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In this volume, Stephanie M. Langin-Hooper investigates the impact
of Greek art on the miniature figure sculptures produced in
Babylonia after the conquests of Alexander the Great. Figurines in
Hellenistic Babylonia were used as agents of social change, by
visually expressing and negotiating cultural differences. The
scaled-down quality of figurines encouraged both visual and tactile
engagement, enabling them to effectively work as non-threatening
instruments of cultural blending. Reconstructing the embodied
experience of miniaturization in detailed case studies,
Langin-Hooper illuminates the dynamic process of combining Greek
and Babylonian sculpture forms, social customs, and viewing habits
into new, hybrid works of art. Her innovative focus on figurines as
instruments of both personal encounter and global
cultural shifts has important implications for the study of tiny
objects in art history, anthropology, classics, and other
disciplines.
In this volume, Stephanie M. Langin-Hooper investigates the impact
of Greek art on the miniature figure sculptures produced in
Babylonia after the conquests of Alexander the Great. Figurines in
Hellenistic Babylonia were used as agents of social change, by
visually expressing and negotiating cultural differences. The
scaled-down quality of figurines encouraged both visual and tactile
engagement, enabling them to effectively work as non-threatening
instruments of cultural blending. Reconstructing the embodied
experience of miniaturization in detailed case studies,
Langin-Hooper illuminates the dynamic process of combining Greek
and Babylonian sculpture forms, social customs, and viewing habits
into new, hybrid works of art. Her innovative focus on figurines as
instruments of both personal encounter and global cultural shifts
has important implications for the study of tiny objects in art
history, anthropology, classics, and other disciplines.
Miniature and fragmentary objects are both eye-catching and yet
easily dismissed. Tiny scale entices users with visions of
Lilliputian worlds. The ambiguity of fragments intrigues us,
offering tactile reminders of reality's transience. Yet, the
standard scholarly approach to such objects has been to see them as
secondary, incomplete things, whose principal purpose was to refer
to a complete and often life-size whole. The Tiny and the
Fragmented offers a series of fresh perspectives on the familiar
concepts of the tiny and the fragmented. Written by a prestigious
group of internationally-acclaimed scholars, the volume presents a
remarkable diversity of case studies that range from Neolithic
Europe to pre-Colombian Honduras to the classical Mediterranean and
ancient Near East. Each scholar takes a different approach to
issues of miniaturization and fragmentation but is united in
considering the little and broken things of the past as objects in
their own right. Whether a life-size or whole thing is made in a
scaled-down form, deliberately broken as part of its use, or only
considered successful in the eyes of ancient users if it shows some
signs of wear, it challenges our expectations of representation and
wholeness, of what it means for a work of art to be "finished" and
"affective." Overall, The Tiny and the Fragmented demands a
reconsideration of the social and contextual nature of
miniaturization, fragmentation, and incompleteness, making the case
that it was because of, rather than in spite of, their small or
partial state that these objects were valued parts of the personal
and social worlds they inhabited.
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