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In this first English translation of one of his most important works, Michel Serres presents the statue as more than a static entity: for Serres it is the basis for knowledge, society, the subject and object, the world and experience. Serres demonstrates how sacrificial art founded and still persists in society and reflects on the centrality of death and the statufied dead body to the human condition. Each section covers a different time period and statuary topic, ranging from four thousand years ago to 1986; from Baal, the paintings of Carpaccio, and the Eiffel Tower, to Rodin's The Gates of Hell, the Challenger disaster and the literature of Maupassant, La Fontaine and Jules Verne. Expository, lyrical, fictionalized and hallucinatory, Statues plays with time and place, history and story in order to provoke us into thinking in entirely new ways. Through mythic and poetic meditations on various kinds of descent into the underworld and new insights into the relation of the subject and object and their foundation in death, Statues contains great treasures and provocations for philosophers, literary critics, art historians and sociologists.
Contains a large quantity and variety of epigraphy - Combines both archaeological and epigraphical material - Offers a new cultural history of the Hellenistic city and a detailed examination of family statues - Illustrated throughout
This investigation relies on a rash bet: to write the biography of two of the most famous statues in Antiquity, the Tyrannicides. By recreating the eventful life of these statues, from their birth to their disappearance, Vincent Azoulay reveals that they were much more than a simple reflection: an acting symbol that models and makes history.
Ancient Rome as a Museum considers how cultural objects from the Roman Empire came to reflect, construct, and challenge Roman perceptions of power and identity. Rutledge argues that Roman cultural values are indicated in part by what sort of materials Romans deemed worthy of display and how they chose to display, view, and preserve them.
Spanning centuries and the vastness of the Roman Empire, The Last Statues of Antiquity is the first comprehensive survey of Roman honorific statues in the public realm in Late Antiquity. Drawn from a major research project and corresponding online database that collates all the available evidence for the "statue habit" across the Empire from the late third century AD onwards, the volume examines where, how, and why statues were used, and why these important features of urban life began to decline in number before eventually disappearing around AD 600. Adopting a detailed comparative approach, the collection explores variation between different regions--including North Africa, Asia Minor, and the Near East--as well as individual cities, such as Aphrodisias, Athens, Constantinople, and Rome. A number of thematic chapters also consider the different kinds of honorand, from provincial governors and senators, to women and cultural heroes. Richly illustrated, the volume is the definitive resource for studying the phenomenon of late-antique statues. The collection also incorporates extensive references to the project's database, which is freely accessible online.
In 1759 the botanist and scientist Vitaliano Donati led an expedition to Egypt under the patronage of King Carlo Emanuele III of Sardinia, to acquire Egyptian antiquities for the Museum in Turin. Charting his tumultuous expedition, this book reveals how, in spite of his untimely death in 1762, Donati managed to send enough items back to Turin to lay the foundations for one of the earliest and largest systematic collections of Egyptology in Europe, and help to bring the world of ancient Egypt into the consciousness of Enlightenment scholarship. Whilst the importance of this collection has long been recognised, its exact contents have been remained largely unknown. War, the Napoleonic occupation of Italy and the amalgamation and reorganisation of museum collections resulted in a dispersal of objects and loss of provenance. As a result it had been supposed that the actual contents of Donati's collection could not be known. However, the discovery by Angela Morecroft in 2004 of Donati's packing list reveals the exact quantity and type of objects that he acquired, offering the possibility to cross-reference his descriptions with unidentified artifacts at the Museum. By examining Donati's expedition to Egypt, and seeking to identify the objects he sent back to Turin, this book provides a fascinating insight into early collecting practice and the lasting historical impact of these items. As such it will prove a valuable resource for all those with an interest in the history of museums and collecting, as well as enlightenment travels to Egypt.
In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest-in which painting, in particular, has been singled out for treatment-a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to non-existent.
Several scholars have presented their research and views on various aspects of the Pashupata cult. Still, it is a matter of regret that the history of the Pashupata cult is not present in the form of an independent script. No single book covers literary, religious, philosophical, historical development, inscriptions, and Lakulish statues comprehensively. Many questions based on the antiquity and foundation of the Pashupata cult have been unanswered to date. For example, the problem of the antiquity of the Pashupata cult before Lakulish and the historicity of Srikanth and Shvetacharya. Some other missing facts are the role of Srikanth and Shvetacharya in the emergence of the Pashupata cult, the relation of Vedic and non-Vedic branches and the spread of Pashupata after Shankaracharya. 'Rudra Pashupati: An Insight' has tried to answer most of the questions and presents an authentic history of the Pashupata cult.