SN Khan’s Post

𝗧𝗵𝗲 𝗦𝗻𝗲𝘁𝘁𝗶𝘀𝗵𝗮𝗺 𝗛𝗼𝗮𝗿𝗱𝘀 𝘖𝘱𝘦𝘯 𝘈𝘤𝘤𝘦𝘴𝘴 Known as the ‘Snettisham Treasure’, these objects represent one of the largest collections of prehistoric precious metal objects ever discovered, and one of the largest concentrations of Celtic art. The objects were found in at least 14 separate hoards buried between 150 BC and AD 100 – spanning the late Iron Age and early Roman periods, but with a peak of activity during the late Iron Age. https://lnkd.in/eDxddM4V

Time for another Dino-Lite application story! In this one we dive into the utilization of Dino-Lite in the field of art restoration, specifically for ethnographic and art objects. Dino-Lite digital microscopes can be a solution for the restoration of archaeological and art objects. This mobile microscope is a useful tool because it makes details visible and is flexible in application. Read all about here: https://lnkd.in/e8B3DCat

Of course, mythical composite monsters were a true delight for Greek or Grecian potters, always looking for impressive subjects to paint on their fine vases. The hybrid and feral Chimera is by no means excluded from this monstrous repertoire (please see also at https://lnkd.in/d5q2kV-c). Below, just a few black-figured examples, dating back to a late archaic period and preserved in various museums. In the top image, the external surface of a large cup, with Bellerophon on his winged horse Pegasus, fighting against the Chimera (from the island of Rhodes, but likely made in Athens: Louvre Museum, Paris; ca. 575-550 BCE). The victorious fight of a hero with a monster is a recurring theme, symbolizing the struggle of the forces of good against those of evil, or of a more advanced and luminous religiosity against a darker and more ancient one. Yet, a modern psychoanalyst might interpret this as a clash between rational consciousness and an irrationality of the unconscious. In the bottom images, the weird complexion of the Chimera is rather in focus: a surreal mix among a lion, a goat and a snake; that is, a challenge to the painter's iconic skill. On the left: Attic amphora, made in Athens (Archaeological Museum, Athens; ca. 620-600 BCE). On the right: local or imported amphora, from southern Etruria, today upper Latium (Palazzo Massimo alle Terme, Rome; 550-525 BCE). In particular, the Etruscans were fascinated by this chimerical monster. So much so, that they depicted it several times. The most famous is the bronze Chimera of Arezzo, Tuscany (Archaeological Museum, Florence; late 5th cent. BCE).

Too big to fail… Garnet in the Diamond. 🔍 👌 Clarity, one side of the diamond grading 4Cs (Colour, Clarity, Cut & Carat), is based on four main principles that determine the clarity in a differently but similar range (LP-VVS-VS-SI-P by HRD Antwerp, IF-VVSI-VSI-SI-I by International Gemological Institute - IGI or F, IF-VVS-VS-SI-I by GIA (Gemological Institute of America)): 👉 Size (yes, it matters); 👉 Position (under the table, crown, or pavilion); 👉 Contrast (visible or hidden); 👉 Number of images (mirror reflections). 🖐️ So, take a look at the inclusions, does the clarity still rule the 4Cs? 📸 Around 2 carats rectangular step-cut diamond with a garnet inclusion, visible to the naked eye under the table © Natural History Museum, London. #Diamonds #DiamondsGrade #DiamondsInclusions #NaturalDiamonds #Gemstones #Gems

Seneca the Younger was an Iberian-Roman Stoic philosopher, but also an author of tragedies and unlucky political theorist, during the Roman Empire. So unfortunate, as to be forced to commit suicide under the despotic reign of Nero, despite he – almost a new Socrates – had been his tutor and mostly unheard advisor. Some of these characteristics or events may have misled the Humanist scholars of the European Renaissance and their successors, in identifying one of the best sculpted portraits which antiquity handed down to us. In reality, its Hellenistic original – likely dating from the 2nd cent. BCE – is lost, nor do we know exactly whom it represented. Yet, we have not a few Greco-Roman copies of it. In particular, two of them, excellent. Below, in the top right image: a marble “Pseudo-Seneca” (British Museum, London). On the left: a bronze “Pseudo-Seneca” (National Archaeological Museum of Naples). The latter comes from the Villa of the Papyri in ancient Herculaneum, near Pompeii, discovered and excavated in 1750. Therefore, previous artists who depicted such a head, impressed by the dramatic and suffering expression of its face, should have taken inspiration from other models. Especially, this is the case of the Flemish Peter Paul Rubens, who painted the same subject more than once. A relevant comparison suggests that his main exemplar was the one, now housed in the British Museum (cf. at https://lnkd.in/dTU-puc8). Bottom left: “The Dying Seneca”, an imaginary half-length portrait by Rubens, in the Karlsruhe State Gallery, Germany (1614-15). This oil on panel is so idealized, as to look nearly hieratic. On the right: a detail from “The Resurrection”, a famous early Renaissance fresco by the Tuscan master Piero della Francesca (Civic Museum of Sansepolcro, Tuscany; 1460). A comparison of these works may show how the figure of Seneca was largely Christianized, in the Baroque age. In part at least, something like that was due to another historical and philological mistake: a spurious correspondence between Seneca and St. Paul, which then might have been still considered an authentic document.

The volume Mannea and Beyond: A Study of Iron Age and Later Pottery from Zanjan in the National Museum of Iran presents a systematic analysis of a ceramic assemblage from Zanjan, stored in Iran’s National Museum. Due to the lack of archaeological context—these artefacts were retrieved through illegal excavations—the study focuses on typology, preservation, and precise comparisons with neighbouring sites. The assemblage is heterogeneous, largely from the Iron Age with some medieval pieces, with several items linked to the Mannaean culture, enriching our understanding of this relatively obscure cultural horizon. The excellent preservation suggests that the materials may originate from a necropolis with unknown position.

🌍🔊 ZYLIA ZM-1 in Archaeological Acoustics Research! 🎙️🕵️♂️ Did you know that sound can play a significant role in archaeological discoveries? An inspiring study on San rock art sites in the Maloti-Drakensberg mountains (South Africa) explored how the acoustics of ancient shelters may have influenced the creation of rock art and enriched cultural and ritual practices. For the purpose of their research, the scientists analyzed Impulse Responses (IRs) captured at 27 San rock art sites. They aimed to discover whether these locations' unique acoustics contributed to the cultural practices—or perhaps even inspired the creation of the rock art itself. As you know, when it comes to capturing IRs, our ZYLIA ZM-1 excels! It’s no surprise that it was the ambisonic microphone of choice for this fascinating study. We’re truly proud to see ZYLIA technology empowering experts to uncover the sonic dimensions of history! Congratulations to the researchers: Neemias Santos Da Rosa, Lidia Alvarez-Morales, Diego Moreno-Iglesias, Ghilraen Laue, and Margarita Díaz-Andreu. To read the full paper, click here: https://lnkd.in/d64Z5Fgm If you’re working on archaeological or cultural heritage projects—or are simply curious about the power of sound—connect with us! Let’s push the boundaries of research together. 🙌 #ZYLIA #3DAudio #SpatialSound #Archaeoacoustics #CulturalHeritage #SoundResearch #InnovationInScience #ZM1

Between Green & Blue: The Ocean Dream Diamond! 🌊 🦚 The Ocean Dream is a 5.51-carat, modified triangular cut, SI1 clarity natural diamond from Central Africa. Above all, what makes it extraordinary is that it was the first diamond graded by the GIA (Gemological Institute of America) as Fancy Deep Blue-Green. Originally classified as Fancy Deep Blue-Green in 2003, it was later reclassified as Fancy Vivid Blue-Green in 2014. 👌 The GIA (Gemological Institute of America) confirmed that this unique hue is entirely natural, resulting from exposure to natural radiation, a phenomenon often associated with green diamonds. 🫱 Two historical, but separately blue and green diamonds, come to mind: the Hope Diamond and the Dresden Green Diamond. The Hope Diamond, a 45.52-carat fancy dark greyish-blue gem, first documented in 1666 by the famous French gem merchant Jean-Baptiste Tavernier. The Dresden Green Diamond, a 41-carat natural green Type IIa diamond with VS1 clarity, was first dated in 1722 and later purchased by Augustus III of Poland in 1742. 👏 The Ocean Dream was displayed at the Smithsonian Institution’s prestigious "The Splendor of Diamonds" exhibition in 2003. In 2014, it was auctioned at Christie's in Geneva, fetching more than $9M. According to public information, currently belongs to Cora Sun-Drop Diamond. 📷 The Ocean Dream Diamond © Christie's & Christie's Education. #Diamonds #FancyDiamonds #DiamondHistory

Volume 3 of Sociomuseology & Sociomuséologie Collection is released! La représentation muséale de la favela à Rio de Janeiro : regards croisés, by Leonor Eva Hernández, analyzes the museum discourse on the subject of the favela in four museums in Rio de Janeiro and discusses some recent developments in museological research. She concludes that traditional museums still have a long way to go to participate in the collective construction of common well-being, as required by the practice and thought of Social museology. You can access the book at the university website or purchase it on demand. Link in the comments. -- Sociomuseology & Sociomuséologie Collection is a publication from the Department of Museology at Universidade Lusófona that focuses on selected works originally written in English and/or French or translated into these languages that dialogue with insurgent museologies, such as Sociomuseology, Social Museology, Nouvelle Muséologie, Popular Museology, Community Museology, and Ecomuseology.

Exploring Ancient Order Secrets at Nicholas Warwick Museum The video transcription discusses the speaker's initiation into an ancient order, possibly related to the Illuminati. The conversation takes place at the Nicholas Warwick Museum, where the owl is mentioned as a symbol of the Illuminati. The discussion delves into connections between the Illuminati, Freemasons, and cult ceremonies involving textograms and summoning demons. The speaker suggests a link to Lucifer and questions the morality of Masonry. The conversation touches on the murder of Rorick's son and the dangers faced by those who try to leave such organizations. The all-seeing eye of God is mentioned as an emblem used by Freemasons. Overall, the transcript explores the dark and mysterious aspects of secret societies and their potential ties to supernatural forces. #AncientOrder #NicholasWarwickMuseum #Illuminati #OwlSymbol #Rorick #Masons #Textograms #Lucifer #Freemasons #vizard