Art of the Orient最新文献_第3页

Subject compositions in Tuvan rock art 图瓦岩石艺术的主题构成

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201807

M. Kilunovskaya

引用次数: 0

Figurative monuments and rock art traditions of the Kazakh Steppes 哈萨克草原的象征性纪念碑和岩石艺术传统

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201808

V. Novozhenov, Marina V. Bedelbayeva

{"title":"Figurative monuments and rock art traditions of the Kazakh Steppes","authors":"V. Novozhenov, Marina V. Bedelbayeva","doi":"10.15804/aoto201808","DOIUrl":"https://doi.org/10.15804/aoto201808","url":null,"abstract":"he unique heritage of the Kazakh people includes ancient rock art— petroglyphs founded in the vast expanses of Saryarka, the steppes of Kazakhstan. They are still not very well known and virtually excluded from modern tourist routes. Within the administrative boundaries of the Karaganda region (Fig. 1), covering most of Kazakh steppes, twenty-seven sites were found.1) The petroglyph sites are situated in the most notable places of the steppes—on the rocky outcrops on the tops and slopes of the hills, on the steep banks of small rivers drying up in the summer time. These points are visible from afar. As a rule, they are associated with numerous myths and legends of the locals and they are honoured as sacred places—’aulie’. Such landmarks are essential to cattlemen as important indicators for orientation in the vast ‘ocean’ of the steppes (Fig. 2). Perhaps the ancient petroglyphs sites acted as ‘lighthouses’ in the vast steppes, pointed out the most convenient pastures and directions of movement. In the absence of written tradition, there is a limited number of communication channels between members of societies. Communication was limited to verbal and pictorial traditions that reflected the knowledge, accumulated by society, in the only one available form—mythological.2) Petroglyphs are considered to be an archaeological source, the study of which requires the solution of specific problems and challenges, among which the most salient are: an integrated analysis, classifications and documenting","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128372399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reconstruction of the archaeological landscape of the Western Shore of the Caspian Sea at the end of Upper Pleistocene and Holocene 上更新世和全新世末期里海西岸考古景观的重建

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201804

M. Farajova

引用次数: 1

Pre-Islamic art of Afghanistan and Pakistan. A survey of research interest 阿富汗和巴基斯坦的前伊斯兰艺术。研究兴趣调查

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201811

Piotr Balcerowicz

{"title":"Pre-Islamic art of Afghanistan and Pakistan. A survey of research interest","authors":"Piotr Balcerowicz","doi":"10.15804/aoto201811","DOIUrl":"https://doi.org/10.15804/aoto201811","url":null,"abstract":"rt is a part and a manifestation of culture, and, accordingly, research on the art of a given region is necessarily related to the research on its culture and history, and it cannot be separated from archaeology and history, on the one hand, that provide research material, and, on the other, from anthropology and cultural studies that reveal the ‘language’ of cultural symbols through which given objects of material culture can be ‘read’ and interpreted. The research area outlined in the title is a rather unspecified territorial patchwork, in the case of which it is impossible to talk about a uniform culture or a historical and cultural continuity. It is a vast region, which, throughout history, provided an environment in various segments of which various cultures developed and separate political entities were formed. It was an area of intense migration of various peoples, of which the two most important were associated with the nomadic Indo-Iranian, or Āryan, tribes that reached the territories of present Afghanistan and Pakistan in the middle of the third millennium BCE, and the Turkish people of the first millennium CE. The Indus River and the Sarasvatī River, no longer existent, from the east, the basin of the Amū Daryā River, including the so-called Transoxania, to the north, and the desert belt between Herat and Kandahar to the west could be accepted as the customary natural geographical boundaries of this region.1) The paper presents a survey highlighting certain aspects relating to the research conducted on the pre-Islamic art of Afghanistan and Pakistan. The","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"292 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124861263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ibexes on black stones: new petroglyphs in Surkhandarya (South Uzbekistan) 黑色石头上的野山羊:Surkhandarya(乌兹别克斯坦南部)的新岩画

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201805

A. Augustinová

引用次数: 1

Hellenistic Phalerae from the burials of the nomads of Asian Sarmatia 亚洲撒马提亚游牧民族墓葬中的希腊化法勒勒

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201803

M. Treister

引用次数: 2

Dionysus between Sāsānian Iran and Roman allusions 酒神介于Sāsānian伊朗和罗马典故之间

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201802

R. Schulz

{"title":"Dionysus between Sāsānian Iran and Roman allusions","authors":"R. Schulz","doi":"10.15804/aoto201802","DOIUrl":"https://doi.org/10.15804/aoto201802","url":null,"abstract":"lot can be said about religious notions in the late Roman Empire, but further to the east the picture is quite different. Until today even sketching the religious evolution within the Arsacid and the Sāsānian World remains problematic. A substantial amount of the most central Zoroastrian texts are incomplete and what we do find preserved is often mirrored through redaction after the Islamic conquest. About other central textual sources the only thing we know for a fact is that they existed. The situation with other cults not belonging to the Zoroastrian state church is even worse. Of course, this is also true when it comes to the interpretation of related archaeological material. Many of the themes we find depicted on toreutics, seals or stucco are hard to explain, while other representations are strongly reminiscent of cults known from the Roman World but somehow oddly adapted. In this contribution I will try to examine one of these cults — the worship of Dionysus. Since information about the Dionysian Cult in the east is quite scarce, it might prove useful to pay attention to a differentiation emphasized by Martha Carter. She stressed the difference between the term ‘Dionysian’, written with capital-D as related to the god, and ‘dionysian’ seen as a general mode to express a relation to wine or ecstatic behaviour, not necessarily connected to the cult of the god.1) For both terms we find comparable visual vocabulary, like scenes of vintage with erots or various animals between vine branches etc. In the specific case of the Late Roman beholder there likely was a connection between both perceptions, but the further east we go with an analysis the more difficult is to say what the actual content was. In Gandhāra and","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121551215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Griffins, Myths and Religion — a review of the archaeological evidence from ancient Greece and the early nomads of Central Asia 狮鹫、神话和宗教——对古希腊和中亚早期游牧民族考古证据的回顾

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201801

Kenneth Lymer

引用次数: 0

Some details from the Representations of the Parinirvāṇa cycle in the art of Gandhara and Kucha: The iconography of the Wandering Ascetics (Parivrājaka, Nirgrantha and Ājīvika) 犍陀罗和库车艺术中Parinirvāṇa循环表现的一些细节:流浪苦行僧的肖像(Parivrājaka, Nirgrantha和Ājīvika)

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201810

Monika Zin

引用次数: 2

The discovery of two stucco heads of the Vidūṣaka in Gandharan art 在犍陀罗艺术中发现了两个Vidūṣaka的灰泥头像

Art of the Orient Pub Date : 2018-12-31 DOI: 10.15804/aoto201809

Satomi Hiyama, R. Arlt

引用次数: 1