Richard A. Fazzini has inspired and mentored many scholars of Egyptology through his tireless efforts as curator and then chairman of the Brooklyn Museum's Deptartment of Egyptian, Classical and Ancient Middle Eastern Art (ECAMEA); field archaeologist of the Pricinct of Mut at Karnak; scholar; and teacher, The 35 contributions to this volume in his honor represent the variety of Professor Fazzini's own research interests namely in ancient Egyptian art, religious iconography, and archaeology, particularly of the New Kingdom, Third Intermediate Period, and Late Period. Reflections on Professor Fazzini's scholarship and teaching are accompanied by an extensive bibliography of his works.
This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems. This book focuses on four kingdoms from across the empire: Cottius’s Alpine kingdom in the north, King Juba II’s Mauretania in the south-west, Herodian Judea in the east, and Kommagene to the north-east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time, and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall paintings, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire’s borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure. Comprehensively illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100 BCE–100 CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history.
A richly illustrated guide to the Egyptian temple, its history, and the story of its goddess, Mut, as told by the preeminent archaeologists directing the excavations Mut was an important deity perhaps best known as the consort of Amun-Re and the mother of Khonsu, but her earlier and far more independent role was as the daughter of the sun god, much akin to Hathor. Like Nekhbet and Wadjet and the other lioness goddesses (referred to as Sekhmet) she was the “Eye of Re,” who could be both benign and dangerous. In human form, Mut protected the king and his office; as Sekhmet she could destroy Egypt if not pacified. The Mut precinct was a major religious center from the Eighteenth Dynasty to the Roman Period, but evidence suggests the existence of an even earlier temple. It expanded during the reign of the Kushite king, Taharqa and attained its present size during the fourth century BCE, sheltering three major temples, several small chapels, and eventually, a village within the protection of its massive enclosure walls. One of its most striking features is the hundreds of Sekhmet statues. In 1976, the Brooklyn Museum began the first systematic exploration of the precinct as a whole. Since 2001, Brooklyn has shared the site with an expedition from the Johns Hopkins University, both teams working cooperatively toward the same goal. This richly illustrated guide seeks to bring the goddess and her temple precinct the attention they deserve.
Examining portraits of black people over the past two centuries, Cutting a Figure argues that these images should be viewed as a distinct category of portraiture that differs significantly from depictions of people with other racial and ethnic backgrounds. The difference, Richard Powell contends, lies in the social capital that stems directly from the black subject’s power to subvert dominant racist representations by evincing such traits as self-composure, self-adornment, and self-imagining. Powell forcefully supports this argument with evidence drawn from a survey of nineteenth-century portraits, in-depth case studies of the postwar fashion model Donyale Luna and the contemporary portraitist Barkley L. Hendricks, and insightful analyses of images created since the late 1970s. Along the way, he discusses major artists—such as Frédéric Bazille, John Singer Sargent, James Van Der Zee, and David Hammons—alongside such overlooked producers of black visual culture as the Tonka and Nike corporations. Combining previously unpublished images with scrupulous archival research, Cutting a Figure illuminates the ideological nature of the genre and the centrality of race and cultural identity in understanding modern and contemporary portraiture.
A richly illustrated guide to the Egyptian temple, its history, and the story of its goddess, Mut, as told by the preeminent archaeologists directing the excavations Mut was an important deity perhaps best known as the consort of Amun-Re and the mother of Khonsu, but her earlier and far more independent role was as the daughter of the sun god, much akin to Hathor. Like Nekhbet and Wadjet and the other lioness goddesses (referred to as Sekhmet) she was the “Eye of Re,” who could be both benign and dangerous. In human form, Mut protected the king and his office; as Sekhmet she could destroy Egypt if not pacified. The Mut precinct was a major religious center from the Eighteenth Dynasty to the Roman Period, but evidence suggests the existence of an even earlier temple. It expanded during the reign of the Kushite king, Taharqa and attained its present size during the fourth century BCE, sheltering three major temples, several small chapels, and eventually, a village within the protection of its massive enclosure walls. One of its most striking features is the hundreds of Sekhmet statues. In 1976, the Brooklyn Museum began the first systematic exploration of the precinct as a whole. Since 2001, Brooklyn has shared the site with an expedition from the Johns Hopkins University, both teams working cooperatively toward the same goal. This richly illustrated guide seeks to bring the goddess and her temple precinct the attention they deserve.
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