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Two major dividing lines have formed the megastructure of Eurasia, determining the historical epochs of the continent's peoples. The first, vertical (longitudinal) line has separated East and West since the Paleolithic Age. The East was dominated by Mongol peoples speaking Sino -Tibetan, Manchu-Tungus, and Altaic languages. The Caucasoid peoples of the West spoke mostly Indo-European, Semite, and Finno-Ugric languages. The second line divided the continent horizontally (by latitude) into North and South. This division was closely connected with the Eurasian Steppe Belt. To the north of it lay the world of hunter-gatherers and fishermen. To the south, settled agriculture was dominant. The Steppe Belt itself was the domain of pastoralists, the nomadic and semi-nomadic herders. These lines converged at the entrance to the Great Silk Road. With the swift development of horse domestication and horseback riding, the nomads moved-from the Early Metal Age (500-400 BCE) to Genghis Khan's and the Genghisid's Great Empire (1200-1400 CE)-to the forefront of Eurasian history as their world became increasingly involved in dramatic and sometimes tragic relationships with their southern neighbors. This book focuses on the tangle of problems in these nomadic peoples' history.
Antiquities. --- Mongols --- Mongols. --- Nomads --- Nomads. --- Social archaeology --- Social archaeology. --- History --- To 1500. --- Eurasia --- Eurasia. --- Archaeology --- Nomadic peoples --- Nomadism --- Pastoral peoples --- Vagabonds --- Wanderers --- Persons --- Herders --- Methodology --- Altaic. --- Caucasoid. --- Early Metal Age. --- Finno-Ugric. --- Genghis Khan. --- Genghisids Great Empire. --- Great Silk Road. --- Indo-European. --- Manchu-Tungus. --- Mongol. --- Paleolithic Age. --- Semite. --- Sino-Tibetan. --- Steppe Belt.
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Art --- Art, Classical --- Universität Frankfurt am Main. --- Exhibitions
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"Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared 'ways of seeing' that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects"--
Iron age. --- Eurasia --- Eurasia. --- Antiquities.
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Archaeology --- céramique --- archéologie --- colonisation de Phocée --- Phocée
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