Abstract
An “international style” of shared motifs characterizes the luxury arts of the fourteenth and thirteenth centuries b.c.e. in the eastern Mediterranean. Scholarly pursuit of motif origination and transfer has obscured nuances of form and meaning in the ill-defined stylistic category. Shifting away from questions of artists and production, this study of prestige goods from the Syrian kingdom of Ugarit focuses on internal formal differences and variations of signification, fragmenting the classificatory boundaries of the “international style” and situating these objects within a dynamic multidimensional system of local and international status formation, promotion, and negotiation.
Published Version
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