scholarly journals A New Monumental Gate from the Roman Imperial Period on the Attaleia City Walls

2021 ◽  
pp. 249-268
Author(s):  
Burhan VARKIVANÇ
Keyword(s):  
1947 ◽  
Vol 16 (48) ◽  
pp. 143-144

The majority of the photographs that follow are of monuments in Byzantium and Asia Minor. Unfortunately extant buildings are nearly all of the Roman Imperial period, when the Asiatic cities were largely rebuilt. The fortification walls, however, are mostly Hellenistic. Monuments—even city-walls—earlier than Alexander are rare in Ionia. The terms of the Peace of Callias in 449–8 are obscure, but it seems almost certain that demilitarization of coastal cities was among them. Thuc. (iii. 33) speaks of Ionia in general as άτɛíχoτoς in 427 and applies the same epithet to other cities on the coast (Clazomenae, Lampsacus, Cyzicus). Under the Diadochi these cities rebuilt their defences, and the walls now extant, all down the coast as far as Caunus, are nearly all Hellenistic. The extant ruins of Byzantium are later still. Apart from the Obelisk of Theodosius, stolen from Egypt, and the Serpent Column, stolen from Delphi, the thirdcentury Gothic column is the earliest considerable monument now standing. The Turkish occupation played havoc in the past with the antiquities: not that wanton vandalism was practised, but they were strangely indifferent. Now, however, Turkish archaeologists are playing a distinguished part in the excavations and their journal Belleten cannot be disregarded by European workers.


Author(s):  
Daniele Miano

This chapter analyses the cults of Fortuna through Italy up to the first century BC. Although the evidence for the cults is mostly fragmentary, contextual information shows that diverse meanings were attached to Fortuna by a variety of agents. Latium and Campania are the regions where most of the cults are attested, and the diffusion of the deity seems to have followed that of the Latin language. There are certain recurring features common to many local cults and sanctuaries, e.g. a tendency to worship Fortuna near liminal places, with sanctuaries attested at the border of different territories and near city walls.


Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 131-144
Author(s):  
Wendy Salmond

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.


Ramus ◽  
1987 ◽  
Vol 16 (1-2) ◽  
pp. 1-3
Author(s):  
A.J. Boyle

oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.


2019 ◽  
Vol 19 (1) ◽  
pp. 150-162

Abstract Since 2012, the Institute of Archaeology of Chinese Academy of Social Sciences and Institute of Archaeology of the Academy of Sciences of Uzbekistan organized joint archaeological team and conducted five terms of archaeological survey and excavation to the Mingtepa Ancient City Site in Uzbekistan. The excavation showed that the Mingtepa Ancient City Site is a large-scale city site with nested inner and outer cities; confirmed the coexistence relationships among the architectural sites with high rammed-earth platform foundations, city walls, gates, roads and handicraft workshop remains, which are the scientific evidences for the in-depth researches on the layout and cultural connotations of the inner city; the burials found on the east wall of the outer city provided rare data of the terminus ante quem of the abandoning of the outer city.


2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Yan Liu ◽  
Rui Li ◽  
Junchang Yang ◽  
Ruiliang Liu ◽  
Guoxing Zhao ◽  
...  

AbstractTechnology employed by the ancient goldsmiths is traceable through archaeometallurgy. Using non-destructive analytical methods, namely, a 3D digital microscopy and a scanning electron microscopy with energy dispersive spectrometer (SEM–EDS), we investigated the manufacturing techniques and chemical composition of gold and silver artefacts recovered from Tomb 2 (M2), the richest find from Xigoupan cemetery (fourth-third century BCE) in the northern part of Jungar Banner, Inner Mongolia. The present research contributes to a better understanding of the inventive nature of precious metal working industry in early China (eighth-third century BCE). First, cultural interchange was evidenced in the metalwork examined, notably as being closely linked to techniques emerging from the Eurasian steppes. In Xigoupan M2, the ornamentation of sheet works in the Scytho-Siberian animal style was seen to be clearly influenced by the central Asian steppe goldsmithing practice, while certain cast items were typical of the Chinese tradition. Second, our analysis reveals that the gold appliqués with raised animal figures that were previously thought to be repoussé work have actually been made with double-sided carving. We consider such a new technology as one of local inventions that was inspired by methods arriving from the central Asian steppes. In addition, our analysis of elemental composition reveals that the gold artefacts found in Xigoupan M2 to be made of natural gold, while the horse harness ornament is made of pure silver. These results, combined with the study of the existing data pertaining to comparable examples, attest to the shared craftsmanship in prestige metal production across the northern Chinese states, especially with regard to the pre-imperial period Qin workshop.


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