This book assesses the role of relief in the representation of space in Graeco-Roman artistic practice and its study β from Winckelmann to the mid-twentieth century β when Classical art developed as a theoretical discipline. The role of relief in the history of ancient sculpture has long been acknowledged, yet the problems posed by an engagement with the representation of space have not been a subject of specific and sustained inquiry. Neither a conventional history nor a comprehensive historiography, this book traces the study of relief β of its formal character, its artistic purpose, its aesthetic significance, and its historical treatment. The contribution to scholarship is three-fold: (1) By means of a wide array of examples, the book demonstrates that the visual strategies employed to represent space during the Graeco-Roman period were a continuously evolving repertory tied to the refinement of techniques and the transformation of styles that those techniques brought into being. (2) It examines ideas now commonplace, based on scholarship now long-neglected if not completely forgotten. And (3) it reveals how competing interpretations of the representation of space in relief elaborated new approaches to the monuments and their representations.
Koortbojian makes bold, original, and well-grounded claims regarding the structure of narrative as it appears on a series of mythological sarcophagi. He achieves remarkable clarity and depth with economical description and analysis. The book will interest students not only of Roman art but also of all visual narrative and mythology."--Leonard Barkan, Samuel Rudin Professor of English, New York University "Koortbojian makes bold, original, and well-grounded claims regarding the structure of narrative as it appears on a series of mythological sarcophagi. He achieves remarkable clarity and depth with economical description and analysis. The book will interest students not only of Roman art but also of all visual narrative and mythology."--Leonard Barkan, Samuel Rudin Professor of English, New York University
The Romans' early establishment of the sanctity of their city and the desire to protect it -- from not only the ravages of military conflict beyond its confines but the dangers of authoritarian rule at home -- took a variety of forms, legal, political, and military. These were codified in social practices, and thus established behaviors and rituals that, as they set these practices in the public eye, served as a continuing self-justification of Rome's growing dominance in the Mediterranean world. Koortbojian examines the transformation of Rome from Caesar to Constantine from several different points of view to reveal the primordial distinction between matters civic and military, and how the 'crossing of the pomerium,' the evanescent boundary that divided them, provided the crux of a historical interpretation of distinctly Roman endeavors. Koortbojian sets the background and then expands upon the long-vexed problem of the presence of men at arms in the city of Rome; long-standing legal and political practices that were adapted in the face of new military engagements and the crisis of civil war; and how Roman commanders attended to established religious practices while on campaign, and how those practices mirrored traditional customs and inverted the manner of their performance so as to acknowledge a profound Roman distinction between civic and military acts. As a whole, the book demonstrates how certain fundamental principles of law, politics, and military life -- and the practices that followed from them -- were interwoven in a narrative of continuity and change across three centuries of Roman imperial rule
This book assesses the role of relief in the representation of space in Graeco-Roman artistic practice and its study β from Winckelmann to the mid-twentieth century β when Classical art developed as a theoretical discipline. The role of relief in the history of ancient sculpture has long been acknowledged, yet the problems posed by an engagement with the representation of space have not been a subject of specific and sustained inquiry. Neither a conventional history nor a comprehensive historiography, this book traces the study of relief β of its formal character, its artistic purpose, its aesthetic significance, and its historical treatment. The contribution to scholarship is three-fold: (1) By means of a wide array of examples, the book demonstrates that the visual strategies employed to represent space during the Graeco-Roman period were a continuously evolving repertory tied to the refinement of techniques and the transformation of styles that those techniques brought into being. (2) It examines ideas now commonplace, based on scholarship now long-neglected if not completely forgotten. And (3) it reveals how competing interpretations of the representation of space in relief elaborated new approaches to the monuments and their representations.
The Romans' early establishment of the sanctity of their city and the desire to protect it -- from not only the ravages of military conflict beyond its confines but the dangers of authoritarian rule at home -- took a variety of forms, legal, political, and military. These were codified in social practices, and thus established behaviors and rituals that, as they set these practices in the public eye, served as a continuing self-justification of Rome's growing dominance in the Mediterranean world. Koortbojian examines the transformation of Rome from Caesar to Constantine from several different points of view to reveal the primordial distinction between matters civic and military, and how the 'crossing of the pomerium,' the evanescent boundary that divided them, provided the crux of a historical interpretation of distinctly Roman endeavors. Koortbojian sets the background and then expands upon the long-vexed problem of the presence of men at arms in the city of Rome; long-standing legal and political practices that were adapted in the face of new military engagements and the crisis of civil war; and how Roman commanders attended to established religious practices while on campaign, and how those practices mirrored traditional customs and inverted the manner of their performance so as to acknowledge a profound Roman distinction between civic and military acts. As a whole, the book demonstrates how certain fundamental principles of law, politics, and military life -- and the practices that followed from them -- were interwoven in a narrative of continuity and change across three centuries of Roman imperial rule
Adoptionismβthe idea that Jesus is portrayed in the Bible as a human figure who was adopted as God's son at his baptism or resurrectionβhas been commonly accepted in much recent scholarship as the earliest explanation of Jesus's divine status. In this book Michael Bird draws that view into question with a thorough examination of pre-Pauline materials, the Gospel of Mark, and patristic sources. Engaging critically with Bart Ehrman, James Dunn, and other scholars, Bird demonstrates that a full-fledged adoptionist Christology did not emerge until the late second century. As he delves into passages often used to support the idea of an early adoptionist Christology, including Romans 1:3β4 and portions of the speeches in Acts, Bird persuasively argues that early Christology was in fact incarnational, not adoptionist. He concludes by surveying and critiquing notable examples of adoptionism in modern theology.
Lively, well-informed portrait of the complex figure who was the apostle Paul Though Paul is often lauded as the first great Christian theologian and a champion for Gentile inclusion in the church, in his own time he was universally regarded as a strange and controversial person. In this book Pauline scholar Michael Bird explains why. An Anomalous Jew presents the figure of Paul in all his complexity with his blend of common and controversial Jewish beliefs and a faith in Christ that brought him into conflict with the socio-religious scene around him. Bird elucidates how the apostle Paul was variously perceived β as a religious deviant by Jews, as a divisive figure by Jewish Christians, as a purveyor of dubious philosophy by Greeks, and as a dangerous troublemaker by the Romans. Readers of this book will better understand the truly anomalous shape of Paulβs thinking and worldview.
Your ticket from the twenty-first century to the era of Jesus and the first Christians. A readable, one-volume introduction placing the entire New Testament and early Christianity in its original context, written by distinguished scholar and author N. T. Wright. An ideal guide for students, The New Testament in Its World addresses the many difficult questions faced by those studying early Christianity, including: What was the first century understanding of the Kingdom of God? What is the meaning of the resurrection in its original context? What were the Gospels, and how did they come about? Who was Paul and why are his letters so controversial? Written for both classroom and personal use, this book brings together decades of ground-breaking research, writing, and teaching into one volume. It presents the New Testament booksβalong with their subjects: Jesus and the early churchβwithin the historical and social context of Second Temple Judaism and Greco-Roman politics and culture. The New Testament in Its World allows you to recover the excitement of what it was like to live as Christians in the first or second centuries. Features include: Surveys of each New Testament book that discuss their significance and provides commentary on their contents, along with implications for the Christian life. Major sections on the historical Jesus, the resurrection of Jesus, and Paul's chronology and theology. Up-to-date discussions of textual criticism and the canonization of the New Testament. Frequent illustrations, maps, charts, diagrams, and artwork provide additional explanations and insights. A distillation of the life work of N. T. Wright on the New Testament with input from Michael Bird. Also available are Video and Workbook companion resources (sold separately) to enhance learning and experience the world of the New Testament.
A major reevaluation of Caravaggio from one of today's leading art historians This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. The result is an electrifying new perspective on a crucial episode in the history of European painting. Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne. Please note: All images in this ebook are presented in black and white and have been reduced in size.
Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"--
In Isidore of Seville and the βLiber Iudiciorum,β the author re-interprets the meaning and βfunctionβ of the seventh-century Visigothic law-code, the Liber Iudiciorum within the context of the cooperative competition of history-writing between nodes of power in Seville and Toledo.
With the predictions of the Sanctus Germanus Prophecies Volume 1 coming to pass, the present Volume 2 concentrates on the lightbearer's role during the post-2012 Earth changes and reconstruction effort. Lightbearers are today's Bodhisattvas, thousands of advanced initiates and past luminaries of earth, who have reincarnated to help mankind through this period of great change and turmoil. The Sanctus Germanus Prophecies, Volume 2 is a practical guide for the lightbearer to situate his or her place in the grand scheme of things and prepare for the coming challenges.
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