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In The Sacred Landscape of Dra Abu el-Naga during the New Kingdom, Ángeles Jiménez-Higueras offers the reconstruction of the physical, religious and cultural landscape of Dra Abu el-Naga south and its conceptual development from the 18th to the 20th Dynasties (1550-1069 BC). A wider insight into the Theban necropolis is provided, including the position played by the Dra Abu el-Naga cemetery within the Theban funerary context understood as an inseparable complex of diverse components. For this study, Ángeles Jiménez-Higueras has reconciled textual and archaeological perspectives with theories relating to Landscape Archaeology, which efficiently manages to compile and to link prosopographical-genealogical, archaeological and GIS (Geographical Information System) data.
PART 1: Streets, Processions, Fora, Agorai, Macella, Shops. PART 2: Sites, Buildings, Dates
Author: Luke Lavan
This book investigates the nature of 'public space' in Mediterranean cities, A.D. 284-650, meaning places where it was impossible to avoid meeting people from all parts of society, whether different religious confessions or social groups. The first volume considers the architectural form and everyday functions of streets, fora / agorai, market buildings, and shops, including a study of processions and everyday street life. The second volume analyses archaeological evidence for the construction, repair, use, and abandonment of these urban spaces, based on standardised principles of phasing and dating. The conclusions provide insights into the urban environment of Constantinople, an assessment of urban institutions and citizenship, and a consideration of the impact of Christianity on civic life at this time.
The reign of the “heretic pharaoh” Akhenaten—the so-called Amarna Period—witnessed an unprecedented attack on the cult of Amun, King of the Gods, with his cult center at ancient Thebes (modern Luxor). A program to reinstate Amun to pre-eminence in the traditional pantheon was instituted by Akhenaten’s successors Tutankhamun, Ay, and Horemhab.

Damaged reliefs and inscriptions were restored and new statues of Amun and his consorts Mut and Amunet commissioned to replace those destroyed under Akhenaten.

In this study, over 60 statues and fragments of statues attributable to the post-Amarna Period on the basis of an inscription, physiognomy, and/or stylistic analysis are discussed, as well as others that have been incorrectly assigned to the era.
In: Post-Amarna Period Statues of Amun and His Consorts Mut and Amunet
In: Post-Amarna Period Statues of Amun and His Consorts Mut and Amunet
Tel Kabri, located in the western Galilee region of modern Israel several kilometers inland from modern Acco and Nahariyya, was the center of a Canaanite polity during the Middle Bronze Age (MB). Initial excavations conducted at the site from 1986 to 1993 revealed the remains of a palace dating primarily to the Middle Bronze Age II period, during the first half of the second millennium BCE. Excavations were resumed at the site in 2005 under the co-direction of the present editors, Assaf Yasur-Landau and Eric H. Cline. This volume presents the results of the work done at Tel Kabri from 2005 to 2011.
In: Excavations at Tel Kabri
Author: Ravit Linn

Abstract

Tel Kabri is among a handful of eastern Mediterranean Middle Bronze Age sites to reveal examples of Aegean-style painting and is probably the oldest representation within the region. During the renewed excavations at the site from 2008 to 2011, approximately 60 painted fragments were found in Areas D-West and D-South. Our study focused on the color palette that was used, identification of pigments and color mixtures, and analysis of the paint layers and the painting techniques, as well as the plaster layers and plaster characteristics. The color palette includes only six colors: blue, red, yellow, orange, black, and white. Egyptian blue is the most common pigment found, appearing on 20 of the 60 painted fragments. The size of the pigment particles examined varies mostly between 5 to 100 µm. Most of the paint layers appear very flat and unified, and consist of one color only. In some areas, there are mixtures of different pigments to achieve the desired color. Further investigation of the painted fragments from Tel Kabri, revealed the use of egg as an organic binder, thus proving that the paint was applied using a secco technique or a combination of secco and fresco together.

In: Excavations at Tel Kabri