“My tale starts with a ‘once upon a time’ — A long time ago, beings lived who could control the elements, immortality, and time. We called them gods and gave them our worship. They played with us like toys, took our lives and sabotaged our love. Now, the gods are myths. Stories in books—not to be confused with our modern world. I believed this until I found myself tumbling into a dream. This dream takes me to another life. To a forgotten time in a bloody age. I dream of Hades’s son and a lustful goddess. I dream of limitless power and revolving time. I dream a death and love that was mine... My name is Cara Wynter— and this is my story.” Cara Wynter is a literature student living with her twin sister, Lily, in Fairhaven Washington. A daughter of witches, touch brings Cara only pain, and dark visions of pasts and futures she can rarely change. Already fighting to exist in her strange reality, she begins to crumble when the reoccurring dreams of her own death begin. In a desperate attempt to unlock the secrets in the violent images, she finds herself lost in a contest between love—and the will of the ancient gods. With only forgotten memories and the pages of a book to guide her, she struggles to understand her past and break a deadly curse. Cara must face her worst fears—to save the soul of a god she has treasured for centuries, and a love she cannot live without.
To scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India's centuries of splendor has been lacking. The Art of Ancient India is the result of the author's aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: –Not since Coomaraswamyês History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art _ from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all encompassing view of the art. An outstanding portrayal of ancient Indiaês highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.
Explains the origins, materials, and meaning of traditional art in China, and describes the development of painting, sculpture, calligraphy, architecture, and other media.
This book provides an innovative analysis of the conditions of ancient Egyptian craftsmanship in the light of the archaeology of production, linguistic analysis, visual representation and ethnographic research. During the past decades, the "imaginative" figure of ancient Egyptian material producers has moved from "workers" to "artisans" and, most recently, to "artists". In a search for a fuller understanding of the pragmatics of material production in past societies, and moving away from a series of modern preconceptions, this volume aims to analyse the mechanisms of material production in Egypt during the Middle Bronze Age (2000-1550 BC), to approach the profile of ancient Egyptian craftsmen through their own words, images and artefacts, and to trace possible modes of circulation of ideas among craftsmen in material production. The studies in the volume address the mechanisms of ancient production in Middle Bronze Age Egypt, the circulation of ideas among craftsmen, and the profiles of the people involved, based on the material traces, including depictions and writings, the ancient craftsmen themselves left and produced.
In 'Ancient Art and Ritual', Jane Ellen Harrison explores the intimate connection between ancient art and ritual. Harrison delves into the history of Greek drama, which arose from primitive and almost worldwide rituals, and illustrates how these ancient rituals evolved into art forms such as choral readings, dance forms, and drama itself. She argues that art is borne out of emotion and is the artist's duty to transfer those feelings into some medium, whether it be writing, painting, or drama. With high emotional energy as a common thread behind all art forms, Harrison shows how ancient rituals gave rise to the development of Greek sculpture as a demure way to give homage to the gods.
The collection of Barbara and Lawrence Fleischman of New York is one of the most important private collections of ancient Greek and Roman art in the United States and among the most important in the world. Composed of approximately three hundred objects from the Bronze Age to the Late Antique, it includes bronze statuettes, marble sculpture, vases, jewelry, lamps and candelabra, keys, weights, and silver bowls and utensils. The Fleischmans have a particular fascination with pieces associated with everyday life in antiquity, since these objects evoke a human connection to the past. They are also drawn to pieces that exemplify the human propensity to transform a functional object into a thing of beauty. Not only has their emotional response to an object’s aesthetic appeal or its historical significance guided them in their forty years of collecting, personal interests have been at work as well. The large number of pieces related to the theater or representing theatrical subjects reflects Barbara Fleischman’s lifelong love of that art. A Passion for Antiquities contains photographs and extensive catalogue entries on the objects included in the exhibition at the J. Paul Getty Museum and the Cleveland Museum of Art. Eighteen contributors provide art historical and descriptive information about each piece. The objects not selected for the exhibition are detailed in a checklist that specifies their origins, dates, media, and sizes. This book is the first major reference on the entire collection, since most of the objects have never before been publicly shown. To facilitate finding specific objects or groups of objects, the book is organized first chronologically and then by medium. Bibliographic sources for each entry cite both publications where the specific work is discussed as well as references to related scholarship. Karol Wight provides a chronological overview of the collection, and Oliver Taplin relates selected pieces to the development of Greek theater. The exhibition of Barbara and Lawrence Fleischman’s collection and this catalogue allow us to enter into their minds and emotions so that, for a time, we can share their passion for antiquities.