The Flickr Phoenician Image Generatr

This shallow gold libation bowl (phiale) is decorated with six bulls in relief. They have squarish heads and rather angular, though stocky, shapes. They have prominent ribs and very large cloven hooves. The bowl originally had a gemstone inlaid in the centre. To one side of this is a dotted crescent moon.

It is said to have been found in an ancient tomb in the village of Sant'Angelo Muxaro, some ten miles away from Girgenti, Sicily. In 1769, according to one source, there were four bowls, two plain and two decorated with bulls, in the Episcopal Library at Girgenti. A canon there is reported to have sold two to an Englishman (Hamilton?), as though they had been the bishop's own property.

The bowl is thought to be local Sicilian workmanship, but perhaps under the influence of contact with the Phoenicians. They may have been gifts to the native Sicilian leader on the fringes of Greek influence in order to secure his friendship. Greek contact with the Phoenicians and other eastern peoples occurred on their voyages to the east and in Sicily where Phoenicians also settled, especially in the west of the island.

Diameter: 14.60 centimetres
Height: 3 centimetres
Weight: 2893 grains

Made in Sicily, perhaps at Gela, under Phoenician influence, about 600 BCE. From Sant'Angelo Muxaro, Sicily.

British Museum, Hamilton collection (1772,0314.70)

7th-6th century BC, possibly into 5th C. Far right is a pendant of goddess Ashtart

Horus inspired

7th-6th century BC, possibly into 5th C. Far right is a pendant of goddess Ashtart

Phoenecian Resort, Scottsdale Arizona

Phoenecian Resort, Scottsdale Arizona

Phoenecian Resort, Scottsdale Arizona

Gravestone of the Priest Baalyaton son of Baalyaton. Limestone, Phoenician, 3rd Century BC. Ny Carlsberg Glyptotek,Copenhagen, Denmark, Copyright 2024, James A. Glazier

On October 30, UNESCO convened an extraordinary session at the request of Lebanese authorities to address the protection of cultural heritage amid ongoing hostilities. The session led to the provisional inclusion of 34 Lebanese cultural properties, including Baalbek and Tyre, on the International List of Cultural Property under Enhanced Protection, granting them immunity from attack and military use under the 1954 Hague Convention.

UNESCO will provide technical and financial support to strengthen legal protections, risk management, and training for site managers. This initiative highlights the urgency of safeguarding Lebanon’s heritage and complements UNESCO’s recent measures, such as emergency planning, inventorying museum collections, relocating movable artifacts, and monitoring sites via satellite in collaboration with UNOSAT. Additionally, UNESCO has launched an emergency programme for Lebanon’s culture, education, and communication sectors, calling on Member States for financial support.
Thanks for your efforts
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@lebanese.ministry.of.culture
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#archéologie#Baalbek#byblos#château#citadelle#colonnes#comte#echmoun#jbeil#jupiter#liban#maritime#projection#romain#saint#site#temple#toulouse#tripoli#Lebanesearchaeology #tyrelebanon #sidonlebanon #discoverlebanon
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These four jugs decorated with black and sometimes also red paint on a plain unslipped background, were made between 750 and 600 B.C., a period during which Cyprus had close connections with surrounding regions, from Egypt to Mesopotamian, from the Greece to the Levantine coast.
Particurarly relevant in this period was the influence of the
Assyrian Empire, which attempted subjugate the Island.
Part of Cyprus population was Phoenicians, especially in Kition. Phoenicians and Assyrians were attracted to the island by its rich copper mines and abundant forests provided timber for ships.
Another part of the populations spoke Greek, reflecting the
migration of people after the fal lof the Mycenaean Greek at the end of the Late Bronze Age. Many of the city kingdoms of Cyprus based their foundation legenda on stories about Greek heroes returning from the Trojan War.
Cyprus during this period enjoyed great economic and cultural prosperity interweaving trade throughout the Mediterranean.
Art production flourished by reworking different motifs and techniques into an original language.
Cypriot pottery is distinguished by its rich ornamental repertoire of abstract and figurative compositions in an
imaginative and exuberant style.
The vases exhibited here were intended for public ceremonies, offerings in sanctuaries and funerary rituals.
Particularly interesting is the vase with a stylised depiction of a horseman. It represents probably a member of the Cypriot elite who practised horse-riding at games organised on particular religious festivals.
The schematic style of this scene finds comparisons with the contemporary terracotta figurines. It is possibly from the necropolis of Ormidhia, a site extensively investigated by Luigi Palma di Cesnola.
The ship decorating one of the jugs on display is a rather rare
motif. According to some scholars, it is a Phoenician ship
because of the characteristic animal-shaped prow. Depictions of ships attest to the importance of trade and maritime relations in the ancient Mediterranean in which Cyprus was an important crossroads.
Finally, the painter of the jug with two female figures
between birds and lotus flowers stands out for his remarkable skill. It is not certain whether the jug comes from the site of Golgoi or from the necropolis at Kition, the most substantial Phoeniclans settlement, but from the same workshop should also come the vase with a similar decoration of birds and fantastic animals.

These four jugs decorated with black and sometimes also red paint on a plain unslipped background, were made between 750 and 600 B.C., a period during which Cyprus had close connections with surrounding regions, from Egypt to Mesopotamian, from the Greece to the Levantine coast.
Particurarly relevant in this period was the influence of the
Assyrian Empire, which attempted subjugate the Island.
Part of Cyprus population was Phoenicians, especially in Kition. Phoenicians and Assyrians were attracted to the island by its rich copper mines and abundant forests provided timber for ships.
Another part of the populations spoke Greek, reflecting the
migration of people after the fal lof the Mycenaean Greek at the end of the Late Bronze Age. Many of the city kingdoms of Cyprus based their foundation legenda on stories about Greek heroes returning from the Trojan War.
Cyprus during this period enjoyed great economic and cultural prosperity interweaving trade throughout the Mediterranean.
Art production flourished by reworking different motifs and techniques into an original language.
Cypriot pottery is distinguished by its rich ornamental repertoire of abstract and figurative compositions in an
imaginative and exuberant style.
The vases exhibited here were intended for public ceremonies, offerings in sanctuaries and funerary rituals.
Particularly interesting is the vase with a stylised depiction of a horseman. It represents probably a member of the Cypriot elite who practised horse-riding at games organised on particular religious festivals.
The schematic style of this scene finds comparisons with the contemporary terracotta figurines. It is possibly from the necropolis of Ormidhia, a site extensively investigated by Luigi Palma di Cesnola.
The ship decorating one of the jugs on display is a rather rare
motif. According to some scholars, it is a Phoenician ship
because of the characteristic animal-shaped prow. Depictions of ships attest to the importance of trade and maritime relations in the ancient Mediterranean in which Cyprus was an important crossroads.
Finally, the painter of the jug with two female figures
between birds and lotus flowers stands out for his remarkable skill. It is not certain whether the jug comes from the site of Golgoi or from the necropolis at Kition, the most substantial Phoeniclans settlement, but from the same workshop should also come the vase with a similar decoration of birds and fantastic animals.

These four jugs decorated with black and sometimes also red paint on a plain unslipped background, were made between 750 and 600 B.C., a period during which Cyprus had close connections with surrounding regions, from Egypt to Mesopotamian, from the Greece to the Levantine coast.
Particurarly relevant in this period was the influence of the
Assyrian Empire, which attempted subjugate the Island.
Part of Cyprus population was Phoenicians, especially in Kition. Phoenicians and Assyrians were attracted to the island by its rich copper mines and abundant forests provided timber for ships.
Another part of the populations spoke Greek, reflecting the
migration of people after the fal lof the Mycenaean Greek at the end of the Late Bronze Age. Many of the city kingdoms of Cyprus based their foundation legenda on stories about Greek heroes returning from the Trojan War.
Cyprus during this period enjoyed great economic and cultural prosperity interweaving trade throughout the Mediterranean.
Art production flourished by reworking different motifs and techniques into an original language.
Cypriot pottery is distinguished by its rich ornamental repertoire of abstract and figurative compositions in an
imaginative and exuberant style.
The vases exhibited here were intended for public ceremonies, offerings in sanctuaries and funerary rituals.
Particularly interesting is the vase with a stylised depiction of a horseman. It represents probably a member of the Cypriot elite who practised horse-riding at games organised on particular religious festivals.
The schematic style of this scene finds comparisons with the contemporary terracotta figurines. It is possibly from the necropolis of Ormidhia, a site extensively investigated by Luigi Palma di Cesnola.
The ship decorating one of the jugs on display is a rather rare
motif. According to some scholars, it is a Phoenician ship
because of the characteristic animal-shaped prow. Depictions of ships attest to the importance of trade and maritime relations in the ancient Mediterranean in which Cyprus was an important crossroads.
Finally, the painter of the jug with two female figures
between birds and lotus flowers stands out for his remarkable skill. It is not certain whether the jug comes from the site of Golgoi or from the necropolis at Kition, the most substantial Phoeniclans settlement, but from the same workshop should also come the vase with a similar decoration of birds and fantastic animals.

These four jugs decorated with black and sometimes also red paint on a plain unslipped background, were made between 750 and 600 B.C., a period during which Cyprus had close connections with surrounding regions, from Egypt to Mesopotamian, from the Greece to the Levantine coast.
Particurarly relevant in this period was the influence of the
Assyrian Empire, which attempted subjugate the Island.
Part of Cyprus population was Phoenicians, especially in Kition. Phoenicians and Assyrians were attracted to the island by its rich copper mines and abundant forests provided timber for ships.
Another part of the populations spoke Greek, reflecting the
migration of people after the fal lof the Mycenaean Greek at the end of the Late Bronze Age. Many of the city kingdoms of Cyprus based their foundation legenda on stories about Greek heroes returning from the Trojan War.
Cyprus during this period enjoyed great economic and cultural prosperity interweaving trade throughout the Mediterranean.
Art production flourished by reworking different motifs and techniques into an original language.
Cypriot pottery is distinguished by its rich ornamental repertoire of abstract and figurative compositions in an
imaginative and exuberant style.
The vases exhibited here were intended for public ceremonies, offerings in sanctuaries and funerary rituals.
Particularly interesting is the vase with a stylised depiction of a horseman. It represents probably a member of the Cypriot elite who practised horse-riding at games organised on particular religious festivals.
The schematic style of this scene finds comparisons with the contemporary terracotta figurines. It is possibly from the necropolis of Ormidhia, a site extensively investigated by Luigi Palma di Cesnola.
The ship decorating one of the jugs on display is a rather rare
motif. According to some scholars, it is a Phoenician ship
because of the characteristic animal-shaped prow. Depictions of ships attest to the importance of trade and maritime relations in the ancient Mediterranean in which Cyprus was an important crossroads.
Finally, the painter of the jug with two female figures
between birds and lotus flowers stands out for his remarkable skill. It is not certain whether the jug comes from the site of Golgoi or from the necropolis at Kition, the most substantial Phoeniclans settlement, but from the same workshop should also come the vase with a similar decoration of birds and fantastic animals.

These four jugs decorated with black and sometimes also red paint on a plain unslipped background, were made between 750 and 600 B.C., a period during which Cyprus had close connections with surrounding regions, from Egypt to Mesopotamian, from the Greece to the Levantine coast.
Particurarly relevant in this period was the influence of the
Assyrian Empire, which attempted subjugate the Island.
Part of Cyprus population was Phoenicians, especially in Kition. Phoenicians and Assyrians were attracted to the island by its rich copper mines and abundant forests provided timber for ships.
Another part of the populations spoke Greek, reflecting the
migration of people after the fal lof the Mycenaean Greek at the end of the Late Bronze Age. Many of the city kingdoms of Cyprus based their foundation legenda on stories about Greek heroes returning from the Trojan War.
Cyprus during this period enjoyed great economic and cultural prosperity interweaving trade throughout the Mediterranean.
Art production flourished by reworking different motifs and techniques into an original language.
Cypriot pottery is distinguished by its rich ornamental repertoire of abstract and figurative compositions in an
imaginative and exuberant style.
The vases exhibited here were intended for public ceremonies, offerings in sanctuaries and funerary rituals.
Particularly interesting is the vase with a stylised depiction of a horseman. It represents probably a member of the Cypriot elite who practised horse-riding at games organised on particular religious festivals.
The schematic style of this scene finds comparisons with the contemporary terracotta figurines. It is possibly from the necropolis of Ormidhia, a site extensively investigated by Luigi Palma di Cesnola.
The ship decorating one of the jugs on display is a rather rare
motif. According to some scholars, it is a Phoenician ship
because of the characteristic animal-shaped prow. Depictions of ships attest to the importance of trade and maritime relations in the ancient Mediterranean in which Cyprus was an important crossroads.
Finally, the painter of the jug with two female figures
between birds and lotus flowers stands out for his remarkable skill. It is not certain whether the jug comes from the site of Golgoi or from the necropolis at Kition, the most substantial Phoeniclans settlement, but from the same workshop should also come the vase with a similar decoration of birds and fantastic animals.

Ceramic
Orientalizing/Protoarchaic period, 7th c. BCE
Found at Chania (ancient Kydonia; see on Pleiades), East Cemetry, pithos burials

Photographed on display in the Archaeological Museum of Chania, Crete, Greece