This Is A New Release Of The Original 1913 Edition.

Pen, Stylus, and Chisel: An Ancient Egypt Sourcebook helps students understand the world of the ancient Egyptians by introducing them to primary sources that cover a broader spectrum, both temporally and geographically, than most ancient Egyptian readers. Beginning with The Old Kingdom in the third millennium BCE, the book covers 3,000 years of history, progressing through the Middle Kingdom, New Kingdom, Late Kingdom, Persian Period, and ending with the Ptolemaic Dynasty in the first century BCE. Students will learn about the Egyptians' political ideas, social customs, religious views, economy, ethics, and forms of expression. The material includes documents written both by the Egyptians and by those who observed them, which gives students a well-rounded view of the Egyptian people, their history, and their culture. The book includes maps, introductions to the readings to place them in context and enhance comprehension, discussion questions to be used in class or as writing assignments, and a glossary. Pen, Stylus, and Chisel can be used in history and humanities courses on ancient Egypt.

First runner-up for the British-Kuwait Friendship Society Book Prize in Middle Eastern Studies 2015. In ancient Egypt, wrapping sacred objects, including mummified bodies, in layers of cloth was a ritual that lay at the core of Egyptian society. Yet in the modern world, attention has focused instead on unwrapping all the careful arrangements of linen textiles the Egyptians had put in place. This book breaks new ground by looking at the significance of textile wrappings in ancient Egypt, and at how their unwrapping has shaped the way we think about the Egyptian past. Wrapping mummified bodies and divine statues in linen reflected the cultural values attached to this textile, with implications for understanding gender, materiality and hierarchy in Egyptian society. Unwrapping mummies and statues similarly reflects the values attached to Egyptian antiquities in the West, where the colonial legacies of archaeology, Egyptology and racial science still influence how Egypt appears in museums and the press. From the tomb of Tutankhamun to the Arab Spring, Unwrapping Ancient Egypt raises critical questions about the deep-seated fascination with this culture - and what that fascination says about our own.

With an in-depth exploration of rule by a single man and how this was seen as heroic activity, the title challenges orthodox views of ruling in the ancient world and breaks down traditional ideas about the relationship between so-called hereditary rule and tyranny. It looks at how a common heroic ideology among rulers was based upon excellence, or arete, and also surveys dynastic ruling, where rule was in some sense shared within the family or clan. Heroic Rulers examines reasons why both personal and clan-based rule was particularly unstable and its core tension with the competitive nature of Greek society, so that the question of who had the most arete was an issue of debate both from within the ruling family and from other heroic aspirants. Probing into ancient perspectives on the legitimacy and legality of rule, the title also explores the relationship between ruling and law. Law, personified as 'king' (nomos basileus), came to be seen as the ultimate source of sovereignty especially as expressed through the constitutional machinery of the city, and became an important balance and constraint for personal rule. Finally, Heroic Rulers demonstrates that monarchy, which is generally thought to have disappeared before the end of the archaic period, remained a valid political option from the Early Iron Age through to the Hellenistic period.

From Ralph Van Deman Magoffin's 1922 review in Art and Archaeology: "The book here under review, although very brief, is of particular importance because it contains forty-seven clear plate figures, and especially because its author is the Keeper of the classical department of the Ny Carlsberg Museum in Copenhagen, where are the facsimiles and drawings of many wall paintings of Etruscan tombs made some thirty years ago. "Poulsen has followed the correct method of chronological comparison of style and matter, giving extraneous influence on technique and decorative detail a proper but subordinate place. He finds in the Tomba Campana at Veii ornamentation like that of seventh century B.C. Greek vases, where no narrative element is present. He then traces the development of style and content through various tombs, identifying scenes from Greek myths with certain variations. "These two types of decoration had their vogue before strictly funeral scenes began to appear in the tomb wall paintings, and in the verve of the work, and in the richness of accessories to banquet, funeral processions and ceremonies, Poulsen sees a corresponding Etruscan military, political, and social greatness. "The translation into English by Ingebord Anderson-for the book was originally published in 1919 in Danish as a Museum guide-is excellent."

It begins with the history of the site, recounting how, as J. Paul Getty's art collection grew, he chose to house it in a replica of the ancient Roman villa at Herculaneum now known as the Villa dei Papiri. The second chapter chronicles the destruction of Herculaneum in 79 CE during the eruption of Mount Vesuvius, the Villa dei Papiri's rediscovery in the eighteenth century, and more recent archaeological discoveries at the site. The third chapter leads readers on a tour of the Getty Villa, from the cobblestone "Roman road" through the outdoor theater, atrium, peristyles, and gardens; it includes detailed descriptions of special rooms such as the Basilica, the Room of Colored Marbles, the Temple of Herakles, and the Tablinum. The final chapter recounts how Getty began collecting art in the late 1930s, how the collection grew in the decades before and after his death in 1974, and how the displays at the Villa have evolved along with the collection. This edition includes a new director's foreword, as well as revised and refreshed main text, new photography and also includes updated floor plans of the newly reinstalled Villa.

An illustrated treasury of the art from Pompeii and Herculaneum, this charming gift book displays the range of fascinating objects that were created by the skilled hands of accomplished classical craftsmen. A short introduction to each section provides enlightening information which helps to place these beautifully produced artworks in their historical and artistic context. With stunning details of frescoes, mosaics, sculpture, jewellery, glass and silverware, this little book provides an enchanting taste of the variety of art from these two cities.

In the beginning of creation, the world was built on the foundation of The Divine Law of Maat/Kongo, as known by The Great Nile Valley Civilization. This Divine Law gave birth to everything we have today . "I-Vine Spheres" is a book that can help children and adults alike to begin to explore the accurate science of Creation and the complex anatomy of the Whole Spirit (Hidden Life Force/Energy/Vibes). 'I' relates to the Self (Source/Indwelling Divinity/Omnipresent/One Being/Conscience/World Soul/InI). The 'Vine' refers to the interconnection, inter-relation and inter-dependance of all things as fixed by nature within the beautiful cultivation of The I-Vine Spheres of Life. Many religions tell us we are like (made in the image of) The Almighty, but fail to fully explain/simplify what these likenesses are. This Book will show you and your children the 11 aspects of Being which are 'God/Christ like'. This book will outline a simple version of the I-Vine Spheres of Life; Paut Neteru (Cake of the Gods); Enead. The colors given to each sphere are the actual colors relating to that aspect of being or faculty of the spirit. Your children will be able to enrich and spark their inner Self, and gain connection of colors in the mind. Their are activities in this book, and your child will intuitively share with you the colors or activities they favor mostly, and allow you to learn more of your children. The Spirit is a body of Laws governing both the seen (its denser form) and unseen (less dense forms) phenomena. This I-Vine Spheres book will outline the main 11 Laws of the Spirit, and also provide a solid knowledge base and substantial food for the growth/development of impressionable minds. As well as minds that need substantial food to be successful holistically. Throughout all history and time, Afrikan people have used this reality to develop rites of passages (to know self), governments and technology. Principles, morals and astrologicial/cosmic knowledge is transferred via story telling in The Afrikan oral, visual and written traditions. This is the very foundation of the laws/institutes that continue to govern civil societies to this day. In the same way the well known '42 declarations of Maat' were practical expressions/statements/affirmations derived from the 11 main laws of our Being. We could now do better with exemplifying and teaching Divine Law/I-Vine Law, for the redemption and salvation of all people. It proven difficult for soldiers, linguistics and museum curators to explain ancient teachings/concepts of the Kamau (Ancient Egyptian) Sages, Fari (Pharaohs'), Priests, astrologers and prophets. It has been difficult for them to know what the sacred scriptures meant to the great ancient authors of the Afrikan Tradition. Misinterpretation and poor understandings come from numerous invasions, looting and the deliberate destruction of monuments. This book is corrective of such errors in interpretations about the meanings of the sacred sciences of the Whole Spirit/Vibes/Hidden Life Force. This book was inspired by a Rastafari/reggae song called '11 Laws of Maat' recorded by the author under the name Blessed Barak*. Therefore this book has strong elements of Xaymacan (Jamaica) patious and the author has thoughtfully included a dictionary in the book for those who are not so familiar with it. He is quite proud to be able to give a patious reading book to the many children of the Afrikan diaspora who have been carried beyond. Also, due to the globalisation of the Rastafari way of Life, many people of other cultures can enjoy hearing and reading the patious and Rastafari Language. *A complimentary free audio download of the song is available by e-mailing [email protected] (offer ends Feb 2013)

A catalogue and analysis of over 1000 Roman-period oil lamps from the Holy Land within the collection of the Israel Antiquities Authority. The Roman period in Palestine begins with the conquest of the East by Pompey in 63 BCE - essentially the period representing the continuation of the partial political and cultural annexation of the country to Western civilisation following the earlier arrival of Greek and Hellenistic culture.

Achilles in Love: Intertextual Studies traces the escapades of Achilles' erotic history, whether in same-sex or opposite-sex relationships, and how they were developed and revealed, or elided and concealed, in the writing and visual arts following Homer. The volume investigates how different authors and artists responded to this most controversial aspect of Achilles' character, in comparison to the fiery personality that was shaped by the Iliad and was often considered 'canonical' for his character. Through analyzing Achilles in love from the time of Homer all the way down to the Latin poets of the first century BC and AD, the Ilias Latina, and the authors and iconography of the imperial age, this book makes both novel and productive connections between poetic texts, pictorial images, and literary genres which tried time and time again to capture Achilles' ever-shifting role within the world of eros.

Exploring prize textiles known as tiraz, whose meaning and materiality illuminate the interwoven communities of the medieval Islamic world Social Fabrics looks at tiraz-highly prized textiles enhanced with woven, embroidered, or painted inscriptions in Arabic-to trace the structure of medieval Egyptian society during a transformative period. It reveals a story as interwoven and complex as these delicate objects themselves. A foundational introduction to the topic, this exhibition catalogue combines richly illustrated entries with essays on the history of Egypt at the time, the meaning and materiality of tiraz, and the history of collecting these objects in US institutions. Created throughout the region (including lands now in Iran, Iraq, and Yemen) in the centuries following the Arab Muslim conquest of Egypt, inscribed textiles were a visual form of communication in a society that was ethnically, linguistically, and religiously diverse. Those with inscriptions regulated by the government were particularly valued, proclaiming their owners' membership in the ruling elite. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums, Cambridge, MA (January 22-May 8, 2022)

Every society builds, and many, if not all, utilize architectural structures as markers to define place, patron, or experience. Often we consider these architectural markers as “monuments” or “monumental” buildings. Ancient Rome, in particular, is a society recognized for the monumentality of its buildings. While few would deny that the term “monumental” is appropriate for ancient Roman architecture, the nature of this characterization and its development in pre-Roman Italy is rarely considered carefully. What is “monumental” about Etruscan and early Roman architecture? Delving into the crucial period before the zenith of Imperial Roman building, Monumentality in Etruscan and Early Roman Architecture addresses such questions as, “What factors drove the emergence of scale as a defining element of ancient Italian architecture?” and “How did monumentality arise as a key feature of Roman architecture?” Contributors Elizabeth Colantoni, Anthony Tuck, Nancy A. Winter, P. Gregory Warden, John N. Hopkins, Penelope J. E. Davies, and Ingrid Edlund-Berry reflect on the ways in which ancient Etruscans and Romans utilized the concepts of commemoration, durability, and visibility to achieve monumentality. The editors’ preface and introduction underscore the notion of architectural evolution toward monumentality as being connected to the changing social and political strategies of the ruling elites. By also considering technical components, this collection emphasizes the development and the ideological significance of Etruscan and early Roman monumentality from a variety of viewpoints and disciplines. The result is a broad range of interpretations celebrating both ancient and modern perspectives.

The Ancient Egyptians believed in a life after bodily death, as did many other cultures in pre-history. Their sophisticated knowledge of the afterlife compelled them to create houses for the departed souls with enough furnishings to last forever. The basic concept was in book form, and this was copied into pictures and tomb murals that decorated these underground palaces. Since papyrus paper was expensive the tombs were made of stone or mud bricks, and tomb interiors were painted to match the contents of the funerary texts. So if you have such a book, you do not necessarily need a tomb; the dead souls would create their own housing and habitation in the Otherworld by reading about it. If you did not have this book, a tomb would be your home so that your eternal soul would not haunt the living, or demand food and drink offerings from living relatives. With Archaeologists excavating in Egypt for the past 200+ years, numerous tombs have been found there. Some were haunted by the awakened souls detecting the movement of their remains. Some souls returned to Earth in new bodies as people or animals as they did for many centuries. The ancient expression, "To call one's name is to cause them to live again," means "to live again upon being awoken." Life extends beyond bodily activity. Your soul is shaped by your body, and continues to exist long after the body is no longer here. Some souls such as Tutankhamon are hostile to being disturbed, and so every time his remains are moved or touched, bad reactions occur in the world (this is the so-called "Curse" concept). Now you can create your own Egyptian Book of the Dead and be prepared for Eternal Life with style. This guide book will show you a few ways to prepare for your future existence. You do not need to adopt the Egyptian Mythology or religion, as pre-historical people believed in an afterlife long before the invention of bread. All you need to do is follow these ideas correctly. Modern cultures in Asia already have similar ideas as the ancients had, and can find common concepts.

Jade figurines depicting human flight are a varied and expressive manifestation of this most prized artistic medium. Angus Forsyth, a prominent collector of Chinese jade, in this book explores the making in the Middle Kingdom (over a 2000-year period, from the Han Dynasty onwards) of unique objects depicting figural movement through the air. He examines the depiction of apsaras (flying angels), kinnaras (bird-men), garudas (humanoid birds appearing in both Hindu and Buddhist mythology) and finally anthropomorphized bird headdress ornaments. He shows how these flying figures came to be associated with veneration of the gods and specific devotional practice. Examining a variety of representative objects, none of which has been seen in print before, the author reveals that the original concept behind flying celestial beings and bird-men originated not in China but in India and the Christianized West, via the Silk Road. A distinctive characteristic of Chinese artefacts is that, in contrast to their Western angelic counterparts, they often are wingless. The book discusses small and larger jade pieces alike.

1880. Contains two volumes in one; From the earliest times down to the age under Pheidias and his successors. With illustrations. Murray, a Scottish archaeologist, was assistant keeper and keeper of Greek and Roman antiquities at the British Museum. From 1894 to 1896 he was in charge of excavations in Cyprus. Among his other writings are Manual of Mythology, Handbook of Greek Archaeology, Terra-Cotta Sarcophagi, and Excavations in Cyprus. Contents Volume One: First Stages in Technical Skill; The Shield of Achilles; Butades, Theodoros, Rhoekos and Glaukos; Early Sculpture in Marble, Ivory and Gold and Fine Woods; Archaic Sculpture; Early Schools of Argos, Sikyon and Aegina; The Sculptures of Aegina, Now in Munich; Archaic Sculpture in Athens; Pythagoras of Rhegium; Myron and the Sculptures of His School; Polykleitos; and The Sculptures of Northern Greece. Contents Volume Two: The Frieze and Metopes of the Parthenon; Pediment Sculptures of the Parthenon; Pheidias; Pupils of Pheidias-The Sculptures of Olympia; The Frieze of Phigaleia; The Temple of Athena Nike, The Erechtheum, etc.; The Nereid Monument of Xanthos in Lycia; Pupils of Myron and Polykleitos; Praxiteles; Skopas; Schools of Skopas and Praxiteles; Lysippos and His School; Schools of Rhodes and Pergamos; and Greek Sculpture in Rome. See other titles by this author available from Kessinger Publishing.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

China is the birthplace of one of the world's most ancient civilisations and an immense quantity and variety of cultural relics have been preserved on China's vast territory. Utilising a wealth of archaeological evidence, China's Cultural Relics provides an illustrated introduction to the artifacts that survive from different periods of Chinese history, and the collection and preservation of these precious relics in modern times. Covering a wide range of topics representative of Chinese culture, including pottery, porcelain, jade and bronze, Li Li provides a glimpse into ancient China.

This book looks to construct a detailed portrait of the myth of the Greek hero, Jason.This involves examining all extant evidence, both literary and iconographical, for this hero up until the end of the fifth century B.C.

1906. Illustrated. Contents: Early Italians; Raphael and Correggio; The Great Venetians; Later Italian Schools; Spanish Masters; Painters of the French and English Schools; Pastels and Miniatures, with Late German and Italian Pictures Hanging in Adjoining Rooms; Early Flemish, Dutch, and German Pictures: Durer and Holbein; Other Netherlandish and German Artists; Rubens and Van Dyck; Rembrandt and Some of His Contemporaries; Dutch Painters; and Modern German Masters. See other titles by this author available from Kessinger Publishing.

1880. Contains two volumes in one; From the earliest times down to the age under Pheidias and his successors. With illustrations. Murray, a Scottish archaeologist, was assistant keeper and keeper of Greek and Roman antiquities at the British Museum. From 1894 to 1896 he was in charge of excavations in Cyprus. Among his other writings are Manual of Mythology, Handbook of Greek Archaeology, Terra-Cotta Sarcophagi, and Excavations in Cyprus. Contents Volume One: First Stages in Technical Skill; The Shield of Achilles; Butades, Theodoros, Rhoekos and Glaukos; Early Sculpture in Marble, Ivory and Gold and Fine Woods; Archaic Sculpture; Early Schools of Argos, Sikyon and Aegina; The Sculptures of Aegina, Now in Munich; Archaic Sculpture in Athens; Pythagoras of Rhegium; Myron and the Sculptures of His School; Polykleitos; and The Sculptures of Northern Greece. Contents Volume Two: The Frieze and Metopes of the Parthenon; Pediment Sculptures of the Parthenon; Pheidias; Pupils of Pheidias-The Sculptures of Olympia; The Frieze of Phigaleia; The Temple of Athena Nike, The Erechtheum, etc.; The Nereid Monument of Xanthos in Lycia; Pupils of Myron and Polykleitos; Praxiteles; Skopas; Schools of Skopas and Praxiteles; Lysippos and His School; Schools of Rhodes and Pergamos; and Greek Sculpture in Rome. See other titles by this author available from Kessinger Publishing.

One of the first artists to visit the Mayan ruins at Palenque after Mexican independence, Jean-Frederic Waldeck has long been dismissed as unreliable, his drawings of pre-Columbian art marred by his excessive interest in European styles of beauty. With this fresh look at Waldeck's entire output, including his desire to exhibit at Paris salons, his reconstructions of Mayan and Aztec subjects can be understood as art rather than illustration. Pasztory sees him as a unique Neoclassicist who has never been fully appreciated. In addition to illustrating Maya antiquities in the days before photography, Waldeck painted imaginary reconstructions of pre-Columbian life and rituals and scenes of everyday life in nineteenth-century Mexico. Most his contemporaries looking for exotic subject matter went east and are now referred to as Orientalists. Waldeck went west and found the exotic in the New World, but as Esther Pasztory suggests, he is an Orientalist in spirit. Waldeck's work was not considered interesting or important in its day, but twenty-first century viewers can appreciate his sensibility, which combines the modern domestic with the ancient mythic and features a theatrical version of Neoclassicism that looks forward to a Hollywood that would not exist until decades after the artist's death in 1875 at the age of 109.