Search Results (20)

This article reexamines the gold necklace excavated from the Sui-dynasty tomb of Li Jingxun (李静训, 600–608 CE), shifting attention from stylistic attribution to ritual function and funerary context. While previous studies have emphasized Persian, Byzantine, or Indian influences, this study situates the necklace more plausibly within the Iranian–steppe cultural sphere and the Turkic–Sogdian exchange networks active along the Silk Roads in the late sixth and early seventh centuries. Through analysis of its segmented structure, polyhedral gold beads, pearl rondelle, nicolo intaglio clasp, and gemstone arrangement, the article identifies close technical and visual parallels in Central Asia and the wider Iranian world. The necklace is interpreted as an apotropaic object likely worn in life and placed in the tomb to extend its protective and guiding functions after death. Attention to bodily use, clasp orientation, and associated grave goods—especially a stemmed cup with Eurasian ritual associations—clarifies how the necklace operated within a Buddhist burial setting timed to Lichun 立春 (Beginning of Spring). Situating the object within the Li family’s Xianbei 鲜卑 background and documented connections with Sogdian communities, this study demonstrates how foreign ornaments were actively understood and integrated into Sui aristocratic funerary practice, rather than adopted as passive luxuries. Full article

The plant’s representation had, in the past, a great symbolic relevance, which is now often neglected. The presence and significance of mullein (Verbascum sp.) in Euro-Mediterranean art have been investigated, but despite its iconographic importance, a wide analysis of its value and recurrence is lacking. Through a survey of over 5000 artworks, from ancient to modern age, combining digital museum collections and fieldwork, we identified about hundred depictions of Verbascum, 64 of which are here reported for the first time. Based on key morphological traits, V. thapsus and V. sinuatum emerged as the most frequently depicted species, particularly through their basal leaves and inflorescences (especially in modern ages). In archaeological contexts, Verbascum overall appears as a symbol of Athena/Minerva, bringers of light, and in funerary settings, such as Apulian vases and tombs, symbolizing new life in the afterlife. After its absence during the Middle Ages, the plant reappeared in the Renaissance, carefully portrayed by notable artists, such as Leonardo, Correggio, Bellini, Dürer, Caravaggio, and Bernini. During this period, mullein is often associated with Christ and St. John the Baptist, reinforcing its symbolism of light and spiritual elevation. Other representations also occurred in the subsequent centuries, but in a renovated vision of the natural world. Full article

Not enough attention has been paid to the artistic approach of depicting human figures at the center of double-scroll patterns in Chinese Buddhist art. Originating from Greco-Roman culture, this motif entered China from the overland Silk Road around the late 5th century, evolving into two systems. The Hexi Corridor system, centered on Dunhuang, predominantly features lotus-born beings holding vines. The figural types evolved from lotus-born beings to celestial beings, bodhisattvas, and buddhas, with postures ranging from vine-holding to mudra-forming, lotus-tray-lifting, music-playing, and dancing, demonstrating a clear trajectory of development. The Northern Central Plains system, successively centered in Pingcheng, Qingzhou, and Yecheng, developed a relatively complete sequence only in buddha figures. The motif first spread through the Hexi Corridor before influencing the Northern Central Plains. It was adapted from its original Mediterranean context of mythological themes and funerary or temple use to illustrate Buddhist doctrines in China, absorbing elements of Han, Western Regions, and Central Asian cultures. By clarifying the motif’s origin, spread, evolution, and adaptation through systematic analysis of material evidence, this article reveals an intrinsic connection between Greco-Roman culture and Chinese Buddhist art, enriches the history of Sino-foreign cultural exchange, and reflects how Buddhism absorbed diverse cultural elements to achieve Sinicization. Full article

This paper discusses iconographic features of the deity or “demon” Medjed (Mḏd). The specific and unusual image of this character is only found during the 21st Dynasty and is unknown in the funerary art of the New Kingdom and Late Period. Only oneYe coffin and nine papyri are known in which the image of Medjed is depicted. Eight are in the context of Spell 17 of the Book of the Dead. In the text of Spell 17, Medjed is described in lines 71–72 of Grapow’s Urk. V Abschnitt 24. The “invisibility” of this “demon” is evidently the reason for his unusual iconography: Medjed has a conical shaped body, with human legs. Although he does not have a true head, his eyes are indicated, and he wears a belt. Equally the deity could be depicted as a figure covered entirely in a conical cover except for the eyes and feet, which are visible. This curious treatment can be understood as an attempt by Egyptian artists to depict an invisible being. Full article

This research presents a methodological approach combining UAV-LiDAR technology and SfM photogrammetry for the comprehensive documentation and analysis of O Corro dos Mouros, a Bronze-to-Iron Age archaeological site in the northwest of the Iberian Peninsula. The study evaluates both the capabilities and limitations of this integrated approach, focusing on a recently identified Roda-type structure, characterised by circular stone architecture and funerary-ritual functionality, dating between the 15th and 3rd centuries BC. The methodology combines RTK-corrected LiDAR (150 pts/m², ±5 cm accuracy) with 20.4 MP RGB imaging, overcoming vegetation cover while capturing surface details. The results demonstrate the superior performance of the proposed methodology compared to public LiDAR (1 m resolution), offering more detailed and precise microtopographic data of the circular structure. The approach successfully addresses three key challenges: (1) dense vegetation penetration, (2) multi-phase stratigraphic documentation, and (3) non-invasive monitoring of sensitive sites. The centimetre-accurate 3D models (publicly available via Sketchfab) provide both research-grade data for analysing construction phases and contextual relationships with nearby rock art/megaliths, and engaging visualisations for heritage interpretation. This work establishes a replicable technical framework optimised for high-resolution archaeological documentation, with direct applicability to similar ritual landscapes (hillforts, burial mounds) across the region. Full article

Plant motifs had a significant role in ancient cultures, with decorative, artistic, and communicative values. However, little knowledge exists of the botanical composition of festoons, widely used in Greek-Roman art. We analysed 81 festoons, exclusively from sculpture artworks, collected from 13 museums and archaeological sites in Rome (1st century BC–3rd century AD). Using iconographic sources and previous data, we identified the represented species and analysed their abundance and composition using statistical methods (Cluster Analysis, Principal Components Analysis) and diversity indexes (Shannon and Evenness). We documented 3081 botanical elements, identifying 30 taxa, in which fruits with leaves (45%) or alone (10%) represented the most common ones. Laurus nobilis and Quercus cfr. robur were the most frequently depicted species, followed by “pomes” (Pyrus, Malus, Cydonia), Vitis vinifera, Punica granatum, and Ficus carica. Festoons with one or two species can be easily distinguished from those with multiple species, often arranged with figs or vine branches at the ends, with symbolic aims related to fertility, rebirth, and abundance values. A balanced botanical composition also exists, with flowers typically in the middle and a species distribution that is not casual. The results enriched our comprehension of ancient Roman society, considering funerary and celebrative events. Full article

The present research analyses the role of the Egyptian artist within the context of New Kingdom art, paying attention to the appearance of new details in Theban tomb chapels that reflect the originality of their creators. On the one hand, the visibility of the case studies investigated is explored, looking for a possible explanation as to their function within the tomb scenes (such as ‘visual hooks’) and offering a brief experimental approach. Tomb owners benefitted from the expertise and originality of the artists who helped to reaffirm their status and perpetuate their funerary cults. On the other hand, iconography can include examples of the innate creativity of artists, including ancient Egyptian ones. The presence of such innovative details reflects the undeniable creativity of artists, who sought stimulating scenes which were sometimes emulated by contemporaries and later workmates. Significantly, some of these innovative details reveal unusual poses and daily-life character, probably related to the individuality of the artists and their innovative spirit. In other words, the creative impulse is what leads artists to innovate. In this sense, creativity must be understood as the dynamic of the visual arts that determines constant evolution of styles. Full article

At the end of the Amarna Period, a process of political and religious restoration began. This attempt at recovery went beyond the strictly official, as the Egyptian society seemed to demand a moral reparation. It was a much-needed change that would encompass all aspects of society and it was imperative that the changes be visible. It is for this reason that visual art would be one of the main means of communication. The artistic image was the propaganda necessary to reconstruct historical memory and religious sentiment. This was most evident in the early years of the 19th dynasty, when, in addition, the need to legitimize the new royal lineage was reflected in private tombs. The Egyptian artist used art to visually consolidate these changes, and the owner of the tomb was keen to do so. This article aims to analyze the artistic changes, mainly in the private sphere, that occurred in funerary art in opposition to the religious changes that had been made during the Amarna Period and that were most evident from the reign of Horemheb until the first half of the reign of Ramesses II. Politics and art intermingled at a time when reconstructing the past and the relationship with divinity was an urgent necessity. Full article

For many women living in parts of present-day north China and Mongolia during the 10th to 14th centuries, equestrian activities were a part of daily life. Women of all social levels were expected to know how to ride from an early age. However, documentary evidence for women’s participation in equestrian activities during this period is sparse. This paper brings together materials that highlight the important role horse riding played in the lives of northern women during the 10th to 14th centuries from the funerary context. This study connects funerary objects with women’s participation in polo, hunting, warfare, and the Mongol postal system, among other activities. The synthesis of material evidence from tombs with period texts will illuminate the important role of equestrian activities in women’s lives and afterlives during this period. Full article

With an impressive ability to survive in harsh environments, black fungi are an ecological group of melanized fungi that are widely recognized as a major contributor to the biodeterioration of stone cultural heritage materials. As part of the ongoing efforts to study the fungal diversity thriving in a deteriorated limestone funerary art piece at the Lemos Pantheon, a national monument located in Águeda, Portugal, two isolates of an unknown microcolonial black fungus were retrieved. These isolates were thoroughly studied through a comprehensive analysis based on a multi-locus phylogeny of a combined dataset of ITS rDNA, LSU, and rpb2, along with morphological, physiological, and ecological characteristics. Based on the data obtained from this integrative analysis, we propose a new genus, Saxispiralis gen. nov., and a new species, Saxispiralis lemnorum sp. nov., in the recently described Aeminiaceae family (order Mycosphaerellales). Prior to this discovery, this family only had one known genus and species, Aeminium ludgeri, also isolated from deteriorated limestone. Additionally, considering the isolation source of the fungus and to better understand its potential contribution to the overall stone monument biodeterioration, its in vitro biodeteriorative potential was also evaluated. This work represents a significant contribution to the understanding of the fungal diversity involved in the biodeterioration of limestone heritage. Full article

The Dingling Mausoleum was built as the afterlife abode of Emperor Shenzong of the Ming Dynasty (r. 1573–1620) and his two wives. Among the thousands of burial goods excavated from the site are two embroidered silk jackets that belonged to Imperial Honored Consort Wang, often referred to as Empress Dowager Xiaojing. With their physical proximity to the deceased body, sophisticated craftsmanship, and unusually festive motifs of one hundred playing boys, the jackets are both fascinating and puzzling. Through closely attending to the visual and material aspects of the jackets, and considering them together with the funerary context and historical circumstances, this paper suggests that these jackets were designed not only to serve the deceased in her afterlife, but also to maintain and strengthen her connection with her offspring in the living world as a means of power assertion and political protection. Full article

Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met’s Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that provided information about surviving and lost pigments, original design, and painting technique. Results of multiband imaging, digital microscopy, and X-ray fluorescence spectroscopy guided the removal of minute samples from selected areas for examination by Raman spectroscopy and scanning electron microscopy, coupled with energy-dispersive X-ray spectroscopy, to shed light on the pigments and paint stratigraphy. The color palette included two varieties of blue, Egyptian blue and azurite, a carbon-based black pigment, two reds, cinnabar and red ocher, and yellow ocher, all painted directly over the marble without a preparation layer. The scientific findings informed the physical reconstruction of the sphinx made by archaeologists from the Liebieghaus Polychromy Research Project, featured in the exhibition. Full article

The Iron Age Saka population of the eastern Eurasian Steppe is considered one of the earliest of the Scythian groups to emerge at the beginning of the 1st millennium BCE, consequently producing some of the earliest expressions of ‘animal style’ art. Recent excavations of burial mounds (kurgans) in the East Kazakhstan region have provided invaluable data on the depositional contexts of such objects. This paper combines contextual archaeological data and visual analysis with data on the chemical composition and technological production (through X-ray fluorescence and optical microscopy) of some of the gold artefacts from the Eleke Sazy funerary complex in East Kazakhstan. It is demonstrated that the positioning of wearable ornaments within undisturbed archaeological contexts can give vital information about their form and function, while evidence of production techniques and use-wear indicate the time investment and status the objects may have held. It is concluded that the Saka engaged in a complex process of design and execution of their art, depicting many different elements of the natural world. Further research is needed into understanding Saka lifeways and belief systems in relation to large-scale processes of climate change, land use, time, and society from securely dated and well-documented funerary and domestic archaeological contexts. Full article

Over millennia, death was the origin of great funerary constructions that have come down to us. These constructions aimed at ensuring eternity and perpetuating memory. Funeral art thus appears not in the service of death, but in the service of memory. In the modern age, funerary constructions do not have the dimensions and grandeur they did in ancient times, but there are still constructions with relevant architectural interest, built to perpetuate the memory of important families. In Conchada Cemetery, located in Coimbra, Portugal, a vast and diverse funeral heritage exists. Possessing various architectural styles, almost all built with limestone from the region, the narrow mausoleums stand out from this heritage. This work presents a study carried out on the architecture and construction of two types of narrow mausoleums, existing in the Conchada Cemetery, both of the Neo-Gothic style: one with an entrance from the front, and another from the back. As it is not possible to present the photographs of the burial vaults, since it would represent an intrusive approach to the families, the authors have resorted to representing them through Indian ink and watercolor illustrations. Full article

The cemetery is a cultural landscape that represents themes of great relevance to interpret the structure of a society, roles, and hierarchies, as a reflection of its social life. The cemetery gathers a whole symbolic universe where local social histories are represented, beyond the history of art and the architectural aspect. As a heritage element, the cemetery shows us the socio-cultural changes of a territory: religious questioning, changes linked to the family, individualization of contemporary society or broader questions about socio-economic structure. This article presents the experience conducted during the last 6 years in the Cemetery “Nuestro Padre Jesús” in Murcia (Spain), through a collaboration among the Sociedad Murciana de Antropolgía (SOMA), the University of Murcia and the Municipality of Murcia, developing the project “Funerary Cultures”, whose main objective is to promote the heritage, cultural and historical values of the funerary culture. Specifically, as a result of this teaching innovation experience, the six thematic guides to visit the cemetery are presented as an experience of patrimonialization of elements of the cemetery and its consequent selection and consensus exercise to determine what was considered as heritage in the context of the cemetery. Finally, a proposal of a systematic process in the valuation and selection of the material objects in the cemetery is presented; this proposal allows us to establish a debate on what considerations to take into account when considering the relationship between cultural heritage and the cemetery as a cultural landscape in permanent transformation. Full article