Joern V . Lang

Universität Leipzig, Historisches Seminar, Klassische Archäologie und Antikenmuseum, Conservator

Followers

340

Following

126

Co-authors

Public Views

Studied Classical Archaeology, Ancient History and Cultural Anthropology at the Universities of Cologne, Bonn and Turin and took the degree M.A. from Cologne University in 2004. 2006 he completed the supplementary degree course Papyrology, Epigraphy and Numismatics. 2009 he received his Ph.D at the faculty of philosophy, University of Cologne (awarded with the prize of the Offermann-Hergarten-Foundation in 2013). 2009/ 2010 he held a Travelling Fellowship of the German Archaeological Institute. Until 2011 he was Research associate at faculty of philosophy, University of Cologne«. Since 2011 research fellow at the University of Leipzig, Classical Archaeology. In the term 2019/ 2020 fellow at the »Morphomata« International Center for Advanced Studies, University of Cologne. Since October 2022 Keeper at the Museum of Antiquities, Leipzig University. Since 2025 speaker of the centre for immaterial and material cultural Heritage, Leipzig University. Main research interests: Ancient housing; ancient glyptics; antiquarianism; reception of antiquity; figure and ornament in ancient art.
Phone: 0049 (0) 341 97-30702
Address: Ritterstr. 14
04109 Leipzig

less

InterestsView All (11)

Uploads

Papers by Joern V . Lang

Am Rande der Sichtbarkeit

Dietrich, Nikolaus, Müller, Rebecca und Telle, Mandy (Hrsg.): Künstlersignatur und Artefakt: Schriften, Materialien, Praktiken aus transkultureller Perspektive. 6. Jh. v. Chr. bis 15. Jh. n. Chr., Heidelberg: Heidelberg University Publishing, 2025 (Kulturelles Erbe: Materialität – Text – Edition ..., 2025

Among the artefacts from the ancient Mediterranean, precious stones decorated with images, the ge... more Among the artefacts from the ancient Mediterranean, precious stones decorated with images, the gems, are of particular importance not only because of the variety of their motifs. Rather, in the Hellenistic and Roman imperial periods, they were regarded as objects in which the beauty of nature was particularly condensed. The small size of the surfaces required a high degree of precision in their treatment. The enhancement of a natural visual effect through human alterations seems to have led to great admiration. At least this is suggested by the regular mentions of stone carvers in the literary sources in which gemstones and their pictorial representations are imagined. In addition to references to the perceptible characteristics of the object and the motif, there are also references to the name of the person who carved it: A human being inscribed itself in an object that was initially seen as the result of a natura artifex.

Download

Publikationen des Deutschen Archäologischen Instituts

Small Finds, 2024

Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Eine Nutzung ohne Zust... more Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Eine Nutzung ohne Zustimmung des Deutschen Archäologischen Instituts und/oder der jeweiligen Rechteinhaber ist nur innerhalb der engen Grenzen des Urheberrechtsgesetzes zulässig. Etwaige abweichende Nutzungsmöglichkeiten für Text und Abbildungen sind gesondert im Band vermerkt./This work, including all of its parts, is protected by copyright. Any use beyond the limits of copyright law is only allowed with the permission of the German Archaeological Institute and/or the respective copyright holders. Any deviating terms of use for text and images are indicated in the credits.

Download

Geschnittene Steine

U. Weinhold – Th. Witting, Goldschmiedekunst im Grünen Gewölbe Die Werke des 16. bis 19. Jahrhunderts. Bestandskatalog (Dresden 2024), 2024

Aneignung im Bild – nicht Objekt. Visualisierungen antiker Gemmen in der frühneuzeitlichen Druckgraphik

De Gruyter eBooks, May 6, 2024

Until the turn of the 19th to the 20th century, all archaeological artefacts – including pictoria... more Until the turn of the 19th to the 20th century, all archaeological artefacts – including pictorially deco-rated precious stones, so-called gems – relied heavily on printed works for dissemination. This chapter focuses on the question of visual strategies of gem-presentation in early modern prints from the 16th to the 18th century. The arguments will be developed in two directions: firstly, with regard to the relation-ship between the object itself, the figurative motifs, and their graphic reproduction and secondly, with regard to the compositional aspects of the prints themselves. Of the three central aspects of ancient gems – multi-coloured variation, form, and plasticity of their pictorial representations – the print works concentrated entirely on the motifs. Here a certain standardisation in the sense of simple line drawings can be observed. Formal reduction resulted not least from reasons of representability of the tiny miniature views. Simultaneous enlargement meant that motifs on the engravings could emerge with particular clarity. The presentation of ancient gems was thus even more strongly associated with an aesthetic of line art than all other objects of the ancient world.

Tiefenwärts. Archäologische Imaginationen von Dichtern

Zabern Verlag, 2013

Aus der Frühzeit archäologischer Wissenschaften – Ein Kabinett mit Schwefelabgüssen nach antiken Gemmen

Festgabe zur Winckelmannsfeier Leipzig, 2022

Neben den seit 1840 in Leipzig eingetroffenen griechischen Gefäßen und Gipsabgüssen befindet sich... more Neben den seit 1840 in Leipzig eingetroffenen griechischen Gefäßen und Gipsabgüssen befindet sich im Bestand des als Lehr-und Studiensammlung gegründeten Antikenmuseums ein Zeugnis, das der Zeit des institutionalisierten akademischen Lehrbetriebs vorausgeht. Es weist zwar nicht ganz in die Lebenszeit des jährlich Geehrten Johann Joachim Winckelmann (1717-1768), darf aber dennoch als charakteristisch für diese gelten. Etwa um 1800 entstand der rechteckige, geschlossene Holzkasten mit elf Schubladen, in denen sich noch 432 rote Schwefelabgüsse befinden (Abb. 1. 2) 1. Diese reproduzieren bildliche Darstellungen, die in antike und neuzeitliche Edelsteine geschnitten worden waren 2. Im 18. Jahrhundert stellten sie eine der bedeutendsten Zugangsformen zur antiken Bilder-und Vorstellungswelt dar und konnten in der Erforschung des antiken Mittelmeerraums einen herausgehobenen Rang für sich bean spruchen. Winckelmann selbst arbeitete bereits um die Mitte des 18. Jahrhunderts bei der Erstellung seines Katalogs der berühmten Gemmensammlung des Barons Philipp von Stosch (1691-1757) mit solchen Schwefelabgüssen 3. Er ist damit Vertreter einer Entwicklung, als deren Folge Kupferstiche ab Mitte des Jahrhunderts zunehmend als unzureichende Form für das Studium antiker Gemmen angesehen wurden. Sammlungen solcher Abdrücke und Abgüsse wurden nach dem lateinischen, durch Plinius den Älteren (gest. 79 n. Chr.) eingeführten Kunstwort dactyliotheca(e) als Daktyliotheken bezeichnet 4. Sie vereinten Abdrücke und Abgüsse nach antiken Gemmen und versammelten damit die Welt antiker Götter, Helden, Menschen und Dinge auf kleinstem Raum 5 .

Download

"Niemand weiß, was für ein Mensch er war". Philipp von Stosch (1691–1757) und die Leidenschaft des Sammelns im Spiegel von Selbst- und Fremdzeugnissen

Ch. Loeben – W. Cortjaens (Hrsg.), Queer Archeology. Winkelmann and his Passionate Followers - Queer Archaeology, Egyptology and the History of Arts since 1750 (Rahmen 2022) 268–287, 2022

Combinazioni di Motivi e Simboli Considerazioni Sul Narrare Nella Glittica Romana

Fabrizio Serra, 2018

Im Alltag der Bilder innerhalb des römischen Reiches fallen neben bildlichen Darstellungen Mythos... more Im Alltag der Bilder innerhalb des römischen Reiches fallen neben bildlichen Darstellungen Mythos, des Alltags oder politischen Inhalts, solche ins Auge, die aus einer Kombination verschiedener Bildmotive bzw. Symbole bestehen. In einigen Fällen sind solche Kombinationen von Bildmotiven auf politische Aussagen verengt, wie etwa solche mit dem Haupt des Ottaviano. In zahlreichen anderen Fällen bestehen die Bildmotive dagegen aus einer Mischung von Figuren wie Eroten oder Victorien, Tieren und unbelebten Gegenständen. Für sie stellt sich die Frage nach den Möglichkeiten einer semantischen Verbindung zwischen den einzelnen Bildelementen. Anhand von Fallbeispielen von Gemmen der späten Republik und frühen Kaiserzeit soll überlegt werden, ob die Bildelemente jeweils einzeln gelesen wurden bestimmte Kombinationen bzw. Kompositionen die Absicht erkennen lassen, als Narrativ zusammengefügt zu werden. Von besonderem Interesse ist dabei, welches Verständnis antiker Bilder sich aus dem Spannungsverhältnis zwischen dem Modus bildlich-linearen Erzählens und dem auf den ersten Blick stärker symbolisch-assoziativ geprägten Erscheinungsbild der hier betrachteten Darstellungen für den Begriff des “Erzählens durch” bzw. ”Lesens von” Bildern ergibt.

Gems, Cameos, and Social Practice

The Oxford Handbook of Roman Imagery and Iconography, 2021

This chapter focuses on the social practice of Roman images in the form of engraved gems and came... more This chapter focuses on the social practice of Roman images in the form of engraved gems and cameos. They were carried along on the body of their owner, so that the way they were perceived was highly flexible. The function of the representations was thus not limited to spatially fixed contexts of perception and could potentially function in all social configurations in which their wearer interacted socially. This essay aims to consider gems and cameos as objects within social spheres of activity. The starting point is the use of the objects. This makes it possible at least to limit the social interactions into which the images were integrated. Following upon this functional approach and an overview of common pictorial motifs, examples of possible ways these representations were concretely integrated to social practices will be shown. To this end, both outwardly directed functions such as social status or affiliation with a social group as well as actor-oriented aspects such as perso...

Mit Wissen geschmückt?

Daß die zahlreichen Bildnisse und Bilder aus dem Osten des Mittelmeerraumes die sozialen und poli... more Daß die zahlreichen Bildnisse und Bilder aus dem Osten des Mittelmeerraumes die sozialen und politischen Verhaltensweisen nicht im Sinne eines Ursache-Wirkung-Prinzipes verändert haben, wie Flaig a. O. 92 f. feststellt, ist zwar plausibel, das Bild des antiken Alltages prägten sie dennoch entscheidend mit. 7 Vgl. H.-J. Gehrke, Römischer Nomos und griechische Ethik, Historische Zeitschrift 258, 1994, 593-622; U. Gotter, Cicero und die Freundschaft. Die Konstruktion sozialer Normen zwischen römischer Politik und griechischer Philosophie, in: H.-J. Gehrke-A. Möller (Hrsg.), Vergangenheit und Lebenswelt (Tübingen 1996) 339-360; ders., Ontologie versus exemplum. Griechische Philosophie als politisches Argument in der späten römischen Republik, in: Piepenbrink 2003, 165-185. 8 Vgl. die Skizze der wesentlichen Determinanten dieses Prozesses bei P. Scholz, Senatorisches Mäzenatentum, in: U. Oevermann-J. Süßmann-C. Tauber (Hrsg.), Die Kunst der Mächtigen und die Macht der Kunst (Berlin 2007) 195-216. Ein prominentes Beispiel für diese Ambivalenz ist die Person des älteren Cato, welcher einerseits Kritiker des Kultureinflusses, andererseits Schüler griechischer Kultur war. Vgl. E. S. Gruen, Culture and National Identity in Republican Rome (Ithaca 1992) 61; G. Garbarino, Roma e la Filosofia Greca dalle Origini alla Fine del II Secolo A.C. I (Turin 1973) 73-77 Nr. 55-65; M. Jehne, Cato und die Bewahrung der traditionellen res publica, in: Vogt-Spira u. a. 1999, 115-134, insbes. 122-127. 9 Vgl. B. Borg-C. Witschel, Veränderungen im Repräsentationsverhalten der römischen Eliten während des 3. Jhs. n. Chr., in: G. Alföldy-S. Panciera (Hrsg.), Inschriften und Denkmäler als Medien (Stuttgart 2001) 112 f. Verwiesen sei auch auf den Einzug der Tracht des pal lium in die repräsentative Darstellungen der Kaiser. Vgl. Ewald 1999, 14 f. Anm. 34 mit Beispielen. Er bemerkt ebd. 15 f. zurecht, daß im 2. und 3. Jh. n. Chr. das pallium zwar zu einem verbreiteten Alltagsgewand geworden war, es aber auch in dieser Zeit noch eindeutig zur Kennzeichnung intellektuell tätiger Personen diente.

Download

Non Arte, Sed Naturae? Remarks on Roman Cameos and their Visual Effects

Materiality in Roman Art and Architecture, 2021

In the aesthetic evaluation of objects, a regular conflict (one that dates back to antiquity) has... more In the aesthetic evaluation of objects, a regular conflict (one that dates back to antiquity) has been constructed between material as the passive object of human craftsmanship and the primacy of the material itself. In this conflict, primacy must be held by either the craftsmanship or the material's own qualities. Precious stones, however, represent a vivid example of the vagueness in this supposedly sharply defined opposition. Following the idea that is transmitted in the textual sources-namely, that both material and design have a share in the perception of jewels and contribute to their value-the following discussion will attempt to trace the optical effect of precious stones in the context of Roman society. The first step is to the relationship between materiality and optical appearance on a physical-phenomenological level (1), in the second step, the handling of the material will be focused upon (2). On the premise that natural materials do not have a solely ontological meaning (that is, a meaning limited to the statements they make), and that their perception does not always necessitate someone 'understanding them as' something, both of these perspectives will finally be brought together (3). In doing so, the relationship between naturalmaterial disposition, artificial modification, perception and cultural significance will be taken into account.

Download

Ornamentale Grenzfälle

Corpus Vasorum Antiquorum, Österreich, Beiheft 2

Antiquarische Wissensordnung und Verfahren ihrer Präsentation in Anton Francesco Goris Museum Florentinum und Museum Etruscum

Share-copy and redistribute the material in any medium or format Adapt-remix, transform, and buil... more Share-copy and redistribute the material in any medium or format Adapt-remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms Attribution-You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use Non-Commercial-You may not use the material for commercial purposes ShareAlike-If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original No additional restrictions-You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Open Access Policy This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.

Download

Images worn and transcribed : Roman gems as reflections of iconographic and cultural tradition(s)

This study aims to describe the strategy of planning, implementing and evaluating the results of ... more This study aims to describe the strategy of planning, implementing and evaluating the results of an authentic assessment of the 2013 curriculum for PAI (Islamic Studies) subjects and budi pekerti (ethics and character). This type of research is qualitative research. The subjects of the study were VII grade PAI teachers, grade VII guardians and Counseling Guidance teachers. Data collection through observation, interview, documentation study, and triangulation. Data analysis uses data reduction, data display, and conclusion drawing. The results of the study show: Planning an authentic assessment of the 2013 curriculum for PAI and Budi Pekerti subjects is still not optimal. Teachers of PAI subjects do not compile the midterm and daily assessment scores and do not plan portfolio assessments. The application of an authentic assessment of the 2013 PAI curriculum and Budi Pekerti has not run optimally. PAI subject teachers do not use observation sheets or journals and do not apply self-assessment, peer assessment, project appraisal, and portfolio assessment. Authentic assessment of the 2013 PAI and Budi Pekerti curriculum for 280 students. Assessment of attitudes for 27 students obtaining the category "Very Good", 251 students got "Good" grades and 2 students got the category "Enough". Assessment for knowledge competencies, range in value from 91-100 (2 students), 81-90 (48 students), and 71-80 (230 students), average score of 79 predicates C. Assessment of skills competency, range of grades 81-90 (88 students), and 71-80 (192 students), average score of 77, predicate C.

Download

Bekannte Unbekannte: Bildniswiederholungen in der spätrepublikanischen Glyptik

Th. Greub – M. Roussell (Hrsg.), Figurationen des Porträts (Paderborn 2018), 2018

Download

Götz Lahusen (†), Römische Bildnisse. Auftraggeber, Funktionen, Standorte

Rezension zu: Gotz Lahusen (†), Romische Bildnisse. Auftraggeber, Funktionen, Standorte. Verlag P... more

Download

Gems, Cameos, and Social Practice

L. Cline – N. Elkins (Hrsg.), The Oxford Handbook of Roman Imagery and Iconography, 2022

This chapter focuses on the social practice of Roman images in the form of engraved gems and came... more This chapter focuses on the social practice of Roman images in the form of engraved gems and cameos. They were carried along on the body of their owner, so that the way they were perceived was highly flexible. The function of the representations was thus not limited to spatially fixed contexts of perception and could potentially function in all social configurations in which their wearer interacted socially. This essay aims to consider gems
and cameos as objects within social spheres of activity. The starting point is the use of the objects. This makes it possible at least to limit the social interactions into which the images were integrated. Following upon this functional approach and an overview of common pictorial motifs, examples of possible ways these representations were concretely integrated to social practices will be shown. To this end, both outwardly directed functions such as social status or affiliation with a social group as well as actor-oriented aspects such as personal commemoration or the desire for individual protection are considered.

Purple Stones. Pliny on Amethysts

A. Anguissola – A. Grüner (Hrsg.), The Nature of Art. Pilny the Elder on Materials, 2020

Zwischen Mittelmeer und Mitteldeutschland. Antiquitates im Kontext sächsischer Sammlungen bis ins 18. Jahrhundert 77

Th. Greub – S. Kloß – Th. Schröder (Hrsg.), Kontextwechsel und Bedeutung, 2021

Non Arte, Sed Naturae? Remarks on Roman Cameos and their Visual Effects

Materiality in Roman Art and Architecture Aesthetics, Semantics and Function, 2022

$The precision of Pliny’s observation allows us to identify the material as fluorite (calcium fluoride, CaF,), a mineral belonging to the halide class”*. With a degree of hardness of four on the Mohs scale, this mineral is comparatively easy to work with. The 1% century A.D. ‘Barber Cup’ (Fig. 2), a vessel decorated with vine branches, is held in the British Museum in London and is one of the few surviv- ing ancient objects made from this material?*. The small number and high quality of the surviving pieces in fluorite emphasise, from the perspective of the material legacy, that they were almost certainly considered sumptuous luxury objects**. By applying a direct source of light to the stone, it is possible to observe how crimson and white blend together and refraction of the light produces a rainbow effect. This effect is particularly noticeable when the vessel is rotated, an optical effect also recognised by Pliny, who described this movement using the verb circumagere’>. This passage demonstrates that the vessel was actively used, as only then could the effect be observed’®. The precision of Pliny’s observation allows us to identify the material as fluorite (calcium fluoride,$

Download

Joern V . Lang

Uploads

Papers by Joern V . Lang

Log In