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An historical survey of the development of sculpture, architecture, painting, and ornament in the cultures of ancient Syria, Iran, Babylon, and Sumeria
"Provides the cultural, archaeological, and historical contexts for a selection of thirty works of art in the Metropolitan Museum's collection"--Slipcase.
Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.
This volume of collected essays brings together for the first time the range of Winter’s pioneering studies related to Neo-Assyrian relief sculpture and seals, Phoenician and Syrian ivory and bronze production, and inter-polity connections across the various cultures of first millennium B.C.E. from the Aegean to Iran. Consistent threads are an emphasis on the potential for art historical analysis to yield ‘history’ in the broadest sense; the importance of making the theoretical frame of interpretation explicit; and the necessity of textual evidence being brought to bear upon elements of formal analysis and archaeological context. "These beautifully produced volumes bring together essays written over a 35-year period, creating a whole that is much more than the sum of its parts...No library should be without this impressive collection." J.C. Exum
This volume assembles more than 30 articles focusing on the visual, material, and environmental arts of the Ancient Near East. Specific case studies range temporally from the fourth millennium up to the Hellenistic period and geographically from Iran to the eastern Mediterranean. Contributions apply innovative theoretical and methodological approaches to archaeological evidence and critically examine the historiography of the discipline itself. Not intended to be comprehensive, the volume instead captures a cross-section of the field of Ancient Near Eastern art history as its stands in the second decade of the twenty-first century. The volume will be of value to scholars working in the Ancient Near East as well as others interested in newer art historical and anthropological approaches to visual culture.
This second volume of Collected Essays, complement to volume one, focuses upon the art and culture of the third millennium B.C.E. in ancient Mesopotamia. Stress is upon the ability of free-standing sculpture and public monuments to both reflect cultural attitudes and to affect a viewing audience. Using Sumerian and Akkadian texts as well as works, the power of visual experience is pursued toward an understanding not only of the monuments but also of their times and our own.
Through her published works and in the classroom, Irene J. Winter has served as a mentor for the latest generation of scholars of Mesopotamian visual culture. The various contributions to this volume in her honor represent a cross section of the state of scholarship today. Topics by the twenty authors include palatial and temple architecture, royal sculpture, gender in the ancient Near East, and interdisciplinary studies that range from the fourth millennium BCE to modern ethnography and cover Sumer, Assyria, Babylonia, Iran, Syria, Urartu, and the Levant. Reflections on Winter's scholarship and teaching accompany her bibliography. The volume will be useful for scholars who are curious about how visual culture is being used to study the ancient Near East.
Discussions of apocalyptic thought and its sources in the ancient Near East, particularly Mesopotamia, have a long scholarly history, with a renewed interest and focus in the recent decades. Outside Assyriological scholarship as well, studies of the apocalyptic give significant credit to the ancient Near East, especially Babylonia and Iran, as potential sources for the manifestations of this phenomenon in the Hellenistic period. The emphasis on kingship and empire in apocalyptic modes of thinking warrants special attention paid to the regal art of ancient Mesopotamia and adjacent areas in its potential to express the relevant notions. In this book, Mehmet-Ali Ataç demonstrates the importance of visual evidence as a source for apocalyptic thought. Focusing on the so-called investiture painting from Mari, he relates it to parallel evidence from the visual traditions of the Assyrian Empire, ancient Egypt, and Hittite Anatolia.
The art of divination in the ancient Near East : reading the signs of heaven and earth by Stefan M. Maul (2018).