Since their discovery in nineteenth-century Russia, Greco-Scythian artefacts have been interpreted as masterpieces by Greek craftsmen working according to the tastes of their barbarian patrons. Drawing on a broad array of evidence from archaeology, art history, and textual sources to contextualize Greco-Scythian metalwork in ancient society, this volume confronts the deep confusion between ancient representation and historical reality in contemporary engagementswith the visual legacy of the classical world. In order to unravel the agendas of ancient and modern representation, Meyer places Greco-Scythian art in a long-term context of cultural practice, from thevotive dedications and tomb-side feasts of the steppe lords of antiquity to the civilizing rituals enacted by museum visitors in tsarist Russia.With an abundance of primary sources, this volume offers accessible and unique introductions to the archaeology of Scythia and its ties to inner Asia and classical Greece, modern museum and visual culture studies, and the intellectual history of classics in Russia and the West.... this Western tradition deploys new idioms of form and technique to an established repertoire of object shapes and animal motifs. ... 39a44, with the results from restudy in D. V. Redfern, a#39;A Technical Analysis of the Scythian Gold Hoard from Vettersfelde/Witaszkowoa#39;, Eurasia Antiqua, 6 (2000), 405a41; L. D. Nebelsick, a#39;Ein Kontext fu Ir den Goldhort von Witaszkowo/Vettersfeldea#39;, in M. Flashar (ed.)anbsp;...
|Title||:||Greco-Scythian Art and the Birth of Eurasia|
|Publisher||:||Oxford University Press - 2013-11|