroduction of the earlier styles
of coffin decoration, such as the provision of the eye panel.
There are
comparatively few excavated burials dating from c.525 to 350 BC, but more
coffins have survived from the succeeding phase (30th Dynasty and early
Ptolemaic Period), when they typically have disproportionately large heads and
wigs. During the early Ptolemaic Period,
many mummies were provided with cartonnage masks and plaques, fixed on to the
body by strips of line.
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