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The earliest written references to the Osirian myth-complex appeared already in the Pyramid Text spells (c. 2400–2300 BCE). The most complete exposition of this ancient Egyptian myth is, however, found in the Greek treatise On Isis and Osiris, in which the 2nd-century CE Platonist Plutarch utilises Egyptian mythology to advocate his philosophical ideas concerning the divine and the nature of the cosmos. This book aims at “decoding” Plutarch’s narrative of the Osirian myth, linking his claims to the existing Egyptian and Greek parallels. It thus analyses a multitude of mythic and religious traditions from a transcultural perspective, exploring the relation of the Pharaonic features of the Osirian divinities to the features they had acquired in Ptolemaic and Roman times, interpreting the Egyptian myth within the overall framework of parallel mythologies from other cultures, and examining whether the brief mythic stories (historiolae) recited in Late Egyptian ritual texts can be deployed to enrich the context of certain obscure episodes in Plutarch’s account of the myth. The book will be of great interest not only to scholars and students of Plutarch and later Middle Platonism, but also to Egyptologists. Due to its thematic variety and scope, this publication will also appeal to a wider array of readers (specialists and non-specialists alike) interested in religious syncretism, interreligious connections, and the challenge of multiculturalism from Hellenistic times until Late Antiquity.
In contrast to other histories of ancient art that typically privilege well-preserved works of ceramics or stone, Luxus offers an integrated contextual analysis of artifacts fashioned from a wide variety of luxury materials, which survive in far greater number than is typically supposed. These include gold and silver, semiprecious hard stones, and organic materials, such as ivory, fine woods, amber, pearl, coral, and textiles. Examining some of the finest surviving examples of ancient craftsmanship, renowned expert Kenneth Lapatin approaches objects in these diverse media from a variety of viewpoints, providing a valuable model for a more pluralistic approach to visual culture with the greater goal of reinvigorating the study of ancient art and society. As its title implies, Luxus is richly illustrated, containing over 200 images of superb works located in collections throughout the world. Each plate is accompanied by extensive documentation and discursive commentary. An introductory chapter explores the ideologies and uses of the luxury arts in ancient Greece and Rome, considers ancient debates about their value, and traces their decline in modern historiography. The book then goes on to address a broad range of luxury goods, such as intaglios, cameos, vessels, and statuettes, providing a full and multifaceted account of luxury in the ancient world.
Vols. 1-8, 1880-87, plates published separately and numbered I-LXXXIII.
Each ring is illustrated with one or more black and white photograph, with 500 superb colour photos of the most important pieces. Major trends in ring design are outlined, and explanations and anecdotes are given on many of the individual rings. Supplementary images provide additional visual reference for the historical context. This deluxe book introduces the finest, most exhaustive private collection of finger rings in the world: the Hashimoto Collection. Organised chronologically by culture, it begins with the Ancient Mediterranean World, and progresses