The Bardo Museum
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Hall of the Bardo Palace - Bardo National Museum - Tunis
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Hall of the Bardo Palace - Bardo National Museum - Tunis
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Mosaqiue du Musee National du Bardo - Tunis
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Mosaqiue du Musee National du Bardo - Tunis
A14-192 · 2008
Hall of the Bardo Palace - Bardo National Museum - Tunis
A14-191 · 2008
Hall of the Bardo Palace - Bardo National Museum - Tunis
A14-168 · 2008
Hall of the Bardo Palace - Bardo National Museum - Tunis
A14-167 · 2008
Hall of the Bardo Palace - Bardo National Museum - Tunis
A14-166 · 2008
Hall of the Bardo Palace - Bardo National Museum - Tunis
A14-165 · 2008
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A14-930 · 2007
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A14-929 · 2007
Detail of a Roman mosaic, a medallion depicting spring, part of a floor adorned with laurel garlands and featuring the four seasons (Ras-Boutria - Acholla, the so-called House of the Red Columns, second half of the 2nd century AD, Bardo Museum). Roman section – Bardo Museum
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Figurine en terre cuite représentant une femme jouant de la double flûte. Elle porte une tunique longue te un manteau formant voile autour de sa tête, un diadème à palmette et des bijoux (H. 23 cm, nécropole de Borj Jedid, Carthage, IVème siècle avant JC, musée de Carthage).
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A sarcophagus known as the “Priestess’s Sarcophagus,” made of white marble and decorated with a female figure in high relief. She wears a long pleated robe cinched at the bottom by two large crossed wings. A veil topped with a falcon’s head covers her head in the style of the Klaft. In her right hand she holds a dove, and in her left, an incense burner (H. 93 cm, L. 193 cm, W. 67 cm; Necropolis of Saint Monica, Carthage; 3rd century BCE; Carthage Museum).
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outils tailles prehistorique, musee du Bardo
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biface acheuleen, 300000 à 100000 avt JC, musee du Bardo
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Capsian skull, 7000–4500 BC, Bardo Museum
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Hermaion of El Guettar, 40,000 BC, Bardo Museum
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A goddess holding a dove. This is Astarte and the bird that serves as her attribute. Found in a 6th-century B.C. tomb in Carthage, it was believed to ensure the protection of the deceased—Punic section—Bardo Museum
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An anthropomorphic oenochoe with a trilobed spout, evoking a pregnant woman. Attached to the neck of the jug, the finely rendered head features a profusion of wavy hair that frames a face with regular features. The neck is adorned with a necklace whose beads are accented with touches of paint. The breasts are depicted on the upper part of the body. The arms, drawn in front, wear dark-colored bracelets. Here one can see the influence of ancient Mesopotamian traditions associated with the theme of the Mother Goddess (H. 31 cm, ø 19 cm, Henchir Beni Nafaa, near Bizerte, 3rd century B.C.E.), Punic section—Bardo Museum
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Vase à boire (skyphos) à deux anses et à figures rouges sur fond noir représentant un satyre et une bacchante (nécropole d’Ardh el Morali, Carthage, ve‑siècle av.‑J.-C., musée du Bardo) section punique - musée du bardo
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Monnaie punique en or. Avers‑: tête féminine diadémée portant boucles d’oreilles et collier‑; revers‑: cheval surmonté d’un uraeus (milieu du iiie‑siècle av.‑J.-C., musée du Bardo) section punique - musée du bardo
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Monnaie punique en or. Avers‑: tête féminine diadémée portant boucles d’oreilles et collier‑; revers‑: cheval surmonté d’un uraeus (milieu du iiie‑siècle av.‑J.-C., musée du Bardo) section punique - musée du bardo
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Vase (askos) shaped like a horse laden with amphorae, a common scene from daily life at the time that is frequently found in the late necropolises of Carthage (H. 16 cm, W. 11 cm, 3rd–2nd centuries B.C., Bardo Museum) Punic section – Bardo Museum
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On a carnelian stone framed in gold, a seated figure, wearing a helmet and carrying a weapon, is preparing to welcome a figure who appears to be Love—Punic section—Bardo Museum
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Amphores, dites à épaulement, produites à Carthage à l’époque archaïque et souvent mises au jour‑au niveau Tanit I du tophet (viiie-VIIe‑siècles). Décor de bandes rouges et de lignes noires (H. 25 à 30‑cm, tophet, Carthage, musée‑de‑Carthage). Section punique
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Belle tête en terre cuite de divinité masculine dans laquelle il est aisé de reconnaître le grand dieu du panthéon punique, Baal Hammon. Très expressive, elle garde des traces de vermillon. Elle fut découverte à Carthage par le docteur Carton, au lendemain de la Première Guerre mondiale, dans une «chapelle», en même temps que des terres cuites représentant Déméter Kernophoros (H.30‑cm, sanctuaire de Salammbô, Carthage, milieu du iie‑siècle av.‑J.-C., musée de Carthage). section punique
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Statuette en terre cuite de Baal Hammon . Assis sur un trône dont les accoudoirs sont des sphinx, vêtu d’une longue tunique orientale et coiffé d’une tiare à plumes d’origine mésopotamienne, le dieu dégage une impression de gravité et de sérénité. Sa main droite est levée en signe de bénédiction (H.‑40‑cm, sanctuaire de Thinissut, ier‑ou‑iie‑siècle ap.‑J.-C., musée du Bardo). section punique - musée du Bardo
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Terracotta mask of a man. These solid, engraved masks appear designed to attract the goodwill and protection of benevolent powers (H. 20 cm, Carthage, early 5th century B.C., Bardo Museum). Punic section—Bardo Museum
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A grotesque, grimacing terracotta mask. This type of mask, inherited from Phoenicia, was placed in tombs to protect the dead from demons (H. 18 cm, W. 16 cm, Dermech Necropolis, Carthage, late 8th or early 7th century, Carthage Museum). Punic Section
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Tabouna (four à pain) en terre cuite. Cette figurine reproduit une scène de cuisson dans un four domestique façonné avec de l’argile séchée. Une femme est en train de placer une galette contre la paroi intérieure du four préalablement chauffé, sous le regard intéressé d’un enfant (H. 19‑cm, nécropole punique de Carthage, milieu du VIe siècle av. J.-C.). section punique - musée du Bardo
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Oenochoes and amphoriska made of polychrome glass paste, inspired by Greek and Hellenistic terracotta models. Carthaginian glassmakers produced them as early as the 7th century. Large jug with a trefoil spout, H. 18 cm, Carthage, 3rd century B.C., Punic section—Bardo Museum
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Masque en terre cuite négroïde au visage déformé par un rictus. Le front porte en relief le croissant lunaire et un disque, les oreilles sont ornées d’anneaux en terre cuite (H. 20‑cm, nécropole de Douimès, Carthage, fin du VIIe-début du VIe‑siècle av.‑J.-C., musée du Bardo). Section punique - musée du Bardo
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L’intérêt de cette stèle votive réside dans le fait qu’elle a‑été taillée en‑forme de signe dit de Tanit. En outre, elle porte, gravé dans sa partie supérieure, le « signe de la bouteille » également apparenté à Tanit. L’inscription est‑une dédicace à Baal Hammon et Tanit faite par un certain Abdeshmoun, scribe (H. 62‑cm, l.‑25‑cm, tophet, Carthage, ive‑siècle‑av.‑J.-C., musée du Bardo). section punique - musée du Bardo
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Pendentif en or représentant le signe dit de Tanit - section punique - musée du Bardo
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Punic necklace composed of amulets and various elements: a gold pendant with Egyptian-style decoration, gold discs, and beads made of carnelian, amber, and enameled siliceous paste (Dermech necropolis, late 7th–early 6th century B.C., Bardo Museum). Punic Section—Bardo Museum
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A silver coin featuring, on the obverse, the bust of Juba II, King of Mauretania (25 B.C.–24 A.D.), whose head is covered with a lion’s pelt. An elephant is depicted on the reverse. This coin bears traditional African motifs such as the elephant, and the reference to Heracles (the lion’s skin) recalls the legend tracing the royal family back to Heracles Melqart, thereby establishing and legitimizing a royal cult in the Hellenistic tradition. Punic Section—Bardo Museum
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Glass paste masks and pendants in various colors (gray and blue, white and black, blue and yellow). Highly stylized, they feature bulging eyes with dilated irises, and hair and beards that are often disheveled and twisted into curls. An eyelet allows them to be strung on necklaces or worn as pendants. They were particularly popular in the 4th and 3rd centuries (H. 4–6 cm, necropolises of Carthage, 4th–3rd century BCE, Bardo Museums). Punic Section—Bardo Museum
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Glass paste masks and pendants in various colors (gray and blue, white and black, blue and yellow). Highly stylized, they feature bulging eyes with dilated irises, and hair and beards that are often disheveled and twisted into curls. An eyelet allows them to be strung on necklaces or worn as pendants. They were particularly popular in the 4th and 3rd centuries (H. 4–6 cm, necropolises of Carthage, 4th–3rd century BCE, Bardo Museums). Punic Section—Bardo Museum
A14-27
Glass paste masks and pendants in various colors (gray and blue, white and black, blue and yellow). Highly stylized, they feature bulging eyes with dilated irises, and hair and beards that are often disheveled and twisted into curls. An eyelet allows them to be strung on necklaces or worn as pendants. They were particularly popular in the 4th and 3rd centuries (H. 4–6 cm, necropolises of Carthage, 4th–3rd century BCE, Bardo Museums). Punic Section—Bardo Museum
A14-28
Grimacing terracotta mask: the face is deeply creased and wrinkled, topped with a headband. It appears to be inspired by Mesopotamian art (the demon Humbaba) (H. 16 cm, Dermech Necropolis, Carthage, late 6th century B.C., Bardo Museum). Punic Section—Bardo Museum
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Statuette en terre cuite d’une déesse mère assise sur un trône d’osier, la main droite posée sur son ventre bombé (H. 25 cm, nécropole de Dermech, Carthage, viiie‑siècle av.‑J.-C., musée du Bardo ). section punique - musée du Bardo
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Statuette en terre cuite d’une déesse mère sur un trône à haut dossier, vêtue d’une longue robe, tenant un éventail en forme de palmette ( H.‑25‑cm, nécropole de Dermech, Carthage, VIIIe-VIIe siècles av. J.-C., musée du Bardo ). Section punique - musée du Bardo
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Egyptian-style amulets made of silica paste. Intricately crafted, they are often used as pendants for necklaces and are found by the dozens in the richest tombs. Whether imported from Egypt or made locally, they are believed to possess magical powers that protect life, and after death, they watch over the soul of the deceased. They most often depict the eye of the god Horus, or “Udja.” They are rarely more than 2 to 5 cm tall (H.‑8.2‑cm and 7‑cm, Carthage, 5th–4th centuries B.C., Carthage Museum). Punic section
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Vase and perfume bottle of Egyptian origin, Punic period—Bardo Museum
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A Corinthian oenochoe decorated with a mythological scene (late 7th–early 6th century B.C., Bardo Museum—Punic section).
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Imported ceramics that reflect the significance of the trade networks established by the Carthaginians and the richness of their trade: spherical Cypriot gourds decorated with concentric lines and circles from the 7th century; a pear-shaped vase from the Greek world; Bardo Museum—Punic section
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Imported ceramics that reflect the importance of the trade networks established by the Carthaginians and the richness of their trade: 7th-century Cypriot gourd-shaped vessels decorated with concentric lines and circles; a 6th-century vase in the Corinthian tradition; Bardo Museum—Punic section
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Scarabée en pierre d’un gris bleuté serti d’or, représentant un guerrier agenouillé portant casque, lance et bouclier ( Utique, IVe siècle av. J.-C., musée du Bardo ). section punique - musée du bardo
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Statue de Déméter en terre cuite, presque grandeur nature, assise sur un trône en posture divine, vêtue d’une robe plissée, la tête coiffée d’une tiare cylindrique en forme de boisseau ou polos, et encadrée d’un voile rigide évoquant une conque. Son culte et celui de Coré furent officiellement introduits à Carthage en 396‑av. J.-C. pour réparer la profanation d’un de ses temples à Syracuse. Très présente dans les sanctuaires ruraux du Cap Bon, on l’y trouve tantôt associée à Baal Hammon et Tanit , tantôt accompagnée de ses parèdres Coré et Pluton, comme à Korba. Elle semble porter la réminiscence d’un modèle dû aux coroplathes siciliens des IVe-IIIe siècles av. J.-C. ( sanctuaire rural près de Korba , fin‑IVe-début IIIe siècle av. J.-C., musée du Bardo ).
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