DOI Heft:
Comptes rendus
DOI Artikel:Pietrzykowski, Michał: Ann Perkins, The Art of Dura Europos, Oxford 1973
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26418#0169
ANN PERKINS, THE ART OF DURA EUROPOS, OXFORD 1973
Research in culture and art of Dura Europos, urban centre in the borderland
of political influence of the Roman and Parthian Empires, has been conducted for
more than fifty years. The works of art discovered in this city are considered as one
of the most important among known manifestations of Greek-Oriental cultural
syncretism. There was therefore a need to prepare an outline of Dura-Europos history
of art, to replace M. Rostovtzeff’s Dura Europos and its Art, published more than
thirty years ago. The book of Ann Perkins partly satisfies this urgent need, but we
should bear in mind that the author had a rather modest purpose and followed it
consistently. The main goal of this book was not to give a full scientific treatment
of the subject, but to present the most important works of art discovered in Dura
Europos, with a special stress on their formal features. Respective chapters present
important groups of monuments in chronological order, most of them well known.
The presentation is descriptive, elements of interpretation left in the background.
The author takes into account new attempts of dating and interpreting of those
monuments which are still a subject of debate. It is a pity that criticism has been
limited to a minimum.
The book of A. Perkins includes five chapters, the first two being in a way an
introduction. They review history, religion, urbanistic lay-out and architecture.
Even taking into account that the book is short, the section on architecture seems
disproportionally short, and, as a result, descriptions are not clear enough. Two
long chapters are devoted to painting and sculpture. The last chapter is an attempt
at a synthetic summary.
The paintings are described in order of buildings where they had been found.
Undoubtedly, it helps to associate them with their architectural context, but, on
the other hand, it makes it more difficult for the reader, especially a beginner, to
grasp a clear chronological picture of this field of art. The author deals with wall
paintings from temples of Bel, Zeus Theos, the Mithraeum, the Christian Baptistery,
the Synagogue and private houses. Undoubtedly, the best pages of the book are
devoted to paintings from the Synagogue. In a clear and suggestive way the main
158
Research in culture and art of Dura Europos, urban centre in the borderland
of political influence of the Roman and Parthian Empires, has been conducted for
more than fifty years. The works of art discovered in this city are considered as one
of the most important among known manifestations of Greek-Oriental cultural
syncretism. There was therefore a need to prepare an outline of Dura-Europos history
of art, to replace M. Rostovtzeff’s Dura Europos and its Art, published more than
thirty years ago. The book of Ann Perkins partly satisfies this urgent need, but we
should bear in mind that the author had a rather modest purpose and followed it
consistently. The main goal of this book was not to give a full scientific treatment
of the subject, but to present the most important works of art discovered in Dura
Europos, with a special stress on their formal features. Respective chapters present
important groups of monuments in chronological order, most of them well known.
The presentation is descriptive, elements of interpretation left in the background.
The author takes into account new attempts of dating and interpreting of those
monuments which are still a subject of debate. It is a pity that criticism has been
limited to a minimum.
The book of A. Perkins includes five chapters, the first two being in a way an
introduction. They review history, religion, urbanistic lay-out and architecture.
Even taking into account that the book is short, the section on architecture seems
disproportionally short, and, as a result, descriptions are not clear enough. Two
long chapters are devoted to painting and sculpture. The last chapter is an attempt
at a synthetic summary.
The paintings are described in order of buildings where they had been found.
Undoubtedly, it helps to associate them with their architectural context, but, on
the other hand, it makes it more difficult for the reader, especially a beginner, to
grasp a clear chronological picture of this field of art. The author deals with wall
paintings from temples of Bel, Zeus Theos, the Mithraeum, the Christian Baptistery,
the Synagogue and private houses. Undoubtedly, the best pages of the book are
devoted to paintings from the Synagogue. In a clear and suggestive way the main
158