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Journal articles on the topic 'Ancient Art'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

HEILMEYER, WOLF-DIETER. "ANCIENT WORKSHOPS AND ANCIENT 'ART'." Oxford Journal of Archaeology 23, no. 4 (November 2004): 403–15. http://dx.doi.org/10.1111/j.1468-0092.2004.00218.x.

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2

Erejepovna, Romanova Sanobar. "Ancient music art." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 7 (2020): 83. http://dx.doi.org/10.5958/2249-7137.2020.00860.5.

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3

Korganbekov, B. "Ancient art chronicle." Turkic Studies Journal 1, no. 2 (2019): 73–79. http://dx.doi.org/10.32523/tsj.02-2019/2-9.

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4

Muscarella, Oscar White. "Ancient Near Eastern Art." Recent Acquisitions, no. 1985/1986 (1985): 4. http://dx.doi.org/10.2307/1513679.

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5

Pittman, Holly. "Ancient Near Eastern Art." Recent Acquisitions, no. 1986/1987 (1986): 5. http://dx.doi.org/10.2307/1513699.

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6

Pittman, Holly, and Oscar White Muscarella. "Ancient Near Eastern Art." Recent Acquisitions, no. 1987/1988 (1987): 4. http://dx.doi.org/10.2307/1513718.

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7

Aruz, Joan, and Elisabetta Valtz Fino. "Ancient near Eastern Art." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 8. http://dx.doi.org/10.2307/3269163.

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8

Marchetti, Nicolo, and Dominique Collon. "Ancient Near Eastern Art." American Journal of Archaeology 101, no. 1 (January 1997): 167. http://dx.doi.org/10.2307/506260.

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9

Aruz, Joan. "Ancient near Eastern Art." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 5. http://dx.doi.org/10.2307/3258925.

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10

Harper, Prudence O. "Ancient near Eastern Art." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 6. http://dx.doi.org/10.2307/3258945.

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11

Pittman, Holly. "Ancient Near Eastern Art." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 6. http://dx.doi.org/10.2307/3259890.

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12

Krupat, Kitty Weiss. "Modern Art/Ancient Wages." New Labor Forum 31, no. 1 (December 4, 2021): 26–27. http://dx.doi.org/10.1177/10957960211062149.

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13

Koehnle, Thomas J., and Jeffrey C. Schank. "An ancient black art." Journal of Comparative Psychology 123, no. 4 (2009): 452–58. http://dx.doi.org/10.1037/a0017435.

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14

Fabbricotti, Emanuela. "Silphium in Ancient Art." Libyan Studies 24 (1993): 27–33. http://dx.doi.org/10.1017/s0263718900001941.

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AbstractSilphium is the source of Cyrene's wealth. It is possible that the first colonists who landed in Cyrenaica realized the many qualities of the plant and decided at once to take advantage of it. Maybe, the Minoans knew about it too, as Sir Arthur Evans found some inscribed tablets from Cnossos with symbols very like those represented on later Cyrenaican coins.Silphium is represented on coins possibly as the symbol of Cyrenaica and a branch of silphium is also shown held by a female divinity in clay statuettes. A rare coin shows a female figure sitting on a high stool, holding out her arms towards a plant of silphium. I think that she is not a goddess, but Cyrene itself, guardian of silphium and of the land where silphium grows and I suggest that a limestone head found in Lamluda could belong to a statue of the same type.After the archaic period, there are many legends related to silphium and also to Aristaeus who is said to have discovered the plant. After the royal period, the symbol of silphium loses its first position on coins and is nearly forgotten in art, but in the 2nd century AD it appears again in two groups of capitals, one in Beida and one in Cyrene. It is a sort of deliberate revival of the old legends and old iconographies that wants to confirm and demonstrate that the great political power of Cyrene (due to silphium) has returned even if the plant of silphium itself has become very rare.
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15

Canella, Clarissa, Flavia Costa, Evandro Klumb, Ierecê Lins Aymoré, and Edson Marchiori. "Ancient Schwannoma." Arthritis & Rheumatism 65, no. 8 (July 26, 2013): 2036. http://dx.doi.org/10.1002/art.37983.

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16

Mehmonovna, Radjabova Nodira. "ALLA - AN ANCIENT MASTERPIECE OF SINGING ART (COMPARATIVE ANALYSIS)." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 01 (January 1, 2022): 34–39. http://dx.doi.org/10.37547/history-crjh-03-01-08.

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This article examines the history of singing art with the birth of mankind, the influence of the song genre on the spiritual and moral state of peoples, the dynamics of the process of transferring singing art from generation to generation over the centuries. In addition, the genres of songs have a long history and have been passed down from generation to generation for centuries. The origins, stages of development and features of the song genre "Alla" are discussed. Many aspects are analyzed, such as the fact that the genre of Alla's singing is based on folklore, the uniqueness of this type of song, its narration in simple and understandable language. The article systematically describes the history of the song genre, its artistic features, philosophical and spiritual features. The stages of the genre of the song "Alla", the features of each stage, the role of children in the spiritual and aesthetic education of the cradle are scientifically substantiated. The text of the article summarizes the opinions of various experts in the field of the song genre "Alla". In conclusion, the article reveals the importance of the development of the song genre in the conditions of new thinking, the relationship between mother and child. Approaches to the question of the genre of the song differ, and it was analyzed that discussions on this issue continued both during the years of Soviet power and during the years of independence. It is shown that the height of a person's spirituality can be an important factor in raising a child at the level of the song genre that mothers sing, rocking the cradle at birth. It is revealed that in the genres of Alla songs it has become a tradition to pamper a child and compare him with powerful forces and historical figures. Alla song genre takes into account the influence of Asian and European natural factors. The importance of the mother's level, the pleasantness of the sound of the words used instead of them, and so on as the songs of God reach the baby in the cradle. At the end of the article, scientifically based recommendations are given for further popularization and improvement of the song genre.
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17

Tremayne, Vincent. "The ancient art of leadership." Nursing Management 14, no. 10 (March 2008): 14–15. http://dx.doi.org/10.7748/nm.14.10.14.s15.

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18

Klein, Alice. "Ancient Aboriginal art could reveal." New Scientist 255, no. 3397 (July 2022): 14–15. http://dx.doi.org/10.1016/s0262-4079(22)01334-3.

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19

Elsner, Jas, Bettina Bergmann, and Christine Kondoleon. "The Art of Ancient Spectacle." American Journal of Archaeology 104, no. 4 (October 2000): 814. http://dx.doi.org/10.2307/507179.

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20

Schaus, Gerald P., and Warren G. Moon. "Ancient Greek Art and Iconography." Phoenix 39, no. 1 (1985): 83. http://dx.doi.org/10.2307/1088873.

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21

Kyle, Donald G., Bettina Bergmann, and Christine Kondoleon. "The Art of Ancient Spectacle." Phoenix 55, no. 3/4 (2001): 451. http://dx.doi.org/10.2307/1089145.

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22

Poo, Mu-Chou, and Gay Robins. "The Art of Ancient Egypt." International Journal of African Historical Studies 31, no. 2 (1998): 493. http://dx.doi.org/10.2307/221163.

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23

Turovsky, Eugeniy Ya. "NUMISMATIC ART OF ANCIENT CHERSONESUS." Journal of historical philological and cultural studies 3, no. 57 (September 2017): 438–49. http://dx.doi.org/10.18503/1992-0431-2017-3-57-438-449.

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24

Tatz, Mark, Blanche Christine Olschak, and Blanche C. Olschak. "Mystic Art of Ancient Tibet." Journal of the American Oriental Society 112, no. 1 (January 1992): 172. http://dx.doi.org/10.2307/604637.

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25

Snowden, Frank M., and Vassos Karageorghis. "Blacks in Ancient Cypriot Art." American Journal of Archaeology 94, no. 1 (January 1990): 161. http://dx.doi.org/10.2307/505538.

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26

Larkin, Diana Wolfe, and Gay Robins. "The Art of Ancient Egypt." African Studies Review 44, no. 3 (December 2001): 151. http://dx.doi.org/10.2307/525636.

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27

Leshem, Dotan. "The ancient art of economics." European Journal of the History of Economic Thought 21, no. 2 (December 12, 2012): 201–29. http://dx.doi.org/10.1080/09672567.2012.683032.

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28

Tsoucalas, Gregory, Marianna Karamanou, George Androutsos, and Konstantinos Laios. "Goiter in Ancient Greek art." Indian Journal of Endocrinology and Metabolism 19, no. 1 (2015): 190. http://dx.doi.org/10.4103/2230-8210.146883.

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29

Kessler, Herbert L. "Reading ancient and medieval art." Word & Image 5, no. 1 (January 1989): 1. http://dx.doi.org/10.1080/02666286.1989.10435390.

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30

Banks, Marcus. "The ancient art of memory." Visual Anthropology 5, no. 2 (January 1992): 181–203. http://dx.doi.org/10.1080/08949468.1992.9966587.

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31

Chisti, Yusuf. "Mixing: understanding an ancient art." Biotechnology Advances 20, no. 3-4 (November 2002): 271–72. http://dx.doi.org/10.1016/s0734-9750(02)00016-2.

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32

Marshall, Michael. "Chinese art reveals ancient expertise." New Scientist 246, no. 3287 (June 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)31095-2.

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33

Hobson, Allan. "The ancient art of memory." Behavioral and Brain Sciences 36, no. 6 (November 21, 2013): 621. http://dx.doi.org/10.1017/s0140525x13001350.

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AbstractRevision of Freud's theory requires a new way of seeking dream meaning. With the idea of elaborative encoding, Sue Llewellyn has provided a method of dream interpretation that takes into account both modern sleep science and the ancient art of memory. Her synthesis is elegant and compelling. But is her hypothesis testable?
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34

Riggs, Christina. "The Art of Ancient Egypt." African Arts 35, no. 2 (July 1, 2002): 11–89. http://dx.doi.org/10.1162/afar.2002.35.2.11.

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35

Guidetti, Paolo, and Fiorenza Micheli. "Ancient art serving marine conservation." Frontiers in Ecology and the Environment 9, no. 7 (September 2011): 374–75. http://dx.doi.org/10.1890/11.wb.019.

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36

Frobenius, Leo, and Claudia Heide. "Ancient and Recent African Art." Art in Translation 1, no. 2 (July 2009): 189–97. http://dx.doi.org/10.2752/175613109x462663.

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37

Milbrath, Susan, and Barbara A. Purdy. "Indian Art of Ancient Florida." Ethnohistory 45, no. 2 (1998): 376. http://dx.doi.org/10.2307/483070.

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38

Slough, Penelope W. "The Art of Ancient Glass." Bulletin of the Detroit Institute of Arts 79, no. 1-2 (March 2005): 34–45. http://dx.doi.org/10.1086/dia41505002.

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39

Farouk, May. "Body Art in Ancient Egypt." International Journal of Tourism, Archaeology and Hospitality 3, no. 1 (January 1, 2023): 93–114. http://dx.doi.org/10.21608/ijtah.2023.168112.1010.

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40

Evans-Pritchard, Deirdre. "Ancient art in modern context." Annals of Tourism Research 20, no. 1 (January 1993): 9–31. http://dx.doi.org/10.1016/0160-7383(93)90109-g.

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41

Yurdakök, Murat. "Neonatal medicine in ancient art." Turkish Journal of Pediatrics 52, no. 2 (April 25, 2010): 218–26. http://dx.doi.org/10.24953/turkjped.2010.1896.

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There are a limited number of artistic objects from ancient times with particular importance in neonatal medicine. The best examples are figurines from ancient Egypt of Isis nursing Horus, showing the importance of breastfeeding. The earliest images of the human fetus were made by the Olmecs in Mexico around 1200- 400 BCE. One of the earliest representations of congenital anomalies is a figurine of diencephalic twins thought to be the goddess of Anatolia, dated to around 6500 BCE. In addition to these figurines, three sets of twins in the ancient world have medical importance, and Renaissance artists often used them as a subject for their paintings: "direct suckling animals" (Romulus and Remus), "heteropaternal superfecundation" (mother: Leda, fathers: Zeus, the king of the Olympian gods, and Leda's husband, Tyndareus), and "twin-to-twin transfusion" in monozygotic twins (Jacob and Esau).
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42

İSKƏNDƏROV, Anar. "ANALYSIS OF THE ROOTS OF DUALISM SEMANTICS EXISTING IN ZOOMORPHIC AND ANTHROPOMORPHIC IMAGES BELONGING TO ANCIENT TURKIC ART." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 30 (March 15, 2022): 54–68. http://dx.doi.org/10.31567/ssd.579.

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The analysis of the processes of creation and development of material and spiritual values of the ancient Turkic peoples leading a nomadic lifestyle before our era is possible only when studying the subject world that has come down to us from the ancient Turks. The correct disclosure of the content of the mythological philosophical system and its symbols, images belonging to the ancient Turks, who left behind a rather small number of written samples and almost exclusively kurgan-type monuments, is based on a thorough, serious study of the hidden semantics of various zoomorphic or therioanthropomorphic compositions created by ancient masters on materials such as metal, bone and wood. The samples of decorative and applied art created by ancient Turkic masters differ not only in the plasticity of the forms themselves, compositional constructions and intense internal rhythmics, strict observance of the canons of the image. On each piece of art created by the ancient Turks, we can see an iconographic image of the harmony of the universe, which arose from the struggle of two basic life principles, one of the first philosophical systems of human civilization – dualism. The ancient Turkic art with its content was able to enrich the mythological thinking created by archaic times with new artistic forms and with new ethical and aesthetic elements. Compositions and images created by ancient Turkic masters could often fully express both artistic and philosophical, religious and ritual, and ethical content at the same time. This gave a powerful impetus to the appearance of art samples that could act as visual carriers of the mythological system inherent in the ancient Turkic world, and had a special language of description peculiar only to it. The research of the article is aimed at studying the influence of the aesthetic principles of dualism on ancient Turkic art.
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43

Khalilov, Ilhom Isroiljonovich. "Development Of Oriental Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 12, 2021): 8–12. http://dx.doi.org/10.37547/tajssei/volume03issue02-02.

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The article examines the early and middle periods of the visual arts of the East. First of all, these are monumental works of art from ancient times, including frescoes found near Samarkand and Dalvarzintep, as well as the works of the great artist Kamoliddin Behzod.
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44

Искендеров, Анар. "THE ORIGINS OF THE ORIGIN AND DEVELOPMENT OF THE MYTHOLOGICAL WORLDVIEW IN THE ART OF ANCIENT CHINA." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 32 (July 15, 2022): 253–65. http://dx.doi.org/10.31567/ssd.668.

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China is one of the most ancient civilizations of mankind. Ancient Chinese art and culture have deep spiritual traditions that arose from the fusion of various ethno-cultural values. The art and culture of ancient China are rightfully considered one of the most striking and unique phenomena in the history of human civilization. Since the fifth millennium, the first agricultural centers have appeared in ancient China. It should be noted that the very first mythological and cosmological worldviews of ancient China are connected with the ancient Chinese agricultural culture. Geometric and floral ornaments, zoomorphic and anthropomorphic images that adorn ancient Chinese ceramics of the Neolithic era reflect the myths and rituals of the ancient Chinese. In the middle of the II millennium BC, the Yin civilization was formed in the Yellow River basin. The Yin period in the history of ancient Chinese culture marks a huge progress in many areas of ancient Chinese society. It is also noteworthy that in the decorative and applied art of ancient China of the Yin period, completely new and different art products with elements and motifs of the "animal" style appear in their forms and compositional content. Many researchers believe that the ancient Chinese animal style could have originated and developed under the influence of neighboring nomadic tribes and peoples, as a result of military and trade contacts. Objects with zoomorphic images and compositions that relate to the art of Ancient China of the Han period are carriers of the aesthetic principles of “steppe animalismˮ. These artistic images made in the “animal style” have a high level of decorative stylization, which are characteristic of Ancient Scythian and Hunnic art. Ancient Chinese art, unique both in its ancient semantics and in the style of depicting artistic images, is a phenomenal and still not fully explored phenomenon.
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45

Duarte, Antonio Manuel, and Niki P. Constantinidi. "Traces of knowledge and use of cues of sensory processing in ancient Greek art." Arte, Individuo y Sociedad 34, no. 2 (January 13, 2022): 521–40. http://dx.doi.org/10.5209/aris.74463.

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This study aimed to find evidence of the presence, in ancient Greek art, of cues (triggers) for sensory processes involved in the appreciation of visual arts, within the framework of the psychology of art. The presence of such cues in ancient Greek art can suggest the existence of knowledge about them, together with their use, already by ancient Greek artists. For the study, a sample of image reproductions of ancient Greek art (from the archaic to the Hellenistic period - ca. 7th - 1st century BC) was submitted to a thematic-content analysis. This analysis revealed the presence of all most relevant known cues that trigger specific sensory processes involved in visual arts appreciation. Results suggest an intuitive knowledge of these processes by ancient Greek artists (probably based both on personal experience and social sharing), which aligns with the seminal role of ancient Greek art both in the extended use of those cues in western art and in the modulation of a “western way” of appreciating art.
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46

Han, JinYang. "The Inheritance and Innovation of The Knowledge System in Ancient Chinese Art History." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 849–53. http://dx.doi.org/10.54097/mpfhmv48.

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The knowledge system of ancient Chinese art history is a crucial heritage of Chinese culture, with its inheritance and innovation profoundly influencing the prosperity and development of Chinese culture. Over the course of history, ancient artists accumulated rich practical experience, forming distinctive artistic styles and expressive techniques. This valuable artistic heritage was transmitted through oral traditions, written records, and other means, providing valuable references and inspiration for later artistic creations. However, as times change and society develops, the knowledge system of ancient Chinese art history faces numerous challenges. Traditional art forms are gradually losing their value and status in modern society, and the younger generation’s awareness and interest in traditional art are diminishing, impacting and challenging traditional art forms. Therefore, it is necessary to explore the inheritance and innovation of the knowledge system of ancient Chinese art history. This involves not only the preservation and transmission of traditional art forms but also innovation and development based on tradition. By delving into the meaning and value of ancient art works, identifying their relevance to modern society, and infusing traditional art with new vitality and contemporary significance, contributions can be made to the inheritance and development of the knowledge system of ancient Chinese art history.
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47

Orazbay, S. T. "ART OF WAR OF ANCIENT TURKS." EurasianUnionScientists 8, no. 60 (2019): 32–36. http://dx.doi.org/10.31618/esu.2413-9335.2019.8.60.32-36.

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48

Janson, Carol, and George Kubler. "Esthetic Recognition of Ancient Amerindian Art." Sixteenth Century Journal 24, no. 1 (1993): 187. http://dx.doi.org/10.2307/2541858.

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49

MacCormack, Sabine, and George Kubler. "Esthetic Recognition of Ancient Amerindian Art." American Historical Review 97, no. 2 (April 1992): 650. http://dx.doi.org/10.2307/2165919.

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50

Castriota, David, and Mark D. Stansbury-O'Donnell. "Pictoral Narrative in Ancient Greek Art." American Journal of Archaeology 105, no. 2 (April 2001): 354. http://dx.doi.org/10.2307/507297.

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