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Books on the topic 'Zoomorphe'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Cardoso, Maria Fernanda. Zoomorphia. Sydney: Museum of Contemporary Art, 2003.

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2

Verlaine, Joëlle. Les statuettes zoomorphes aurignaciennes et gravettiennes d'Europe centrale et orientale. Liège: Préhistoire liégeoise, 1990.

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3

Il cigno e la tigre: Figurazioni zoomorfe in Shakespeare. Napoli: Liguori, 2010.

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4

1947-, O'Neill Dennis, ed. Celtic beasts: Animal motifs and zoomorphic design in Celtic art. London: Blandford, 1999.

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5

Dupré, Sylvestre. Bestiaire de Cappadoce: Terres cuites zoomorphes anatoliennes du IIe millénaire avant J.-C. au musée du Louvre. Paris: Réunion des musées nationaux, 1993.

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6

Fascinose creature di pietra: Figurazioni antropomorfe e zoomorfe nei balconi settecenteschi della Sicilia sud orientale. Firenze: A. Pontecorboli, 2003.

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7

Cresti, Carlo. Fascinose creature di pietra: Figurazioni antropomorfe e zoomorfe nei balconi settecenteschi della Sicilia sud-orientale. Firenze: A. Pontecorboli, 2003.

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8

Gheorghiu, Dragos, and Ann Cyphers, eds. Anthropomorphic and zoomorphic miniature figures in Eurasia, Africa and Meso-Amercia.: Morphology, materiality, technology, function and context. Oxford, England: Archaeopress, British Archaeological reports, 2010.

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9

Aldersey-williams, Hugh. Zoomorphic: New Animal Architecture. Collins Design, 2003.

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10

From Elephants to Skyscrapers: Zoomorphic Architecture. Fulton Books, 2018.

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11

Gianni, Oliva, ed. Animali e metafore zoomorfe in Verga. Roma: Bulzoni, 1999.

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12

Krussow, J. Patricia. Aakki Daakki to Zoomorphic an Encyclopedia About. Friends Of The Hood River Libr, 1994.

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13

Bush, Susan, Qianshen Bai, Eugene Y. Wang, Sarah Allan, and Jerome Silbergeld. Zoomorphic Imagination in Chinese Art and Culture. University of Hawaii Press, 2016.

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14

The Zoomorphic Imagination in Chinese Art and Culture. University of Hawaii Press, 2016.

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15

Allan, Sarah, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, and Henrik Sørensen. The Zoomorphic Imagination in Chinese Art and Culture. Edited by Jerome Silbergeld and Eugene Y. Wang. University of Hawaii Press, 2016. http://dx.doi.org/10.1515/9780824872564.

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16

Patricia, Krussow J., and Hood River County Library (Or.). Friends., eds. Aakki-daakki to zoomorphic: An encyclopedia about Hood River country. Hood, River, Or: Friends of the Hood River Library, 1994.

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17

Leskinen, Maria V., and Eugeny A. Yablokov, eds. All men and beasts, lions, eagles, quails… Anthropomorphic and Zoomorphic Representations of Nations and States in Slavic Сultural Discourse. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0441-1.

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The book was compiled on the materials of the scientific conference “Anthropomorphic and zoomorphic representations of nations and states in the Slavic cultural discourse” (2019), held at the Institute of Slavic Studies of the Russian Academy of Sciences (Moscow) and devoted to the history of the nations’ personifications and generalized ethnic images in period of “imagined communities” formation. This process is reconstructing on verbal and visual sources and by methods of various disciplines. The historical evolution of such zoomorphic incarnations of nations as an Eagle (in the Polish patriotic poetry of the first third of the 19th cent), a Falcon (in the South Slavic and Czech cultures in the 19th cent), a Griffin (during the formation of the Cassubian ethnocultural identity) is considered. The animalistic national representations in the Estonian caricature of the interwar twenty years of the 20th cent., so as the functioning of the Bear’s allegory as a symbol of Russia in modern Russian souvenir products are analyzed. The originality of zoomorphic symbolism in Polish and Soviet cultures is shown оn the examples of para- and metaheraldic images in XXth cent. The transformation of the verbal and visual images of “Mother Russia” personifications in Russian Empire was reconstructed. The evolution of various allegories of ethnic “Self” and “Others” is presented by caricatures of 19th – 20th cent. in Slovenian periodic and in Russian “Satyricon” journal (1914–1918).

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18

Knox, Daisy. Mediterranean—Cyprus. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.037.

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Prehistoric Cyprus was home to a surprisingly rich and varied corpus of three-dimensional figurative imagery, including anthropomorphic and zoomorphic figurines and figurative vessels, as well as models of inanimate objects in stone, clay, and copper. Beginning with the rare fragments discovered in Pre-Pottery Neolithic A contexts, Cyprus’ figurine record developed over several millennia into the diverse, island-wide, representative phenomena of the Bronze Age. This chapter explores the most pervasive and ongoing debates concerning the function and significance of these figurines—their use in ritual activities, their relevance to the gender discourse, and their use in the expression of identities. This will be conducted in light of recent theoretical developments in archaeology and, as ever on Cyprus, in the shadow of Aphrodite.

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19

Bánffy, Eszter. Neolithic Eastern and Central Europe. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.035.

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Contrasted with the vast majority of Neolithic finds, thousands of Neolithic figurines, anthropomorphic vessels, and house models were vested with both a special typological and an artistic value, often divorcing them from their original contexts and removing any clues about their roles within the community. This was aggravated by interpretations that considered these sixth and fifth millennum bc southeast and Central European figurines as forerunners of the deities and goddesses of classical antiquity. What positive interpretation do these representations allow, given that some sites have occasionally yielded hundreds of these figurines? A closer examination of the stylistic features and the archaeological contexts can reveal much about Neolithic ‘history’, Neolithic cognition, naturalistic and symbolic representations, transitions between human and zoomorphic representations, intentional figurine breakage and the role of ritual customs within changing Neolithic social structures.

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20

Kuijt, Ian. Clay Ideas. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.028.

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Beginning around 11,500 years ago, the Neolithic of the Near East encompassed some of the most profound and fundamental innovations in our species’ history. This included the establishment of the earliest sedentary villages, founded by food-producing communities who relied on wild and domesticated plants and animals for subsistence. Major changes were also seen in use of imagery, both anthropomorphic and zoomorphic, in concert with society’s struggle to control new structures of economy, social organization, and symbolism. This chapter explores how Near Eastern Neolithic figurine use changed through time, and considers how competing interpretive frameworks of phallocentrism and Goddess worship present alternative frameworks of understanding broader social meanings within these communities. Moreover, the frequency of objects, the design, and miniaturization of these objects provide insight into how Neolithic people deliberately created ambiguity and anonymity when they crafted anthropomorphic figurines.

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21

Clark, Sharri R., and Jonathan Mark Kenoyer. South Asia—Indus Civilization. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.024.

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Figurines of the Indus Civilization (c.2600–1900 BC) provide unique insights into technological, social, and ideological aspects of this early urban society. The Indus script has not yet been deciphered, so figurines provide one of the most direct means to understand social diversity through ornament and dress styles, gender depictions, and various ritual traditions. This chapter focuses on figurines from the site of Harappa, Pakistan, with comparative examples from other sites excavated in both India and Pakistan. Anthropomorphic and zoomorphic terracotta figurines, and special forms with moveable components or representing composite or fantastic creatures, are found at most sites of the Indus Civilization, with rare examples of figurines made of bronze, stone, faience, or shell. The raw materials and technologies used to make figurines are discussed, along with the archaeological contexts in which they have been discovered. These figurines provide an important line of evidence regarding Indus society and religion.

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22

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 lying and sitting on elaborate beds. The figurative art appears to fall into distinct categories of anthropomorphic and domestic creatures, alongside more speculative representations that focus on cold-blooded reptiles and fish, or feathered birds. The potential to interpret this ‘art’ as representative of a layer cosmology is explored within the context of a Neolithic island society.

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23

Barich, Barbara E. The Sahara. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.006.

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This chapter discusses the collection of objects, in clay and stone, from various pastoral Saharan sites whose original core area lay between Libya (Tadrart Acacus) and Algeria (Tassili- n-Ajjer). The chapter starts from the general theme of the relationship between the figurines and the subjects they represent, and the difference between two-dimensional and three-dimensional representation. It goes on to discuss the manufacturing process of the clay specimens (dating from between 7000 and 4000 years ago) and the significance of the changes introduced by the Neolithic. Most of the items studied fall into the category of zoomorphic figurines, with only two anthropomorphic examples, and find in the depiction of cattle their most striking subject. These representations possess an evident symbolic content which must be framed within the pastoral ideology of the Saharan Neolithic. In the anthropomorphic figurines the representation of the human body also plays the role of recapturing the sense of wholeness.

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24

Farbstein, Rebecca. Palaeolithic Central and Eastern Europe. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.034.

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This chapter discusses the rich archaeological record of Upper Palaeolithic symbolic material culture from sites in Central and Eastern Europe. In particular, it focuses on art and ornaments excavated from sites in Czech Republic, Austria, Ukraine, and Russia. Following a review of some influential and provocative interpretations of the most frequently discussed figurative art, in particular the so-called ‘Venus’ figurines, it proposes new contextual frameworks that facilitate a more comprehensive understanding of the diverse records of symbolic material culture, which include large quantities of zoomorphic, non-figurative art, and ornaments which have been the focus of relatively less research to date. Furthermore, it argues for the need for more nuanced approaches to the study of Palaeolithic art, particularly those which recognize that the socially embedded production of art could offer as much insight into these assemblages as the traditional approaches which focus on the iconography or appearance of the most aesthetically striking figurines.

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25

Taiz, Lincoln, and Lee Taiz. Crop Domestication and Gender. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0003.

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“Crop Domestication and Gender” traces the rise of permanent settlements and incipient agriculture from the Pre-pottery Neolithic to the Pottery Neolithic in the Levant, together with the iconographic changes that show a shift from the predominance of zoomorphic forms to female forms concurrent with the increasing importance of agriculture. It discusses relevant geographic features, climactic periods and changes in temperature, rainfall and glaciation while exploring the important transitional cultures and the artifacts that reveal the progress of agricultural development and plant domestication. Domestication of the founder crops of the Fertile Crescent are described, together with markers in the archaeological record that distinguish wild plants from domesticated plants. The abundance of female figurines at the Neolithic village of Sha’ar Hagolan and the presence of cryptic agricultural symbols at Hacilar and Çatalhüyük, support a close association of women, cats, and agriculture, most famously exemplified by the so-called “grain bin goddess“ of Çatalhüyük.

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