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This book, first published in 2004, develops a theory for the
understanding of Roman pictorial art. By treating Roman art as a
semantic system it establishes a connection between artistic forms
and the ideological messages contained within. The history of Roman
art traditionally followed the model of a sequence of stylistic
phases affecting the works of their era in the manner of a uniform
Zeitgeist. By contrast, the author shows different stylistic forms
being used for different themes and messages. The reception of
Greek models, a key phenomenon of Roman art, thus appear in a new
light. The formulations of specific messages are established from
Greek art types of different eras serving to express Roman
ideological values: classical forms for the grandeur of the state,
Hellenistic forms for the struggling effort of warfare. In this way
a conceptual and comprehensible pictorial language arose, uniting
the multicultural population of the Roman state.
This book, first published in 2004, develops a theory for the
understanding of Roman pictorial art. By treating Roman art as a
semantic system it establishes a connection between artistic forms
and the ideological messages contained within. The history of Roman
art traditionally followed the model of a sequence of stylistic
phases affecting the works of their era in the manner of a uniform
Zeitgeist. By contrast, the author shows different stylistic forms
being used for different themes and messages. The reception of
Greek models, a key phenomenon of Roman art, thus appear in a new
light. The formulations of specific messages are established from
Greek art types of different eras serving to express Roman
ideological values: classical forms for the grandeur of the state,
Hellenistic forms for the struggling effort of warfare. In this way
a conceptual and comprehensible pictorial language arose, uniting
the multicultural population of the Roman state.
Visual culture was an essential part of ancient social, religious,
and political life. Appearance and experience of beings and things
was of paramount importance. In Visual Power in Ancient Greece and
Rome, Tonio Hoelscher explores the fundamental phenomena of Greek
and Roman visual culture and their enormous impact on the ancient
world, considering memory over time, personal appearance,
conceptualization and representation of reality, and significant
decoration as fundamental categories of art as well as of social
practice. With an emphasis on public spaces such as sanctuaries,
agora and forum, Hoelscher investigates the ways in which these
spaces were used, viewed, and experienced in religious rituals,
political manifestations, and social interaction.
Inhalt: Voraussetzungen und Umfeld: Alter Orient und A"gypten - Von
der Antike in die Neuzeit und zurA1/4ck - Kulturelle Geographie -
Gegenwelten in Bildern: Griechenland - Gegenwelten in Bildern: Rom
Die Griechen haben, seit der frA1/4hen archaischen Zeit, ihre Welt
in einem eminenten MaA in Bildern begriffen. In Bildern von sich
selbst und Gegenbildern zu sich selbst. Die Selbstbilder sind seit
Jahrhunderten bewundert und analysiert worden. Hier geht es um die
Gegenbilder. Weitgehend waren es Wertvorsstellungen der eigenen
Kultur, die dann durch neue Normen und Verhaltensmuster in die
Gegenwelt der groAen Antipoden projiziert wurden. Gerade weil es
abgedrAngte Ideale und latente MAglichkeiten der eigenen Kultur
waren, gewannen sie solche Faszination und AktualitAt.
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