Problems of style

Princeton University Press

1992

406 p.

Contents: Machine derived contents note: Table of contents for Problems of style : foundations for a history of ornament / Alois Riegl ; translated by Evelyn Kain ; annotations, glossary, and introduction by David Castriota ; preface by Henri Zerner. -- Bibliographic record and links to related information available from the Library of Congress catalog -- Information from electronic data provided by the publisher. May be incomplete or contain other coding. -- List of Illustrations Translator's Note Preface Annotator's Introduction and Acknowledgments Introduction 3 Ch. 1 The Geometric Style 14 Ch. 2 The Heraldic Style 41 Ch. 3 The Introduction of Vegetal Ornament and the Development of the Ornamental Tendril 48 A Near Eastern 53 1 Egyptian. The Development of Vegetal Ornament 53 2 Mesopotamian 83 3 Phoenician 96 4 Persian 102 B Vegetal Ornament in Greek Art 104 1 Mycenaean. The Origin of the Tendril 106 2 The Dipylon Style 137 3 Melian 140 4 Rhodian 145 5 Early Boeotian and Early Attic 156 6 The Interlacing Tendril 161 7 The Development of the Tendril Frieze 172 8 The Further Development of the All-over Tendril Pattern 178 9 The Emergence of Acanthus Ornament 187 10 Hellenistic and Roman Tendril Ornament 207 a Two-Dimensional Palmette-Tendrils 214 b The Acanthus Tendril 220 Ch. 4 The Arabesque: Introduction 229 A Tendril Ornament in Byzantine Art 240 B Early Islamic Tendril Ornament 266 Annotations 307 Glossary of Terms and Concepts Used by Riegl 397 -- Library of Congress subject headings for this publication: Decoration and ornament History.

Written at the height of the arts and crafts movement in fin-de-siecle Vienna, Alois Riegl's Stilfragen represented a turning point in defining art and understanding the sources of its inspiration. Demonstrating an uninterrupted continuity in the history of ornament from the ancient Egyptian through the Islamic period, Riegl argued that the creative urge manifests itself in both "great art" and the most humble artifact, and that change is an inherent part of style. This new translation, which renders Riegl's seminal work in contemporary, readable prose, allows for a fresh reexamination of his thought in light of current revisionist debate." "His discovery of infinite variation in the restatement of several decorative motifs - the palmette, rosette, tendril - led Riegl to believe that art is completely independent from exterior conditions and is beyond individual volition. This thinking laid the groundwork for his famous concept of Kunstwollen, or artistic intention.

Английский