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Bluesky · Hashtag

#ritual

216

posts · 30d

74

users

7

posts / day

2.9

posts / user

-4% vs last week

#ritual is an active hashtag on Bluesky. In the last 30 days, 74 people shared 216 posts with it — around 7 a day. Activity is down 4% versus the previous week, peaking on Jul 29 with 13 posts.

#ritual posts per day (last 30 days)

Related tags

Tags most often used together with #ritual.

#horror 52 #family 51 #demon 30 #daughter 26 #mummy 25 #Egypt 25 #TheMummy 25 #sister 23 #witch 19 #dance 17 #handmade 15 #spell 15

Posts with #ritual

Patrick Kapty

@patrickkapty.bsky.social

Monkey at the Center of the Spiral ceramic, pigments c. 300-850 CE Maya culture Mexico #handmade #ceramic #pottery #mayaculture #ritual #monkey #spiral #platter #ancientart #art #precolumbianart #precolumbian #prehispanic #mexico #mesoamerica #symbolism #belief #religion #transformation #shamanism

2 67 262

Patrick Kapty

@patrickkapty.bsky.social

Dagger of Princess Ita daughter of Pharaoh Amenemhat gold, bronze, lapis lazuli, carnelian, amazonite c. 1900 BCE Egypt #handmade #dagger #gold #bronze #lapislazuli #carnelian #amazonite #PrincessIta #amenemhat #c1900BCE #ancientegypt #ancientart #craft #ancientweapons #ceremonial #ritual #art

Discovered in the untouched tomb of Princess Ita, daughter of Pharaoh Amenemhat Il, this exquisite dagger was found resting beside her among an extraordinary collection of jewelry over 3,900 years old.
Although it has the form of a weapon, it was likely made as a ceremonial object. Its bronze blade is fitted into a gold hilt inlaid with lapis lazuli, carnelian and amazonite, while the crescent-shaped pommel is carved from a single piece of lapis lazuli.
The dagger also reveals Egypt's international connections during the Middle Kingdom. Its blade follows a Phoenician design, while the decorative patterns on the handle resemble those used in Minoan Crete, suggesting it was either imported or crafted in Egypt by a foreian artisan.
Today, the Dagger of Princess Ita is preserved in the Egyptian Museum in Cairo.

5 102 478

Patrick Kapty

@patrickkapty.bsky.social

Dancer figure with Crocodile Mask clay with pigments Colima culture circa 300 BCE to 300 CE Mexico #colima #tomb #shaftburial #funeral #handmade #pottery #clay #handmade #ancientart #art #sculpture #religion #ritual #belief #precolumbian #prehispanic #mesoamerica #mexico #dancerfigure #crocodile

This is a Colima dancer figurine with a removable crocodile helmet, a ceramic artifact originating from West Mexico's Colima culture, created between approximately 300 BC and 300 AD.
The figure depicts a dancer wearing an intricate, detachable headdress fashioned to resemble a crocodile.
Such pieces likely held ceremonial significance, possibly representing deity impersonators in rituals honoring nature or mythological creatures.
The style is characteristic of the shaft tomb tradition found in the Colima region.
This figure is held in the collection of the Museum of Fine Arts, Houston.

21 223 1300

Patrick Kapty

@patrickkapty.bsky.social

Anthropozoomorphic pectoral gold c. 100-700 CE Tolima culture Colombia #handmade #gold #pectoral #anthropozoomorphic #shaman #tolimaculture #colombia #ritual #religion #precolumbian #prehispanic #culture #afterlife #protection #fertility #rebirth #regeneration #spiritual #metropolitanmuseum #nyc

The Tolima peoples of Colombia's Magdalena Valley produced a distinctive type of gold object that had a high degree of consistency over a considerable period of time. The objects, figure pendants with zoomorphic and anthropomorphic references, were worn about the neck suspended from cords or thongs; they are almost flat, with sharp, symmetrical outlines. Their standard, identifiable forms verge on abstraction, but facial features such as the long, slender noses, beady eyes, and toothy mouths are depicted more realistically. Two basic configurations are known; the present example is of the "winged" body type. It has the squarish face with big, loopy ears, inverted L-shaped ornaments on top of the head, perhaps representing plumes, and the large bifurcated tail common on both types. Its midsection, however, below the splayed, fringed "arms," features elaborate openwork, perhaps depicting feathers or even a feathered costume. It has been suggested that the animal references of Tolima spread "wing" pendants—perhaps to bats, birds, and serpents—relate the figures to shamanism.
Metropolitan Museum, NYC

2 31 110

Patrick Kapty

@patrickkapty.bsky.social

Rattlesnake effigy carved stone n.d. Aztec culture Mexico #prehispanic #precolumbian #art #sculpture #ancientart #carved #stone #handmade #rattlesnake #effigy #worship #religion #ritual #belief #tribalart #mesoamerica #mexico #tenochtitlan #mexicocity #cdmx #aztec #tlaloc #xipetotec #Xochiquetzal

For pre-Hispanic peoples the serpent is associated with the reproductive powers of the earth and fertility. They are also linked to rain and are closely related as a lightning image.

11 133 850

Patrick Kapty

@patrickkapty.bsky.social

Killer Whale vessel painted ceramic c. 100 BCE - 800 CE Nazca culture Peru #handmade #art #ancientart #nazcaculture #peru #painted #ceramic #killerwhale #vessel #bottle #ritual #ceremonial #belief #religion #precolumbian #prehispanic #tribalart #larcomuseum #lima

This artifact is a Nazca culture vessel depicting a mythological "killer whale" or anthropomorphic sea creature. Originating from present-day Peru around 100 BCE – 800 CE, it was used in ceremonial contexts. The vessel often features stylized human heads within its design, representing the theme of headhunting in Nazca mythology. It is a notable piece housed in the Larco Museum in Lima.

18 131 786

Patrick Kapty

@patrickkapty.bsky.social

Skull mask human skull covered in turquoise, carnelian, shell mosaic c.1500 CE Aztec Mexica Mexico #handmade #votiveskull #mosaicinlay #turquoise #carnelian #shell #tezcatlipoca #thesmokingmirror #ritual #religion #magic #aztec #sacred #mask #sacrifice #fertility #offering #protection #victory #art

The National Museum of Anthropology in Mexico City houses a remarkable mosaic skull adorned with turquoise, carnelian, and seashells. This artifact exemplifies the intricate craftsmanship of Aztec artisans and underscores the cultural significance of turquoise in Mesoamerican societies.
In Aztec culture, turquoise was highly esteemed, often valued above gold. Its vibrant blue-green hue was considered sacred, symbolizing the divine. Artisans skillfully incorporated turquoise into various ceremonial objects, including masks, shields, and jewelry, reflecting its esteemed status.
The mosaic skull serves as a testament to the Aztecs' artistic sophistication and their reverence for turquoise, offering insight into the spiritual and cultural practices of ancient Mesoamerican civilizations.

13 103 664

Patrick Kapty

@patrickkapty.bsky.social

Anthropomorphic Pectoral gold-copper alloy c. 1000-1600 CE Tairona culture Colombia #handmade #gold #copper #alloy #anthropomorphic #pectoral #taironaculture #colombia #sierranevadadesantamarta #ritual #religion #culture #belief #precolumbian #prehispanicart #precolumbianjewelry #wearableart #art

In the north of Colombia, the powerful Tairona confederation produced very fine pectorals, which may have been worn during ceremonies and rituals. They depict richly attired men, probably caciques (chiefs) or shamans, wearing headdresses with stylised bird motifs and carrying staffs, which are interpreted as symbols of authority.
Louvre Museum, Paris

1 38 152

Patrick Kapty

@patrickkapty.bsky.social

Human-Feline Dogu fired clay c. 2500-1500 BCE Jōmon period Japan #handmade #clay #dogū #felinehuman #transformation #shaman #ritual #magic #protection #cureillness #ancientart #art #sculpture #ancientJapan #jomonperiod #2500BCE #sympatheticmagic #transference #therianthropy #feline #cat #animistic

This is a Dogū, a clay figurine from Japan's Jōmon period (specifically the Early-Middle phase, roughly 2500–1500 BCE).
It is often described as a human-feline or human-feline hybrid figurine due to its cat-like face and distinctive feline-like ears.
The sculpture features a unique texture with round, fingertip-impressed indentations covering its shoulders and arms.
This piece was excavated in Kamikurokoma, Yamanashi Prefecture, and is held in the collection of the Tokyo National Museum.
While modern viewers frequently interpret its square face, small pointed ears, and almond eyes as feline, its exact ritual meaning remains deeply tied to Jōmon animism, spiritual protection, and transformation rites.
Despite its feline appearance, mainstream archaeology notes that domestic cats did not exist in Japan during the prehistoric Jōmon period; they arrived later from the Asian continent during the Yayoi period. Rather than representing a domestic cat, the features are considered stylized representations of native wild animals (such as the wildcat, horned owl, or forest spirits) mixed with human anatomy.
The combination of human traits—such as the single elongated arm resting across the chest—and animalistic features suggests a theme of therianthropy (human-animal shape-shifting). It is widely theorized that shamans used these figures to connect with the spirits or powers of powerful forest creatures.
Like most dogū, this figure was found damaged. Jōmon communities practiced "sympathetic magic," where physical illnesses, injuries, or spiritual misfortunes were ritually transferred into the clay figurine, which was then broken or sacrificed to cure the human counterpart.
The texture on the shoulders and arms, created using classic Jōmon "cord-marked" (jōmon) techniques, may mimic ceremonial tattoos, animal hides, or protective armor. These figures likely acted as protective house guardians or village talismans against bad luck and disease.

1 17 88

Patrick Kapty

@patrickkapty.bsky.social

Fragment of an anthropomorphic brazier fired clay, pigment c. 1300 CE Aztec culture Mexico #faces #within #faces #anthropomorphic #brazier #aztecculture #templomayor #tenochtitlan #mexicocity #cdmx #handmade #ancientart #art #pottery #ancientpottery #religion #ritual #offering #prayers #sculpture

Fragment of an anthropomorphic brazier
fired clay and pigment
c. 1300 CE
Aztec culture
Mexico
Aztec terracotta brazier from the Templo Mayor of Tenochtitlan. Associated with Xiuhtecuhtli, the god of fire, used in ritual offerings.
Aztec braziers were primarily used for religious rituals, ceremonies, and as incense burners to honor deities, particularly Xiuhtecuhtli (the fire god) and Tlaloc (rain god). These ceramic, volcanic stone, or terracotta vessels held burning coals and copal resin, releasing fragrant smoke believed to carry prayers and offerings to the gods.

7 90 484

Patrick Kapty

@patrickkapty.bsky.social

Seated figure in ceremonial attire ceramic c. 550-950 CE Veracruz culture Mexico #handmade #ceramic #sculpture #VeracruzCulture #Veracruz #Mexico #Mesoamerica #southcentralregion #lateclassic #ritual #religion #prehispanic #precolumbian #ancientart #art #precolumbiansculpture #mesoamericansculpture

Veracruz Seated Figure in Ceremonial Attire
South Central Region, Late Classic, circa AD 550 - 950
Ceramic
Recently (18 June 2026) sold at a Sotheby's auction for approximately $21,000 despite opposition from Mexican authorities regarding the sale of pre-Columbian artifacts.

Provenance
Robert and Marianne Huber, Dixon, Illinois, acquired from a dealer in Albuquerque, New Mexico, in 1979
Wally and Brenda Zollman, Indianapolis, acquired from the above on November 14, 1982
Ancient Art of the New World, New York
Paul A. Cohen, Belmont, Massachusetts, acquired from the above on June 11, 1998
Thence by descent to the present owners

Exhibited
Hillwood Art Gallery, Long Island University, Brookville, New York, Ceremonial Art of Ancient Veracruz, November 27, 1987 - February 7, 1988, and the subsequent symposiums: The Fine Arts Museum of Long Island, Hempstead, New York, Veracruz Connection: The Impact on Mesoamerican Civilization, February 13, 1988 - March 27, 1988; The Fine Arts Museum of Long Island, Hempstead, New York, Veracruz and the Development of Mesoamerican Civilization, July 4 - 8, 1988
Indianapolis Museum of Art, The Face of Ancient America: The Wally and Brenda Zollman Collection of Pre-Columbian Art, December 3, 1988 - February 26, 1989; also traveled to: Indiana University Museum of Art, Bloomington, June 3 - September 10, 1989

Literature
Marilyn M. Goldstein, Ceremonial Sculpture of Ancient Veracruz, Brookville, New York, 1987, p. 66, cat. no. 95
Lee A. Parsons, John B. Carlson, and Peter David Joralemon, The Face of Ancient America: The Wally and Brenda Zollman Collection of Pre-Columbian Art, Indianapolis, 1988, pp. 152-153, cat. no. 102
mayavase.com, A Precolumbian Portfolio, inv. no. K3612

4 83 411

Patrick Kapty

@patrickkapty.bsky.social

Sculpture of kneeling Cihuateteo volcanic tuff (stone) Aztec-Mexica culture c. 1325-1521 CE Calixtlahuaca, State of Mexico #goddess #death #handmade #carved #stone #volcanictuff #mexica #aztec #cuhuateteo #religion #ritual #precolumbian #prehispanic #ancientart #mesoamerica #art #mexico #sculpture

Goddess of Death
Cihuateteo wears some of the elements (necklace made of human hands and abundant death symbolism) usually associated with Coatlicue. Notice, however, the absence of the serpent skirt, a trait exclusive of Coatlicue. Cihuateteo wears a headband made of skulls, and she is shown kneeling on a skull altar, as befits the keeper of the Place of the Dead.

5 84 387

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