The diffusion of classical art in antiquity
Author(s)
Bibliographic Information
The diffusion of classical art in antiquity
(Bollingen series, XXXV,
Princeton University Press, c1994
Available at 11 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 323-348) and index
Description and Table of Contents
Description
From one of the world's foremost archaeologists and historians of ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to China
In this pioneering book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity-peoples who were not necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman assesses how and why the arts of the classical world traveled and to what effect, roughly from the eighth century BCE to early centuries CE., from Britain to China. Since the Greeks were not always the intermediaries and the results were largely determined by the needs of the recipients, this becomes a study of foreign images accepted or copied, usually without regard to their original function.
In some places, such as Italy, these images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. Finally, in cultures where there was a subtler blend of influences, notably in the Buddhist east, the classical images could serve as a catalyst to the generation of effective new styles.
Boardman's approach is as much archaeological as art-historical, and the processes he reveals pose questions about how images in general are copied and reinterpreted. He also demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself.
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