The conclusion argues that Iron Age Levantine luxury arts played a central role in generating and maintaining community identities through their entanglement with human practices that forged collective memories. In particular, the artworks’ visual and formal effects, which can be understood as style, reside at the heart of these entanglements, catalyzing individual and collective experiences through their affective properties. Theories of materiality that underlie the book’s arguments are expanded upon and it is proposed that art and artistic styles contribute to the very formation of social communities. Some of the main conclusions derived from the different studies in the book include the need to question the autochthonous nature of style as bound to geographical locale and the problematic implications of using ethno-linguistic and geo-cultural designations, such as Phoenician, for artistic styles of the Iron Age Levant. The conclusion also proposes that over the course of the Iron Age, especially from the eighth century on, ethno-linguistic community identities became increasing entrenched, and it is the later textual legacy of these identities that has obscured the fluid, networked character of the earlier centuries.
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