FREE AGE OF BRONZE: SACRIFICE V. 2 PDF

Eric Shanower | 225 pages | 14 Jun 2005 | Image Comics | 9781582403991 | English | Fullerton, United States Volume 11 - Archaeologia Baltica

To browse Academia. Skip to main content. Log In Sign Up. Unfollow Follow Unblock. Save Age of Bronze: Sacrifice v. 2 Library. Horse figurines from Hala Sultan Tekke more. During the eighth field season at the Bronze Age city of Hala Sultan Tekke, excavations in City Quarter 1 CQ1 exposed massive industrial and domestic structures belonging to three phases of occupation Strata dating to the 13th and Geora-dar survey, penetrating to a maximum depth of approximately 1 m, guided the excavation Age of Bronze: Sacrifice v. 2 walls of Strataboth of which were destroyed by conflagration. Excavations 1. For the first time, massive Stratum 3 structures with a markedly different building technique were exposed. Copper smelting installations, much ash and slag, and storage facilities also belong to this phase of occupation. Additional excavations guided Age of Bronze: Sacrifice v. 2 results from a magnetometer survey were carried out in Area A, roughly m to the southeast of CQ1. Numerous circular anomalies were excavated. These were identified as Late Cypriot wells, rich offering pits, and a tomb from the same period. Other finds from this tomb include a diadem of leaf gold, amethyst jewellery, and nine sphen-donoid shaped balance weights of haematite together with a hornblende whetstone. Publication Date: Publication Name: Opuscula. This paper examines the concept of animals as social actors in Age of Bronze: Sacrifice v. 2 ancient Near East through a case study of human-equid relations. In particular, examples where equids may be seen as expressing resistance, as depicted in the iconography In particular, examples where equids may be seen as expressing resistance, as depicted in the iconography Age of Bronze: Sacrifice v. 2 the third and second millennia BC, are analysed. The first part of the paper discusses how animals have been perceived in scholarly debates in philosophy, archaeology and human-animal studies. It is argued that an acknowledgement of animals as social actors can improve our understanding of the human past, and the relation of humans Age of Bronze: Sacrifice v. 2 their broader environment. The second part of the paper presents three examples from the ancient Near Age of Bronze: Sacrifice v. 2 where equids may be interpreted as pushing back or resisting the boundaries placed by humans, resulting in a renegotiation of the relationship. Doi: Nicosia, Opuscula 8, Mycenaean and Aegean pottery from Hala Sultan Tekke and more. Identifying sacrifice in Bronze Age Near Eastern iconography, in ed. Nicola Laneri, Defining the Sacred, Oxbow more. Perfume, women and the underworld in Urkesh: exploring female roles through aromatic substances in the Bronze Age Near East more. Transformers Energize! Aegean Bronze Age rhyta in moments of transformation more. Human Age of Bronze: Sacrifice v. 2 in the ancient Near East more. More Info: Laerke Recht. Human sacrifice in the ancient Near East. Identifying sacrifice in Bronze Age Near Eastern iconography more. Ritual objects of transformation: the case of the rhyton in the Bronze Age Aegean more. CFP: Animals and humans: power, knowledge and agency more. Human-Animal Relations. Fierce lions, angry mice and fat-tailed sheep: Animal encounters in the ancient Near East, March, Cambridge. View on aneanimalencounters. The third Dimension. Animal representations in the past. From the smallest bug through pets and agricultural animals to elephants and blue whales, the animals themselves, animal-derived products and From the smallest bug through pets and agricultural animals to elephants and blue whales, the animals themselves, animal-derived products and representations of animals can be found everywhere in our daily lives. This session focusses on the representations of animals in the past: how were animals represented in iconography, and what do these representations tell us about the role and function of both animals and the representations themselves? How did humans and animals interact in the ancient world and how do these interactions impact animals and humans? We encourage researchers to explore these questions through the iconography of animals figurines, zoomorphic vessels, seals and seal impressions, plaques, wall paintings etc. We are especially interested in new approaches to examining these items. This can for example be by using technologies like 3D models to emphasise the dimensionality of objects and what this can reveal. We also encourage papers that challenge notions of animals purely as objects, but instead take a less anthropocentric perspective that focusses more on the condition and behaviour of animals and how these can be 'read' in the iconography. The main focus is the Eastern Mediterranean and the Near East, but papers from all areas and periods are welcome. Submit a paper or a poster here:. Conference Presentations. Pottery found at the site of Hala Sultan Tekke includes sherds and complete vessels imported from the Aegean. This paper presents preliminary results of the analysis of this pottery from the New Swedish Expedition and the This paper presents preliminary results of the analysis of this pottery from the New Swedish Expedition and the implications for the site within Cyprus and the broader Eastern Mediterranean context in the Late Bronze Age. Variations in trade trajectories can be detected in the range of origins of the pottery within the Aegean, for example the Greek Mainland, Crete and the South Eastern Aegean islands. We can also see that certain shapes were particularly popular with the Cypriots and that specific selection of shapes occurred in different social contexts. Adaptation or imitation of popular Aegean shapes occurred both in early local productions and in later White Painted Wheelmade Geometric Style Wares, including small-medium stirrup jars and deep and shallow bowls. Age of Bronze: Sacrifice v. 2 it may have had a special social significance and value, since larger amounts of pictorial pieces and kraters occur, both of which have a strong association with funerary assemblages in Cyprus and play a role in the creations and negotiation of identity. View on icaane Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Age of Bronze, Vol. 2: Sacrifice TP | Image Comics

The Bronze Age. The Bronze Age was the time when men learned how to mine and smelt copper Age of Bronze: Sacrifice v. 2 tin to make Age of Bronze: Sacrifice v. 2 weapons and tools. These activities required an organized labor force and skilled craftsmen. In Neolithic times before the Bronze Agepeople had made tools out of stone and hunted and gathered their food. However, in the Bronze Age people learned how to farm and produce enough extra food to feed other workers — such as miners, bronze-smiths, weavers, potters and builders who lived in towns — and to feed the ruling class who organized and led society. The Chinese Bronze Age had begun by B. At times the Shang kings ruled even larger areas. Contrary to common notions about the Chinese, the Bronze Age Chinese did not drink tea or eat rice. Both these commodities came from the south and were not popular in the rest of China until hundreds of years later. Instead the ordinary people consumed cereals, breads and cakes of millet and barley and drank beer. Members of the royal court could afford to vary their diet with meat and wine. The Shang kings spent most of their time riding forth from their walled cities with their nobles and knights to hunt and fight wars. The farmers were peasants who belonged to the land and were supervised by Age of Bronze: Sacrifice v. 2 of the king. In the centuries after the Zhou dynasty 11th century B. The Bronze Age Chinese held extraordinarily different ideas about kingship and religion from Medieval Europe. They believed the king's right to rule was based on his good relations with the spirits of his ancestors who controlled the destiny of the domain. The king continually posed questions to his ancestors about policy. He did this by instructing his scribe to write the question on an "oracle bone" — that is, an animal shoulder Age of Bronze: Sacrifice v. 2 or the breast bone of a turtle. A priest then held a hot rod to the bone until it cracked and interpreted the pattern of the cracks for the answer. It was also the king's duty to please the great forces of nature — the sun and rain gods — who controlled the outcome of the harvest. So that these gods and his ancestor spirits would look favorably on his kingdom, the king made regular sacrifices of wine and cereals, which were placed in elaborate bronze vessels and heated over the fires on the temple altar. During the Shang dynasty bronze vessels were the symbol of royalty, just Age of Bronze: Sacrifice v. 2 the Age of Bronze: Sacrifice v. 2 crown became the symbol of royalty in Europe. At times the Shang kings make animal and human sacrifices as well; and when the king and powerful members of the royal court died, it was not unusual that their wives, servants, bodyguards, horses and dogs were killed and buried with them. During the Zhou Dynasty people gradually turned away from this custom Age of Bronze: Sacrifice v. 2 substituted clay figures for real people and animals. The Importance of Archaeology. Until less than a hundred years ago the Shang Dynasty was only legend. Ina few oracle bones were found accidentally. Two scholars recognized that the scratches on the bones were an ancient form of Chinese writing and managed to decipher the inscriptions. In the first scientific excavations of an ancient Chinese site began at Anyang, the last capital of the Shang dynasty. Within the beaten earth walls of the city archaeologists uncovered hundreds of oracle bones. In the tombs of kings and nobles they found magnificent bronzes, fine grey pottery, marble figures of animals and jade carvings. What has not survived and what must be filled in with the imagination are the colorfully painted wooden palaces and temples, the royal gardens, royal zoo, the silk robes, flags and trappings of the court, the earth and thatch huts of the townspeople and peasants and their rough clothes made of hemp and leather. Treasures from the Bronze Age of China. Most of the objects in the exhibition have been excavated in China in the last 25 years. Besides the bronzes, there are jade pieces and one iron object — a belt buckle. Iron did not appear in China until the 5th century B. At the entrance to the exhibition Age of Bronze: Sacrifice v. 2 a wine cup made in the 17th century B. At the far end of the first gallery is an alcove where seven jade carvings and six bronzes belonging to Fu Hao are displayed. Her tomb excavated at Anyang in is the only intact undisturbed royal tomb to be discovered to date. From inscriptions on the nearly bronzes packed in the tomb archaeologists identified the occupant as Fu Hao. Dozens of oracle bone inscriptions found at Anyang refer to Fu Hao's many activities. She was a wife of a Shang king and not only bore him children but also led his armies in battle and represented him at state ceremonies. Within her small rectangular tomb 26 feet deep were remains of her lacquered wood coffin set inside a larger wooden container, 16 sacrificial victims and 6 dogs. There were also more than bronze weapons and tools, small sculptures and ritual objects of jade and stone, ivory cups inlaid with turquoise, several bronze mirrors, carved bone objects and about 7, cowrie shells, which were used for money. Infarmers sinking a well made an even more extraordinary discovery. Close by the tomb of China's first emperor, the ruler of Qin, they happened upon an underground chamber which lead to the discovery of some 7, life-sized terracotta warriors, charioteers and cavalrymen. Eight of these figures are in the exhibition. Look at the cover of the grey pamphlet [image not included here] which shows a striding infantryman and the postcards of the kneeling archer and the cavalryman. Their costumes, the armor made of pieces of bronze and leather and their military gear are shown in exact detail. The Qin emperor had led an exceedingly active life [ see the last paragraph of the exhibition pamphlet ]. The pits were situated to the east of the emperor's tomb, the direction from which his enemies would attack. The Bronze Vessels. The first long gallery of the exhibition contains Shang ritual bronze containers, two bronze axes, an enormous bell and a bronze drum. The three- and four-legged cauldrons and cups were designed to heat wines and cereals. The handles and the capped posts on the rims may have been used to lift the vessels from the fire. Bowls, vases and jars Age of Bronze: Sacrifice v. 2 additional wine and cereal. It is not known exactly how any of these containers were used, since Shang ceremonies remain a mystery. Many of the bronzes are amazingly heavy, suggesting a high level of technology. The four Shang bronzes on the postcards [not shown here] weigh as follows: the rectangular food cauldron, lbs. The designs on the bronzes are fascinating. Shang artists were obviously obsessed with real and imaginary animal forms. Use a magnifying glass to study the four bronzes on the postcards. In addition to the elephant not native to northern China and probably brought from the south for the royal zoo and the rams, find the birds, dragons and animal masks called taotie. In the exhibition even more animal forms can be found: Age of Bronze: Sacrifice v. 2, tigers, bulls, snakes and rhinoceros. The background for the beasts is a series of spiral patterns. The silhouettes of some vessels bristle with fin- like flanges. Often one animal form flows into another animal form as they do in the animal mask. The masks facing the viewer can also be seen as dragons in profile looking at each other. Although the spiral patterns, the taotie masks, and dragon designs resemble Shang bronzes, later Zhou bronzes display patterns that are more open and flowing, the animals are less abstract, and the vessels are made in new shapes. Look at the rhinoceros poster, the postcards of the Zhou wine vessel, the Han incense burner, the bull and tiger ritual object. The Han lamp in the form of a servant girl holding a candle stand is one of the first clearly represented human figures in Chinese art. A close inspection of the 5th century B. They are among the earliest known attempts by the Chinese to show pictures of people. Only one of the bronzes 46 in the exhibition has survived uncorroded. New bronze, being largely copper, is shiny like a copper penny, only slightly more yellow. When bronze has been buried a long time, it reacts to the minerals in the ground. The exact way it reacts depends upon the amounts of copper, tin and lead in its composition. As a result the surface colors, called "patinas," are variations of green, blue-green, blackish green, red, rust, and blackish brown. Bronze Casting. Study paragraphs 7 and 8 and the diagram of the section-mold casting technique shown in the exhibition pamphlet [ reproduced below ]. In the exhibition between the Shang and Zhou galleries there is a step-by-step display of the section-mold technique of casting. The surfaces of later Zhou and Han bronzes were often patterned with inlays of gold, silver or turquoise. Jade is so hard that it cannot even be cut by steel. It is not actually carved, but is shaped by wearing away the surface of the jade with harder stones such as quartz sand, or Age of Bronze: Sacrifice v. 2 garnets. In such a way, very slowly, the jade is formed and smoothed. Jade is not indigenous to China but had to be carried great Age of Bronze: Sacrifice v. 2 from Central Asia or Siberia. No wonder the ancient Chinese highly valued jade Age of Bronze: Sacrifice v. 2 thought it had magical properties! The Terracotta Warriors. Each figure in the Qin emperor's army was made by a combination of molds and individual modeling. The legs are solid. The torsos are hollow, built up from coils of clay. After the surface was finished in great detail with a finer clay, the figure was fired. The heads and hands Age of Bronze: Sacrifice v. 2 made and fired separately, and later attached with clay strips. Finally each figure was painted realistically and fitted with actual weapons and gear. From the first simple wine cup Age of Bronze: Sacrifice v. 2 one of the earliest Chinese bronze vessels yet known — to the extraordinary life-sized terracotta figures buried with the First Emperor of Qin, this exhibition features discoveries that have fundamentally changed our knowledge of ancient Chinese history and art. At about the same time that Stonehenge was rising in England and Abraham was framing the principles of Judaism in the Middle East, a Bronze Age culture was developing in China that in many respects was seldom equaled and never surpassed. This development seems to have occurred early in the first half of the second millennium B. For thousands of years this area had sustained Neolithic cultures of increasing complexity, which ultimately culminated in the first Chinese civilization. By the time of the Bronze Age this culture was characterized by a strong centralized government, urban communities with stratified social classes, palatial architecture, a distinctive system of writing, elaborate religious rituals, sophisticated art forms, and Age of Bronze: Sacrifice v. 2 metallurgy. Laerke Recht | University of Graz -

Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. In this volume, Helen's triumphant entry into Troy is marred by Kassandra's wild prophecies of doom. Meanwhile, a massive army approaches from across the sea, but a disastrous battle forces the High King Agamemnon to make a fateful decision. Will he command the death of his daughter to satisfy the gods? Or will he give up his dream of conquering Troy? The drama and action continue in the book that the editors of Publishers Weekly choose as one of the best books of Get A Copy. Paperbackpages. Published June 14th by Image Comics first published July 13th More Details Age of Bronze 2. Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Age of Bronze Volume 2please sign up. Be the first to ask a question about Age of Bronze Volume 2. Lists with This Book. Community Reviews. Showing Average rating 4. Rating Age of Bronze: Sacrifice v. 2. More filters. Sort order. Start your review of Age of Bronze Volume 2: Sacrifice. Second part of this retelling of the Trojan war. Not sure which I prefer. They are both nice. This is still mostly a bunch of guys waiting around trying to go to war but getting delayed. Still, it is a pretty compelling story, ending with the story of Iphegenia in Aulis. I've mostly encountered the characters in this story in stand-alone stories. It's nice to see them all together in context. Jun 04, Age of Bronze: Sacrifice v. 2 rated it really liked it Recommended to Andrew by: andrew. Shelves: acomicsi-own-wishlist. The continuing story of the Iliad characters or historical figures, if you rather preparing for the Trojan war. I had no idea that there were so many stories concerning this part of history, so this was a very rewarding read. I learned a lot more about all my favourite Homeric characters. Shanower maintains his attention to d The continuing story of the Iliad characters or historical Age of Bronze: Sacrifice v. 2, if you rather preparing for the Trojan war. Shanower maintains his attention to detail in the artwork. The book suffers slightly from having a more disjointed narrative than the first. In this second of seven projected volumes, Shanower continues his top- notch epic Age of Bronze: Sacrifice v. 2 the Trojan War. Considering that the Greeks never even reach Troy at the end of this book, this book could have been slow and plodding. Instead it is utterly absorbing. Put simply, I cannot Age of Bronze: Sacrifice v. 2 of any possible way this comic could be better. Some of the best comics of the past ten years. Jan 27, Terence rated it it was ok Shelves: mythologiesgraphic-novels-picture-books. Not much more to say here than I did in my review of volume 1, A Thousand Shipsexcept that his plot for this chapter closely follows Michael Kakogiannis's Iphigenia which is not a bad thing, I liked that film. It's just View 2 comments. Jan 27, Chris rated it it was amazing Shelves: comics. I'm no art critic -- I like the art here just fine, and it certainly doesn't detract from the story. Age of Bronze: Sacrifice v. 2 the amazing accomplishment here is the writing. Shanower has pulled together the entire story of the Trojan Age of Bronze: Sacrifice v. 2 from various sources, including the Iliad, Virgil, and Greek mythology, in order to relate the entire epic from beginning to end. Not only is this great writing, but it's good research, and a fabulous retelling of the story of the war in one narrative arc over several volumes. He de I'm no art critic -- I like the art here just fine, and it certainly doesn't detract from the story. He deserves particular praise for the way in which he incorporates the gods' influence without directly Age of Bronze: Sacrifice v. 2 them. The result is a realistic flavor that just feels right -- much more immediate and personal, and without the sense that fate is dictating everything. This particular volume focuses on Agamemnon's sacrifice of his daughter Iphigenia, as well as a disastrous raid in Mysia, where a young Achilles mistakes the first land he sees for Troy. I'm looking forward to continuing the story. Aug 09, Amalia Carosella rated it really liked it. I'm still not a huge fan of Achilles. And Agamemnon pretty much has Age of Bronze: Sacrifice v. 2 one redeeming quality. The focus so far is still more on them than Menelaus or Helen which makes sense considering the subject of this particular swath of the story. But I think Shanower is doing a great job of making these figures into more complex characters -- and again, the art is just phenomenal from the historical perspective. On top of that, there's a great name pronunciation and glossary of characters in the back! Feb 19, Dominick rated it liked it. Shanower's ambitious take on the Trojan War continues, featuring some excellent realistic more or less art, though telling who is who remains a challenge both because there are so many characters and because several look fairly similar, Shanower's laudable efforts to differentiate them notwithstanding. There are some impressive sequences, and some notable devices e. The ambiguity about whether Age of Bronze: Sacrifice v. 2 gods are real or not is also interesting. On the one hand, there is no concrete evidence of this, only the claims of various characters to for instance prophetic ability or divine parentage. Kalchas, especially, is interesting as a character who sometimes seems to be making stuff up to appease whoever he is talking to, but who also, at times anyway, really seems to have prophetic ability. On the other, all the prophecies either come true or, we know, will come true, since we already actually know the story. The action does seem to hang fire. This is at least in part because a big chunk of the book is taken up with Agamemnon vacillating about whether he will sacrifice Iphigenia a question which remains tantalizingly ambiguous at the end: Odysseus tells Klytemnestra that the gods intervened at the last second and spared her, carrying her living body elsewhere to continue life--not impossible if the gods are real, of course, but Odysseus is very much capable of lying to achieve his ends, and in this instance, the story is designed to appease Klytemnestra. Nevertheless, after a while, one almost wishes he'd just do it and have done, so the plot can continue--and if i feel this way reading the collected edition, I wonder how this must have felt to those reading the serialized version. Anyway, very well executed, always gorgeous to look at, but perhaps a bit ploddingly paced. Feb 21, Matt rated it really liked it. Another really compelling version of this story. Some things are better seen than read. This graphic novel shows the return of Paris to Troy with Helen and the re- gathering of the Greeks at Aulis. My issues with this graphic Age of Bronze: Sacrifice v. 2 are basically the same as the first one. The black and white drawings can be a bit hard to psrse at times although there are some incredible full page spreads and the characters start to look the same. There are some incredible moments of pathos in the second half of this volume which focuses exclusively on the Greeks and their fateful sacrifice at Aulis. The personalities and the histories that shape them perfectly encapsulate proud Achilles, angry Agamemnon, and scheming Odysseus. One final complaint about an otherwise incredible book: there are no page numbers. Mar 20, Michael rated it it was amazing Shelves: loeg-archives. Great book. Shanower is crafting one of the medium's masterpieces here, and more people should be paying attention. Sure, the Greek names can be hard to keep track of I can handle the Achaeans for the most part; the Trojans are harder for mebut Shanower's ability to give his characters life and distinctiveness does Age of Bronze: Sacrifice v. 2 it so much easier. Even if you forget Odyseus' name, you can Age of Bronze: Sacrifice v. 2 remember that the bearded, slightly balding man is Agamemnon's most trusted advisor.