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The correlation between art and archaeology in Latvia can be traced in vari- ous ways. First, despite all technical innovations there are still professional artists that work on field with archaeologists and are directly involved in the recording of archaeological evidence. Furthermore, art-related work is being done in reconstruc- tions, book illustrations and museum exhibitions. In addition to those who devote their artistic skills to scientific and educational purposes under the supervision of archaeologists, we can see quite a lot of artwork that represents something archaeo- logical while being the free fruits of artistic imagination. Archaeological science is of the opinion that inaccurate stylisations of archaeological costumes in movies or arbitrary depictions of some archaeological period in literary or any other work of art can very easily lead to false impressions and misunderstandings that endure for decades. On the other hand, scientists have no right to restrain the public from interpreting its own past as it deems fit. The aim of this paper is to discuss the relations and crossroads between art and archaeology by examining how they historically have developed, coexisted and influenced one another in the territory of Latvia from the 19th century till nowadays.

"The remnants of prehistoric Lower Pecos people reveal lifeways unlike those anywhere in the world. The people who inhabited what is now Texas left artifacts that provide information about 12,000 years of existence, the last 7,000 of which are still astoundingly evident. Includes maps, charts, tables, photographs, and drawings"--Provided by publisher

This volume presents a collection of collaborations and conversations between archaeological, contemporary art, and heritage practitioners. Departing from the proceedings of the Sixth World Archaeological Congresss Archaeologies of Art theme and bhar agus Meon exhibitions, it includes papers by seminal figures as well as experimental work by those who are exploring the application of artistic methods and theories to the practice of archaeology. Art and Archaeology: Collaborations, Conversations, Criticisms encourages the creative interplay of various approaches to art and archaeology as contributions to how we interpret and understand the world. Established topics such as cave art, monumental architecture and land art will be discussed alongside treatments of modern and contemporary drawing, installation art, performance art, photography, sculpture, and video art. Here, the parallel roles of artists as makers of worlds and archaeologists as makers of pasts are brought together in an appreciation of human creativity

This paper situates the Phong Tuek Viṣṇu, a lesser-known Dvāravatī sculpture from western Thailand, in its archaeological and art historical context in order to demonstrate 7th to 8th century artistic and political connections across mainland Southeast Asia. The circumstances of the Viṣṇu's rediscovery in the early 1950s, as well as its subsequent "restoration" and preservation at Wat Dong Sak, are examined through reappraisal of documentary evidence, new field reconnaissance, interviews of local residents, and systematic examination of the sculpture itself. Detailed stylistic analysis and conjectural reconstruction of the sculpture's original appearance place the image within the broader development of the mitred Viṣṇu iconographic type known from sites throughout Southeast Asia. With particular emphasis on the details of the headdress and garment, specific comparisons are made to related sculpture from Thailand, Arakan (Myanmar), Preangkorian Cambodia, and the Cham civilization of Vietnam. The Phong Tuek Viṣṇu's idiosyncratic features and geographically dispersed stylistic relationships suggest a probable early 8th century date following the mid-to-late 7th century expansion of Khmer elites out of the Kampong Thom area of Cambodia. The Phong Tuek Viṣṇu, therefore, provides valuable testimony of a particularly intense period of interactions spanning mainland Southeast Asia from Arakan in the west to central Vietnam in the east.

This article aims to make an approach to the most important exhibitions that took place in Madrid, in 1892, year in which was commemorating the fourth centenary of the discovery of America. All of them, we will address the three that are considered most important, both by type and by its ability to call. These are: the Historical Exhibitions (Histórico-Americana e Histórico-Europea), in charge of the Board of the centenary, dependent on the central Government; the International Exhibition of Fine Arts, which also is part of the official program me, under the responsibility of the Ministry of public works; and lastly the Exhibition School which, along with the Contest of the work of women, arises from the initiative of the Municipal Board of primary school, with the support of the City Council. ; El presente artículo pretende hacer un acercamiento a las más importantes exposiciones que tuvieron lugar en Madrid, en 1892, año en el que se conmemoraba el cuarto centenario del descubrimiento de América. De todas ellas, abordaremos las tres que son consideradas más importantes, tanto por su tipología como por su capacidad de convocatoria. Estas son: las Exposiciones Históricas (Histórico-Americana e Histórico-Europea), a cargo de la Junta del Centenario, dependiente del gobierno central; la Exposición Internacional de Bellas Artes, que también hace parte del programa oficial, bajo la responsabilidad del Ministerio de Fomento; y, por último la Exposición Escolar que, junto al Certamen de Labores de la mujer, surge de la iniciativa de la Junta Municipal de Primera Enseñanza, contando con el apoyo del Ayuntamiento.

Like most other fields, the study of Islamic art is both the beneficiary and the victim of its own past. Like many fields, it is affected in various more or less successful ways by developments and needs in related areas of learning. Like all fields, it is tied to the quality and idiosyncrasies of the men who practice it. Inasmuch as bibliographical surveys according to traditional lines of techniques and periods are available (Pearson, Index Islamicus with supplements, London, 1958, 1962, 1968; especially K.A.C. Creswell, A Bibliography of the Architecture, Arts and Crafts of Islam, Cairo, 1961) and current works are listed with a fair degree of completeness in the yearly Abstracta Islamica published by the Revue des Etudes Islamiques, my concern in this paper will be to review the state of the field, the ways in which one can find out about it, and the work being done according to three major categories: traditional techniques and documentation; new problems and solutions; light and dark areas of research.

Encyclopaedia Iranicais a Unique Work. Prof. Ehsan Yarshater and his colleagues have performed a colossal task in preparing and publishing volumes I-VIII. Archaeology, numismatics, pre-Islamic architecture, and art have all been dealt with comprehensively. I have divided the articles into the following groups: 1) Archaeology, architecture, and art; 2) archaeological periods; 3) material culture, architecture and art, and groups of artifacts; 4) monuments; and 5) varia. These articles were written by prominent specialists, many of whom participated personally in the excavations of the relevant monuments or examined them on site.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. He advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or 'correspond', with one another in the generation of form. Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.