# data[].attributes.headline
Queen Puabi Cylinder Seal - ca. 2500-2400 BCE

# data[].attributes.subject
Queen Puabi Cylinder Seal - ca. 2500-2400 BCE

# data[].attributes.body
One of the most striking objects from ancient Mesopotamia is the cylinder seal of Queen Puabi, which dates back to the Early Dynastic Period. This seal shows a banquet scene with, on the left, the detailed image of Queen Puabi in her elaborate funerary attire. Being from very precious lapis lazuli stone highly valued in ancient times, it also symbolized luxury and status. The impression of the seal on the right side, made in modern times, gives an idea of its intricate designs in cuneiform inscriptions in Sumerian, providing information about life and culture during this period. Discovered in the Tomb of Puabi at Ur, this cylinder seal is not used merely as a means of personal identification but also is a representative of Mesopotamian traditions of affluence in art and ceremonial undertakings. It forms part of the cultural heritage because it is a piece of art and a historical find that speaks about the grand status of Queen Puabi and the high society of ancient Sumer.

# data[].attributes.headline
The Pectoral and Necklace of Sithathoryunet - 1887-1878 BCE

# data[].attributes.subject
The Pectoral and Necklace of Sithathoryunet - 1887-1878 BCE

# data[].attributes.body
The Pectoral and Necklace of Sithathoryunet is an opulent example of ancient Egyptian art, dated to the Middle Kingdom, Dynasty 12. The artist is unknown, but representative of the workmanship from that time in gold, carnelian, lapis lazuli, turquoise, and garnet for the pectoral, and gold, carnelian, lapis lazuli, turquoise, and green feldspar for the necklace. It is 82 cm in length, 4.5 cm in height, and 8.2 cm in width, with combined grandeur and symbolism. This jewel was part of Sithathoryunet's treasure, while at the same time showing the status and artistry of those times. Delicately crafted, the pieces show falcons and other protective symbols to point out how important this was for ancient Egyptian beliefs. They are now held within the Metropolitan Museum of Art, to this day, fascinating those who stand and gaze upon them; their historical value combined with the aesthetic appeal stands testimony to the ingenuity of the craftsmen of the Middle Kingdom.

# data[].attributes.body
One interesting piece from the Minoan civilization made of faience is the Minoan Snake Goddess, 11 1/2 inches high, which was found in the palace at Knossos in Crete, Greece. Presently, this is housed in the Heraklion Archaeological Museum in Crete. It is typical of Minoan art because the waists are synchronized with each other, and its legs are very long. The goddess is shown with exposed breasts, which would symbolize fertility and nurturing, while the grasp of serpents suggests a dominion over the animal world. Though in general, still somewhat ambiguous in her exact representation, the Snake Goddess often has been interpreted metaphorically for feminine power, nature, or quite possibly a god to which one would relate both fertility and protection. Details of costume and an energetic pose suggest power and awe, reflecting the more complex spiritual life of the Minoans. The mystery of this figure is a challenge today to scholar and visitor alike, epitomizing the artistry and cultural profundity found on ancient Crete.

# data[].attributes.body
The colossal sculpture known as Lamassu is from the Citadel of Sargon II of the city of Dur Sharrukin; modern Khorsabad stands in Iraq. So, these are some mythical creatures that stand 13 feet and 10 inches tall, with human heads and the bodies of winged bulls or lions, in almost supernatural motion. Traditional pairs of Lamassu are the symbols of protection and power, standing sentry between courtyard and royal chambers to guard the entrance to the throne room. As a visitor to the throne room, you might feel threatened or nervous as their eyes gaze upon you. The size and skill evoked in these limestone figures are well indicative of the Assyrian empire. Nowadays, the Lamassu can be found in the Musée du Louvre in Paris and continue to impress the visitors with their presence and historical value by being a part of ancient Mesopotamia's cultural heritage. That enduring appeal underlines that mythological themes were highly important in the arts and architecture of their time.

# data[].attributes.body
The Marquis Yi of Zeng died about 433 BCE and was buried with an astonishing array of bells. This discovery provides much insight into ancient Chinese civilization. It was accidentally discovered in the year 1978 and revealed a complete set of musical bells used for offering and performance. These bells are associated with the ambition, wealth, and power of the Marquis. More than 15,000 objects were unearthed in this tomb, including the elaborate bells and a few musical instruments. The collection consists of 65 bronze bells in three layers, each weighing up to 14 and 175 pounds, a real testimony to the excellent craftsmanship of the time. Besides the bells, human sacrifice has also been unearthed in the tomb as part of what underlined the Marquis status and generally those of the times. This amazing find throws light not only on the significance of music in rituals and social functions but also in beliefs and values connected with death and the afterlife of ancient China.

# data[].attributes.body
The Apollo Belvedere is a Roman marble, copied from the bronze original that is known as a product of Greece; it can be dated back to approximately 330-320 BCE, therefore considered Late Classical or Hellenistic. This statue, representing the Greek god Apollo in an involved contrapposto position, balances motion with rest. Its attribution to Leochares remains a topic of speculation. It originally had a bow and arrow, but those parts are now lost, and much speculation has been made about what exactly they meant. Found in central Italy in the late 15th century, the Apollo Belvedere has since become one of the most famous artifacts of Classical art, the perfect example of human form and proportion. Its influence ran through the Renaissance and beyond, inspiring artists and reaffirming its status as a symbol of ancient Greek achievement. Even though it is incomplete, the sculpture has remained a source of wonder for its elegance.

# data[].attributes.body
The Temple of Dendur was originally built in the Roman period, about 10 BCE in Egypt, and is an outstanding example of the continuity of style in Egyptian art. The temple complex in itself consists of a gate and the temple proper and was dedicated to the goddess Isis. Its exterior surface was originally polychromed, bright colors that covered its entire surface. These identify the temple as Roman in origin, since its hieroglyphics include Roman imperial iconography in addition to traditional Egyptian motifs. In the 1960s, the Egyptian government gave the United States the Temple of Dendur. It was then moved and built at the Metropolitan Museum in New York, where it also stands as an iconic part of ancient Egyptian and Roman merged art.

# data[].attributes.body
The Great Mosque of Samarra is a monumental achievement in Islamic architecture. The mosque, located in Samarra, Iraq, about 35 miles north of Baghdad, was the world's largest mosque until modern times. Its most striking feature is the minaret, which stands at an imposing 170 feet tall, making it prominent in the landscape. Designed for greatness with their extraordinary height, the minarets showcase power and greatness. This site was the very first Islamic site to have excavations in the 1910s and drew valuable insights into the building of early Islamic Architecture. It has indeed been reduced to ruin now, but the remnants continue as a standing testament to the remarkable ambition of Abbasid construction, which remains unrivaled in the architectural as well as the cultural legacy of the Islamic world.

# data[].attributes.attachment_link.description
The Great Mosque of Samarra was, for a time, the largest mosque in the world; its minaret, the Malwiya Tower, is a spiralling cone 52 metres (171 ft) high and 33 metres (108 ft) wide with a spiral ramp.

# data[].attributes.headline
Kneeling Attendant Bodhisattva - late 7th century

# data[].attributes.subject
Kneeling Attendant Bodhisattva - late 7th century

# data[].attributes.body
The Kneeling Attendant Bodhisattva is a perfect example of Buddhist sculpture from Mogao Cave 328 in Dunhuang, Gansu province, China. The figure is 122 cm high and was made with unfired clay mixed with fibers and straw, molded over a wooden armature. Covered with polychrome and gilding, the spiritual presence and artistic detail are outstanding. It is believed to have been created during the Tang dynasty, reflecting the era's advanced techniques in religious art. The kneeling bodhisattva represents the compassionate nature of Buddhism; it was an attendant to a larger figure, probably Buddha. This sculpture was part of the vast collection of art once hidden in the Mogao Caves, a large center of Buddhist art and culture. Today, the Kneeling Attendant Bodhisattva is preserved in the Harvard Art Museums, continuing to be a vital example of ancient Chinese craftsmanship.

# data[].attributes.wish_content.attachment_props.alternative_text
Kneeling Attendant Bodhisattva - late 7th century