Art in the Eurasian Iron Age: Context, Connections and ScaleCourtney Nimura, Helen Chittock, Peter Hommel, Chris Gosden Oxbow Books, 28 февр. 2020 г. - Всего страниц: 260 Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects. |
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Courtney Nimura Peter Hommel Helen Chittock and Chris Gosden | 23 |
A perspective on the sources and purposes of La Tène style Celtic art Peter S Wells | 37 |
Composite animals in the context of Eurasian Early Iron Age art Rebecca OSullivan and Peter Hommel | 53 |
An integrated approach to anthropomorphic imagery Helen Chittock | 71 |
Early Celtic art and analogical thought Laurent Olivier | 95 |
Jody Joy | 111 |
Nathalie Ginoux | 127 |
Some new data from southwest Germany and the Heuneburg Dirk Krausse | 151 |
The reuse of preRoman Iron Age British and European symbols on Late Iron Age Irish equestrian equipment Rena Maguire | 161 |
The thoughts and insights of 21st century goldsmiths silversmiths and jewellers regarding Iron Age gold torus torcs Tess Machling and Roland Willia... | 179 |
Paul Jacobsthals History of a Monster in context Sally Crawford and Katharina Ulmschneider | 197 |
Paul Jacobsthal | 209 |
Dialogues with Jacobsthal Tim Champion | 219 |
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Art in the Eurasian Iron Age: Context, Connections and Scale Courtney Nimura,Helen Chittock,Peter Hommel,Chris Gosden Ограниченный просмотр - 2020 |
Art in the Eurasian Iron Age: Context, Connections and Scale Courtney Nimura,Helen Chittock,Chris Gosden,Peter Hommel Недоступно для просмотра - 2019 |
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ancient animal anthropomorphic appear approach Archaeology areas argue artefacts artistic body Books Britain British Bronze burial Celts central century BC Chapter China complex composite connections context create culture decoration deer depicted deposition detail developed discussed distribution Early Celtic Art East eastern ECAIC database Eurasia Europe European evidence examine example figures finds Garrow gold Gosden grave head human ideas identity imagery images important interaction Ireland Irish Iron Age Italy Jacobsthal Late later lines London look material meaning Mediterranean Megaw monsters motifs Museum nature northern objects origins ornament Oxford particular patterns perhaps period Persian possible present production question recent regions representation represented Roman Scythian Scythian art seen shape similar social Society steppe style suggested Technologies Tène terminals torcs tradition types understanding University Press visual volume