Showing posts with label CulturalHeritage. Show all posts
Showing posts with label CulturalHeritage. Show all posts

Wednesday, November 11, 2026

The City Beneath The Sand: Lost Civilizations of The Sahara

CC BY-SA 3.0, via Wikimedia Commons

Imagine a city buried beneath the sand, its secrets hidden for centuries, waiting to be discovered. This is no mere fantasy; it is the reality of the Sahara Desert, a place more mysterious and full of history than one might expect. The Sahara, often thought of as a barren wasteland, is actually a treasure trove of ancient civilizations that once thrived where now only sand dunes remain. These lost civilizations offer a glimpse into a past where the desert was not always a desert, and where life flourished in ways that are both surprising and inspiring.…..Continue reading….

By:Trizzy Orozco

Source: Discover Wild Science

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Critics:

The purpose of archaeology is to learn more about past societies and the development of the human race. Over 99% of the development of humanity has occurred within prehistoric cultures, who did not make use of writing, thereby no written records exist for study purposes. Without such written sources, the only way to understand prehistoric societies is through archaeology.

Because archaeology is the study of past human activity, it stretches back to about 2.5 million years ago when the first stone tools are found – The Oldowan Industry. Many important developments in human history occurred during prehistory, such as the evolution of humanity during the Paleolithic period, when the hominins developed from the australopithecines in Africa and eventually into modern Homo sapiens.

Archaeology also sheds light on many of humanity’s technological advances, for instance the ability to use fire, the development of stone tools, the discovery of metallurgy, the beginnings of religion and the creation of agriculture. Without archaeology, little or nothing would be known about the use of material culture by humanity that pre-dates writing.

However, it is not only prehistoric, pre-literate cultures that can be studied using archaeology but historic, literate cultures as well, through the sub-discipline of historical archaeology. For many literate cultures, such as Ancient Greece and Mesopotamia, their surviving records are often incomplete and biased to some extent. In many societies, literacy was restricted to the elite classes, such as the clergy, or the bureaucracy of court or temple.

The literacy of aristocrats has sometimes been restricted to deeds and contracts. The interests and world-view of elites are often quite different from the lives and interests of the populace. Writings that were produced by people more representative of the general population were unlikely to find their way into libraries and be preserved there for posterity.

Thus, written records tend to reflect the biases, assumptions, cultural values and possibly deceptions of a limited range of individuals, usually a small fraction of the larger population. Hence, written records cannot be trusted as a sole source. The material record may be closer to a fair representation of society, though it is subject to its own biases, such as sampling bias and differential preservation.

Often, archaeology provides the only means to learn of the existence and behaviors of people of the past. Across the millennia many thousands of cultures and societies and billions of people have come and gone of which there is little or no written record or existing records are misrepresentative or incomplete. Writing as it is known today did not exist in human civilization until the 4th millennium BC, in a relatively small number of technologically advanced civilizations.

In contrast, Homo sapiens has existed for at least 200,000 years, and other species of Homo for millions of years (see Human evolution). These civilizations are, not coincidentally, the best-known; they are open to the inquiry of historians for centuries, while the study of pre-historic cultures has arisen only recently. Within a literate civilization many events and important human practices may not be officially recorded.

Any knowledge of the early years of human civilization – the development of agriculture, cult practices of folk religion, the rise of the first cities – must come from archaeology. In addition to their scientific importance, archaeological remains sometimes have political or cultural significance to descendants of the people who produced them, monetary value to collectors, or strong aesthetic appeal. Many people identify archaeology with the recovery of such aesthetic, religious, political, or economic treasures rather than with the reconstruction of past societies.

This view is often espoused in works of popular fiction, such as Raiders of the Lost Ark, The Mummy, and King Solomon’s Mines. When unrealistic subjects are treated more seriously, accusations of pseudoscience are invariably levelled at their proponents (see Pseudoarchaeology). However, these endeavours, real and fictional, are not representative of modern archaeology. An archaeological investigation usually involves several distinct phases, each of which employs its own variety of methods.

Before any practical work can begin, however, a clear objective as to what the archaeologists are looking to achieve must be agreed upon. This done, a site is surveyed to find out as much as possible about it and the surrounding area. Second, an excavation may take place to uncover any archaeological features buried under the ground. And, third, the information collected during the excavation is studied and evaluated in an attempt to achieve the original research objectives of the archaeologists.

It is then considered good practice for the information to be published so that it is available to other archaeologists and historians, although this is sometimes neglected. Archaeological excavation existed even when the field was still the domain of amateurs, and it remains the source of the majority of data recovered in most field projects. It can reveal several types of information usually not accessible to survey, such as stratigraphy, three-dimensional structure, and verifiably primary context.

Modern excavation techniques require that the precise locations of objects and features, known as their provenance or provenience, be recorded. This always involves determining their horizontal locations, and sometimes vertical position as well (also see Primary Laws of Archaeology). Likewise, their association, or relationship with nearby objects and features, needs to be recorded for later analysis.

This allows the archaeologist to deduce which artifacts and features were likely used together and which may be from different phases of activity. For example, excavation of a site reveals its stratigraphy; if a site was occupied by a succession of distinct cultures, artifacts from more recent cultures will lie above those from more ancient cultures. Once artifacts and structures have been excavated, or collected from surface surveys, it is necessary to properly study them.

This process is known as post-excavation analysis, and is usually the most time-consuming part of an archaeological investigation. It is not uncommon for final excavation reports for major sites to take years to be published. At a basic level of analysis, artifacts found are cleaned, catalogued and compared to published collections. This comparison process often involves classifying them typologically and identifying other sites with similar artifact assemblages.

However, a much more comprehensive range of analytical techniques are available through archaeological science, meaning that artifacts can be dated and their compositions examined. Bones, plants, and pollen collected from a site can all be analysing using the methods of zooarchaeology, paleoethnobotany, palynology and stable isotopes while any texts can usually be deciphered. These techniques frequently provide information that would not otherwise be known, and therefore they contribute greatly to the understanding of a site.

Thursday, November 5, 2026

Michelangelo: The Last Decades Review

Trustees of the British Museum

The final section of the British Museum’s exhibition Michelangelo: The Last Decades is circular and enclosed. The walls are black and the light low. The feeling is of being in a small chapel: if a person was to speak in this space, they would surely whisper – though my instinct was for absolute silence. The work on display here, made in the last 30 years of the artist’s long life, is so far beyond the meaning bestowed by words, and even if it wasn’t, who could improve on those of Michelangelo himself?….Story continues….

By:

Source:  The Guardian

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Critics: 

The Madonna of the Stairs is Michelangelo’s earliest known work in marble. It is carved in shallow relief, a technique often employed by the master-sculptor of the early 15th century, Donatello, and others such as Desiderio da Settignano. While the Madonna is in profile, the easiest aspect for a shallow relief, the child displays a twisting motion that was to become characteristic of Michelangelo’s work.

The Taddei Tondo of 1502 shows the Christ Child frightened by a Bullfinch, a symbol of the Crucifixion.The lively form of the child was later adapted by Raphael in the Bridgewater Madonna. The Madonna of Bruges was, at the time of its creation, unlike other such statues depicting the Virgin proudly presenting her son. Here, the Christ Child, restrained by his mother’s clasping hand, is about to step off into the world.

 The Doni Tondo, depicting the Holy Family, has elements of all three previous works: the frieze of figures in the background has the appearance of a low-relief, while the circular shape and dynamic forms echo the Taddeo Tondo. The twisting motion present in the Madonna of Bruges is accentuated in the painting. The painting heralds the forms, movement and colour that Michelangelo was to employ on the ceiling of the Sistine Chapel.

The kneeling Angel is an early work, one of several that Michelangelo created as part of a large decorative scheme for the Arca di San Domenico in the church dedicated to that saint in Bologna. Several other artists had worked on the scheme, beginning with Nicola Pisano in the 13th century. In the late 15th century, the project was managed by Niccolò dell’Arca. An angel holding a candlestick, by Niccolò, was already in place.

Although the two angels form a pair, there is a great contrast between the two works, the one depicting a delicate child with flowing hair clothed in Gothic robes with deep folds, and Michelangelo’s depicting a robust and muscular youth with eagle’s wings, clad in a garment of Classical style. Everything about Michelangelo’s Angel is dynamic.

Michelangelo’s Bacchus was a commission with a specified subject, the youthful God of Wine. The sculpture has all the traditional attributes, a vine wreath, a cup of wine and a fawn, but Michelangelo ingested an air of reality into the subject, depicting him with bleary eyes, a swollen bladder and a stance that suggests he is unsteady on his feet. While the work is plainly inspired by Classical sculpture, it is innovative for its rotating movement and strongly three-dimensional quality, which encourages the viewer to look at it from every angle.

In the so-called Dying Slave, Michelangelo again utilised the figure with marked contrapposto to suggest a particular human state, in this case waking from sleep. With the Rebellious Slave, it is one of two such earlier figures for the Tomb of Pope Julius II, now in the Louvre, that the sculptor brought to an almost finished state. These two works were to have a profound influence on later sculpture, through Rodin who studied them at the Louvre.

 The Atlas Slave is one of the later figures for Pope Julius’ tomb. The works, known collectively as The Captives, each show the figure struggling to free itself, as if from the bonds of the rock in which it is lodged. The works give a unique insight into the sculptural methods that Michelangelo employed and his way of revealing what he perceived within the rock. The Sistine Chapel ceiling was painted between 1508 and 1512. The ceiling is a flattened barrel vault supported on twelve triangular pendentives that rise from between the windows of the chapel.

The commission, as envisaged by Pope Julius II, was to adorn the pendentives with figures of the twelve apostles. Michelangelo, who was reluctant to take the job, persuaded the Pope to give him a free hand in the composition. The resultant scheme of decoration awed his contemporaries and has inspired other artists ever since. The scheme is of nine panels illustrating episodes from the Book of Genesis, set in an architectonic frame. On the pendentives, Michelangelo replaced the proposed Apostles with Prophets and Sibyls who heralded the coming of the Messiah.

Michelangelo began painting with the later episodes in the narrative, the pictures including locational details and groups of figures, the Drunkenness of Noah being the first of this group. In the later compositions, painted after the initial scaffolding had been removed, Michelangelo made the figures larger. One of the central images, The Creation of Adam is one of the best known and most reproduced works in the history of art.

The final panel, showing the Separation of Light from Darkness is the broadest in style and was painted in a single day. As the model for the Creator, Michelangelo has depicted himself in the action of painting the ceiling.As supporters to the smaller scenes, Michelangelo painted twenty youths who have variously been interpreted as angels, as muses, or simply as decoration. Michelangelo referred to them as “ignudi”.

The figure reproduced may be seen in context in the above image of the Separation of Light from Darkness. In the process of painting the ceiling, Michelangelo made studies for different figures, of which some, such as that for The Libyan Sibyl have survived, demonstrating the care taken by Michelangelo in details such as the hands and feet. The Prophet Jeremiah, contemplating the downfall of Jerusalem, is a self-portrait.

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