"Here rigid frontality is combined with an extremely detailed rendering of the king's costume. The general effect is of an inert mass, which the gesture of adoration completely fails to bring to life. This formalism is characteristic of all Neo-Iranian culture, one of whose chief centres was situated in Mesopotamia. But, though the Neo-Iranian artists were always prepared to draw on Mesopotamian models - the king's head is evidence of this - the rise to power of the Parthians did much to further the renascence of Oriental traditions which now was taking place." Finds much more life in the Shami Bronze statue
According to accepted opinion, the Parthian rock relief of Sarpol-e Zohab was created by Parthian Ki...
The bas-relief of Javanroud, a free-standing roughly rectangular stone, displays three standing figu...
Iconographically, the art of Ghandara acepted the life story of Buddha, the Jataka scenes, male and ...
A group of about half a dozen heads classified as portraits have been found at Mathura, some with di...
The importance which the Sassanians attached to details of costume and insignia of office is clearly...
Total view from front of a sculpture depicting the head of a king, perhaps Shapur II. From the Ancie...
The dignity of Kushan rulers as seen in their portraits on coins is confined in larger stone sculptu...
In the art of pre-Islamic Iran we have evidence of relief busts in stucco for which a particular pos...
Although Semitic in type in general, these statuettes from Mari are of individuals, as opposed to la...
Both the Wima and Kanishka sculptures are representative of the first royal portrait figures in Indi...
By the 13th century, some regions of India showed a marked decline in their sculptural qualities so ...
Neo-Assyrian letters are a broad and interesting corpus of data to investigate how ancient Assyrians...
Purchased on market. Eyes, etc., lack inlay. Diutu, whose inscription is engraved on the back of the...
The dissertation re-examines a fragmentary and understudied group of nearly 150 portrait statues rep...
We should not be under the impression that Mathuran sculptures were not influenced by outside source...
According to accepted opinion, the Parthian rock relief of Sarpol-e Zohab was created by Parthian Ki...
The bas-relief of Javanroud, a free-standing roughly rectangular stone, displays three standing figu...
Iconographically, the art of Ghandara acepted the life story of Buddha, the Jataka scenes, male and ...
A group of about half a dozen heads classified as portraits have been found at Mathura, some with di...
The importance which the Sassanians attached to details of costume and insignia of office is clearly...
Total view from front of a sculpture depicting the head of a king, perhaps Shapur II. From the Ancie...
The dignity of Kushan rulers as seen in their portraits on coins is confined in larger stone sculptu...
In the art of pre-Islamic Iran we have evidence of relief busts in stucco for which a particular pos...
Although Semitic in type in general, these statuettes from Mari are of individuals, as opposed to la...
Both the Wima and Kanishka sculptures are representative of the first royal portrait figures in Indi...
By the 13th century, some regions of India showed a marked decline in their sculptural qualities so ...
Neo-Assyrian letters are a broad and interesting corpus of data to investigate how ancient Assyrians...
Purchased on market. Eyes, etc., lack inlay. Diutu, whose inscription is engraved on the back of the...
The dissertation re-examines a fragmentary and understudied group of nearly 150 portrait statues rep...
We should not be under the impression that Mathuran sculptures were not influenced by outside source...
According to accepted opinion, the Parthian rock relief of Sarpol-e Zohab was created by Parthian Ki...
The bas-relief of Javanroud, a free-standing roughly rectangular stone, displays three standing figu...
Iconographically, the art of Ghandara acepted the life story of Buddha, the Jataka scenes, male and ...