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Ancient Egyptian mummies and their funerary equipment are an invaluable source of information not only on the Egyptians’ perception of death, but more importantly on their lives – diseases and traumas they suffered from, activities they carried out, their family relations, and more.The present volume, second in the series of Atlas of Egyptian Mummies in the Czech Collections, is dedicated to mummies and funerary containers of non-adults aged 15 and younger. Two complete mummies, twelve isolated parts from ten individuals, and six funerary containers were introduced in a detailed catalogue, along with their respective provenances, and brief excursions into the health and disease of ancient Egyptian children, and their funerarytreatment.The studied material came from the collections of two divisions of the National Museum in Prague, namely the Náprstek Museum of Asian, African and American Cultures, and the Natural History Museum. The mummies were examined using non-invasive methods, and the results were compared to those published in the past.The containers, two boxes, two hampers, and two jars represent only a small part of typological repertoire of containers used for the deposition of burials of non-adult individuals.While the non-adult mummies and their isolated parts are without provenience, all of the six containers come from modern excavations at well-documented cemeteries at Deir el-Medina and Abusir. Examination by non-invasive methods, especially computed tomography, brought to light several findings including one possible case of traumatic death, and one possible case of rickets. Information on the use of mummification substances and techniques – including the reinforcement of spine – were also reported.
In volume three of this series, Part I covers the period between Leo III to Michale III (867-1081), while Part II covers Bail I to Nicephorus III (867-1081).
Announcements for the following year included in some vols.
John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist's life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism. Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing a fresh light to bear on the artist's often too sensationalised private life, he has succeeded in coming up with a totally new view of this paradoxical man of his paradoxical work. Never before has Picasso's prodigious technique, his incisive vision and not least his sardonic humour been analysed with such clarity.
Includes subject section, name section, and 1968-1970, technical reports.
First multi-year cumulation covers six years: 1965-70.
This book is the first survey of the figural arts of the Iranian world from prehistoric times to the early twentieth century ever to consider themes, rather than styles. Analyzing primarily painting - in manuscripts and albums, on walls and on lacquered, painted pen boxes and caskets - but also the related arts of sculpture, ceramics, and metalwork, the author finds that the underlying themes depicted on them through the ages are remarkably consistent. Eleanor Sims demonstrates that all these arts display similar concerns: kingship and legitimacy; the righteous exercise of princely power and the defense of national territory; and the performance of rituals and the religious duties called for by the paramount cult of the day. She describes a variety of superb works of art inside and outside these categories, noting not only how they illustrate archetypal themes but also what it is about them that is unique. She also discusses the ways that Iranian art both influenced and was influenced by invaders and neighboring lands. Boris I. Marshak discusses pre-Islamic and also Central Asian art, in particular the earliest Iranian wall paintings and their pictorial parallels in rock carvings and metalwork, and the richly painted temples and houses of Panjikent. Ernst J. Grube considers religious imagery, and provides an informative bibliography.
Reprint of the original, first published in 1883.
First published to accompany the exhibition held at The Wallace Collection, London, March 12 - June 7, 2015.