:Das syro‐hethitische Grabdenkmal: Untersuchungen zur Entstehung einer neuen Bildgattung in der Eisenzeit im nordsyrisch‐südostanatolischen Raum
:Das syro‐hethitische Grabdenkmal: Untersuchungen zur Entstehung einer neuen Bildgattung in der Eisenzeit im nordsyrisch‐südostanatolischen Raum
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:Das syro‐hethitische Grabdenkmal: Untersuchungen zur Entstehung einer neuen Bildgattung in der Eisenzeit im Nordsyrisch‐südostanatolischen Raum
DOI：
10.1086/504995
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发表时间：
2006
影响因子：
0.6
通讯作者：
Thomas McClellan
中科院分区：
文献类型：
--
作者：
Anne Porter;Thomas McClellan
来自安纳托利亚南部和北方叙利亚的铁器时代浅浮雕、雕像和石碑构成了近东艺术的主要语料库，这些文物促使了在津吉尔利、卡尔基米什、泰尔哈拉夫和其他遗址的早期发掘，也引发了许多艺术史研究。Bonatz的卷Grabdenkmäler的叙利亚和安纳托利亚从这一时期是一个重要的贡献，不仅是这样的作品，但也是一个主题，是在最后承担适当的突出在古代近东研究。由于与墓葬有关的大量物品，死亡长期以来一直受到人们的关注，现在人们把死亡理解为一种充满政治含义的复杂社会现象。Bonatz通过分析铁器时代出现的Grabdenkmäler的意义来进入死亡的讨论，装饰和/或刻有墓碑，[1]并坚定地将单个装饰元素（和铭文）的艺术历史分析置于更广泛的社会象征背景中。他对相关的理论和物理材料进行了令人印象深刻的调查，以发展他的建议，即Grabdenkmäler是身份的复杂表达，并因此服务于某些社会，文化和政治功能。我们将Bonatz的论点总结如下：在铁器时代，Grabdenkmäler的广泛使用，它们的性质和位置都表明了这一时期社会和政治身份的关键方面。与前一时期不同的是，这些石碑上的图案和铭文是围绕着神的思想和宗教信仰的表现而构建的，博纳茨认为这些石碑是死者和幸存者的肖像，他们记录了他们在建立Grabdenkmäler时的虔诚行为。在这些标记上如此突出的用餐场景中，葬礼餐并不像一些人所说的那样描绘命运之神与死者的关系，也不仅仅是一个完整行为的记录;相反，它们是生者和死者之间交流的场所，在那里，死者同时被召唤和提供，他们的力量也在那里。156- 157，181）。Grabdenkmal是生者世界和死者世界之间的临界点--一种空间而不是时间的分离，因为死者和生者在后者的术语中并排存在。
Iron Age bas-reliefs, statues, and steles from southern Anatolia and northern Syria form a major corpus of Near Eastern art that spurred on early excavations at Zinjirli, Carchemish, Tell Halaf, and other sites and that has also led to numerous art-historical studies. Bonatz’s volume on the Grabdenkmäler of Syria and Anatolia from that period is an important contribution not only to such works, but also to a topic that is at last assuming a proper prominence in ancient Near Eastern studies. Long of interest because of the wealth of objects often associated with burials, death is now understood as a complex social phenomenon imbued with political implications. Bonatz enters this discussion of death by analyzing the meaning of the Iron Age occurrence of Grabdenkmäler, decorated and/or inscribed grave-markers, 1 and firmly places the art-historical analysis of individual decorative elements (and inscriptions) in a broader sociosymbolic context. He undertakes an impressive survey of both the relevant theoretical and physical material in developing his proposal that Grabdenkmäler are complex expressions of identity and as such serve certain social, cultural, and political functions. We would summarize Bonatz’s argument as follows: the widespread use of Grabdenkmäler in the Iron Age, their nature, and their location are all indicative of key aspects of social and political identity in this period. Unlike the previous period, where iconography was structured around ideas of deities and representations of religious beliefs, these steles are marked by designs and inscriptions that Bonatz understands as portraits of the deceased and of their survivors, who record their pious acts in erecting the Grabdenkmäler. In the dining scenes that are so prominent on these markers, funerary meals do not portray gods of destiny with the deceased as some have argued, nor are they merely records of a completed act; rather, they are a locus of communication between the living and dead in which, and at which, the dead are simultaneously invoked and provided for and where their power is present (pp. 156–57, 181). The Grabdenkmal is the liminal point between the world of the living and the world of the dead—a separation that is spatial rather than temporal, for the dead and the living exist side by side in the latter terms—re-