Public sculptures were the "mass media" of the Roman world. They populated urban centers throughout the empire, serving as a "plastic language" that communicated political, religious, and social messages. This book brings together twenty-eight experts who otherwise rarely convene: text-based scholars of the Greco-Roman, Jewish, and Christian realms from the fields of classics, history, and religion and specialists in the artistic traditions of Greece and Rome as well as art historians and archaeologists. Utilizing the full spectrum of ancient sources, the book examines the multiple, at times even contradictory, meanings and functions that statues served within the complex world of the Roman Near East. Moreover, it situates the discussion of sculpture in the broader context of antiquity in order to reevaluate long-held scholarly consensuses on such ideas as the essence of Hellenism (the culture that emerged from the encounter of Greco-Romans with the Near East) and the everlasting "conflict" among paganism, Christianity, and Judaism.

Discover a comprehensive and cross-disciplinary handbook exploring several sub-regions and key themes perfect for a new generation of students A Companion to the Hellenistic and Roman Near East delivers the first complete handbook in the area of Hellenistic and Roman Near Eastern history. The book is divided into sections dealing with interdisciplinary source material, each with a great deal of regional variety and engaging with several key themes. It integrates discussions of the classical Near East with the typical undergraduate teaching syllabus in the Anglo-Saxon world. All contributors in this edited volume are leading scholars in their field, with a combination of established researchers and academics, and emerging voices. Contributors hail from countries across several continents, and work in various disciplines, including Ancient History, Archaeology, Art History, Epigraphy, Numismatics, and Oriental Studies. In addition to furthering the integration of the Levantine lands in the classical periods into the teaching canon, the book offers readers: The first comprehensively structured Companion and edited handbook on the Hellenistic and Roman Near East Extensive regional and sub-regional variety in the cross-disciplinary source material A way to compensate for the recent destruction of monuments in the region and the new generation of researchers’ inability to examine these historical stages in person An integration of the study of the Hellenistic and Roman Near East with traditional undergraduate teaching syllabi in the Anglo-Saxon world Perfect for undergraduate history and classics students studying the Near East, A Companion to the Hellenistic and Roman Near East will also earn a place in the libraries of graduate students and scholars working within Near Eastern studies, as well as interested members of the public with a passion for history.

Situates the study of Roman sculpture within the fields of art history, classical archaeology, and Roman studies, presenting technical, scientific, literary, and theoretical approaches.

A Companion to Roman Art encompasses various artistic genres, ancient contexts, and modern approaches for a comprehensive guide to Roman art. Offers comprehensive and original essays on the study of Roman art Contributions from distinguished scholars with unrivalled expertise covering a broad range of international approaches Focuses on the socio-historical aspects of Roman art, covering several topics that have not been presented in any detail in English Includes both close readings of individual art works and general discussions Provides an overview of main aspects of the subject and an introduction to current debates in the field

A HISTORY OF ROMAN ART The new edition of the leading textbook on Roman art, updated with new images and expanded geographic and cultural scope A History of Roman Art is an expansive survey of the painting, mosaic, sculpture, decorative arts, and architecture of ancient Rome. This acclaimed textbook provides a fully-illustrated narrative history of Roman art that spans a millennium, from the early origins of Rome to the era of Emperor Constantine. Interwoven throughout the text are themes of Rome's cultural inclusiveness and the importance of art in promoting Roman values, helping students understand how diverse cultures contributed to Roman life. Accessible, chronologically-organized chapters provide numerous examples of the arts, their cultural and historical context, descriptions of artistic techniques, and writings by ancient authors—enabling students to develop a rich appreciation of art’s importance in the Roman world. Now in its second edition, this market-leading textbook features thoroughly revised content throughout. Additional images and excerpts from literary sources are complemented by new historical discussions of metalwork, carved gems, glass, and sarcophagi. This edition features more maps and illustrations, in-depth analysis of iconography, greater emphasis on the types of objects used to decorate the lives of ordinary Romans, expanded coverage of freedmen and women as artists, subjects, and patrons, and much more. A number of works that represent popular art have been added. That is, art in the everyday Roman world, rather than just the large scale works of sculpture and architecture of elite patrons. It also reveals patterns of artistic workshops, trade, and social and economic networks. Additionally, this edition takes into account new approaches in scholarship. This comprehensive textbook: Provides a thorough introduction to Roman art history featuring more than 400 high quality images and illustrations Includes a full set of pedagogical tools, such as historical timelines, key term definitions, and updated references and further reading suggestions Offers “Scholarly Perspective,” “A View from the Provinces,” “More on Myth,” and “Art and Literature” textboxes in each chapter Includes a companion website containing PowerPoint slides and additional instructor resources A History of Roman Art, Second Edition is an ideal primary or secondary text for courses on Roman art and archaeology, Roman art and architecture, Greek and Roman art, and general Roman civilization, history, and culture.

A close look at Phoenician religion The Hebrew Bible contains a prohibition against divine images (Exod 20:2-5a). Explanations for this command are legion, usually focusing on the unique status of Israel's deity within the context of the broader Near Eastern and Mediterranean worlds. Doak explores whether or not Israel was truly alone in its severe stance against idols. This book focuses on one particular aspect of this iconographic context in Israel's Iron Age world: that of the Phoenicians. The question of whether Phoenicians employed aniconic (as opposed to iconic) representational techniques has significance not only for the many poorly understood aspects of Phoenician religion generally, but also for the question of whether aniconism can be considered a broader trend among the Semitic populations of the ancient Near East. Features: More than fifty images and illustrations Examination of textual and archaeological evidence Application of art historical methods

The phenomenon of iconoclasm, expressed through hostile actions towards images, has occurred in many different cultures throughout history. The destruction and mutilation of images is often motivated by a blend of political and religious ideas and beliefs, and the distinction between various kinds of ’iconoclasms’ is not absolute. In order to explore further the long and varied history of iconoclasm the contributors to this volume consider iconoclastic reactions to various types of objects, both in the very recent and distant past. The majority focus on historical periods but also on history as a backdrop for image troubles of our own day. Development over time is a central question in the volume, and cross-cultural influences are also taken into consideration. This broad approach provides a useful comparative perspective both on earlier controversies over images and relevant issues today. In the multimedia era increased awareness of the possible consequences of the use of images is of utmost importance. ’Iconoclasm from Antiquity to Modernity’ approaches some of the problems related to the display of particular kinds of images in conflicted societies and the power to decide on the use of visual means of expression. It provides a deeper understanding of the mechanisms of the phenomenon of iconoclasm. Of interest to a wide group of scholars the contributors draw upon various sources and disciplines, including art history, cultural history, religion and archaeology, as well as making use of recent research from within social and political sciences and contemporary events. Whilst the texts are addressed primarily to those researching the Western world, the volume contains material which will also be of interest to students of the Middle East.

It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All ofthis, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it.Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The newevidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marbleworkshops.

The volume investigates the visualization of both ritual and decorative aspects of auspiciousness and protection in the form of celestial characters in art and architecture. In doing so, it covers more than two and a half millennia and a broad geographical area, documenting a practice found in nearly every corner of the world. Its transcultural approach aims at gaining insights into cultural dynamics and consistent networks and defining new historical mindmaps; it examines reciprocal effects and aspects of interwovenness in art and architecture with a view to reconceptualizing their established realms. The collection opens a window on a phenomenon in the history of art and architecture that has never before been considered from this perspective. The book focuses on a transcultural iconography of aerial spirits, goddesses and gods in art history, pursuing a methodologically innovative approach in order to redefine and develop the practice of identification and classification of motifs as a means to understanding meaning, and attempting to challenge the categories defined by academic disciplines.

This volume brings together a set of fundamental contributions, many translated into English for this publication, along with an important introduction. Together these explore the role of Greek among Christian communities in the late antique and Byzantine East (late Roman Oriens), specifically in the areas outside of the immediate sway of Constantinople and imperial Asia Minor. The local identities based around indigenous eastern Christian languages (Syriac, Coptic, Armenian, Georgian, etc.) and post-Chalcedonian doctrinal confessions (Miaphysite, Church of the East, Melkite, Maronite) were solidifying precisely as the Byzantine polity in the East was extinguished by the Arab conquests of the seventh century. In this multilayered cultural environment, Greek was a common social touchstone for all of these Christian communities, not only because of the shared Greek heritage of the early Church, but also because of the continued value of Greek theological, hagiographical, and liturgical writings. However, these interactions were dynamic and living, so that the Greek of the medieval Near East was itself transformed by such engagement with eastern Christian literature, appropriating new ideas and new texts into the Byzantine repertoire in the process.