Celtic Arts in Brittany. Chronology, Aesthetics, and Social Functions of Ceramic Stamping in the Late Iron Age.
PURE| N° d'inventaire | 25830 |
| Format | 22 x 28 |
| Détails | 390 p., numerous black and white illustrations, paperback. |
| Publication | Rennes, 2022 |
| Etat | Nine |
| ISBN | 9782753586581 |
"Archaeology and Culture" Collection.
La Tène art from northwestern France, generally preserved on ceramic supports, is very rich. Punch stamping was the most widely used technique between the 5th and 2nd centuries BC, and the number of known decorations exceeds a thousand. It characterizes a regional style that nevertheless fits into the major currents of La Tène art across Europe. This work constitutes a new assessment of the corpus, its chronology, its stylistic characteristics, and its social context.
The analysis and typology of decorative elements, studied at the scale of the motif, the theme and the vase, are cross-referenced with the latest advances in the chronology of forms and put into context thanks to the data available on the main habitats of the second Iron Age.
Considering art and aesthetic practices as an interwoven component in the societies that produce them, the work sheds new light on the perceptible developments in the fields of housing, funerary matters and craft production in the Second Iron Age of Western Europe.
"Archaeology and Culture" Collection.
La Tène art from northwestern France, generally preserved on ceramic supports, is very rich. Punch stamping was the most widely used technique between the 5th and 2nd centuries BC, and the number of known decorations exceeds a thousand. It characterizes a regional style that nevertheless fits into the major currents of La Tène art across Europe. This work constitutes a new assessment of the corpus, its chronology, its stylistic characteristics, and its social context.
The analysis and typology of decorative elements, studied at the scale of the motif, the theme and the vase, are cross-referenced with the latest advances in the chronology of forms and put into context thanks to the data available on the main habitats of the second Iron Age.
Considering art and aesthetic practices as an interwoven component in the societies that produce them, the work sheds new light on the perceptible developments in the fields of housing, funerary matters and craft production in the Second Iron Age of Western Europe.