Religious icons have been a contested terrain across the world. Their implications and understanding travel further than the artistic or the aesthetic and inform contemporary preoccupations.This book traces the lives of religious sculptures beyond the moment of their creation. It lays bare their purpose and evolution by contextualising them in their original architectural or ritual setting while also following their displacement. The work examines how these images may have moved during different spates of temple renovation and acquired new identities by being relocated either within sacred precincts or in private collections and museums, art markets or even desecrated and lost. The book highlights contentious issues in Indian archaeology such as renegotiating identities of religious images, reuse and sharing of sacred space by adherents of different faiths, rebuilding of temples and consequent reinvention of these sites. The author also engages with postcolonial debates surrounding history writing and knowledge creation in British India and how colonial archaeology, archival practices, official surveys and institutionalisation of museums has influenced the current understanding of religion, sacred space and religious icons. In doing so it bridges the historiographical divide between the ancient and the modern as well as socio-religious practices and their institutional memory and preservation. Drawn from a wide-ranging and interdisciplinary study of religious sculptures, classical texts, colonial archival records, British travelogues, official correspondences and fieldwork, the book will interest scholars and researchers of history, archaeology, religion, art history, museums studies, South Asian studies and Buddhist studies.

Built between 1855 and 1860, Oxford University Museum of Natural History is the extraordinary result of close collaboration between artists and scientists. Inspired by John Ruskin, the architect Benjamin Woodward and the Oxford scientists worked with leading Pre-Raphaelite artists on the design and decoration of the building. The decorative art was modelled on the Pre-Raphaelite principle of meticulous observation of nature, itself indebted to science, while individual artists designed architectural details and carved portrait statues of influential scientists. The entire structure was an experiment in using architecture and art to communicate natural history, modern science and natural theology. 'Temple of Science' sets out the history of the campaign to build the museum before taking the reader on a tour of art in the museum itself. It looks at the façade and the central court, with their beautiful natural history carvings and marble columns illustrating different geological strata, and at the pantheon of scientists. Together they form the world's finest collection of Pre-Raphaelite sculpture. The story of one of the most remarkable collaborations between scientists and artists in European art is told here with lavish illustrations.

In the Odes, Horace writes of his own work, “I have built a monument more enduring than bronze,”—a striking metaphor that hints at how the poetry and built environment of ancient Rome are inextricably linked. This fascinating work of original scholarship makes the precise and detailed argument that painted illustrations of the Trojan War, both public and private, were a collective visual resource for selected works of Virgil, Horace, and Propertius. Carefully researched and skillfully reasoned, the author’s claims are bold and innovative, offering a strong interpretation of the relationship between Roman visual culture and literature that will deepen modern readings of Augustan poets. The Museum of Augustus first provides a comprehensive reconstruction of paintings from the remaining fragments of the cycle of Trojan frescoes that once decorated the Temple of Apollo in Pompeii. It then finds the echoes of these paintings in the Augustan-dated Portico of Philippus, now destroyed, which was itself a renovation of Rome’s de facto temple of the Muses—in other words, a museum, both in displaying art and offering a meeting place for poets. It next examines the responses of the Augustan poets to the decorative program of this monument that was intimately connected with their own literary aspirations. The book concludes by looking at the way Horace in the Odes and Virgil in the Georgics both conceptualized their poetic projects as temples to rival the museum of Augustus.

Communicating archaeological heritage at the institutional level reflects on the current status of archeology, and a lack of communication between archaeologists and the general public only serves to widen the gap of understanding. As holders of this specific scientific expertise, effective openness and communication is essential to understanding how a durable future can be built through comprehension of the past and the importance of heritage sites and collections. Developing Effective Communication Skills in Archaeology is an essential research publication that examines archeology as a method for present researchers to interact and communicate with the past, and as a methods for identifying the overall trends in the needs of humanity as a whole. Presenting a vast range of topics such as digital transformation, artificial intelligence, and heritage awareness, this book is essential for archaeologists, journalists, heritage managers, sociologists, educators, anthropologists, museum curators, historians, communication specialists, industry professionals, researchers, academicians, and students.

This richly illustrated volume traces the history of this landmark building, documenting its varied functions and evolving architecture with rarely seen photographs and architectural plans.