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Related Searches. Art and Rhetoric in Roman Culture.

Rhetoric was fundamental to education and to cultural aspiration in the Greek and Roman worlds. It was one of the key aspects of antiquity that slipped under the line between the ancient world and Christianity erected by the early Church View Product. The Art of Greece and Rome.

In The Art of Greece and Rome Susan Woodford illuminates the great achievements of classical art and architecture and conveys a sense of the excitement that fired the creative artists of the ancient world. The Greeks were quick to challenge Calling all pumpkin chuckers, wannabe marauders, and tinkerers of all ages! Flinging things Flinging things and playing at defending your own castle has never been more fun. Whether playing at defending their own castle or simply chucking pumpkins What informed and inspired the visual artists who depicted the Trojan War on vases, on What informed and inspired the visual artists who depicted the Trojan War on vases, on walls, and in sculpture?

Scholars have debated this question for years.

Were Greek painters simply depicting the stories of Achilles and Odysseus as recounted in Caesar: A History of the Art of War. At the time of his death, Julius Caesar was the most powerful man on earth. Beginning with the Gallic Wars, he had fought a series of epic campaigns, culminating in the brutal civil war that brought the Roman Republic to The World of Mythology series introduces the myths of the world's greatest civilizations. The Classical The Classical world of ancient Greece and Rome has had an immeasurable impact on Western culture, but what inspired some of the greatest writers, philosophers, and architects Egyptian Art.

This guide brings together a selection of over sixty ancient Egyptian objects from the collection This guide brings together a selection of over sixty ancient Egyptian objects from the collection of the Fitzwilliam Museum in Cambridge. Each object, ranging from large sculptures to small decorative items, is illustrated in colour, with descriptions explaining their significance, This is the first history of epiphany as both a phenomenon and as a cultural This is the first history of epiphany as both a phenomenon and as a cultural discourse within the Graeco-Roman world, exploring divine manifestations and their representations, in visual terms as well as in literary, historical and epigraphic accounts.

Verity Platt Instead, Roman artists engaged dynamically with earlier visual cultures, employing many forms of emulation, allusion, selection, and recombination.

Anne Roullet (Author of The Egyptian and Egyptianizing Monuments of Imperial Rome)

For example, the garden of the Casa degli Amorini Dorati at Pompeii contained not only Egyptian imagery a shrine with Isiac paintings, a probably Egyptian-made statuette of Horus, and an oil lamp depicting Egyptian deities , but also a shrine to the Capitoline triad and a wide range of Hellenizing material culture e. Another type of eclecticism appears in paintings of Egyptian landscapes that employ a style of brushwork derived from Hellenistic and Roman art.

Certain geographically or culturally distinctive features—crocodiles, a statue of the Apis bull, an animal-headed boat made of reeds, and human figures who resemble pygmies—locate the scene in Egypt, and many of these motifs have antecedents in Egyptian art. Interior face of the eastern bench of an outdoor masonry triclinium. Another growth area for research involves the contextualization of Aegyptiaca, particularly within household settings. While previous work has frequently addressed the roles of Aegyptiaca within imperial, public, and temple contexts 95 , household Aegyptiaca still remain comparatively understudied.

Artifacts may further come from primary contexts or secondary contexts. In situ deposits, or de facto assemblages, are those left behind when people abandoned an activity area. Recent art-historical research emphasizes the importance of contextual appropriateness decor, decorum in Roman visual culture. Accordingly, if we are to understand how Roman Aegyptiaca created meaning for or derived meaning from their viewers, we need to understand them in context.

When we encounter wall paintings, mosaics, or statues in museums or as photographs in publications, we may be tempted to treat them as self-contained works to be viewed in isolation. For example, we cannot fully understand the statue in Figure 2 outside of its sanctuary context, or the fountain statuette in Figure 3 outside of the domestic garden from which it came. As one component of a probable fountain assemblage that incorporated a whole group of river beasts in Egyptian faience or imitation Egyptian faience, this object would have prompted visitors to imagine a miniature Nile within domestic space.

Also picking up on the Egyptian theme is a small room opening off the peristyle. Detail of east wall, depicting a duck, a swan, and lotuses. The framing of this domestic assemblage does not necessarily impose any single meaning onto the artifacts, whether decorative, religious, or anything else.

Obelisks in Ancient Egypt

To different viewers in first-century Pompeii, a domestic crocodile statuette might convey a wide array of possible messages. As domestic spaces associated with otium and relatively limited access , gardens would have functioned, among other things, as settings for social interaction with invited guests. While the Iseum Campense statue acts at least in part to mediate relationships between humans and gods, then, the domestic statuette acts at least in part to mediate relationships between humans and humans.

At different times or from different vantage points, the same garden might also have served as a work space for domestic slaves, a play area for children, or an appealing vista glimpsed through a door by clients in the atrium or even by passers-by in the street outside. In order to investigate those relationships, we need to situate domestic artifacts within larger settings and assemblages.

Research on Roman Aegyptiaca is a dynamic and rapidly expanding field, poised to make significant contributions to interdisciplinary debates in the humanities and social sciences. Recent theoretical developments in archaeology and art history, including new perspectives on materiality, entanglement, and cross-cultural interactions, offer opportunities to question old paradigms and develop more nuanced approaches to Roman-Egyptian interactions. In some contexts, Aegyptiaca may have reinforced perceived differences between Egyptian and Roman cultures and identities; in other contexts, they may have contributed to breaking down such distinctions and constructing new perceptions of Egypt as part of the Roman world.

Through continued investigation of the ways that artifacts and images mediate interactions between members of different cultural groups, research on Roman representations of Egypt has much to contribute to larger debates about connectivity, identity, empire, and the social impacts of human-thing entanglements. Financial support for this research came from Cornell University and the University of Pennsylvania. I thank Miguel John Versluys for his thoughtful and helpful feedback on an earlier draft of this article.

Roman Egypt

As always, responsibility for any errors and all opinions remains my own. Abbreviations of journal names follow the conventions of the American Journal of Archaeology.

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