Ancient Art

A RECEPÇÃO DE MOTIVOS ICONOGRÁFICOS GREGOS NA ETRÚRIA

by Marcelo Hilsdorf Marotta

Sobre o Problema da Identidade Cultural dos Artefatos na Análise Contextual da Arte Etrusca

by Marcelo Hilsdorf Marotta

'Odysseus and the Ram in Art and (Con)text: Arthur M. Sackler Museum 1994.8 and the Hero's Escape from Polyphemos'.

by Maura Giles-Watson

Harvard Studies in Classical Philology 103 (2007), 555-77.

Notes sur les vêtements féminins complexes figurés sur les stèles dauniennes

by Stéphane Verger

dans Storia e archeologia della Daunia. In ricordo di Marina Mazzei, Bari 2008, p. 103-132.

Review of J. Cheng and M. H. Feldman, Ancient Near Eastern Art in Context: Studies in Honor of Irene J. Winter by Her Students. Brill, 2007.

by Alessandra Gilibert

published in Orientalische Literaturzeitung 105 (2010):40-42.

Nietzsche and the Sculptural Sublime: On Becoming the One You Are

by Babette Babich

English version of a essay originally published in German, „Zu Nietzsches Statuen: Skulptur und das Erhabene.“ In: Beatrix Vogel & Nikolaus Gerdes, eds., Grenzen der Rationalität: Teilband_2: Vorträge 2006 – 2009, München: Allitera, 2011. Pp. 391-421. Updated here.

Link to a video version of part of this essay: more Link to a video version of part of this essay: http://digital.library.fordham.edu/cdm4/item_viewer.php?CISOROOT=/VIDEO&CISOPTR=40&CISOBOX=1&REC=7
There is also a full length version elsewhere on the same server.

Imperio estético: griegos frente a persas según 300 de Frank Miller

by Fátima Díez-Platas

SEMATA, Ciencias Sociais e Humanidades, ISSN 1137-9669, 2011, vol. 23: 335-357

"Motyw jeńca w sztuce starożytnej Licji VI i IV w. przed Chr.", (in:) Studia archaeologica. Liber amicorum Ianussio A. Ostrowski ab amicis et discipulis oblatus, E.Papuci-Władyka, Joachim Śliwa (Eds), Kraków 2001, pp. 33-52.

by Jarosław Artur Bodzek

A prisoners of war motif in Lycian art in 6th till 4th cent BC

Christine Morris, Animals into Art in the Ancient World, in Linda Kalof ed, A Cultural History of Animals in the Ancient World, 2007, Oxford, Berg

by Christine Morris

Sequence and Time: Thoughts on a Panathenaic Amphora

by Michael Straus

Art, Performativity, Mimesis, Narrative, Ideology, and Audience: Reflections on Assyrian Palace Reliefs in the Light of Recent studies, KASKAL 6 (2009), 235-293.

by Mario Fales

The Art of Pingasugruk

by Gregory Reinhardt

Academic slide set, 68 slides.

For centuries before 1700, and again briefly after 1871, Thule and Iñupiat people lived in a north Alaskan whaling... more For centuries before 1700, and again briefly after 1871, Thule and Iñupiat people lived in a north Alaskan whaling village.  This set includes their superbly preserved artifacts in amber, antler, baleen, bark, bone and other organic materials.

Ars sine scientia nihil. Rôle et statut de l’art sacré dans la perspective de l’Ecole traditionnelle

by Olivier Santamaria

à paraître dans les Actes du Séminaire interuniversitaire (ULB, UCL, Lille3) "Esthétique et spiritualité".

Ars sine scientia nihil est ; l’art sans la science n’est rien. C’est par cette célèbre sentence qu’il convient... more Ars sine scientia nihil est ; l’art sans la science n’est rien. C’est par cette célèbre sentence qu’il convient d’ouvrir une réflexion sur l’art dans son rapport à la science ou, plus exactement, sur l’ « art sacré » dans son rapport à la « science sacrée ». La maxime ars sine scientia nihil est passe pour avoir été prononcée par le français Jean Mignot, « maître en géométrie » (expertus geometriae), autrement dit architecte, alors qu’il travaillait sur le chantier de la cathédrale de Milan, à la charnière des XIVe et XVe siècles . Dans l’esprit de Jean Mignot, de même que dans celui des scolastiques médiévaux, la pratique d’un art comme celui de l’architecture ou de tout autre art, en l’absence d’une connaissance appropriée — ce qui sous-entendait des connaissances non seulement géométriques mais encore mathématiques autant que théologiques — était tout simplement impossible, car le résultat d’une pratique (l’art) sans la connaissance (science) serait le néant.
Le cadre qui nous sert de réflexion est vaste, puisqu’il embrasse théoriquement l’art médiéval et même, bien au-delà, l’art traditionnel dans son ensemble. Cependant, nous n’abordons pas cet immense sujet de front, mais au travers d’un prisme, le courant de l’Ecole traditionnelle et de leur doctrine, formulée vers le milieu du XXe siècle, dans la période de l’entre-deux-guerres.

...

...leur doctrine nous intéresse ici pour comprendre trois points essentiels ;
Premièrement, ce qu’est l’art en lui-même, dans son rapport à la science et au travail technique ;
Deuxièmement, le statut de l’art dans une société traditionnelle, la place qu’il y occupe et, par conséquent, la situation de l’artiste qui en est le véhicule ;
Troisièmement, le rôle que l’art est amené à jouer à l’égard de la communauté, c’est-à-dire sa fonction.

(début de l'Introduction)

Mots-clés : perenialism, pérennialisme, traditionalisme, esthétique, art, théorie de l'art, art médiéval, art sacré, guénon, schuon, coomaraswamy.

The Ritual Significance of Colour: Specialised Pigments in a Wooden Egyptian Funerary Statuette from the New Kingdom

by Lynn Dodd

Published in the Journal of Egyptian Archaeology.

A polychrome painted wooden funerary figurine of Nfr-rnpt (scribe of the treasury of the temple of Amunrasonther) has... more A polychrome painted wooden funerary figurine of Nfr-rnpt (scribe of the treasury of the temple of Amunrasonther) has been radiocarbon dated to 1220–1050 BC and is painted with a white pigment that includes gypsum, huntite, and tridymite. This is the first discovery of the use of tridymite as a pigment in ancient Egypt. This unusual white pigment yields an exceptionally bright white paint. The authors argue that Egyptian artisans engaged in a sophisticated, deliberate manipulation of mineral-based pigments to achieve specific desired sacral effects.

Monuments and memory: Architecture and visual culture in ancient Anatolian history

by Ömür Harmansah

Oxford Handbook of Ancient Anatolia (10,000–323 BCE)]. Edited by Sharon R. Steadman and Gregory McMahon. Oxford University Press 2011: 623-651.

The Lady and the Bull: Remarks on the Bronze Plaque from Tel Dan

by Tallay Ornan

Ornan, T., 2006. The Lady and the Bull: Remarks on the Bronze Plaque from Tel Dan. In Y. Amit, E. Ben Zvi, I. Finkelstein and O. Lipschits (eds.), "Essays on Ancient Israel in its Near Eastern Context - A Tribute to Nadav Na'aman". JSOT 331. Eisenbrauns: Winona Lake, Indiana. Pp. 235-256.

The Re-emergence of the Great Mother Goddess

by Louis Lagana

The Re-emergence of the Great Mother Goddess

Today, great interest in the Ancient Goddess cult is still being revived. With the way the Goddess manifests herself... more Today, great interest in the Ancient Goddess cult is still being revived. With the way the Goddess manifests herself as symbolizing an earthly and cosmic source to the universe, some women have found refuge in the symbolical image of the Mother Goddess. The impetus towards the Goddess movement came from an archaeologist, Marija Gimbutas. With the return of the Goddess, the new power of the feminine is being expressed in all areas of life. Other major women writers and exponents of the Goddess religion expressed the self-transformation and empowerment and various aspects of feminist social vision of women in their work. In this paper I will also focus on the archetypal image of the Great Mother Goddess which is expressed in rituals, art, mythology and dreams. In Jungian parlance the Mother Archetype resides in every human psyche and is a symbol of protection and fertility and regeneration. This concept also belongs to the field of comparative religion and embraces widely varying types of the mother-goddess. The discussion of ‘Feminist Archetypal Psychology’ shows that the Great Mother Goddess archetype is activated and is returning to consciousness. The Great Mother Goddess archetype was very important in the Western world from the dawn of prehistory throughout the pre-Indo-European time periods, as it still is in many traditional cultures today.
Keywords: Archaeology, Art, Great Mother Goddess, Marija Gimbutas, C.G. Jung, Feminist Archetypal Psychology.
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Entre dioses y hombres

by Joaquín L. Gómez-Pantoja

Published on-line (Jan., 2009) at http://www.madrimasd.org/cienciaysociedad/resenas/exposiciones/exposicion.asp?id=85

Review of a joint exhibition by the Museo del Prado (Madrid) and the Albertinum Museum (Dresden), and curated by... more Review of a joint exhibition by the Museo del Prado (Madrid) and the Albertinum Museum (Dresden), and curated by Stephan F. Schröder (Madrid) and Moritz Woelk and Kordelia Knoll (Dresden).

Madrid 4 November 2008 - 12 April 2009

The official exhibition site (with many pictures and explanatory texts) is still active: http://www.museodelprado.es/en/exhibitions/exhibitions/at-the-museum/among-gods-and-men/the-exhibition/

Review. ClaudeVatin, Ariane et Dionysos. Un mythe de l’amour conjugal

by Pilar Diez del Corral Corredoira

Framing the Gift: The Politics of the Siphnian Treasury at Delphi

by Richard Neer

Classical Antiquity 20 (2001): 273–336