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By H. A. Groenewegen-Frankfort

The wonderful thing about Egyptian, Babylonian, and Cretan paintings is shot via with oddity. in spite of the fact that a lot we're fascinated with the traditional works, we discover ourselves brooding about what exactly the artists intended after they rendered gadgets and indicated spatial kinfolk the way in which they did. "Arrest and circulation" is the one publication to research pre-Greek artwork when it comes to matters comparable to area and narrative. it's a landmark ebook that might carry to scholars and museum-goers deeper realizing of this eloquent yet possible eccentric paintings.

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Extra resources for Arrest and Movement: Essay on Space and Time in the Representational Art of the Ancient Near East

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157; F. W. von Bissing, Die Mastaba des Gem-ni-lcai (Leipzig 1905; HIll) I, PI. XXII; N. de Garis Davies, The Rock Tombs of Deir el Gebrawi II, I'!. D. ;: llnd 50. Giza. V, p. 85, Fig. 20. :1' XII. 1 3:0 t1:HIOL 't)\UG'lH1II J~Yot[ 't1:AIX (LS Jf}1J([) 'itrlll hC((f/~'" XV. CATTLE FORDING STREAM; TRIBUTE BEARERS, TOMB OF TI (page 44) . lit '('CIl /'S . Unil,,' Li{~' life' whieh would include the dead. It is also in scholarly descriptions of such scenes as these that expressions like 'pleasure- or inspectiontrip', 'morning toilet', or 'morning reception' abound and prejudice the interpretation.

XIXc the stack appears a mere prerequisite for explaining the action. 1 It is also significant that scenes of combat are as devoid of serious tension in private tombs as they are formalized in royal art. The same reluctance to depict physical strength makes fights between sailors appear a graceful game on a par with acrobatics; they may, for all we know, have been mere playful sport (PI. 2 Compact groups of soldiers or sailors in marching order never appear under the leadership of an officer. In fact, although in fowling scenes the gesture of a signal is recorded as a typical act, the expressive gesture of command, which entails a spatial, as well as a dramatic, distance between officer and soldier, is quite unknown.

1 and 2. I:lIl jUl/em;,,' cle J'evi 1l (Cairo, 1938), II, 24. " SlIhure II, PI. 17. , Ph,. 28 awJ :n. , 1'1. 1. , PI. 2ll anll p. 102. , Ibid" PI. :l. , Pis, Hi, 4(\. ·1. , PI. J Il. , Pis. :35 and illJ. ;I/\ (~/ Hoynl Il/Orllwry 'I'I'IJI/JI/''\ rll:;h. ) H his­ torical moment in a courtier's career, was not depicted in the pl'ivat.. tombs), and in the scene of an overseas expedition. 3 In eOUl't proces­ sions he appears in conjunction with officials and is depicted in it curious static stride.

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