Word Becomes Image Openwork Vessels As A Reflection Of Late Antique Transformation
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Word Becomes Image: Openwork vessels as a reflection of Late Antique transformation by Hallie G. Meredith Pdf
Presents a diachronic investigation providing a rich case study as well as an approach tracing the contours of a category of Roman material culture defined by the Roman period technique of openwork carving. This work shows how openwork vessels are a reflection of a wide-reaching Roman cultural aesthetic.
Presents a diachronic investigation providing a rich case study as well as an approach tracing the contours of a category of Roman material culture defined by the Roman period technique of openwork carving. This work shows how openwork vessels are a reflection of a wide-reaching Roman cultural aesthetic.
Inscribing Faith in Late Antiquity by Sean V. Leatherbury Pdf
Inscribing Faith in Late Antiquity considers the Greek and Latin texts inscribed in churches and chapels in the late antique Mediterranean (c. 300–800 CE), compares them to similar texts from pagan, Jewish, and Muslim spaces of worship, and explores how they functioned both textually and visually. These texts not only recorded the names and prayers of the faithful, but were powerful verbal and visual statements of cultural values and religious beliefs, conveying meaning through their words as well as through their appearances. In fact, the two were intimately connected. All of these texts – Christian, Jewish, Muslim, and pagan – acted visually, embracing their own materiality as mosaic, paint, or carved stone. Colourful and artfully arranged, the inscriptions framed human relationships with the divine, encouraged responses from readers, and made prayers material. In the first in-depth examination of the inscriptions as words and as images, the author reimagines the range of aesthetic, cultural, and religious experiences that were possible in spaces of worship. Inscribing Faith in Late Antiquity is essential reading for those interested in Roman, late antique, and Byzantine material and visual culture, inscriptions and other texts, and religious life in the ancient Mediterranean.
In Destinations in Mind, Kimberly Cassibry asks how objects depicting different sites helped Romans understand their vast empire. At a time when many cities were written about but only a few were represented in art, four distinct sets of artifacts circulated new information. Engraved silver cups list all the stops from Spanish Cádiz to Rome, while resembling the milestones that helped travelers track their progress. Vivid glass cups represent famous charioteers and gladiators competing in circuses and amphitheaters, and offered virtual experiences of spectacles that were new to many regions. Bronze bowls commemorate forts along Hadrian's Wall with colorful enameling typical of Celtic craftsmanship. Glass bottles display labeled cityscapes of Baiae, a notorious resort, and Puteoli, a busy port, both in the Bay of Naples. These artifacts and their journeys reveal an empire divided not into center and periphery, but connected by roads that did not all lead to Rome. They bear witness to a shared visual culture that was divided not into high and low art, but united by extraordinary craftsmanship. New aspects of globalization are apparent in the multi-lingual placenames that the vessels bear, in the transformed places that they visualize, and in the enriched understanding of the empire's landmarks that they impart. With in-depth case studies, Cassibry argues that the best way to comprehend the Roman Empire is to look closely at objects depicting its fascinating places.
This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.
Objects in Motion by Hallie G. Meredith,Hallie Meredith Pdf
This volume contains a series of papers that had their origins in a symposium convened whilst the editor was a Research Fellow at the Bard Graduate Center for Decorative Arts, Design History, Material Culture, New York in May 2008. Contents: Introduction (Hallie G. Meredith); Christianizing Constantine: Eusebius' Vita Constantini as a Late Antique Social Canvas (Hallie G. Meredith); The Portable Altar in Christian Tradition and Practice (Crispin Paine); Telling Jerusalem: Miracles and the Moveable Past in Late Antique Christianity (Georgia Frank); The Matter of Ivory and the Movement of Ideas: Thoughts on some Christian Diptychs of Late Antiquity (Anthony Cutler); The Art and Ritual of Manichaean Magic: Text, Object and Image from the Mediterranean to Central Asia (Matthew P. Canepa); The Narrative Fabric of the Genoese Pallio and the Silken Diplomacy of Michael VIII Palaiologos (Ida Toth); Conclusion (Henry Maguire).
Examines differences in taste between modern French classes, discusses the relationship between culture and politics, and outlines the strategies of pretension.
A brilliant work from the most influential philosopher since Sartre. In this indispensable work, a brilliant thinker suggests that such vaunted reforms as the abolition of torture and the emergence of the modern penitentiary have merely shifted the focus of punishment from the prisoner's body to his soul.
Aldo Rossi was a practicing architect and leader of the Italian architectural movement La Tendenza and one of the most influential theorists of the twentieth century. The Architecture of the City is his major work of architectural and urban theory. In part a protest against functionalism and the Modern Movement, in part an attempt to restore the craft of architecture to its position as the only valid object of architectural study, and in part an analysis of the rules and forms of the city's construction, the book has become immensely popular among architects and design students.
Late Antique Metal Vessels in the Carpathian Basin by Tivadar Vida Pdf
The magnificent gold and silver vessels that reached the Barbarian elites of the Migration period either as diplomatic gifts or as war booty, as part of annual subsidies or through trade, attest to the many forms of cultural exchanges between the late antique civilisation of the Mediterranean and the tribal kingdoms emerging on its fringes. These resplendent silver and gold vessels were prized possessions of elite households, whose display enhanced the splendour of community feasts and ceremonies. As expensive diplomatic gifs, precious metal vessels played an important role in maintaining and cementing amicable relations and alliances between the late antique states and the Barbarian kingdoms. The elegant gold and silver vessels bore witness to the prosperity and "good life" of the late antique aristocracy, while their graceful form and delicate ornamentation were designed to reflect the erudition and cultural values of their owners. These masterpieces of late antique art retained their role as status symbols in their new cultural milieu too, and they were sometimes circulated as part of the gift exchanges between Barbarian elites or between a Barbarian king and his nobles. The more humble copper-alloy vessels used in daily life can usually be associated with the middle classes and reflect the appeal of the late antique aristocracy's lifestyle to a broader circle as well as the desire to emulate their table customs and to acquire at least copies of their tableware. Late antique and early Byzantine metal vessels were mediums of social display not only during their owners' lifetimes, but also after their death through the deposition of these impressive items in burials.
Passages in Modern Sculpture by Rosalind E. Krauss Pdf
Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.
Henri Lefebvre has considerable claims to be the greatest living philosopher. His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.
The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.
With imaginative lushness and narrative elan, Mehta provides a novel that combines Indian storytelling with thoroughly modern perceptions into the nature of love--love both carnal and sublime, treacherous and redeeming. "Conveys a world that is spiritual, foreign, and entirely accessible."--Vanity Fair. Reading tour.
