三民網路書店 / 搜尋結果

Draycott (Somerville College, Oxford) and Summers (archaeology, Middle East Technical University, Ankara) report on excavations at Kerkenes Dag in Turkey. The city was an Iron Age Phrygian settlement.

This volume is the product of an interdisciplinary conference held at the University of Texas at Austin. Specialists in the study of inscriptions, architecture, sculpture, coins, tombs, pottery, and t

This volume is the product of an interdisciplinary conference held at the University of Texas at Austin. Specialists in the study of inscriptions, architecture, sculpture, coins, tombs, pottery, and t

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (c.1300–700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed c.1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A re-examination of Kition's architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (c.1300–700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed c.1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A re-examination of Kition's architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the

◆ 全卷分銘刻與雕塑兩大部分，涵蓋範圍廣泛◆ 收藏品包括了自商至清晚期歷代銘刻與雕塑藝術珍品，全面看到中國歷朝歷代的雕塑特徵◆ 以精悍的文物數量重點介紹各朝文物中的精品，尤以罕見的國寶級文物為主Sculptures in displayin the Museum cover a period from the Warring States (-5th B.C) to the late Qing;

The third-century adolescent Roman emperor miscalled Elagabalus or Heliogabalus was made into myth shortly after his murder. For 1800 years since, scandalous stories relate his alleged depravity, debauchery and bloodthirsty fanaticism as High Priest of a Syrian Sun God. From these, one cannot discern anything demonstrably true about the boy or his reign. This book, drawing on the author's detailed research and publications, investigates what can truly be known about this emperor. Through careful analysis of all sources, including historiography, coins, inscriptions, papyri, sculpture and topography, it shows that there are things of which we can be sure, and others that are likely. Through these we can reassess his reign. We discover a youth, thrust by his handlers into power on false pretences, who creates his own more authentic persona as priest-emperor, but loses the struggle for survival against rivals in his family, who justify his murder with his myth.

Barringer (classics and history of art, Yale U.) examines the theme of the hunt depicted in vase paintings, sculpture, inscriptions, and other literary evidence. Focusing on descriptions of hunting in

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and

The third-century adolescent Roman emperor miscalled Elagabalus or Heliogabalus was made into myth shortly after his murder. For 1800 years since, scandalous stories relate his alleged depravity, debauchery and bloodthirsty fanaticism as High Priest of a Syrian Sun God. From these, one cannot discern anything demonstrably true about the boy or his reign. This book, drawing on the author's detailed research and publications, investigates what can truly be known about this emperor. Through careful analysis of all sources, including historiography, coins, inscriptions, papyri, sculpture and topography, it shows that there are things of which we can be sure, and others that are likely. Through these we can reassess his reign. We discover a youth, thrust by his handlers into power on false pretences, who creates his own more authentic persona as priest-emperor, but loses the struggle for survival against rivals in his family, who justify his murder with his myth.

What was Hellenistic art, and what were its contexts, aims, achievements, and impact? This textbook introduces students to these questions and offers a series of answers to them. Its twelve chapters and two 'focus' sections examine Hellenistic sculpture, painting, luxury arts, and architecture. Thematically organized, spanning the three centuries from Alexander to Augustus, and ranging geographically from Italy to India and the Black Sea to Nubia, the book examines key monuments of Hellenistic art in relation to the great political, social, cultural, and intellectual issues of the time. It is illustrated with 170 photographs (mostly in color, and many never before published) and contextualized through excerpts from Hellenistic literature and inscriptions. Helpful ancillary features include maps, appendices with background on Hellenistic artists and translations of key documents, a full glossary, a timeline, brief biographies of key figures, suggestions for further reading, and bibliogr

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and