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Art [Aegean ] --- Art égéen --- Kunst [Egeïsche ] --- Griekse kunst en architectuur ; Egeïsche cultuur --- 7.032.6 --- Kunstgeschiedenis ; Oud-Griekse kunst
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In Late Antiquity the otherwise unknown rhetor Callistratus wrote a series - unique in its kind - of fourteen descriptions of works of art (mostly statues), thus enabling us to gain remarkable insights into late antique views on Classical Greek Art. The volume presented here contains a revised Greek text of the collection, its first German translation since 1833 and the first complete archaeological commentary ever on Callistratus' work. In der Spätantike verfasste der sonst unbekannte Rhetor Kallistratos eine in ihrer Art einzigartige Sammlung von 14 Beschreibungen von Kunstwerken (meist Statuen) und gewährt uns damit bemerkenswerte Einblicke in die damaligen Haltungen zur klassischen griechischen Kunst. Der hier vorgelegte Band enthält einen revidierten Text der Sammlung, die erste deutsche Übersetzung seit 1833 und den ersten vollständigen archäologischen Kommmentar zu Kallistratos' Beschreibungen überhaupt.
Art --- Art, Greek. --- Art, Greco-Roman. --- Greco-Roman art --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- Callistratus,
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Art, Greek. --- Pereira, Maria Helena da Rocha. --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- Rocha Pereira, Maria Helena da --- Da Rocha Pereira, Maria Helena
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Meisterwerke der griechischen Kunst, Statuen und Gemälde, wurden ab republikanischer Zeit in großer Zahl von ihren originalen Standorten nach Rom entführt. Dort schmückten sie öffentliche Orte, genau wie Jahrhunderte später wiederum griechische Kunstwerke, die in die neue Hauptstadt Konstantinopel versetzt wurden. Der vorliegende Band liefert uns eine Fülle an schriftlichen und archäologischen Zeugnissen zu den Werken und ihren neuen Standorten. Die Verfasserin erklärt das Phänomen in einer breiten Perspektive, die von römischen Kunstkriterien zur politischen Kommunikation führt. Zentraler Begriff ist das Decorum, das "Passende", das nach Cicero die stimmige Kombination eines bedeutungsvollen Kontextes mit der Selbstdarstellung des Auftraggebers und den inhaltlichen Aussagen der Werke selbst bezeichnet. Chronologisch fortschreitend ist zu verfolgen, wie die griechischen Kunstwerke als Decorum öffentlicher Orte Roms eingesetzt wurden, von den Tempeln der republikanischen Imperatoren bis zu den komplexen Ausstattungen kaiserzeitlicher Fora. Im Kontext ziviler Aktivitäten und staatlicher Zeremonien vermittelten sie ein weites Spektrum an politischen Werten und Programmausssagen des Herrscherhauses. Die Werke, die ab dem 4. Jh. n. Chr. auf politische Plätze der neuen Hauptstadt versetzt wurden, besaßen noch immer das Potential, die Facetten herrscherlicher Macht und Sieghaftigkeit zur Anschauung zu bringen. Der vergleichende Blick auf Konstantinopel bestätigt die anhaltende Bedeutung von griechischen Werken als adäquatem Schmuck politischer Räume. Erst im 6. Jh. n. Chr. verloren ihre paganen Inhalte jeden Zusammenhang mit dem Weltbild einer christlichen Gesellschaft. Zweifellos waren - so zeigt die Verfasserin - griechische Kunstwerke in der "Emigration" kein Randphänomen, sondern ein wesentlicher Beitrag zum politischen Leben Roms und Konstantinopels.
Art, Greek --- Art grec --- Political aspects --- Aspect politique --- Rome --- Byzantine Empire --- Empire byzantin --- Politics and government --- Politique et gouvernement --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- Politics and government. --- Greek sculpture. --- public spaces. --- reception.
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What is the social role of images and architecture in a pre-modern society? How were they used to create adequate environments for specific profane and ritual activities? In which ways did they interact with each other? These and other crucial issues on the social significance of imagery and built structures in Neopalatial Crete were the subject of a workshop which took place on November 16th, 2009 at the University of Heidelberg. The papers presented in the workshop are collected in the present volume. They provide different approaches to this complex topic and are aimed at a better understanding of the formation, role, and perception of images and architecture in a very dynamic social landscape. The Cretan Neopalatial period saw a rapid increase in the number of palaces and ‘villas', characterized by elaborate designs and idiosyncratic architectural patterns which were themselves in turn generated by a pressing desire for a distinctive social and performative environment. At the same time, a new form of imagery made its appearance in a broad spectrum of objects and spaces which were ‘decorated' with meaningful motifs chosen from a restricted and repetitive pictorial repertoire. This standardized repertoire indicates the configuration of a coherent pictorial program which was implemented in several social situations. The present volume is intended not only for specialists in Minoan culture but also for readers who are interested in the social dimension of images and architectural remains and especially in issues relating to their materiality, use and perception.
Civilization [Aegean ] --- Bronze age --- Aegean Sea Region --- Art [Aegean ] --- Antiquities --- Art, Minoan --- Architecture, Minoan --- Minoans --- Art, Aegean --- Civilization, Aegean --- Aegean civilization --- Aegean art --- Civilization, Minoan --- Cretans --- Minoan architecture --- Minoan art --- Social life and customs --- Minoan culture --- Art --- Architecture --- E-books --- Conferences - Meetings --- History & Archaeology --- art minoen --- architecture --- âge du bronze --- îles de la mer Egée --- Antiquité --- histoire sociale --- histoire --- Bronze Age --- Antiquity --- art --- history --- social history --- Aegean Sea --- island
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In this wide-ranging study, Richard Neer offers a new way to understand the epoch-making sculpture of classical Greece. Working at the intersection of art history, archaeology, literature, and aesthetics, he reveals a people fascinated with the power of sculpture to provoke wonder in beholders. Wonder, not accuracy, realism, naturalism or truth, was the supreme objective of Greek sculptors. Neer traces this way of thinking about art from the poems of Homer to the philosophy of Plato. Then, through meticulous accounts of major sculpture from around the Greek world, he shows how the demand for wonder-inducing statues gave rise to some of the greatest masterpieces of Greek art. Rewriting the history of Greek sculpture in Greek terms and restoring wonder to a sometimes dusty subject, The Emergence of the Classical Style in Greek Sculpture is an indispensable guide for anyone interested in the art of sculpture or the history of the ancient world.
Sculpture, Greek. --- Art, Greek. --- Sculpture grecque --- Art grec --- Art, Greek --- Sculpture, Greek --- Greek sculpture --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- classics, ancient, history, historical, greece, sculptor, study, academic, scholarly, research, art, artistic, artist, archaeology, literature, literary, aesthetics, visual, accuracy, realism, naturalism, truth, homer, plato, philosophy, philosophical, statues, statuary, textbook, college, university, education, higher ed, politics, myth.
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The first book-length treatment of artistic ecphrasis at Rome, 'The Captor's Image' resituates a major literary trope deep within its hybrid cultural context, and argues for ecphrasis as a cultural practice through which the Romans sought, over some four hundred years of their history, to redefine Romanness both with and against Greekness.
Latin literature --- Ekphrasis. --- Greek literature --- Authors, Latin. --- Art, Greek --- Civilization, Greco-Roman. --- Greco-Roman civilization --- Civilization, Classical --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- Authors, Roman --- Latin authors --- Roman authors --- Balkan literature --- Byzantine literature --- Classical literature --- Classical philology --- Greek philology --- Ecphrasis --- Art in literature --- Description (Rhetoric) --- History and criticism. --- Influence.
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Our understanding of past societies is shaped by the media that constitute their cultural practices. The essays in this volume examine the specific forms by which Ancient Greek and Roman civilizations presented themselves in literature and inscriptions, sculpture and monuments, habitats and rituals. They explore the question of how the ways that media construct historical realities come together to form an overall concept of history.
Mass media -- Historiography -- Methodology --- Mass media -- History --- Mass media -- Social aspects --- History, Ancient --- Civilization, Classical --- Classical antiquities --- Art, Roman --- Art, Greek --- History & Archaeology --- History - General --- Greek art --- Art, Aegean --- Art, Greco-Bactrian --- Roman art --- E-books --- Civilization, Ancient. --- Ancient civilization --- Greek and Roman history. --- Media. --- literary studies. --- visual studies.
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New studies on the interaction of various media in ancient Greek art.
Art, Greek. --- Classical antiquities. --- Antiquities. --- Greece --- Greece. --- ART / European. --- Antiquities, Classical --- Antiquities, Grecian --- Antiquities, Roman --- Archaeology, Classical --- Classical archaeology --- Roman antiquities --- Antiquities --- Archaeological museums and collections --- Art, Ancient --- Classical philology --- Greek art --- Art, Aegean --- Classical antiquities --- Art, Greco-Bactrian --- Grèce --- Antiquités.
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Bilder des Krieges sind ein dominantes Thema in der griechischen und römischen Kunst. Darstellungen von Kriegertum und Kampf sind visuelle Zeugnisse sozialer Ideale, öffentliche Siegesdenkmäler sind Faktoren der politischen Herrschaft. Nachdem die Forschung eine große Zahl einzelner Denkmäler und Gattungen von Bildwerken untersucht hat, wird in diesem Buch eine Synthese vorgelegt, in der die unterschiedlichen Konzepte und Wahrnehmungen des Krieges von der griechischen Frühzeit bis zur späten römischen Kaiserzeit kontrastiv gegeneinander gestellt werden. Dabei werden nicht nur die Funktionen der Bildwerke für die explizite Verherrlichung von Sieg und Ruhm dargestellt, sondern vor allem auch die ambivalenten impliziten Triebkräfte untersucht, die der kriegerischen Gewalt als Motivationen zugrunde liegen. In vier Kapiteln wird jeweils eine dieser Motivationen als prägende Kraft in einer Epoche des antiken Kriegswesens vor Augen geführt: Archaisches Griechenland: Glanz und Exzess des kriegerischen Heldentums; Klassisches Griechenland: Impulse und Risiken der politischen Identität; Alexander der Große bis Augustus: Ambition und Manifestation universaler Herrschaft; Römische Kaiserzeit: Imperiale Ideologie und militärische Realität. Images of war in Greek and Roman art reveal much more than the mere veneration of victory and glory. This book examines ancient Greek and Roman sculpture and memorials to reveal the ambivalent motivating forces that underlie the violence of war to this day: individual heroism, political identity, universal rule, and imperial ideology.
War in art. --- Art, Greek --- Art, Roman --- War and civilization. --- Antiquities. --- Themes, motives. --- Archaeological specimens --- Artefacts (Antiquities) --- Artifacts (Antiquities) --- Specimens, Archaeological --- Material culture --- Archaeology --- Civilization and war --- Civilization --- Roman art --- Classical antiquities --- Greek art --- Art, Aegean --- Art, Greco-Bactrian --- Bildkunst. --- Heldentum. --- Krieg. --- Political ideology. --- Politische Ideologie. --- heroism. --- visual art. --- war. --- HISTORY / Ancient / General. --- Guerre --- --Art --- --Rome ancienne --- --Grèce ancienne --- --Bildkunst. --- Art --- Rome ancienne --- Grèce ancienne
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