scholarly journals Neurological and Neuropsychiatric Diseases through the Lens of Roman Sculpture

2021 ◽  
Author(s):  
Salvatore Fadda
Keyword(s):  
Art History ◽  
Clinical Signs ◽  
Medical Diagnoses ◽  
Republican Period ◽  
Works Of Art ◽  
Neuropsychiatric Diseases ◽  
Physical Features ◽  
As If

Roman sculpture has often given the impression that it provides such a precise simulacrum of the bodies of ancient Romans that their statues can be studied autoptically as if they were a patient. Specialists in medicine and art-history have studied Roman sculptures to the point of producing real medical diagnoses, generating a research niche which, while controversial, has led to some interesting discoveries. However, scholars had sometimes misunderstand certain elements of ancient sculptures, interpreting aesthetic choices as clinical signs. In the article several works of art from the Republican period to the Tetrarchic age will be observed, to assess if the diagnoses made on them are due to actual physical features of the individuals portrayed or not. This article analyses the strengths and weaknesses of the study of ancient pathologies through Roman sculpture to delineate the limits and the possibilities of such approach.

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.

scholarly journals “‘But the Fountain Sprang Up and the Bird Sang Down’: Heidegger’s Gathering of the Fourfold and the Seven-Sacraments Font at Salle, Norfolk.”

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 464
Author(s):  
Marie Clausén
Keyword(s):  
Cultural Heritage ◽  
Art History ◽  
Architectural Elements ◽  
15Th Century ◽  
The Earth ◽  
Medieval Church ◽  
The Church ◽  
As If

My paper analyses the 15th-century seven-sacraments font at the medieval church of St Peter and St Paul at Salle in Norfolk (England). The church guides and gazetteers that describe the font, and the church in which it is situated, owe both their style and content to Art History, focusing as they do on their material and aesthetic dimensions. The guides also tend towards isolating the various elements of the font, and these in turn from the rest of the architectural elements, fittings and furniture of the church, as if they could be meaningfully experienced or interpreted as discrete entities, in isolation from one another. While none of the font descriptions can be faulted for being inaccurate, they can, as a result of these tendencies, be held insufficient, and not quite to the purpose. My analysis of the font, by means of Heidegger’s concept of Dwelling, does not separate the font either from the rest of the church, nor from other fonts, but acknowledges that it comes to be, and be seen as, what it is only when considered as standing in ‘myriad referential relations’ to other things, as well as to ourselves. This perspective has enabled me to draw out what it is about the font at Salle that can be experienced as not merely beautiful or interesting, but also as meaningful to those—believers and non-believers alike—who encounter it. By reconsidering the proper mode of perceiving and engaging with the font, we may spare it from being commodified, from becoming a unit in the standing reserve of cultural heritage, and in so doing, we, too, may be momentarily freed from our false identities as units of production and agents of consumption. The medieval fonts and churches of Norfolk are, I argue, not valuable as a result of their putative antiquarian qualities, but invaluable in their extending to us a possibility of dwelling—as mortals—on the earth—under the sky—before the divinities.

Science of Art and Analysis: A Mixture for Undergraduate Non-Specialists

1992 ◽  
Vol 267 ◽  
Author(s):  
W. Stanley Taft ◽  
James W. Mayer
Keyword(s):  
Physical Properties ◽  
Computer Science ◽  
Undergraduate Students ◽  
Analytical Methods ◽  
Art History ◽  
Analytical Techniques ◽  
Cornell University ◽  
The Third ◽  
Works Of Art ◽  
Modern Analytical

ABSTRACTAt Cornell University we are in the third year of teaching an interdisciplinary, undergraduate course on the physical properties and structures of works of Art, and the modern analytical methods used to investigate them: Art, Isotopes, and Analysis. The challenge is to explain concepts familiar to museum scientists and conservators to a group of 150 undergraduate students with a background that ranges from Art History to Computer Science. Painting techniques (Fresco, Tempera, Oil, etc.) are demonstrated to the class. The analytical techniques involve the interactions of electrons, photons, ions and neutrons with pigments and other materials. This instructional approach serves as an introduction to published analyses of works of art.

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

1. What is art history?

2020 ◽  
pp. 1-30
Author(s):  
Dana Arnold
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Art Appreciation ◽  
Cultural Issues ◽  
Work Of Art ◽  
Works Of Art ◽  
The Social ◽  
Over Time

‘What is art history?’ discusses the term art history and draws distinctions between it and art appreciation and art criticism. It also considers the range of artefacts included in the discipline and how these have changed over time. The work of art is our primary evidence, and it is our interaction between this evidence and methods of enquiry that forms art history. Art appreciation and criticism are also linked to connoisseurship. Although art is a visual subject, we learn about it through reading and we convey our ideas about it mostly in writing. The social and cultural issues articulated by art history are examined through an analysis of four very different works of art.

The DACS Slide Collection Licensing Scheme

2001 ◽  
Vol 26 (4) ◽  
pp. 10-17 ◽  
Author(s):  
Jenny Godfrey
Keyword(s):  
Higher Education ◽  
Art History ◽  
Higher Education Institutions ◽  
Copyright Law ◽  
Art Galleries ◽  
Art And Design ◽  
Visual Material ◽  
Traditional Art ◽  
Works Of Art ◽  
The Uk

For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Changes in UK copyright law in 1988 made this illegal and jeopardised the ability of lecturers to present the visual material they needed for their courses. Slide librarians were forced to consider ways of getting around the law. A licence scheme ultimately emerged as the answer, but one that has its detractors and critics.

scholarly journals Failure of diplodiatoxin to induce diplodiosis in juvenile goats

2020 ◽  
Vol 87 (1) ◽  
Author(s):  
Christo J. Botha ◽  
Louis G.J. Ackerman ◽  
Mxolisi G. Masango ◽  
Luke F. Arnot
Keyword(s):  
South Africa ◽  
Body Weight ◽  
Intravenous Administration ◽  
Dosage Regimen ◽  
Clinical Signs ◽  
Major Metabolite ◽  
Experimental Results ◽  
Culture Material ◽  
As If

Diplodiosis is an important neuromycotoxicosis of ruminants in South Africa when grazing on harvested maize fields in winter. It is believed to be caused by mycotoxin(s) synthesised by Stenocarpella (Diplodia) maydis. Although several metabolites have been isolated from S. maydis culture material, none of these have been administered to ruminants to reproduce the disease. The objectives of this study were to isolate diplodiatoxin and to administer it to juvenile goats. Diplodiatoxin, considered as a major metabolite, was purified from S. maydis-infected maize cultures (Coligny 2007 isolate). Following intravenous administration of 2 mg and 4 mg diplodiatoxin/kg body weight for five consecutive days to two juvenile goats, no clinical signs reminiscent of diplodiosis were observed. Based on previous experimental results and if diplodiatoxin was the causative compound, the dosage regimen employed was seemingly appropriate to induce diplodiosis. In addition, intraruminal administration of 2 mg/kg diplodiatoxin to one goat for three consecutive days also did not induce clinical signs. It appears as if diplodiatoxin alone is not the causative compound. Other metabolites and/or mixtures of diplodiatoxin and other mycotoxins, when available in sufficient quantities, should also be evaluated.

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