EXAMINING THE PARTHIAN ART AND ARCHITECTURE AND THE IMPACT OF GREEK ART AND ARCHITECTURE

In this article, a brief look at the history of ancient Iranian art before Islam, its characteristics during the Parthian rule, and the study of the monuments left over from that period, especially the palaces and the influence of ancient Greek architecture on them. Parthian period, due to the succession of the Seleucids, the Greek and Iranian domination over the Greek culture and architecture were widespread in Iran, one of the most important periods of the history of Iran. The Parthian era culture is a culture that tries to dominate the remains of Greek civilization and culture to bring Iran to re-establish. Parthian win this battle and inspiring inventions and innovations of the Sassanid civilization and Islamic culture of Iran. Overall, what is interesting is the dramatic Parthian architecture are among the Porticoes wide open courtyard surrounded by columns attached to the wall. Plaster Vonda colored object of interesting architectural elements farthest era of special features. The use of materials and the use of adobe bricks with mortar gained sharply. Perhaps one of the advantages of this new material, creating massive arch of the dome is first and then create a new architectural style were the architects of the Sassanid indebted. City maps with Hypoderm been carried out in some cities. But the main feature of the Parthian city circular design in cities such as Marv, Ctesiphon and Hart seen.

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The Experience of Poetry

10.1093/oso/9780198833154.001.0001 ◽

2019 ◽

Cited By ~ 1

Author(s):

Derek Attridge

Keyword(s):

Late Antiquity ◽

Cultural Practice ◽

Oral Traditions ◽

English Renaissance ◽

Ancient Rome ◽

Ancient Greek ◽

Continuity And Change ◽

Private And Public ◽

History Of ◽

The Impact

The question this book addresses is whether, in addition to its other roles, poetry—or a cultural practice we now call poetry—has, across the two-and-a-half millennia from the composition of the Homeric epics to the publication of Ben Jonson’s Works and the death of Shakespeare in 1616, continuously afforded the pleasurable experience we identify with the crafting of language into memorable and moving rhythmic forms. Parts I and II examine the evidence for the performance of the Iliad and the Odyssey and of Ancient Greek lyric poetry, the impact of the invention of writing on Alexandrian verse, the performances of poetry that characterized Ancient Rome, and the private and public venues for poetic experience in Late Antiquity. Part III deals with medieval verse, exploring the oral traditions that spread across Europe in the vernacular languages, the importance of manuscript transmission, the shift from roll to codex and from papyrus to parchment, and the changing audiences for poetry. Part IV explores the achievements of the English Renaissance, from the manuscript verse of Henry VIII’s court to the anthologies and collections of the late Elizabethan period. Among the topics considered in this part are the advent of print, the experience of the solitary reader, the continuing significance of manuscript circulation, the presence of poet figures in pageants and progresses, and the appearance of poets on the Elizabethan stage. Tracking both continuity and change, the book offers a history of what, over these twenty-five centuries, it has meant to enjoy a poem.

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Demokratia and Arete in Ancient Greek Political Thought

Polis The Journal for Ancient Greek Political Thought ◽

10.1163/20512996-90000184 ◽

2011 ◽

Vol 28 (2) ◽

pp. 181-215 ◽

Cited By ~ 1

Author(s):

John R. Wallach

Keyword(s):

Political Thought ◽

Fourth Century ◽

Fifth Century ◽

Ancient Greek ◽

Athenian Democracy ◽

Political Dimension ◽

Greek Culture ◽

History Of ◽

Three Stages ◽

The Relationship

This article interprets demokratia and arete as dynamically related terms of political thought in ancient Greek culture, from Homeric times to the end of the classical era. It does so selectively, identifying three stages in which this relationship is developed: (1) from the Homeric to archaic eras; (2) fifth-century Athenian democracy, in which demokratia and arete are posed as complementary terms; and (3) the fourth century era in which philosophers used virtue to critique democracy. Relying mostly on evidence from writers who have become benchmarks in the history of Western political thought, the argument emphasizes the inherently political dimension of arete during this period of ancient Greek culture. Noting different ways in which arete is related to political power in general and democracy in particular, it also illustrates the manner in which arete is neither philosophically pristine nor merely an instrument of practical power. The effect of the research contradicts traditional and recent readings of democracy and virtue as inherently antagonistic. The aim of the article is to identify ancient Greek contributions to understanding the potential, contingencies and dangers of the relationship between democracy (as a form of power) and virtue (as a form of ethics) — one which may benefit both democracy and virtue.

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Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted

Contemporaneity Historical Presence in Visual Culture ◽

10.5195/contemp.2011.5 ◽

2011 ◽

Vol 1 ◽

pp. 137-151

Author(s):

Ila Nicole Sheren

Keyword(s):

Latin America ◽

New World ◽

Architectural History ◽

Visual Language ◽

Architectural Style ◽

Medieval Spain ◽

Fernando Ortiz ◽

History Of ◽

History Of Architecture ◽

Art And Architecture

The Mudéjar phenomenon is unparalleled in the history of architecture. This style of architecture and ornamentation originated with Arab craftsmen living in reconquered medieval Spain. Embraced by Spanish Christians, Mudéjar traveled over the course of the next four centuries, becoming part of the architectural history of Latin America, especially present-day Mexico and Peru. The style’s transmission across different religions and cultures attests to its ability to unify disparate groups of people under a common visual language. How, then, did mudejar managto gain popularity across reconquered Spain, so much so that it spread to the New World colonies? In this article, I argue that art and architecture move more fluidly than ideologies across boundaries, physical and political. The theory of transculturation makes it possible to understand how an architectural style such as Mudéjar can be generated from a cultural clash and move to an entirely different context. Developed in 1947 by Cuban scholar and theorist Fernando Ortíz, transculturation posited means by which cultures mix to create something entirely new. This process is often violent, the result of intense conflict and persecution, and one culture is almost always defeated in the process. The contributions of both societies, however, coexist in the final product, whether technological, artistic, or even agricultural. I argue that mudejar in Latin America is a product of two separate transculturations: the adoption of Arab design and ornamentation by Spanish Christians, and the subsequent transference of these forms to the New World through the work of indigenous laborers.

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Reflecting the Spirit of Modern-Indonesia Through Architecture: The Icono-Symbolical Meanings of Jengki Architectural Style Case Studies: Bandung Polytechnic of Health Building and Bumi Sangkuriang Meeting Hall in Bandung, West Java, Indonesia

Journal of Design and Built Environment ◽

10.22452/jdbe.vol20no2.2 ◽

2020 ◽

Vol 20 (2) ◽

pp. 13-26

Author(s):

Purnama Salura ◽

Stephanie Clarissa ◽

Reginaldo Christophori Lake

Keyword(s):

Architectural Style ◽

West Java ◽

Architectural Discourse ◽

Traditional Architecture ◽

Post Colonial ◽

Architectural Elements ◽

International Style ◽

Foundational Principle ◽

History Of ◽

Architectural Knowledge

The architectural discourse in Indonesia generally focuses on traditional architecture that represents specific regional icons, the synthesis of traditional architecture with European-style architecture, and modern architecture inspired by International Style. This research focuses on the architectural style in Indonesia which flourished in the 1950s, known as the Jengki architectural style. This architectural style is essential in the history of Indonesian architecture, considering that the style reflects the spirit of nationalism and post-colonial Indonesian. This research aims to explore the icons of Jengki architecture, by elucidating the architectural concepts that underlie the two oldest Jengki buildings in Bandung, West Java. The analysis showed that the characteristics of this architectural style shown by the configuration of architectural elements resembling the form of a pentagon, mostly asymmetrical in spatial layout, playful articulation of ornaments, and the use of local materials. The pentagon becomes an icon of Pancasila, which is a foundational principle of the new Indonesian state and symbolize the meaning of nationalism. Thus, the icon which also represents symbolic meaning becomes an essential aspect in the design of Jengki-style buildings in the future. This icon can be an alternative to be applied to modern buildings that are intended to display national icons, rather than particular regional icons. Besides enriching the architectural knowledge of Indonesian architecture, the results of this study are beneficial to architectural practitioners, stakeholders, and architectural conservationists as well

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The Architecture of Jewish Identity: The Neo-Islamic Central Synagogue of New York

Journal of the Society of Architectural Historians ◽

10.2307/4127952 ◽

2004 ◽

Vol 63 (2) ◽

pp. 180-201 ◽

Cited By ~ 4

Author(s):

Olga Bush

Keyword(s):

New York ◽

Jewish Community ◽

The United States ◽

Cultural Analysis ◽

Double Consciousness ◽

Cultural Identification ◽

Late Nineteenth Century ◽

Architectural Style ◽

History Of ◽

The Impact

In this essay, I study the neo-Islamic Central Synagogue in New York (1872) as the expression of a complex web of cultural identification and differentiation on the part of the Jewish community for which it was constructed. I examine the shift uptown away from immigrant origins, poverty, and Orthodoxy in relation to ambivalence toward Reform Judaism, which had embraced the neo-Islamic architectural style in both the United States and Europe. The tensions inherent in situating the congregation within the larger Jewish world were complicated by the position of the community with respect to its Christian neighbors. The contradiction between the community's initial calls for architectural modesty and the ostentation of the building designed by Henry Fernbach manifest, in the vocabulary of the cultural analysis of W. E. B. DuBois, a "double-consciousness." I have used two interwoven methods in interpreting this material: archival research and comparative study establish the impact of patronage and the originality of the architect; a culturalstudies approach investigates intentions and reception through analysis of journalistic coverage of the late nineteenth century, related to the history of the congregation and the wider Jewish community during this period.

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El hombre culto: una aproximación a la Historia de la Cultura Griega, de Jacob Burckhardt / The Cultured Man: An Approach to Jacob Burckhardt’s History of Greek Culture

Historiografías ◽

10.26754/ojs_historiografias/hrht.201112522 ◽

2018 ◽

pp. 23-34

Author(s):

Pedro Spinola Pereira Caldas

Keyword(s):

Ancient Greek ◽

Greek Culture ◽

History Of ◽

The Ideal

Este artículo pretende investigar el sentido de la Bildung (formación) en la obra de Jacob Burckhardt. Para ello utilizará sus reflexiones teóricas (Über das Studium der Geschichte), así como sus obras sobre la cultura griega antigua (la Historia de la Cultura Griega), como principal fuente de investigación. De este modo, el objetivo del artículo será examinar la siguiente paradoja en la obra de Burckhardt: si bien ésta es heredera de la tradición de la Bildung, el historiador suizo ya apunta en ella, aunque de modo latente, los límites del ideal del hombre cultoPalabras ClaveJacob Burckhardt, Bildung, cultura griega AbstractThis article is intended to examine the meaning of the Bildung (formation) in the works of Jacob Burckhardt. To this purpose, it is to use his theoretical reflections (Über das Studium der Geschichte), as well his works on the ancient Greek culture (the History of the Greek Culture), as main source of inquiry. Therefore, the objective of the article is to discuss the following paradox in Burckhardt’s work: however he might be considered as an inheritor of the Bildung tradition, the Swiss historian already shows, albeit in a latent way, the limits of the ideal of cultivated manKeywordsJacob Burckhardt, Bildung, Greek Culture

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The impact of graphic works of Giovanni Battista Piranesi upon the formation of conceptual architecture and real architectural space

Культура и искусство ◽

10.7256/2454-0625.2020.2.30650 ◽

2020 ◽

pp. 10-18

Author(s):

Aleksei Yur'evich Lysenkov ◽

Liliya Faatovna Lysenkova

Keyword(s):

Research Method ◽

Practical Importance ◽

Main Research ◽

Architectural Space ◽

History Of Art ◽

History Of ◽

The Subject ◽

The Impact ◽

Art And Architecture

The subject of this research is the graphic heritage of the prominent Venetian master of the XVIII century Giovanni Battista Piranesi. The goal consists in examination of the role of Piranesi’s heritage in history of art and architecture. The author demonstrates the key milestones of his creative path, reveals the fundamental conceptual questions and themes of his graphic compositions. The defining influence of the depicted architectural compositions of Piranesi on the formation of one or another architectural object is viewed on the particular historical examples. The main research method consists in drawing parallels and designation of continuity of architectural ideas between the works of Giovanni Battista Piranesi and such architects successors as Joseph Paxton, Antonio Sant'Elia, Tony Garnier, Pietro di Gottardo Gonzaga, Ivan Leonidov, etc. The scientific novelty and practical importance of the article lies in tracing the trajectory of influence of the ideas, themes and architectural-spatial solutions of the great aquafortist upon his contemporaries and all following generations of architects. Particular historical examples demonstrate the defining influence of the depicted architectural compositions of Piranesi on the formation of one or another architectural object, as well as the emergence of famous conceptual architectural projects (including projects-utopias) in historical retrospective until the present time.

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The Temple of Zeus at Lebadea. The architecture and the semantics of a colossus

Opuscula Annual of the Swedish Institutes at Athens and Rome ◽

10.30549/opathrom-14-17 ◽

2021 ◽

Vol 14 ◽

pp. 363-400

Author(s):

Chrysanthos Kanellopoulos ◽

Elena Partida

Keyword(s):

Focal Point ◽

Ancient Greek ◽

Architectural Elements ◽

Lower Column ◽

History Of ◽

Visual Impact ◽

The Aesthetic ◽

Military Victory ◽

The Temple

The Temple of Zeus Basileus at Lebadea rests almost unknown. Its physical remains and date (not systematically explored so far) pose a riddle, as regards not only the circumstances which entailed its presumed incompletion but also the historic context in which the commencement of construction can be embedded. The dimensions of the krepis alone render this edifice highly interesting in the history of temple-building. The in situ preserved architectural elements suggest that here was begun the erection of what was at the time the largest peristasis in Mainland Greece. The temple stylobate measures 200 feet/podes in length, with a lower column diameter equal to just over two metres, and the longest interaxial spacings and corresponding architraves of its time. By increasing the length and height of the structure, the architects achieved its qualification as colossal. This qualification is revealed from the uniquefor-the-Classical-period length of 14 columns along the peristasis, with visible euthynteria and hypeuthynteria courses. As shown in this paper, this colossal structure abided by the rules of Doric design. Ascribing the unfinished state of the temple probably to financial shortcoming and/or military adventures, Pausanias did comment on its ambitious, gigantic size. The level of construction eventually reached is another focal point of our investigation. The study of the Temple of Zeus Basileus brings out the multifaceted notion of the term “monumentality”, tightly related to visual impact. One of the aims of its commissioners would have been to establish a landmark on the summit where Zeus was probably co-worshipped with Trophonios, the Boeotian hero-prophet. Since the temple in question, as we propose, most probably commemorated both a grandiose military victory in the 3rd century BC and the contemporary political situation, its imposing volume, along with the aesthetic effect of bichromy, were meant to perpetuate the overtone of these events within the ambience of the sacred Lebadea. Another facet of monumentality involves the respective building programme, and it derives from epigraphical sources, namely a contract specifying construction details, with particular instructions already at the orthostate level, denoting that accuracy in execution safeguarded the high quality of ancient Greek architecture.

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Forum Novum–Vescovio: Studying urbanism in the Tiber valley

Journal of Roman Archaeology ◽

10.1017/s1047759400019838 ◽

2001 ◽

Vol 14 ◽

pp. 58-79 ◽

Cited By ~ 6

Author(s):

Vince Gaffney ◽

Helen Patterson ◽

Paul Roberts ◽

G. Barratt ◽

A. Bradley ◽

...

Keyword(s):

Systematic Research ◽

Late Antique ◽

British School ◽

Research Theme ◽

Research Initiative ◽

Archaeological Work ◽

History Of ◽

New Material ◽

Tiber Valley ◽

The Impact

The Roman town of Forum Novum lies in the Sabine hills to the northeast of Rome. Its study forms part of the British School at Rome's Tiber Valley Project, a collaborative research initiative which studies the Tiber valley as the hinterland of Rome, tracing the impact of Rome's development on the history of its settlement, economy, and cultural identity from 1000 B.C. to A.D. 1300 (Patterson and Millett 1999; Patterson et al. 2000) (fig. 1). The project draws on the extensive work carried out in this area to produce a new, material-based history of the valley. While the project seeks to re-evaluate past survey material, a vital contrast is provided by the development of new field projects to fill the gaps in settlement knowledge. Three main lacunae have been identified: the study of urban centres; the dearth of data from the E bank of the Tiber; and the poor understanding of the late-antique and early Mediaeval landscape. Forum Novum offers an opportunity to address all these lacunae.Urbanism forms a key research theme for the Tiber Valley Project. In marked contrast to the intensity of archaeological work on rural settlement in this area, there has been little systematic research on towns. Study has tended to concentrate on the excavation of monumental structures or, more rarely, the investigation of single and exceptional towns such as Ostia and Rome itself. Surprisingly little is known of the organization of the smaller towns and knowledge of their history is based largely on the epigraphic and documentary evidence.

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PENGARUH GAYA ARSITEKTUR BANGUNAN INDIS TERHADAP ASPEK SOSIAL DAN BUDAYA MASYARAKAT KABUPATEN BOYOLALI

Haluan Sastra Budaya ◽

10.20961/hsb.v3i1.26408 ◽

2019 ◽

Vol 3 (1) ◽

pp. 47

Author(s):

Ibnu - Rustamaji

Keyword(s):

Social Impact ◽

Major Influence ◽

City Development ◽

Cultural Impact ◽

City Center ◽

Architectural Style ◽

History Of ◽

Different Cultures ◽

The Impact ◽

The City

This research aims to find out the problems of the architectural Style of the Indis in Boyolali 1910 – 1915 who stay in city center and affected by the existence of the Boyolali village from socio-cultural. The problems related to this study are knowing the background of the history of Boyolali City, development of the architectural style of the building Indis, and social and cultural impact of the architectural style of the building Indis in boyolali. Based on the problem above, this research uses methods of historical research in the form of heuristics, source criticism, interpretation, and historiography. The results are that architecture of Indis have a major influence on the dynamics of Boyolali which tmeeting of two different cultures between European and indigenous cultures. Indis architectural style buildings in Boyolali can be seen in the city center in Pandanaran street Boyolali, and around Merapi and Merbabu street. Appearence architectural style Indis resulting cultural and social impact in the community. The impact of culture reflected in language, sciene and architecture. Social impact on the emergency of class and social status based on architectural style residence, Indis style and education.

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