Mesopotamian sculpture in colour:
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Gladbeck
PeWe-Verlag
[2020]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIII, 254, VIII Seiten Illustrationen, Diagramme, Karten 30.3 cm x 21.5 cm, 1250 g |
| ISBN: | 9783935012423 393501242X |
Internformat
MARC
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| 020 | |a 9783935012423 |c : EUR 65.00 (DE), EUR 66.90 (AT) |9 978-3-935012-42-3 | ||
| 020 | |a 393501242X |9 3-935012-42-X | ||
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| 245 | 1 | 0 | |a Mesopotamian sculpture in colour |c edited by Astrid Nunn and Heinrich Piening |
| 264 | 1 | |a Gladbeck |b PeWe-Verlag |c [2020] | |
| 264 | 4 | |c © 2020 | |
| 300 | |a XIII, 254, VIII Seiten |b Illustrationen, Diagramme, Karten |c 30.3 cm x 21.5 cm, 1250 g | ||
| 336 | |b sti |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 648 | 7 | |a Geschichte 4000 v. Chr.-1 v. Chr. |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Mensch |g Motiv |0 (DE-588)4114567-7 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Steinplastik |0 (DE-588)4134244-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Fassmalerei |0 (DE-588)4153775-0 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Polychromie |0 (DE-588)4175135-8 |2 gnd |9 rswk-swf |
| 651 | 7 | |a Mesopotamien |0 (DE-588)4038788-4 |2 gnd |9 rswk-swf | |
| 653 | |a Polychromie | ||
| 653 | |a Malerei | ||
| 653 | |a Alter Orient | ||
| 653 | |a Farbe | ||
| 653 | |a Rundplastik | ||
| 653 | |a Mesopotamien | ||
| 688 | 7 | |a Farben |0 (DE-2581)TH000005991 |2 gbd | |
| 688 | 7 | |a Mesopotamien |0 (DE-2581)TH000011431 |2 gbd | |
| 689 | 0 | 0 | |a Mesopotamien |0 (DE-588)4038788-4 |D g |
| 689 | 0 | 1 | |a Steinplastik |0 (DE-588)4134244-6 |D s |
| 689 | 0 | 2 | |a Mensch |g Motiv |0 (DE-588)4114567-7 |D s |
| 689 | 0 | 3 | |a Polychromie |0 (DE-588)4175135-8 |D s |
| 689 | 0 | 4 | |a Fassmalerei |0 (DE-588)4153775-0 |D s |
| 689 | 0 | 5 | |a Geschichte 4000 v. Chr.-1 v. Chr. |A z |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Nunn, Astrid |d 1956- |0 (DE-588)112265936 |4 edt | |
| 700 | 1 | |a Piening, Heinrich |d 1960- |0 (DE-588)143937278 |4 edt | |
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Datensatz im Suchindex
| _version_ | 1804181921093124096 |
|---|---|
| adam_text | TABLE
OF
CONTENTS
PREFACE
(ASTRID
NUNN,
WITH
HEINRICH
PIENING
AND
RUPERT
GEBHARD)
............
XI
INTRODUCTION
MESOPOTAMIAN
SCULPTURE
IN
COLOUR
(ASTRID
NUNN)
I
COLOURS
AND
STATUES
..................................................................................
2
COLOURS
THAT
ARE
VISIBLE
TO
THE
NAKED
EYE
................................................
3
THE
COLOURATION
OF
DARK
STONE
..................................................................
4
ABOUT
COLOURS
............................................................................................
5
ABOUT
THE
STRUCTURE
OF
THIS
STUDY
.............................................................
8
HOW
TO
USE
THIS
MONOGRAPH
....................................................................
8
APPROACHING
A
CULTURAL
HISTORY
OF
MESOPOTAMIAN
COLOURS
....................
9
CHAPTER
1
THE
CORPUS
(ASTRID
NUNN)
................................................
10
GENERAL:
THE
COMPLETE
CORPUS
.................................................................
10
STATUES:
OBJECT
NUMBERS
AND
MUSEUMS,
GEOGRAPHICAL
DISTRIBUTION
......
10
FIRST
GROUP:
STATUES
WITH
DETECTED
AND
ANALYSED
PIGMENTS
..............
10
SECOND
GROUP:
ANALYSED
STATUES
WITH
NO
DISCERNIBLE
TRACES
OF
COLOUR
12
THIRD
GROUP:
STATUES
BEARING
TRACES
OF
COLOUR,
KNOWN
TO
US
ONLY
FROM
PUBLICATIONS
.................................................................................
12
CHRONOLOGICAL
AND
GENDER
DISTRIBUTION
...................................................
12
SOCIOLOGICAL
CATEGORISATION
.......................................................................
12
CONCLUSION:
ABOUT
REPRESENTATIVENESS
....................................................
15
CHAPTER
2
TECHNIQUES
OF
MEASUREMENTS,
RECONSTRUCTION,
AND
PRINT
(ASTRID
NUNN
AND
HEINRICH
PIENING)
.......................................................
16
GENERAL
PROCEDURE
....................................................................................
16
MICROSCOPY
UND
PHOTOGRAPHY
(BARBARA
JANDL)
.......................................
17
RAMAN
SPECTROSCOPY
(SARAH
HILKER)
.......................................................
19
PRINCIPLES
AND
PROCEDURES
OF
RAMAN
SPECTROSCOPY
............................
19
RAMAN
SPECTROSCOPY
IN
ART
AND
ARCHAEOLOGY
......................................
19
UV-VIS
AND
XRF
(HEINRICH
PIENING)
.......................................................
20
MEASURING
AND
DEFINING
A
COLOUR
.............................................................
21
MEASURED
COLOUR:
READING
SPECTRA
.....................................................
21
MEASURED
COLOUR:
READING
CHROMATICITY
DIAGRAMS
AND
THE
QUESTION
OF
ORIGINAL
COLOUR
.................................................................................
22
A
RESUME:
SEEING,
DENOMINATING,
PRINTING
AND
RECONSTRUCTING
COLOUR
...
24
MEASUREMENTS
AND
THEIR
EVALUATION:
ANTIQUE
OR
MODERN
COLOUR?
....
24
MODELLING
TO
DENOMINATING
COLOURS
...................................................
24
PROCESSING
PHOTOS
................................................................................
25
DEFINING
AND
RECONSTRUCTING
COLOURS
TO
BE
PRINTED
AND
PRINTING
COLOURS
...................................................................................
25
CHAPTER
3
TECHNICAL
ASPECTS
(ASTRID
NUNN
AND
HEINRICH
PIENING)
...
27
THE
STONES
...................................................................................................
27
THE
SURFACE
OF
THE
STONE
............................................................................
28
TRACES
OF
COLOURS
........................................................................................
29
WHY
DOES
COLOUR
SURVIVE?
......................................................................
29
MUCH
VS.
LITTLE
.......................................................................................
30
SEEN
WITH
THE
NAKED
EYE
VS.
SEEN
WITH
A
MICROSCOPE
.........................
30
PRINTED
PHOTOS
OF
STATUES
THAT
WE
DID
NOT
EXAMINE
................................
30
THE
COLOURS:
CATEGORIES,
PIGMENTS
AND
ORIGIN
........................................
30
CATEGORISING
COLOURS
.............................................................................
30
*
BLACK
*
AND
ITS
PIGMENTS
........................................................................
31
*
RED
*
AND
ITS
PIGMENTS
..........................................................................
34
ORPIMENT
AND
REALGAR
......................................................................
35
WHITE
......................................................................................................
35
BLUE
AND
GREEN
.......................................................................................
37
GOLD
.......................................................................................................
38
TECHNICAL
USE
OF
PAINTS
..............................................................................
38
MANUFACTURING
PAINTS
..........................................................................
38
BINDERS
AND
SOLVENTS
.............................................................................
38
POLISHING
STONE,
GROUNDING
MATERIAL,
GROUND
COAT,
AND
WHITE
..........
39
MIXING
PIGMENTS
OF
DIFFERENT
COLOURS
.................................................
41
APPLYING
PAINTS
.....................................................................................
41
ON
A
FLAT
SURFACE
...............................................................................
41
IN
WEDGES
..........................................................................................
42
THE
FINAL
COLOURING
...............................................................................
43
REPAINTING
OF
STATUES
............................................................................
43
CHAPTER
4
CATALOGUE
OF
THE
59
STATUES
WITH
COLOUR
RESIDUES
AND
RESULTING
ANALYSIS
(ASTRID
NUNN)
..............................................................
44
LATE
URUK
PERIOD
.......................................................................................
45
JEMDET
NASR
(URUK
III)
TO
EARLY
DYNASTIC
I
PERIOD
................................
46
EARLY
DYNASTIC
II
PERIOD
...........................................................................
48
EARLY
DYNASTIC
II-IIIA
PERIOD
....................................................................
75
EARLY
DYNASTIC
III
PERIOD
..........................................................................
76
AKKAD
PERIOD
.............................................................................................
94
LAGASH
II
AND
UR
III
PERIOD
......................................................................
96
OLD
BABYLONIAN
PERIOD
BEGINNING
WITH
THE
ISIN-LARSA
PERIOD
...............
109
END
OF
THE
SECOND
MILLENNIUM
..................................................................
120
NEO-ASSYRIAN
PERIOD
.................................................................................
122
CHAPTER
5
ABOUT
THE
STATUES
WITH
TRACES
OF
COLOUR
THAT
WE
DID
NOT
EXAMINE
(ASTRID
NUNN)
......................................................................
126
THE
MESOPOTAMIAN
MATERIAL
....................................................................
126
LATE
URUK
PERIOD
(ABOUT
3400-3100
BCE)
........................................
126
JEMDET
NASR
AND
EARLY
DYNASTIC
I
PERIOD
(ABOUT
3100-2750
BCE)
...
126
EARLY
DYNASTIC
II
AND
III
PERIOD
(ABOUT
2750-2300
BCE)
.................
127
AKKAD
PERIOD
(ABOUT
2324-2142
BCE)
.................................................
129
UR
III
PERIOD
(2110-2003
BCE)
...........................................................
129
OLD
BABYLONIAN
PERIOD
(2019-1595
BCE)
............................................
129
NEO-ASSYRIAN
PERIOD
(900-625
BCE)
.................................................
129
ACHAEMENID
PERIOD
(559-330
BCE)
.....................................................
130
THE
ANCIENT
NEAR
EAST
..............................................................................
130
TECHNICAL
SHEET
OF
THE
STATUE
OF
IDRIMI
....................................................
132
CHAPTER
6
DISTRIBUTION
OF
COLOUR
ON
ALL
STATUARY
(ASTRID
NUNN)
...
134
OVERALL
RESULTS
..........................................................................................
134
DETAILED
RESULTS
FOR
THE
CATEGORY
*
BLACK
*
.................................................
134
HAIR,
BEARD,
AND
MOUSTACHE
................................................................
134
EYEBROWS
...............................................................................................
139
EYES
.....................................................................................................
139
ANIMALS
HELD
IN
HANDS
OR
SEATED
UPON
.................................................
140
HEADDRESS,
NECKLACE,
HEM
AND
FRINGE
OF
GARMENT,
WEDGES,
BASE,
OUTLINING,
AND
PILLAR
.............................................................................
140
DETAILED
RESULTS
FOR
THE
CATEGORY
*
RED
*
....................................................
140
SKIN
COLOUR
WITH
LIPS
AND
NAILS
............................................................
140
GARMENTS
..............................................................................................
143
THE
EARLY
DYNASTIC
PERIOD:
PLAIN
FABRIC,
TUFTS,
AND
TUFTED
FRINGES
...................................................................................
143
THE
END
OF
THE
THIRD,
SECOND
AND
FIRST
MILLENNIA:
PLAIN
FABRIC
AND
FLOUNCED
GARMENT
.............................................................................
145
HEM,
FRINGE,
AND
TUFTED
FRINGE,
THIRD
TO
FIRST
MILLENNIUM
BCE
...
146
HEADCOVER
AND
HAIRBAND
.................................................................
148
MAKING
AND
DYEING
FABRIC
...............................................................
149
IN
SUMMARY:
COLOURS
OF
CLOTHING
FROM
THE
THIRD
TO
THE
FIRST
MILLENNIUM
BCE
..........................................................................
152
*
BLACK
*
AND/OR
*
RED
*
..................................................................................
152
INSCRIPTIONS
..........................................................................................
152
ACCESSORIES
...........................................................................................
153
WHITE
.........................................................................................................
154
BLUE
............................................................................................................
154
COLOURING
DARK
STONE
...............................................................................
155
PAINT
DURABILITY
.........................................................................................
156
ARCHAEOLOGICAL
SUMMARY:
SKIN
AND
GARMENT
COLOURS,
LIGHT
AND
DARK
STONE
.............................................................................................
157
CHAPTER
7
LA
CARNATION
DANS
LES
PEINTURES
MURALES
DU
GRAND
PALAIS
ROYAL
DE
MARI
(BEATRICE
MULLER
*
CHARLES
PIVER)
...........
158
I.
OBJECTIFS,
DIFFICULTES,
SOURCES
ET
METHODE
...........................................
158
1.
OBJECTIF
.............................................................................................
158
2.
DIFFICULTES
.........................................................................................
158
3.
SOURCES
..............................................................................................
159
4.
METHODE
ET
RESULTAT
FINAL
.................................................................
159
II.
FIGURES
ANTHROPOMORPHES
A
CARNATION
BLANCHE
.................................
160
1.
PEINTURE
DE
LA
SALLE
132
......................................................................
160
2.
PEINTURE
DE
1
*
INVESTITURE
DE
LA
COUR
106
...........................................
160
3.
PEINTURES
DE
LA
SALLE
220
*
..................................................................
160
4.
PEINTURES
DE
LA
SALLE
34
.....................................................................
162
5.
PEINTURES
HAUTES
DE
LA
COUR
106
........................................................
162
III.
FIGURES
ANTHROPOMORPHES
A
CARNATION
ROUGE
...................................
165
1.
COMPOSITION
DE
LA
SALLE
132
...............................................................
166
2.
LA
PEINTURE
DE
1*
INVESTITURE
..............................................................
167
3.
COMPOSITION
PEINTE
DE
LA
SALLE
220
*
.................................................
168
4.
PEINTURES
HAUTES
DE
LA
COUR
106
.......................................................
168
IV.
CARNATION
OCRE
BEIGE
OU
OCRE
JAUNE
..................................................
171
1.
SALLE
132
...............................................................................................
171
2.
SALLE
220
*
.............................................................................................
171
3.
FRAGMENTS
DE
LA
SALLE
34
....................................................................
172
V.
DIFFERENCE
DANS
LES
CARNATIONS:
UNE
EXPLICATION
................................
172
1.
LA
REGIE
(CARNATION
OCRE
ROUGE)
ET
LES
EXCEPTIONS
(CARNATION
BLANCHE
OU
OCRE
BEIGE)
.........................................................
172
2.
SIGNIFICATION
DE
LA
CARNATION
SOMBRE?
..............................................
172
3.
LES
CARNATIONS
CLAIRES
DES
PEINTURES
HAUTES
DE
LA
COUR
106
...........
173
4.
DONNEES
COMPLEMENTAIRES:
ONGLES,
YEUX,
BOUCHE,
PILOSITE
...........
173
CONCLUSION
..................................................................................................
174
CHAPTER
8
COMPARISON
OF
THE
STATUE
COLOURS
WITH
OTHER
ARCHAEOLOGICAL
MATERIAL
(ASTRID
NUNN)
..............................................
179
HAIR
.............................................................................................................
179
EYES
.............................................................................................................
180
SKIN
COLOUR,
LIPS,
AND
NAILS
........................................................................
181
GARMENTS
....................................................................................................
186
PLAIN
LIGHT-COLOURED
AND
RED
*
FABRIC
...................................................
186
FLOUNCED
FABRIC,
FABRIC
OF
ASSYRIAN
GARMENTS
....................................
187
HORNED
CAP,
HEADCOVERS,
AND
ROYAL
CROWN
...............................................
190
SHOES
...........................................................................................................
191
JEWELLERY
.....................................................................................................
191
INSCRIPTIONS
.................................................................................................
193
CONTRASTING
ELEMENTS
................................................................................
193
CHAPTER
9
SPEAKING
OF
COLOURS
(SHIYANTHI
THAVAPALARI)
..................
194
THE
LANGUAGE
OF
COLOURS
AND
MATERIALS
IN
AKKADIAN
..............................
194
COLOURS
AND
THEIR
MEANINGS
......................................................................
195
COLOURS
AS
ENLIVENING
AND
BEAUTIFUL
ASPECTS
OF
FORM
.............................
197
CHAPTER
10
ANALYSIS
AND
SUMMARY.
COLOURS
IN
ANCIENT
MESOPOTAMIAN
LIFE
(ASTRID
NUNN)
...........................................................
200
THE
SIGNIFICANCE
OF
STATUES
REPRESENTING
HUMAN
BEINGS
.........................
200
BEAUTY
IN
ANCIENT
MESOPOTAMIA
...............................................................
201
WHAT
MAKES
A
STATUE
BEAUTIFUL?
...........................................................
202
THE
CANON
OF
BEAUTY
AS
APPLIED
ON
STATUES
..............................................
203
HAIR
.......................................................................................................
203
BEARDS
.....................................................................................................
203
EYES
.......................................................................................................
204
SKIN
COLOUR
............................................................................................
204
LIPS
.......................................................................................................
208
FINGERNAILS
............................................................................................
208
GARMENTS
..............................................................................................
209
NUDITY
........................................................................................................
212
INSCRIPTIONS
ON
GARMENTS
AND
SKIN
..........................................................
212
INVISIBILITY
AND
RESTRICTED
VISIBILITY
.........................................................
212
CONTRAST
AND
JUXTAPOSITION
......................................................................
213
THE
USE
OF
COLOURS.
SYMBOLISM
AND
RELIGIOUS,
SOCIETAL,
POLITICAL
AND
IDEOLOGICAL
CONVENTION
OPPOSED
TO
REALISM
AND
TECHNIQUE
...........
214
CONCLUSION:
WHY
IS
MESOPOTAMIAN
SCULPTURE
IN
COLOUR
......................
215
ABBREVIATIONS
.....................................................................................
217
BIBLIOGRAPHY
.......................................................................................
218
APPENDICES
.............................................................................................
232
LIST
LA:
STATUES
WITH
ANALYSED
AND
MEASURED
PIGMENTS
..........................
232
LIST
LB:
STATUE
EXAMINED
BUT
WITHOUT
ANALYSED
AND
MEASURED
PIGMENTS
234
LIST
II:
EXAMINED
STATUES
WITH
NO
OR
PROBABLY
NO
COLOUR
REMAINS
.......
235
LIST
III:
STATUES
WITH
COLOUR
REMAINS,
KNOWN
ONLY
FROM
PUBLICATIONS,
ACCORDING
TO
THEIR
FINDSPOTS
............................................................
241
LIST
IV:
STATUES
WITH
COLOUR
REMAINS,
KNOWN
ONLY
FROM
PUBLICATIONS,
ACCORDING
TO
THE
MUSEUMS
WHERE
THEY
ARE
KEPT
............................
247
LIST
V:
INVENTORY
NUMBERS
MENTIONED
IN
THIS
PUBLICATION
....................
253
PLATES
PLATE
I:
MAP
PLATES
II
*
III:
COLOURS
ON
THE
STATUES
PLATES
IV-V:
THE
STATUES
AND
THEIR
COLOURS
PLATES
VI
*
VIII:
RECONSTRUCTIONS
|
| adam_txt |
TABLE
OF
CONTENTS
PREFACE
(ASTRID
NUNN,
WITH
HEINRICH
PIENING
AND
RUPERT
GEBHARD)
.
XI
INTRODUCTION
MESOPOTAMIAN
SCULPTURE
IN
COLOUR
(ASTRID
NUNN)
I
COLOURS
AND
STATUES
.
2
COLOURS
THAT
ARE
VISIBLE
TO
THE
NAKED
EYE
.
3
THE
COLOURATION
OF
DARK
STONE
.
4
ABOUT
COLOURS
.
5
ABOUT
THE
STRUCTURE
OF
THIS
STUDY
.
8
HOW
TO
USE
THIS
MONOGRAPH
.
8
APPROACHING
A
CULTURAL
HISTORY
OF
MESOPOTAMIAN
COLOURS
.
9
CHAPTER
1
THE
CORPUS
(ASTRID
NUNN)
.
10
GENERAL:
THE
COMPLETE
CORPUS
.
10
STATUES:
OBJECT
NUMBERS
AND
MUSEUMS,
GEOGRAPHICAL
DISTRIBUTION
.
10
FIRST
GROUP:
STATUES
WITH
DETECTED
AND
ANALYSED
PIGMENTS
.
10
SECOND
GROUP:
ANALYSED
STATUES
WITH
NO
DISCERNIBLE
TRACES
OF
COLOUR
12
THIRD
GROUP:
STATUES
BEARING
TRACES
OF
COLOUR,
KNOWN
TO
US
ONLY
FROM
PUBLICATIONS
.
12
CHRONOLOGICAL
AND
GENDER
DISTRIBUTION
.
12
SOCIOLOGICAL
CATEGORISATION
.
12
CONCLUSION:
ABOUT
REPRESENTATIVENESS
.
15
CHAPTER
2
TECHNIQUES
OF
MEASUREMENTS,
RECONSTRUCTION,
AND
PRINT
(ASTRID
NUNN
AND
HEINRICH
PIENING)
.
16
GENERAL
PROCEDURE
.
16
MICROSCOPY
UND
PHOTOGRAPHY
(BARBARA
JANDL)
.
17
RAMAN
SPECTROSCOPY
(SARAH
HILKER)
.
19
PRINCIPLES
AND
PROCEDURES
OF
RAMAN
SPECTROSCOPY
.
19
RAMAN
SPECTROSCOPY
IN
ART
AND
ARCHAEOLOGY
.
19
UV-VIS
AND
XRF
(HEINRICH
PIENING)
.
20
MEASURING
AND
DEFINING
A
COLOUR
.
21
MEASURED
COLOUR:
READING
SPECTRA
.
21
MEASURED
COLOUR:
READING
CHROMATICITY
DIAGRAMS
AND
THE
QUESTION
OF
ORIGINAL
COLOUR
.
22
A
RESUME:
SEEING,
DENOMINATING,
PRINTING
AND
RECONSTRUCTING
COLOUR
.
24
MEASUREMENTS
AND
THEIR
EVALUATION:
ANTIQUE
OR
MODERN
COLOUR?
.
24
MODELLING
TO
DENOMINATING
COLOURS
.
24
PROCESSING
PHOTOS
.
25
DEFINING
AND
RECONSTRUCTING
COLOURS
TO
BE
PRINTED
AND
PRINTING
COLOURS
.
25
CHAPTER
3
TECHNICAL
ASPECTS
(ASTRID
NUNN
AND
HEINRICH
PIENING)
.
27
THE
STONES
.
27
THE
SURFACE
OF
THE
STONE
.
28
TRACES
OF
COLOURS
.
29
WHY
DOES
COLOUR
SURVIVE?
.
29
MUCH
VS.
LITTLE
.
30
SEEN
WITH
THE
NAKED
EYE
VS.
SEEN
WITH
A
MICROSCOPE
.
30
PRINTED
PHOTOS
OF
STATUES
THAT
WE
DID
NOT
EXAMINE
.
30
THE
COLOURS:
CATEGORIES,
PIGMENTS
AND
ORIGIN
.
30
CATEGORISING
COLOURS
.
30
*
BLACK
*
AND
ITS
PIGMENTS
.
31
*
RED
*
AND
ITS
PIGMENTS
.
34
ORPIMENT
AND
REALGAR
.
35
WHITE
.
35
BLUE
AND
GREEN
.
37
GOLD
.
38
TECHNICAL
USE
OF
PAINTS
.
38
MANUFACTURING
PAINTS
.
38
BINDERS
AND
SOLVENTS
.
38
POLISHING
STONE,
GROUNDING
MATERIAL,
GROUND
COAT,
AND
WHITE
.
39
MIXING
PIGMENTS
OF
DIFFERENT
COLOURS
.
41
APPLYING
PAINTS
.
41
ON
A
FLAT
SURFACE
.
41
IN
WEDGES
.
42
THE
FINAL
COLOURING
.
43
REPAINTING
OF
STATUES
.
43
CHAPTER
4
CATALOGUE
OF
THE
59
STATUES
WITH
COLOUR
RESIDUES
AND
RESULTING
ANALYSIS
(ASTRID
NUNN)
.
44
LATE
URUK
PERIOD
.
45
JEMDET
NASR
(URUK
III)
TO
EARLY
DYNASTIC
I
PERIOD
.
46
EARLY
DYNASTIC
II
PERIOD
.
48
EARLY
DYNASTIC
II-IIIA
PERIOD
.
75
EARLY
DYNASTIC
III
PERIOD
.
76
AKKAD
PERIOD
.
94
LAGASH
II
AND
UR
III
PERIOD
.
96
OLD
BABYLONIAN
PERIOD
BEGINNING
WITH
THE
ISIN-LARSA
PERIOD
.
109
END
OF
THE
SECOND
MILLENNIUM
.
120
NEO-ASSYRIAN
PERIOD
.
122
CHAPTER
5
ABOUT
THE
STATUES
WITH
TRACES
OF
COLOUR
THAT
WE
DID
NOT
EXAMINE
(ASTRID
NUNN)
.
126
THE
MESOPOTAMIAN
MATERIAL
.
126
LATE
URUK
PERIOD
(ABOUT
3400-3100
BCE)
.
126
JEMDET
NASR
AND
EARLY
DYNASTIC
I
PERIOD
(ABOUT
3100-2750
BCE)
.
126
EARLY
DYNASTIC
II
AND
III
PERIOD
(ABOUT
2750-2300
BCE)
.
127
AKKAD
PERIOD
(ABOUT
2324-2142
BCE)
.
129
UR
III
PERIOD
(2110-2003
BCE)
.
129
OLD
BABYLONIAN
PERIOD
(2019-1595
BCE)
.
129
NEO-ASSYRIAN
PERIOD
(900-625
BCE)
.
129
ACHAEMENID
PERIOD
(559-330
BCE)
.
130
THE
ANCIENT
NEAR
EAST
.
130
TECHNICAL
SHEET
OF
THE
STATUE
OF
IDRIMI
.
132
CHAPTER
6
DISTRIBUTION
OF
COLOUR
ON
ALL
STATUARY
(ASTRID
NUNN)
.
134
OVERALL
RESULTS
.
134
DETAILED
RESULTS
FOR
THE
CATEGORY
*
BLACK
*
.
134
HAIR,
BEARD,
AND
MOUSTACHE
.
134
EYEBROWS
.
139
EYES
.
139
ANIMALS
HELD
IN
HANDS
OR
SEATED
UPON
.
140
HEADDRESS,
NECKLACE,
HEM
AND
FRINGE
OF
GARMENT,
WEDGES,
BASE,
OUTLINING,
AND
PILLAR
.
140
DETAILED
RESULTS
FOR
THE
CATEGORY
*
RED
*
.
140
SKIN
COLOUR
WITH
LIPS
AND
NAILS
.
140
GARMENTS
.
143
THE
EARLY
DYNASTIC
PERIOD:
PLAIN
FABRIC,
TUFTS,
AND
TUFTED
FRINGES
.
143
THE
END
OF
THE
THIRD,
SECOND
AND
FIRST
MILLENNIA:
PLAIN
FABRIC
AND
FLOUNCED
GARMENT
.
145
HEM,
FRINGE,
AND
TUFTED
FRINGE,
THIRD
TO
FIRST
MILLENNIUM
BCE
.
146
HEADCOVER
AND
HAIRBAND
.
148
MAKING
AND
DYEING
FABRIC
.
149
IN
SUMMARY:
COLOURS
OF
CLOTHING
FROM
THE
THIRD
TO
THE
FIRST
MILLENNIUM
BCE
.
152
*
BLACK
*
AND/OR
*
RED
*
.
152
INSCRIPTIONS
.
152
ACCESSORIES
.
153
WHITE
.
154
BLUE
.
154
COLOURING
DARK
STONE
.
155
PAINT
DURABILITY
.
156
ARCHAEOLOGICAL
SUMMARY:
SKIN
AND
GARMENT
COLOURS,
LIGHT
AND
DARK
STONE
.
157
CHAPTER
7
LA
CARNATION
DANS
LES
PEINTURES
MURALES
DU
GRAND
PALAIS
ROYAL
DE
MARI
(BEATRICE
MULLER
*
CHARLES
PIVER)
.
158
I.
OBJECTIFS,
DIFFICULTES,
SOURCES
ET
METHODE
.
158
1.
OBJECTIF
.
158
2.
DIFFICULTES
.
158
3.
SOURCES
.
159
4.
METHODE
ET
RESULTAT
FINAL
.
159
II.
FIGURES
ANTHROPOMORPHES
A
CARNATION
BLANCHE
.
160
1.
PEINTURE
DE
LA
SALLE
132
.
160
2.
PEINTURE
DE
1
*
INVESTITURE
DE
LA
COUR
106
.
160
3.
PEINTURES
DE
LA
SALLE
220
*
.
160
4.
PEINTURES
DE
LA
SALLE
34
.
162
5.
PEINTURES
HAUTES
DE
LA
COUR
106
.
162
III.
FIGURES
ANTHROPOMORPHES
A
CARNATION
ROUGE
.
165
1.
COMPOSITION
DE
LA
SALLE
132
.
166
2.
LA
PEINTURE
DE
1*
INVESTITURE
.
167
3.
COMPOSITION
PEINTE
DE
LA
SALLE
220
*
.
168
4.
PEINTURES
HAUTES
DE
LA
COUR
106
.
168
IV.
CARNATION
OCRE
BEIGE
OU
OCRE
JAUNE
.
171
1.
SALLE
132
.
171
2.
SALLE
220
*
.
171
3.
FRAGMENTS
DE
LA
SALLE
34
.
172
V.
DIFFERENCE
DANS
LES
CARNATIONS:
UNE
EXPLICATION
.
172
1.
LA
REGIE
(CARNATION
OCRE
ROUGE)
ET
LES
EXCEPTIONS
(CARNATION
BLANCHE
OU
OCRE
BEIGE)
.
172
2.
SIGNIFICATION
DE
LA
CARNATION
SOMBRE?
.
172
3.
LES
CARNATIONS
CLAIRES
DES
PEINTURES
HAUTES
DE
LA
COUR
106
.
173
4.
DONNEES
COMPLEMENTAIRES:
ONGLES,
YEUX,
BOUCHE,
PILOSITE
.
173
CONCLUSION
.
174
CHAPTER
8
COMPARISON
OF
THE
STATUE
COLOURS
WITH
OTHER
ARCHAEOLOGICAL
MATERIAL
(ASTRID
NUNN)
.
179
HAIR
.
179
EYES
.
180
SKIN
COLOUR,
LIPS,
AND
NAILS
.
181
GARMENTS
.
186
PLAIN
LIGHT-COLOURED
AND
"RED
*
FABRIC
.
186
FLOUNCED
FABRIC,
FABRIC
OF
ASSYRIAN
GARMENTS
.
187
HORNED
CAP,
HEADCOVERS,
AND
ROYAL
CROWN
.
190
SHOES
.
191
JEWELLERY
.
191
INSCRIPTIONS
.
193
CONTRASTING
ELEMENTS
.
193
CHAPTER
9
SPEAKING
OF
COLOURS
(SHIYANTHI
THAVAPALARI)
.
194
THE
LANGUAGE
OF
COLOURS
AND
MATERIALS
IN
AKKADIAN
.
194
COLOURS
AND
THEIR
MEANINGS
.
195
COLOURS
AS
ENLIVENING
AND
BEAUTIFUL
ASPECTS
OF
FORM
.
197
CHAPTER
10
ANALYSIS
AND
SUMMARY.
COLOURS
IN
ANCIENT
MESOPOTAMIAN
LIFE
(ASTRID
NUNN)
.
200
THE
SIGNIFICANCE
OF
STATUES
REPRESENTING
HUMAN
BEINGS
.
200
BEAUTY
IN
ANCIENT
MESOPOTAMIA
.
201
WHAT
MAKES
A
STATUE
BEAUTIFUL?
.
202
THE
CANON
OF
BEAUTY
AS
APPLIED
ON
STATUES
.
203
HAIR
.
203
BEARDS
.
203
EYES
.
204
SKIN
COLOUR
.
204
LIPS
.
208
FINGERNAILS
.
208
GARMENTS
.
209
NUDITY
.
212
INSCRIPTIONS
ON
GARMENTS
AND
SKIN
.
212
INVISIBILITY
AND
RESTRICTED
VISIBILITY
.
212
CONTRAST
AND
JUXTAPOSITION
.
213
THE
USE
OF
COLOURS.
SYMBOLISM
AND
RELIGIOUS,
SOCIETAL,
POLITICAL
AND
IDEOLOGICAL
CONVENTION
OPPOSED
TO
REALISM
AND
TECHNIQUE
.
214
CONCLUSION:
WHY
IS
MESOPOTAMIAN
SCULPTURE
IN
COLOUR
.
215
ABBREVIATIONS
.
217
BIBLIOGRAPHY
.
218
APPENDICES
.
232
LIST
LA:
STATUES
WITH
ANALYSED
AND
MEASURED
PIGMENTS
.
232
LIST
LB:
STATUE
EXAMINED
BUT
WITHOUT
ANALYSED
AND
MEASURED
PIGMENTS
234
LIST
II:
EXAMINED
STATUES
WITH
NO
OR
PROBABLY
NO
COLOUR
REMAINS
.
235
LIST
III:
STATUES
WITH
COLOUR
REMAINS,
KNOWN
ONLY
FROM
PUBLICATIONS,
ACCORDING
TO
THEIR
FINDSPOTS
.
241
LIST
IV:
STATUES
WITH
COLOUR
REMAINS,
KNOWN
ONLY
FROM
PUBLICATIONS,
ACCORDING
TO
THE
MUSEUMS
WHERE
THEY
ARE
KEPT
.
247
LIST
V:
INVENTORY
NUMBERS
MENTIONED
IN
THIS
PUBLICATION
.
253
PLATES
PLATE
I:
MAP
PLATES
II
*
III:
COLOURS
ON
THE
STATUES
PLATES
IV-V:
THE
STATUES
AND
THEIR
COLOURS
PLATES
VI
*
VIII:
RECONSTRUCTIONS |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author2 | Nunn, Astrid 1956- Piening, Heinrich 1960- |
| author2_role | edt edt |
| author2_variant | a n an h p hp |
| author_GND | (DE-588)112265936 (DE-588)143937278 |
| author_facet | Nunn, Astrid 1956- Piening, Heinrich 1960- |
| building | Verbundindex |
| bvnumber | BV046984377 |
| classification_rvk | NG 4010 |
| ctrlnum | (OCoLC)1224014623 (DE-599)DNB1219521868 |
| discipline | Geschichte |
| discipline_str_mv | Geschichte |
| era | Geschichte 4000 v. Chr.-1 v. Chr. gnd |
| era_facet | Geschichte 4000 v. Chr.-1 v. Chr. |
| format | Book |
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| geographic | Mesopotamien (DE-588)4038788-4 gnd |
| geographic_facet | Mesopotamien |
| id | DE-604.BV046984377 |
| illustrated | Illustrated |
| index_date | 2024-07-03T15:50:42Z |
| indexdate | 2024-07-10T08:59:20Z |
| institution | BVB |
| institution_GND | (DE-588)1065856261 |
| isbn | 9783935012423 393501242X |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032392393 |
| oclc_num | 1224014623 |
| open_access_boolean | |
| owner | DE-20 DE-19 DE-BY-UBM DE-188 DE-12 DE-M515 |
| owner_facet | DE-20 DE-19 DE-BY-UBM DE-188 DE-12 DE-M515 |
| physical | XIII, 254, VIII Seiten Illustrationen, Diagramme, Karten 30.3 cm x 21.5 cm, 1250 g |
| psigel | BSB_NED_20210527 gbd_4_2106 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | PeWe-Verlag |
| record_format | marc |
| spelling | Mesopotamian sculpture in colour edited by Astrid Nunn and Heinrich Piening Gladbeck PeWe-Verlag [2020] © 2020 XIII, 254, VIII Seiten Illustrationen, Diagramme, Karten 30.3 cm x 21.5 cm, 1250 g sti rdacontent n rdamedia nc rdacarrier Geschichte 4000 v. Chr.-1 v. Chr. gnd rswk-swf Mensch Motiv (DE-588)4114567-7 gnd rswk-swf Steinplastik (DE-588)4134244-6 gnd rswk-swf Fassmalerei (DE-588)4153775-0 gnd rswk-swf Polychromie (DE-588)4175135-8 gnd rswk-swf Mesopotamien (DE-588)4038788-4 gnd rswk-swf Polychromie Malerei Alter Orient Farbe Rundplastik Mesopotamien Farben (DE-2581)TH000005991 gbd Mesopotamien (DE-2581)TH000011431 gbd Mesopotamien (DE-588)4038788-4 g Steinplastik (DE-588)4134244-6 s Mensch Motiv (DE-588)4114567-7 s Polychromie (DE-588)4175135-8 s Fassmalerei (DE-588)4153775-0 s Geschichte 4000 v. Chr.-1 v. Chr. z DE-604 Nunn, Astrid 1956- (DE-588)112265936 edt Piening, Heinrich 1960- (DE-588)143937278 edt PeWe-Verlag (DE-588)1065856261 pbl DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032392393&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p vlb 20201013 DE-101 https://d-nb.info/provenance/plan#vlb |
| spellingShingle | Mesopotamian sculpture in colour Mensch Motiv (DE-588)4114567-7 gnd Steinplastik (DE-588)4134244-6 gnd Fassmalerei (DE-588)4153775-0 gnd Polychromie (DE-588)4175135-8 gnd |
| subject_GND | (DE-588)4114567-7 (DE-588)4134244-6 (DE-588)4153775-0 (DE-588)4175135-8 (DE-588)4038788-4 |
| title | Mesopotamian sculpture in colour |
| title_auth | Mesopotamian sculpture in colour |
| title_exact_search | Mesopotamian sculpture in colour |
| title_exact_search_txtP | Mesopotamian sculpture in colour |
| title_full | Mesopotamian sculpture in colour edited by Astrid Nunn and Heinrich Piening |
| title_fullStr | Mesopotamian sculpture in colour edited by Astrid Nunn and Heinrich Piening |
| title_full_unstemmed | Mesopotamian sculpture in colour edited by Astrid Nunn and Heinrich Piening |
| title_short | Mesopotamian sculpture in colour |
| title_sort | mesopotamian sculpture in colour |
| topic | Mensch Motiv (DE-588)4114567-7 gnd Steinplastik (DE-588)4134244-6 gnd Fassmalerei (DE-588)4153775-0 gnd Polychromie (DE-588)4175135-8 gnd |
| topic_facet | Mensch Motiv Steinplastik Fassmalerei Polychromie Mesopotamien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032392393&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT nunnastrid mesopotamiansculptureincolour AT pieningheinrich mesopotamiansculptureincolour AT peweverlag mesopotamiansculptureincolour |