Dating from the Parthian period, this silver rhyton is a fine example of the enduring influence of Hellenistic culture, which owes much to the artistic traditions of Achaemenid Iran. The horn-shaped vessel ends in the forepart of a panther; a spout for pouring is in the middle of the chest. A gilded fruit-laden grapevine winds around the panther's chest; at the other end of the rhyton, an ivy wreath encircles the rim. These are the symbols of the Greek wine god Dionysus, whose cult spread eastward with the invasion of Alexander. Dionysiac images—panthers, grapevines, and dancing females—were absorbed by the Parthians and continued to appear in the art of Near Eastern cultures in the Sasanian period (A.D. 224–651).
Zochascher Willkomm by Melchior Bayr, Augsburg, 1667, silver, gilt; coral
This drinking vessel in the shape of a striding stag, with removable headpiece, is in both design and execution an excellent example of the high level of Augsburg goldsmithing and silversmithing. The necklace, decorated with lion heads and rosettes, forms the rim of the mouth of this idiosyncratic vessel, which was given to distinguished guests at their reception (hence the name Willkomm = Welcome).
Zochascher Willkomm von Melchior Bayr, Augsburg, 1667, Silber, vergoldet; Koralle
Dieses Trinkgefäß in Gestalt eines schreitenden Hirsches, mit abnehmbaren Kopfteil, ist in Entwurf wie Ausführung ein exzellentes Beispiel für den hohen Stand der Augsburger Gold- und Silberschmiedekunst. Das mit Löwenköpfen und Rosetten verzierte Halsband bildet den Mundrand dieses eigenwilligen Gefäßes, das hochstehenden Gästen zum Empfang (daher der Name Willkomm) gereicht wurde.
Kurama and Sukuna watching their respective vessels interact with their homosexual shounen rival and say silly goofy gay statements™️ like carrying burdens and dying together and/or not affording to die because the other will kill them if they die again.