Barbaric Splendour The Use Of Image Before And After Rome
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Barbaric Splendour: The Use of Image Before and After Rome by Toby F. Martin,Wendy Morrison Pdf
This book comprises a collection of essays comparing late Iron Age and Early Medieval art. Fundamentally, the book asks what making images meant on the fringe of the expanding or contracting Roman empire, particularly as the art from both periods drew heavily from – but radically transformed – imperial imagery.
Image and Ornament in the Early Medieval West by Matthias Friedrich Pdf
Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.
Author : Matthias Friedrich,James M. Harland Publisher : Walter de Gruyter GmbH & Co KG Page : 379 pages File Size : 47,8 Mb Release : 2020-11-23 Category : History ISBN : 9783110701739
Interrogating the ‘Germanic’ by Matthias Friedrich,James M. Harland Pdf
Any reader of scholarship on the ancient and early medieval world will be familiar with the term 'Germanic', which is frequently used as a linguistic category, ethnonym, or descriptive identifier for a range of forms of cultural and literary material. But is the term meaningful, useful, or legitimate? The term, frequently applied to peoples, languages, and material culture found in non-Roman north-western and central Europe in classical antiquity, and to these phenomena in the western Roman Empire’s successor states, is often treated as a legitimate, all-encompassing name for the culture of these regions. Its usage is sometimes intended to suggest a shared social identity or ethnic affinity among those who produce these phenomena. Yet, despite decades of critical commentary that have highlighted substantial problems, its dominance of scholarship appears not to have been challenged. This edited volume, which offers contributions ranging from literary and linguistic studies to archaeology, and which span from the first to the sixteenth centuries AD, examines why the term remains so pervasive despite its problems, offering a range of alternative interpretative perspectives on the late and post-Roman worlds.
Art in the Eurasian Iron Age by Courtney Nimura,Helen Chittock,Peter Hommel,Chris Gosden Pdf
Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.
Conversations about Time by Gavin Lucas,Laurent Olivier Pdf
This book presents a conversation between two prominent archaeologists who have been exploring the concept of time in their discipline for several decades. It is a discussion on key issues of time in archaeology filtered through their unique perspectives, which sometimes meet and at other times, clash. Key features include discussions on the nature of change and time in the archaeological record, the relation between the present and past, the connection between time and the goals of archaeology and the relevance of the Anthropocene to disciplinary practice. Situated in how the authors' own views on the topic of time have developed over their careers, the conversation offers an intimate and personal insight into how two leading scholars think and debate a topic of central importance to the discipline. All archaeologists with an interest in contemporary theory and the topic of time will find this book of relevance. Also the student who wants a front-row seat onto a live debate on this topic will find it an invaluable complement to the more traditional textbook.
The artists of Ancient Rome portrayed the barbarian enemies of the empire in sculpture, reliefs, metalwork and jewellery. Enemies of Rome shows how the study of these images can reveal a great deal about the barbarians, as well as Roman art and the Romans view of themselves.
Barbaric Splendour by Toby F Martin,Wendy Morrison Pdf
This book comprises a collection of essays comparing late Iron Age and Early Medieval art. Fundamentally, the book asks what making images meant on the fringe of the expanding or contracting Roman empire, particularly as the art from both periods drew heavily from - but radically transformed - imperial imagery.