A Companion to Roman Art
A Companion to Roman Art encompasses various artistic genres, ancient contexts, and modern approaches for a comprehensive guide to Roman art. Offers comprehensive and original essays on the study of Roman art Contributions from distinguished scholars with unrivalled expertise covering a broad range of international approaches Focuses on the socio-historical aspects of Roman art, covering several topics that have not been presented in any detail in English Includes both close readings of individual art works and general discussions Provides an overview of main aspects of the subject and an introduction to current debates in the field
The Berthouville Silver Treasure and Roman Luxury
In 1830 a farmer plowing a field near the village of Berthouville in Normandy, France, discovered a trove of ancient Roman silver objects weighing some 55 pounds (25 kilograms). The Berthouville treasure, as the find came to be known, includes two statuettes representing the Gallo-Roman god Mercury and approximately sixty vessels—bowls, cups, pitchers, and plates, many of which bear votive inscriptions—along with dozens of smaller components and fragments. Dedicated to Mercury by various individuals, the treasure, including some of the finest ancient Roman silver to survive, fortunately escaped being melted down. It was acquired by the Cabinet des médailles et antiques of the Bibliothèque Royale (now the Département des Monnaies, médailles et antiques of the Bibliothèque nationale de France), where it was displayed until late 2010, when it was brought in its entirety to the Getty Villa together with four large, late antique silver plates, each with its own colorful history, for comprehensive conservation treatment. This sumptuously illustrated volume is published to accompany an exhibition of the same name, opening at the Getty Villa on November 18, 2014. It presents the highlights of the treasure and other Roman luxury arts from the holdings of the Cabinet des médailles—including precious gems, jewelry, gold coins, and colored marbles—and contextualizes them in a series of elucidating essays.
The Oxford Handbook of Roman Sculpture
The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laoco?n, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned to sculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History, Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.
An Archaeology of Images
Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued. The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over. Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them. Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.
L tymon des dieux
Les découvertes notamment de plusieurs autels dédiés à Nehalennia, une divinité celtique inconnue, des gravures de Cernunnos, Hesus et le taureau à trois grues, remettent en cause nombre de connaissances en linguistique et en archéologie.
Le Doubs et le territoire de Belfort
Lydie Joan A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Le Doubs et le territoire de Belfort Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays—accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography—organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial dependence on metropolitian models give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns. The authors dismiss entrenched barriers between art and archaeology, center and provinces, even “good art” and “bad art,” extending their observations well beyond the empire’s boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general.
Sertorius Libanios iconographie
Université de Toulouse-Le Mirail A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Sertorius Libanios iconographie Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Thesaurus Cultus Et Rituum Antiquorum ThesCRA
Thesaurus Cultus et Rituum Antiquorum (ThesCRA) is a major multi-volume reference on all known aspects of Greek, Etruscan, and Roman cults and rituals. Providing both a sweeping overview and in-depth investigation, ThesCRA covers the period from Homeric times (1000 B.C.) to late Roman times (A.D. 400). A definitive work on the topic, ThesCRA is the culmination of many years of research by scholars from across the United States and Europe and throughout the Mediterranean world. Each of their texts - either in English, French, German, or Italian - is followed by a catalogue entry listing the epigraphical and literary sources cited and referencing ancient iconographical documents related to the topic. Many of these iconographical items are depicted either in line drawings in the texts or in the plate sections of each volume. On completion, ThesCRA will comprise five volumes, a book of abbreviations, and an index volume. The volumes are arranged thematically. The first three deal with dynamic elements of ancient cults, such as cultic ritual and practice, while the last two are devoted to static elements, such as cult places and their personnel. sacrifices, libations, fumigations, and dedications (Volume I): and purification, consecration, initiation, heroization, apotheosis, banquets, dance, music, and rites and activities related to cult images (Volume II). Volume III, slated for August of 2005, will deal with divination; prayers and gestures of prayer; gestures and acts of veneration; supplication; asylum; oaths; magic; curses; and descration. Volumes IV and V, along with the Index, are scheduled for publication in February 2006. ThesCRA was developed by the eminent group of scholars who published the eight double-volumes of LIMC (Lexicon Iconographicum Mythologiae Classicae). Among the many contributors to the ThesCRA volumes are Jean Ch. Balty, Sir John Boardman, Walter Burkert, Giovannangelo Camporeale, Tonio Holscher, Anneliese Kossatz, Vassilis Lambrinoudakis, Francois Lissarrague, John H. Oakley, Ricardo Olmos, H. A. Shapiro, Erika Simon, and Marion True.
Arch ologie d un paysage religieux
Quest’opera si propone di scandagliare il processo di costituzione dei luoghi di culto dell’età del ferro e del periodo romano del litorale mediterraneo fino al Lago Léman, dal Rodano alle Alpi occidentali (incluse) partendo dalle fonti archeologiche, epigrafiche e testuali. Cerca di approfondire il ruolo dei luoghi di culto nel paesaggio naturale e lo spazio antropizzato, mediante un approccio sotteso alla geografia umana e all’antropologia. Nuova visuale rivolta al sacro che si articola intorno a tre nozioni essenziali: il geosimbolo naturale, il geosimbolo memoriale (luogo della memoria) e il santuario in quanto geosimbolo. Lettura simbolica del paesaggio quindi lettura storica dello spazio annunciano una inversione della prospettiva dove il luogo di culto, con il suo ruolo nell’approprazione del territorio, diviene una indicazione spaziale. Cet ouvrage vise à saisir les processus d’implantation des lieux de culte de l’âge du Fer et de la période romaine du littoral méditerranéen jusqu’au Lac Léman, du Rhône aux Alpes occidentales (incluses) à partir des sources archéologiques, épigraphiques et textuelles. Il cherche à comprendre le rôle des lieux de culte dans le paysage naturel et l’espace anthropisé, à travers une approche issue de la géographie humaine et de l’anthropologie. Ce regard nouveau porté sur le sacré s’articule autour de trois notions essentielles : le géosymbole naturel, le géosymbole mémoriel (lieu de mémoire) et le sanctuaire en tant que géosymbole. Lecture symbolique du paysage puis lecture historique de l’espace annoncent un renversement de la perspective où le lieu de culte, par son rôle dans l’appropriation du territoire, devient un marqueur spatial. Raphaël Golosetti est docteur en archéologie protohistorique et gallo-romaine. Ses recherches portent sur les sanctuaires et les pratiques rituelles de l’âge du Fer et de la période romaine en Gaule, à partir de sources variées (archéologie, statuaire, épigraphie). Il a effectué des séjours de recherche post-doctorale en tant que boursier à l’Université de Bourgogne (Ecole Européenne de Protohistoire de Bibracte), à Durham University (bourse Fernand-Braudel-IFER Labex TransferS) et au Netherlands Institute for Advanced Studies (EURIAS junior fellowship).