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Burial and Memorial explores funerary and commemorative archaeology A.D. 284-650, across the late antique world. This second volume includes papers exploring all aspects of funerary archaeology, from scientific samples in graves, to grave goods and tomb robbing and a bibliographic essay. It brings into focus neglected regions not usually considered by funerary archaeologists in NW Europe, such as the Levant, where burial archaeology is rich in grave good, to Sicily and Sardinia, where post-mortem offerings and burial manipulations are well-attested. We also hear from excavations in Britain, from Canterbury and London, and see astonishing fruits from the application of science to graves recently excavated in Trier.

A visual exploration of the Buddhist stupa or reliquary mounds at one of ancient India's most remarkable monuments at Amarāvatī. In this book, Jaś Elsner presents a fresh perspective on the rich visual culture of ancient South Asia, connecting the stupa's artistic innovations with advancements in Buddhist philosophy and practice. He offers new insights into early Buddhist art in South India, as well as a new understanding of the relationship between early Buddhism and its material culture. The photographs collected here, particularly those featuring objects from the British Museum in London, reveal in detail how the stupa communicated Buddhist teachings and practices to its followers, making this book an invaluable resource for students and scholars alike.

Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.

This volume contains the proceedings of the twenty-third Annual Egyptological Colloquium, held at the British Museum in 2014, augmented by additional papers. The twenty-three contributions investigate functionality, iconography and manufacture of ancient Egyptian coffins from the First Intermediate Period to the eighth century AD. The authors explore the conceptual aspects which lay behind the production of coffins through the study of iconography and texts, examining the functional role of these complex objects as'structured compositions'which were designed to play an important part in transforming the deceased occupants and perpetuating their existence beyond death. Reinstating coffins in their archaeological and societal contexts, the papers reflect on the circumstances in which they were made, considering workshop practices and regional variability, and studying coffins not only individually but also as components of larger conceptual entities in which the mummy, the burial chamber and the tomb itself all had specific meanings. Several contributions focus on areas of current interest, such as the post-burial adaptation and reuse of coffins, considering how these issues relate to the economic environment in which they were made and to changing attitudes towards the immutability of burial arrangements.

This volume focuses on four cultural phenomena in the Roman world of the late Republic - the garden, a garden painting, tapestry, and the domestic caged bird. They accept or reject a categorisation as art in varying degrees, but they show considerable overlaps in the ways in which they impinge on social space. The study looks, therefore, at the borderlines between things that variously might or might not seem to be art forms. It looks at boundaries in another sense too. Boundaries between different social modes and contexts are embodied and represented in the garden and paintings of gardens, reinforced by the domestic use of decorative textile work, and replicated in the bird cage. The boundaries thus thematised map on to broader boundaries in the Roman house, city, and wider world, becoming part of the framework of the citizen's cognitive development and individual and civic identities. Frederick Jones presents a novel analysis that uses the perspective of cognitive development in relation to how elements of domestic and urban visual culture and the broader world map on to each other. His study for the first time understands the domestic caged bird as a cultural object and uniquely brings together four disparate cases under the umbrella of'art'.

Fifteen papers focus on the active and dynamic uses of images during the first millennium AD. They bring together an international group of scholars who situate the period's visual practices within their political, religious, and social contexts. The contributors present a diverse range of evidence, including mosaics, sculpture, and architecture from all parts of the Mediterranean, from Spain in the west to Jordan in the east. Contributions span from the depiction of individuals on funerary monuments through monumental epigraphy, Constantine's expropriation and symbolic re-use of earlier monuments, late antique collections of Classical statuary, and city personifications in mosaics to the topic of civic prosperity during the Theodosian period and dynastic representation during the Umayyad dynasty. Together they provide new insights into the central role of visual culture in the constitution of late antique societies.

This volume presents a collection of more than 30 papers in honour of one of Europe's leading scholars on Roman pottery, Brenda Dickinson. Divided into thematic sections, papers are mostly concerned with her principal area of study, samian, but also touch on Brenda's other interests, with investigations into, for instance, the likely species of Lesbia's pet bird (Catullus) and language and style in the'British'speeches in Tacitus. Papers in the section on potters and potteries examine the evidence for the work of a number of important samian potters, aspects of pottery production and its organisation and a potter's eye view of the approach to reproducing samian. Further papers are concerned with decoration, stamps and other marks, especially with evidence for previously unrecognised or little known potters, stamps and decorative features; the recognition of locally produced unguentaria from London; and the existence of makers'marks on textiles. The final section considers the use of samian and other pottery in illuminating aspects of life and death, including consideration of the likely expenditure involved in the inclusion of samian in burials and what the pots actually meant to the people who used them; the possible use of old vessels by plate spinning entertainers; and aspects of cooking methods and the composition and useage of possible dining services.

Millennium überschreitet Grenzen, Grenzen zwischen den Epochen und regionalen Räumen wie auch Grenzen zwischen den Disziplinen. Die Schriftenreihe Millennium-Studien ist, genauso wie das Jahrbuch, international, interdisziplinär und epochenübergreifend ausgerichtet. Das Herausgebergremium und der Beirat repräsentieren ein breites Fächerspektrum: Kunst- und literaturwissenschaftliche Beiträge kommen ebenso zu ihrem Recht wie historische, theologische und philosophische, und die Millennium-Studien bieten gleichermaßen Raum für Arbeiten zu den lateinischen und griechischen wie zu den orientalischen Kulturen. In die Studien finden einschlägige Monographien und Sammelwerke aus dem gesamten Themenspektrum Aufnahme, zudem Kommentare und Editionen. Publikationssprachen sind vornehmlich Deutsch und Englisch; die Aufnahme französischer, italienischer und spanischer Arbeiten ist möglich. Falls Sie ein Manuskript für die Studien einreichen möchten, bitte wir Sie, sich an den fachnächsten Herausgeber zu wenden: Wolfram Brandes, Frankfurt (Byzantinistik und Frühes Mittelalter): brandes@rg.mpg.de Peter von Möllendorff, Gießen (Gräzistik): peter.v.moellendorff@klassphil.uni-giessen.de Dennis Pausch, Dresden (Latinistik): dennis.pausch@tu-dresden.de Rene Pfeilschifter, Würzburg (Alte Geschichte): Rene.Pfeilschifter@uni-wuerzburg.de Karla Pollmann, Bristol (Frühes Christentum und Patristik): K.F.L.Pollmann@bristol.ac.uk Alle Manuskripte werden von dem jeweiligen Herausgeber und von einem externen Gutachter beurteilt. Dabei gilt das Single-blind peer review-Verfahren.

In Roman Eyes, Jas Elsner seeks to understand the multiple ways that art in ancient Rome formulated the very conditions for its own viewing, and as a result was complicit in the construction of subjectivity in the Roman Empire. Elsner draws upon a wide variety of visual material, from sculpture and wall paintings to coins and terra-cotta statuettes. He examines the different contexts in which images were used, from the religious to the voyeuristic, from the domestic to the subversive. He reads images alongside and against the rich literary tradition of the Greco-Roman world, including travel writing, prose fiction, satire, poetry, mythology, and pilgrimage accounts. The astonishing picture that emerges reveals the mindsets Romans had when they viewed art--their preoccupations and theories, their cultural biases and loosely held beliefs. Roman Eyes is not a history of official public art--the monumental sculptures, arches, and buildings we typically associate with ancient Rome, and that tend to dominate the field. Rather, Elsner looks at smaller objects used or displayed in private settings and closed religious rituals, including tapestries, ivories, altars, jewelry, and even silverware. In many cases, he focuses on works of art that no longer exist, providing a rare window into the aesthetic and religious lives of the ancient Romans.