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Nimrud Ivories at the Sulaymaniyah Museum “Woman at the window” is one of the most famous scenes in Phoenician ivory carving. The plaque shows a woman who looks out of a window, thought to be a sacred prostitute linked to the goddess Astarte or Ishtar.. Neo-Assyrian period, 9th-7th centuries BCE. From Nimrud, Mesopotamia, Iraq. (Photo taken by Osama S.M Amin at the Sulaimaniyah Museum, Iraq). — Ancient History Et Cetera

Phoenician Culture

GREEK,ROMAN,ETRUSCAN TERRACOTTAS Female musician playing the double flute. Terracotta (4th BCE), from the Punic necropolis of Borj Jdid, Carthago. Phoenician culture Louvre Museum

Nimrud Ivories at the Sulaymaniyah Museum “Woman at the window” is one of the most famous scenes in Phoenician ivory carving. The plaque shows a woman who looks out of a window, thought to be a sacred prostitute linked to the goddess Astarte or Ishtar.. Neo-Assyrian period, 9th-7th centuries BCE. From Nimrud, Mesopotamia, Iraq. (Photo taken by Osama S.M Amin at the Sulaimaniyah Museum, Iraq). -- Ancient History Et Cetera

Phoenician painting was not, like Egyptian, displayed upon the walls of temples, nor was it, like Greek, that use pictures for the decoration of houses. It was employed to a certain extent on statues, not so as to cover the entire figure, but with delicacy and discretion, for the marking out of certain details, and to emphases certain parts of the design. The hair and beard were often painted a brownish red; the pupil of the eye was marked by means of color; and robes had often a border of red or blue. Statuettes were tinted more generally; the vestments were sometimes colored red or green. Some terracotta statues that had survive still show remnants of the pigments used.

Hollow silver Mother Goddess wearing an open robe, frog crown, holding a bird at her waist. On a base. Hole at the back of her shoulder and side of her leg.

Brilliant, multi-color fused glass circular and barrel-shaped beads with two white fanglike beads and three face pendants on a modern necklace setting. Light earthen patina.

Hollow terracotta Mother Goddess idol wearing a hooded garment. Mounted on a wooden base.

Core-formed, black and brown glass miniature Amphoriskos with a swirled design in shades of beige, diagonal pattern around the body in light green with traces of red, decorative handle on each side and a knobbed base. The making of core-formed glass vessels was one of the oldest glass making techniques.

Core-formed dark blue glass Amphoriskos, wound with blue, brown, and light green marbled festoons, the rim and shoulder with two blue glass handles, knobbed foot. The making of core-formed glass vessels was one of the oldest glass making techniques. Some encrustations.

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