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 1-4 of 4 Results  for:

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  • Egyptian/Ancient Near Eastern Art x
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Article

Bazaar  

Mohammad Gharipour

Publication History:

Published online:
22 September 2014
Collection:
Grove Art Online

Bazaar, which is rooted in Middle Persian wāzār and Armenian vačaṟ, has acquired three different meanings: the market as a whole, a market day, and the marketplace. The bazaar as a place is an assemblage of workshops and stores where various goods and services are offered.

Primitive forms of shops and trade centres existed in early civilizations in the Near East, such as Sialk, Tepe in Kashan, Çatal Hüyük, Jerico, and Susa. After the 4th millennium BC, the population grew and villages gradually joined together to shape new cities, resulting in trade even with the remote areas as well as the acceleration of the population in towns. The advancement of trade and accumulation of wealth necessitated the creation of trade centres. Trade, and consequently marketplaces, worked as the main driving force in connecting separate civilizations, while fostering a division of labour, the diffusion of technological innovations, methods of intercultural communication, political and economic management, and techniques of farming and industrial production....

Article

Harness and trappings  

J. H. Crouwel, Mary A. Littauer, Christopher Gravett, Tom Richardson, Walter Smith, William Lancaster, and Fidelity Lancaster

Publication History:

Published online:
2003
Collection:
Grove Art Online

From an early stage, horses were used both as mounts and for pulling chariots in warfare or hunting. Most evidence for forms of harness in the ancient world comes from depictions in art, the earliest figural evidence dating from before 2000 bc in the Near East, although in a few contexts actual harness elements have survived. Even for later periods, secondary sources tend to provide the best evidence for the perishable leather and cloth parts of horse harness and trappings. More durable equipment, such as the horse armour used in medieval Europe, sometimes survives intact.

Ancient chariot horses were attached to their yokes by means of neck or breast straps and backing straps or girths that ran under their bellies, just behind the forelegs. Mounts often wore saddle-cloths or, in later antiquity, primitive saddles held on by girths, breastbands and breechings or cruppers. Both chariot horses and mounts were controlled by bridles, consisting of headstalls and reins and, usually, bits. This equipment was often decorated in varying degrees....

Article

Mappa mundi  

Michael Curschmann

Publication History:

Published online:
16 September 2010
Collection:
Grove Art Online

The medieval term mappa mundi (also forma mundi, historia/istoire) covers a broad array of maps of the world of which roughly 1100 survive. These have resisted systematic classification, but the clearly dominant type is one that aims at comprehensively symbolistic representation. Its early, schematic form is a disc composed of three continents surrounded and separated from one another by water (“T-O Map”) and associated with the three sons of Noah: Asia (Shem) occupies all of the upper half, Europe (Japhet) to the left and Africa (Ham) to the right share the lower half. Quadripartite cartographic schemes included the antipodes as a fourth continent, but the tripartite model was adopted by the large majority of the more developed world maps in use from the 11th century on and—with important variations—well into the Renaissance. While details were added as available space permitted, the Mediterranean continued to serve as the vertical axis and, with diminishing clarity, the rivers Don and Nile as the horizontal one. The map also continues to be ‘oriented’ towards Asia, where paradise sits at the very top. A circular ocean forms the perimeter and not infrequently the city of Jerusalem constitutes its centre....

Article

Market for Asian art  

William Ma

Publication History:

Published online:
31 July 2018
Collection:
Grove Art Online

Southeast and East Asia has an extensive history of art collecting and dealing. Since the late 20th century, economic growth and the quest for political prestige in many Asian countries have fostered suitable environments for a rapid expansion of the arts and the rise of the international market for Asian art. This global market, focused especially on contemporary works (see Asian contemporary art and internationalism), was a byproduct of the neoliberal government policies enacted in the last decades of the 20th century and the beginning of the 21st, and is a tangible consequence of the integration of Southeast and East Asian powers into the larger global community.

Art markets in various Asian countries feature stark differences in structure and aesthetic preference. These dissimilarities are influenced by the particularities and characteristics of each state and each art market, including variations in government, cultural influences, audience behavior, relationships to traditional centers of the arts in the Euro-American West, and histories of colonialism, communism, nationalism, and militarism....