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Library | Materyal Türü | Barkod | Yer Numarası | Durum |
|---|---|---|---|---|
Searching... Pamukkale Merkez Kütüphanesi | Kitap | 0050211 | N5330B63 2006 | Searching... Unknown |
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Özet
Özet
An innovative exploration of the arts of antiquity, from the earliest European cave paintings to the coming of Christianity and Buddhism in the Old World and the arrival of the Spaniards in the New World.
Dividing the ancient world into three broad climatic categories--the northern nomadic, the temperate farmers and city dwellers, and the tropical--John Boardman focuses on common solutions that Man the Artist has devised for the problems posed by the environment, a factor that has also determined the nature of society and its arts. The solutions are shown to have been very similar worldwide within each broad environmental zone, and the pattern can be demonstrated in the arts no less than in social organization. Richly illustrated and clearly captioned, the book covers the full range of ancient art produced across the globe, from China and Egypt through Classical Greece to South America, Africa, Australasia, and Oceania. It illuminates the many similarities and differences to be observed over the millennia in which artists were required to serve man and his gods more completely than they have ever done since. 690 illustrations, 160 in color.
Author Notes
John Boardman was Professor of Classical Archaeology and Art at Oxford University from 1978 until his retirement in 1994. In addition to his work as an excavator and editor, he has published over thirty books on aspects of Greek art and archaeology. He is a Fellow of the British Academy, was knighted in 1989, and has received honorary doctorates from Athens and the Sorbonne.
Reviews (2)
Choice Review
Archaeologist Boardman's lavishly illustrated book is a comprehensive account of ancient art from Europe, Asia, Africa, the Americas, Australia, and Oceania. He presents three distinct zones with art production, each with a different climate and availability of resources: a northern realm with grasslands and forests; a zone with a temperate climate and access to major rivers and minerals; and a tropical environment with low-lying rain forests and savannah. Boardman proposes that all art produced within each zone has common features that are similar responses to parallel environmental challenges. For example, the challenges of the cold climate of the north led to a nomadic or seminomadic existence in which small portable art was produced. Its subject matter focused on the animals on which nomadic humans depended. The art of the temperate zone receives the fullest discussion. This zone, with its moderate climate and abundant physical resources, had conditions conducive to the development of large, socially stratified urban settlements. Here monumental art and architecture were developed to express the power of urban leaders. Tropical art, produced by hunter-gatherers, tended and still tends to be modest in materials but rich in spiritual content. ^BSumming Up: Recommended. General readers; lower- and upper-division undergraduates; professionals; two-year technical program students. F. Van Keuren University of Georgia
Library Journal Review
The 20th century has ended, yet this book recalls an academic style prevalent in introductory art history survey classes taught 50 years ago. Boardman (classical archaeology & art, emeritus, Oxford Univ.; Athenian Black Figure Vases), an expert on Greek art, has attempted to sew together the remnants of every civilization on earth into a quilt intended to set the stage for the triumph of "Western Civilization." This reviewer is not sure that such a task is possible, and reading this potpourri of bland, clipped writing and examining myriad photos of art objects have done nothing to make a persuasive case. The art objects and architecture illustrated in 850 mostly black-and-white photos of variable quality are heavily oriented toward Greek and other Mediterranean cultures. China is given a perfunctory section of its own and Africa and the Americas are examined not so much for their innate interest as for their interface with other cultures. Because stone and ceramics survive the centuries, they are almost the only works illustrated. Are there no extant textiles or other works on organic substrates? The very spare index is hard to use because the italic and regular numbers are too similar. Spend your $65 on more modern and specific books; not recommended. David McClelland, Philadelphia (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.