Sacrificial weapons hi-res stock photography and images

Set of Sacrificial Weapons, Indian, Bengal (?) or Nepalese, 19th century, Indian, Bengal (?) or Nepalese, Steel, wood, brass, 36.25.1284: L. 35 1/2 in. (90.2 cm), 36.25.1285: L. 18 in. (45.7 cm), 36.25.1286: L. 17 in. (43.2 cm); overall 25 1/2 in. (64.8 cm), Shafted Weapons Stock Photo

RM2B0MMTT–Set of Sacrificial Weapons, Indian, Bengal (?) or Nepalese, 19th century, Indian, Bengal (?) or Nepalese, Steel, wood, brass, 36.25.1284: L. 35 1/2 in. (90.2 cm), 36.25.1285: L. 18 in. (45.7 cm), 36.25.1286: L. 17 in. (43.2 cm); overall 25 1/2 in. (64.8 cm), Shafted Weapons

Set of Sacrificial Weapons 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in these three sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the mid Stock Photo

RM2HJ33G7–Set of Sacrificial Weapons 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in these three sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the mid

Sacrificial Knife Aztec and modern automatic knife from the U.S. Stock Photo

RFBP1BB2–Sacrificial Knife Aztec and modern automatic knife from the U.S.

Mixtec sacrificial knife with mosaic handle. The Conquistadors by Hammond Innes, page 110. Stock Photo

RMWHAY4D–Mixtec sacrificial knife with mosaic handle. The Conquistadors by Hammond Innes, page 110.

Dolmen or Druidic altar. Hammer used for sacrifice (from a figure engraved under the table of a Dolmen in Brittany). Dolmen ou Autel Druidique. Marteau servant aux sacrifices (Figure gravee sous la table du Dolmen daul marchande en Bretagne). Handcoloured lithograph by Villain after an illustration by Horace de Viel-Castel from his Collection des costumes, armes et meubles pour servir à l'histoire de la France (Collection of costumes, weapons and furniture to be used in the history of France), Treuttel & Wurtz, Bossange, 1827. Stock Photo

RM2CCKF3W–Dolmen or Druidic altar. Hammer used for sacrifice (from a figure engraved under the table of a Dolmen in Brittany). Dolmen ou Autel Druidique. Marteau servant aux sacrifices (Figure gravee sous la table du Dolmen daul marchande en Bretagne). Handcoloured lithograph by Villain after an illustration by Horace de Viel-Castel from his Collection des costumes, armes et meubles pour servir à l'histoire de la France (Collection of costumes, weapons and furniture to be used in the history of France), Treuttel & Wurtz, Bossange, 1827.

Ancient Roman weapons and armor Stock Photo

RFA5AY9X–Ancient Roman weapons and armor

Czechoslovak newspaper 'Lidové listy' ('People Papers') issued on 9th May 1945 with announcements of the surrender of the Nazi German forces in Prague and surroundings and of the entry of the Red Army into Prague. The first line in Czech language means: In the glorious day of the Czech nation, the Red Army is entering in Prague. The second line means: Prague is liberated after the heroic and sacrificial struggle. The surrender of the Germans in Prague and surroundings. The protocol of surrender is signed. The Germans have to lay the weapons down and leave Prague! The full text of the protocol Stock Photo

RM2E3R70Y–Czechoslovak newspaper 'Lidové listy' ('People Papers') issued on 9th May 1945 with announcements of the surrender of the Nazi German forces in Prague and surroundings and of the entry of the Red Army into Prague. The first line in Czech language means: In the glorious day of the Czech nation, the Red Army is entering in Prague. The second line means: Prague is liberated after the heroic and sacrificial struggle. The surrender of the Germans in Prague and surroundings. The protocol of surrender is signed. The Germans have to lay the weapons down and leave Prague! The full text of the protocol

Tierra del fuego archipelago: primitive tools and weapon of bone Stock Photo

RF2CA42P8–Tierra del fuego archipelago: primitive tools and weapon of bone

RM2T69BHD–Dolmen or Druidic altar. Hammer used for sacrifice (from a figure engraved under the table of a Dolmen in Brittany). Dolmen ou Autel Druidique. Marteau servant aux sacrifices (Figure gravee sous la table du Dolmen daul marchande en Bretagne). Handcoloured lithograph by Villain after an illustration by Horace de Viel-Castel from his Collection des costumes, armes et meubles pour servir à l'histoire de la France (Collection of costumes, weapons and furniture to be used in the history of France), Treuttel & Wurtz, Bossange, 1827.

Roman Art. Italy. Ara Pacis Augustae. Dated 13th century BC. Figure of the goddess Roma, sitting on a pile of trophy weapons. Stock Photo

RME037TE–Roman Art. Italy. Ara Pacis Augustae. Dated 13th century BC. Figure of the goddess Roma, sitting on a pile of trophy weapons.

Sacrificial Axe 18th–19th century Indian, Coorg. Sacrificial Axe. Indian, Coorg. 18th–19th century. Steel, wood. Shafted Weapons Stock Photo

RM2HGWNXC–Sacrificial Axe 18th–19th century Indian, Coorg. Sacrificial Axe. Indian, Coorg. 18th–19th century. Steel, wood. Shafted Weapons

Fan weapons; 1. knife; 2. sacrificial knife and battle-axe; 3. shield and spear. The history of mankind / Trans from the second German edited by A. J. Butler. v. 3, 1898. [S.l.] : Macmillan, 1896-1898. Source: 572*3343* vol III, f.104. Language: English. Author: Ratzell, Friedrich. Stock Photo

RMR54J98–Fan weapons; 1. knife; 2. sacrificial knife and battle-axe; 3. shield and spear. The history of mankind / Trans from the second German edited by A. J. Butler. v. 3, 1898. [S.l.] : Macmillan, 1896-1898. Source: 572*3343* vol III, f.104. Language: English. Author: Ratzell, Friedrich.

Sacrificial Scene, between 1596 and 1674. Stock Photo

RM2T6CBFX–Sacrificial Scene, between 1596 and 1674.

Ritual sacrificial knives in flint and obsidian, Mayan archaeological museum, Fort San Jose, Campeche, Mexico Stock Photo

RM2R17N23–Ritual sacrificial knives in flint and obsidian, Mayan archaeological museum, Fort San Jose, Campeche, Mexico

Sacrificial victims threw down from royal palace terrace, Dahomey, Central Africa, Old 19th century engraved illustration, Le Tour du Monde 1863 Stock Photo

RM2BN9DPK–Sacrificial victims threw down from royal palace terrace, Dahomey, Central Africa, Old 19th century engraved illustration, Le Tour du Monde 1863

The typical weapons used by the Incas, including the sling and the tremendous Macuahuitl Stock Photo

RF2K7X9H8–The typical weapons used by the Incas, including the sling and the tremendous Macuahuitl

The decorative periods . din a higher sense it indicated immortality. The palm was asymbol of victory. It is easy to understand howthe vessels of religious rites passedinto the decoration of religiousedifices. In the antique style the ALTARS, TRIPODS, CANDELABRA,SACRIFICIAL AXES and SPRINKLERS were introduced naturally. In the Gothic Period the sym-bol of the CROSS, the marks ofPRIESTLY dignity, the suggestionof the PASSION, became part of thedecoration. It was the custom of theGreeks to hang upon the trunks oftrees the weapons which the flyingenemy had left behind.These tokens of victory were Stock Photo

RM2AJ68R5–The decorative periods . din a higher sense it indicated immortality. The palm was asymbol of victory. It is easy to understand howthe vessels of religious rites passedinto the decoration of religiousedifices. In the antique style the ALTARS, TRIPODS, CANDELABRA,SACRIFICIAL AXES and SPRINKLERS were introduced naturally. In the Gothic Period the sym-bol of the CROSS, the marks ofPRIESTLY dignity, the suggestionof the PASSION, became part of thedecoration. It was the custom of theGreeks to hang upon the trunks oftrees the weapons which the flyingenemy had left behind.These tokens of victory were

Aztec obsidian blade at the National Museum of Anthropology in Mexico City. Stock Photo

RMB37W31–Aztec obsidian blade at the National Museum of Anthropology in Mexico City.

Ceremonial knife or Tumi, ornamented with llama head. Inca Culture. Late Period, 1400 AC. Museum of the Americas, Madrid Stock Photo

RF2F1WPJB–Ceremonial knife or Tumi, ornamented with llama head. Inca Culture. Late Period, 1400 AC. Museum of the Americas, Madrid

Battle of Malplaquet, 1709, Map of the battle of Malplaquet between the Allies and the French, September 11, 1709. Print consisting of two sheets stuck together. Above the map of the battle, below the order of battle of the Allied troops. On the left a monument decorated with banners and weapons, in the foreground the Victory with portraits of the Prince of Savoy, the Duke of Marlborough and the Earl of Tilly. On the right Mars and Hercules at a temple with two sacrificial women, on the ground the defeated enemies., print, print maker: anonymous, print maker: Jan van Vianen, (possibly Stock Photo

RM2X6XC6P–Battle of Malplaquet, 1709, Map of the battle of Malplaquet between the Allies and the French, September 11, 1709. Print consisting of two sheets stuck together. Above the map of the battle, below the order of battle of the Allied troops. On the left a monument decorated with banners and weapons, in the foreground the Victory with portraits of the Prince of Savoy, the Duke of Marlborough and the Earl of Tilly. On the right Mars and Hercules at a temple with two sacrificial women, on the ground the defeated enemies., print, print maker: anonymous, print maker: Jan van Vianen, (possibly

Statues of Confucian sages in the Wen Temple in the Ancient City of Pingyao, Shanxi Province, China Stock Photo

RFTC4AJK–Statues of Confucian sages in the Wen Temple in the Ancient City of Pingyao, Shanxi Province, China

RM2E3R687–Czechoslovak newspaper 'Lidové listy' ('People Papers') issued on 9th May 1945 with announcements of the surrender of the Nazi German forces in Prague and surroundings and of the entry of the Red Army into Prague. The first line in Czech language means: In the glorious day of the Czech nation, the Red Army is entering in Prague. The second line means: Prague is liberated after the heroic and sacrificial struggle. The surrender of the Germans in Prague and surroundings. The protocol of surrender is signed. The Germans have to lay the weapons down and leave Prague! The full text of the protocol

Sacrificial Sword (Ramdao). Culture: Indian, Bengal (?) or Nepalese. Dimensions: L. 35 1/2 in. (90.2 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAPBJ2–Sacrificial Sword (Ramdao). Culture: Indian, Bengal (?) or Nepalese. Dimensions: L. 35 1/2 in. (90.2 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Sacrificial Sword (Kartr? or Chur?) 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the midst Stock Photo

RM2HGPAC1–Sacrificial Sword (Kartr? or Chur?) 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the midst

Double Beaker Depicting Warriors and Sacrificial Objects, 180 B.C./A.D. 500. Stock Photo

RM2H2J0G5–Double Beaker Depicting Warriors and Sacrificial Objects, 180 B.C./A.D. 500.

RM2E3BRR8–Sacrificial victims threw down from royal palace terrace, Dahomey, Central Africa, Old 19th century engraved illustration, Le Tour du Monde 1863

. The ancient stone implements, weapons, and ornaments, of Great Britain. whopresented it to the Society of Antiquaries of Scotland, has observedthat the enormous amount of labour that must have been bestowedon cutting and polishing would indicate that it was not intended. Fig. 153.—Maesmore, Corwen. ^ for ordinary use as a common hammer. Some have considered itas the war implement of a distinguished chief; others, that it wasintended for sacrificial or other religious purpose, or as a badge of highoffice. Other conjectures are also mentioned which it is needless to repeat.My own opinion is in Stock Photo

RM2CF04XH–. The ancient stone implements, weapons, and ornaments, of Great Britain. whopresented it to the Society of Antiquaries of Scotland, has observedthat the enormous amount of labour that must have been bestowedon cutting and polishing would indicate that it was not intended. Fig. 153.—Maesmore, Corwen. ^ for ordinary use as a common hammer. Some have considered itas the war implement of a distinguished chief; others, that it wasintended for sacrificial or other religious purpose, or as a badge of highoffice. Other conjectures are also mentioned which it is needless to repeat.My own opinion is in

Aztec obsidian blades at the National Museum of Anthropology in Mexico City. Stock Photo

RMB38AAT–Aztec obsidian blades at the National Museum of Anthropology in Mexico City.

RF2F1WPJF–Ceremonial knife or Tumi, ornamented with llama head. Inca Culture. Late Period, 1400 AC. Museum of the Americas, Madrid

RFTTY6P1–Statues of Confucian sages in the Wen Temple in the Ancient City of Pingyao, Shanxi Province, China

Roman Art. Italy. Ara Pacis Augustae. Dated 13th century BC. Figure of the goddess Roma, sitting on a pile of trophy weapons. Museum of the Ara Pacis. Rome. Italy. Stock Photo

RMPNWFR4–Roman Art. Italy. Ara Pacis Augustae. Dated 13th century BC. Figure of the goddess Roma, sitting on a pile of trophy weapons. Museum of the Ara Pacis. Rome. Italy.

Sacrificial Knife 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the midst of battle, from th Stock Photo

RM2HGPAAH–Sacrificial Knife 19th century Indian, Bengal (?) or Nepalese Just as Durg? was a manifestation of the focused anger of the gods, so too was the godess K?l? (literally, 'the black one') an emanation born of the wrath of Durg?. K?l? is worshiped both as the most bloodthirsty member of the Hindu pantheon and, conversely, as the most life affirming. The goddess's dichotomous nature as destroyer and savior is implicit in sacramental weapons, which were used in the ritualistic slaughter of animals offered to her as sacrifices.K?l? is said to have sprung fully formed, in the midst of battle, from th

Allegory at the marriage, Jacob Folkema, After Gerard Melder, 1724 print Allegory on the marriage, placed in an elegant list where the weapons of the Neufville and De Wolff families adorn. Central is a couple who are led to the sacrificial column by an angel with fire ventures. Putti are waiting for them with flower wreaths. In the sky, Juno looks from a cloud. In the background, figures make music and a putto with two laurel wreaths. Outside the list flanked by two river gods, the text is on a cartouche: Iunctior Esse Expetit. paper etching 'Castit marriage', 'Marital faith', 'Marriage' (Rip Stock Photo

RM2WD0YYM–Allegory at the marriage, Jacob Folkema, After Gerard Melder, 1724 print Allegory on the marriage, placed in an elegant list where the weapons of the Neufville and De Wolff families adorn. Central is a couple who are led to the sacrificial column by an angel with fire ventures. Putti are waiting for them with flower wreaths. In the sky, Juno looks from a cloud. In the background, figures make music and a putto with two laurel wreaths. Outside the list flanked by two river gods, the text is on a cartouche: Iunctior Esse Expetit. paper etching 'Castit marriage', 'Marital faith', 'Marriage' (Rip

Babhruvahana Surrenders the Sacrificial Horse Syamakarna to His Father Arjuna (verso), Scenes from the Story of Babhruvahana, Folio from a Mahabharata ([War of the] Great Bharatas), c1850. Stock Photo

RM2T1E7DC–Babhruvahana Surrenders the Sacrificial Horse Syamakarna to His Father Arjuna (verso), Scenes from the Story of Babhruvahana, Folio from a Mahabharata ([War of the] Great Bharatas), c1850.

Allegory on marriage. Allegory marriage, placed in an elegant list where at the top of the weapons of the Neufville families and the Wolff. Central is a couple who is led by an angel with lighthoods to the sacrificial column. Putti awaits them with flower wreaths. In the sky Juno watches from a cloud. In the background, figures make music and flies a putto with two laurel wreaths. Outside the table flanked by two river gods is on a cartouche the text: Iunctior Esse Expetit. Stock Photo

RM2G26X4C–Allegory on marriage. Allegory marriage, placed in an elegant list where at the top of the weapons of the Neufville families and the Wolff. Central is a couple who is led by an angel with lighthoods to the sacrificial column. Putti awaits them with flower wreaths. In the sky Juno watches from a cloud. In the background, figures make music and flies a putto with two laurel wreaths. Outside the table flanked by two river gods is on a cartouche the text: Iunctior Esse Expetit.

RFTDMFBB–Statues of Confucian sages in the Wen Temple in the Ancient City of Pingyao, Shanxi Province, China

Sacrificial Axe. Culture: Indian or Nepalese. Dimensions: H. 24 in. (61 cm); W. 6 3/4 in. (17.1 cm); Wt. 2 lb. 13.8 oz. (1298.4 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB3HMJ–Sacrificial Axe. Culture: Indian or Nepalese. Dimensions: H. 24 in. (61 cm); W. 6 3/4 in. (17.1 cm); Wt. 2 lb. 13.8 oz. (1298.4 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

RM2T1E7DB–Babhruvahana Surrenders the Sacrificial Horse Syamakarna to His Father Arjuna (verso), Scenes from the Story of Babhruvahana, Folio from a Mahabharata ([War of the] Great Bharatas), c1850.

Sacrificial Axe. Culture: Indian, Coorg. Dimensions: H. 25 1/2 in. (64.8 cm); W. 2 in. (5.1 cm); Wt. 2 lb. 14.4 oz. (1315.4 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB5167–Sacrificial Axe. Culture: Indian, Coorg. Dimensions: H. 25 1/2 in. (64.8 cm); W. 2 in. (5.1 cm); Wt. 2 lb. 14.4 oz. (1315.4 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Sacrifice of Iphigenia, second half 15th century. Stock Photo

RM2F99TC1–The Sacrifice of Iphigenia, second half 15th century.

Sacrificial Axe. Culture: Indian, Coorg. Dimensions: H. 21 in. (53.5 cm); W. 5 1/4 in. (13.3 cm); Wt. 2 lb. 7.1 oz. (1108.5 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAX97C–Sacrificial Axe. Culture: Indian, Coorg. Dimensions: H. 21 in. (53.5 cm); W. 5 1/4 in. (13.3 cm); Wt. 2 lb. 7.1 oz. (1108.5 g). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

A King Sacrificing his Daughter, 1671. Stock Photo

RM2T6CKP7–A King Sacrificing his Daughter, 1671.

RM2F99TME–The Sacrifice of Iphigenia, second half 15th century.

RM2F99TBW–The Sacrifice of Iphigenia, second half 15th century.

Handle Spout Vessel in Form of Sacrificer Wearing a Jaguar Headdress, 100 B.C./A.D. 500. Stock Photo

RM2H2J00W–Handle Spout Vessel in Form of Sacrificer Wearing a Jaguar Headdress, 100 B.C./A.D. 500.

The Sacrifice of Isaac, 17th-18th century. Stock Photo

RM2T6BT0N–The Sacrifice of Isaac, 17th-18th century.

Sacrifice of Isaac (recto); Jacob's Dream (verso), 1613/20. Stock Photo

RM2KFKE8R–Sacrifice of Isaac (recto); Jacob's Dream (verso), 1613/20.

Comanche Giving Arrows to the Medicine Rock, 1837-1839. Stock Photo

RM2F9ATGD–Comanche Giving Arrows to the Medicine Rock, 1837-1839.

Sacrifice of Iphigenia, 1690-1700. On his way to the Trojan War, the Greek king Agamemnon offended the goddess Artemis by hunting and killing one of her sacred stags. She retaliates by preventing the Greek troops from reaching Troy unless Agamemnon kills his eldest daughter, Iphigenia, as a human sacrifice at Aulis. Stock Photo

RM2R8YHT9–Sacrifice of Iphigenia, 1690-1700. On his way to the Trojan War, the Greek king Agamemnon offended the goddess Artemis by hunting and killing one of her sacred stags. She retaliates by preventing the Greek troops from reaching Troy unless Agamemnon kills his eldest daughter, Iphigenia, as a human sacrifice at Aulis.