IX.—On some Ancient Paintings in churches of Athens

Archaeologia ◽  
1888 ◽  
Vol 51 (1) ◽  
pp. 173-188 ◽  
Author(s):  
N.H.J. Westlake
Keyword(s):  
Full Account ◽  
History Of Art ◽  
History Of ◽  
New Buildings ◽  
As If ◽  
Public Worship

The accompanying notes are made for the purpose of introducing to the Society the beautiful copies of ancient frescoes from the churches of Athens which have been lent for exhibition by the Marquis of Bute. His lordship had these copies made during his stay at Athens in 1885. He has given a full account of them in an essay on “Some Christian Monuments of Athens,” published in the Scottish Review (July 1885), and the descriptions of the pictures given in this paper are quoted from his lordship's essay. These paintings and the monuments containing them are of course subject to decay, but they are, it appears, in greater danger of wilful destruction from speculative excavations to unearth monuments more ancient, or from attempts to make use of the materials of such monuments for new buildings. It is from no wanton vandalism that such destruction arises, but it is evidently the result of the uncultivated condition of the present race of Athenians. In the article in the Scottish Review the writer thus comments on this unsatisfactory state of things:—A decree of Otho L, dated May 20, 1836, placed at the disposal of the Ministry of Public Worship every ruined church in Greece, however important historically or however precious artistically, as a mine for the building of new places of public worship, the new University of Athens, &c. This decree is conceived as if no such things as History or Art existed. The results have been terrible, and Finlay, as an eye-witness, speaks of “the destruction of numerous mediæval churches which formed a valuable link in the records of Athens, and an interesting feature in Athenian topography, while they illustrated the history of art by their curious and sometimes precious paintings.”

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

The Property Species

2020 ◽  
Author(s):  
Bart J. Wilson
Keyword(s):  
Cognitive Linguistics ◽  
Homo Sapiens ◽  
Fundamental Principle ◽  
First Century ◽  
Human Beings ◽  
Full Account ◽  
Symbolic Thought ◽  
Core Property ◽  
The Social ◽  
History Of

What is property, and why does our species happen to have it? The Property Species explores how Homo sapiens acquires, perceives, and knows the custom of property, and why it might be relevant for understanding how property works in the twenty-first century. Arguing from some hard-to-dispute facts that neither the natural sciences nor the humanities—nor the social sciences squarely in the middle—are synthesizing a full account of property, this book offers a cross-disciplinary compromise that is sure to be controversial: All human beings and only human beings have property in things, and at its core, property rests on custom, not rights. Such an alternative to conventional thinking contends that the origins of property lie not in food, mates, territory, or land, but in the very human act of creating, with symbolic thought, something new that did not previously exist. Integrating cognitive linguistics with the philosophy of property and a fresh look at property disputes in the common law, this book makes the case that symbolic-thinking humans locate the meaning of property within a thing. The provocative implications are that property—not property rights—is an inherent fundamental principle of economics, and that legal realists and the bundle-of-sticks metaphor are wrong about the facts regarding property. Written by an economist who marvels at the natural history of humankind, the book is essential reading for experts and any reader who has wondered why people claim things as “Mine!,” and what that means for our humanity.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Figurines

2020 ◽  
Keyword(s):  
Art History ◽  
Greco Roman ◽  
Roman Culture ◽  
History Of ◽  
Relationship Of ◽  
Material Concept ◽  
As If

This book concerns figurines from cultures that have no direct links with each other. It explores the category of the figurine as a key material concept in the art history of antiquity through comparative juxtaposition of papers drawn from Chinese, pre-Columbian, and Greco-Roman culture. It extends the study of figurines beyond prehistory into ancient art-historical contexts. At stake are issues of figuration and anthropomorphism, miniaturization and portability, one-off production and replication, substitution and scale. Crucially, figurines are objects of handling by their users as well as their makers—so that, as touchable objects, they engage the viewer in different ways from flat art. Unlike the voyeuristic relationship of viewing a neatly framed pictorial narrative, as if from the outside, the viewer as handler is always potentially and without protection within the narrative of figurines. This is why they have had potential for a potent, even animated, agency in relation to those who use them.

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