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.
Showing posts with label ancient art. Show all posts
Showing posts with label ancient art. Show all posts
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!
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:
Wednesday, June 20, 2012
Ancient Glass History
Little
is known about the production of glass in the ancient world. One early source, Pliny the Elder (AD 23 –
89), reported the tale of natron (soda) merchants who, when they stopped to
prepare a meal, supported their cooking vessels on the beach with blocks from
their cargo. The heat of the fire fused
natron and sand, and a new substance was formed. This, Pliny says, was the origin of glass.
Glass-like
materials were used in Egypt long before the production of glass itself. Egyptian faience, a popular material used in
the production of amulets and small vessels, was a mixture of quartz sand with
an alkali binder. It was molded, and
then fired, causing a bright glaze to migrate to the surface. Real glass is more difficult to produce,
because its ingredients must be heated to a high enough temperature to melt and
then fuse completely. Mesopotamian
cuneiform tablets contain some references to glass making, indicating that it
was a very difficult and secret undertaking.
There is no ancient recipe for the making of glass, but it may be that
in an attempt to duplicate the glazes formed in pottery making, the mixture of
sand, soda and lime bonded compatibly, thus forming the 4,000 year old lump of
blue rod found near Eshuna, which dates from 2,000 BC, is the earliest glass
that has been found.
In
about 1,500 BC, the technique of “core forming” developed in both Egypt and
Mesopotamia. This new method was an
important breakthrough in glass making.
It was a technique that remained in use for over a thousand years,
allowed for the production of glass vessels in a thousand years, and allowed
for the production of glass vessels in variety of shapes. A core of mud of about the same size as the
completed vessel was placed on the end of an iron rod. A second rod was dipped into containers of
colored molten glass, and the glass was wound around the core material. This process was repeated many times until
the core was covered. The next step was
to wind bands of colored glass around the core glass and to comb them into a
design. The final additions – the rim,
the base and may be the handles – were added last. The piece was slowly cooled and then
polished. It was a lengthy and expensive
process, and core-formed glass was available only to rulers and nobility.
The
Millefiori technique (Italian for “a thousand flowers”) was also known in
Mesopotamia as early as 1500 BC. This
method required a group of various colored glass rods to be placed in a
cylindrical mold. They were heated and
fused together, and were then pulled from a small tube, like taffy. This created a pattern that was then sliced
and placed side by side into a decorative mold, in order to create the final
shape. This method too was expensive and
time consuming to produce and its colorful patterns were again available only
to the wealthy.
Glass
blowing was probably the greatest single advance in glass technology. This revolutionary process was discovered
around the middle of the first century BC and seems to have been practiced from
the first century AD on. It involved
capturing a molten glass bubble on a hollow metal blowpipe and inflating it to
the desired shape and size. It could be
either blown free form or blown into a mold, or a combination of two. The speed and relative ease with which this
technique could be handled opened new vistas for the production and use of
glass in the ancient world.
Glass
blowing developed at a time when the Roman Empire, under Augustus Caesar and
his successors, wanted peace (Pax Romana), stability and a better way of life,
and this included consumer goods. The
combination of a new technology and a demand on the part of the Roman citizen
allowed the new method to forge ahead, and blown glass began to rival pottery
and metalwork, both in speed of production and in variety of shapes and
sizes. Its smooth surface was easy to
clean for reuse, eliminating the storage problem of porous pots.
Syria
became the “glass factory” of the Roman Empire, and goods were shipped and
stored in glass bottles and wine flowed from glass jugs. Blown glass was finally inexpensive and
available to all.
Today,
many examples of ancient Roman Glass are available to collectors. Unguentaria or “tear bottles”, as they are
often called, are the most common items of Roman blown glass. They vary in size, but usually have a
somewhat bulbous base with a long slender neck and a flat rim. The color varies from colorless to pale blue/
greenish hues, and they sometimes are covered with an iridescent patina. Unguentaria were used for perfumes,
cosmetics, and oils, and are fine examples of ancient glass that can be
collected today.
Sunday, June 17, 2012
Luristan Became a Center of Skilled Metalworkers
Luristan bronzes have been prized for their unique designs
and fine craftsmanship since antiquity.
Geographically, Luristan is the central province in Iran’s western
frontier, the area where production of richly decorated bronzes flourished from
about 1200 to 800 B.C.
The formidable terrain of the region, sweeping plains, and
high valleys intersected by the Zagros Mountains, encouraged the development of
small, separated communities in ancient times.
The economy of these communities was dependent upon horse breeding, some
agriculture, and control of the north-south trade routes. By about 2500 B.C.
these tribes lived in semi-permanent settlements, which became the early bronze
working centers.
The Luristan smiths became masters of casting by the
‘cireperdue’ or ‘lost wax’ method. This
technique required the modeling of an object in wax, often over a clay core for
stability, and then coating the wax with clay.
The subsequent firing of the piece hardened the clay, and melted the wax
which ran out through prepared vents.
The resulting mold was then filled with molten metal and left to
cool. When the mold was broken away, the
bronze piece was smoothes and finished as necessary. The versatility of this method encouraged
innovative design, and allowed for the production of a variety of bronze tools,
implements, decorations and figures.
The tribes of western Persian were outstanding horsemen and
warriors, and decorative horse bits, harness fittings, and rein rings were
among their most interesting equipment.
Ingenious zoomorphic shapes appear on much of the Luristan
bronze work. Fantastic animals with elongated bodies form handles and spouts of
a variety of vessels. The same animal
forms appear as cult symbols on ceremonial pins and finials. The “Master of Animals” design, often used on
pins and finials is one of the most popular but baffling motifs. A humanoid figure is flanked by a pair of
mythical and rearing beasts, which in some instances he appears to be subduing. The human figure has been equated with
Gilgamesh and with the Mesopotamian “heroes”.
The origin of the whole motif is, however, maybe archaic, and evolved
from an early stage in the religion.
The primary function of any metal industry in antiquity was
the production of weapons and tools.
This, too, was an area in which the Luristan smiths excelled. Their mastery of weapons included a wide
variety of swords, daggers and spear points, as well as arrowheads, mace heads,
and ax heads.
Bronze blades were relatively soft and required frequent
re-sharpening, thus the whetstone became an important piece of equipment.
The first bronze blades were cast with a short tang, which
was riveted to a simple wooden handle.
Very fine dagger blades were occasionally fitted with a separately cast
bronze of copper hilt, that was then riveted to the tang. Some of these blades have been found with
cuneiform inscriptions from the Royal Houses of Babylon and Elam.
Even after the blade and hilt were cast as one piece (about
1200 B.C.) this style was copied and the rivets were cast as a design
motif. Eventually, blades were cast with
a flanged hilt. This allowed for a
decorative inlay in the handle of bone, ivory or wood.
The Luristan bronze industry died out after 800 B.C. when
the tribal aristocracy lost its power to the invading Medes, and the smiths
lost their wealthy patrons.
Many fine examples of Luristan bronze work are available to
collectors from Sadigh Gallery, from
miniature ceremonial animals to horse gear and swords and daggers. Visit
our Luristan collection page at: http://www.sadighgallery.com/luristan.html
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