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Ritual, cult, and sacred space: Tran...

Griffith, Kyle L.

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Ritual, cult, and sacred space: Transcending death in the painted tomb of Roman Libya.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ritual, cult, and sacred space: Transcending death in the painted tomb of Roman Libya./
作者:	Griffith, Kyle L.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2008,
面頁冊數:	267 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 5000.
Contained By:	Dissertation Abstracts International70-01A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3345690
ISBN:	9781109002829

Ritual, cult, and sacred space: Transcending death in the painted tomb of Roman Libya.
Griffith, Kyle L.

Ritual, cult, and sacred space: Transcending death in the painted tomb of Roman Libya. - Ann Arbor : ProQuest Dissertations & Theses, 2008 - 267 p.

Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 5000.

Thesis (Ph.D.)--University of Washington, 2008.

This item is not available from ProQuest Dissertations & Theses.

The principal focus of the dissertation is ritual and the understanding of the human proclivity for control in a chaotic world. This proclivity resonates not only in the cults and sacred places of the Hellenistic-Roman world but distinguishes the very essence of humanity in terms of life, death and the soul. The painted tomb in Roman Libya offers a strong challenge to accepted tenets from this period in its unconventional historical evidence that arguably speaks for itself. At the same time, the site provides insight into what happens when massive empires embrace and displace hundreds of thousands of peoples who hold differing cultural values and belief systems; a phenomenon that endures to this day. In the ancient world, the result was a new fusion in order to secure some kind of identity. Countless cults were allowed and encouraged by the ruling entities, not least to ensure political stability.

ISBN: 9781109002829Subjects--Topical Terms:

2122701
Art history.

Ritual, cult, and sacred space: Transcending death in the painted tomb of Roman Libya.
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500 $a Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 5000.
500 $a Advisers: Carol G. Thomas; Joanne Snow-Smith.
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506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a The principal focus of the dissertation is ritual and the understanding of the human proclivity for control in a chaotic world. This proclivity resonates not only in the cults and sacred places of the Hellenistic-Roman world but distinguishes the very essence of humanity in terms of life, death and the soul. The painted tomb in Roman Libya offers a strong challenge to accepted tenets from this period in its unconventional historical evidence that arguably speaks for itself. At the same time, the site provides insight into what happens when massive empires embrace and displace hundreds of thousands of peoples who hold differing cultural values and belief systems; a phenomenon that endures to this day. In the ancient world, the result was a new fusion in order to secure some kind of identity. Countless cults were allowed and encouraged by the ruling entities, not least to ensure political stability.
520 $a Buried and forgotten for two thousand years, the chamber remains mostly intact and extraordinarily well preserved. A mixture of both easily identifiable and enigmatic paintings, in vibrant color, remains in situ, revealing the original compositional scheme almost entirely. Significantly distinct, not only from other tombs at the site, but from funerary decoration surviving elsewhere in the ancient world, the paintings reflect a site which has not been tainted by successive generations or the values of a later time. Part of a hypogeum in the Tripolitania region near Sabratha, the nekia scenes are unique and represent a very different view of the afterlife than the rare examples we have from this period. The paintings in the Libyan chamber are not decoration for the afterlife of the dead, rather, they represent a long forgotten ritual for returning the spirit or 'shade' of dead young one to the living - if only for a little while, who have petitioned and paid intermediaries to carry-out a sequence of ritualistic practices illustrated in continuous narrative and strictly within the confines of the chamber.
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