Ivory in the context of Mammal

Chryselephantine sculpture (from Ancient Greek χρυσός (khrusós) 'gold' and ἐλεφάντινος (elephántinos) 'ivory') is a sculpture made with gold and ivory. Chryselephantine cult statues enjoyed high status in Ancient Greece.

A treasure binding or jewelled bookbinding is a luxurious book cover using metalwork in gold or silver, jewels, or ivory, perhaps in addition to more usual bookbinding material for book covers such as leather, velvet, or other cloth. The actual bookbinding technique is the same as for other medieval books, with the folios, normally of vellum, stitched together and bound to wooden cover boards. The metal furnishings of the treasure binding are then fixed, normally by tacks, onto these boards. Treasure bindings appear to have existed from at least Late Antiquity, though there are no surviving examples from so early, and Early Medieval examples are very rare. They were less used by the end of the Middle Ages, but a few continued to be produced in the West even up to the present day, and many more in areas where Eastern Orthodoxy predominated. The bindings were mainly used on grand illuminated manuscripts, especially gospel books designed for the altar and use in church services, rather than study in the library.

The vast majority of these bookbindings were later destroyed as their valuable gold and jewels were removed by looters, or the owners when in need of cash. Others survive without their jewels, and many are either no longer attached to a book, or have been moved to a different book. Some survive in major libraries; for example, the Morgan Library in New York City, the John Rylands Library in Manchester, the British Library in London, the Bayerische Staatsbibliothek in Munich and the Bibliothèque Nationale in Paris. As the carved ivory reliefs often used could not usually be recycled, these survive in much larger numbers, giving a better idea of the numbers of treasure bindings that once existed. Other examples are recorded in documentary sources but though the books survive the covers do not. The Book of Kells lost its binding after a robbery, and the fate of the missing cover of the Book of Lindisfarne is not recorded.

Ivory carving is the carving of ivory, that is to say animal tooth or tusk, generally by using sharp cutting tools, either mechanically or manually. Objects carved in ivory are often called "ivories".

Humans have ornamentally carved ivory since prehistoric times, though until the 19th-century opening-up of the interior of Africa, it was usually a rare and expensive material used for small luxury products. Very fine detail can be achieved, and as the material, unlike precious metals, has no bullion value and usually cannot easily be recycled, the survival rate for ivory pieces is much higher than for those in other materials. Ivory carving has a special importance to the medieval art of Europe because of this, and in particular for Byzantine art as so little monumental sculpture was produced or has survived.

A pyxis (Greek: πυξίς; pl.: pyxides) is a shape of vessel from the classical world, usually a cylindrical box with a separate lid and no handles. They were used to hold cosmetics, trinkets or jewellery, but were also used for dispensing incense and by physicians to contain medicine. Surviving pyxides are mostly Greek pottery, but could also be made from a range of other materials: wood, bronze, ivory, marble, terracotta, silver, or stone. The name derived from Corinthian boxes made of wood from the tree puksos ("boxwood"). During the Classical period, the Attic word "kylichnis" was also used to refer to the same shape. The shape of the vessel can be traced in pottery back to the Protogeometric period in Athens, however the Athenian pyxis has various shapes itself.

Minoan seals are impression seals in the form of carved gemstones and similar pieces in metal, ivory and other materials produced in the Minoan civilization. They are an important part of Minoan art, and have been found in quantity at specific sites, for example in Knossos, Malia and Phaistos. They were evidently used as a means of identifying documents and objects.

Minoan seals are of a small size, 'pocket-size', in the manner of a personal amulet. Many of the images are a similar size to a human fingernail, with a high proportion that of the nail of a little finger. They might be thought of as equivalent to the pocket-sized, 1 inch (3 cm) scaraboid seals of Ancient Egypt, which were sometimes imitated in Crete. However Minoan seals can be larger, with largest examples of many inches.

Bull-leaping (Ancient Greek: ταυροκαθάψια, taurokathapsia) is a term for various types of non-violent bull fighting. Some are based on an ancient ritual from the Minoan civilization involving an acrobat leaping over the back of a charging bull (or cow). As a sport it survives in Spain, with bulls, as recortes; in modern France, usually with cows rather than bulls, as course landaise; and in Tamil Nadu, India with bulls as Jallikattu.

Ritual leaping over bulls is a motif in Middle Bronze Age figurative art, especially in Minoan art, and what are probably Minoan objects found in Mycenaean Greece, but it is also sometimes found in Hittite Anatolia, the Levant, Bactria and the Indus Valley. It is often interpreted as a depiction of a rite performed in connection with bull worship.

Helmets using ivory from boars' tusks were known in the Mycenaean world from the 17th century BC (Shaft Graves, Mycenae) to the 10th century BC (Elateia, Central Greece). The helmet was made through the use of slivers of boar tusks which were attached to a leather base, padded with felt, in rows. A description of a boar's tusk helmet appears in book ten of Homer's Iliad, as Odysseus is armed for a night raid to be conducted against the Trojans.

Fragments of ivory which might have come from helmets of this kind have been discovered on Mycenaean sites (at Dendra, for instance, fragments were found alongside the bronze panoply excavated in 1960) and an ivory plaque, also from a Mycenaean site, represents a helmet of this kind. Although they would not provide protection as good as that of a metal helmet, they may have been worn by some leaders as a status symbol, or a means of identification.

West Africa, also known as Western Africa, is the westernmost region of Africa. The United Nations defines Western Africa as the 16 countries of Benin, Burkina Faso, Cape Verde, The Gambia, Ghana, Guinea, Guinea-Bissau, Ivory Coast, Liberia, Mali, Mauritania, Niger, Nigeria, Senegal, Sierra Leone, and Togo, as well as Saint Helena, Ascension and Tristan da Cunha (a United Kingdom Overseas Territory). As of 2021, the population of West Africa is estimated at 419 million, and approximately 382 million in 2017, of which 189.7 million were female and 192.3 million male. The region is one of the fastest growing in Africa, both demographically and economically.

Historically, West Africa was home to several powerful states and empires that controlled regional trade routes, including the Mali and Gao Empires. Positioned at a crossroads of trade between North Africa and sub-Saharan Africa, the region supplied goods such as gold, ivory, and advanced iron-working. During European exploration, local economies were incorporated into the Atlantic slave trade, which expanded existing systems of slavery. Even after the end of the slave trade in the early 19th century, colonial powers — especially France and Britain — continued to exploit the region through colonial relationships. For example, they continued exporting extractive goods like cocoa, coffee, tropical timber, and mineral resources. Since gaining independence, several West African nations, such as the Ivory Coast, Ghana, Nigeria and Senegal — have taken active roles in regional and global economies.

The Gravettian is an archaeological industry of the European Upper Paleolithic that succeeded the Aurignacian circa 33,000 years BP. It is archaeologically the last European culture many consider unified, and had mostly disappeared by c. 22,000 BP, close to the Last Glacial Maximum, although some elements lasted until c. 17,000 BP. In modern-day Portugal, Spain and France, it was succeeded by the Solutrean and by the Epigravettian in Italy, the Balkans, Ukraine and Russia.

The Gravettian culture is known for their artistic works including the famous Venus figurines, which were typically carved from either ivory or limestone. The culture was first identified at the site of La Gravette in the southwestern French department of Dordogne. While historically assumed to represent a genetically homogenous group, recent analysis of ancient DNA sequences suggests that the Gravettian was produced by multiple genetically divergent groups of hunter-gatherers. Eastern Gravettian-producing groups belong to the Věstonice cluster, while western Gravettian-producing groups belong to the Fournol cluster, both of which have genetic continuity from producers of the earlier Aurignacian. Fournol cluster-related groups are thought to be the ancestors of the producers of the following Solutrean and Magdalenian cultures present in Western Europe after the Last Glacial Maximum, while the producers of the Epigravettian are genetically distinct from Gravettian-producing groups.

The sector, also known as a sector rule, proportional compass, or military compass, is a major calculating instrument that was in use from the end of the sixteenth century until the nineteenth century. It is an instrument consisting of two rulers of equal length joined by a hinge. A number of scales are inscribed upon the instrument which facilitate various mathematical calculations. It is used for solving problems in proportion, multiplication and division, geometry, and trigonometry, and for computing various mathematical functions, such as square roots and cube roots. Its several scales permitted easy and direct solutions of problems in gunnery, surveying and navigation. The sector derives its name from the fourth proposition of the sixth book of Euclid, where it is demonstrated that similar triangles have their like sides proportional. Some sectors also incorporated a quadrant, and sometimes a clamp at the end of one leg which allowed the device to be used as a gunner's quadrant.

The term monumental sculpture is often used in art history and criticism, but not always consistently. It combines two concepts, one of function, and one of size, and may include an element of a third more subjective concept. It is often used for all sculptures that are large. Human figures that are perhaps half life-size or above would usually be considered monumental in this sense by art historians, although in contemporary art a rather larger overall scale is implied. Monumental sculpture is therefore distinguished from small portable figurines, small metal or ivory reliefs, diptychs and the like.

The term is also used to describe sculpture that is architectural in function, especially if used to create or form part of a monument of some sort, and therefore capitals and reliefs attached to buildings will be included, even if small in size. Typical functions of monuments are as grave markers, tomb monuments or memorials, and expressions of the power of a ruler or community, to which churches and so religious statues are added by convention, although in some contexts monumental sculpture may specifically mean just funerary sculpture for church monuments.

The Dawenkou culture was a Chinese Neolithic culture primarily located in the eastern province of Shandong, but also appearing in Anhui, Henan and Jiangsu. The culture existed from 4300 to 2600 BC, and co-existed with the Yangshao culture. Turquoise, jade and ivory artefacts are commonly found at Dawenkou sites. The earliest examples of alligator drums appear at Dawenkou sites. Neolithic signs, perhaps related to subsequent scripts, such as those of the Shang dynasty, have been found on Dawenkou pottery. Additionally, the Dawenkou practiced dental ablation and cranial deformation, practices that disappeared in China by the Chinese Bronze Age.

The Venus of Brassempouy (French: la Dame de Brassempouy, [la dam də bʁasɛ̃pwi], meaning "Lady of Brassempouy", or Dame à la Capuche, "Lady with the Hood") is a fragmentary ivory figurine from the Upper Palaeolithic, apparently broken from a larger figure at some time unknown. It was discovered in a cave at Brassempouy, France in 1894. About 25,000 years old, it is one of the earliest known realistic representations of a human face.

Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.

Anglo-Saxon art survives mostly in illuminated manuscripts, Anglo-Saxon architecture, a number of very fine ivory carvings, and some works in metal and other materials. Opus Anglicanum ("English work") was already recognised as the finest embroidery in Europe, although only a few pieces from the Anglo-Saxon period remain – the Bayeux Tapestry is a rather different sort of embroidery, on a far larger scale. As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour, and an effort of the imagination is often needed to see the excavated and worn remains that survive as they once were.

Timbuktu (/ˌtɪmbʌkˈtuː/ TIM-buk-TOO; French: Tombouctou; Koyra Chiini: Tunbutu; Tuareg: ⵜⵏⵀⵗⵜ, romanized: Tin Bukt) is an ancient city in Mali, situated 20 kilometres (12 miles) north of the Niger River. It is the capital of the Tombouctou Region, one of the eight administrative regions of Mali, having a population of 32,460 in the 2018 census.

Archaeological evidence suggests prehistoric settlements in the region, predating the city's Islamic scholarly and trade prominence in the medieval period. Timbuktu began as a seasonal settlement and became permanent early in the 12th century. After a shift in trading routes, particularly after the visit by Mansa Musa around 1325, Timbuktu flourished, due to its strategic location, from the trade in salt, gold, and ivory. It gradually expanded as an important Islamic city on the Saharan trade route and attracted many scholars and traders before it became part of the Mali Empire early in the 14th century. In the first half of the 15th century, the Tuareg people took control for a short period, until the expanding Songhai Empire absorbed it in 1468.

The Liangzhu (/ˈljɑːŋˈdʒuː/) culture or civilization (3300–2300 BC) was the last Chinese Neolithic jade culture in the Yangtze River Delta. The culture was highly stratified, as jade, silk, ivory and lacquer artifacts were found exclusively in elite burials, while pottery was more commonly found in the burial plots of poorer individuals. This division of class indicates that the Liangzhu period was an early state, symbolized by the clear distinction drawn between social classes in funeral structures. A pan-regional urban center had emerged at the Liangzhu site in northwestern Hangzhou, Zhejiang, and elite groups from this site presided over the local centers. The Liangzhu culture was extremely influential and its sphere of influence reached as far north as Shanxi and as far south as Guangdong. The primary Liangzhu site was perhaps among the oldest Neolithic sites in East Asia that would be considered a state society. The type site at Liangzhu was discovered in Yuhang County, Zhejiang and initially excavated by Shi Xingeng in 1936.

On 6 July 2019, the archaeological ruins of Liangzhu City was inscribed as a UNESCO World Heritage Site.

Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the 8th-11th centuries. Viking art has many design elements in common with Celtic, Germanic, the later Romanesque and Eastern European art, sharing many influences with each of these traditions.

Generally speaking, the current knowledge of Viking art relies heavily upon more durable objects of metal and stone; wood, bone, ivory and textiles are more rarely preserved. The artistic record, therefore, as it has survived to the present day, remains significantly incomplete. Ongoing archaeological excavation and opportunistic finds, of course, may improve this situation in the future, as indeed they have in the recent past.