Order and contingency in Archaic Greek ornament and figure

Dietrich, Nikolaus

doi:10.1515/9783110469578-009

Cited by 3 publications

(2 citation statements)

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“…Natural or artificial ornamentation is aesthetic. Natural or imitation ornament is the recreation of forms exactly as they appear in nature so that they are the primary element rather than the second element as they should be in flawless adornment [11]. The alteration of natural features by simplification or exaggeration to make them more palatable or captivating when replicated is known as a conventional or stylized ornament.…”

Section: Decorative Art: Significance Of Ornamentmentioning

confidence: 99%

Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture

Zahra

Shahir

2022

LAA

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Decorative architectural ornaments are the mainstay of several art forms. Islamic architecture had several properties and characteristics, including the non-depiction of living beings and emulating God's creation of wrongdoing. Therefore, floral, geometrical, and vegetal motifs became the main component of Islamic architectural ornaments. Similarly, Palmette is included and practiced on a large scale in Islamic architecture due to its vegetal or floral forms. This article focuses on the historical aspects of palmette ornament. Additionally, it explores the development and evolution of the ornament from west to east. Moreover, how palmette ornaments are practiced in Islamic Architecture. For this purpose, historical approach of description is used to explore and analyze the palmette ornament in depth.

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Section: Decorative Art: Significance Of Ornamentmentioning

confidence: 99%

Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture

Zahra

Shahir

2022

LAA

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“… 68 We might describe the relationship between image and identity as one of frame and framed (or, in Kantian terms, parergon and ergon ). On frames and ornaments in classical art, see Platt and Squire 2017b and Dietrich and Squire 2018, especially the introductions to those volumes (Platt and Squire 2017a; Squire 2018b). On the relationship between head, body, hair and dress and the ‘visual power of formula, repetition and analogy’ see Trimble 2017.…”

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confidence: 99%

Death by Analogy: Identity Crises on a Roman Sarcophagus

Clifford

2023

J. Rom. Stud.

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This article examines how images on a sarcophagus involved Roman viewers in processes of thinking by analogy and so invited them to engage in meditation on death. This more thanatological slant is sidelined in current approaches that emphasise how exemplary figures on sarcophagi consoled the bereaved and praised the dead. Building on these approaches, together with work on the mediating role played by artefacts in thought, this article proposes that analogies on sarcophagi also invited the living to think about their own death and the possibilities and limitations of analogy for thanatological reflection. It argues, further, that sarcophagi should be read more expansively, allowing for figures and scenes to have more than one identity rather than collapsing them into one: this multiplicity reinforces meditation on death. The article focuses on Roman sarcophagi that feature Adonis, with emphasis on the Rinuccini sarcophagus; this unusual sarcophagus explicitly juxtaposes real-life and mythological scenes.

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Vision and visual experience in European Celtic Art: towards new interpretations from neuro-atypical perspectives

Romankiewicz

2020

World Archaeology

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Analysing ancient art offers views into the visual worlds of its makers. The cusps and swirls typical of European Celtic Art have been interpreted as abstractions of faces and creatures inspired by earlier, more naturalistic art. Yet as 21st-century visual communicators used to 'reading' abstract emoji, we may be over-interpreting this aspect at the cost of other, still hidden dimensions. While humans share inalienable universals across space and culture, such as recognizing friendly or hostile faces, persons who lack facial recognition are diagnosed with autistic spectrum condition. However, their condition enables them to recognize embedded figures easily within crowded images or to focus on pattern instead of faces. My initial assessment indicates that some imagery of European Celtic Art would be compatible with an autistic idiom, similar as suggested for Palaeolithic art. This paper investigates these different ways of seeing European Celtic Art and opens new pathways for future research.

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Order and contingency in Archaic Greek ornament and figure

Cited by 3 publications

References 0 publications

Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture

Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture

Death by Analogy: Identity Crises on a Roman Sarcophagus

Vision and visual experience in European Celtic Art: towards new interpretations from neuro-atypical perspectives

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