An iconological analysis of British gold staters, c.80 BC - AD 45
The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis
Claxton, Justin
Iconography ; coins ; Britain: Southern ; late pre-Roman Iron Age ; Gold Staters ; iconographic analysis
An iconological analysis of British gold staters, c.80 BC - AD 45. The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis
analysis british gold examines form motifs derive reconstruction gold type strike within geographical_region across southeastern england highlight emerge presence iconographic repertoire across southern_britain late_pre roman iron_age gold remain_important aspect phenomenon demonstrate medium particularly metalwork new art form supplement supplant exist type non_representational style art suggest presence type object continue decorate fashion throughout absence type establish coherent method iconographic_analysis adopt order_provide framework analysis whilst retention acts interpretation justified post_structuralist critique method expose fundamental theoretical shortcoming regard interpretation meaning contrast precede interpretation iconographical data inference make upon basis