anthropomorphic images


Happy comicbooks Wednesday! I share with you a little proyect I have with my pal @danieruhuli, the anthropomorphization of our favorites comics publishing houses (and seals)! Hope you like it, and please make me know if you want us to design another one of your liking!


Greco-Buddhism is the term given to refer to the cultural syncretism of Hellenistic and Buddhist culture in ancient Bactria and the India (present day Afghanistan, Pakistan, and Northern India) between the 4th century BCE and 5th century CE. The style gave rise after the invasion of Bactria (present-day Afghanistan) and the Indus Valley by the Greek armies of Alexander the Great, and flourished under the subsequent Indo-Greek Kingdom and the Kushan Dynasty, who incorporated the Greek Alphabet and other aspects of Hellenistic culture into their own society. The result was an interesting combination of Greek artistic elements in the local Buddhist art. It is generally believed that the first anthropomorphic images of the Buddha emerged during the Greco-Buddhist period in the 1st century CE. Scholars credit many stylistic elements of the image of the Buddha, such as his halo, stylistic curls, and top bun style to Greco-Roman artistic influence. Interestingly, many standing images of the Buddha at this time also depict him in a Greek contrapposto. Many deities from the Hellenistic pantheon were also adopted into Buddhist religion. The most notable examples are the deities, Heracles, Tyche, and Boreas, who eventually became associated with the Buddhist deities, Vajrapani, Hariti, and Oado respectively. Aspects of Greco-Buddhism managed to filter into Buddhist art within the Indian subcontinent and Eastern Asia as the religion started to spread eastward. Greco-Buddhism is one of the greatest examples of long distance cultural and artistic exchange in the ancient world, spanning between two continents and adapting elements from countless different cultures, most notably, Greco-Roman, Persian, and Hindu.

Greco-Buddhism particularly flourished in the ancient region of Gandhara which encompassed the land around the border of Afghanistan and Northern Pakistan. Excavations in the archaeological site of Hadda, located near the Kyber Pass in Afghanistan, recovered over 23,000 examples of Greco-Buddhist art. Many of these sites, unfortunately, were destroyed or heavily damaged through looting and vandalization by the Taliban in the 1990s. The artifacts that have survived are a testament of a very rich and diverse cultural syncretism.

1) Statue of the “Hadda Triad.” A Giant statue of the Buddha sits between the two deities, Vajrapani/Heracles and Hariti/Tyche who are sculpted in the Hellenistic style. From the Tapa-i-Shotor Buddhist complex in Hadda, Afghanistan. c. 2nd-5th century CE.  This statue was destroyed in the 1990s by the Taliban. Only photographs and illustrations survive.

2) Sculpture relief of the Buddhist gods Hariti/Tyche and her consort Pancika. The two figures are donned in Greek style dress and Hariti/Tyche is holding a Hellenistic-style cornucopia. From Gandhara, Pakistan, c. 3rd century CE. British Museum.

3) Bronze statuette of a seated Buddha. From Gandhara, Pakistan, c.1st-2nd  century CE. Metropolitan Museum of Art.

4) A reliquary known as the “Bimaran Casket.”  The Buddha, pictured in the center, is depicted in a contrapposto pose. He is surrounded by two deities, Brahma and Śakra, inside Greco-Roman style arched niches. From Hadda, Afghanistan, c. 1st century CE. British Museum.

5) Indo-Conrinthian capital decorated with a seated Buddha. From Gandhara, Pakistan. 3rd century CE. Musée Guimet

Thanks to Jim Theler for this week’s post – 

The artifact shown here was recovered in an Oneota feature from the Sand Lake Archaeological District in La Crosse County, Wisconsin in the mid 1980s. It is a tarsal bone (astragalus) from the lower, rear leg of an elk. It has been modified with a series of deeply cut grooves on the anterior face of the bone. An apparent attempt to shape the bone on the posterior, face as well as the lateral and medial aspects is indicated by coarse grinding striations. If some imagination is applied, it is possible to perceive something of an anthropomorphic image on this specimen.    


[Lucifer] “You’ve been looking for a new world, and now you’ve found it. Congratulations. And a word of warning. Remember that my hand is outstretched above you—in a literal, not a metaphorical sense. 

There are certain things I won’t tolerate. Don’t bring the habit of worship here with you. Graven images, anthropomorphized abstractions, cosmic principles, they’re all equally unacceptable. Those of you who are hiding behind human seemings, you can keep them—but remember that I see through your faces. I know exactly what you are. If you set up churches or call yourselves gods, I’ll destroy you.

That’s all. I don’t believe in doves or covenants. You’ll know you’ve displeased me—if the sky turns black.”

[Woman] “I had a vision, man. I saw a fucking angel standing in the sun!”

[Priest] “We all did. And we all heard what he said. The habit of worship…”

[Man] “I guess that’s it, then. We’re free.”

[Woman] “I wonder which angel he is.”

[Priest] “Given his views on religion—I’d say that’s pretty obvious.”

anonymous asked:

Sorry but what's with all the hoo ha about the picture of the cockatiel and dog? My mom has had a cat, dog, and 3 birds living together for 8 years now and they've always got along lovingly. What in the photo, if anything, indicates that something bad is happening to the cockatiel?

Hi, thank you for your ask! Before I answer it directly I’m gonna rant quickly. This is the 14 year old family cat, Sirus:

He’s a handsome cat, in great shape. He’s an outdoor cat except in the winter, he hunts and kills mice, voles, birds, minks, and probably a lot more. He’s hunted all his life and loves bringing his kills to us. He is exceptionally kind and loyal to his family, if someone’s in pain or crying he runs over and won’t leave until you’re happy, if you go on walks in the woods he follows you the whole way like a doggy. He has the cutest little trot he does and sweetest voice, he loves having a conversation with you!

He was a stray, there was an elderly woman who used to live on our road with over eighty cats in her house, when it burned down many of those cats died but this little black kitten with frost bitten ears and extra toes managed to survive. He’s been with the family and an indoor/outdoor cat ever since.

Sirus has been injured multiple times, he gets in fights with the stray cats, he gets ticks despite being medicated for them, he’s probably been clipped by a car at least once, he had his skull crushed by a coyote not too many years ago. He’s recovered from all of those but still has his scars and a misshapen jaw.

I used to, in my head, argue against the dangers of having an outdoor cat if handled properly, I mean look at that cat! He’s a much better weight compared to our other cat who’s indoors (under all that fluff there’s a tiny cat), he gets a better diet from all that hunting, he’s incredibly happy!

I now know that this is wrong of me. This is a risk. We’ve been lucky. Hundreds, if not thousands of species have been affected or gone extinct thanks to outdoor cats, I’m sure Sirus has contributed in some way. He has infected teeth from that coyote and while he’s happy, he could’ve lived a much safer life and still been happy. There’s nothing I can do to change his state, he’s my family’s cat and it’s futile to argue against them, and honestly for the passed 14 years I believed that this was okay and it’s hard to break what’s ingrained into your head about what’s acceptable.

I wish that I could go back in time and be aware of how unsafe having an outdoor cat like Sirus was and change his life style, I’m happy I never tried to argue that this is safe openly because it’s just not. 

Now, what does this have to do with that cockatiel next to that doggo? A lot! Because so many people are doing what I did and because they’ve been doing it for so long it’s okay to them. So they post cute pictures of their animals interacting and you know, they probably have never had an issue! They say they’re best friends and their pets grow old together without any incident ever happening. That’s great, I’m glad they were lucky. The problem is this is a small percentage.

Ask any avian vet and they will tell you the countless stories of parrots mauled by dogs, killed or permanently disabled. Not only that, cat, dog, and even human saliva is toxic to birds and a small amount can hurt them. Just a scratch can cause an infection, it’s not safe. Just because you’ve never had an issue doesn’t mean you never will.

Similar to the fact that just because Sirus hasn’t died from being an outdoor cat yet doesn’t mean he never will. 

The bigger problem however, is not in the fact that OP allowing this or anyone, it’s posting an unsafe picture that displays an unsafe interaction and saying it’s okay for other’s to do this. People need to be aware of the risks, media and viral images will often anthropomorphize images and suggest that this is without risks.

My mom’s dog, she’s an Australian cattle named Roo, she’s a great dog and I trust her to never hurt Rex, she has an awesome understanding of what animals are family and what ones (like wild robins and squirrels) she can chase. When Rex is strutting around on the floor Roo will put extra effort into veering around her. The other day Roo was headed towards the hall, however Rex was in the way and I watched her make the conscious decision to turn around and go through the kitchen to get to her destination! I told her how good she was and was very proud of that. She’s very conscious of spooking Rex and Gibby and goes out of her way not too.

However, that doesn’t mean I trust the environment. Anything can happen. Rex has attempted to land on Roo, if I’m not there to make sure she doesn’t she could surprise Roo and there are endless possibilities of how she could respond. Roo is still a dog and despite domestication, dogs are predators at heart, their instincts are still there. I would never leave them alone together, much less allow them to get within a foot of each other. Risking that for a cute picture is not worth the risk. Labeling a potentially dangerous situation as cute no matter the circumstances will cause people to think it’s okay and get their pet killed.

It doesn’t matter if you’ve never had an incident, it doesn’t matter if OP has never had an incident, others can and will and need to be aware of the risks to prevent this.

As for for the photo itself, I’m no tiel expert but as others who are have already stated, the bird’s body indicated that it’s stressed. You just shouldn’t put your animals in a stressful situation unless necessary. A viral pic ain’t necessary. 

Could I get my tiel friends to explain that body language better?

Here’s the picture if ya haven’t seen it

Also, I would like to remind everyone not to personally attack anyone ever, inform them of what’s wrong and why it’s wrong but don’t be assholes about it, okay? Often people won’t realize the dangers, and even if they do and aren’t listening, just leave it be then. Their pet will potentially suffer, but that’s on them. Make an informational posts on the hazards involved for those who do want to know, but leave OPs alone if you’ve politely tried.

Thank you for the ask and I hope that helps with the overall concept and someone will chime in with info on cockatiel language.

Minimalism does announce a new interest in the body – again, not in the form of an anthropomorphic image or in the suggestion of an illusionist space of consciousness, but rather in the presence of its objects, unitary and symmetrical as they often are … just like people. And this implication of presence does lead to a new concern with perception, that is, to a new concern with the subject. Yet a problem emerges here too, for minimalism considers perception in phenomenological terms, as somehow before or outside history, language, sexuality, and power. In other words, it does not regard the subject as a sexed body positioned in a symbolic order any more than it regards the gallery or museum as an ideological apparatus. [But] to ask minimalism for a full critique of the subject may be anachronistic as well; it may be to read it too much in terms of subsequent art and theory …

“The Crux of Minimalism” from The Return of the Real: The Avant-Garde at the End of the Century by Hal Foster

Guennol Lioness - one of the oldest examples of art. Mesopotamia, 5000 years old.

This lioness-woman sculpture, an Elamite figure believed to have been created circa 3000–2800 B.C. Its historical significance is that it is thought to have been created at approximately the same time as the first known use of the wheel, the development of cuneiform writing, and the emergence of the first cities. Such anthropomorphic figures, merging animal and human features, may be seen in the top and bottom registers of the trapezoidal front panel of the famous Great Lyre from the “King’s Grave” (circa 2650–2550 B.C.), which was discovered by British archaeologist Sir Leonard Woolley early in the twentieth century at Ur in present-day Iraq.Many ancient Near East deities were represented in anthropomorphic figures. Such images evoked the Mesopotamian belief in attaining power over the physical world by combining the superior physical attributes of various species. It is possible that the nearby Sumerians borrowed this powerful artistic hybrid from the Proto-Elamites.[8] The lioness was the frequent subject of veneration among cultures with exposure to the characteristic hunting techniques of the species that feature well-coordinated hunting by its female members. Sold for $57.2 million in 2007

I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God. I don’t believe in any of Earth’s monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God, once you accept the fact that there are approximately 100 billion stars in our galaxy alone, that each star is a life-giving sun and that there are approximately 100 billion galaxies in just the visible universe. Given a planet in a stable orbit, not too hot and not too cold, and given a few billion years of chance chemical reactions created by the interaction of a sun’s energy on the planet’s chemicals, it’s fairly certain that life in one form or another will eventually emerge. It’s reasonable to assume that there must be, in fact, countless billions of such planets where biological life has arisen, and the odds of some proportion of such life developing intelligence are high. Now, the sun is by no means an old star, and its planets are mere children in cosmic age, so it seems likely that there are billions of planets in the universe not only where intelligent life is on a lower scale than man but other billions where it is approximately equal and others still where it is hundreds of thousands of millions of years in advance of us. When you think of the giant technological strides that man has made in a few millennia—less than a microsecond in the chronology of the universe—can you imagine the evolutionary development that much older life forms have taken? They may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities—and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit. Their potentialities would be limitless and their intelligence ungraspable by humans.

— Stanley Kubrick

Lost Souls 
A Floral Death series diptych by Toby Braun<< 

Diptychs are my favorite form of artistic expression. I use the diptych format to explore, and sometimes pervert, the usual window-like picture plane of photographic images. In many cases, one half of the image is abstracted and spatially flattened in processing—while the other half retains its expected dimensionality—resulting in a playfully ambiguous plastic picture plane. It is the tension invoked by these fleeting spatial conflicts and their implications on human perception are the real subject of my main bodies of work.   

My current exploration, tentatively titled Floral Death, views the death cycle of store-bought flowers through the narrow lens of a desktop scanner. These anthropomorphically-themed images are composed as traditional diptychs, although the image boundaries are often hidden. The flattened viewpoint of the scanner glass, and some clever compositional gymnastics, challenge each viewer’s perceptions with scenes of spatial ambiguity. 

Toby Braun