| The History of the horse in art is one
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| | Nineveh. It is from 645 B.C. and can now
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| that spans thousands of years, and goes
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| | be found in the British Museum.
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| back to before the horse was first
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| | Form of bas-reliefs carvings in the
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| domesticated. The discoveries of rock
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| | palaces from Niveveh date back
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| paintings at Lascaux and Avignon in
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| | approximately to 645 BC and give a vivid
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| France have provided us with an insight ,
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| | portrayal of the times. They include
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| not only in to the very early artists,
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| | carvings of an exotic lion hunt with the
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| but also of the physical appearance of
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| | king in his chariot. Standing alongside
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| the primitive horse. That these paintings
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| | are the beautifully and evocatively
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| have survived at all is unbelievable, but
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| | displayed horses, tense with the
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| when you consider their date of
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| | excitement of the chase. They even
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| approximately 20,000 BC, and compare this
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| | showing the harnessing and tack that were
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| to the condition they are in, is it quite
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| | being used on the horses. The horses
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| astonishing.
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| | appear muscular and in good condition ,
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| Significance of Cave Paintings. Both the
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| | obviously well looked after, but are
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| Sites at Lascaux and Avignon are buried
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| | depicted with a typical, straight legged
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| in deep underground caves, and perhaps
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| | movement it is many years before horses
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| this has largely contributed to their
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| | were shown with a natural movement in
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| preservation. It is interesting to
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| | their gait.
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| consider why these paintings were done in
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| | The relief's at Nimrud, which date to
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| such inaccessible places and whether they
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| | approximately 865-860 BC, are equally as
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| were depictions of what early man
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| | vivid as those at Nineveh. They show
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| considered to be spiritual or god-like
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| | mounted archers riding mounted bareback
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| animals. Alternatively , they could
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| | on powerful looking stallions, while
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| simply have been portrayals in admiration
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| | aiming their bows. Again, the relief's
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| of the fierce and wild spirit of the
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| | show the elaborate bridles that were in
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| early horses. One vivid drawing is the
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| | use and a type of decorative neck hanging
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| picture of a horse at Niaux, in the
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| | with tassels.
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| mid-Pyrenees. Carefully drawn with the
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| | Horse Sculptures, perhaps some of the
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| heavy black outline, it bears a striking
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| | most early amazing sculptures are the
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| resemblance to Przewalski's horse.
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| | four figurines of the early gilded copper
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| Others, at the site at
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| | horses which reside in the Basilica San
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| Vallon-Point-d'Arc, are depicted with
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| | Marco, Venic. These horses date back to
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| flowing lines and bold colour and are so
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| | the third of forth century BC and stand
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| detailed that it is possible to pick out
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| | larger than life size. They are believed
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| spotted markings similar to the
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| | to have been produced by the Greek
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| Appaloosa.
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| | sculptor Lysippus and are wonderfully
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| Carvings of Nineveh and Nimrud. Pictures
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| | proud and mascular. They are fairly
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| of the horse through the centuries
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| | atomically correct, very life like.
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| provide us with a tremendous information,
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| | Horses have been depicted in the history
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| ranging from the horse in society, to how
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| | af art for their strength and beauty.
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| the horse developed. Another great source
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| | This such depiction has been the subject
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| of pictures comes from the Assyrian
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| | of many an artist, that has continued to
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| people of the Middle East, and the best
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| | this day. And, being a very popular
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| of these are in the Assyrian Ashurbanipal
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| | subject, can only enrich art as a tribute
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| Hunting Relief Large. This relief was
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| | to the horse.
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| found in the Ashurbanipal Palace,
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