The Diffusion of Classical Art in Antiquity / / John Boardman.

• Superior document: Title is part of eBook package: De Gruyter The A. W. Mellon Lectures in the Fine Arts eBook Package
• VerfasserIn: Boardman, John,
• Place / Publishing House: Princeton, NJ : : Princeton University Press, , [2023]; ©1995
• Year of Publication: 2023
• Language: English
• Series: The A. W. Mellon Lectures in the Fine Arts ; 35
• Physical Description: 1 online resource (352 p.) :; 120 b/w illus.
• Other title: Frontmatter --; Contents --; Preface --; Acknowledgements --; List of Maps --; Introduction --; 1 Greek Art --; 2 The Near East and the Persian Empire --; 3 The Semitic World and Spain --; 4. The East after Alexander the Great --; 5 Egypt and North Africa --; 6 The countries of the Black Sea --; 7 Italy --; 8 Europe --; 9 Conclusion --; Abbreviations --; Notes --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780691252841; 9783111292908
• DOI: 10.1515/9780691252841?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: John Boardman.

From one of the world’s leading authorities on ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to ChinaIn this book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity—peoples who weren’t necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman examines how and why the arts of the classical world traveled and to what effect, from Britain to China, from roughly the eighth century BCE to the early centuries CE. In some places, such as Italy, Greek images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. And in cultures where there was a subtler blend of influences, notably in the Buddhist east, classical images served as a catalyst to the generation of new styles. Along the way, Boardman demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself, and he raises important questions about how images in general are copied and reinterpreted.