Classical Art

TdE 5/2 (2009) La caracterización física y adscripción étnica de los egipcios antiguos es una cuestión debatida en la investigación egiptológica desde hace bastante tiempo. Las hipótesis afrocentristas recientes insisten en la negritud de los egipcios. Frente a esta interpretación se encuentran los medios académicos occidentales. Mi propósito es destacar en este contexto una importante fuente de información: la iconografía cerámica helena. A través de ella y de su comparación con las fuentes literarias se analizará cómo eran percibidos los egipcios por sociedades coetáneas. El objeto específico de mi estudio es comparar las distintas fuentes sobre dos personajes paradigmáticos en la mitología griega: Busiris, un monarca egipcio, y Memnón, un gobernante etíope. Con estos objetivos me he centrado en estudiar principalmente los rasgos fenotípicos que aparecen tanto en las referencias de las fuentes literarias clásicas, como en la producción cerámica helénica de los siglos VI-IV a.e. The physical characterization and ethnical adscription of the Ancient Egyptians have been topics of great interest in Egyptology research for some time. The afrocentrists' hypotheses insist that the Egyptians were black. Opposing this interpretation we find the western academic media. My objective is to emphasize in this context the importance of one source of information: the iconography of Hellenic pottery. By means of this and its comparison with literary sources it will be possible to analyze how the Egyptians were perceived by contemporary societies. The specific purpose of my research is to compare different sources on two paradigmatic characters in Greek mythology: Busiris, an Egyptian monarch, and Memnon, an Ethiopian ruler. With these objectives, I have mainly focused on the phenotypic features which appear in references from classical literary sources, and also, from Hellenic pottery production of the VI-IV AC centuries.

I thought it would be interesting to have a look at one room in the courtyard house and an aspect of male life that reflects the new idea of democracy. It shows how a man's position was reflected in the actions he took in certain circumstances, in this case in the holding of a symposium in the andron.

In this paper I shall examine the importance of a woman being placed as the voice of Apollo in ancient Greece’s most famous oracular site at Delphi, and how this contrasted with the long-held theory of ‘oriental seclusion’ that where women historically had been seen as isolated and secluded in their homes.  By tracing the theory of ‘oriental seclusion’ I will show that it was a misguided product of the time it was written, the 17th to the 19th centuries, and how modern scholars have only recently started to address the above contradiction.
By analysing the role of the Delphic Oracle as the voice that replied to many questions regarding statesmanship, I discuss how the Pythia helped the polis to develop its new idea of democracy by giving ambiguous oracles that encouraged discussion and philosophy.  I shall also analyse the wife’s place in the home, her importance as the central figure  year after year with her in maintaining this home through her knowledge of running a smallholding and it importance, and also her understanding of religious rituals making it spiritually secure, in the prothesis.
Also I will analysis the reality of her position in society.  I have used the term ‘perception vs reality’ to understand that one was opposite to the other and that the perception we have of the Athenian wife was dependent on ‘oriental seclusion’ and the cherry-picking of certain elements of texts.  By looking at other areas of texts and archaeology; for example plays, funerary monuments and images of the prothesis, we can also see that in reality the Athenian wife was given freedom to go out and about getting on with her role as a domestic manager.
My aim is to show that the Delphic Oracle represented women as a whole in Greek society.  This representation meant that she, along with all other women, could be considered the lynch pin that connected religion and the oikos and the polis in the uncertain times of famine, war and disease and that woman’s position in society was paramount to the survival and future of the oikos and polis.

E. Shavarebi, "Coin Finds from Barikot: New Evidence for Monetary Circulation in the Indo-Iranian Borderlands", in: J. Bodzek, A. Bursche, A. Zapolska (eds.), Proceedings of the XVI International Numismatic Congress, 11–16.09.2022, Warsaw, Vol. I: Greek Numismatics, Turnhout: Brepols, 2025, pp. 525–534.

Abstract: The present paper offers a brief overview of the complex of coin finds from archaeological excavations at the ancient city of Barikot (Swat Valley, Pakistan). Conducted by the Italian Archaeological Mission in Pakistan, the twenty-eight excavation seasons between 1984 and 2022 have yielded a total number of 507 coins of various periods from the third century BC to the twelfth century AD. These coin finds have been catalogued and analysed within the framework of a project supported by the Austrian Academy of Sciences.

The aim of this paper is to address the philosophical significance of Plato's use of the metaphor of blindness, particularly regarding knowledge and cognition. To begin with, I shall summarise key arguments concerning blindness in Disability Studies. It will emerge that blindness is significantly employed to express ignorance or lack of knowledge due to the current ocularcentric prejudice, i.e. the view that sight is the most important sense. After a brief contextualisation of traditional ocularcentrism embedded in ancient Greek culture, I shall turn to analysing some occurrences of the metaphor of blindness from Book VI and VII of Plato's Republic. The study reveals how Plato's use of the metaphor of blindness in Book VI serves to make subtle epistemological points, such as differentiating knowledge from a cognitive state that only happens to be true. In Book VII, focusing on the famous simile of the Cave, the paper shows that Plato deliberately establishes a complex symmetry between metaphorical and literal blindness: to overcome one's lack of knowledge (metaphorical blindness), one needs to be, temporarily and partly, blind to perceptible things (literal blindness). The striking outcome of this view is that, due to Plato's ocularcentric framework, blindness provides him with the argumentative tool that opens the field of enquiry into the nature of knowledge and its objects.

The article deals with a bronze statue found in Pamplona in 1895, then kept for a long time in private collections (in the United States), where it was restored several times before returning to Pamplona in 2022, to the Museo de Navarra. The life-size statue, dating from around 20 AD, shows a Roman girl wearing the typical long lower garment (tunica), which falls to the feet and the ground. She is wearing the Roman state costume, the toga, which was not worn by married Roman women. The toga can be imagined with purple hems (praetexta), which, with religious symbolism, were intended to protect the young girl –similar to praetextate robes of Roman boys, officials and priests– from assault by adults.

Tutti i diritti riservati. È vietata la riproduzione di testi e illustrazioni senza il permesso scritto dell'Editore o dell'Autore Sistemi di garanzia della qualità UNI EN ISO 9001:2015 Sistemi di gestione ambientale ISO 14001:2015 All texts, images, illustrations and drawings including the cover photograph and the photographic images of the archaeological site, © Attilio Pizzigoni, unless otherwise stated.

This paper looks at how the female body and the notion of womanhood have been shaped by patriarchal conventions and what it might mean to break away from these constraints. The paper was written as part of an ongoing practice-led research project that seeks to challenge traditional patriarchal representations of the female body and womanhood.

Mythological sarcophagi are doubtlessly among the most appealing and most studied artefacts of Roman funerary culture. They are also at the center of Mont Allen's new book, but instead of studying their iconography or topology, he focuses on the end of myth on Roman sarcophagi in the mid-3rd c. CE. He re-evaluates the concept of Entmythologisierungtranslated as "demythologization" -first introduced into sarcophagus studies by Friedrich Gerke in his 1940 monograph on Early Christian sarcophagi of

The subject of this study is 22 copper alloy lamps that were brought to the Antalya Museum by methods other than archaeological excavations. The lamps, which were produced and used in the period between the Early Imperial Period and the Late Eastern Roman Period, were analyzed through literature searches and comparisons since they were recovered through non-contextual methods. Cat. No. 1-2 are cylindrical, deep-bodied, long-nosed, volute l lamps with volutes, which were widely produced in the Early Imperial Period and whose closest analogues were found in Herculaneum and Pompeii, which were buried under the ashes by the eruption of Vesuvius. Cat. No. 3-11, although with different forms, are quite common in different parts of the empire throughout the Roman period. The biconical-bodied, short-nosed lamps, which were produced and used extensively during the Late Eastern Roman Period from the late 3 rd century AD onwards, are numbered as Cat. No. 12-19 and were identified and evaluated. Cat. No. 20 refers to shallow-bodied lamps with large crossed volutes, while Cat. No. 21 are examples of double-nosed lamps with large crosses. Cat. No. 22 is an example of the round-bodied, long-nosed lamps that were widely used between the 5 th -7 th centuries AD.

The absence of ‘tactile art’ in Western culture is often associated with a marginalization of the sense of touch in the aesthetic experience of art. This paper considers several explanations for the apparent historical neglect of touch as an aesthetic sense. While dismissing the idea that the relevance of touch for aesthetic engagement with art depends on there being an art of touch, it also explores how tactual experiences might contribute to the aesthetic appreciation of artworks across a variety of media. It argues that touch plays a crucial role in our engagement with artworks. Ultimately, it aims to enrich aesthetic theory by foregrounding the subtle yet significant influence of touch in art, proposing a broader, more inclusive understanding of sensory engagement in artistic practices.

Este trabajo propone un análisis de la pintura “Las Tres Gracias”, mencionando a Peter Paul Rubens y trabajando en consideración a la monumental obra “La Ciudad de París” de Robert Delaunay, dos momentos clave que evidencian cómo el imaginario clásico se reinventa en función del lenguaje artístico de cada época. A través del estudio de sus referentes pictóricos, su contexto histórico y su lenguaje formal, se busca comprender cómo estas figuras mitológicas han sido reformuladas —tanto en su aspecto estético como simbólico— para adaptarse a discursos visuales tan distintos como el barroco emocional y el modernismo orfista. Asimismo, se explorará la conexión entre el academicismo y la ruptura vanguardista, examinando cómo Delaunay logra un equilibrio entre tradición y modernidad al incorporar estas figuras clásicas en un entorno urbano e industrial. Finalmente, se atenderá a la dimensión mitopoética de estas representaciones, rastreando su origen literario y su carga cultural desde la Grecia antigua hasta su relectura en el arte moderno.

This paper aims to draw attention to the significant contribution of the display of dedications of past worshippers in a sanctuary to the creation of a space where direct contact with the divine was possible. Focusing primarily, but not exclusively, on the cult of Asklepios, it draws together strands of thought from new materialism and the study of visuality in religion to outline an understanding of viewing votives as an active, reciprocal activity. In doing so, it highlights three major functions of the votive display in Asklepieia: the votives anchor the power of Asklepios; create a sense of the (diachronic) presence of worshippers; and prompt reflection on the nature of the interaction between human and god. Together, these examples demonstrate that the votive display, approached with ritual-centred visuality and recognised as an active agent, was a key factor in making Asklepios accessible to his supplicants.

For the seventh year, the Manhattan-based New Tang Dynasty (NTD) TV Channel and Epoch Times, two media outlets created by the Falun Gong cult to promote “regime change” in Beijing, have organized their “NTD International Figure Painting Competition.”

The fth century BCE stands out as a revolutionary period in Classical Greek philosophy, literature, and art, often regarded as a turning point and a golden age in the context of cultural history. The term classical originates from the outstanding artistic richness that emerged during this era in elds such as sculpture, painting, architecture, and theater. This artistic wealth, which becomes visible in the fifth century BCE, fourishes in the following Hellenistic period. The artistic revolution of this period is made possible by the rise of rational thought, which begins in the sixth century BCE but reaches its zenith in the fiffth century BCE. This new rational perspective gradually replaces old mythological narratives with themes centered on human concerns. While many artifacts of the fifth century BCE reect a synthesis of Pythagorean principles of mathematical proportion and Apollonian ideals of perfection, the philosophical inquiries of the Sophists and Socrates in the later part of the century begin to inuence this revolutionary change. This philosophical shift directs art visibly towards human centered themes. It prompts artists,
sculptors, and playwrights to explore both divine and human subjects within a new framework. This interdisciplinary study examines the transformation in Classical Greek artistic thought, tracing how divine representations in early artifacts, inspired by Eastern World, gradually give way to human centered themes. Analyzing this evolution within the philosophical, intellectual, and political context of the period, the paper seeks to clarify the complex relationship between emerging ideas and artistic innovations through selected examples of sculpture. By doing so, the research comparatively illuminates how mythological narratives evolved into human centered thought.

It has long been recognised that the bases of Buddha and Bodhisattva schist statues from the ancient region of Gandhāra depict to some extent scenes that echo ritual practices that were normative for the region. While they have been the focus of sporadic assessments in the last decades, this talk is a systematic analysis of statue bases coming from ancient Gandhāra, a region located in the Northwest part of the Indic subcontinent, within the wider context of Gāndhārī donative inscriptions and Chinese travelogues. Dating broadly from the second century CE onwards, the statues bases, this paper argues, were a new venue to visually reinforce the ritual efficacy. As part of the systematic analysis, this talk showcases a work in progress, shedding light on the conventions used on statue bases and the actions of figures represented within them.

It has long been recognised that the bases of Buddha and Bodhisattva schist statues from the ancient region of Gandhāra depict to some extent scenes that echo ritual practices that were normative for the region. While they have been the focus of sporadic assessments in the last decades, this talk is a systematic analysis of statue bases coming from ancient Gandhāra, a region located in the Northwest part of the Indic subcontinent, within the wider context of Gāndhārī donative inscriptions and Chinese travelogues. Dating broadly from the second century CE onwards, the statues bases, this paper argues, were a new venue to visually reinforce the ritual efficacy. As part of the systematic analysis, this talk showcases a work in progress, shedding light on the conventions used on statue bases and the actions of figures represented within them.

Conferencia impartida dentro del curso "Las bibliotecas como espacios del saber: un recorrido histórico-artístico", realizado en la UNED de Cantabria del 22 al 23 de noviembre de 2024 y dirigido por David Ojeda Nogales. En ella se realiza una aproximación a una de las primeras bibliotecas nobiliarias del siglo XV, la cual se convertirá en una de las más importantes de Europa en el siglo XIX.

This collection of twenty-eight essays by emerging and established scholars presents work that deeply engages with the materiality and history of Greek and Roman artworks, artifacts, and monuments. Dedicated to Prof. John Pollini in honor of his contributions to the study of the ancient Mediterranean world, this volume reflects the broad range of his scholarship, from sculpture (especially portraiture) and its ancient contexts to material studies, iconographic analysis, and the complex ways that religious and political change both shape and are shaped by material culture. The contributions assembled in this volume highlight the diverse ways in which contemporary scholars construct interpretations of visual art based on a deep understanding of the ancient world, precise attention to detail and technique, and rigorous research into the historical contexts of objects, myths, literature, and iconography. Through their interdisciplinary approaches, the contributors offer new insights on artistic production, viewer reception, and social history, with an emphasis on the theme of "transformation" as objects, artworks, and ideas journey through time and from one culture to another.

Dr. Jacques De Bie dankbaar opgedragen* 'Talloze krachtige heldenschimmen stortte hij in de Hades; henzelf gaf hij als buit aan de snelle honden en aan de talrijke roofvogels' Zo dichtte Homerus in de aanhef van zijn Ilias (1, 3-5), wanneer hij aan de heldendaden van Achilleus dacht. Ziedaar het prille en nog onbehouwen mensbeeld van de oudste Griekse cultuur: de identiteit van de mens berust (nog) niet in zijn psychè die hem doet leven, maar slechts in zijn lichamelijkheid. In het ongenaakbare dodenrijk vervaagt het bewustzijn tot schimmigheid. De homerische psychè is onpersoonlijk; bij de dood past slechts berusting, zoniet vertwijfeling. Alleen de naam van de mens die eens bij een lichaam hoorde, blijft leven in 's dichters verzen en in een vervagende herinnering. Daarmee bevond zich de Griekse cultuur in Homerus' tijd nog in een animistisch stadium: het volle menselijk bewustzijn is slechts mogelijk, zolang de psychè aan haar lichaam is gehecht; zólang beschikt de mens over zijn volwaardige geestelijke vermogens, kan hij verlangen, bedenken, begrijpen en beminnen. De psychè na de dood is slechts een schaduw, een virtuele afbeelding, die futloos en doelloos door de ijlte waart. In de onderwereld blijft de individualiteit nog wel vaag herkenbaar, maar zij staat niet meer in relatie met de dingen en heeft dus geen subjectiviteit. Dit primaire mensbeeld is de gehele antieke cultuurgeschiedenis door sluimerend aanwezig gebleven, zoals in het allerlaatste vers van Vergilius' Aeneïs (vitaque cum gemitu fugit indignata sub umbras -'en met een zucht verdween het leven node naar het schimmenrijk') en zoals nog éénmaal blijkt naar het einde toe van de Griekse literatuur uit de fijne, ironiserende persiflage die een veelzijdig stijlkunstenaar ervan gaf: de 2de-eeuwse Lucianus, in zijn Gesprekken met de doden. Doch de schalkse auteur had er wel een dieper, filosofisch, meer bepaald cynisch doel mee voor ogen. Tussen de homerische wereld en Lucianus ligt evenwel een spanne van ruim duizend jaar Griekse cultuur, die voor ons de heerlijkheid van het menselijk bestaan heeft ontdekt en haar in kunst en literatuur gestalte heeft gegeven. Alvorens daarop wat dieper in te gaan, moeten we echter al dadelijk even uitwijken voor een oosters intermezzo, waarvan we de eerste sporen misschien al bij Homerus zelf vinden. Behalve de voorstelling van de schimmen die na de dood afdalen en rondwaren in een onherbergzame onderwereld, duikt bij de Grieken reeds vroeg de gedachte op, dat zij als geesten de aarde ontstijgen naar de ijlte der goden. Xenofanes, die rond 570 v.Chr. te Colofon in Ionië werd geboren, lijkt hier een wegbereider te jan m.f. van reeth De ontwikkeling van het mensbeeld in de antieke cultuur

The paper examines the overlaps and differences between the Indian Navagrahas (the Nine Planets) and their counterpart in the Graeco-Roman tradition as visualized in mythology and art traditions. It also offers further evidence supporting the Indian origins of the famous astrological treatise, Yavanajātaka.

The Seven Wonders of the Ancient World, including the Colossus of Rhodes, the Temple of Diana at Ephesus, and the Hanging Gardens of Babylon, were constructed by an initiated fraternity of artisans. These wonders, each associated with a planet, were believed to hold symbolic and magical significance. Only the Great Pyramid of Gizeh remains, a testament to ancient engineering prowess.

The text describes the Seven Wonders of the Ancient World, including the Great Pyramid, the Mausoleum of Halicarnassus, the Statue of Zeus at Olympia, and the Pharos of Alexandria. It also mentions the Temple of Solomon and how these structures were associated with the seven branches of learning. The text concludes by highlighting modern wonders like the Statue of Liberty and the Vatican, noting their symbolic significance and architectural grandeur.

The text highlights seven architectural wonders, including the Taj Mahal, Eiffel Tower, and Washington Monument, showcasing human ingenuity and progress. It also lists seven ethical-moral accomplishments, such as universal education, political democracy, and world peace, emphasizing humanity’s pursuit of a better world. These achievements, both architectural and ethical, demonstrate humanity’s relentless drive for advancement and its potential for greatness.

Девятый том альманаха «Scripta antiqua. Вопросы древней истории, филологии, искусства и материальной культуры» предлагает читателям широкий спектр публикаций по истории древнего, эллинистического и средневекового Востока, исследований по истории античной цивилизации в Северном Причерноморье. Тематика исследований, представленных в данном томе, в сравнении с предыдущими расширена за счет работ в области истории мировой культуры, а также рецензий. На страницах альманаха также публикуются результаты изучения истории науки, в том числе рецепции античной культуры в Новейшее время. Впервые на русском языке издан перевод фрагментов работ Гекатея Милетского.
Публикации, представленные на страницах альманаха, предназначены для специалистов ‒ историков, филологов, искусствоведов, культурологов, так и для широкого круга читателей, интересующихся историей и культурой мировых цивилизаций.

Во второй том альманаха вошли работы ведущих российских и за-
рубежных специалистов в области изучения древних цивилизаций —
историков, археологов, филологов, искусствоведов. Том составили
статьи, посвященные археологии, искусству и быту иранских кочевников Евразии, последним результатам археологических исследований античного Причерноморья, музейным собраниям. Также публикуются новейшие переводы ряда древних текстов.
Для научных работников, специалистов по истории и культуре
древнего мира.

Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are di...

). 1 That article focused on a Buddhist cultic area found in Court 28 in the residential Unit D of trench BKG 11 and dated to the last phases (Periods VII and VIII, third century ce) of the ancient urban settlement of Barikot, Swat, Pakistan (henceforth, BKG). 2 The present article focuses on two other cultic areas found in different sectors of trench BKG 11 (Units B and K) (Fig. ). The interest attached to these cultic areas derives not only from their urban context, but also from their chronology, as they were in use and abandoned in the course of the third century ce. Moreover, they reveal new elements that may help us understand the religious behaviors in an urban environment towards the end of the Kushan era. 3

con la presentazione del volume a lei dedicato 28 Marzo 2025 di Gabriele Cristiano Crisci Molti dei racconti mitici tramandati al mondo occidentale devono la loro più illustre rappresentazione ai Metamorphosĕon libriconosciuti come le Metamorfosi -del poeta elegiaco latino Ovidio: difatti, nel corso dei secoli, l'opera ovidiana costituirà la matrice di innumerevoli variazioni mitiche che investiranno non solo la letteratura, ma anche il cinema, il teatro e l'arte. In tal senso, illuminanti e di grande spessore accademico sono state le ricerche condotte da Rosalba Galvagno, già docente di Teoria della letteratura all'Università di Catania, che ha studiato a fondo le connessioni tra discorso letterario e discorso psicoanalitico anche in relazione ai miti metamorfici di ovidiana memoria, tra risemantizzazioni e riscritture intersemiotiche. Alla docente è stata anche dedicato il volume Metamorfosi in dialogo. Studi in onore di Rosalba Galvagno (Duetredue, 2024), scritto in occasione del suo pensionamento e presentato lo scorso 21 febbraio nei locali del Dipartimento di Scienze umanistiche dai curatori e allievi della docente Novella Primo, ricercatrice di Letteratura italiana contemporanea all'Università di Messina, Nadia Rosso, professoressa di materie letterarie al Liceo Scientifico "Galilei" di Catania, e Dario Stazzone, dottore di ricerca in Italianistica e presidente del comitato catanese della Società Dante Alighieri, che ha contribuito alla realizzazione dell'evento.

In 2013, we had two firsts with the papacy. The first Jesuit pope was elected, and he is the first bishop of Rome to take the name of St. Francis. This is not altogether surprising when you remember that St. Ignatius saw himself as an imitator of Francis and Dominic. With this context, it seems like a good time to reflect on what we can learn from the Poverello and the religious order he founded. Specifically, I would like to reflect on this from an architectural perspective. Is there a “Franciscan” architecture, and what characteristics does it have?

Las escenas pintadas en el epínetron de Eretria recuerdan al espectador tres narraciones míticas vinculadas al matrimonio: la violenta conquista de Tetis por Peleo, la boda de Harmonía y la encarnación de la esposa perfecta, Alcestis. El epínetron es un objeto utilizado para la tarea textil y, en consecuencia, simbólicamente asociado a la actividad doméstica y a la virtud de las mujeres. Bellas figuras de encantadoras damas adornan la pieza de cerámica que está destinada al uso femenino si bien los valores que se transmiten testimonian la preponderancia del hombre en la construcción de la ideología dominante. Ocultas tras las historias míticas se vislumbran los modelos de comportamiento obligatorios para la mujer griega. La lectura de las imágenes exige internarse en múltiples niveles de significados; analizaremos las formas y símbolos involucrados en la representación procurando decodificar las escenas mitológicas como un juego visual que invitaba a la dueña del objeto a identificarse con las heroínas pintadas.

cions de la Farsalia, a més d'un apartat, molt complet, sobre la bibliografia de Luci. Pel que fa a la traducció, sempre cal tenir en compte el gairebé an- goixant retoricisme de I'autor per tal de no deixar-se arrossegar per traduccions i lectures feixugues: cal agrair profúndament que A. Holgado ho hagi considerat i ens ofereixi un text castella que, a més de ser deutor de les anteriors traduccions castellanes. d'Herrero i Mariner, possibiliti una lectura no gens feixuga: sovint ha sacrificat la aforma* del text pel seu contingut (p. 59). Les notes de lectura i I'índex final faciliten aquesta tasca, sense carregar-la excessivament.

The relief and contour lines on a group of ancient Greek red-figure vases and vase fragments in the collection of the Harvard Art Museums and the Worcester Art Museum were examined using two surface examination methodsreflectance transformation imaging and three-dimensional laser scanning confocal microscopy. These methods helped characterize the lines and answer questions regarding tools, techniques, and production sequence used by Greek vase painters. This research also incorporated fabricated mock-ups to gain a better understanding of the ancient technology and in so doing confirmed that the relief lines were not produced by an extruded method, but with a brush made with only a few hairs, termed linierhaar as first proposed by Gérard Seiterle in 1976. Furthermore, it was discovered that not one but two distinct types of relief lines exist on these ancient vases: the laid line (proposed by Seiterle) which has a characteristic ridged profile, and the pulled line (proposed in a previous publication by the authors) which has a furrowed profile. It was also determined that the relief line used to outline figures was applied prior to the contour line in Attic vase decoration, although variations in this sequence occur in vases from South Italy. Based on observations made during this research, the authors propose a likely evolution for the techniques used to produce decorative features throughout the period of red-figure vase production.

In this article, we demonstrate the significance of the notion of interpretation in science by examining the measurement of obliquity in Ptolemy's Almagest and Copernicus's De Revolutionibus. We show that measuring this fundamental quantity, common to both geocentric and heliocentric astronomy, requires both juxtapositions—entailing a consideration of the materiality of mathematical expressions—and interpretations that underpin the objectivity of this measurement. These interpretations are both necessary and superfluous; they can be either replaced or ignored. The possibility of ignoring them is a condition for both the use of sciences and their cumulative progress.

Nous montrons dans cet article l'intérêt de la notion d'interprétation en science à partir de l'exemple de la mesure de l'obliquité dans l'Almageste de Ptolémée et dans le De Revolutionibus de Copernic. Nous montrons que la mesure de cette grandeur fondamentale et commune à l'astronomie géocentrique et héliocentrique requiert à la fois des juxtapositions, impliquant une considération de la matérialité des expressions mathématiques, et des interprétations qui fondent l’objectivité de cette mesure. Ces interprétations sont la fois nécessaires et superflues ; elles peuvent être aussi bien remplacées, qu'ignorées. La possibilité de les ignorer est une condition aussi bien de l’usage des sciences que de leur progrès cumulatif.

La inspiración clásica de la moda contemporánea y las crecientes relaciones entre esta industria y el patrimonio arqueológico generan numerosas líneas de análisis que, si bien pueden ser abordadas desde los estudios de moda, encuentran en los estudios de Recepción Clásica, también enmarcados dentro del amplio ámbito de los Estudios Culturales, un interesante marco para desarrollarse. Aunque contamos con algunos trabajos que han sido pioneros en esta línea de investigación, especialmente focalizados en la Alta Costura y en las grandes firmas de moda, todavía quedan cuestiones en las que avanzar.

Inspired by the recent discovery of a Gandhāran sculpture, author examines how the depiction of the cosmic landscape is used to highlight Gautama Buddha’s feat, known in Sanskrit and Pāli as the yamakaprātihārya / yamakapāṭi¬hāriya, or the ‘Twin Miracle’. It is demonstrated that the composition of the new find, compared to all other known Gandhāran depictions of the theme, is strikingly reminis¬cent of the stratified view of the cakravāla cos¬mology, a cosmology denoting a ‘world system’ or inhabited universe.

Aquest llibre ha estat finançat pel projecte de recerca del Ministerio de Economía y Competitividad «L'altre segle xix» (HAR2010-16328/HIST-ARTE). També hi ha col•laborat el projecte de recerca finançat pel Ministerio de Economía y Competitividad «Mapa dels oficis de l'escultura, 1775-1936. Professió, mercat i institucions: de Barcelona a Iberoamèrica» (HAR2013-43715-P). Amdós projectes han estat desenvolupats pel