Bøker av John Boardman

An illustrious scholar presents an elegant, concise, and generously illustrated exploration of Alexander the Great's representations in art and literature through the agesJohn Boardman is one of the world's leading authorities on ancient Greece, and his acclaimed books command a broad readership. In this book, he looks beyond the life of Alexander the Great in order to examine the astonishing range of Alexanders created by generations of authors, historians, and artists throughout the world-from Scotland to China.Alexander's defeat of the Persian Empire in 331 BC captured the popular imagination, inspiring an endless series of stories and representations that emerged shortly after his death and continues today. An art historian and archaeologist, Boardman draws on his deep knowledge of Alexander and the ancient world to reflect on the most interesting and emblematic depictions of this towering historical figure.Some of the stories in this book relate to historical events associated with Alexander's military career and some to the fantasy that has been woven around him, and Boardman relates each with his customary verve and erudition. From Alexander's biographers in ancient Greece to the illustrated Alexander "e;Romances"e; of the Middle Ages to operas, films, and even modern cartoons, this generously illustrated volume takes readers on a fascinating cultural journey as it delivers a perfect pairing of subject and author.

Looking at the Rother Valley in West Sussex, the authors give a short history of a lowland English river catchment and prospects for its future management.

Britain¿s most distinguished historian of ancient Greek art recounts what the Parthenon and its sculptures meant to the citizens of 5th-century BCE Athens. Surprising, questioning, challenging, enriching: the ON series celebrates writers and thinkers who have helped shape the conversation across the arts. Mixing classic and contemporary texts, reissues and abridgements, these are bite-sized, fully illustrated reads in an attractive, affordable and highly collectable package.

Section 1. Background to the Model Evaluation.- 1. Modelling Soil Erosion by Water.- 2. Towards an Improved Predictive Capability for Soil Erosion under Global Change.- 3. Modelling Soil Erosion in Real Landscapes: a Western European Perspective.- Section 2. Model Evaluation with Common Datasets.- 4. Evaluation of Plot Runoff and Erosion Forecasts using the CSEP and MEDRUSH Models.- 5. Evaluation of the Water Erosion Prediction Project (WEPP) Model for Hillslopes.- 6. GLEAMS Model Evaluation - Hydrology and Erosion Components.- 7. EUROSEM: an Evaluation with Single Event Data from the C5 Watershed, Oklahoma, USA.- 8. Comparison of Simulated and Observed Runoff and Soil Loss on Three Small United States Watersheds.- 9. Validation of Field-Scale Soil Erosion Models using Common Datasets.- Section 3. Model Evaluation with User-Supplied Datasets.- 10. Predicting Runoff in Semiarid Woodlands: Evaluation of the WEPP Model.- 11. Evaluation of Field-Scale Erosion Models on the UK South Downs.- Section 4. Modelling Issues.- 12. Modelling Across Scales: the MEDALUS Family of Models.- 13. Problems Regarding the Use of Soil Erosion Models.- 14. Cross-Scale Aspects of EPA Erosion Studies.- 15. Scale Issues and a Scale Transfer Method for Erosion Modelling.- 16. Infiltration for Soil Erosion Models: Some Temporal and Spatial Complications.- 17. Saturation Overland Flow on Loess Soils in the Netherlands.- 18. Incorporating. Crusting Processes in Erosion Models.- 19. The Role of Soil Aggregates in Soil Erosion Processes.- 20. Process-Based Approaches to Modelling Soil Erosion.- 21. Sensitivity of Sediment-Transport Equations to Errors in Hydraulic Models of Overland Flow.- 22. Gully Erosion: Importance and Model Implications.- 23. Field Data and Erosion Models.- 24. Effects of Agricultural Land Use on Spatial and Temporal Distribution of Soil Erosion in Small Catchments: Implications for Modelling.- 25. Sensitivity of the Model LISEM to Variables Related to Agriculture.- 26. Applying GIS to Catchment-Scale Soil Erosion Modelling.- 27. Snowmelt and Frozen Soils in Simulation Models.- 28. The Use of USLE Components in Models.- Section 5. Model Descriptions.- 29. The EUROSEM Model.- 30. Griffith University Erosion System Template (GUEST).- 31. A Continuous Catchment-Scale Erosion Model.- 32. LISEM: a Physically-Based Hydrologic and Soil Erosion Catchment Model.- 33. APEX: a New Tool for Predicting the Effects of Climate and CO2 Changes on Erosion and Water Quality.- 34. A Dynamic Model of Gully Erosion.- 35. Alternative Approaches to Soil Erosion Prediction and Conservation Using Expert Systems and Neural Networks.- Section 6. Model Applications: Actual and Potential.- 36. Soil Erosion Modelling in Hungary.- 37. Definition and Mapping of Desertification Units in Mediterranean Areas Under Rainfed Cereals.- 38. Hydrological and Erosion Processes in the Research Catchments of Vallcebre (Pyrenees).- Section 7. Conclusions.- 39. Modelling Soil Erosion by Water: Some Conclusions.- Appendices.- A. List of Acronyms Used.- B. Participants at 'Global Change: Modelling Soil Erosion by Water'.

From one of the world's leading authorities on ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to China In this book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity--peoples who weren't necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman examines how and why the arts of the classical world traveled and to what effect, from Britain to China, from roughly the eighth century BCE to the early centuries CE. In some places, such as Italy, Greek images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. And in cultures where there was a subtler blend of influences, notably in the Buddhist east, classical images served as a catalyst to the generation of new styles. Along the way, Boardman demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself, and he raises important questions about how images in general are copied and reinterpreted.

This book presents the first comprehensive publication of Lorenz Natter's (1705- 1763) Museum Britannicum, offering full discussion in English and presenting Natter's drawings and comments alongside modern information on the ancient and later engraved gems that can be identified and located through fresh research.

This new series is in the same format as Studies in the History of Collections and Studies in Classical Archaeology. It is intended for studies in gems and jewellery from ancient to neo-classical, both monographs and the publication of contents of collections, and is inspired by the Beazley Archive's rich resources of gem impressions and casts, gathered first by Sir John Beazley himself. This second volume, Classical Phoenician Scarabs A catalogue and study, is the result of some years of collecting records of the green jasper scarabs of the Mediterranean world in the course of research on other glyptic, Greek and Persian. The principal aim is to present the material in catalogue form, arranged by subject, and accompanied by selective illustration. (The first volume (2003), Classical and Eastern Intaglios, Rings and Cameos, by C. Wagner and J. Boardman, publishes a selection of gems from a private collection formed between 1921 and about 1970. They range from 3rd-millennium BC cylinder seals of Mesopotamia, to Neo-classical engravings of the 19th century AD, and include prime specimens also of Greek, Etruscan, Roman and Sasanian glyptic.

This volume presents a selection from a large private collection of engraved gems, finger rings and cylinder seals. It was created from 1921 through the 1960s from various sources, and includes many examples from old collections that had come on to the market, notably the Evans, Southesk, and (for later gems) Poniatowski, as well as many purchased from dealers and in auctions. They are now in the possession of the collector's son, who encouraged this publication. Boardman had already published a selection, mainly of the Greek and Etruscan gems from the collection, in Intaglios and Rings (London, Thames and Hudson, 1975), and these stones have since been purchased by the J. Paul Getty Museum in Malibu (except for nos. 9, 17, 86, 149, 154, 205-208). The present selection also includes some early gems, omitted from the earlier publication for various reasons, but it is mainly devoted to the Hellenistic and Roman, as well as to a choice of the many Sasanian stones, cylinder seals, other eastern, and Neo-classical. The selection has been determined by the apparent interest of each piece for either its style or its subject, but also represents a fairly typical range of gem engraving through the Greek and Roman worlds, and outside it - including Etruscan, Greco-Persian, Syrian, Persian, Phoenician, Sasanian and the early production of cylinders in the near east. This is the type of material that was available for collectors in the first half of the last century. The catalogue takes the form of a descriptive handlist rather than a catalogue raisonné, with select comparanda, and with more attention paid to the puzzling or important pieces. Of these there are several of the highest quality, and several of exceptional archaeological or iconographic interest. The prime motive has been to make much of the collection known to scholars who might wish to take study of individual pieces further. To this end the publication of mainly unprovenanced engraved gems is of no less importance than that of unprovenanced decorated vases. This volume inaugurates the new series Studies in Gems and Jewellery.

'The 'Ordos bronzes' are well known to collectors and many museums, named for the many finds in and around the Ordos plateau in north China. They are ...the subject of many catalogues and parts of catalogues of collections [and] have much to tell of contacts and of iconographic inspiration passing, in both directions, from China and from the Steppes... I am dealing with what are generally regarded as belt plaques, not the many animal-only 'Ordos bronzes' of various forms and attachments, which may have been applied to harness or dress or furniture, and which are equally numerous; nor with daggers and the like. The main series considered here (the 'Rope-border' plaques) ...begins with works of art of amazing intricacy of composition, combining a certain horror vacui with a desire to indicate all parts of the animal figures involved... The series takes us from over a century before the Qin dynasty 'unification' of China, well into early Han times, roughly from the fourth/third to first centuries BC. Coeval with them, especially in the later period, are other plaque series of different shapes and many of them far less ambitious. These represent more decidedly 'nomad art', even when their forms and iconography are employed for luxury items of some intricacy, of the type that reached Siberia, and which characterize Peter the Great's Treasure which had been assembled there, and whether or not some were made by the Chinese for their nomad rivals...Over the whole period studied the interfaces with the arts of Scythians and Sarmatians are apparent, and noted where important, but the subject is only part of the far wider phenomenon of Eurasian arts, a daunting subject. And like all 'art-historical' studies it carries a historical element involving the nature of relations between nomad and settled (to put it at its simplest), as well as the behaviour of owners/wearers. Many 'nomads' of the areas we visit were virtually 'settled', while among the 'settled' Chinese many lived a transhumance 'nomad' existence. I address this as best I can in the Conclusions, realizing that for many this should be the main reason for such a study. It is likely, however, in the face of the very plentiful material, that a mainly art-historical approach may lead more readily to conclusions of social and historical significance.' (From the author's Preface)

The Beazley Archive Studies in Gems and Jewellery IVThis volume is intended to supply some supplementary information about the gems and cameos published in A Collection of Classical and Eastern Intaglios, Rings and Cameos, published in 2003 as BAR S1136. These had been chosen from a large private collection formed mainly in Italy from about 1921 into the 1960s. It comprised ancient gems but there were a number of post-antique, and part of this publication is devoted to further consideration of some of them, as well as of some comparable examples in the collection not included before, and especially to their later, most distinctive mounts, a feature not always much remarked or explored in publications of ancient gems in later settings. Those on gems in this collection are mainly remarkable for demonstrating some characteristically elaborate Sicilian methods of mounting gems, mainly of the 18th century, and not commonly encountered in published collections. The opportunity is also taken to add a few more interesting examples from the collection, and to republish in colour some of the more important pieces in the original catalogue. The opportunity is, moreover, also taken reflect briefly upon the way in which the ancient traditions in gem engraving and the classical style and subject matter survived or was revived and rediscovered in later centuries. The accompanying text attempts also to summarise some of the problems of original and copy, not only à propos of gems. The study of such matters is extremely complex, requiring a breadth of knowledge about both antiquity and the artistic and literary activities of both the Renaissance and the Neo-Classical movements of the 17th to 19th centuries. A further essay explores the ways by which the subjects of the gems became known beyond the world of those who owned or could readily view the originals, since the publication of gems, by drawing or facsimile, plays a major role in the whole story. This offers the opportunity to illustrate pages from antiquarian books to demonstrate the style and quality of reproduction available and practised before photography.

We now know conclusively that Greeks in fact lavished their sculptures with realistic colour paint, and also worked with a wealth of other materials on a major scale, including wood and precious metals. This edition showcases the artistic endeavours of the ancient Greeks.

Recounting the influence of Greek communities and their culture through Central Asia, India and Western China, from the Bronze Age through to the rise of Islam, this book examines a wealth of art and artifacts as well as literary sources to reveal the remarkable influence of Greek culture.

Offering a survey of Greek vases, this book sketches their stylistic history. It explores the process of identifying artists; the methods of making and decorating the vases and the problems in doing so; the life of the potter; the pots' dissemination beyond Greece; and their functions in life, cult and as messengers of style and subject.