This article explores how the priestly wilderness shrine functions as a monumental space in the sanctuary construction account of Exod 25–31, 35–40. It draws on spatial theory and studies of monumental architecture to identify five features of the tent of meeting that infuse it with monumentality: first, its significance in negotiating the pat…[Read more]

This article explores how the priestly wilderness shrine functions as a monumental space in the sanctuary construction account of Exod 25–31, 35–40. It draws on spatial theory and studies of monumental architecture to identify five features of the tent of meeting that infuse it with monumentality: first, its significance in negotiating the pat…[Read more]

This article explores how the priestly wilderness shrine functions as a monumental space in the sanctuary construction account of Exod 25–31, 35–40. It draws on spatial theory and studies of monumental architecture to identify five features of the tent of meeting that infuse it with monumentality: first, its significance in negotiating the pat…[Read more]

The early history of the study of Parthian art may be profitably divided into three overlapping phases. The first phase, ‘Ordering’, begins with Johann Joachim Winckelmann’s dismissive assessment of Parthian art, at this point known mainly from coins, as derivative and barbaric. The second phase, ‘Exploration’, begins in the mid-ninet…[Read more]

The early history of the study of Parthian art may be profitably divided into three overlapping phases. The first phase, ‘Ordering’, begins with Johann Joachim Winckelmann’s dismissive assessment of Parthian art, at this point known mainly from coins, as derivative and barbaric. The second phase, ‘Exploration’, begins in the mid-ninet…[Read more]

The early history of the study of Parthian art may be profitably divided into three overlapping phases. The first phase, ‘Ordering’, begins with Johann Joachim Winckelmann’s dismissive assessment of Parthian art, at this point known mainly from coins, as derivative and barbaric. The second phase, ‘Exploration’, begins in the mid-ninet…[Read more]

The early history of the study of Parthian art may be profitably divided into three overlapping phases. The first phase, ‘Ordering’, begins with Johann Joachim Winckelmann’s dismissive assessment of Parthian art, at this point known mainly from coins, as derivative and barbaric. The second phase, ‘Exploration’, begins in the mid-ninet…[Read more]