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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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"Why do ancient Egyptian statues so often have their noses, hands, or genitals broken? Although Late Antiquity appears to have been one of the major moments of large-scale vandalism against pagan monuments, various contexts bear witness to several phases of reuse, modification, or mutilation of statues throughout and after the pharaonic period. Reasons for this range from a desire to erase the memory of specific rulers or individuals for ideological reasons to personal vengeance, war, tomb plundering, and the avoidance of a curse; or simply the reuse of material for construction or the need to ritually "deactivate" and bury old statues, without the added motive of explicit hostility toward the subject in question. Drawing on the latest scholarship and over 100 carefully selected illustrations, Ancient Egyptian Statues proceeds from a general discussion of the production and meaning of sculptures, and the mechanisms of their destruction, to review the role of ancient statuary in Egyptian history and belief. It then moves on to explore the various means of damage and their significance, and the role of restoration and reuse. Art historian Simon Connor offers an innovative and lucidly written reflection on beliefs and practices relating to statuary, and images more broadly, in ancient Egypt, showing how statues were regarded as the active manifestations of the entities they represented, and the ways in which they could endure many lives before being finally buried or forgotten."--
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The essays in New Studies on the Portrait of Caligula in the Virginia Museum of Fine Arts address art historical, historical, cultural and museological issues raised by one of two surviving intact statues of the Roman emperor Caligula (r. 37-41 C.E.). Contributions focus on the creation of a 3D-digital model of the statue and the search for traces of its original polychromy; the history of the statue from its creation to the present, including its rediscovery at a Julio-Claudian sanctuary at Bovillae; aspects of Caligula’s literary and visual portrayal in antiquity and modern historiography (including questions concerning the destruction of his portraits and the implications of Jewish sources for the study of Caligula); and the emperor’s image in popular culture.
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The Hindu-Buddhist Sculpture of Ancient Kashmir and Its Influences is primarily based on the study of the largely unpublished corpus of sculpture, mostly of stone, in the Sri Pratap Singh Museum in Srinagar, and of other examples in situ elsewhere in the valley. The disparate nature and fragmentary condition of these sculptures as well as their artistic and iconographical influences have for long defied accurate analysis. The method used in the classification of these sculptures is based on close analysis of their style concentrating on recurring features such as facial and physical typology, modelling, dress and ornamentation. Comparisons are made with other examples of Kashmir bronze, ivory and stone sculpture in private and public collections both within India and abroad.
Hindu sculpture --- Buddhist sculpture --- Sculpture hindoue --- Sculpture bouddhique --- ART / Sculpture & Installation --- Sculpture, Hindu --- Sculpture --- Sculpture, Buddhist --- Hindu art
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Exploring the variety of forms taken by collections of sculpture, this volume presents new research by twelve internationally recognized scholars. The essays delve into the motivations of different collectors, the modes of display, and the aesthetics of viewing sculpture, bringing to light much new archival material. The book underscores the ambiguous nature of sculpture collections, variously understood as decorative components of interiors or gardens, as objects of desire in cabinets of curiosity, or as autonomous works of art in private and public collections. Emphasizing the collections and the ways in which these were viewed and described, this book addresses a significant but neglected aspect of art collecting and contributes to the literature on this branch of art and cultural history. This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation. The book is published in association with The Frick Collection.
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