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Jonathan Tokeley was contentiously convicted of 'smuggling' Egyptian antiquities in a landmark trial - one of a series which had devastating consequences for the antiquities market. The Cultural Heritage Crusade claims that 'Source Countries' have an indefeasible right to ancient artefacts found in their soil. And past acquisitions, like the Elgin Marbles, should be returned. Archaeologists widely accept this, and also the need for government 'prohibitions' to prevent the looting of the sites. But this makes Antiquity a plaything of the modern humbug - of national vanity, of antiwestern dogma, of political correctness, and the academic's disdain for the very idea of profit. None of which will prevent the looting. The Cultural Heritage Crusade, in short, is not an answer to the problem. It may actually be the problem. This book is both a philosophical analysis and a demonstration - in one country, Egypt - of its horrific consequences.
The strange story of the Assyrian Reliefs in the Metropolitan Museum and the Hidden Masterpiece at Canford School. This volume includes previously unpublished photographs, illustrations from rare nineteenth century sources, and passages from the diary of Lady Charlotte Guest (cousin of Austen Henry Layard).
This book introduces aspects of polychromies at Persepolis in Iran and their context in a modern historiography of Achaemenid Persian Art.
Since the modern period, the field of biblical studies has relied upon libraries, museums, and archives for its evidentiary and credentialing needs. Yet, absent in biblical scholarship is a thorough and critical examination of the instrumentality of the discipline’s master archives for elite power structures. Addressing this gap in biblical scholarship lies central to this book. Interrogated here is a premier repository or master archive of the discipline: the British Museum. Using an assemblage of critical theories from archival discourse to postcolonial studies, space theory to governmentality studies, the focal point of this book is at the intersections of the Museum’s rise to scientific prominence, the British Empire, and the conferring of scientific authority to modern biblical critics in the nineteenth century. Gregory L. Cuéllar initiates a season of historicization of the master archives of biblical studies and archival criticism.
"Hadrian, a Roman emperor, the builder of Hadrian's Wall in the north of England, a restless and ambitious man who was interested in architecture and was passionate about Greece and Greek culture. Is this the common image today of the ruler of one of the greatest powers of the ancient world?" "Published to complement a major exhibition at the British Museum, this wide-ranging book rediscovers Hadrian. The sharp contradictions in his personality are examined, previous concepts are questioned and myths that surround him are exploded." --Book Jacket.
Discussion of the issues surrounding the destruction of cultural property in times of conflict has become a key issue for debate around the world. This book provides an historical statement as of 1st March 2006 concerning the destruction of the cultural heritage in Iraq. In a series of chapters it outlines the personal stories of a number of individuals who were - and in most cases continue to be - involved. These individuals are involved at all levels, and come from various points along the political spectrum, giving a rounded and balanced perspective so easily lost in single authored reports. It also provides the first views written by Iraqis on the situation of archaeology in Iraq under S...
The tombs and mortuary temples of Thebes have proved an enduring topic of interest thanks to a quickly expanding corpus of field materials and a series of conferences devoted to the subject. This volume, the fourth in a series of occasional proceedings from the ongoing Theban Workshop, presents new research on wall decoration in the Theban necropolis. Its thirteen essays, by an international array of leading scholars, attest to the wide and varied scope of the theme.
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Despite the fact that we have a range of senses with which to perceive the world around us, museums and other cultural institutions have traditionally used sight as the main way to convey information. In everyday life, though, we use touch constantly in conjunction with sight. Why, then, does it play so small a role in the study and enjoyment of museum objects? Contributors to this volume explore how the sense of touch can be utilized in cultural institutions to facilitate understanding and learning.
Since 1756, the British Museum has acquired, by gift, bequest or purchase, some 90 works of portrait sculpture. Presented in a variety of media, most of the sitters are eminent statesmen, scholars and authors and many of the works are by sculptors of the first rank, yet the pieces have rarely been on public display and are correspondingly little known. The portraits have been closely studied and catalogued in this illustrated volume. For each piece, Aileen Dawson considers the gensis, material, place in the artist's oeuvre, and history in the museum.