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When Shelley Wachsmann began his analysis of the small ship model excavated by assistants of famed Egyptologist W. M. F. Petrie in Gurob, Egypt, in 1920, he expected to produce a brief monograph that would shed light on the model and the ship type that it represented. Instead, Wachsmann discovered that the model held clues to the identities and cultures of the enigmatic Sea Peoples, to the religious practices of ancient Egypt and Greece, and to the oared ships used by the Bronze Age Mycenaean Greeks. Although found in Egypt, the prototype of the Gurob model was clearly an Aegean-style galley of a type used by both the Mycenaeans and the Sea Peoples. The model is the most detailed representation presently known of this vessel type, which played a major role in changing the course of world history. Contemporaneous textual evidence for Sherden—one of the Sea Peoples—settled in the region suggests that the model may be patterned after a galley of that culture. Bearing a typical Helladic bird-head decoration topping the stempost, with holes along the sheer strakes confirming the use of stanchions, the model was found with four wheels and other evidence for a wagon-like support structure, connecting it with European cultic prototypes. The online resources that accompany the book illustrate Wachsmann’s research and analysis. They include 3D interactive models that allow readers to examine the Gurob model on their computers as if held in the hand, both in its present state and in two hypothetical reconstructions. The online component also contains high-resolution color photos of the model, maps and satellite photos of the site, and other related materials. Offering a wide range of insights and evidence for linkages among ancient Mediterranean peoples and traditions, The Gurob Ship-Cart Model and Its Mediterranean Context presents an invaluable asset for anyone interested in the complexities of cultural change in the eastern Mediterranean at the end of the Bronze Age and the beginning of the Iron Age. The Gurob ship-cart model is/was part of an exhibition entitled Beyond the Nile: Egypt and the Classical World, at the J. Paul Getty Center (March 27-September 9, 2018). Read about it here: http://blogs.getty.edu/iris/egyptian-ship-model-sheds-light-on-bronze-age-warfare-and-religion Digital supplement to the book featuring 3D models: http://www.vizin.org/Gurob/Gurob.html
Die Tötung von Menschen wird in vielen biblischen Texten thematisiert. Locus classicus ist das Tötungsverbot im Dekalog (Ex 20,13; Dtn 5,17). Im Kontext von Krieg oder als Strafe für schwerwiegende Verbrechen erschien die Tötung eines Menschen für die Verfasser der biblischen Texte wohl kaum problematisch. Gott selbst wird als jemand beschrieben, der das Töten von Personen anordnet und Menschen töten für ihn. Manchmal ist es sogar Gott selbst, der tötet. Andere biblische Aussagen und Traditionen sperren sich gegenüber dieser Sicht: Wurde der Mensch nicht nach dem Bild Gottes geschaffen (Gen 1,26-27; 9,6)? Die Gottähnlichkeit des Menschen impliziert das Verbot, einen Menschen zu töten. In diesem Kontext steht bekanntlich auch das 5. Gebot des Dekalog: »Du sollst nicht töten!« Die zentrale Frage des vorliegenden Bandes ist, ob und wie biblische und nicht-biblische Tötungsverbote als Norm in der Antike funktionieren. Beiträge aus den Bereichen des altorientalischen und antiken Rechts, der Bibelwissenschaft, der alten Geschichte, des antiken Judentums und der frühen Kirchengeschichte geben Einblicke in diese bis heute aktuelle Thematik. Fachkundige Experten behandeln das Tötungsverbot, indem sie die zentralen Frage- und Problemstellungen, die sich in altorientalischer, patristischer und mittelalterlicher Zeit unterschiedlich darstellen, kritisch beleuchten und diskutieren.
Medieval art history has long emphasized the glories of the Byzantine Empire, but less known are the profound artistic contributions of Nubia, Egypt, Ethiopia, and other powerful African kingdoms whose pivotal interactions with Byzantium had an indelible impact on the medieval Mediterranean world. Bringing together more than 170 masterworks in a range of media and techniques—from mosaic, sculpture, pottery, and metalwork to luxury objects, panel paintings, and religious manuscripts—Africa and Byzantium recounts Africa’s centrality in transcontinental networks of trade and cultural exchange. With incisive scholarship and new photography of works rarely or never before seen in public, this long-overdue publication sheds new light on the staggering artistic achievements of late antique Africa. It reconsiders northern and eastern Africa’s contributions to the development of the premodern world and offers a more complete history of the region as a vibrant, multiethnic society of diverse languages and faiths that played a crucial role in the artistic, economic, and cultural life of Byzantium and beyond.
As the Roman Empire expanded its African settlements in the early centuries of the common era, thousands of mosaic floor pavements were fashioned to adorn the townhouses and rural estates of the African upper classes. Between the second and sixth centuries, mosaic art blossomed, particularly in Africa Proconsularis, the region comprising modern Tunisia. In contrast to the official art of imperial Rome, mosaics generally expressed the worldviews of private citizens. These artworks are remarkable for the intricate beauty of their polychromatic geometric and floral designs, as well as for figural scenes depicting the interests and activities of the patrons who commissioned them--scenes of daily life, athletic contests, gladiator spectacles, and classical literature and mythology. Abundantly illustrated throughout, Tunisian Mosaics: Treasures from Roman Africa offers the general reader a lively introduction to this extraordinary ancient art. Initial chapters survey the historical background of Roman Africa and discuss the development of mosaic art in the Mediterranean. Subsequent chapters profile Tunisia's major mosaic sites and tour the collections of important museums. A final chapter surveys current initiatives to preserve this heritage for future generations.
Nearly three thousand years ago the Phoenicians set up trading colonies on the coast of North Africa, and ever since successive civilizations have been imposed on the local inhabitants, largely from outside. Carthaginians, Romans, vandals, Byzantines, Arabs, TUrks, French and Italians have all occupied the region in their time. The Romans governed this part of Africa for six hundred cities, twelve thousand miles of roads and hundreds of aquaducts, some fifty miles long. The remains of many of these structures can be seen today. At the height of its prosperity, during the second and third centuries AD, the area was the granary of Rome, and produced more olive oil than Italy itself. The broadening horizons of the Roman Empire provided scope for the particular talents of a number of Africa's sons: the writers Terence and Apuleius; the first African Roman Emperor Septimius Severus, famous Christian theologians like Tertulllian and Saint Augustine - these are just some who rose to meet the challenges of their age.
Cairo is full of masterpieces of medieval art and architecture reflecting the status of Egypt as the centre of several significant Muslim empires. This book redresses the cultural balance and examines the art and architectural treasures of Cairo from the Arab to the Ottoman conquests (642-1517). It is fully illustrated with over 200 photographs.
European waters are rife with mighty naval battles – not least the renowned Battle of Amalfi of 1527. Yet for Admiral Andrea Doria, the battles confronts are not confined to sea alone. The House of Dorian is plagued with conflict, both within and without, and Andrea finds that he has very real enemies in his midst.
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