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Vittorio Cotesta’s The Heavens and the Earth traces the origin of the images of the world typical of the Graeco-Roman, Ancient Chinese and Medieval Islamic civilisations. Each of them had its own peculiar way of understanding the universe, life, death, society, power, humanity and its destiny. The comparative analysis carried out here suggests that they all shared a common human aspiration despite their differences: human being is unique; differences are details which enrich its image. Today, the traditions derived from these civilisations are often in competition and conflict. Reference to a common vision of humanity as a shared universal entity should lead, instead, to a quest for understanding and dialogue.
The present volume of Time and Science series is devoted to Physical Sciences and Cosmology. Today more than ever, the question 'is Time an ontological property, a necessary ingredient for the physical description of the world, or a purely epistemological element, relative to our situation in the world?' worry physicists and cosmologists alike. For many of them, Relativity (and particularly General Relativity), as well as its reconciliation with quantum mechanics in the elaboration of a quantum theory of gravitation, points to a negative answer to the first alternative, and leads them to deny the objective reality of time. For others, the answer is nuanced by the evidence of an emerging temporal property when one climbs the scales of the complexity of systems and/or the applicability of the statistical laws of thermodynamics. But for some, the illusion of the unreality of time comes from certain confusions that they denounce, and plead for the re-establishment of time at the heart of physical theories.
This fascinating volume brings together leading specialists, who have analyzed the thoughts and records documenting the worldviews of a wide range of pre-modern societies. Presents evidence from across the ages; from antiquity through to the Age of Discovery Provides cross-cultural comparison of ancient societies around the globe, from the Chinese to the Incas and Aztecs, from the Greeks and Romans to the peoples of ancient India Explores newly discovered medieval Islamic materials
This book documents the relationship and wisdom of Asian cartographers in the Islamic and Chinese worlds before the Europeans arrived.
A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
Students and scholars of the Italian Renaissance easily fall under the spell of its achievements: its self-confident humanism, its groundbreaking scientific innovations, its ravishing artistic production. Yet many of the developments in Italian ceramics and glass were made possible by Italy's proximity to the Islamic world. The Arts of Fire underscores how central the Islamic influence was on this luxury art of the Italian Renaissance. Published to coincide with an exhibition at the Getty Museum on view from May 4 to August 5, 2004, The Arts of Fire demonstrates how many of the techniques of glass and ceramic production and ornamentation were first developed in the Islamic East between the eighth and twelfth centuries. These techniques - enamel and gilding on glass and tin-glaze and lustre on ceramics - produced brilliant and colourful decoration that was a source of awe and admiration, transforming these crafts, for the first time, into works of art and true luxury commodities. Essays by Catherine Hess, George Saliba, and Linda Komaroff demonstrate early modern Europe's debts to the Islamic world and help us better understand the interrelationships of cultures over time.
This study of ancient Roman shipping and trade across continents reveals the Roman Empire’s far-reaching impact in the ancient world. In ancient times, large fleets of Roman merchant ships set sail from Egypt on voyages across the Indian Ocean. They sailed from Roman ports on the Red Sea to distant kingdoms on the east coast of Africa and southern Arabia. Many continued their voyages across the ocean to trade with the rich kingdoms of ancient India. Along these routes, the Roman Empire traded bullion for valuable goods, including exotic African products, Arabian incense, and eastern spices. This book examines Roman commerce with Indian kingdoms from the Indus region to the Tamil lands. It investigates contacts between the Roman Empire and powerful African kingdoms, including the Nilotic regime that ruled Meroe and the rising Axumite Realm. Further chapters explore Roman dealings with the Arab kingdoms of southern Arabia, including the Saba-Himyarites and the Hadramaut Regime, which sent caravans along the incense trail to the ancient rock-carved city of Petra. The first book to bring these subjects together in a single comprehensive study, The Roman Empire and the Indian Ocean reveals Rome’s impact on the ancient world and explains how international trade funded the legions that maintained imperial rule.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.