Celtic Art In Transition During The First Century Bc

The ancient Celtic world evokes debate, discussion, romanticism and mythicism. On the one hand it represents a specialist area of archaeological interest, on the other, it has a wide general appeal. The Celtic world is accessible through archaeology, history, linguistics and art history. Of these disciplines, art history offers the most direct message to a wider audience. This volume of 37 papers brings together a truly international group of pre-eminent specialists in the field of Celtic art and Celtic studies. It is a benchmark volume the like of which has not been seen since the publication of Paul JacobsthalÕs Early Celtic Art in 1944. The papers chart the history of attempts to understand Celtic art and argue for novel approaches in discussions spanning the whole of Continental Europe and the British Isles. This new body of international scholarship will give the reader a sense of the richness of the material and current debates. Artefacts of rich form and decoration, which we might call art, provide a most sensitive set of indicators of key areas of past societies, their power, politics and transformations. With its broad geographical scope, this volume offers a timely opportunity to re-assess contacts, context, transmission and meaning in Celtic art for understanding the development of European cultures, identities and economies in pre- and proto-history.

Rome was an empire of images, especially images that bolstered their imperial identity. Visual and material items portraying battles, myths, captives, trophies, and triumphal parades were particularly important across the Roman empire. But where did these images originate and what shaped them? Empire of Images explores the development of the Roman visual language of power in the Republic in Iberian Peninsula, the Gallic provinces, and Greece and Macedonia, centering the development of imperial imagery in overseas conquest. Drawing on a range of material evidence, this book argues that Roman imperial imagery developed through prolonged interaction with and adaptation by subjugated peoples. Despite their starring role in Roman imagery, the populations of Rome’s provinces continuously reinterpreted and reimagined Roman images of power to navigate their membership in the new imperial community, and in doing so, contributed to the creation of a universal visual language that continues to shape how Rome is understood.

For many, perhaps most, the title Early Celtic Art summons up images of Early Christian stone crosses in Ireland, Scotland, Wales, or Cornwall; of Glendalough, lona or Tintagel; of the Ardagh Chalice or the Monymusk Reliquary; of the great illuminated gospels of Durrow or Lindisfame. But as Stuart Piggott notes, the consummate works of art produced under the aegis of the early churches in Britain or Ireland, in regions Celtic by tradition or language, have an ancestry behind them only partly Celtic. One strain in an eclectic style was borrowed from the ornament of the northern Germanic world, the classical Mediterranean, and even the Eastern churches. Early Celtic art, originating in the fifth century b.c. in Central Europe, was already seven or eight centuries old when it was last traced in the pagan, prehistoric world, and the transmission of some of its modes and motifs over a further span of centuries into the Christian Middle Ages was an even later phenomenon. This volume presents the art of the prehistoric Celtic peoples, the first great contribution of the barbarians to European arts. It is an art produced in circumstances that the classical world and contemporary societiesunhesitatingly recognize as uncivilized. Its appearance, it has been said by N. K. Sandars in Prehistoric Art in Europe: "is perhaps one of the oddest and most unlikely things to have come out of a barbarian continent. Its peculiar refinement, delicacy, and equilibrium are not altogether what one would expect of men who, though courageous and not without honor even in the records of their enemies, were also savage, cruel and often disgusting; for the archaeological refuse, as well as the reports of Classical antiquity, agree in this verdict." This book comprises the first major exhibition of Early Celtic Art from its origins and beginnings to its aftermath, and was assembled by Stuart Piggott who taught later European prehistory to Honors students in Archaeolog

Annually published since 1930, the International bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The works are arranged systematically according to period, region or historical discipline, and within this classification alphabetically. The bibliography contains a geographical index and indexes of persons and authors.

"For many, perhaps most, the title Early Celtic Art summons up images of Early Christian stone crosses in Ireland, Scotland, Wales, or Cornwall; of Glendalough, lona or Tintagel; of the Ardagh Chalice or the Monymusk Reliquary; of the great illuminated gospels of Durrow or Lindisfame. But as Stuart Piggott notes, the consummate works of art produced under the aegis of the early churches in Britain or Ireland, in regions Celtic by tradition or language, have an ancestry behind them only partly Celtic. One strain in an eclectic style was borrowed from the ornament of the northern Germanic world, the classical Mediterranean, and even the Eastern churches. Early Celtic art, originating in the fifth century b.c. in Central Europe, was already seven or eight centuries old when it was last traced in the pagan, prehistoric world, and the transmission of some of its modes and motifs over a further span of centuries into the Christian Middle Ages was an even later phenomenon. This volume presents the art of the prehistoric Celtic peoples, the first great contribution of the barbarians to European arts. It is an art produced in circumstances that the classical world and contemporary societiesunhesitatingly recognize as uncivilized. Its appearance, it has been said by N.K. Sandars in Prehistoric Art in Europe: "is perhaps one of the oddest and most unlikely things to have come out of a barbarian continent. Its peculiar refinement, delicacy, and equilibrium are not altogether what one would expect of men who, though courageous and not without honor even in the records of their enemies, were also savage, cruel and often disgusting; for the archaeological refuse, as well as the reports of Classical antiquity, agree in this verdict."This book comprises the first major exhibition of Early Celtic Art from its origins and beginnings to its aftermath, and was assembled by Stuart Piggott who taught later European prehistory to Honors students in Archaeolog"--Provided by publisher