Verfügbarkeit: Mesopotamian sculpture in colour | Technische Universität München

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Bibliographische Detailangaben
Weitere beteiligte Personen:	Nunn, Astrid 1956- (HerausgeberIn), Piening, Heinrich 1960- (HerausgeberIn)
Format:	Buch
Sprache:	Englisch
Veröffentlicht:	Gladbeck PeWe-Verlag [2020]
Schlagwörter:	Geschichte 4000 v. Chr.-1 v. Chr. Mensch > Motiv Steinplastik Fassmalerei Polychromie Mesopotamien Malerei Alter Orient Farbe Rundplastik
Links:	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
Umfang:	XIII, 254, VIII Seiten Illustrationen, Diagramme, Karten 30.3 cm x 21.5 cm, 1250 g
ISBN:	9783935012423 393501242X

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MARC


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Datensatz im Suchindex

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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
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author2	Nunn, Astrid 1956- Piening, Heinrich 1960-
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discipline	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
indexdate	2024-12-20T19:06:28Z
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
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_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

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