Bibliographies thématiques / Copper figurines

Littérature scientifique sur le sujet « Copper figurines »

Auteur : Grafiati
Publié le 27 juillet 2024
Mis à jour le 29 juillet 2024

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Sommaire

Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Copper figurines ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Articles de revues sur le sujet "Copper figurines"

1

Chapman, John, Bisserka Gaydarska et Emma Watson. « “What Have our Figurines Ever Done for us?” Magic and Agency in Balkan-Carpathian Prehistory ». Stratum plus. Archaeology and Cultural Anthropology, no 2 (30 avril 2022) : 159–92. http://dx.doi.org/10.55086/sp222159192.

Texte intégral
Résumé :
The work of Mary Helms and Alfred Gell on cultural transformations, object colour and brilliance and their links to ritual power emphasises the most important aspect of magic for objects — its agency. The aesthetic of exotic, bright and colourful objects in the Neolithic and Copper Age of ‘Old Europe’ was central to the objects’ agency. However, the vast majority of figurines from this region was neither polished nor highly coloured, nor even decorated — sometimes showing signs of rapid production for short-term usage. Yet there is a widespread notion that figurines had the potential to produce special effects in ritual practice. Just as the agency of figurines is ‘culture-specific’ as well as context-specific, their potency depended upon a widespread underlying acceptance of what this particular class of objects could do for people. Here we pose two questions: how did figurines perform their agency? and was figurine’s agency fundamentally different from the agency of bright, colourful, exotic objects? We present four examples of the magical effects — i. e. the agency — of figurines from the Mesolithic, Neolithic and Copper Age of Old Europe: the efficacy of Lepenski Vir fish-persons; how figurines contributed to the practice of black magic in the Vinča group; the ability of the fragmentation of shiny, black Hamangia figurines to achieve significant social effects; and the arrangement of Cucuteni figurine sets to educate women about (in)fertility.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Chenciner, Robert. « Ancient Copper Alloy Figurines from Daghestan ». Antiquaries Journal 79 (septembre 1999) : 59–79. http://dx.doi.org/10.1017/s0003581500044486.

Texte intégral
Résumé :
Nothing appears to have been written in English about a group of powerfully-sculpted lost-wax copper alloy, standing, naked figurines, 30–60mm tall, mainly from mountainous regions of west Daghestan and south-east Chechnya in the Caucasus. More than a hundred of these phallic (male), or otherwise sexually explicit (female and hermaphrodite) figurines have been found at different places at different dates since 1867 up to the present day. Most writers have suggested datings from the first millennium BC and indeed dating between 500 BC and AD 500 has been recently confirmed by the first technical and chemical analysis of a sample of these figurines by Dr Peter Northover. The thirteen figurines which he analysed are catalogued here. However, a Daghestani archaeologist Dr M S Gadjiev has recently proposed that the period of their manufacture is from the sixth to ninth centuries AD, since similar figurines have been found with a small spoon, datable to that period. The author's suggested interpretations of the ‘adoration’ and ‘cup-bearer’ types of figurine, which occur most frequently, do not affect the debate on their dating.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Hosler, Dorothy, et Ruben Cabrera. « A MAZAPA PHASE COPPER FIGURINE FROM ATETELCO, TEOTIHUACAN : DATA AND SPECULATIONS ». Ancient Mesoamerica 21, no 2 (2010) : 249–60. http://dx.doi.org/10.1017/s0956536110000313.

Texte intégral
Résumé :
AbstractExcavations of the Mazapan phase at the Atetelco complex at Teotihuacan by Ruben Cabrera and colleagues produced a small human copper figurine. Studies of Mesoamerican metallurgy have indicated that metallurgy was introduced to western Mexico around a.d. 700 from Colombia, and Ecuador. This particular figurine is a remarkable find. The dates (a.d. 800–900) precede those of copper artifacts in the central Highlands. The manufacturing method (an open-backed casting) is rare in Mesoamerica but common in Colombia and Panama. Open-backed cast figurines that do appear in Mesoamerica come from the Cenote of Sacrifice, are made from copper-gold alloys, and were imported from lower Central America or Colombia. The Atetelco figurine is made from a copper-arsenic alloy. Copper-arsenic alloy objects are common in western Mexico (after a.d. 1150) and Ecuador and northern Peru (after about a.d. 300). The major question concerning the Atetelco figurine is whether it was fashioned in Ecuador or Colombia and imported, or whether it was produced in western Mexico. Our study of artifact chemistry, fabrication methods, and provenience indicate that the weight of the evidence points to western Mexico. We suggest that this fabrication technique (lost-wax castings of open-backed human figurines), while introduced from Colombia and lower Central America, never became a major component of the Mesoamerican metallurgical tradition.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Summers, G. D. « Metalwork in Gaziantep Museum said to be a Hoard from the Region of Sakçagözü ». Anatolian Studies 41 (décembre 1991) : 173–95. http://dx.doi.org/10.2307/3642939.

Texte intégral
Résumé :
In 1974 a group of copper alloy objects, including two figurines and a number of weapons, was taken to Adana Museum by a dealer from İslahiye. The objects were said to have come from a site near Kilis. One of the figurines, which has gold foil on the face, was bought by Adana Museum. Temporary closure of Adana Museum has precluded examination of this figurine. In 1975 fourteen copper alloy objects from this same group, including a figurine wearing gold and silver ornaments around the neck, were purchased from the same dealer by the Gaziantep Museum for the sum of thirty thousand Turkish Lira, then about one thousand pounds sterling. This time they were said to have come from the vicinity of Sakçagözü. Staff of Gaziantep Museum brought the existence of this hoard to the attention of the British Institute which was engaged in a restudy of material from earlier British excavations in the Sakçagözü region (French and Summers 1988). The author is extremely grateful to the Museum for allowing access to the finds, to David French for his encouragement and advice, Tuǧrul Çakar for the photography and Jane Goddard who made the drawings. This paper has benefited greatly from discussions with Drs. John Curtis, Roger Moorey, Graham Philip and Trevor Watkins. Any faults remain, of course, the responsibility of the author.
Styles APA, Harvard, Vancouver, ISO, etc.
5

Hansen, Svend. « Figurines in Pietrele : Copper Age ideology ». Documenta Praehistorica 38 (1 décembre 2011) : 117. http://dx.doi.org/10.4312/dp.38.10.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Zimmermann, Thomas, et Latif Özen. « The Early Bronze Age figurine from Hasanoğlan, central Turkey : new archaeometrical insights ». Anatolian Studies 66 (2016) : 17–22. http://dx.doi.org/10.1017/s0066154616000028.

Texte intégral
Résumé :
AbstractThe following article discusses the archaeometrical dimension of a well-known Early Bronze Age metal figurine from Hasanoğlan, Turkey, on permanent display in the Anatolian Civilisations Museum in Ankara. The transfer of the object to a new display case allowed for an examination with a portable x-ray fluorescence (P-XRF) device in order to reveal the chemical composition of the statuette and its attached ornaments. The figurine was confirmed to be made of silver. However, it is alloyed with a small but still substantial amount of copper. The applications are basically made of gold, but with a suspected substantial (up to 23%) amount of silver involved. The final section of the article is dedicated to a critical comparison with recently published figurines from Alaca Höyük, together with an archaeological and chronological reappraisal of this unique piece of art.
Styles APA, Harvard, Vancouver, ISO, etc.
7

Durham, Emma. « Style and Substance : Some Metal Figurines from South-West Britain ». Britannia 45 (20 mai 2014) : 195–221. http://dx.doi.org/10.1017/s0068113x14000270.

Texte intégral
Résumé :
AbstractA hoard found in Southbroom, Devizes in 1714 contained a group of copper-alloy figurines executed in both classical and local styles and depicting deities belonging to the Graeco-Roman and Gallo-Roman pantheons. The deities in a local style appear to form part of a larger tradition of figurines, predominantly found in the South-West, which are characterised both by a similar artistic style and by the use of Gallo-Roman symbolism and deities, such as the torc, ram-horned snake, carnivorous dog and Sucellus. The unique composition of the hoard in comparison with other hoards of similar date provides insights into the beliefs of Roman Britain.
Styles APA, Harvard, Vancouver, ISO, etc.
8

Fischer, Peter M., Teresa Bürge, R. Árnadóttir, M. Mehofer, F. Köstelbauer, A. Satraki, L. Mazzotta et al. « The New Swedish Cyprus Expedition 2013. Excavations at Hala Sultan Tekke. Preliminary results ». Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (novembre 2014) : 61–106. http://dx.doi.org/10.30549/opathrom-07-04.

Texte intégral
Résumé :
The results from a 1.3-hectare GPR survey in 2012 were confirmed during the 2013 excavation of a limited area (200 m2). Three phases of occupation were partly exposed. The most recent phase, Stratum 1, contained living and working facilities, e.g. for spinning, weaving and purple dyeing. Textile production also took place in the older Stratum 2, where the major activity was metal-working: 300 kg of remains from copperworking consist of tapped slag, furnace walls, fragments of at least five tuyères, crucible fragments, copper/bronze fragments and pieces of raw copper. Another of these unique kraters of White Painted Wheel-made Pictorial Style (WPPS) was found. It was termed “Horned God Krater” on account of one of the decorative elements. These kraters may indicate that there was a “Hala Sultan Tekke painter”. The oldest phase of occupation so far, “Stratum 3”, which is a reused and looted tomb, produced two cylinder seals and numerous finds which are related to textile production. The findings from test trenches west of the main area suggest a street which separated two city quarters: one to the east (our main area) and one to the west. Test excavations in the western city quarter produced two anthropomorphic figurines and a horse figurine.
Styles APA, Harvard, Vancouver, ISO, etc.
9

Özgen, Engin, et G. D. Summers. « Metalwork in the Gaziantep and Adana Museums : an Addendum ». Anatolian Studies 43 (décembre 1993) : 109–10. http://dx.doi.org/10.2307/3642967.

Texte intégral
Résumé :
The publication in this journal of a hoard of metalwork reported to have come from the region of Sakçagözü omitted any reference to the original publication of this material by Engin Özgen in 1985. The opportunity has now been taken to publish photographs of the two copper (?alloy) figurines and their gold and silver adornments, one in the Adana Museum and the other in Gaziantep Museum (PI. XV) and, because the original publication is out of print, to provide a detailed description of the Adana piece. We are grateful to the Directors of the two museums Bey İsmet İpek (Adana) and Bey Rifat Ergeç (Gaziantep) for facilitating this study and to Tuğrul Čakar for the photographs.No new information concerning the discovery and dispersal of the metalwork has come to light. It is the conviction of the authors that the close stylistic and technical resemblance between the two figurines and the addition to both of gold foil and silver torques greatly increases the probability that, firstly, the pieces are genuine antiquities and, secondly, that all of the objects were found together in a single hoard. No new evidence has emerged to contradict our earlier, independently deduced suggestion of an early second millennium date.
Styles APA, Harvard, Vancouver, ISO, etc.
10

Valente, Tatiana, Fernando Contreras, Ahmed Mahmud, Mansour Boraik Radwan Karim, Mahra Saif Al Mansoori et Hassan Zein. « FIVE SEASONS OF EXCAVATIONS IN AREAS 2A AND G OF SARUQ AL HADID (DUBAI, UAE) : IRON AGE II EVIDENCES OF COPPER PRODUCTION, WORKSHOP AREA AND CEREMONIAL ACTIVITIES ». ISIMU 23 (23 décembre 2020) : 169–95. http://dx.doi.org/10.15366/isimu2020.23.010.

Texte intégral
Résumé :
Within five years of excavations in Area 2A and G of Saruq al-Hadid, several pit-like structures used in combustion activities were found whose purpose is still unclear. Near these, a rich collection of metal objects from the Iron Age II was gathered, along with evidences of their production at the site. Frequent identification of raw materials and working tools, mainly for jewellery production, suggests that the site was also a production centre for these kind of objects, as well as a site with religious connotation as suggested by the votive objects discovered, such as copper anthropomorphic figurines, snakes, miniature weaponry, and soft stone and ceramic vessels with parallels in other places of worship.
Styles APA, Harvard, Vancouver, ISO, etc.
Plus de sources

Thèses sur le sujet "Copper figurines"

1

Pack, Alison Greer. « Some People Call Them Dolls : Capturing the Iconic Power of the Female Form in Non-ferrous Metals ». [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0330103-135724/unrestricted/PackA040803d.pdf.

Texte intégral
Résumé :
Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0330103-135724. Includes bibliographical references. Also available via Internet at the UMI web site.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Szefer, Henry. « The Technology of Copper Alloys, Particularly Leaded Bronze, in Greece, its Colonies, and in Etruria during the Iron Age ». Thèse, 2012. http://hdl.handle.net/1866/8414.

Texte intégral
Résumé :
L’objet de la présente étude est le développement, l’application et la diffusion de la technologie associée à divers types d’alliages de cuivre, en particulier l’alliage du plomb-bronze, en Grèce ancienne, dans ses colonies, ainsi qu’en Étrurie. Le plomb-bronze est un mélange de diverses proportions d’étain, de cuivre et de plomb. Le consensus général chez les archéométallurgistes est que le plomb-bronze n’était pas communément utilisé en Grèce avant la période hellénistique; par conséquent, cet alliage a reçu très peu d’attention dans les documents d’archéologie. Cependant, les analyses métallographiques ont prouvé que les objets composés de plomb ajouté au bronze ont connu une distribution étendue. Ces analyses ont aussi permis de différencier la composition des alliages utilisés dans la fabrication de divers types de bronzes, une preuve tangible que les métallurgistes faisaient la distinction entre les propriétés du bronze d’étain et celles du plomb-bronze. La connaissance de leurs différentes caractéristiques de travail permettait aux travailleurs du bronze de choisir, dans bien des cas, l’alliage approprié pour une utilisation particulière. L’influence des pratiques métallurgiques du Proche-Orient a produit des variations tant dans les formes artistiques que dans les compositions des alliages de bronze grecs durant les périodes géométrique tardive et orientalisante. L’utilisation du plomb-bronze dans des types particuliers d’objets coulés montre une tendance à la hausse à partir de la période orientalisante, culminant dans la période hellénistique tardive, lorsque le bronze à teneur élevée en plomb est devenu un alliage commun. La présente étude analyse les données métallographiques de la catégorie des objets coulés en bronze et en plomb-bronze. Elle démontre que, bien que l’utilisation du plomb-bronze n’était pas aussi commune que celle du bronze d’étain, il s’agissait néanmoins d’un mélange important d’anciennes pratiques métallurgiques. Les ères couvertes sont comprises entre les périodes géométrique et hellénistique.
The subject of this study is the development, application and diffusion of the technology of various types of copper alloys, particularly that of leaded bronze, in ancient Greece, its colonies, and in Etruria. Leaded bronze is a mixture of tin, copper and lead in various proportions. The general consensus among archaeometallurgists is that leaded bronze was not commonly used in Greece until the Hellenistic period, and thus this alloy has not received very much attention in archaeological literature. However, metallographic analyses demonstrate that objects composed of leaded bronze had a wide distribution. The analyses also show differentiation in the composition of alloys that were used in the manufacture of various types of bronzes, a tangible indication that metalworkers distinguished between the properties of both tin bronze and leaded bronze. The knowledge of their different working characteristics is what enabled a bronzeworker to choose, in many cases, the appropriate alloy for a specific application. The influence of Near Eastern metallurgical practices produced variations in both the artistic forms as well as alloy compositions of Greek bronzes during the Late Geometric and Orientalizing periods. The use of leaded bronze for particular types of cast objects shows an increasing tendency from the Orientalizing period onwards, culminating in the late Hellenistic period when high-lead bronze became a common alloy. This study analyzes the metallographic data of specific categories of bronze and leaded bronze cast objects, and it will demonstrate that although the use of leaded bronze was not as prevalent as that of tin bronze, it was nevertheless a significant adjunct of ancient metallurgical practices. The periods surveyed range from the Geometric to the Hellenistic periods.
Styles APA, Harvard, Vancouver, ISO, etc.

Livres sur le sujet "Copper figurines"

1

Hansen, Svend. Bilder vom Menschen der Steinzeit : Untersuchungen zur anthropomorphen Plastik der Jungsteinzeit und Kupferzeit in Südosteuropa. Mainz : Philipp von Zabern, 2007.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Nie, Xiaoyu. Luoyang cang Gu gong Da fo tang wen wu : Jin tong fo xiang = The gilt copper buddhist statues from the Forbidden City in Luoyang. Beijing Shi : Wai wen chu ban she, 2015.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Neagoe, Marin Iulian. Reprezentări antropomorfe neolitice și eneolitice în colecția Muzeului Regiunii Porților de Fier. Cluj-Napoca : Editura Mega, 2015.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Art of Sindhu Saraswati civilization : Sindhu Saraswati art of stone, copper and miniature figurines. Varanasi : Prachya Vidya Bhawan, 2017.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Skeates, Robin. Prehistoric Figurines in Italy. Sous la direction de Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.038.

Texte intégral
Résumé :
An overview is provided of anthropomorphic figurines in peninsular Italy and Sicily between the Palaeolithic and Copper Age. Some updated patterns in the data and contextual interpretations of the production, use, and deposition of figurines are presented. For the Upper Palaeolithic and Mesolithic figurines, we can think about the performative nature of their manufacture, handling, inspection, and deposition at key residential sites, and about their symbolic significance as representations of pregnant women’s bodies. In the Neolithic and early Copper Age the focus shifts from the belly and breasts to the head and breasts, sometimes elaborated by hairstyles, necklaces, abstract symbols, and colour. The large number and variety of forms give the impression of localized production, usages, and understandings. In addition to domestic use, from the Middle Neolithic onwards, figurines were also handled, displayed, and deposited more purposefully at cemeteries and in other ritual contexts.
Styles APA, Harvard, Vancouver, ISO, etc.
6

Vella Gregory, Isabelle. Mediterranean—Sardinia. Sous la direction de Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.039.

Texte intégral
Résumé :
The archaeology of Sardinia is characterized by complex architecture and a rich figurine tradition. The visual narrative is a focal point of life in the pre-Nuragic and Nuragic phases, and a key element of ideology. Figurines first appear in the Middle Neolithic. They become an integral part of cosmology until the Early Copper Age, after which there is a period where figuration (but not representation) is no longer in use. Figurines reappear in the Nuragic period. At this time they are almost exclusively made of metal, with a few stone figurines from Monte Prama. The secondary agency of bronze figurines (bronzetti) is a powerful element in the performance of social relations. This chapter reassesses the role of figurines by (a) situating them within their social contexts in increasingly complex societies; (b) tracing the nature and timings of their appearance and disappearances; and (c) examining the role of visual imagery in establishing and maintaining dominant symbol systems.
Styles APA, Harvard, Vancouver, ISO, etc.
7

Knox, Daisy. Mediterranean—Cyprus. Sous la direction de Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.037.

Texte intégral
Résumé :
Prehistoric Cyprus was home to a surprisingly rich and varied corpus of three-dimensional figurative imagery, including anthropomorphic and zoomorphic figurines and figurative vessels, as well as models of inanimate objects in stone, clay, and copper. Beginning with the rare fragments discovered in Pre-Pottery Neolithic A contexts, Cyprus’ figurine record developed over several millennia into the diverse, island-wide, representative phenomena of the Bronze Age. This chapter explores the most pervasive and ongoing debates concerning the function and significance of these figurines—their use in ritual activities, their relevance to the gender discourse, and their use in the expression of identities. This will be conducted in light of recent theoretical developments in archaeology and, as ever on Cyprus, in the shadow of Aphrodite.
Styles APA, Harvard, Vancouver, ISO, etc.
8

Chalcolithic anthropomorphic figurines from Ilgynly-depe, southern Turkmenistan : Classification, analysis and catalogue. Oxford : Archaeopress, 2005.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Ancient sculptural copies in miniature. Leiden : E.J. Brill, 1992.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Chapitres de livres sur le sujet "Copper figurines"

1

Herz, Norman, et Ervan G. Garrison. « Metallic Minerals and Archaeological Geology ». Dans Geological Methods for Archaeology. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195090246.003.0018.

Texte intégral
Résumé :
Economic geology had its inception in the ancient utilization of rocks and minerals. The first economic materials were nonmetallic and include flint, quartz, diabase, rhyolite, obsidian, jade, and other stones, which were sought for weapons, implements, adornment, and even art. Beginning with the Upper Paleolithic Aurignacian period, clay began to be widely used for simple figurines, then brick and finally pottery. S. H. Ball identifies 13 varieties of minerals—chalcedony, quartz, rock crystal, serpentine, obsidian, pyrite, jasper, steatite, amber, jadite, calcite, amethyst, and fluorspar—as economic within the Paleolithic. Add to this list the use of ochres and mineral paints together with nephrite, sillimanite, and turquoise. In the standard reference on the nonmetallic deposits, "Industrial Minerals and Rocks", 6th edition published in 1994, deposits are classified by use and the minerals and rocks described as commodities. The fourteen use groups include such items as abrasives, constructions materials, and gem materials; the 48 commodities include clay, diamonds, feldspar, etc. Metalliferous minerals as ore deposits are unevenly distributed throughout the world. The formation of a mineral deposit is an episode or series of episodes in the geological history of a region and reflects three broad categories: (1) igneous activity, (2) sedimentary processes, and (3) metamorphism. Table 12.1 summarizes general features of the three categories of mineral deposits. Admixtures of metals are by far the most common form of mineral deposits. Gold, silver, and copper occur either as native metals or admixed with other metals and compounds. Most ore deposits are actually mixtures of metals: silver commonly with lead, zinc with cadmium, iron with copper. Many metallic ore deposits are products of igneous activity. Conditions change in the magma chamber as the principal rock-forming minerals crystallize, temperature falls as the magma cools, pressure is lowered as the magma rises in the crust, and volatiles increase in the magma chamber.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Tusa, Sebastiano. « Funerary Practices and Rituals on Sicily from the Neolithic to the Bronze Age (Sixth through Second Millennia BCE) ». Dans Religious Convergence in the Ancient Mediterranean, 251–68. Lockwood Press, 2019. http://dx.doi.org/10.5913/2019167.ch13.

Texte intégral
Résumé :
The beginning of farming activities in Sicily at the end of the seventh millenni- um BCE brought a fundamental change to the religious expressions that mediated human populations and environmental realities. Here, as throughout the Mediterranean, Neolithic communities began to focus on supreme powers who control the birth and the death of humans and animals and oversee the processes of regeneration. On Sicily this new ideology penetrated little by little into those communities which, since they were partly heirs of pre- vious Mesolithic groups, were tied to a different set of beliefs typical of hunter and gatherer groups. This ideological change was completed during the Copper and Early Bronze Ages. Terracotta figurines have been discovered in great numbers; these suggest that a female figure was at the base of human beliefs in this period. Other religious paraphernalia, in- cluding terracotta horns, bucrania, and other ritually meaningful objects, suggest the com- plexities of this religious thought world, and let us outline a more nuanced picture of Sicil- ian beliefs. We must make use of a broad range of data if we wish to bridge these material objects with human ideas. These data include not only the objects, but their find contexts, patterns of association among the materials and behind these, the patterns of association between distinct human societies. Cultural interaction was key to the formation of Sicilian religion from its inception. In the end, a hypothetical picture emerges of human beliefs with a strong hypogeal complexion in its materiality, and an eventual literary manifestation in the sensitive portrait of the myth of Demeter and Kore.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Kassianidou, Vasiliki, et Andreas Charalambous. « Chemical analyses of copper objects and faience beads using portable X-Ray Fluorescence ». Dans Figurine Makers of Prehistoric Cyprus, 279–86. Oxbow Books, 2019. http://dx.doi.org/10.2307/j.ctv13gvh3h.25.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Bończuk-Dawidziuk, Urszula. « Collecting Antiquities at the Archaeological Museum of the Royal University in Wrocław in the Second Half of the Nineteenth Century ». Dans Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century : Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 237–56. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.11.

Texte intégral
Résumé :
In the second half of the nineteenth century, the museum at the University in Wrocław (formerly Breslau) was reorganised. As a result, the institution was granted a new name and a new – archaeological – profile. The changes were initiated by August Rossbach (1823–1898), professor of classical philology and archaeology, director of the museum from 1856 to 1898. Through his efforts, the university museum started to professionally specialise in Antiquity. Above all, Rossbach significantly developed the collection of copies of ancient art, which were used as research and teaching tools. Through his efforts, the collection of the Archaeological Museum grew rich with some original pieces, including the collection of Eduard Schaubert (1804–1860), terracotta figurines from Taranto, and ceramic vessels from the collection of Carlo d’Ottavio Fontana of Trieste. The museum also took care of a coin collection catalogued by a famous numismatist, Julius Friedländer (1813–1884), upon Rossbach’s request. Thanks to Rossbach, in the 1870s, the museum boasted one of the largest German university collections in archaeology. At that time, the institution was an important research, educational, and cultural centre in Wrocław.
Styles APA, Harvard, Vancouver, ISO, etc.
5

« Context Types of site Figurines have been found in four broad categories of sites : village sites in the open (30 figurines, 18 sites) ; occupied caves (11 figurines, 3 sites) ; caves and rock-shelters used for burial and other cult purposes (8 figurines, 5 sites) ; other funerary sites (11 figurines, 4 sites). There seems to be a clear chronological distinction in the types of context. In the earlier period the vast majority of figurines come from settlement contexts — either open villages or occupied caves — while a few come from cult caves. By contrast, all but one of the 12 figurines of the later period (Late Neolithic and Copper Age) come from burials, mostly individual, either from the tombs themselves or from votive pits closely associated with graves. As we shall see, there are also typological distinctions between the types of figurines found in different contexts. Some of these may represent chronological rather than (or as well as) contextual differences, but a possible difference may also be detected between the figurines from settlement sites and those from cult caves within the earlier Neolithic time range. There are also regional differences in the proportions of different types of context occurring. In northern Italy, 13 sites have produced figurines ; of these 8 are village sites, 2 are occupied caves, 1 is a tomb and the other 2 are either certainly or possibly cult cave/ rockshelter sites. In central Italy only 4 sites, all settlements, have produced figurines, while in southern Italy, 9 sites have produced figurines ; of these 6 sites are settlements, 1 is a tomb and 2 are cult caves. The situation in Sicily stands out as markedly different in many ways : here 5 sites have produced figurines, of which only 2, both Neolithic, are occupation sites (one cave, one village), 2 are cemetery sites of Copper Age date, and 1 is a cult cave, used in both the Neolithic and the Copper Age (but yielding 2 figurines one definitely, the other presumptively, from Neolithic levels). Specific contexts Unfortunately we have specific evidence of location for very few of the figurines. For those coming from settlement sites, none seem to have been associated with buildings of any kind, domestic or other. Some are unstratified surface finds, while others were found in residual layers, redeposited from earlier levels. The only clear contexts in which figurines have been found is in pits (Rivoli, Vhò), a hollow (Alba) and a compound ditch (Passo di Corvo) and in all cases these may represent secondary depositions, as rubbish. In the occupied caves the figurines, when stratified at all, are found either in original occupation layers or in later layers with other redeposited material. The situation is a little better with the cult caves/rock-shelters. While two figurines, one from Grotta di Ponte di Vara (no. 17) and one from Grotta di San Calogero (no. 51), are unstratified, those from Riparo Gaban (nos 8-10) and Grotta di San Calogero (no. 50) come from stratified Neolithic deposits. Moreover, we have two examples from primary and significant depositions : these are the two distinctive clay heads from the central Apulian cult caves of Grotta di Cala Scizzo (no. 39) and Grotta Pacelli (no. 40). The first was found placed in the corner of an artificial stone enclosure at the back of a small cave used for cult purposes, in a layer with late Serra d'Alto and Diana wares and a C date of c.4340 - 3710 cal.BC (lc). The second was placed face downwards on a hearth inside a limestone slab-built monument ; the pottery from this level was of Serra d'Alto type, typologically slightly earlier than that from Grotta di Cala Scizzo. On the basis of their contexts, it seems reasonable to interpret these two figurines as performing some function in the rituals carried out in these caves. This is discussed further below. For some of the 11 figurines from cemeteries or individual tombs we have more detailed evidence of context. Of the two stone figurines attributed to the Late-Final Neolithic, the one from Arnesano (no. 46) in southeast Italy apparently came from a rock-cut tomb of ». Dans Gender & ; Italian Archaeology, 109–10. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-20.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

« those from Rendina (no. 38) and Fonti di San Callisto (no. 36) (fig. 7, 1 and 2) to the almost abstract, as on the three figurines from Riparo Gaban (nos 8, 9 and 10) (fig. 5, 3 and fig. 7, 3 and 4). In these last cases, the depiction of the sexual organs is so stylised that they could perhaps be included in our third category, of sexual symbols. However, we have included them here because, however stylised, the sexual organs are shown on these figurines in approximately correct anatomical relation (i.e. breasts are shown below heads and vulvas below breasts), so as to suggest that whole female figures are being represented ; as will be seen this is not the case with the other examples of sexual symbolism. If, for the purposes of this discussion, we ignore the great typological diversity of the figurines and consider them all together, we find an overwhelming preponderance of female figures over male ones. In fact there are only two specifically male figures, both probably from Copper Age contexts : the surface find from the Copper Age settlement site of Ortucchio in central Italy (no. 35) (fig. 8) and the large figure from a votive pit in the Sicilian Copper Age cemetery of Piano Vento (no. 58) (fig. 9). The significance of the dating of these figurines will be discussed below. In contrast, the number of female figurines is at least 30, and possibly 35, if the 'probably female' examples are included. Moreover, if we are right in attributing some of the north Italian heads (particularly nos 16, 20 and 21) to figurines of specifically female type, the number would go up still further. It is worth making the point here that among the Italian figurines we do not find a specific category of sexless figures, as occurs elsewhere, e.g. at Knossos, where in Ucko's analysis (1962 : 40), there were more sexless figures than sexed ones. In our list, the figurines with 'no indication of sex' are almost all fragmentary and represent body parts, especially heads, which are not sexually specific. The only complete figurines which have no sexual features shown are the two stone figurines from Cerno and Arnesano (nos 1 and 46) (fig. 6) and these in fact represent heads on largely unworked cylindrical shafts. There are also four cases of heads which do not seem to be broken off, but complete in themselves (nos 39 (fig. 10), 40, 50 and 51) ; this category represents a special case and will be discussed below. It is likely that most of the figurines were originally specifically sexed and that the majority was female. Female figurines occur in both the earlier and later chronological periods, in all areas of Italy and on all the types of sites where figurines are represented. Although the female sex of the figurines is not in doubt, there seems to be little emphasis on fertility. None of the Italian figurines is shown as pregnant and, although V Tinè has claimed that the example from Favella (no. 47) might have been in the birthing position, this is far from clear. None of the figures is shown doing anything ; they are mostly depicted as standing, with a few shown seated (nos 4, 25, 38 and possibly 47). In as far as there is emphasis on the sexual organs, it is possible that sexuality is being emphasised rather than fertility. In any case, while there seems to be little emphasis on the limbs and other 'non-sexual' body parts, heads and faces are given at least as much attention as bodies — in contrast to the the Upper Palaeolithic 'Venuses' — and we should be careful about placing too much emphasis on the sexual organs depicted. Cultural indicators of gender Most of the figurines appear without indications of dress or any associated artefacts. The only exceptions are the clay head from Grot ta Pacelli (no. 40), which has an apparent elaborate headdress and four, or possibly five, figurines which have V-shaped features, incised, impressed or in relief, on the neck, which are sometimes interpreted as necklaces. One example is the bone figurine from Riparo Gaban (no. 8) which has a 'necklace' and a possible 'belt', both incised, on a female figurine with both breasts and vulva marked (fig. 7, 3). The other two definite incised Vs occur on figurines from Vhò (no. 14), which is a clear female figure with breasts shown in relief (fig. 2, 2)and from Arnesano (no. 46), where it occurs on a stone figurine without indications of sex (fig. 6, 1). One of the clearly female figurines with breasts from Passo di Corvo (no. 44) has a series of impressed dots in a V- ». Dans Gender & ; Italian Archaeology, 116–45. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-22.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Actes de conférences sur le sujet "Copper figurines"

1

Yenn, Tzu-Chung, Chu-Yu Chuang, Chong-Cheng Hsu, Tsung-Chieh Cheng, Ming-Huei Chen et Jin-Liang Liou. « An Experience Study for Advanced MCR of Lungmen Project With Human Factors Regulations : NUREG-0711 ». Dans 18th International Conference on Nuclear Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/icone18-29716.

Texte intégral
Résumé :
Nowadays, there is a general consensus that establishing nuclear regulations concerning human factors engineering (HFE) is an important issue. NUREG-0711, original version published in 1994, was developed under such assumptions. And it soon became a common reference for nuclear power plant reviewers and designers. Lungmen NPP is the first ABWR plant in Taiwan and is under construction now. Taipower Company signed the contract for Lungmen Project with General Electric Company in 1995. By Lungmen Project Bid Specification, GE should take the responsibility to design the main control room according to the last version of HFE regulation that is NUREG-0711 version zero. Up to the present, NRC has modified NUREG-0711 twice on the basis of evaluating experiences and users’ feedback from different fields. But the Lungmen NPP has not finished yet. No doubt, the modifications not only make the regulation state-of-the-art but practicable. How to cope with this asynchronous problem between contracts and modification is a critical concern. In this article, we present our resolutions on this issue. Step one; comparing the differences between NUREG-0711 version zero and two. Step two; figuring out what meanings and intent are behind these changes. Step three; following the version zero regulation and taking advanced principle into consideration at the same time. Implementation according to old version regulation and taking the advanced intent and principle from step 2 is a practice resolution from the experience of Lungmen NPP. Those experiences will be helpful for human factors engineering activities on update the advanced main control room of nuclear power plant in the near future.
Styles APA, Harvard, Vancouver, ISO, etc.
Vous pouvez également être intéressé par les bibliographies sur le sujet « Copper figurines » pour d’autres types de sources :
Articles de revues
Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!

Vers la bibliographie