Abstract The paper states that the valuation of priceless historical and cultural artifacts is not a process guided by specific rules or regulations and in fact is an unstructured and unpredictable process based on various methods and techniques. The paper comments that this results in a comparable analysis technique, with each valuation process being somewhat different from those previously conducted. The paper discusses the valuation of historical cultural artifacts that are from cultures for which there have been no previous market sales. The paper progresses through the three traditional valuation techniques including comparable market value, asset value, and the income method.
Outline:
Objective
Introduction
Traditional Means Of Valuation
Means Of Valuation Of Ancient Cultural Items
Summary And Conclusion
From the Paper "It has been clearly demonstrated in the research that valuation of antiquities has no sure and constant form due to the nature of collecting antiquities and all the questions and concerns that may arise as to the origination of the art objects. Due to the demand for such works of art, looting of archaeological sites and museums has occurred and while rules and regulations have been instituted into import and export laws, there still exists a black market for these ancient art objects. In today's world of art collection, the collector must necessarily ensure that they are not in possession of stolen art objects and should that be the case pressures from the art world and the country of origination, as well as the penalties of law regarding such objects will likely result in a return of the art object to the originating country or culture to which the art object was derived."
Abstract This paper presents a formal art analysis and critique of the Octopus Vase as well as a discussion of the historical and cultural context of the art work. The author describes the vase in great detail and explains how the artist used intangible shapes, unbalanced lines, and unrefined contours to bring the octopus to life. The author discusses the historical background and artistic tradition behind the vase and concludes that it is a superb example of the Minoan culture and a beautiful and unique work of art in its drama, space, composition, motion, line, and style.
Outline:
Introduction
The Image
Formal Analysis
Style
Form
Space
Line
Composition
Motion
Pros of Material
Cons of Material
Pros of Technique
Cons of Technique
Drama
Historical and Cultural Context
Critique of the Artwork
Conclusion
From the Paper "The Minoan Octopus vase is a great example of art influenced by the Aegean culture. The vase is thought to have been made around 1500-1450 BCE of the Late Minoan IB phase. The influence of Minoan culture was prevalent throughout the island of Crete. Crete was the hub of business for wine and oils which were exported in pottery vases in exchange for food crops from the mainland. Because of Crete's position in the heart of the Mediterranean crops and plants were scarce; this is most likely the use ordained for the Octopus Vase."
Abstract The paper explores, from an archeological perspective, how a hunter-gatherer society might nourish themselves in a desert. The paper focuses on the traditional lifestyle of the San people who live in the Kalahari desert. The paper describes how the San people have survived on a limited diet of animals and plants that is lacking in nutritional variation.
Outline:
Bushmen of the Kalahari
History of the San
Traditional San Culture
Analyzing Diets from an Archeological Perspective
Conducting An Assessment of the Primitive Diet
From the Paper "Archeologists spend much time conjecturing about how a certain group of people survived in a particular area. Often, the only clues they have are in the artifacts, or if they are lucky, an intact body. However, it is easy to forget that we have a valuable resource in our search for the hunter-gatherer "secrets" of how to survive in an inhospitable climate. The San, otherwise known as the Basarwa people, live in the Kalahari desert. The Kalahari is a vast desert that stretches over South Africa, Botswana, and Namibia. The San are often referred to as the "Bushmen" of the Kalahari."
Abstract This paper explains that the discovery of the Urumchi mummies in the Uyghur Autonomous Region, in the Xianjiang province of China raised a furor in the West because not only were there mummies in China but also they were created more than 500 years before either Ramses II or Tutankhamen ruled Egypt. These mummies appeared to be Caucasian rather than Asian in appearance probably Celtics who wandered eastward 2,000-4,000 years ago. The author relates that the case of the Urumchi mummies and the other mummies of the Xianjiang region of China has created a controversy in recent years because the ethnic Uyghur Chinese separatists claim that they are descended from these Caucasians and therefore Xianjiang should not be considered a part of China but rather of Europe instead.
From the Paper "The mummies, displayed in the Urumchi Museum, have proven to be some of the most magnificent specimens of any of the Silk Road mummies. They range from a man that was buried with ten different hats amongst his burial goods, to a group known as Three Women and a Child. They are attired in brightly colored textiles, exhibit hairstyles, and fabric patterns that are traditional for the Celtic Tribes of the Bronze Age. From what Wayland Barber has been able to hypothesize from their clothing, and the other goods that were buried with them, they led a nomadic lifestyle that was common at the time, in, many parts of Europe, and Asia."
Abstract The paper discusses the significance of the area of the Levant to archeologists and religious scholars who are interested in determining the implications of life during the Bronze Age for history, religion and politics. The paper looks at the wreck of the Uluburun ship and its artifacts, relics and raw materials.
From the Paper "Though it is a small area, the Levant has played host to some of the most monumental events in history. The origin of three of the world's major religions, Judaism, Christianity, and Islam, the area is of interest to religious scholars and archeologists alike. Archeologists had always suspected that the area was rich in trade, but the sheer number of artifacts on the ship suggest that not only was trade in the area extensive, but also that several of the people groups represented through items on the ship associated socially."
Abstract This paper discusses the historicity of the Biblical story of Joseph and whether it can be placed in the second intermediate Hyksos period (c. 1650-1550 BC). The author describes what is known about the Hyksos peple from written sources and archaeological excavations, and explains why researchers have claimed that the Joseph narrative can be made to fit in this period. The author goes on to show that on a textual basis, there is a growing inconsistency between the Joseph narrative, which contains elements which point strongly to a 7th or 6th century composition date, and the Hyksos period. Further, sufficient archaeological evidence has been presented to suggest, with reservation, a 12th dynasty date for the narrative should the late-dated Joseph narrative and its plausible historic context be discovered.
Outline:
Introduction
'Men of Obscure Birth from the East'
The Joseph Narrative
Excavations at Avaris, Tell el-Dab'a
Does Joseph Belong?
From the Paper "This paper agrees with two of Redford's principle assertions. First, that the Joseph narrative should be treated as a separate entity within the larger patriarchal narrative. Second, that Joseph was compiled in the 7th or 6th centuries BC. It diverges from Redford in questioning whether the narrative should be considered purely fictitious, in light of certain evidence both textual and physical, and that a degree of historicity does exist within the narrative. This paper's primary function, however, is to show whether the Joseph narrative can be placed in the Hyksos period, namely the Second Intermediate Period (c. 1650-1550 BC)."
A discussion of the Moschophoros statue in the Acropolis Museum in Athens, Greece, comparing it with other statues in order to support the generally accepted date of its creation.
Abstract This paper discusses the Moschophoros statue in the Acropolis Museum in Athens, which has been dated to around 560 BC by scholars. The writer compares the Moschophoros to a number of representative Kouroi and Korai, whose dates have been more or less determined, and considers how his eyes, ears, mouth, lips and torso compare with the artistic developments in the 2nd quarter of the 6th century BC, demonstrating that a date of around 560 BC is secure within 5-10 years. By also comparing the representation of clothing on the Moschophoros with the Kore form, this date is further reaffirmed. This paper contains figures.
From the Paper "The Moschophoros has suffered some damage over the years, most of which was likely caused by the Persian sacking of Athens in 479/80. Moschophoros' genitals are missing from the sculpture because a good share of the front side of his left leg from roughly the left hip down to the shinbone is gone. His right hand is completely broken off just above the wrist and his left hand is partially broken off. The calf's left hind leg is partly missing in the same breakage as his left hand's demise; the calf's right front leg swings around Moschophoros' neck and is partially lost in the breakage that is centred at the centre of the chest of Moschophoros."
Abstract This paper defines cultural property and the problem of unprovenanced artifacts, which cannot be traced to their countries of origin and therefore have no legal implications as to their acquisitions by private citizens or corporations. The author presents several precedents, which are limiting this unprovenanced artifact loophole as a legal defense for antiquities dealers. The long-term effects of the repatriation of cultural objects to their countries of origin are also evaluated.
Table of Contents:
Defining Cultural Property
The Issue of the "Unprovenanced" Artifact
Precedent-Setting Cases
NAGPRA
Concerns for Preservation in Country of Origin
Negative Effects of War, Positive Effects of the AFCP
Repatriation Creating a "Narrow Cultural Corridor"?
Consequences of Museum Compliance
In Summary
From the Paper "While the process of repatriating objects to Italy was still in progress, in 2005, Marion True, who was then antiquities curator of the Getty museum, Marion True was accused of conspiracy to illegally traffic items looted from Italy with antiquities dealer Robert Hecht. In Rome, the trial against True and Hecht remains ongoing despite the repatriation of objects from the Getty that the prosecution claimed were knowingly obtained from illegal sources. If she is found guilty for the charges pressed against her by Italy, True could face up to ten years in jail."
Tags: unesco tests, native american, iraq, national pride
Abstract This paper describes the life and death of the Roman Emperor Marcus Aurelius Severus Antoninus who reigned from 211 to 217 C.E., and was known as Caracalla from the Gallic hooded tunic that he wore. The author explains that although he was a ruthless man and authorized many assassinations, even in his own family, he took great care of his army and marched with them, ate with them and fought with them. As a monument to himself, he commissioned the Baths of Caracalla, one of the last major architectural achievements of the Roman Empire, and the largest public bath ever built in ancient Rome. The paper describes them in detail and concludes that although Caracalla's reign was infamous for many reasons, it was not entirely negative, as Caracalla saw to it that the soldiers in the army were treated well and the baths that he had constructed are part of Rome's cultural heritage today.
Outline:
Introduction
The Rise To Power
The Reign Of Caracalla
The Army and the Legacy
The Fall of Caracalla
The Baths of Caracalla
Dimensions and Layout of the Baths
Conclusion
From the Paper "He was much like his father in that he was a strong and often cruel ruler and did not give others any second chances (Chastagnol, 1994). He had his own agenda that he followed, and he did not deviate from it just because it was unpopular or because others though that he was unfair. Mostly, people kept their opinions of him to themselves so that they could be left alone by the government and remain alive. Not everyone felt that they had to submit to the rule of Caracalla or that he was a fair emperor, and some people were killed because they became too vocal, but many others survived quietly."
Abstract This paper discusses the emergence of figural representation in Greek funerary pottery of the geometric period in a tradition which previously had none. The writer provides the historical and cultural background for the subject and explains the reason why this period is known as geometric. One of the earliest examples showing a figural composition, the Dipylon Amphora, and a slightly later work, the Geometric Krater, are discussed in detail. The writer explains that, although the figural representations on funerary pottery are visual windows into Greek life, belief, and culture, they do not provide sufficient information to enable archaeologists to determine how and why figural representation developed and then evolved in a Greek funerary context.
From the Paper "By the time of the 8th century BCE, well into the Geometric period, Greek society provides numerous examples of an increasingly sophisticated social order, which included the arts. A social stratification meant that the wealthy could afford or command some truly impressive artistic works, including funerary pottery (Kleiner 101). The Geometric period is the earliest phase of "Greek" civilization, and is so named because of the abstract patterns that decorate many manufactured objects, especially pottery (Moore, 13). In the Geometric period we observe the first figural compositions since the Mycenaean palace destructions, occurring sometime around 1100 (13). Found artefacts in the Geometric are primarily funerary or dedicatory, and occur in relation to the rise of a "temple economy.""
Abstract This paper discusses how art is deeply integrated in the object-based paradigm of narrative. It specifically focuses on how through ancient objects found during excavation expeditions, it has become possible to create a visual narrative, particularly of ancient history. The paper concludes that art, culture, narrative and history are inextricably intertwined and that the art critic and historian should both understand the importance not only of science and excavation, but also of recognizing the dynamic nature of history seen through art.
From the Paper "Digitization offers the artist the opportunity to combine art and narrative in a variety of new and creative ways, making art, like history, a dynamic process by means of its audience and its requirements. Art can now be posted on the Internet and emailed to friends. Text and music files can be added to the visual arts. A large amount of followers can discuss the work in real time via their Internet connections. These elements are indicative of the fact that art has become much more accessible to the general public than the case had been before. In this way, artists connect directly with their audience, and feedback helps them to develop and grow in their social and political comment. It is these type of artists that will leave behind the works to indicate to future generations how this generation lived."
Abstract This paper explores the styles of ancient Greek art and the depiction of mythological and heroic images in art. The paper devotes time to describing the Mykonos amphora, the combination of scenes that depicts acts of Greek brutality and violence. The paper also describes many other pieces of pottery and art that are representations of the Trojan War's climactic events and discusses the tendency to merge together disparate episodes of the Iliad narrative. The writer opines that the images and depictions found on a great variety of ancient Greek pottery provide a fascinating glimpse into the cultural and artistic world of one of the first societies to practice democracy and to explain the natural world in scientific terms.
From the Paper "In essence, the oral history of the Trojan War has come down to us through the epic poem the Iliad by the Greek poet Homer who composed this famous account of the conflict between the Trojans and the Greeks sometime during the 8th century BCE and the Ilioupersis ("The Sack of Ilion") by Arktinos of Miletos which survives only in a few ancient references (Magrath, 2002). The basic tale of the Trojan War relates events that allegedly occurred some five hundred years prior to the writing of the Iliad and the Ilioupersis, circa the 13th century BCE during the Mycenaean Period in ancient Greece."
Tags: Trojan, War, Mykonos, amphora, Achaeans, Helen, Menelaus, Cassandra, Astyanax
Abstract This paper contends that beyond scripture and the Bible, there is also plenty of indisputable and physical evidence for even the most skeptical minds that God and heaven really do exist. To reinforce this contention, the paper cites examples from the Bible, notes the extremely widespread religion of Christianity and underscores the validity of the Bible. According to the paper, regardless of whether society always acknowledges the being of God and heaven, the paper stresses that humanity follows biblical and God-based principals in daily life such as the Ten Commandments.
From the Paper "An even more interesting part about the scriptural evidence is the verses that specifically address issues of believing (or lack thereof)! For example, 1 Cor. 2:14 explains, "The man without the Spirit does not accept the things that come from the Spirit of God, for they are foolishness to him, and he cannot understand them, because they are spiritually discerned." This verse basically acknowledges the fact that it is difficult for man to believe in something he cannot see or touch."
