Site Loader
Rock Street, San Francisco
  • Current Language:
  • fr
  • Select Language:

Consulter la cote et le prix de Chien Couché - Lapis Lazuli



Description : CHIEN couché. Lapis lazuli. Moyen Orient, IIIe-IIe millénaire Long. 7,5 cm - 3 in
Prix: 0.00 USD C'est GRATUIT! créez un compte pour lire l'info
Estimations(basse-haute) : 1800 EUR-2000 EUR C'est GRATUIT! créez un compte pour lire l'info

À propos du lot n° 117
Titre : Chien Couché - Lapis Lazuli
Notes : Roman art refers to the visual arts made in Ancient Rome and in the territories of the Roman Empire. Roman art includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass, are sometimes considered in modern terms to be minor forms of Roman art,[1] although this would not necessarily have been the case for contemporaries. Ancient Roman pottery was not a luxury product, but a vast production of fine wares in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coins were an important means of propaganda, and have survived in enormous numbers. Other perishable forms of art have not survived at all. While the traditional view of Roman artists is that they often borrowed from, and copied Greek precedents (much of the Greek sculpture known today is in the form of Roman marble copies), more recent analysis has indicated that Roman art is a highly creative pastiche relying heavily on Greek models but also encompassing Etruscan, native Italic, and even Egyptian visual culture. Stylistic eclecticism and practical application are the hallmarks of much Roman art. Pliny, Ancient Rome's most important historian concerning the arts, recorded that nearly all the forms of art--sculpture, landscape, portrait painting, even genre painting -- were advanced in Greek times, and in some cases, more advanced than in Rome. Though very little remains of Greek wall art and portraiture, certainly Greek sculpture and vase painting bears this out. These forms were not likely surpassed by Roman artists in fineness of design or execution. As another example of the lost Golden Age, he singled out Peiraikos, whose artistry is surpassed by only a very few ... He painted barbershops and shoemakers' stalls, donkeys, vegetables, and such, and for that reason came to be called the 'painter of vulgar subjects', yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists.[2] The adjective vulgar is used here in its original meaning, which means common. The Greek antecedents of Roman art were legendary. In the mid-5th century BC, the most famous Greek artists were Polygnotos, noted for his wall murals, and Apollodoros, the originator of chiaroscuro. The development of realistic technique is credited to Zeuxis and Parrhasius, who according to ancient Greek legend, are said to have once competed in a bravura display of their talents, history's earliest descriptions of trompe l'oeil painting.[3] In sculpture, Skopas, Praxiteles, Phidias, and Lysippos were the foremost sculptors. It appears that Roman artists had much Ancient Greek art to copy from, as trade in art was brisk throughout the empire, and much of the Greek artistic heritage found its way into Roman art through books and teaching. Ancient Greek treatises on the arts are known to have existed in Roman times though are now lost.[4] Many Roman artists came from Greek colonies and provinces... The high number of Roman copies of Greek art also speaks of the esteem Roman artists had for Greek art, and perhaps of its rarer and higher quality.[5] Many of the art forms and methods used by the Romans--such as high and low relief, free-standing sculpture, bronze casting, vase art, mosaic, cameo, coin art, fine jewelry and metalwork, funerary sculpture, perspective drawing, caricature, genre and portrait painting, landscape painting, architectural sculpture, and trompe l'oeil painting--all were developed or refined by Ancient Greek artists.[6] One exception is the Greek bust, which did not include the shoulders. The traditional head-and-shoulders bust may have been an Etruscan or early Roman form.[7] Virtually every artistic technique and method used by Renaissance artists 1,900 year later, had been demonstrated by Ancient Greek artists, with the notable exceptions of oil colors and mathematically accurate perspective.[8] Where Greek artists were highly revered in their society, most Roman artists were anonymous and considered tradesmen. There is no recording, as in Ancient Greece, of the great masters of Roman art, and practically no signed works. Where Greeks worshipped the aesthetic qualities of great art and wrote extensively on artistic theory, Roman art was more decorative and indicative of status and wealth, and apparently not the subject of scholars or philosophers.[9] Owing in part to the fact that the Roman cities were far larger than the Greek city-states in power and population, and generally less provincial, art in Ancient Rome took on a wider, and sometimes more utilitarian, purpose. Roman culture assimilated many cultures and was for the most part tolerant of the ways of conquered peoples.[5] Roman art was commissioned, displayed, and owned in far greater quantities, and adapted to more uses than in Greek times. Wealthy Romans were more materialistic, they decorated their walls with art, their home with decorative objects, and themselves with fine jewelry. In the Christian era of the late Empire, from 350-500 CE, wall painting, mosaic ceiling and floor work, and funerary sculpture thrived, while full-sized sculpture in the round and panel painting died out, most likely for religious reasons.[10] When Constantine moved the capital of the empire to Byzantium (renamed Constantinople), Roman art incorporated Eastern influences to produce the Byzantine style of the late empire. When Rome was sacked in the 5th century, artisans moved to and found work in the Eastern capital. The Church of Hagia Sophia in Constantinople employed nearly 10,000 workmen and artisans, in a final burst of Roman art under Emperor Justinian (527-565 AD), who also ordered the creation of the famous mosaics of Ravenna.. Ancient Egyptian art is the painting, sculpture, architecture and other arts produced by the civilization in the lower Nile Valley from 5000 BC to 300 AD. Ancient Egyptian art reached a high level in painting and sculpture, and was both highly stylized and symbolic. Much of the surviving art comes from tombs and monuments and thus there is an emphasis on life after death and the preservation of knowledge of the past. In a more narrow sense, Ancient Egyptian art refers to the canonical 2nd and 3rd Dynasty art developed in Egypt from 3000 BC and used until the 3rd century. Most elements of Egyptian art remained remarkably stable over that 3,000 year period with relatively little outside influence. The quality of observation and execution started at a high level and remained near that level throughout the period. Symbolism also played an important role in establishing a sense of order. Symbolism, ranging from the pharaoh's regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and goddesses, is omnipresent in Egyptian art. Animals were usually also highly symbolic figures in Egyptian art. Colors were more expressive rather than natural: red skin implied vigorous tanned youth, whereas yellow skin was used for women or middle-aged men who worked indoors, blue or gold indicated divinity because of its unnatural appearance and association with precious materials, the use of black for royal figures expressed the fertility of the Nile from which Egypt was born. Stereotypes were employed to indicate the geographical origins of foreigners. Ancient Egyptian art forms are characterized by regularity and detailed depiction of gods, human beings, heroic battles, and nature, and were intended to provide solace to the deceased in the afterlife. Artists endeavored to preserve everything from the present as clearly and permanently as possible. Ancient Egyptian art was created using mediums ranging from papyrus drawings to pictographs (hieroglyphics) and include funerary sculpture carved in relief and in the round from sandstone, quartz diorite and granite. Ancient Egyptian art displays an extraordinarily vivid representation of the Ancient Egyptian's socioeconomic status and belief systems. Egyptian art in all forms obeyed one law: the mode of representing Pharaohs, gods, man, nature and the environment remained consistent for thousands of years. The most admired artists were those who replicated the stylized depictions of Egypts most venerated figures, humanity or divinity. Greek art began in the Cycladic and Minoan prehistorical civilization, and gave birth to Western classical art in the ancient period (further developing this during the Hellenistic Period). It took in influences of Eastern civilizations and the new religion of Orthodox Christianity in the Byzantine era and absorbed Italian and European ideas during the period of Romanticism (with the invigoration of the Greek Revolution), right up until the Modernist and Postmodernist. Greek art is mainly five forms: architecture, sculpture, painting, pottery and jewelry making. The arts of ancient Greece have exercised an enormous influence on the culture of many countries all over the world, particularly in the areas of sculpture and architecture. In the West, the art of the Roman Empire was largely derived from Greek models. In the East, Alexander the Great's conquests initiated several centuries of exchange between Greek, Central Asian and Indian cultures, resulting in Greco-Buddhist art, with ramifications as far as Japan. Following the Renaissance in Europe, the humanist aesthetic and the high technical standards of Greek art inspired generations of European artists. Well into the 19th century, the classical tradition derived from Greece dominated the art of the western world. In reality, there was a sharp transition from one period to another. Forms of art developed at different speeds in different parts of the Greek world, and as in any age some artists worked in more innovative styles than others. Strong local traditions, conservative in character, and the requirements of local cults, enable historians to locate the origins even of displaced works of art. Islamic art encompasses the visual arts produced from the 7th century onwards by people (not necessarily Muslim) who lived within the territory that was inhabited by or ruled by culturally Islamic populations.[1] It is thus a very difficult art to define because it covers many lands and various peoples over some 1400 years, it is not art specifically of a religion, or of a time, or of a place, or of a single medium like painting.[2] The huge field of Islamic architecture is the subject of a separate article, leaving fields as varied as calligraphy, painting, glass, ceramics, and textiles, among others. Islamic art is not at all restricted to religious art, but includes all the art of the rich and varied cultures of Islamic societies as well. It frequently includes secular elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.[3] Apart from the ever-present calligraphic inscriptions, specifically religious art is actually less prominent in Islamic art than in Western medieval art, with the exception of Islamic architecture where mosques and their complexes of surrounding buildings are the most common remains. Figurative painting may cover religious scenes, but normally in essentially secular contexts such as the walls of palaces or illuminated books of poetry. The calligraphy and decoration of manuscript Qu'rans is an important aspect, but other religious art such as glass mosque lamps and other mosque fittings such as tiles (e.g. Girih tiles), woodwork and carpets usually have the same style and motifs as contemporary secular art, although with religious inscriptions even more prominent. Islamic art developed from many sources: Roman, Early Christian art, and Byzantine styles were taken over in early Islamic art and architecture, the influence of the Sassanian art of pre-Islamic Persia was of paramount significance, Central Asian styles were brought in with various nomadic incursions, and Chinese influences had a formative effect on Islamic painting, pottery, and textiles.[4] Though the whole concept of Islamic art has been criticised by some modern art historians,[5] calling it a figment of imagination[6] or a mirage,[7] the similarities between art produced at widely different times and places in the Islamic world have been sufficient to keep the term in wide use by scholars.[8] There are repeating elements in Islamic art, such as the use of geometrical floral or vegetal designs in a repetition known as the arabesque. The arabesque in Islamic art is often used to symbolize the transcendent, indivisible and infinite nature of God.[9] Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only God can produce perfection, although this theory is disputed.[10][11][12] Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than on figures, because it is feared by many Muslims that the depiction of the human form is idolatry[13] and thereby a sin against God, forbidden in the Qur'an. Human portrayals can be found in all eras of Islamic art, above all in the more private form of miniatures, where their absence is rare. Human representation for the purpose of worship is considered idolatry and is duly forbidden in Islamic law, known as Sharia law. There are also many depictions of Muhammad, Islam's chief prophet, in historical Islamic art.[14][15] Small decorative figures of animals and humans, especially if they are hunting the animals, are found on secular pieces in many media from many periods, but portraits were slow to develop. Antiquities, nearly always used in the plural in this sense, is a term for objects from Antiquity, especially the civilizations of the Mediterranean: the Classical antiquity of Greece and Rome, Ancient Egypt and the other Ancient Near Eastern cultures. Artifacts from earlier periods such as the Mesolithic, and other civilizations from Asia and elsewhere may also be covered by the term. The phenomenon of giving a high value to ancient artifacts is found in other cultures, notably China, where Chinese ritual bronzes, three to two thousand years old, have been avidly collected and imitated for centuries, and the Pre-Columbian cultures of Mesoamerica, where in particular the artifacts of the earliest Olmec civilization are found reburied in significant sites of later cultures up to the Spanish Conquest. The definition of the term is not always precise, and institutional definitions such as museum Departments of Antiquities often cover later periods, but in normal usage Gothic objects, for example, would not now be described as antiquities, though in 1700 they might well have been, as the cut-off date for antiquities has tended to retreat since the word was first found in English in 1513.[2] Non-artistic artifacts are now less likely to be called antiquities than in earlier periods. Francis Bacon wrote in 1605: Antiquities are history defaced, or some remnants of history which have casually escaped the shipwreck of time.[3] The art trade reflects modern usage of the term, Christie's Department of Antiquities covers objects from the dawn of civilization to the Dark Ages, ranging from Western Europe to the Caspian Sea, embracing the cultures of Egypt, Greece, Rome and the Near East.[4] Bonhams use a similar definition: ...4000 B.C to the 12th Century A.D. Geographically they originate from Egypt, the Near East and Europe ... [5] Official cut-off dates are often later, being unconcerned with precise divisions of art history, and using the term for all historical periods they wish to protect: in Jordan it is 1750,[6] in Hong Kong 1800, and so on. The term is no longer much used in formal academic discussion, because of this imprecision. Most, but not all, antiquities have been recovered by archaeology. There is little or no overlap with antiques, which covers objects, not generally discovered as a result of archaeology, at most about three hundred years old, and usually far less. The sense of antiquitates, the idea that a civilization could be recovered by a systematic exploration of its relics and material culture, in the sense used by Varro and reflected in Josephus' Antiquities of the Jews was lost during the Middle Ages, when ancient objects were collected with other appeals, the rarity or strangeness of their materials or simply because they were thought to be endowed with magical or miraculous powers.[7] Precious cameos and other antique carved gems might be preserved when incorporated into crowns and diadems and liturgical objects,[8] consular ivory diptychs by being used as gospel covers. Roman columns could be re-erected in churches.[9] sarcophagi could receive new occupants and cinerary urns could function as holy water stoups. Sculptural representations of the human form, feared and reviled as idols could be rehabilitated by reidentifying their subjects: the equestrian bronze Marcus Aurelius of the Campidoglio was respected as a representation of the Christian emperor Constantine, and in Pavia the Regisole acquired a civic role that preserved it. In Rome the Roman bronze Spinario was admired for itself by the guidebook writer Magister Gregorius. The classicism of the Carolingian renaissance was in part inspired by appreciation of Late Antique manuscripts: the Utrecht Psalter attempts to recreate such a Late Antique original, both in its handwriting and its illustrations. Classical antiquity (also the classical era, classical period or classical age) is a broad term for a long period of cultural history centered on the Mediterranean Sea, comprising the interlocking civilizations of ancient Greece and ancient Rome, collectively known as the Greco-Roman world. It is the period in which Greek and Roman society flourished and wielded great influence throughout Europe, North Africa and Middle East. It is conventionally taken to begin with the earliest-recorded Greek poetry of Homer (8th-7th century BC), and continues through the emergence of Christianity and the decline of the Roman Empire (5th century AD). It ends with the dissolution of classical culture at the close of Late Antiquity (AD 300-600), blending into the Early Middle Ages (AD 600-1000). Such a wide sampling of history and territory covers many disparate cultures and periods. Classical antiquity may refer also to an idealized vision among later people of what was, in Edgar Allan Poe's words, the glory that was Greece, the grandeur that was Rome![1] The culture of the ancient Greeks, together with some influences from the ancient Orient, prevailed throughout classical antiquity as the basis of art,[2] philosophy, society, and educational ideals.[3] These ideals were preserved and imitated--in an outward sense, at least--by the Romans.[4] This Greco-Roman cultural foundation has been immensely influential on the language, politics, educational systems, philosophy, science, art, and architecture of the modern world: From the surviving fragments of classical antiquity, a revival movement was gradually formed from the 14th century onwards which came to be known later in Europe as the Renaissance, and again resurgent during various neo-classical revivals in the 18th and 19th centuries. The ancient Near East was the home of early civilizations within a region roughly corresponding to the modern Middle East: Mesopotamia (modern Iraq, southeast Turkey and northeastern Syria), ancient Egypt (although the majority of Egypt is geographically in North East Africa), ancient Iran (Elam, Media, Parthia and Persia), Anatolia/Asia Minor (modern Turkey), the Levant (modern Syria, Lebanon, Israel, Palestine and Jordan), Malta and the Arabian Peninsula. The ancient Near East is studied in the fields of Near Eastern archaeology and ancient history. It begins with the rise of Sumer in the 4th millennium BC, though the date it ends varies: either covering the Bronze Age and the Iron Age in the region, until the conquest by the Achaemenid Empire in the 6th century BC or Alexander the Great in the 4th century BC. The ancient Near East is considered the cradle of civilization. It was the first to practice intensive year-round agriculture, it gave the rest of the world the first writing system, invented the potter's wheel and then the vehicular- and mill wheel, created the first centralized governments, law codes and empires, as well as introducing social stratification, slavery and organized warfare, and it laid the foundation for the fields of astronomy and mathematics. $ The term ancient Near East utilizes the 19th-century distinction between Near East and Far East as global regions of interest to the British Empire. The distinction began during the Crimean War. The last major exclusive partition of the east between these two terms was current in diplomacy in the late 19th century with the Hamidian Massacres of the Armenians and Assyrians by the Ottoman Empire in 1894-1896 and the Sino-Japanese War of 1894-1895. The two theatres were described by the statesmen and advisors of the British Empire as the Near East and the Far East. Shortly they were to share the stage with Middle East, which came to prevail in the 20th century and continues in modern times. As Near East had meant the lands of the Ottoman Empire at roughly maximum extent, on the fall of that empire the use of Near East in diplomacy was reduced significantly in favor of Middle East. In the meanwhile, ancient Near East had become distinct. It referred primarily to the Biblical lands. The Near East ruled by the Ottoman Empire ranged from Vienna to the north to the tip of the Arabian Peninsula to the south, from Egypt in the west to the borders of Iraq in the east. The 19th-century archaeologists added Iran, which was never under the Ottomans. The Mesolithic (Greek: mesos middle, lithos stone) is an archaeological concept used to refer to specific groups of archaeological cultures defined as falling between the Paleolithic and the Neolithic. The term developed as a catch-all to refer to material that did not fit into the other categories of prehistory and after the development of radiocarbon dating the arbitrary nature of its definition has become apparent. The term is used to refer to different time spans in different parts of Eurasia. It was first used to refer to post-Holocene but pre-agricultural material in northwest Europe about 10,000 to 5000 BCE but is also applied to material from the Levant (about 20,000 to 9500 BCE), in Japan the Jomon period (about 14,000 to 400 BCE) is sometimes called Mesolithic and it is also applied to some cultures from the Indian sub-continent (100,000 to 30,000 BCE). The term Epipaleolithic is often used for areas outside northern Europe but was also the preferred synonym used by French archaeologists until the 1960s.
Enchères Rive Gauche, Salle de vente , Paris, FR C'est GRATUIT! créez un compte pour lire l'info
Titre de la vente : Antiques, Arts d'Orient - Première Vacation
Date de la vente : 19/11/2012 C'est GRATUIT! créez un compte pour lire l'info
Référence de l'enchère : Live Sale

Vous êtes intéressé pour expertiser votre objet? 

Rapport Exclusif : Le Marché de l'Art Africain en 2024

Un guide complet pour comprendre les opportunités et les tendances du marché de l’art africain en 2024. Accédez à des informations exclusives.

Nous respectons votre vie privée. Pas de spam.