balnea vīna venus

balnea vīna venus

[biosh0ck]

angel / 23 / they

🇨🇴 latino / USA

novītius ōrātor linguae latīnae y español

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[lakevida]

i bet the pain will end if i arrange a perfect enough sentence about it

[loveridden1999]

now that the world cup is out of the way can we focus on me instead

[uncensoredhijabii]

five broken cameras (dir. by emad burnay & guy davidi, 2011)

[rolledincense]

Andre 3000 in Honey Magazine, 2002 shot by Marc Baptiste

[xanaxfarts]

Jean Paul Gaultier: spring/summer (1999)

[morethanus-life]

A herd of wild Przhevalski horses in the Chernobyl exclusion zone.

Photograph: Tatyana Deryabina/University of Porthmouth

[beautyandcuriosity]

BOUCHERON Opal, Ruby, Garnet and Enamel Brooch ART NOUVEAU circa 1900

[segamascott]

[mashpotatoe]

im nonbinary in a way that doesnt really matter

[jerreeeeeee]

the best analogy imo for ocd is mosquito bite. its so itchy its driving you crazy and you know scratching it will make it itch so much worse later but you need it to stop right now and scratching it feels so good and even when you dont want to scratch it and you feel like you could handle the itch you cant even stop your hand from scratching the second you stop focusing on not scratching. except ☝️ what if it was inside your brain and instead of an itch it was terrifying overwhelming distress

[doctordune]

[canmom]

I've had trouble tracking down the original photographers, but these mostly appear to be pictures of the blast furnaces in Belgium (called things like Haut-Fourneau 4/6/B etc.); here are some other pictures of HFB, of HF4 Charlenoi, and some of HF6 Seraing, by other urban explorers. the first picture is probably cables for an arc furnace, I saw one Instagram post claim it was in Canada but it didn't seem to be the original.

[socialistexan]

Not getting a ton of reporting in US news, but the Trump administration is going after donors to Palestine, including going as far as international extradition under the guide of "counterterrorism"

[pmamtraveller]

Fish-shaped interlocking paving stones.

[nardialrose]

🌊 Aphrodite Anadyomene 🐚

Lekyth figurine in the form of Aphrodite in a shell. 4th century BC. Phanagoria necropolis. State Hermitage Museum, St. Petersburg

Terracotta of goddess Aphrodite born from the sea in a shell. 4th century BCE. Athens, Ethnikó Arheologikó Moussío (National Archaeological Museum)

A terracotta figurine depicting Aphrodite emerging from a shell. 3rd century BCE. South Italy. Archaeological Museum of Brindisi, Italy.

Aphrodite in a Shell. 3rd century BCE. Terracotta. Staatliche Antikensammlungen, Munich, Germany.

Terrocotta figurine of Aphrodite emerging from a shell. 300–270 BC. Thessaloniki. Archaeological Museum of Thessaloniki.

Aphrodite Anadyomene (rising from the sea) in her sea shell. Terracotta, made in Amisos (Pontus). Late 1st century BCE-early 1st century CE. Kertch (ancient Panticapaeum). Louvre Collections.

Aphrodite emerging from a shell. 275-300 BC. Corinth. Paris, Louvre Museum

A rare variation of this iconographic type is the terracotta figurine of Aphrodite Anadyomene in a shell. Although the shell is not mentioned in the earliest versions of the myth, it had already become one of Aphrodite’s most characteristic symbols by the Hellenistic period. The image of the nude young goddess emerging from a shell evokes the marine setting of her birth and carries symbolic associations with fertility and beauty. This iconographic theme has persisted through the centuries. From Hellenistic terracotta figurines and Roman works of art to the Renaissance and beyond, the image of Aphrodite rising from the sea has remained one of the most beloved and emblematic motifs in Western art. Sandro Botticelli's celebrated The Birth of Venus is perhaps the best-known expression of this long artistic tradition, reflecting the enduring appeal of the myth and the goddess's iconography.

-Archaeological Museum of Thessaloniki. (2026). The Birth of a Goddess: A Figurine of Aphrodite Anadyomene in a Shell. https://www.amth.gr/en/exhibitions/exhibit-of-the-month/birth-goddess-figurine-aphrodite-anadyomene-shell

Greek ceramic lekythos with Aphrodite rising from the sea, attended by two Erotes. 4th century BCE. Museum of Fine Arts Boston.

Polychromatic terracotta figure of Aphrodite with Eros. 275-225 BC. Taranto, Italy. Museo Archeologico Nazionale.

Sculptural vase of the birth of Aphrodite. Greek civilisation, 4th century BC. Paestum, Museo Archeologico Nazionale, Archaeological Museum. Getty Images.

Terracotta figure of Aphrodite in a shell. Mid to late 4th century BC. Staatliche Antikensammlungen und Glyptothek, Munich.

[nardialrose]

Blacks People in Ancient Antiquity Art

High-handled kantharos in the form of two heads, Attic black-figure ceramic, attributed to the London Class, c. 510–480 BCE. Museum of Fine Arts, Boston.

Panagyurishte treasure depicting concentric circles of African Heads, Thracian, late 4th-early 3rd cent. BCE. Modern day Bulgeria. Getty Musuem.

Caricatured Odysseus and Kirke. Kabirion kantharos, Boeotian BF, London, British Museum. 450-375 BC. Photograph Alexandre G. Mitchel

Skyphos depicting Odysseus at sea and with Circe, Boeotian black-figure ceramic, attributed to the Cabirion Group, c. fourth century BCE. Ashmolean Museum, University of Oxford.

During the eighth and seventh centuries B.C., the Greeks renewed contacts with the northern periphery of Africa. They established settlements and trading posts along the Nile River and at Cyrene on the northern coast of Africa. Already at Naukratis, the earliest and most important of the trading posts in Africa, Greeks were certainly in contact with Africans. All black Africans were known as Ethiopians to the ancient Greeks, as the fifth-century B.C. historian Herodotus tells us, and their iconography was narrowly defined by Greek artists in the Archaic (ca. 700–480 B.C.) and Classical (ca. 480–323 B.C.) periods, black skin color being the primary identifying physical characteristic. It is recorded that Ethiopians were among King Xerxes’ troops when Persia invaded Greece in 480 B.C. Thus, the Greeks would have come into contact with large numbers of Africans at this time. Nonetheless, most ancient Greeks had only a vague understanding of African geography. They believed that the land of the Ethiopians was located south of Egypt. In Greek mythology, the pygmies were the African race that lived furthest south on the fringes of the known world, where they engaged in mythic battles with cranes. Ethiopians were considered exotic to the ancient Greeks and their features contrasted markedly with the Greeks’ own well-established perception of themselves. The black glaze central to Athenian vase painting was ideally suited for representing black skin, a consistent feature used to describe Ethiopians in ancient Greek literature as well. Ethiopians were featured in the tragic plays of Aeschylus, Sophokles, and Euripides; and preserved comic masks, as well as a number of vase paintings from this period, indicate that Ethiopians were also often cast in Greek comedies. Well into the fourth century B.C., Ethiopians were regularly featured in Greek vase painting, especially on the highly decorative red-figure vases produced by the Greek colonies in southern Italy.

-Hemingway, S. and Hemingway, C.. (2008). Africans in Ancient Greek Art. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. http://www.metmuseum.org/toah/hd/afrg/hd_afrg.htm. More art examples founded on the website.

[yellbug]

modesty