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|a Brown, Brian A.
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|a Critical Approaches to Ancient Near Eastern Art
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|c 2013
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|a Acknowledgements; Contributors; List of Illustrations; Editors' Note; Map 1; Map 2; Introduction; I. Defining the Field; Archaeology and Politics in Iraq; Forgeries of Ancient Near Eastern Artifacts and Cultures; Beyond the East-West Dichotomy in Syrian and Levantine Wall Paintings; Orientalism and Orientalization in the Iron Age Mediterranean; II. Technologies and Practices of Artistic Production; The Historiography of the Concept of „Workshop" in Ancient. Near Eastern Archaeology: Descriptive Models and Theoretical Approaches (Anthropology vs. Art History)
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|a The Impact of the „Portable": Integrating „Minor Arts" into the Ancient Near Eastern CanonThe Influence of the Physical Medium on the Decoration of a Work of Art: A Case Study of the “Phoenician†Bowls; Impressions of the Contest Scene: Glyptic Imagery and Sealing Practice in the Akkadian Period; Histories of Cypriot Art through Seal Carving; III. Text and Image; Relating Image and Word in Ancient Mesopotamia; Pictorial Mythology and Narrative in the Ancient Near East; Art's Role in the Origins of Writing: The Seal-Carver, the Scribe, and the Earliest Lexical Texts
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|a Posthumous Images and the Memory of the Akkadian KingsStyles of Pictorial Narratives in Assurbanipal's Reliefs; IV. Social Identities; Sexuality, Reproduction and Gender in Terracotta Plaques from the Late Third-Early Second Millennia BCE; Images and Conceptions of Ideal Feminine Beauty in Neo-Assyrian Royal Contexts, c. 883â€"627 BCE; Uniforms and Non-Conformists: Tensions and Trends in Early Dynastic Fashion; Terracotta Figurines and Social Identities in Hellenistic Babylonia; The Impressed Image: Glyptic Studies as Art and Social History
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|a Culture on Display: Representations of Ethnicity in the Art of the Late Assyrian StateV. Religion, Ritual and Politics; Human, Divine or Both? The Uruk Vase and the Problem of Ambiguity in Early Mesopotamian Visual Arts; A Silent Message: Godlike Kings in Mesopotamian Art; When the Subject is the Object: Relational Ontologies, the Partible Person and Images of Naram-Sin; Gods, Heroes, Rituals, and Violence: Warfare in Neo-Assyrian Art; The Tell Asmar Hoard and Rituals of Early Dynastic Sculpture; VI. Making and Defining Space
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|a A Feast for the Eyes: Depiction and Performance of Ritual within the Sacred Space of Middle Bronze Age EblaThe Art of Building a Late Assyrian Royal Palace; The Assyrian Landscape as Ritual; Aesthetics of the Natural Environment in the Arts of the Ancient Near East: The Elamite Rock-Cut Sanctuary of Kurangun; Art of the Achaemenid Empire, and Art in the Achaemenid Empire; Index
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| 520 |
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|a Critical Approaches to Ancient Near Eastern Art concentrates on the visual, material, and built aspects of the Ancient Near East from the fourth millennium BCE to the Hellenistic period. Presenting innovative theoretical approaches to Ancient Near Eastern art history, this volume will be of value to scholars of the Ancient Near East, as well as to those interested in contemporary art historical and anthropological approaches to visual culture. Brian A. Brown, University of California, Berkeley, USA;Marian H. Feldman, Johns Hopkins University, Baltimore, USA.
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| 520 |
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|a Critical Approaches to Ancient Near Eastern Art concentrates on the visual, material, and built aspects of the Ancient Near East from the fourth millennium BCE to the Hellenistic period. Presenting innovative theoretical approaches to Ancient Near Eastern art history, this volume will be of value to scholars of the Ancient Near East, as well as to those interested in contemporary art historical and anthropological approaches to visual culture
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