LaurieAnnie's photos with the keyword: crown

Crown of the Virgin of the Immaculate Conception, known as the Crown of the Andes Date: Ca. 1660 (diadem) and ca. 1770 (arches) Geography: Made in Colombia Culture: Colombian; Popayán Medium: Gold, repoussé and chased; emeralds Dimensions: 13 1/2 in. (34.3 cm) Body diameter: 13 1/4 in. (33.7 cm) Classification: Gold Credit Line: Purchase, Lila Acheson Wallace Gift, Acquisitions Fund and Mary Trumbull Adams Fund, 2015 Accession Number: 2015.437 This imperial gold crown, worked in repoussé and set with nearly 450 emeralds, was made to adorn a sculpture of the Virgin Mary venerated in Popayán, Colombia. A symbol of the Virgin's divine rulership, the crown is surmounted by four arches topped by a cross-bearing orb that symbolizes Christ's dominion over the world. The crown's diadem, an openwork band of foliate scrolls, is embellished with emeralds mounted in the form of flowers, a reference to the Virgin's purity. This combination of gold and emeralds also reflects the aesthetic preferences of Precolumbian cultures of Colombia and Panama. Text from: www.metmuseum.org/art/collection/search/21698

Crown of the Virgin of the Immaculate Conception, known as the Crown of the Andes Date: Ca. 1660 (diadem) and ca. 1770 (arches) Geography: Made in Colombia Culture: Colombian; Popayán Medium: Gold, repoussé and chased; emeralds Dimensions: 13 1/2 in. (34.3 cm) Body diameter: 13 1/4 in. (33.7 cm) Classification: Gold Credit Line: Purchase, Lila Acheson Wallace Gift, Acquisitions Fund and Mary Trumbull Adams Fund, 2015 Accession Number: 2015.437 This imperial gold crown, worked in repoussé and set with nearly 450 emeralds, was made to adorn a sculpture of the Virgin Mary venerated in Popayán, Colombia. A symbol of the Virgin's divine rulership, the crown is surmounted by four arches topped by a cross-bearing orb that symbolizes Christ's dominion over the world. The crown's diadem, an openwork band of foliate scrolls, is embellished with emeralds mounted in the form of flowers, a reference to the Virgin's purity. This combination of gold and emeralds also reflects the aesthetic preferences of Precolumbian cultures of Colombia and Panama. Text from: www.metmuseum.org/art/collection/search/21698

Ritual Crown Date: dated 1717 Culture: Nepal (Kathmandu Valley) Medium: Gilt copper alloy, inlaid with semiprecious stones Dimensions: H. 12 in. (30.5 cm); W. 7 1/2 in. (19.1 cm); Diam. 6 3/4 in. (17.1 cm) Classification: Metalwork Credit Line: Gift of Lynne and Robert Rubin, 1985 Accession Number: 1985.13.2 Description: Elaborate crowns such as this example were worn by the hereditary Vajracarya Buddhist priests of Nepal, who occupy the highest rank in the Nepalese Buddhist community. Vajracarya is both a caste and a family name, and the designation entitles it holders to perform reserved priestly functions, analogous to the privileges held by Brahmans in Hinduism. This crown is dominated by five diadem plaques and surmounted by a half-vajra. The dated inscription records that it was commissioned by two named devotees, to be worn on the occasion of the consecration of newly installed icons of Chakrasamvara and Heruka. The consecrations were performed by srî Bekhâsi deva Vajrâcârya of Naka Bahicâ of OBâhâ, "on Thursday, the 10th of the dark half of Bhâdra, during the Pusyâ naksatra and the Siddha yoga" (1717). The inscription concludes by listing the punishments incurred by those who covet the crown as well as the merits earned by its donors, extolling: "[May it be] auspicious for all time." Text from: www.metmuseum.org/Collections/search-the-collections/6000...

Diadem Copper alloy Bronze Age Made 1200-800 BC in the Carpathian Basin region, east-central Europe Accession # 50.200 Text from the Metropolitan Museum of Art label.

Diadem Copper alloy Bronze Age Made 1200-800 BC in the Carpathian Basin region, east-central Europe Accession # 2000.281.1 It is not clear how this headpiece would have been worn, though stone sculptures from an earlier period suggest that the spiral terminals would have been in the back, pointing downward. Diadems, which are extremely rare, were probably worn exclusively by women and children of high rank. Text from the Metropolitan Museum of Art label.

Funerary Equipment Belonging to Three Foreign Wives of Thutmose III In this gallery one of the most comprehensive surviving sets of ancient Egyptian jewelry is exhibited. It was discovered, together with the vessels and other objects displayed here, in a rock-cut cave situated high up in the desert mountain cliffs of the Wady Gabbanat el-Qurud in western Thebes. The find encompassed the remains of the burials of three minor wives of King Thutmose III whose names, Maruta, Manhata, and Manuwai, written on the canopic jars, libation vessels and heart scarabs, are not Egyptian but in all probability Semitic. Maruta may, in fact, be the hieroglyphic version of the familiar Hebrew and Aramaic name Marta. According to the custom of the time the three women must have entered the pharaoh's household in the course of political transactions with a foreign ruler somewhere in the Levant. After a life in Egypt the three women were buried together according to Egyptian burial customs. The items displayed in this case were made for the funeral of the three ladies. Many of them fall easily into sets of three. But lacking inscriptions we do not know which queens owned which. Text from the Metropolitan Museum of Art label.