"Money may seem hopelessly mundane and culturally meaningless, but it has dominated--and documented--world history since the time of the ancient Greeks. This heavily illustrated book provides a spirited account of the first coinages and their living descendants in our pockets and purses. It explains how people from Jesus to The Beatles have used numismatics to explore the social, political, economic, and religious history of the world"--
Presents numismatics from the ancient harbor town of Dor/Dora in modern Israel with a history that spanned from the Bronze Age until the Late Roman Era.
One hundred years after the conquest of the Persian Empire by Alexander of Macedon, we see the emergence of a new Iranian dynasty that, by 140 BC, has extended its rule to Western Iran and Mesopotamia. The Arsacid Parthians, famous for their riding and archery skills, became Rome's most dangerous enemy east of the River Euphrates. Encounters between Roman generals and Parthian envoys are vividly described in Classical accounts of a biased nature, and unfortunately no such sources are available from the Parthian side. Here, the most important primary source is the coinage of the period c. 248 BC - AD 224. These coins reveal important information about the development of the Parthian state, its expansion and the role of the king, who, by 111 BC, had adopted the ancient Persian title of King of Kings. Rome's interference in the region begins during the reign of Mithradates II's and culminates in the devastating defeat of the Roman army under the General Crassus at the Battle of Carrhae in 53 BC. Over the next 300 years these two superpowers fight for territorial control in the region, particularly over Mesopotamia and Armenia. This book will highlight the rise to power of the Parthians, the long conflict with Rome, as well as the culture and religion of the Parthian Empire as seen through the coinage of this period. It is co-published with the British Museum to accompany an exhibition of the same name which opens there in April 2020.
Coins have long been a vital part of the discipline of classical studies of the ancient world. However, many scholars have commented that coins have not been adequately integrated into the study of the New Testament. This book provides an interdisciplinary gateway to the study of numismatics for those who are engaged in biblical studies. Wenkel argues that coins from the 1st century were cultural texts with communicative power. He establishes a simple yet comprehensive hermeneutic that defines coins as cultural texts and explains how they might be interpreted today. Once coins are understood to be cultural texts, Wenkel proceeds to explain how these texts can be approached from three angles. First, the world in front of the coin is defined as the audience who initially read and responded to coins as cultural texts. The entire Roman Empire used coins for payment. Second, the world of the coin refers to the coin itself – the combination of inscriptions and images. This combination of inscription and image was used ubiquitously as a tool of propaganda. Third, the world behind the coin refers to the world of power and production behind the coins. This third angle explores the concept of authorship of coins as cultural texts.
Museum Gallery Interpretation and Material Culture publishes the proceedings of the first annual Sackler Centre for Arts Education conference at the Victoria and Albert Museum (V&A) in London. The conference launched the annual series by addressing the question of how gallery interpretation design and management can help museum visitors learn about art and material culture. The book features a range of papers by leading academics, museum learning professionals, graduate researchers and curators from Europe, the USA and Canada. The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
This volume focuses on a wide range of topics such as gender studies, aspects of everyday life, Roman festivals, magic, etc., hereby reflecting on the methodological problems inherent in intercultural studies.
Centred around culture this book deals with a diversity of subjects related to religion, social and economic history, epigraphy, art, architecture, plants and herbs, Roman, coins and Greek Myths, questions of national integration, social justice, untouchability and orthodoxy and the heated issue of Ayodhya.
Through much of its history, Italy was Europe’s heart of the arts, an artistic playground for foreign elites and powers who bought, sold, and sometimes plundered countless artworks and antiquities. This loss of artifacts looted by other nations once put Italy at an economic and political disadvantage compared with northern European states. Now, more than any other country, Italy asserts control over its cultural heritage through a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In its efforts to bring their cultural artifacts home, Italy has entered into legal battles against some of the world’s major museums, including the Getty, New York’s Metropolitan Museum, and the Louvre. It has turned heritage into patrimony capital—a powerful and controversial convergence of art, money, and politics. In 2006, the then-president of Italy declared his country to be “the world’s greatest cultural power.” With Ruling Culture, Fiona Greenland traces how Italy came to wield such extensive legal authority, global power, and cultural influence—from the nineteenth century unification of Italy and the passage of novel heritage laws, to current battles with the international art market. Today, Italy’s belief in its cultural superiority is evident through interactions between citizens, material culture, and the state—crystallized in the Art Squad, the highly visible military-police art protection unit. Greenland reveals the contemporary actors in this tale, taking a close look at the Art Squad and state archaeologists on one side and unauthorized excavators, thieves, and smugglers on the other. Drawing on years in Italy interviewing key figures and following leads, Greenland presents a multifaceted story of art crime, cultural diplomacy, and struggles between international powers.
