Herod Wielki i „nowa” Jerozolima
| dc.contributor.author | Maciudzińska-Kamczycka, Magdalena | |
| dc.date.accessioned | 2014-09-23T06:42:31Z | |
| dc.date.available | 2014-09-23T06:42:31Z | |
| dc.date.issued | 2013-12 | |
| dc.description | Summary: Herod the Great (73-4 B.C.E.) was a Roman client king of the small Jewish state Judaea in the last three decades before the common era. An essential aspect of Herod's reign was his role as a builder. Remarkably innovative, he created an astonishing record of architectural achievement, not only in Judaea but also throughout Greece and the Roman East. Herod’s own inclinations caused him to engage in a building program that paralleled that of his patron, Augustus. The most famous and ambitious project was the expansion of Jerusalem and rebuilding of the Second Temple. Josephus Flavius, a 1st-century Jewish historian, in his descriptions of the visual structure of Jerusalem delivers the picture of the Jewish society in the latter Second Temple Judaea, who were fundamentally antagonistic toward images. For Josephus, Roman iconography, such as Herod’s eagle from the Jerusalem Temple, represents not only political domination but also an unambiguous religious abomination. Visual conservatism in the public realm finds important verification in the excavated remains of Jerusalem’s Temple Mount and the Herodian Quarter (Upper City). Geometric patterns and forms predominate on the floor mosaic, stone furniture, in architectural detail and funerary remains. No human imagery is present in the Jewish context. However, Herodian structures in Jerusalem reflect the architectural and visual vocabulary of their time which contains popular elements of Roman domination in the ancient world. | pl_PL |
| dc.description.abstract | The focus of this paper will be on the Jewish experience with Roman art in the late Second Temple period, from Herod’s reign ( 37-4 B.C.E.) to the destruction of the Jerusalem Temple in 70 C.E. Herodian architecture of Jerusalem, existing in the archaeological artefacts and the writings of ancient authors, is reflective of both full Jewish participation in Roman art and a level of local conservatism. | pl_PL |
| dc.description.journaltitle | Studia Europaea Gnesnensia | pl_PL |
| dc.identifier.citation | Studia Europaea Gnesnensia, 8/2013, s.179-205. | pl_PL |
| dc.identifier.isbn | 978-83-7654-166-2 | |
| dc.identifier.issn | 2082-5951 | |
| dc.identifier.uri | http://hdl.handle.net/10593/11539 | |
| dc.language.iso | pl | pl_PL |
| dc.publisher | Instytut Kultury Europejskiej UAM w Gnieźnie oraz Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk | pl_PL |
| dc.subject | Jews | pl_PL |
| dc.subject | Judaism | pl_PL |
| dc.subject | Jerusalem | pl_PL |
| dc.subject | Herod The Great | pl_PL |
| dc.subject | Herodian Dynasty | pl_PL |
| dc.subject | The Late Second Temple Period | pl_PL |
| dc.subject | art | pl_PL |
| dc.subject | idolatry | pl_PL |
| dc.subject | anticonism | pl_PL |
| dc.subject | Flavius Josephus | pl_PL |
| dc.title | Herod Wielki i „nowa” Jerozolima | pl_PL |
| dc.title.alternative | Herod The Great And his building project of the “new” Jerusalem | pl_PL |
| dc.type | Artykuł | pl_PL |