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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
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
"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 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 work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Far from being a Judeo-Christian invention, apocalyptic thought had its roots in the ancient Near East and was expressed in its art.
The creation and production of the splendid art of the ancient Near East - metalwork, sculpture, jewellery - have never been systematically explored. In the absence of direct or detailed accounts of the organization and mechanics of artistic production, scholars have turned to a variety of sources to investigate issues such as the role of the artisan in the creation of works of art, his relation to patrons or clients of different social levels, and the training and organization of artisans in workshops or other associations. The eleven papers in this volume, contributed by specialists in history, literature, art and archaeology, explore the environments in which works of art in various media were produced in Mesopotamia, Syria and Iran from the beginnings of writing around 3500 B.C. through the end of the Achaemenid Persian Empire in 331 B.C.
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.