Download Ehrenstatuen in der Spätantike. Chlamydati und Togati by Ulrich Gehn PDF

By Ulrich Gehn

The e-book investigates the iconography and chronology of the past due vintage toga statue and the past due vintage Chlamys statue. either different types of honorific statuary can merely be saw from the Theodosian interval (late-4th century) onwards. The phenomenon may be defined from the sociological, political and administrative adjustments that re-structured the elites of the Roman Empire after the reforms of the tetrarchy (late-3rd century); the method used to be accomplished within the late-4th century to some extent that made the advance of latest representational styles attainable and valuable.

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Additional info for Ehrenstatuen in der Spätantike. Chlamydati und Togati

Sample text

The latter effect may have been further enhanced by the addition of curtains to the sides of the tent. In most representations, one or two men squat or kneel on the ground inside the kitchen shelter, roasting the fowl on spits over trays with glowing coals, or overseeing the skimming of a meat stew on an oven (see table 5). As seen on the Lisht block (figs. 1, 2), the heat of the fire under the roasting bird is often increased by the cook waving a fan over it. Opposite, on the right of the Lisht representation, another man kneels on the floor, plucking a strikingly large goose.

Every ancient Egyptian would, indeed, have recognized the relief in the Nefer tomb (fig. 5) as a replica of the appearance of Hathor as a cow from the papyrus thicket, and the Mehu image refers explicitly to milk feeding. Looking back to some second-version fording scenes, one realizes that Hathoric associations were to some extent also present there. Female and male cattle are represented in separate groups, and a part of the inscription in the Ti image (fig. ” There can be no doubt that in the tomb environment, such associations with Hathor, motherhood, and feeding were aimed at stressing the concept of rebirth.

What remain in the end in the memory of the viewer are above all specific moments that illuminated a role, or indeed, a whole If thus all representational artistic work in ancient Egypt can be understood to a certain extent 37 Paperback edition: New Amsterdam Books (New York, 1992). , 22, 36, 47, etc. 39 On the adaptation of scenes to wall spaces in individual Old Kingdom tombs and related subjects see Yvonne Harpur, Decoration in Egyptian Tombs, 62, 223–231 and passim. egyptian art—a performing art?

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