Academic literature on the topic 'Figured terracottas'

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Journal articles on the topic "Figured terracottas"

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Burn, L. M. "Hellenistic Terracotta Figures of Cyrenaica: Greek Influences and Local Inspirations." Libyan Studies 25 (January 1994): 147–58. http://dx.doi.org/10.1017/s0263718900006300.

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Terracotta figures have been uncovered in vast quantities in the cemeteries of the Greek cities of Cyrenaica from the mid-nineteenth century onwards. While the terracottas from more recent excavations have of course remained in Libya, the majority of those brought to light in the nineteenth century are now divided between the national museums of three European capitals: Paris, Madrid and London. The Louvre collection is the largest of the three, consisting of some 400 pieces, mostly acquired by the consul M. Vattier de Bourville in the cemeteries of Cyrene and Benghazi in 1848; the majority ar
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Maxwell-Hyslop, K. R. "The Goddess Nanše an attempt to identify her Representation." Iraq 54 (1992): 79–82. http://dx.doi.org/10.1017/s0021088900002515.

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Two unpublished terracottas from Ur, now in the British Museum, and a terracotta from Ur, now in the University Museum, Philadelphia, deserve attention for the contribution they can make to the problem of identifying the well known “goddess on a goose”. I am grateful to Carole Mendleson for the catalogue descriptions for Nos. 1–2.(1) B.M. 127484. U. 17163 (Diqdiqqah), Plate VIIa. 60 × 78 mm. Chair relief. Bottom part only remaining. A figure, almost certainly the same goddess as No. 2 below), wearing a flounced and pleated skirt. She is seated on a standing “goose” and faces to the right with
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Tsetskhladze, Goca Revazovic, and N. V. Vashakidze. "Terracotta figures of Animals from Colchis." Dialogues d'histoire ancienne 20, no. 1 (1994): 109–25. http://dx.doi.org/10.3406/dha.1994.2148.

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Catling, H. W. "A Mycenaean terracotta figure from the Menelaion." Annual of the British School at Athens 90 (November 1995): 183–93. http://dx.doi.org/10.1017/s0068245400016142.

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An LH III wheelmade terracotta female figurine, found in the 1910 excavations at the Menelaion, Sparta, is illustrated and described. The context can be dated no later than LH III. An earlier suggestion that the piece is ‘provincial’ is discounted in the light of new material, particularly the so-called Lady of Phylakopi. Recent views on the nature of such figures are discounted. A summary list of comparable wheelmade figures of women, and of animals, is appended.
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Martínez Sánchez, Rafael María, and Ricardo García Benavente. "Una terracota figurada del IV milenio AC en la vega media del Guadalquivir." Trabajos de Prehistoria 66, no. 1 (2009): 115–22. http://dx.doi.org/10.3989/tp.2009.09015.

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Solovyev, Aleksandr I., and Sergey A. Komissarov. "Terracotta Warrior: Image or Person?" Oriental Studies 20, no. 4 (2021): 9–22. http://dx.doi.org/10.25205/1818-7919-2021-20-4-9-22.

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The article investigates the problem of the so-called portraiture of personages presented in the terracotta army of the First Qin emperor. The results of analytical work of foreign colleagues were explored (namely, on restoration of the full spectrum of paints on the surface of the clay figures, or comparative studies of the forms of terracotta soldiers’ ears because this part of the human face is absolutely unique and therefore used in modern forensic practice for identification purposes). On the base of visual analyses of the material that could be obtained, taking into account the serial pr
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Hayden, Barbara J. "Terracotta Figures, Figurines, and Vase Attachments from Vrokastro, Crete." Hesperia 60, no. 1 (1991): 103. http://dx.doi.org/10.2307/148229.

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Li, Xiuzhen Janice, Andrew Bevan, Marcos Martinón-Torres, et al. "Crossbows and imperial craft organisation: the bronze triggers of China's Terracotta Army." Antiquity 88, no. 339 (2014): 126–40. http://dx.doi.org/10.1017/s0003598x00050262.

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The Terracotta Army that protected the tomb of the Chinese emperor Qin Shihuang offers an evocative image of the power and organisation of the Qin armies who unified China through conquest in the third century BC. It also provides evidence for the craft production and administrative control that underpinned the Qin state. Bronze trigger mechanisms are all that remain of crossbows that once equipped certain kinds of warrior in the Terracotta Army. A metrical and spatial analysis of these triggers reveals that they were produced in batches and that these separate batches were thereafter possibly
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PILAFIDIS-WILLIAMS, KORINNA. "A MYCENAEAN TERRACOTTA FIGURE FROM MOUNT OROS ON AIGINA." Bulletin of the Institute of Classical Studies 40, Supplement_63 (1995): 229–34. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02115.x.

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Barclay, Craig. "James C.S. Lin and Xiuzhen Li (2018). China’s First Emperor and the Terracotta Warriors." British Journal of Chinese Studies 8, no. 2 (2019): 162–64. http://dx.doi.org/10.51661/bjocs.v8i2.15.

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In February 2018 a new exhibition entitled China’s First Emperor and the Terracotta Warriors opened at the World Museum, in Liverpool. Organised in collaboration with the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum, this did not of course represent the first visit of the Terracotta Army to these shores. In terms of public engagement, however, it was undoubtedly a major coup for Liverpool: a small selection of the figures drew some 225,000 visitors to the City Arts Centre in Edinburgh in 1985; whilst the British Museum’s blockbuster 2007-8 exhibition attracted crowds th
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Dissertations / Theses on the topic "Figured terracottas"

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Berriola, Riccardo. "Les terres cuites figurées de la collection Raffaele Gargiulo au Musée National de Naples : recherches sur le goût et le marché de l'art dans la première moitié du XIXe siècle." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100194.

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La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté a
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Thurston, Caroline A. "The co-occurrence of terracotta wheelmade figures and handmade figurines in mainland Greece, Euboea, the Dodecanese, the Cyclades and the Northern Aegean islands, 1200-700 BC." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:e2b05fce-bd02-4f8b-bcf4-a55f46f0a452.

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This thesis addresses the lacuna in the study of Greek terracotta figures and figurines corresponding to the transitional period between the Late Bronze and Early Iron Ages (1200-700BC). It provides a comprehensive synthesis of all available data, with particular reference to material from recently excavated sites in mainland Greece and its islands (Euboea, the Northern Aegean islands, the Dodecanese and the Cyclades). The study is framed according to the relationship between terracotta <b>figures</b> (those made on the potter's wheel) and <b>figurines</b> (those made by hand). The observation
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Martin, Nathalie. "Voiler son visage en Grèce ancienne : étude d'iconographie féminine." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3002.

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Le regard de l'autre est ce qui fait de nous des êtres humains. L'homme se nourrit de l'homme. Voiler son visage c'est priver l'autre de son image, c'est-à-dire de son identité naturelle et culturelle. Les motifs de femmes aux visage voilé apparaissent à Athènes au début du Ve siècle sur des vases à figures rouges. Des « mantel dancers » aux femmes trônantes différentes façon de voiler son visage ont été représentées. Ces images ont été découvertes de l'Asie mineure à l'Italie et de la mer Noire à la Cyrénaïque et à l'Egypte et dont les significations sont peu connues. La prise en compte des i
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Juarez, Rodrigo Emmanuel. "La figura del detective nei romanzi Il cane di terracotta (1996) di Andrea Camilleri e Attenti al gorilla (2000) di Sandrone Dazieri." Bachelor's thesis, 2015. http://hdl.handle.net/11086/2295.

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Nel panorama del sistema letterario italiano degli ultimi sessant’anni, il genere poliziesco, a lungo emarginato perché considerato dai critici una storia di svago, inizia una sua migrazione dalla periferia del canone verso il centro di attenzione della critica dato che certi scrittori qualiGiorgio Scerbanenco e Leonardo Sciascia si avvalgono della sua architettura per riflettere e mettere luce su diversi problemi politici e sociali dell’Italia degli anni sessanta e ottanta del Novecento. Comunque, la Posmodernitá lascia impronte del tutto particolari nelle opere che verranno analizzate in que
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Books on the topic "Figured terracottas"

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Jupp, Mo. Terracotta figure 1988. [Harrow College of Higher Education], 1989.

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Claudia, Wettstein, ed. Reading figures: Animal representations in terra cotta from royal building AK at Urkesh (Tell Mozan). Undena Publications, 2006.

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Si lu hu ren wai lai feng: Tang dai hu yong zhan = Exotic flavor of the foreigners on the Silk Road : terracotta hu man of the Tang dynasty. Wen wu chu ban she, 2008.

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Morris, Christine. Minoan and Mycenaean Figurines. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.033.

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This chapter explores the figurine traditions of the Bronze Age inhabitants of Crete (Minoan) and mainland Greece (Myceanean), covering c.3000–1100 bc. As in many cultures, Aegean figurines are predominantly made from terracotta or fired clay, but stone, ivory and bone, metal, and faience are also utilized. Early Minoan ‘vessel figurines’ and the votive figurines deposited on Middle Minoan Cretan peak sanctuaries in large numbers are presented as case studies for the Minoan terracotta tradition. The faience ‘Snake Goddesses’ and bronze figurines illustrate elite traditions and Minoan technical
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Anthropomorphe Gefässkeramiken aus Zaïre =: Anthropomorphic terracotta vessels of Zaïre. Galerie Fred Jahn Studio, 1987.

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Qin shi huang bing ma yong bo wu guan., Shanxi Sheng Qin ling kao gu dui., and Shanxi ren min mei shu chu ban she., eds. Selected heads of the terracotta figures at Qin shi huang's mausoleum. Shaanxi peoples's fine arts publishing house, 1996.

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Capon, Edmund. Qin Shihuang: Terracotta Warriors and Horses : Catalogue to the "Exhibition of the Terracotta Figures of Warriors and Horses of the Qin Dynasty of Ch. 3rd ed. Seven Hills Books, 1992.

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Malone, Caroline, and Simon Stoddart. Figurines of Malta. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.036.

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Figurative art developed in the Maltese islands during the Neolithic, as part of the Temple Culture that flourished c.3500–2500 bc. Anthropomorphic and zoomorphic figurines, carved from stone or modelled in terracotta represented, not only a distinct Maltese identity but also significant artistic competence. From very large to very small, the material ranges from objects used in burials to immense statues that decorated temple interiors. Some anthropomorphic figures are dressed, others naked, some obese, others stick-like, and another category associated with mortuary sites is represented lyin
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Banco de la Ciudad de Buenos Aires., ed. Subasta super especial: Grandes maestros de la plástica argentina y rioplatense pinturas, y esculturas, alhajas de estilo, platería, marfiles, figuras en terracota, europea y madera tallada, bronces y muebles : 4 de junio de 1998, 18 hs. Sala Santa María de los Buenos Aires. Banco Ciudad de Buenos Aires, 1998.

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Book chapters on the topic "Figured terracottas"

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"Theriomorphic Figures in Hellenistic and Roman Arcadia: Nostalgia and Ritual." In Hellenistic and Roman Terracottas. BRILL, 2019. http://dx.doi.org/10.1163/9789004384835_012.

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Muzio, Ciro Lo. "Persian ‘Snap’: Iranian Dancers in Gandhāra." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0004.

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A series of reliefs from ancient Gandhāra (Peshawar Valley and neighbouring areas, North Pakistan) show dancers in Iranian (sometimes Hellenistic) attire accompanied by musical instruments of western (Near Eastern, Iranian, Greek) origins. A distinctive trait of these figures is the fact that each of them joins his/her hands to produce a snap (the ‘Persian snap’), meant to mark the time. The Gandharan reliefs are the starting point of an overview of the iconographic evidence of similar dance scenes in diverse artistic traditions (first and foremost, in Classical vase painting and Hellenistic terracottas), in which Iranian-garbed dancers, captured in postures closely comparable to those witnessed in Gandhāra, perform the ‘Persian snap’ which, however, had never been recognised as such in previous studies.
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Shapiro, H. A. "Periphrôn Pênelopeia." In New Directions in the Study of Women in the Greco-Roman World. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190937638.003.0003.

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A fine marble torso of a seated woman was found in the ruins of the palace at Persepolis that was burned down by Alexander the Great’s army in 331 BCE. The statue, now in Teheran, has aroused considerable interest as a unique example of a work of High Classical Greek art that ended up at the Persian court. From comparison with fifth-century terracotta reliefs and vases, as well as Roman copies that must go back to a second, nearly identical, and now lost statue, the woman holding her head in a melancholy pose can be identified as Homer’s Penelope. A recent study by Hölscher has proposed an intriguing scenario, in which one of the two statues would have accompanied Kallias, as a diplomatic gift, when he went to negotiate a peace treaty with the Great King in 449, while the other stood on the Athenian Akropolis as Perikles’s monument to that peace. In both instances, the figure of Penelope would have symbolized the longing for peace of women, whether Greek or Persian, who waited fearfully for their husbands and sons to come home. This interpretation raises the question of the reception of Penelope in fifth-century Athens: What was she most remembered for? Was it mainly as the wife longing for her husband away at war? Did Athenian society, as Hölscher claims, increasingly see the burden of war as falling on women as the fifth century wore on? The chapter explores these questions through a combination of literary and iconographical evidence.
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Castelo Ruano, Raquel, Ana Mª López Pérez, Inmaculada Donate, Cruz Medina, and Ana Isabel Pardo. "A propósito de una terracota de Venus Curófoba procedente del El Saucedo (Talavera la Nueva, Toledo). Las imágenes de terracota de las divinidades protectoras y nutricias en la antigüedad hispana / Over a Terracota Figure of Venus from El Saucedo (Talavera la Nueva, Toledo). The Terracota Models of Protective and Nourishing Goddes in the Roman Hispania." In ANEJOS A CUADERNOS DE PREHISTORIA Y ARQUEOLOGÍA Nº 2: HOMENAJE A LA PROFESORA CONCEPCIÓN BLASCO BOSQUED. UAM Ediciones, 2016. http://dx.doi.org/10.15366/ane2.blasco2016.023.

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"‘Thou Shalt Make Many Images of Thy Gods’: A Chaîne Opératoire Approach to Mycenaean Religious Rituals Based on Iconographic and Contextual Analyses of Plaster and Terracotta Figures." In Tracing Prehistoric Social Networks through Technology. Routledge, 2014. http://dx.doi.org/10.4324/9780203156179-9.

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