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Journal articles on the topic 'Antiquite culture. Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Marrone, James, and Silvia Beltrametti. "“Sleeper” Antiquities: Misattributions in Sales of Ancient Art." International Journal of Cultural Property 27, no. 1 (2020): 3–51. http://dx.doi.org/10.1017/s094073912000003x.

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Abstract:“Sleepers” are artworks or collectibles that are undervalued because one or more characteristics go unrecognized. This article discusses 12 sleepers that have been sold at auction on the antiquity market since 2007 whose attribution as antiquities were originally overlooked, either accidentally or deliberately. The objects are presented in the context of a theoretical framework describing both the legal and economic incentives to perform due diligence and to reveal, or “awaken,” a sleeper antiquity. The theory implies that sleepers may arise for several reasons, and the case studies a

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La Follette, Laetitia. "Looted Antiquities, Art Museums and Restitution in the United States since 1970." Journal of Contemporary History 52, no. 3 (2016): 669–87. http://dx.doi.org/10.1177/0022009416641198.

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US attitudes towards restitution and the problem of looted antiquities have shifted since 1970, as pressure builds to change norms for the acquisition of unprovenanced artefacts that have fueled a transnational trade in stolen objects and the depredation of archaeological sites worldwide. This article traces several triggers for change and initial steps towards a revised policy while also cataloguing areas of resistance. It examines the mechanisms of US government policy for international heritage protection and suggests that domestic legislation of the 1990s protecting the heritage of Native

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Sukla, A. C. "Aesthetics as Mass Culture in Indian Antiquity." Dialogue and Universalism 7, no. 3 (1997): 91–99. http://dx.doi.org/10.5840/du199773/410.

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Aesthetics originated in ancient India (4th c. B.C.) as a descriptive account of the drama which was meant for both entertainment and education of the mass. If the drama was a mass medium, aesthetics — its account — represented the mass culture. Philosophical thinking, rigorous ethical practices and the dramatic art had a common aim — experience of the Reality as a whole. The difference was that while the first two were accessible to only a few elite or intellectuals, the third one was meant for all. The mass was experiencing the representation of Reality in the drama by a dehghtful emotional

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Litinskaya, Evgeniya. "RHETORIC AND POETICS OF DOSTOEVSKY’S PUSHKIN SPEECH." Проблемы исторической поэтики 19, no. 2 (2021): 141–75. http://dx.doi.org/10.15393/j9.art.2021.9583.

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The article examines the F. M. Dostoevsky’s Pushkin's Speech in the context of modern studies of the way ancient heritage was reflected in the writer's work. The analysis of the speech was carried out in the categories of rhetorical poetics. The author proves that the speech is structured according to the rules of epideictic eloquence, with a pronounced emotional component characteristic of Christian preaching. The author identifies established stylistic figures, the use of which is always justified: repetition, parallelism, gradation, amplification, polyphonic forms, period, allusion, irony.

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Fine, Steven. "Menorahs in Color: Polychromy in Jewish Visual Culture of Roman Antiquity." Images 6, no. 1 (2012): 3–25. http://dx.doi.org/10.1163/18718000-12340001.

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Abstract In recent years, polychromy has developed as a significant area of research in the study of classical art. This essay explores the significance of this work for interpreting Jewish visual culture during Roman antiquity, through the focal lens of the Arch of Titus Digital Restoration Project. In July 2012, this project discovered that the Arch of Titus menorah was originally colored with yellow ochre paint. The article begins by presenting the general field of polychromy research, which has developed in recent years and resulted in significant museum exhibitions in Europe and the US. I

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Kerimli, V. G., and N. V. Gajburova. "CULTURE OF TURKISH PEOPLES OF THE CAUCASUS: CONCEPTUAL APPROACH." EurasianUnionScientists 8, no. 6(75) (2020): 32–36. http://dx.doi.org/10.31618/esu.2413-9335.2020.8.75.888.

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In this paper, the author traced the development of culture of the Turkic peoples of the Caucasus in the period from antiquity to modernity. The novelty of the topic lies in the fact that it is one of the first works in which an attempt was made to comprehensively study the artistic culture of the Turkic peoples of the Caucasus as an independent layer of culture.The main research concept of the topic is the historical and cultural development and coverage of the problems associated with the development of the artistic culture of the Turkic peoples of the Caucasus. Over the centuries, on the et

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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the v

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Lenaghan, Julia. "Two portraits from Aphrodisias: late-antique re-visualizations of traditional culture-heroes?" Journal of Roman Archaeology 31 (2018): 458–73. http://dx.doi.org/10.1017/s1047759418001435.

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The “Last Statues of Antiquity”, the collaborative project directed by R. R. R. Smith and B. Ward-Perkins, gathers into a single database all extant late-antique portraits. As a member of the research team, I was given the opportunity to study all the portraits that are either known or conjectured to represent traditional culture-heroes. This exercise gave me “new” eyes for viewing two “old” portraits from Aphrodisias, until now not identifiable. One, excavated in 1982, is a clean-shaven portrait, once fancifully identified as Julius Caesar (fig. 2); the other, first published in 1958, is a be

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Wani, Showkat Ahmad, Asifa Ali, and Shabir Ahmad Ganaie. "The digitally preserved old-aged art, culture and artists." PSU Research Review 3, no. 2 (2019): 111–22. http://dx.doi.org/10.1108/prr-08-2018-0026.

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Purpose This paper aims to explore the Google Arts and Culture platform in terms of parameters used for categorizing the digital collections by it; the total number of items and their types; top contributing artists; top ten historical events and figures; and the top ten countries having maximum artworks. Design/methodology/approach An online method was used to collect the relevant data for achieving the objectives of the study. Data were harvested from the official website of Google Arts and Culture (https://artsandculture.google.com/) during the period of 15 May to 31 May 2018, and the same

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Rusin, R. M. "CORPORALITY AS AN ATTRIBUTE OF SCULPTURE(EUROPEAN CONTEXT)." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 87–93. http://dx.doi.org/10.17721/ucs.2017.1.19.

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The historical development of art is a change of paradigms. Each paradigm contains a special understanding of art, defined bothby the act of creativity itself and by the evaluation of its results. It is especially important to identify the origins of these changes, identify their stages, and determine the direction of the evolution of artistic creativity. In this context, corporeality as an artistic paradigm of European sculpture is considered in an article in the historical dimension from classics to postmodernism. Background research driven by changes that have suffered over the past century

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O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.

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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and an

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Smirnova, Ekaterina. "Dostoevsky and Antiquity: Classical Education at the L. I. Chermak Boarding School." Неизвестный Достоевский 8, no. 2 (2021): 5–33. http://dx.doi.org/10.15393/j10.art.2021.5441.

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The article attempts to identify the classical linguistic and cultural context of F. M. Dostoevsky's education at the L. I. Chermak boarding school. It lists the programs and textbooks that Dostoevsky studied in 1834‒1837 to learn about the intricacies of classical languages and ancient history, and the teachers who may have influenced his perception of ancient history and culture. Using the issues of the “Biblioteka dlya chteniya” (Library for Reading) journal, the authors investigate which texts related to classical antiquity were available to Dostoevsky outside of the curriculum. The period

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Harloe, Katherine. "Allusion and ekphrasis in Winckelmann's Paris description of the Apollo Belvedere." Cambridge Classical Journal 53 (2007): 229–52. http://dx.doi.org/10.1017/s1750270500000129.

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As Vout (2006) has recently reminded us in this journal, Johann Joachim Winckelmann's History of the art of antiquity (Geschichte der Kunst des Alterthums, 1st ed. 1764) is widely considered to be a foundational text in the history of art. Advertising itself as the first ‘systematic’ account of ancient art in relation to its geographical, social and political circumstances, Winckelmann filled out the well-known Plinian chronology of artists with a new analysis in terms of a succession of period styles, providing a satisfyingly scientific justification for the preference his contemporaries were

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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.

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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in

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STEPHENSON, JOHN. "DINING AS SPECTACLE IN LATE ROMAN HOUSES." Bulletin of the Institute of Classical Studies 59, no. 1 (2016): 54–71. http://dx.doi.org/10.1111/j.2041-5370.2016.12019.x.

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Abstract The elements of visual culture preserved in late Roman houses confirm an intense interest in dramatic visual display. This study employs an interpretive lens of spectacle to examine a new form of banquet space amd furnishings in the period, as well as a new style of ‘dinner-theatre’ they served. By considering ancient art as inseparable from active contexts and ephemeral events, a more sophisticated understanding of a society's self-definition through art emerges. Rather than being epiphenomenal to the poliltical culture of late antiquity, spectacle is argued to be central to the crea

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Akhromeeva, Tatiana S., Georgy G. Malinetsky, and Sergey A. Posashkov. "Interaction of Art and Science in the Context of Synergetics." Observatory of Culture 16, no. 2 (2019): 116–27. http://dx.doi.org/10.25281/2072-3156-2019-16-2-116-127.

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The article considers the interaction of science and art, as well as the development of Science Art from the standpoint of the theory of self-organization and the theory of humanitarian-technological revolution. The world is at the point of bifurcation defining the future. The choice of the further trajectory will be largely determined by what is happening in the emotional and intuitive spaces. This, in turn, depends on the development of art, science, philosophy. The article discusses alternative futures and the role of culture in them.Charles Snow wrote about a gap between the two cultures

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Lindsay, Hugh. "Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity." European Legacy 18, no. 6 (2013): 786–87. http://dx.doi.org/10.1080/10848770.2013.816141.

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Evangelista, S. "Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity." Comparative Literature 65, no. 2 (2013): 246–49. http://dx.doi.org/10.1215/00104124-2143201.

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Clunas, C. "Oriental Antiquities/Far Eastern Art." positions: east asia cultures critique 2, no. 2 (1994): 318–55. http://dx.doi.org/10.1215/10679847-2-2-318.

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Demchenko, Alexander I. "Antiquity (A Millennium before the Birth of Christ). The Basis of European Culture." ICONI, no. 2 (2020): 6–25. http://dx.doi.org/10.33779/2658-4824.2020.2.006-025.

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The peculiarity of the series of essays published by the magazine is that with the maximum compactness of the presentation, it provides a summary of the main phenomena of world artistic culture, covered in General both from the point of view of the General historical process, and in relation to various types of creativity (literature, fne art, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and the division into separate types of art with the genre specifcation inherent in each of them is overcome, which meets the positive trends of glob

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Marks, P. "The ethics of art dealing." International Journal of Cultural Property 7, no. 1 (1998): 116–27. http://dx.doi.org/10.1017/s0940739198770109.

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The ethics of dealing in antiquities may be discussed in two parts: first, the ethical standards that govern the trade and its relation to clients, and second, the new legal standards that affect dealers and collectors arising from political ambitions in the international relations between source and market nations. Friction between these competing interests began with the ratification of the UNESCO Convention in 1972 and the passage of the Cultural Property Implementation Act in 1983. Unrealistic political approaches to the illicit trade in antiquities have exacerbated rather than solved the

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Taçon, Paul S. C., Li Gang, Yang Decong, et al. "Naturalism, Nature and Questions of Style in Jinsha River Rock Art, Northwest Yunnan, China." Cambridge Archaeological Journal 20, no. 1 (2010): 67–86. http://dx.doi.org/10.1017/s0959774310000053.

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The naturalistic rock art of Yunnan Province is poorly known outside of China despite two decades of investigation by local researchers. The authors report on the first major international study of this art, its place in antiquity and its resemblance to some of the rock art of Europe, southern Africa and elsewhere. While not arguing a direct connection between China, Europe and other widely separated places, this article suggests that rock-art studies about the nature of style, culture contact and the transmission of iconography across space and time need to take better account of the results

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Etinhof, Olga E. "ON THE QUESTION OF CLASSICAL THEMES IN THE ART OF PRE-MONGOL RUSSIA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 152–83. http://dx.doi.org/10.28995/2686-7249-2021-1-152-183.

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A narrow range of Byzantine texts, primarily chronographic ones, containing classical themes and images, were translated in Russia starting from the 11th century.These texts became the literary basis of secular and ecclesiastic art. Several iconographic motifs from mythological stories and the “Ascension of Alexander the Great” entered the art of pre-Mongol Russian. Byzantium was the main source of the antique elements in Old Russian culture. Some motifs were also adopted in Old Russia from Romanesque art, through close contact with Western Europe. The tradition of using ancient subjects for t

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Mugnai, Niccolò, Julia Nikolaus, David Mattingly, and Susan Walker. "Libyan Antiquities at Risk: protecting portable cultural heritage." Libyan Studies 48 (August 22, 2017): 11–21. http://dx.doi.org/10.1017/lis.2017.8.

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AbstractThis article provides an outline of the Libyan Antiquities at Risk (LAaR) project, which has developed a reference database and website recording Libyan antiquities that are under threat of being stolen and sold on the illegal art market. Since the Arab Spring in 2011 and the subsequent political instability, the number of antiquities that are trafficked out of Libya has risen sharply. The illustrated reference collection created by LAaR is mainly aimed at customs officials, international agencies, museum curators, the police and cultural heritage sector, to alert them about the likeli

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Gill, David, and Christopher Chippindale. "The Trade in Looted Antiquities and the Return of Cultural Property: A British Parliamentary Inquiry." International Journal of Cultural Property 11, no. 1 (2002): 50–64. http://dx.doi.org/10.1017/s0940739102771579.

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The British parliamentary report on Cultural Property: Return and Illicit Trade was published in 2000. Three key areas were addressed: the illicit excavation and looting of antiquities, the identification of works of art looted by Nazis, and the return of cultural property now residing in British collections. The evidence presented by interested parties—including law enforcement agencies and dealers in antiquities—to the Culture, Media and Sport Committee is assessed against the analysis of collecting patterns for antiquities. The lack of self regulation by those involved in the antiquities ma

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Kozlova, S. I. "Герберт Хорн — историк искусства, коллекционер и основатель музея". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 146–55. http://dx.doi.org/10.46748/arteuras.2020.04.012.

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The activity of Herbert Horne, an art collector, is regarded in the article due to his great significance as an italianist scolar. Hence, the emphasis is made on the Horne’s work starting from the 1880-s when he dedicated himself to studying different aspects of the Italien Renaissance art and culture. His role in the study of Trecento and Quatrocento art (his articles and his monograph on Sandro Botticelli) is shown, as well as his leadership in the art and antique sphere and his participation as an expert in the creation of new museums, while the stress is put on Horne’s figure as an outstan

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German, Senta. "Dance in Bronze Age Greece." Dance Research Journal 39, no. 2 (2007): 23–42. http://dx.doi.org/10.1017/s0149767700000206.

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The identification of images of dance from antiquity is very difficult given the limitations of ancient forms of representation, the remoteness of the action itself, and the obscurity of its cultural contexts. These problems are magnified when one considers images of dance from preliterate cultures or those in which written language offers little insight. The following is an investigation into the representation of dance dating to the latter half of the Aegean Bronze Age, during the second millennium BC, as part of the visual culture of the Minoans and Mycenaeans from the island of Crete and t

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Schindler, Hans-Jakob, and Frederique Gautier. "Looting and Smuggling of Artifacts as a Strategy to Finance Terrorism Global Sanctions as a Disruptive and Preventive Tool." International Journal of Cultural Property 26, no. 3 (2019): 331–42. http://dx.doi.org/10.1017/s0940739119000225.

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Abstract:In recent years, the Islamic State in Iraq and the Levant (ISIL)1 as well as several Al-Qaida affiliates have used the systematic and large-scale looting of antiquities as one of their income streams. Due to the large-scale and organized looting activities of these groups, in particular, in Iraq and the Syrian Arab Republic, the United Nations Security Council (UNSC), following various reports and recommendations by the ISIL, Al-Qaida and Taliban Monitoring Team has adopted a range of measures, chiefly among them the landmark UNSC Resolution 2347 (2017) to counter this threat. These m

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Platt, Verity. "The Matter of Classical Art History." Daedalus 145, no. 2 (2016): 69–78. http://dx.doi.org/10.1162/daed_a_00377.

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Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that were in turn shaped by them. Focusing on a passage from Pliny the Elder's Natural History (arguably the urtext of classical art history), this paper ex

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Garaz, Oleg. "Do Androids Dream of Electric Sheep? or about The Sense of Cultural Nostalgia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 79–87. http://dx.doi.org/10.24193/subbmusica.2020.2.05.

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"The evolution of the European musical culture took place in a flagrant contradiction with the traditional image of a simple succession of stylistic stages. Even if the linearity of the consecution of Antiquity, Middle Ages, Renaissance, Baroque, Viennese Classicism, Romanticism, Modernism and Postmodernism is only too obvious, the nature and logic of the transformations are related to the determining referentiality of the syncretic principle. But, unlike the Enlightenment conception of linear progress, applicable rather to the technological and, in general, scientific thinking, musical art ha

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Guha–Thakurta, Tapati. "“For the Greater Glory of Indian Art”: The Life of an Endangered Art Treasure in Modern India." International Journal of Cultural Property 11, no. 1 (2002): 1–27. http://dx.doi.org/10.1017/s0940739102771555.

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The essay narrates the biography of a single art object—acclaimed in recent history as a “masterpiece” of ancient Indian sculpture—to invoke the larger spectrum of practices and discourses that came to constitute the field of art history in modern India. It explores the shifting locations and aesthetic trajectories that marked the transformation of this artifact from a curious archaeological “antiquity” into a national “art-treasure” and icon of Indian femininity, and later even into “a travelling emissary of ancient Indian art and culture.” On the one hand, the spectrum of travels of this obj

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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Hixenbaugh, Randall. "The Current State of the Antiquities Trade: An Art Dealer’s Perspective." International Journal of Cultural Property 26, no. 3 (2019): 227–38. http://dx.doi.org/10.1017/s0940739119000183.

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Abstract:The antiquities trade is the subject of contentious debate. The anti-trade position stems from a long unquestioned stance within academia that private ownership of antiquities inherently results in archaeological site destruction and the loss of valuable data. However, there is little data to support this notion. It also ignores the enormous contributions to our shared knowledge of the past that have been made through art collecting and museum acquisitions. The narrative that the destruction of ancient sites is directly tied to Western demand for ancient art is overly simplistic. Desp

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Loewenberg, Peter. "Aby Warburg, the Hopi Serpent Ritual and Ludwig Binswanger." Psychoanalysis and History 19, no. 1 (2017): 77–98. http://dx.doi.org/10.3366/pah.2017.0201.

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Aby Warburg was the scion of a prominent Hamburg banking house who became a distinguished European cultural and art historian. He researched the vestiges of pagan antiquity in Renaissance and Reformation art, explored the secret rituals of the Hopis in Arizona, and acutely perceived the savage anti-Semitism in German and European culture. He developed a paranoid psychosis, and was treated by Freud and Bleuler's pupil Ludwig Binswanger in his Kreuzlingen sanatorium, where we can see his existential and relational treatment at work. Warburg was released after he could present a coherent account

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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.

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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the

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Christou, Anastasia. "Hellenisms: Culture, Identity and Ethnicity from Antiquity to Modernity." Journal of Ethnic and Migration Studies 36, no. 4 (2010): 708–9. http://dx.doi.org/10.1080/13691831003675803.

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Tiuteleva, Sofia. "Hippocampus: the heritage of ancient bestiary in the images of theatricalized action and art objects of the XVI century." Культура и искусство, no. 5 (May 2020): 120–29. http://dx.doi.org/10.7256/2454-0625.2020.5.32829.

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This article presents the results of research of text sources associated with the image of Hippocampus or seahorse in the European culture of antiquity of the early modern age. The author examines the use of this image of Roman culture and adaptation of this character by modern arts in accordance with the Roman patterns. Within the framework of this research, the author uses not only the visual sources, but also other cases of depiction of the image of Hippocampus. Emphasis is made on impersonation of the image of Hippocampus in art objects and images of theatricalizes performances of the XVI

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Ellis, H. "Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity, by Simon Goldhill." English Historical Review 128, no. 535 (2013): 1602–3. http://dx.doi.org/10.1093/ehr/cet323.

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Simpson, Carl, and John Gage. "Color and Culture: Practice and Meaning from Antiquity to Abstraction." Journal of Aesthetics and Art Criticism 56, no. 1 (1998): 80. http://dx.doi.org/10.2307/431957.

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Vickers, Michael. "Material values past and present." European Review 2, no. 4 (1994): 295–303. http://dx.doi.org/10.1017/s106279870000123x.

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The attitudes of the ancient Greeks towards their material culture—so far as we can discover from their writings—was rather different from that of most modern students of the remains of classical antiquity. The Greeks esteemed gold and silver vessels, while many archaeologists still believe that they preferred painted pottery. This reversal of classical values came about through the entry of Utopian ideals into the mainstream of classical scholarship in the 18th century. Laudable in themselves, these ideals have led to a serious misunderstanding of the role of ceramic in antiquity. Prices for

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Demchenko, Alexander I. "The Enlightenment (the Second Half of the 18th Century). Horizons of Light and Mind. First Essay." ICONI, no. 3 (2021): 6–21. http://dx.doi.org/10.33779/2658-4824.2021.3.006-021.

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The essence of the series of essays published by the magazine is that with a maximum compactness of presentation it provides a summary of the main phenomena of world artistic culture covered in general, both from the point of view of the general historical process, and in relation to the various forms of art (literature, the visual arts, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and division into separate types of art with the genre specification inherent in each of them is overcome, which meets the positive trends of globalization

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Ede, J. "Ethics, the antiquities trade, and archaeology." International Journal of Cultural Property 7, no. 1 (1998): 128–31. http://dx.doi.org/10.1017/s0940739198770110.

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This article presents the perspective of a long-time dealer in ancient art and antiquities on the many attacks on the antiquities trade. After a brief historical review of collecting and the different national approaches to control of export of archaeological materials, the author presents an analysis of why the more draconian of the legal systems defeat their intended purposes and are themselves unethical in that they promote the destruction of archaeological sites and the black market in antiquities.

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Randsborg, Klavs. "Region, culture and society: understanding antiquity from the field." Oxford Journal of Archaeology 17, no. 3 (1998): 245–55. http://dx.doi.org/10.1111/1468-0092.00061.

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Kolganova, G. Yu, and V. Yu Shelestin. "ANTIQUITY: ANCIENT KNOWLEDGE AND SPECIFIC NATURE OF HISTORICAL SOURCES." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 317–24. http://dx.doi.org/10.31696/2618-7302-2020-1-317-324.

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The article gives highlights of the All-Russian Conference with international participation “Antiquity: Ancient Knowledge and Specific Nature of Historical Sources”, organized by the Department of History and Culture of the Ancient Orient in the memory of famous Iranian scholars Edwin A. Grantovsky and Dmitry S. Raevsky and took place November, 26–27, 2019 in Moscow. Among its participants (both presenting their talks and publishing their papers in the conference volume) were scholars from Geneva, Moscow, Saint Petersburg and Udine. The talks covered topics of the full range of Ancient Orient

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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.

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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the

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Bychkov, Victor. "To the aesthetics of early works of Friedrich Schlegel." Философия и культура, no. 11 (November 2020): 1–14. http://dx.doi.org/10.7256/2454-0757.2020.11.34306.

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The subject of this research is the aesthetics of early works of Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, placing emphasis on the principles of beautiful and sublime in art. Schlegel believes that both, beauty and morality are innate traits of a person, which besides ethical also has &ldquo;aesthetic imperative&rdquo;. Beauty, as a &rdquo;transcendental factor&rdquo;, beauty is based on indifferent pleasure and represents the ideal that was reached by the ancient Greek art, while contemporary art does not tend towa

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Stanton, Cathy. "Outside the Frame: Assessing Partnerships between Arts and Historical Organizations." Public Historian 27, no. 1 (2005): 19–37. http://dx.doi.org/10.1525/tph.2005.27.1.19.

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Using as a case study a 2003 exhibit created jointly by the Massachusetts Museum of Contemporary Art (MASS MoCA) and Historic New England/Society for the Preservation of New England Antiquities, this article investigates collaborations between contemporary art museums and historical institutions, focusing on the place these organizations occupy in the culture-based "new economies" of many postindustrial places. While cautioning against the ways in which such projects can cast history in a purely aesthetic light while contributing to the socioeconomic inequities that characterize postindustrial

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Vanderbeeken, Robrecht. "Relive the Virtual: an Analysis of Unplugged Performance Installations." New Theatre Quarterly 26, no. 4 (2010): 361–68. http://dx.doi.org/10.1017/s0266464x10000667.

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Can retro media make us relive the virtual from digital media? Following McLuhan's thesis that the proper characteristics of a medium are revealed through remediation, it could well be that retro media re-enacting digital media can make explicit what the concept ‘virtual’ entails. Two recent works analyzed in this article take as their starting point antique theatrical techniques (the ballet pulley, the panorama) to evoke optical illusions, not to stage another illusion but for other purposes. Both works, which have no actual connection with cyberspace, include non-narrative interplay with ant

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Ucko, Peter. "Unprovenanced Material Culture and Freud’s Collection of Antiquities." Journal of Material Culture 6, no. 3 (2001): 269–322. http://dx.doi.org/10.1177/135918350100600302.

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Maciudzińska-Kamczycka, Magdalena. "Narodziny „żydowskiej archeologii” i nowoczesna interpretacja antycznej sztuki żydowskiej." Studia Europaea Gnesnensia, no. 10 (January 1, 2014): 9–29. http://dx.doi.org/10.14746/seg.2014.10.1.

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The focus of this paper will be on the Jewish experience with art during the late 19 th and early 20 th centuries when Zionist scholars attempted to promote their own vision of Eretz Israel as the ancestral homeland. Jewish archaeology became an important propaganda tool designed both to generate nationalistic pride and provide scientific argument that Jews had possessed a rich and significant visual culture in the antique period of this “Old-New Land”. This is how the need of promoting Jewish nationalism made archaeology and art a very important aspect of the revival process.

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