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Books on the topic 'Mithraism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

translator, Lenshev Vasil, ed. Deo soli invicto Mithrae: Mithra’s invincible sun god : collection. Sofii︠a︡: Bulga Media, 2021.

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2

Gordon, R. L. Image and value in the Graeco-Roman world: Studies in Mithraism and religious art. Aldershot, Hampshire, Great Britain: Variorum, 1996.

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3

L, Gordon R. Image and value in the Graeco-Roman world. Brookfield, Vt., USA: Variorum, 1996.

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4

Toynbee, J. M. C. d. 1985., Huskinson J. M, Beard Mary 1955-, and Reynolds Joyce Maire, eds. Image and mystery in the Roman world: Three papers given in memory of Jocelyn Toynbee ... Gloucester: A. Sutton Pub., 1988.

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5

Salvador, José Luis Jiménez. La Casa del Mitra. [Cabra, Spain]: Delegación de Cultura del Iltmo. Ayto. de Cabra, 1992.

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6

Zanker, Paul. Image and mystery in the Roman world: Papers given in memory of Jocelyn Toynbee. (Gloucester): (Sutton), 1988.

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7

Luigi, Devoti, and Antonelli Vincenzo, eds. Il mitreo di Marino. Marino [Italy]: INA Banca, 1994.

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8

C, Toynbee J. M. The Roman art treasures from the temple of Mithras. London: London and Middlesex Archaeological Society, 1986.

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9

1946-, Varnedoe Kirk, Karmel Pepe, Museum of Modern Art (New York, N.Y.), and High Museum of Art, eds. Picasso: Masterworks from the Museum of Modern Art : an exhibition. New York: Museum of Modern Art, 1997.

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10

Maria-Teresa, Ocaña, Palazzo Medici Riccardi, Centro mostre di Firenze (Italy), and Museo Picasso, eds. Picasso: La grande grafica, 1904-1971 : Ottanta incisioni dal Museo di Barcelona. Milano: Electa, 1986.

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11

Markus, Müller, and Städtische Galerie Bietigheim-Bissingen, eds. Picasso: Linolschnitte. Heidelberg: Edition Braus, 2005.

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12

1940-, Clair Jean, and Fondation Pierre Gianadda, eds. Picasso: Sous le soleil de Mithra : Fondation Pierre Gianadda, Martigny, Suisse, 29 juin au 4 novembre 2001. Martigny: Fondation Pierre Gianadda, 2001.

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13

1937-, Spies Werner, and Art Focus (Zurich Switzerland), eds. Picasso: Retrospektive. Zürich: Art Focus, 2000.

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14

Mercè, Doñate, Llorens Elena, and Museu Nacional d'Art de Catalunya., eds. Picasso: Museu Nacional d'Art de Catalunya. Barcelona: Museu Nacional d'Art de Catalunya, 2007.

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15

Marc, Gundel, Hirner René, Rohleder Stefanie, and Kunstmuseum Heidenheim, eds. Picasso: Zwischen Arena und Arkadien = Picasso : from arena to Arcadia : Bestandskatalog der Picasso Plakate- und Druckgraphiksammlung, Hermann Voith Galerie, Kunstmuseum Heidenheim. Köln: DuMont, 2001.

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16

Musée national Picasso La Guerre et la Paix (Vallauris, France) and Musée Magnelli, musée de la céramique., eds. Picasso: L'homme au mouton : 4 juillet-4 octobre 1999. Paris: Réunion des musées nationaux, 1999.

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17

M, Fischer Alfred, and Museum Ludwig, eds. Picasso: Die Sammlung Ludwig, druckgraphische Werke : Museum Ludwig Köln, 27. Februar-16. Mai 1993. Köln: Locher, 1993.

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18

Valeriano, Bozal Fernández, and Museo Nacional Centro de Arte Reina Sofía., eds. Picasso: En Boisgeloup, con Marie-Thérèse, y en torno a L'homme au mouton. [Madrid]: Museo Nacional Centro de Arte Reina Sofía, 2006.

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19

Anne, Baldassari, Musée Picasso (Paris France), and Art Gallery of Ontario, eds. Picasso: Masterpieces from the Musée National Picasso, Paris. Paris: Musée National Picasso, 2012.

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20

1924-, Richardson John, Cowling Elizabeth, Arnaud Claude, and Gagosian Gallery (London England), eds. Picasso: The Mediterranean years 1945-1962. London: Gagosian Gallery, 2010.

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21

Colombia, Museo Nacional de, ed. Picasso: Museo Nacional de Colombia, mayo 13-agosto 11, Bogotá, 2000. Bogotá, Colombia: Museo Nacional de Colombia, 2000.

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22

Archaeology of Mithraism: New Finds and Approaches to Mithras-Worship. Peeters Publishers & Booksellers, 2020.

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23

Mithraic Prophecy. British Archaeological Reports Limited, 2022.

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24

Penny, Norman J. Pictish-Mithraism, the Religious Purpose of the Pictish Symbol Stones. Austin Macauley Publishers Ltd., 2017.

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25

Pictish-Mithraism, the Religious Purpose of the Pictish Symbol Stones. Austin Macauley Publishers Ltd., 2017.

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26

The mysteries of Mithra or the mysteries of Sabazios. Sofia, Bulgaria: Bulga Media Publishing House, 2016.

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27

Das aufgehobene Bild: Collage als Modus der Malerei von Pablo Picasso bis Richard Prince. München: Fink, 2007.

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28

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Reconstructions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0002.

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Chapter 2 discusses two gypsum reliefs from Dura-Europos, a city on the Euphrates in modern Syria, once within the Roman Empire. Not only does Dura provide a rare example of two carved tauroctony reliefs displayed more or less equally in the same mithraeum, but each relief respectively includes a unique depiction of an act of sacrifice. This is particularly visible on the second relief, where the patron, who dedicated it in AD 170/1, chose to include a representation of himself. This invites the viewer to ask questions about the relationship between Mithraic patrons, worshippers, and the god Mithras himself. The chapter extends out from these two images to take in the wider picture of religious life at Dura-Europos, revealing a high level of cultural and artistic exchange between the Mithraic community and the surrounding town.

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29

S, Walker, P. Zanker, and R. Gordon. Image and Mystery in the Roman World: Three Papers Given in Memory of Jocelyn Toynbee (Newnham College, Cambridge). Sutton Pub Ltd, 1991.

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30

Cumont, Franz. Mithraic Art. Kessinger Publishing, 2005.

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31

Il mitreo dei Castra Peregrinorum (S. Stefano Rotondo). Leiden: E.J. Brill, 1986.

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32

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Patrons and ViewersDura-Europos. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0003.

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The third chapter examines rock-carved tauroctonies in mithraea, and in particular the monumental tauroctony at Bourg-Saint-Andéol, southeast France. Here, the image of Mithras slaying the bull was carved directly into a rock face between two streams. At other sites, particularly in eastern Europe, there are similar instances of tauroctony rock reliefs. While these images may be linked through their material, each has been positioned in a different way within their respective mithraeum, which may suggest differences in the worship of and belief in Mithras between individual communities. This chapter seeks to broaden our ideas of what the tauroctony meant to worshippers by examining the possible impact of the accompanying interior setting and exterior surroundings on the ancient perceptions of, and interactions with, the reliefs.

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33

The Roman art treasures from the Temple of Mithras. [London]: The Society, 1986.

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34

Etudes Mithriaques: Actes Du 2E Congres International, Teheran, Du Ler Au 80 Septembre 1975 (Actes Du Congres, 4/Actes Iranica 17). Brill Academic Publishers, 1997.

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35

Stone, Michael E. The Social Organization of Secrecy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190842383.003.0004.

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In this chapter we study the mysteries and secrecy in Greco–Roman antiquity. The cults of Mithras and Isis as mysteries and revelations to their initiates, as well as the “Mithras Liturgy” and magical elements of the ascent, are examined. Secret groups have tripartite social structures. There is evidence for secret societies in Ancient Judaism other than Essenes and Therapeutae. The identification of the Qumran covenanters and of the Essenes is explored. We look at cryptic writing and secrecy within groups. The role of women in some groups is discussed. Past discoveries of Dead Sea manuscripts and documents are outlined.

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36

Gawlikowski, Michał. Scripta selecta. Wybór tekstów na osiemdziesięciolecie Profesora Michała Gawlikowskiego. University of Warsaw Press, 2022. http://dx.doi.org/10.31338/uw.9788323546023.

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The jubilee book is dedicated to the outstanding archaeologist, Professor Michał Gawlikowski, who was in charge of the Polish excavations in Palmyra in the years 1973–2011. The publication contains 65 articles on the different aspects of Palmyra, from architecture and sculpture to religion and commerce. The texts were published from 1966 to 2010 in various journals as well as collective volumes, and they cover the selected research of forty five years which still seem to be of some interest for the public. More recent papers by the same author can be easily found on Academia.edu and other sites. In particular, papers related to the mithraeum at Hawarte in Syria (excavated until 2009) and to the site of Aynuna in Saudi Arabia, started in 2014, are not included.

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37

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0001.

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This chapter focuses on two marble tauroctony statue groups that are now in the British Museum’s collection. Both are thought to be originally from Rome and date roughly to between the end of the first and the second century AD. In this opening chapter, we look at several of the many interpretations that have been offered for the tauroctony and discuss the image’s development in the Roman world. At the heart of all such interpretations lies the problem of how to reconstruct an ancient reality based on scant remains. These carefully constructed compositions, painstakingly restored in the seventeenth and eighteenth centuries, simultaneously present us with the characteristic representation of Mithras in the Roman Empire, yet also show the difficulties in reconstructing ancient religion from a fragmented material record.

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38

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Interpretations. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0006.

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On the mountain of Nemrut Dağı in the kingdom of Commagene, we have a first-century BC stele with a depiction of a king, Antiochus I, grasping the hand of a figure named ‘Apollo-Mithras-Helios-Hermes’. This image, and others from across the kingdom depicting a god named in this way, call upon a variety of iconographic and linguistic traditions that raise questions about the way conceptions of the divine could be selected, rationalized, and propagated. This act of comparing and combining religious traditions, often referred to as ‘syncretism’, allows us to think about what the use of the name Mithra suggests to us beyond the relatively simple transmission of a god. In turn, the discussion of the importance of iconographies and names associated with deities leads us to reflect on the nature of divinity in antiquity more generally.

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39

Picasso: Breaking the Rules of Art (Great Artists). Barron's Educational Series, 1997.

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40

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Images of Mithra. Edited by Jas Elsner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.001.0001.

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Images of Mithra begins with the seemingly simple question: what’s in a name? With a history of use extending back to Vedic texts of the second millennium BC, derivations of the name Mithra appear in the Roman Empire, across Sasanian Persia, and in the Kushan Empire of southern Afghanistan and northern India during the first millennium AD. Even today, this name has a place in Yazidi and Zoroastrian religion. But what connection have Mihr in Persia, Miiro in Kushan Bactria, and Mithras in the Roman Empire to one another? Over the course of the volume, specialists in the material culture of these diverse regions explore appearances of the name Mithra from six distinct locations in antiquity. In a subversion of the usual historical process, the authors begin not from an assessment of texts, but by placing images of Mithra at the heart of their analysis. Careful consideration of each example’s own context, situating it in the broader scheme of religious traditions and ongoing cultural interactions, is key to this discussion. Such an approach opens up a host of potential comparisons and interpretations that are often sidelined in historical accounts. What Images of Mithra offers is a fresh approach to figures that we identify as ‘gods’, and the ways in which they were labelled and depicted in the ancient world. Through an emphasis on material culture, a more nuanced understanding of the processes of religious formation is proposed in what is but the first part of the Visual Conversations series.

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41

Picasso: Erotic Sketchs / Erotische Skizzen (Prestel's Erotic Sketchbook). Prestel Publishing, 2006.

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42

Picasso. [Milán]: Susaeta Ediciones, 1989.

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43

Picasso: Caja de remordimientos. [Valencia]: Bancaja, 2001.

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44

Picasso: Las Grandes Series. Aldeasa, 2001.

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