The Built Surface V 1 Architecture And The Visual Arts From Antiquity To The Enlightenment

This title was first published in 2002: Since antiquity through to the present, architecture and the pictorial arts (paintings, photography, graphic arts) have not been rigidly separated but interrelated - the one informing the other, and establishing patterns of creation and reception. In the Classical tradition the education of the architect and artist has always stressed this relationship between the arts, although modern scholarship has too often treated them as separate disciplines. These volumes explore the history of this exchange between the arts as it emerged from classical theory into artistic and architectural practice. Issues of visual representation, perspective, allegory, site specificity, ornamentation, popular culture, memorials, urban and utopian planning, and the role of treatises, manifestos, and other theoretical writings are addressed, as well as the critical reaction to these products and practices. This title represents a variety of methods, approaches, and diatectical interpretations - cases where architecture informs the themes and physical space of pictures, or pictorial concerns inform the design and construction of the built environment. The exchanges between architecture and pictures explored by these authors are found to be in all cases ideologically potent, and therefore significantly expressive of their respective social, political, and intellectual histories.

This title was first published in 2002: Since antiquity through to the present, architecture and the pictorial arts (paintings, photography, graphic arts) have not been rigidly separated but interrelated - the one informing the other, and establishing patterns of creation and reception. In the Classical tradition the education of the architect and artist has always stressed this relationship between the arts, although modern scholarship has too often treated them as separate disciplines. These volumes explore the history of this exchange between the arts as it emerged from classical theory into artistic and architectural practice. Issues of visual representation, perspective, allegory, site specificity, ornamentation, popular culture, memorials, urban and utopian planning, and the role of treatises, manifestos, and other theoretical writings are addressed, as well as the critical reaction to these products and practices. This title represents a variety of methods, approaches, and diatectical interpretations - cases where architecture informs the themes and physical space of pictures, or pictorial concerns inform the design and construction of the built environment. The exchanges between architecture and pictures explored by these authors are found to be in all cases ideologically potent, and therefore significantly expressive of their respective social, political, and intellectual histories.

"This title was first published in 2002: Since antiquity through to the present, architecture and the pictorial arts (paintings, photography, graphic arts) have not been rigidly separated but interrelated - the one informing the other, and establishing patterns of creation and reception. In the Classical tradition the education of the architect and artist has always stressed this relationship between the arts, although modern scholarship has too often treated them as separate disciplines. These volumes explore the history of this exchange between the arts as it emerged from classical theory into artistic and architectural practice. Issues of visual representation, perspective, allegory, site specificity, ornamentation, popular culture, memorials, urban and utopian planning, and the role of treatises, manifestos, and other theoretical writings are addressed, as well as the critical reaction to these products and practices. This title represents a variety of methods, approaches, and diatectical interpretations - cases where architecture informs the themes and physical space of pictures, or pictorial concerns inform the design and construction of the built environment. The exchanges between architecture and pictures explored by these authors are found to be in all cases ideologically potent, and therefore significantly expressive of their respective social, political, and intellectual histories."--Provided by publisher.

Since antiquity through to the present, architecture and the pictorial arts (paintings, photography, graphic arts) have not been rigidly separated but interrelated - the one informing the other, and establishing patterns of creation and reception. In the Classical tradition, the education of the architect and artist has always stressed this relationship between the arts, although modern scholarship has too often treated them as separate disciplines.

This title was first published in 2002: Since antiquity through to the present, architecture and the pictorial arts (paintings, photography, graphic arts) have not been rigidly separated but interrelated - the one informing the other, and establishing patterns of creation and reception. In the Classical tradition, the education of the architect and artist has always stressed this relationship between the arts, although modern scholarship has too often treated them as separate disciplines. These volumes explore the history of this exchange between the arts as it emerged from classical theory into artistic and architectural practice. Issues of visual representation, perspective, allegory, site specificity, ornamentation, popular culture, memorials, urban and utopian planning, and the role of treatises, manifestos, and other theoretical writings are addressed, as well as the critical reaction to these products and practices. The Built Surface represents a variety of methods, approaches, and dialectical interpretations - cases where architecture informs the themes and physical space of pictures, or pictorial concerns inform the design and construction of the built environment. The exchanges between architecture and pictures explored by these authors are found to be in all cases ideologically potent, and therefore significantly expressive of their respective social, political, and intellectual histories.

Landscape has been a key theme in world archaeology and trans-cultural art history over the last half century, particularly in the study of painting in art history and in all questions of human intervention and the placement of monuments in the natural world within archaeology. However, the representation of landscape has been rather less addressed in the scholarship of the archaeologically-accessed visual cultures of the ancient world. The kinds of reliefs, objects, and paintings discussed here have a significant purchase on matters concerned with landscape and space in the visual sphere, but were discovered within archaeological contexts and by means of excavation. Through case studies focused on the invention of wilderness imagery in ancient China, the relation of monuments to landscape in ancient Greece, the place of landscape painting in Mesoamerican Maya art, and the construction of sacred landscape across Eurasia between Stonehenge and the Silk Road via Pompeii, this book emphasises the importance of thinking about models of landscape in ancient art, as well as the value of comparative approaches in underlining core aspects of the topic. Notably, it explores questions of space, both actual and conceptual, including how space is configured through form and representation.

The festivals of the 'four months' (caturm sa) stand apart from other festive occasions in Kathmandu (Nepal) in their overriding concern with death. These festivals are sacrificial feasts, dealing with the riddle of life and death in the Hindu-Buddhist context of South Asia. Caturmasa festivals are collective, supralocal affairs, crossing the border between the upper and the lower part of the town; they involve the whole town of Kathmandu, and the king of Nepal, who is both sacrificer and victim. The two main themes of the celebrations of death are sacrifice and kingship.