Books: 'Roman visual culture'

1

Trimble, Jennifer. Women and visual replication in Roman imperial art and culture: Visual replication and urban elites. Cambridge: Cambridge University Press, 2011.

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2

R, Clarke John. Looking at laughter: Humor, power, and transgression in Roman visual culture, 100 B.C.-A.D. 250. Berkeley, Calif: University of California Press, 2007.

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3

From republic to empire: Rhetoric, religion, and power in the visual culture of ancient Rome. Norman: University of Oklahoma Press, 2012.

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4

Psychosocial spaces: Verbal and visual readings of British culture, 1750-1820. Detroit, Mich: Wayne State University Press, 2000.

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Exuberant apotheoses- Italian frescoes in the Holy Roman Empire: Visual culture and princely power in the Age of Enlightenment. Boston: Brill, 2016.

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6

Barrett, Caitlín Eilís. Egypt in Roman Visual and Material Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935390.013.18.

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This review article addresses current controversies and opportunities in research on the roles, uses, and meanings of “Egypt” in ancient Roman visual and material culture. Accordingly, the article investigates problems of definition and interpretation; provides a critical review of current scholarly approaches; and analyzes the field’s intersections with current intellectual developments in the broader fields of archaeology and art history. It is argued that research on Roman Aegyptiaca can gain much from, and is poised to contribute substantially to, (1) 21st-century archaeology’s “material turn”; (2) the construction of new interpretive frameworks for cross-cultural interactions and “hybridization”; and (3) increased attention to the relationships among artifacts, contexts, and assemblages. Roman visual representations of Egypt provide a rich testing ground for research on intercultural exchange, the lived experience of empire, and the complex entanglement of people, things, and images.

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7

Trimble, Jennifer. Women and Visual Replication in Roman Imperial Art and Culture. Cambridge University Press, 2016.

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8

Looking at Laughter: Humor, Power, and Transgression in Roman Visual Culture, 100 B.C.- A.D. 250. University of California Press, 2007.

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9

R, Clarke John. Looking at Laughter: Humor, Power, and Transgression in Roman Visual Culture, 100 B. C. - A. D. 250. University of California Press, 2007.

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10

Envisioning Worlds in Late Antique Art: New Perspectives on Abstraction and Symbolism in Late-Roman and Early-Byzantine Visual Culture. De Gruyter, Inc., 2018.

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11

Hölscher, Tonio. Visual Power in Ancient Greece and Rome. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520294936.001.0001.

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This book aims to explore the aspects of visuality in Greek and Roman culture, comprising the visual appearance of images as well as the reality of the social world. The face-to-face societies of ancient Greece and Rome were to a high degree based on civic presence and direct, immediate social interaction in which visual appearance and experience of beings and things was of paramount importance. The six chapters of the book are dedicated to action in space, memory over time, the appearance of the person, conceptualization of reality, and, finally, presentification and decor as fundamental categories of art in social practice.

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12

Sinclair, Bell, and Hansen Inge Lyse, eds. Role models in the Roman world: Identity and assimilation. Ann Arbor: University of Michigan Press, 2008.

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13

Garipzanov, Ildar. Monograms, Early Christians, and Late Antique Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.003.0005.

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This chapter surveys the origins of monograms in the Hellenistic world and their early usage in republican and early imperial Rome, and continues with a general overview of quantitative and qualitative changes in their application in the third and fourth centuries AD. It also examines the more general cultural background to the increasing popularity of late antique monograms as protective and intercessory devices, suggesting that the growing use of such invocational monograms in visual communication paralleled the increasing popularity of acclamations in oral communication. Finally, it employs a contextualized study of the dedication monogram in the Calendar of 354 as a window into fourth-century Roman calligraphic culture. The concluding section discusses the development of a new, contemplative quality of calligraphic monograms in the late fourth century, and shows how some Neoplatonic ideas and their Christian adaptations affected late antique graphicacy.

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Beyond Boundaries: Connecting Visual Cultures in the Roman Provinces. Getty Publications, 2016.

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15

Garipzanov, Ildar. Secular Monograms, Social Status, and Authority in the Late Roman World and Early Byzantium. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.003.0006.

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This chapter examines the use of monograms as graphic signs of imperial authority in the late Roman and early Byzantine empire, from its appropriation on imperial coinage in the mid-fifth century to its employment in other material media in the following centuries. It also overviews the use of monograms by imperial officials and aristocrats as visible signs of social power and noble identity on mass-produced objects, dress accessories, and luxury items. The concluding section discusses a new social function for late antique monograms as visible tokens of a new Christian paideia and of elevated social status, related to ennobling calligraphic skills. This transformation of monograms into an attribute of visual Christian culture became especially apparent in sixth-century Byzantium, with the cruciform monograms appearing in the second quarter of the sixth century and becoming a default monogrammatic form from the seventh century onwards.

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Heal, Bridget. A Magnificent Faith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.001.0001.

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This book explains how and why Lutheranism—a confession that insisted upon the pre-eminence of God’s Word—became a visually magnificent faith, a faith whose adherents sought to captivate Christians’ hearts and minds through seeing as well as through hearing. Although Protestantism is no longer understood as an exclusively word-based religion, the paradigm of evangelical ambivalence towards images retains its power. This is the first study to offer an account of the Reformation origins and subsequent flourishing of the Lutheran baroque, of the rich visual culture that developed in parts of the Holy Roman Empire during the later seventeenth and early eighteenth centuries. The book opens with a discussion of the legacy of the Wittenberg Reformation. Three sections then focus on the confessional, devotional and magnificent image, exploring turning points in Lutherans’ attitudes towards religious art. Drawing on a wide variety of archival, printed and visual sources from two of the Empire’s most important Protestant territories—Saxony, the heartland of the Reformation, and Brandenburg—the book shows the extent to which Lutheran culture was shaped by territorial divisions. It traces the development of a theologically grounded aesthetic, and argues that images became become prominent vehicles for the articulation of Lutheran identity not only amongst theologians but also amongst laymen and women. By examining the role of images in the Lutheran tradition as it developed over the course of two centuries, A Magnificent Faith offers a new understanding of the relationship between Protestantism and the visual arts.

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17

Bobou, Olympia. Representations of Children in Ancient Greece. Edited by Sally Crawford, Dawn M. Hadley, and Gillian Shepherd. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199670697.013.19.

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Children’s representations appear early in the Greek visual material culture: first they appear in the large funerary vases of the geometric period, while in the archaic period they appear in funerary reliefs and vases. To the representations in vase painting, those in terracotta statuettes can be added in the fifth century, but it is in the fourth century bc that children become a noteworthy subject of representation, appearing both in small- and large-scale objects in different media. This chapter considers the relationship between changing imagery of children in ancient Greece and social and religious developments from the geometric period, through the Hellenistic period and into the Roman period in Greece.

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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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Andrade, Nathanael. Zenobia’s Likenesses. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190638818.003.0001.

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In many respects, Zenobia’s fame is a paradox. She has captured the medieval and modern imagination, but ancient sources actually say very little about her. The introductory chapter thus explores the textual, epigraphic, and material sources for Zenobia and outlines the challenges of writing a book about her. The overlying aim of the book is to create a likeness of Zenobia, a most elusive task because the sources are so scanty. But by using various later Roman and Byzantine texts, Jewish and Arab tales, and visual sources and inscriptions, the book may bring parts of her life to light. The introduction also communicates how the book narrates Zenobia’s various lived experiences at ancient Palmyra and the key role that Palmyra’s material culture plays in this task.

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20

Cassibry, Kimberly. Destinations in Mind. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190921897.001.0001.

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Destinations in Mind explores how objects depicting distant places helped Romans understand their vast empire. At a time when many sites were written about but only a few were represented in art, four distinct sets of artifacts circulated new information. Engraved silver cups list all the stops from Spanish Gades to Rome, while resembling the milestones that helped travelers track their progress. Vivid glass cups represent famous charioteers and gladiators competing in circuses and amphitheaters, and offered virtual experiences of spectacles that were new to many regions. Bronze bowls commemorate forts along Hadrian’s Wall with colorful enameling typical of Celtic craftsmanship. Glass bottles display labeled cityscapes of Baiae, a notorious resort, and Puteoli, a busy port, both in the Bay of Naples. These artifacts and their journeys reveal an empire divided not into center and periphery, but connected by roads that did not all lead to Rome. They bear witness to a shared visual culture that was not divided into high and low art, but united by extraordinary craftsmanship. New aspects of globalization are apparent in the multilingual place names that the vessels bear, in the transformed places that they visualize, and in the enriched understanding of the empire’s landmarks that they impart. With in-depth case studies, the book argues that the best way to comprehend the Roman empire is to look closely at objects depicting its fascinating places.

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21

Carlson, Deborah N. The Seafarers and Shipwrecks of Ancient Greece and Rome. Edited by Ben Ford, Donny L. Hamilton, and Alexis Catsambis. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199336005.013.0017.

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Classical archaeology comprises of the study of Greek and Roman cultures and the result is a mix of textual, visual, and material evidence. Underwater archaeology as a discipline has increased the understanding of cargoes, construction, and size of Greco-Roman ships. The raw archaeology data is helpful in drawing conclusions about maritime trade and economy. Maritime archaeological evidence for the ancient art trade first came to light in the early twentieth century. New methods to extract new information from old objects and shipwreck archaeology are being continuously developed. At the same time, the unpublished data stored in the museums are also informative. A challenge for maritime archaeologists is to balance between text, image, and artifact to get a maritime illustration.

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22

Garipzanov, Ildar. Graphic Signs of Authority in Late Antiquity and the Early Middle Ages, 300-900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.001.0001.

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This book presents a cultural history of graphic signs such as the sign of the cross, christograms, monograms, and other graphic devices, examining how they were employed to relate to and interact with the supernatural world, and to represent and communicate secular and divine authority in the late antique Mediterranean and early medieval Europe. It analyses its graphic visual material with reference to specific historical contexts and to relevant late antique and early medieval texts as a complementary way of looking at the cultural, religious, and socio-political transition from the late Graeco-Roman world to that of medieval Europe. This monograph treats such graphic signs as typologically similar forms of visual communication, reliant on the visual-spatial ability of human cognition to process object-like graphic forms as proxies for concepts and abstract notions—an ability that is commonly discussed in modern visual studies with reference to categories such as visual thinking, graphic visualization, and graphicacy. Thanks to this human ability, the aforementioned graphic signs were actively employed in religious and socio-political communication in the first millennium ad. This approach allows for a synthetic study of graphic visual evidence from a wide range of material media that have rarely been studied collectively, including various mass-produced items and unique objects of art, architectural monuments, and epigraphic inscriptions, as well as manuscripts and charters. As such, this book will serve as a timely reference tool for historians, art historians, archaeologists, epigraphists, manuscript scholars, and numismatists as well as the informed general public.

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23

Canepa, Matthew. Cross-Cultural Communication in the Hellenistic Mediterranean and Western and South Asia. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0014.

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This chapter deals with West–Asian cross-cultural interaction that developed during the Hellenistic period in the aftermath of Alexander’s conquest of the Persian Empire as the land and sea routes between the Mediterranean and India opened up. Despite their constant warfare, the kings that dominated this region established diplomatic ties influenced by a rich range of linguistic, visual, spatial, and ritual idioms. Canepa views Mauryan pillars and inscribed edicts issued by the emperor Aśoka as responses both to local South Asian traditions of religion and empire, and also to those of the Achaemenids and Seleucids. The cross-cultural interaction of this period not only transformed contemporary worldviews and traditions, but also formed the basis for future exchanges among the Romans, Arsacids, Kuṣāṇas, and Sasanians.

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24

De Temmerman, Koen, ed. The Oxford Handbook of Ancient Biography. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780198703013.001.0001.

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Biography is one of the most widespread literary genres worldwide. This book offers the first wide-ranging, multi-authored survey on biography in Antiquity from its earliest representatives to Late Antiquity. It aims to be a broad introduction and a reference tool on the one hand, and to move significantly beyond the state-of-the-art on the other. To this dual end, it addresses conceptual questions about this sprawling genre, provides both in-depth readings of key-texts and diachronic studies, and deals with the reception of ancient biography in subsequent eras up to today. In addition, it approaches the concept of ancient biography more widely than other reference tools on the topic have done: it examines biographical depictions in different textual and visual media and provides outlines of biographical developments in ancient and late antique cultures other than the Graeco-Roman one.

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Tunia, Krzysztof, ed. Kartki z dziejów igołomskiego powiśla. Wydawnictwo i Pracownia Archeologiczna PROFIL-ARCHEO, 2020. http://dx.doi.org/10.33547/igolomia2020.

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„Cards from the history of Igołomia region on the Vistula River” is a monumental, richly illustrated collective work devoted to the history of a patch of Małopolska (Lesser Poland; S Poland) located north-east of Kraków, in the Western Lesser Poland Loess Upland. This area is known to archaeologists for years as a kind of Eldorado, inhabited by subsequent human groups, ranging from Palaeolithic hunter-gatherers, through the shepherds of the Corded Ware culture, to the creators of the Igołomia-Zofipole wheel-trown pottery production center in the late Roman period. It played a significant role also in historical times, thanks to its location in the foreground of the capital of Małopolska. The monograph edited by Dr. Krzysztof Tunia, an archaeologist who has devoted most of his professional career to researching this region, reflects the current state of research on the prehistory and history of this part of the Vistula river. The advantage of the publication is the fact that the individual chapters come „first hand”: from the researchers who have conducted excavations, historical queries or anthropological studies here, and today synthesize their results in a form accessible to a wide audience. The reading is accompanied by the thought of longue durée – it is inevitable, in fact, when in one book one reads about the subsistence strategies of the first farmers from the 6th millennium BC, the innovations of their Slavic successors from the 6th century AD, the bias of local peasants toward the January Uprising or the attitude of the rural population in the face of the atrocities of the Holocaust…

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Books on the topic 'Roman visual culture'

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