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The frames of classical art are often seen as marginal to the
images that they surround. Traditional art history has tended to
view framing devices as supplementary 'ornaments'. Likewise,
classical archaeologists have often treated them as tools for
taxonomic analysis. This book not only argues for the integral role
of framing within Graeco-Roman art, but also explores the
relationship between the frames of classical antiquity and those of
more modern art and aesthetics. Contributors combine close formal
analysis with more theoretical approaches: chapters examine framing
devices across multiple media (including vase and fresco painting,
relief and free-standing sculpture, mosaics, manuscripts and
inscriptions), structuring analysis around the themes of 'framing
pictorial space', 'framing bodies', 'framing the sacred' and
'framing texts'. The result is a new cultural history of framing -
one that probes the sophisticated and playful ways in which frames
could support, delimit, shape and even interrogate the images
contained within.
The frames of classical art are often seen as marginal to the
images that they surround. Traditional art history has tended to
view framing devices as supplementary 'ornaments'. Likewise,
classical archaeologists have often treated them as tools for
taxonomic analysis. This book not only argues for the integral role
of framing within Graeco-Roman art, but also explores the
relationship between the frames of classical antiquity and those of
more modern art and aesthetics. Contributors combine close formal
analysis with more theoretical approaches: chapters examine framing
devices across multiple media (including vase and fresco painting,
relief and free-standing sculpture, mosaics, manuscripts and
inscriptions), structuring analysis around the themes of 'framing
pictorial space', 'framing bodies', 'framing the sacred' and
'framing texts'. The result is a new cultural history of framing -
one that probes the sophisticated and playful ways in which frames
could support, delimit, shape and even interrogate the images
contained within.
This is the first history of epiphany as both a phenomenon and a
cultural discourse within the Graeco-Roman world. It explores
divine manifestations and their representations both in art and in
literary, historical and epigraphic accounts. The cultural analysis
of epiphany is set within a historical framework that examines its
development from the archaic period to the Roman Empire. In
particular, a surprisingly large number of the images that have
survived from antiquity are not only religious but epiphanically
charged. Verity Platt argues that the enduring potential for divine
incursions into mortal experience provides a reliable cognitive
structure that supports both ancient religion and mythology. At the
same time, Graeco-Roman culture exhibits a sophisticated awareness
of the difficulties in apprehending deity and representing divine
presence, and of the potential for the manmade sign to lead the
worshipper back to an unmediated epiphanic encounter.
This is the first history of epiphany as both a phenomenon and as a
cultural discourse within the Graeco-Roman world, exploring divine
manifestations and their representations, in visual terms as well
as in literary, historical and epigraphic accounts. Verity Platt
sets the cultural analysis of epiphany within a historical
framework that explores its development from the archaic period
into the Roman empire. In particular, a surprisingly large number
of the images that have survived from antiquity are not only
religious, but epiphanically charged. Verity Platt argues that the
enduring potential for divine incursions into mortal experience
provides a structure of cognitive reliability that supports both
ancient religion and mythology. At the same time, Graeco-Roman
culture exhibits a sophisticated awareness of the difficulties of
the apprehension of deity, the representation of divine presence,
and the potential for the manmade sign to lead the worshipper back
to an unmediated epiphanic encounter.
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Paperback
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R398
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