DOI Heft:
Comptes rendus
DOI Artikel:Pietrzykowski, Michał: Malcolm A. R. Colledge, The Art of Palmyra, London 1976
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26418#0166
MALCOLM A. R. COLLEDGE, THE ART OF PALMYRA, LONDON 1976
History, culture, art, and architecture of Palmyra have for a long time been
a subject of steady interest of many scholars in the fields of history, epigraphy, history
of art, etc. Their research resulted in a considerable and permanently increasing
number of publications, general as well as detailed studies and contributions. The
present state of research calls for a summary of up to-date results, and setting of
new lines for further study. The work of M. A. R. Colledge is an attempt at a synthesis
of our present knowledge of fine arts in Palmyra.
The book consists of two clearly defined parts. The first one deals with monu-
ments as regards their types and function, while the second part covers problems
of art technique, styles, problems of iconography and connections with East and
West. The last chapter gives general characteristics of the art of Palmyra and its
place in the Ancient Near East.
The book begins with a short chapter discussing the main trends in the develop-
ment of the city. The analytical part begins with a chapter devoted to strictly reli-
gious sculpture and to ex-vota. The author divides these monuments into several
groups, such as: cult statues, decorated niches, architectural reliefs, reliefs depicting
gods, ritual scenes (especially sacrifices), decorated altars, tesserae, etc. Relics of
each class are discussed in a chronological order, sketching the evolution of parti-
cular types, appereance and coming out of fashion of given motifs. A large part
of the work is devoted to the reliefs from Bel’s temple, because of their essential role
in the creation of the Palmyrenian style.
The funerary sculpture is discussed in an analytical and descriptive manner, and
divided into following categories: free standing stelae, foundation reliefs of tombs,
reliefs depicting a whole figure, busts in relief, reliefs depicting funeral banquets,
sarcophagi, etc. The author quotes in the text and in foot-notes very carefully chosen
and most typical examples, the most important monuments illustrated by photo-
graphs and drawings. An appendix containing a classification of funerary stelae
and busts is an integral part of the chapter on tomb sculpture. However, its use
is rather difficult because of a complicated code.
Following chapters are devoted to art categories of which there are not many
155
History, culture, art, and architecture of Palmyra have for a long time been
a subject of steady interest of many scholars in the fields of history, epigraphy, history
of art, etc. Their research resulted in a considerable and permanently increasing
number of publications, general as well as detailed studies and contributions. The
present state of research calls for a summary of up to-date results, and setting of
new lines for further study. The work of M. A. R. Colledge is an attempt at a synthesis
of our present knowledge of fine arts in Palmyra.
The book consists of two clearly defined parts. The first one deals with monu-
ments as regards their types and function, while the second part covers problems
of art technique, styles, problems of iconography and connections with East and
West. The last chapter gives general characteristics of the art of Palmyra and its
place in the Ancient Near East.
The book begins with a short chapter discussing the main trends in the develop-
ment of the city. The analytical part begins with a chapter devoted to strictly reli-
gious sculpture and to ex-vota. The author divides these monuments into several
groups, such as: cult statues, decorated niches, architectural reliefs, reliefs depicting
gods, ritual scenes (especially sacrifices), decorated altars, tesserae, etc. Relics of
each class are discussed in a chronological order, sketching the evolution of parti-
cular types, appereance and coming out of fashion of given motifs. A large part
of the work is devoted to the reliefs from Bel’s temple, because of their essential role
in the creation of the Palmyrenian style.
The funerary sculpture is discussed in an analytical and descriptive manner, and
divided into following categories: free standing stelae, foundation reliefs of tombs,
reliefs depicting a whole figure, busts in relief, reliefs depicting funeral banquets,
sarcophagi, etc. The author quotes in the text and in foot-notes very carefully chosen
and most typical examples, the most important monuments illustrated by photo-
graphs and drawings. An appendix containing a classification of funerary stelae
and busts is an integral part of the chapter on tomb sculpture. However, its use
is rather difficult because of a complicated code.
Following chapters are devoted to art categories of which there are not many
155