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Sculpture, French --- Sculpture --- Sculpture
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L'ouvrage a pour ambition de décrire les différentes représentationsde la sculpture Cham du VIIe au XVe siècle approximativement.Principalement en pierre (grès), mais aussi en or, en argent et enbronze, ces oeuvres profondément originales illustrent la mythologieindienne dans le puissant royaume de Champa qui exista sur une grandepartie du territoire actuel du Vietnam, avant d'être détruitprogressivement par l'irrésistible descente vers le Sud (« Nam Tiên ») desVietnamiens, à partir de leur foyer de la région du Fleuve Rouge.Cet ouvrage présente des objets, venant tous de collections privées,t
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This edited volume explores the intermediality of image and text in Graeco-Roman sculpture. Through its choice of authors, disciplinary backgrounds are deliberately merged in order to bridge the traditional gap between archaeologists, epigraphists and philologists, who for a long time studied statues, material inscriptions and literary epigrams within the closely confined borders of their individual disciplines. Through its choice of objects, privileging works of which there are significant material remains, through its inclusion of all kinds of figural-cum-inscriptional designs, ranging from grand sculpture to reliefs and 'decorative' marble-objects, and through its methodological emphasis on 'close viewing' (and reading!) of individual objects, this volume focuses on the materiality of both sculpture and inscription. This perspective is enriched by two comparative chapters on inscribing Greek vases and Roman walls (graffiti). The intermediality of image and inscription is envisaged from various thematic angles, including the intricacies of combining image and epigram (both materially and in literary projection), the original production and reception of inscribed sculpture in its 'long life', the viewing and 'reading' of sculpture in a space of movement, the issue of (re-)naming statues, and the image and inscription in its social and gender-historical context.
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Sculpture, Hellenistic --- Hellenistic sculpture --- Sculpture, Greek
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Si l'âme est chrétienne, la beauté est grecque. Freuddéfinit l'esthétisme comme une construction intellectuellede paramètres personnels qui s'exprime en émotionssublimées.Avec la sculpture grecque, l'homme devient dieu, et lesdieux font don de leur apparence à l'humanité.Défiant les lois de la gravité, les sculpteurs grecs découvrentles fragiles équilibres des formes, des espaces, et façonnentdepuis plus de 2000 ans notre subconscient aux canons del'éternelle beauté.Edmund von Mach, historien de l'art, revient sur cetteépopée qui conduit la main de l'homme à transformer lemarbre en oeuvre d'ar
Sculpture, Ancient --- Sculpture, Greek. --- Greek sculpture --- Ancient sculpture
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The first descriptions of the anthropomorphic monkeys reached Europe channelled through a combination of legend, anecdote and travel journal. The first actual chimpanzee in flesh and blood only arrived around the seventeenth century, and the similarity between these great apes and human beings immediately unleashed conflicting reactions of attraction and awe, fascination and anxiety. Other primates had already been known in the Western world since antiquity, but creatures so similar to ourselves inevitably set human beings in relation to the rest of the natural world, or rather placed them within the same ongoing process, undermining the attempt at distinction from other animals and the claim to a sovereignty over the planet. We now know that we are not so unique and that we share numerous aspects with our primate cousins. Observing them, respecting them and attempting to understand them is the best way of entering into profound contact with our own nature.
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