LEADER 04354nam 2200421 450 001 9910827072603321 005 20211104175310.0 010 $a1-78925-397-7 010 $a1-78925-395-0 035 $a(CKB)4100000010011007 035 $a(MiAaPQ)EBC6383450 035 $a(EXLCZ)994100000010011007 100 $a20210315d2020 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aArt in the Eurasian iron age $econtext, connections and scale /$fCourtney Nimura [and three others] 210 1$aPhiladelphia, Pennsylvania :$cOxbow Books,$d[2020] 210 4$dİ2020 215 $a1 online resource (257 pages) $cillustrations 311 $a1-78925-394-2 327 $tIntroduction: Context, connections and scale /$rChris Gosden, Helen Chittock, Peter Hommel and Courtney Nimura --$g1.$tArt, ambiguity and transformation /$rChris Gosden --$g2.$tCollecting Iron Age art /$rCourtney Nimura, Peter Hommel, Helen Chittock and Chris Gosden --$g3.$tEurasian Iron Age interactions: A perspective on the sources and purposes of La Te?ne Style ('Celtic') art /$rPeter S. Wells --$g4.$tFantastic beasts and where to find them: Composite animals in the context of Eurasian Early Iron Age art /$rRebecca O'Sullivan and Peter Hommel --$g5.$tBodies and objects in Iron Age Europe and beyond: An integrated approach to anthropomorphic imagery /$rHelen Chittock --$g6.$tHow Celts perceived the world: Early Celtic art and analogical thought /$rLaurent Olivier --$g7.$tHow can Celtic art styles and motifs act? A case study from Later Iron Age Norfolk /$rJody Joy --$g8.$tVisual memory and perceptions in ancient Celtic art /$rNathalie Ginoux --$g9.$tCeltic art before the Early Style: Some new data from south-west Germany and the Heuneburg /$rDirk Krausse --$g10.$tSign o' the times: The re-use of pre-Roman Iron Age British and European symbols on Late Iron Age Irish equestrian equipment /$rRena Maguire --$g11.$t'Damn clever metal bashers': The thoughts and insights of 21st century goldsmiths, silversmiths and jewellers regarding Iron Age gold torus torcs /$rTess Machling and Roland Williamson --$g12.$tRefugees, networks, politics and east-west connections in Early Celtic art: Paul Jacobsthal's 'History of a Monster' in context /$rSally Crawford and Katharina Ulmschneider --$g13.$tThe history of a monster /$rPaul Jacobsthal --$tDiscussion: Dialogues with Jacobsthal /$rTim Champion. 330 $a"Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared 'ways of seeing' that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects"--$cProvided by publisher 606 $aIron age 607 $aEurasia$xAntiquities 607 $aEurasia$2fast 615 0$aIron age. 676 $a709.01 702 $aNimura$b Courtney 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910827072603321 996 $aArt in the Eurasian iron age$93966520 997 $aUNINA