LaurieAnnie's photos with the keyword: demon

Demons Fighting Over an Animal Limb Object Details Title: Demons Fighting Over an Animal Limb Date: late 17th century Culture: India (Rajasthan, Bikaner or the Deccan) Medium: Ink, opaque watercolor, and gold on paper Dimensions: 11 9/16 x 7 5/16 in. (29.4 x 18.6 cm) Classification: Paintings Credit Line: Gift of Doris Rubin, in memory of Harry Rubin, 1989 Accession Number: 1989.236.3 In this painting, set in a fantastic landscape with rocks, trees and a cityscape in the distance, two fearsome demons are seen quarreling over the leg of an animal. In the middle ground, three women dressed in typical Rajput fashion and carrying water pots, are oblivious to the demons in their midst. Demonic of this bizarreness are best known in Central Asian manuscript painting, and indeed this is probably their origin, transmitted to India via Persian models. The painter reveals himself as one trained in Rajasthan, probably in the Bikaner court, who was exposed to Deccani painting, either through travel or by access to Deccan paintings at his patron’s library. Text from: www.metmuseum.org/art/collection/search/37811

Demons Fighting Over an Animal Limb Object Details Title: Demons Fighting Over an Animal Limb Date: late 17th century Culture: India (Rajasthan, Bikaner or the Deccan) Medium: Ink, opaque watercolor, and gold on paper Dimensions: 11 9/16 x 7 5/16 in. (29.4 x 18.6 cm) Classification: Paintings Credit Line: Gift of Doris Rubin, in memory of Harry Rubin, 1989 Accession Number: 1989.236.3 In this painting, set in a fantastic landscape with rocks, trees and a cityscape in the distance, two fearsome demons are seen quarreling over the leg of an animal. In the middle ground, three women dressed in typical Rajput fashion and carrying water pots, are oblivious to the demons in their midst. Demonic of this bizarreness are best known in Central Asian manuscript painting, and indeed this is probably their origin, transmitted to India via Persian models. The painter reveals himself as one trained in Rajasthan, probably in the Bikaner court, who was exposed to Deccani painting, either through travel or by access to Deccan paintings at his patron’s library. Text from: www.metmuseum.org/art/collection/search/37811

Demons Fighting Over an Animal Limb Object Details Title: Demons Fighting Over an Animal Limb Date: late 17th century Culture: India (Rajasthan, Bikaner or the Deccan) Medium: Ink, opaque watercolor, and gold on paper Dimensions: 11 9/16 x 7 5/16 in. (29.4 x 18.6 cm) Classification: Paintings Credit Line: Gift of Doris Rubin, in memory of Harry Rubin, 1989 Accession Number: 1989.236.3 In this painting, set in a fantastic landscape with rocks, trees and a cityscape in the distance, two fearsome demons are seen quarreling over the leg of an animal. In the middle ground, three women dressed in typical Rajput fashion and carrying water pots, are oblivious to the demons in their midst. Demonic of this bizarreness are best known in Central Asian manuscript painting, and indeed this is probably their origin, transmitted to India via Persian models. The painter reveals himself as one trained in Rajasthan, probably in the Bikaner court, who was exposed to Deccani painting, either through travel or by access to Deccan paintings at his patron’s library. Text from: www.metmuseum.org/art/collection/search/37811

Demons Fighting Over an Animal Limb Object Details Title: Demons Fighting Over an Animal Limb Date: late 17th century Culture: India (Rajasthan, Bikaner or the Deccan) Medium: Ink, opaque watercolor, and gold on paper Dimensions: 11 9/16 x 7 5/16 in. (29.4 x 18.6 cm) Classification: Paintings Credit Line: Gift of Doris Rubin, in memory of Harry Rubin, 1989 Accession Number: 1989.236.3 In this painting, set in a fantastic landscape with rocks, trees and a cityscape in the distance, two fearsome demons are seen quarreling over the leg of an animal. In the middle ground, three women dressed in typical Rajput fashion and carrying water pots, are oblivious to the demons in their midst. Demonic of this bizarreness are best known in Central Asian manuscript painting, and indeed this is probably their origin, transmitted to India via Persian models. The painter reveals himself as one trained in Rajasthan, probably in the Bikaner court, who was exposed to Deccani painting, either through travel or by access to Deccan paintings at his patron’s library. Text from: www.metmuseum.org/art/collection/search/37811

Page from a Bhagavata Purana Series: Krishna Slays the Horse Demon Keshi (Primary Title) Unknown (Artist) Date: ca. 1680-1690 Culture: Indian Category: Paintings, Works On Paper Medium: opaque watercolor on paper Collection: South Asian Art Geography: Central India, India Dimensions: Sheet: 4 5/8 × 7 in. (11.75 × 17.78 cm) Mat: 16 × 20 in. (40.64 × 50.8 cm) Object Number: 68.8.69 To hide him from his evil uncle, Krishna was raised by a foster family in the pastoral community of Vrindavan. Eventually, though, Kansa discovered the young god’s whereabouts and dispatched a series of demons to kill him. One was the gigantic horse Keshi. When the beast attacked, Krishna plunged his left arm down its throat, expanding his appendage to such a vast size that it suffocated the demon. This depiction shows an earlier moment of the encounter. Krishna grabs the charging horse-demon’s nose, brandishing his magical discus weapon, as fellow cowherds rush to his aid. In the visual shorthand typical of Central Indian painting, the two trees on the right indicate Vrindavan’s forests. The picture has plainly been trimmed along its left edge. Text from: www.vmfa.museum/piction/6027262-79573911

Page from a Bhagavata Purana Series: Krishna Slays the Horse Demon Keshi (Primary Title) Unknown (Artist) Date: ca. 1680-1690 Culture: Indian Category: Paintings, Works On Paper Medium: opaque watercolor on paper Collection: South Asian Art Geography: Central India, India Dimensions: Sheet: 4 5/8 × 7 in. (11.75 × 17.78 cm) Mat: 16 × 20 in. (40.64 × 50.8 cm) Object Number: 68.8.69 To hide him from his evil uncle, Krishna was raised by a foster family in the pastoral community of Vrindavan. Eventually, though, Kansa discovered the young god’s whereabouts and dispatched a series of demons to kill him. One was the gigantic horse Keshi. When the beast attacked, Krishna plunged his left arm down its throat, expanding his appendage to such a vast size that it suffocated the demon. This depiction shows an earlier moment of the encounter. Krishna grabs the charging horse-demon’s nose, brandishing his magical discus weapon, as fellow cowherds rush to his aid. In the visual shorthand typical of Central Indian painting, the two trees on the right indicate Vrindavan’s forests. The picture has plainly been trimmed along its left edge. Text from: www.vmfa.museum/piction/6027262-79573911

The Assyrian demon Pazuzu Early 1st millennium BC Warka, Uruk? Bronze H. 8 cm; W. 6 cm Acquired in 1914 Department of Near Eastern Antiquities AO 6692 Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=26748&langue=en

Head of the Etruscan Demon Charun From Tarquinia Late 4th century BC Inventory # 14233 Text from the Vatican Museum label.

Head of the Etruscan Demon Charun From Tarquinia Late 4th century BC Inventory # 14233 Text from the Vatican Museum label.

Title: Belt ornament in the form of a bird demon Period: Iron Age III Date: late 8th-7th Century BC Geography: Urartu Medium: Bronze Dimensions: 3.23 x 4.57 in. (8.2 x 11.61 cm) Classification: Metalwork-Ornament Credit Line: Gift of Norbert Schimmel Trust, 1989 Accession Number: 1989.281.19 On View Text from: www.metmuseum.org/Works_of_Art/collection_database/ancien... and Composite creatures are often represented in Urartian art. This example depicts a fish-tailed, winged griffin that is related to similar composite creatures seen in relief in Urartian belts. The object is a buckle that was originally attached over one end of a belt, the other holding the catch. Text from the Metropolitan Museum of Art label.

Title: Amulet with a Lamashtu demon Period: Neo-Babylonian Date: 7th-6th Century BC Geography: Mesopotamia Medium: Limestone Dimensions: 1.97 x 2.44 x 0.55 in. (5 x 6.2 x 1.4 cm) Classification: Stone-Ornament, Inscribed Credit Line: Purchase, 1886 Accession Number: 86.11.2 On View Text from: www.metmuseum.org/Works_of_Art/collection_database/ancien... and Lamashtu, a female leonine demon with talons and blood-stained paws, was thought to usher in disease and death upon hot winds from the west. On the limestone amulet, she is shown suckling a pig and a dog and grasping double-headed snakes. While her malevolence was directed primarily against pregnant women and babies, the obsidian amulet bears a prayer that reads, "Do not approach the sick man." Each amulet depicts ceremonial objects and offerings to appease the demon: a lamp, legs of lamb, a shoe, a comb, and a spindle. Images of Pazuzu were used to counteract Lamashtu and drive her back into the underworld. Text from the Metropolitan Museum of Art label.

Title: Amulet with a Lamashtu demon Date: early 1st Millennium BC Geography: Mesopotamia or Iran Medium: Obsidian Dimensions: 2.26 x 1.83 in. (5.74 x 4.65 cm) Classification: Stone-Ornament, Inscribed Credit Line: Purchase, James N. Spear Gift, 1984 Accession Number: 1984.348 On View Text from: www.metmuseum.org/works_of_art/collection_database/all/am... and Lamashtu, a female leonine demon with talons and blood-stained paws, was thought to usher in disease and death upon hot winds from the west. On the limestone amulet, she is shown suckling a pig and a dog and grasping double-headed snakes. While her malevolence was directed primarily against pregnant women and babies, the obsidian amulet bears a prayer that reads, "Do not approach the sick man." Each amulet depicts ceremonial objects and offerings to appease the demon: a lamp, legs of lamb, a shoe, a comb, and a spindle. Images of Pazuzu were used to counteract Lamashtu and drive her back into the underworld. Text from the Metropolitan Museum of Art label.

Pendant with the Head of Pazuzu Bronze Mesopotamia Neo-Assyrian 8th-7th century BC Accession # 1993.181 The Mesopotamian god Pazuzu, king of the evil wind demons, was a composite creature with a lion or dog-like face, the horns of a goat, a human torso, the fore-paws of a lion, a scaly lower body, a snake-headed phallus, a scorpion's tail, and the talons and wings of a bird. Pazuzu emerged from the mountains of the underworld, which are represented at the bottom of the plaque. Images of Pazuzu were thought to ward off the demon, Lamashtu, and the protect against disease-bearing winds, especially the west wind. Plaques depicting Pazuzu were placed in houses and bronze head-pendants were hung around the necks of pregnant women, who were the particular focus of Lamashtu's attacks. Text from the Metropolitan Museum of Art label.

Dante's Inferno is a dark ride created by Anton Schwarzkopf currently located at Astroland on Coney Island. Decorated with a purple Cerberus in each tower, a werewolf out of one window, and skeleton warriors in another; its exterior's centerpiece is a large devil holding a victim in his hand that is connecting to the tongue of an upside-down, lolling eyed creature, and a pitchfork in the other. The ride exterior resembles a castle, and its open area is decorated in graffiti style artwork includes Medusa's severed head held by a Grim Reaper, as well as a mad scientist and several dragons. The passenger rides in on a bumper car-like device and is sent through a maze of dark hallways. Most of the interior imagery is behind glass cases, including a dead woman rising off a table, a shaking mummy case, two gorillas, a werewolf popping out from behind foliage, skeletons, and various other horrors, in particular, scenes of a violent and gruesome nature such as a circular saw dismemberment and a man bound on all four limbs begging for help. Suspense is built by relatively long passages of nothing but darkness, strobes that simulate lightning, and sound effects, such as screaming, though some of these are lined with small, impish wall tiles. Little direct influence of Dante Alighieri's Divine Comedy is to be found, though this was not always the case. The ride seems to have no particular theme in its current state. Across from the first gorilla is an unlit display showing a man with a crown opening a window, which appears irrelevant to a horror-themed ride. The ride has elements similar to a roller coaster, including hard-whipping turns and, midway through the ride, coming outside and being pulled down a steep slope before being plummeted through another set of doors to more horrors. Early in the ride, one spectre is lowered before the tracks, but otherwise there is glass (or in the case of the begging man, mesh) between the rider and the various scares. Unlike either the Ghost Hole or the Spook-a-Rama, the other Coney Island dark rides, nothing comes directly at the rider, or threatens to do so. The ride lasts one minute and forty-five seconds. Current admission price is $5.00. The ride is portable, but its fate is unclear as Astroland is set to close after the 2008 season. It may be among the rides Astroland's owners have managed to sell for relocation elsewhere on the boardwalk. As of April 2009, the ride had been gutted. The entire façade was removed, leaving the ramp as part of the standing structure. This was removed before the opening of the new Dreamland Park. The site now houses a giant snake freak show attraction. Interestingly, it was the only one of the three Coney Island dark rides to have snakes (not real) on the interior, although they were trim to the mummy display. There is a video of Dante's Inferno on YouTube youtube.com/watch?v=qGMszVzM6Pc&mode=related&search= Text from: en.wikipedia.org/wiki/Dante's_Inferno_(ride)

Dante's Inferno is a dark ride created by Anton Schwarzkopf currently located at Astroland on Coney Island. Decorated with a purple Cerberus in each tower, a werewolf out of one window, and skeleton warriors in another; its exterior's centerpiece is a large devil holding a victim in his hand that is connecting to the tongue of an upside-down, lolling eyed creature, and a pitchfork in the other. The ride exterior resembles a castle, and its open area is decorated in graffiti style artwork includes Medusa's severed head held by a Grim Reaper, as well as a mad scientist and several dragons. The passenger rides in on a bumper car-like device and is sent through a maze of dark hallways. Most of the interior imagery is behind glass cases, including a dead woman rising off a table, a shaking mummy case, two gorillas, a werewolf popping out from behind foliage, skeletons, and various other horrors, in particular, scenes of a violent and gruesome nature such as a circular saw dismemberment and a man bound on all four limbs begging for help. Suspense is built by relatively long passages of nothing but darkness, strobes that simulate lightning, and sound effects, such as screaming, though some of these are lined with small, impish wall tiles. Little direct influence of Dante Alighieri's Divine Comedy is to be found, though this was not always the case. The ride seems to have no particular theme in its current state. Across from the first gorilla is an unlit display showing a man with a crown opening a window, which appears irrelevant to a horror-themed ride. The ride has elements similar to a roller coaster, including hard-whipping turns and, midway through the ride, coming outside and being pulled down a steep slope before being plummeted through another set of doors to more horrors. Early in the ride, one spectre is lowered before the tracks, but otherwise there is glass (or in the case of the begging man, mesh) between the rider and the various scares. Unlike either the Ghost Hole or the Spook-a-Rama, the other Coney Island dark rides, nothing comes directly at the rider, or threatens to do so. The ride lasts one minute and forty-five seconds. Current admission price is $5.00. The ride is portable, but its fate is unclear as Astroland is set to close after the 2008 season. It may be among the rides Astroland's owners have managed to sell for relocation elsewhere on the boardwalk. As of April 2009, the ride had been gutted. The entire façade was removed, leaving the ramp as part of the standing structure. This was removed before the opening of the new Dreamland Park. The site now houses a giant snake freak show attraction. Interestingly, it was the only one of the three Coney Island dark rides to have snakes (not real) on the interior, although they were trim to the mummy display. There is a video of Dante's Inferno on YouTube youtube.com/watch?v=qGMszVzM6Pc&mode=related&search= Text from: en.wikipedia.org/wiki/Dante's_Inferno_(ride)