The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. From formal concerns such as Kopienkritic (copy criticism) to social readings of plebeian and patrician art and beyond, scholars have returned to Roman sculpture to answer a variety of questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological ARCH15OXH of representative examples of various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of art history, classical archaeology, and Roman studies. This volume fills the gap between introductory textbooks-which hide the critical apparatus from the reader-and the highly focused professional literature. The handbook conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume and complements textbooks and other publications that present well-known works in the corpus. Chronologically, the volume addresses material from the Early Republican period through Late Antiquity. The Oxford Handbook of Roman Sculpture not only contributes to the field of classical art and archaeology but also provides a useful reference for classicists and historians of the ancient world.

In a wide-ranging exploration of the creation and use of Buddhist art in Andhra Pradesh, India, from the second and third centuries of the Common Era to the present, Catherine Becker shows how material remains and visual experiences shape and reveal essential human concerns.
Shifting Stones, Shaping the Past begins with an analysis of the ornamentation of Andhra's ancient Buddhist sites, such as the lavish limestone reliefs depicting scenes of devotion and lively narratives on the main stupa at Amaravati. As many such monuments have fallen into disrepair, it is temping to view them as ruins; however, through an examination of recent state-sponsored tourism campaigns and new devotional activities at the sites, Becker shows that the monuments are in active use and even ascribed innate power and agency.
Becker finds intriguing parallels between the significance of imagery in ancient times and the new social, political, and religious roles of these objects and spaces. While the precise functions expected of these monuments have shifted, the belief that they have the ability to effect spiritual and mental transformation has remained consistent. Becker argues that the efficacy of Buddhist art relies on the careful attention of its makers to the formal properties of art and to the harnessing of the imaginative potential of the human senses. In this respect, Buddhist art mirrors the teaching techniques attributed to the Buddha, who often engaged his pupils' desires and emotions as tools for spiritual progress.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

With the increasing disappearance of stained glass in medieval churches, the surviving wood carvings on church misericords and bench ends are extremely important in providing an insight into the medieval mind. The carved images were often used to convey the messages of the Christian faith in the Middle Ages but they were not just concerned with religion and religious symbols - they also told stories of mythology, humour and satire, showing illustrations of everyday life and people. This book outlines the history of church seating and discusses the craftsmen and the influences behind their work. Using illustrations, the author then explains the subject matter of these wood carvings, revealing how one can discover so much about medieval life - the spiritualism, moralism and the wit - within the carvings still found in churches today.

By 1650, the spiritual and political power of the Catholic Church was shattered. Thanks to the twin blows of the Protestant Reformation and the Thirty Years War, Rome, celebrated both as the Eternal City and Caput Mundi (the head of the world) had lost its pre-eminent place in Europe. Then a new Pope, Alexander VII, fired with religious zeal, political guile and a mania for building, determined to restore the prestige of his church by making Rome the must-visit destination for Europe's intellectual, political and cultural elite. To help him do so, he enlisted the talents of Gianlorenzo Bernini, already celebrated as the most important living artist: no mean feat in the age of Rubens, Rembrandt and Velazquez. Together, Alexander VII and Bernini made the greatest artistic double act in history, inventing the concept of soft power and the bucket list destination. Bernini and Alexander's creation of Baroque Rome as a city more beautiful and grander than since the days of the Emperor Augustus continues to delight and attract.

In the early 1800's, on a Hebridean beach in Scotland, the sea exposed an ancient treasure cache: 93 chessmen carved from walrus ivory. Norse netsuke, each face individual, each full of quirks, the Lewis Chessmen are probably the most famous chess pieces in the world. Harry played Wizard's Chess with them in Harry Potter and the Sorcerer's Stone. Housed at the British Museum, they are among its most visited and beloved objects. Questions abounded: Who carved them? Where? Ivory Vikings explores these mysteries by connecting medieval Icelandic sagas with modern archaeology, art history, forensics, and the history of board games. In the process, Ivory Vikings presents a vivid history of the 400 years when the Vikings ruled the North Atlantic, and the sea-road connected countries and islands we think of as far apart and culturally distinct: Nonrvay and Scotland, Ireland and Iceland, and Greenland and North America. The story of the Lewis chessmen explains the economic lure behind the Viking voyages to the west in the 800s and 900s. And finally, it brings from the shadows an extraordinarily talented woman artist of the twelfth century: Margret the Adroit of Iceland.