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Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.
72: Celestial Logbooks of the Gold and Copper Invaders describes the bright celestial objects that were used for calendars and navigation for the last 10,000 years. This required counting and measuring angles which the prehistory and even pre-Ice Age cultures knew. This enabled these cultures to hunt, gather, and explore by boat looking for precious metals to sustain their cultures. Initial editorial reviews: "WOW, Magnificent, Beyond Significant." Jim Egan, Curator, Newport Tower Museum: "Brilliant out of the box thinking." A past Kirkus Review stated: "...McMahon's reasoning is far from far-fetched... with an elegantly simple process of following history's clues...the ancient rock art symbols of seafaring communication." Lonnie Davis, Curator Historian, Ocmulgee Mounds National Historical Park, "Eye-opening .... The blinders finally came off!" The following bright celestial objects are described and analyzed: Sun: circles, rectangles, diamonds, spirals, and solstice latitudes Moon: crescents, circles, rectangles, and lunar standstill latitudes Venus (72): hearts, rectangles, pentagons, and relative longitudes Sirius and Canopus: the eyes as pointer stars to the North and South Pole stars North Pole stars: Polaris, Thuban, Vega, and Deneb as the golden 30° rectangle Winter Triangle: Orion, the hunter, and his dogs, the equilateral triangle Summer Navigation Triangle: Northern Cross as passageways and chronometers Golden Location Triangle: Libra, le Balance, what is shipped is received The celestial object's geometries were built into a culture's mound and temple structures becoming celestial observatories. These were sacred because they represented information concerning the locations of mines, storage facilities, harbors, temples, and "home." Geometric diffusionism came from the westward-bound seafaring explorers with their roots coming from the Fertile Crescent. Celestial counting and geometries form a universal calendar and navigation language. The rock art shows the actual relative latitudes to the Sun solstices and Venus-based relative longitudes to a prime starting location of island locations (stargates) that were associated with the seafaring trips in search of gold and copper.
The enormous task of preserving the world's heritage in the face of war, natural disaster, vandalism, neglect, and technical obsolescence. The monuments—movable, immovable, tangible, and intangible—of the world's shared cultural heritage are at risk. War, terrorism, natural disaster, vandalism, and neglect make the work of preservation a greater challenge than it has been since World War II. In The Monumental Challenge of Preservation Michèle Cloonan makes the case that, at this critical juncture, we must consider preservation in the broadest possible contexts. Preservation requires the efforts of an increasing number of stakeholders. In order to explore the cultural, political, technological, economic, and ethical dimensions of preservation, Cloonan examines particular monuments and their preservation dilemmas. The massive Bamiyan Buddhas, blown up by the Taliban in 2001, are still the subject of debates over how, or whether, to preserve what remains, and the U. S. National Park Service has undertaken the complex task of preserving the symbolic and often ephemeral objects that visitors leave at the Vietnam Veterans Memorial—to take just two of the many examples described in the book. Cloonan also considers the ongoing genocide and cultural genocide in Syria; the challenges of preserving our digital heritage; the dynamic between original and copy; efforts to preserve the papers and architectural fragments of the architect Louis Sullivan; and the possibility of sustainable preservation. In the end, Cloonan suggests, we are what we preserve—and don't preserve. Every day we make preservation decisions, individually and collectively, that have longer-term ramifications than we might expect.
Including an international directory of museum permanent collection catalogs.
A book devoted to studies of portable artefacts, the contents of which include: Early Celtic art on the continent ( O. H. Frey ); Knobbed spearbutts revisited ( Barry Raftery ); The oldest extant post-medieval table-fork ( L. Flanagan ) and An Iron Age lead pin from County Donegal ( Richard Warner ). There are lots of excellent illustrations in this wide-ranging and valuable work.