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First Evaluations on the Mosaic Depicting of the Twelve Works of Herakles in the Great Bath Complex of Syedra 西德拉大浴群中赫拉克勒斯十二件作品的马赛克描绘初探
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376778
Hatice ERGÜRER
Dağlık Kilikya Bölgesi’nin en görkemli kentleri arasında yer alan Syedra Antik Kenti, Alanya İlçesi, Seki Köyü sınırları içerisindedir. İsmini Sedre Çayı’ndan aldığı düşünülen kent, oldukça yüksek bir tepe üzerine konumlandırılmıştır. Kentte 2019 yılında başlatılan ilk sistemli kazılar, sütunlu caddenin hemen güneyinde bulunan Büyük Hamam kompleksinin frigidaryum bölümünde gerçekleştirilmiştir. Bu alanda yürütülen çalışmalar sırasında opus tessellatum tekniğinde yapılmış, 7.9 m genişliğe ve 21.91 m uzunluğa sahip, eşine nadir rastlanabilecek bir taban mozaiği ile karşılaşılmıştır. Siyah zemin üzerine çok renkli tesseraların kullanılmasıyla oluşturulmuş geometrik desenli bir bordürle çevrelenen taban mozaiğinde, Herakles’in on iki işinin betimlendiği görülmüştür. Kilikya ve diğer çevre bölgelerde bir benzerine henüz rastlanmayan söz konusu mozaiğe yönelik bu çalışma, ilk değerlendirmeleri içermektedir. Mozaiğin üslup özelliklerini belirleyen geometrik ve figüratif bezemeler ışığında yakın bölgedeki benzer örneklerle karşılaştırılarak yapım tarihinin tespiti ve çevre kentlerdeki diğer atölyelerle etkileşimin var olup olmadığının belirlenmesi amaçlamaktadır. Bu doğrulta yapılan incelemeler Syedra’daki Herakles mozaiğinin üslup özellikleri açısından özellikle Zeugma ve Antioch/Antakya mozaikleri ile benzerlik taşıdığını ve İS 3. yüzyıl başlarına tarihlendirilmesinin yerinde olabileceğini düşündürtmektedir.
塞德拉古城(Syedra Ancient City)是西里西亚山区最宏伟的城市之一,位于阿兰亚地区塞基村(Seki Village)境内。这座被认为是以塞德雷溪流命名的城市位于一座非常高的山丘上。2019 年开始的首次系统性发掘是在柱廊街以南的大浴场建筑群的冷藏室部分进行的。在这一区域的发掘过程中,我们发现了一个罕见的以 opus tessellatum 技术制作的地板马赛克,宽 7.9 米,长 21.91 米。地面马赛克的四周是由黑底多色魔方组成的几何图案边框,描绘了赫拉克勒斯的十二件作品。本研究首次对这种马赛克进行了评估,在西利西亚和其他邻近地区尚未发现这种马赛克。几何和形象装饰决定了马赛克的风格特征,本研究旨在通过将其与附近地区的类似作品进行比较来确定其建造年代,并确定其是否与周边城市的其他作坊有相互影响。在这个方向上进行的分析表明,赛德拉的赫拉克勒斯马赛克在风格特征上与宙格玛和安提阿/安塔基亚的马赛克相似,将其年代定为公元 3 世纪早期可能是合适的。
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引用次数: 0
Rhodiapolis Piskoposluk Kilisesi Mozaikleri 罗迪亚波利斯-皮斯科普斯卢克-基利塞西-莫扎伊克勒伊(Rhodiapolis Piskoposluk Kilisesi Mozaikleri
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376871
Şehrigül YEŞİL
Rhodiapolis antik kentinin (Kumluca, Antalya) akropolisinde yer alan üç nefli kilise, batısında narteks, doğusunda apsis ve yan mekânlarıyla erken dönemin klasik bazilika plan tipine sahiptir. 2007 yılında başlayan kazılarda kilisenin narteks, orta ve yan nefleri ile prothesis bölümlerinde opus tessellatum tekniğindeki geometrik desenlerden oluşan mozaikler ortaya çıkarılmıştır. Mozaiklerin tümü mermer, kireç taşı ve pişmiş toprak malzemeden düzgün kesilmiş küp biçimli polykrom tesserae ile yapılmıştır. Pano desenlerinin ortak özelliği, beyaz zemin üzerine sarı, kırmızı, pembe, bordo, mavi renkler kullanılarak oluşturulmuş geometrik desenlerin, üç boyutlu bir etki yaratacak şekilde gölgelendirilerek işlenmiş olması ve bunların siyah veya siyaha yakın gri renkli tesserae ile sınırlanmış olmasıdır. Farklı geometrik düzenlemelere sahip on panodan oluşan kuzey nefte ve kesintisiz devam eden tek bir panodan oluşan güney nefte bordür kullanılmamıştır. Prothesis ve orta nefte panolar bordür kullanılarak kapalı bir formda düzenlenmiştir. Nartekste ise, mekân üç ana panoya bölünmüş ve sadece kuzeydeki iki panoda bordür kullanılmıştır. Ayrıca ana desenlerin işçiliklerindeki kalite mekânlara göre farklılık gösterir. Bu farklılıklar kilise mekânlarına ait taban mozaiklerindeki farklı atölyelere işaret eder. Rhodiapolis Kilisesi mozaiklerinde kullanılan Geç Antik Dönem repertuarından seçilmiş desenlerin yakın benzerleri, genellikle 5. yüzyıl ve 6. yüzyıl başına tarihlenen mozaiklerde görülür. Ancak yakın yerleşmeler dikkate alındığında, bu mozaiklerin 5. yüzyıla ait oldukları söylenebilir.
这座三凹面教堂位于罗迪亚波利斯古城(安塔利亚库姆卢卡)的卫城上,采用了早期古典大教堂的平面布局,西侧为中厅,东侧为天顶,两侧为空间。在 2007 年的发掘工作中,在教堂的中厅、中殿、侧殿和顶楼部分发掘出了以 opus tessellatum 技术绘制的几何图案马赛克。镶板图案的共同特点是,白底黄、红、粉红、酒红、酒红和蓝色的几何图案通过阴影营造出三维效果,并用黑色或接近黑色的灰色瓷砖镶边。北中堂由十块不同几何排列的镶板组成,南中堂由一块不间断的镶板组成,均未使用边框。主殿和中殿的镶板采用了封闭式排列,使用了边框。而在中堂,空间被分为三个主要的板块,只有北面的两个板块使用了边框。此外,主要设计的工艺质量也因空间而异。这些差异表明,教堂空间的地面马赛克是由不同的作坊制作的。罗迪阿波利斯教堂马赛克中使用的晚期古董图案与一般可追溯到 5 世纪和 6 世纪早期的马赛克图案有相似之处。不过,考虑到附近的定居点,这些马赛克的年代可以追溯到 5 世纪。
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引用次数: 0
Sinop Balatlar Kilisesi Örnekleri Işığında Erken Bizans Dönemi Mozaiklerindeki Kuş Figürlerinin İkonografisi 从西诺普-巴拉特拉尔教堂的实例看早期拜占庭马赛克中的鸟类图像
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376816
Ozan HETTO
Bu çalışmanın konusunu Sinop Balatlar Kilisesi Kazısında açığa çıkarılan adak mozaiklerinde görülen kuş figürleri ve ikonografileri oluşturmaktadır. 2016-2021 yılları arasında yürütülen kazı çalışmaları sonucunda açığa çıkarılan 10 farklı panodan oluşan Balatlar mozaikleri Yunanca yazıtlarından da anlaşıldığı üzere belli kişilerin adakları için yapılmıştır. Bulunduğu mekan ve yapılış gayesi bu mozaiklerin ikonografilerinin şekillenmesinde en önemli kilit noktasını oluşturmaktadır. Paganizm etkilerinden sıyrılarak Hristiyan bir kimlik kazanmayı hedefleyen erken Bizans mozaik sanatının tümünde olduğu gibi Balatlar Kilisesi mozaiklerinde de sadeleşme ve geometrik formlar içerisinde sınırlandırılmış alanlarda figürlerin tasvir edildiği görülmektedir. Kuş figürü dışında herhangi bir figüratif süsleme ile karşılaşılmayan Balatlar mozaik örneklerinde 10 farklı cinsten 42 kuş figürünün tasvir edildiği görülür. Kartal, güvercin, keklik, horoz/tavuk, kumru, papağan, leylek, ördek ve çeşitli ötücü kuşların yer aldığı mozaiklerde bu figürlerin tek başlarına ya da birlikte tasvir edildikleri kompozisyona göre çeşitli ikonografik anlamlara geldikleri görülmektedir. Bilindiği üzere dünya sanat tarihi içerisinde pek çok farklı anlam ile özdeşleştirilen kuş figürleri her dönemde olduğu gibi Hristiyan sanatında da farklı kimi özellikleri doğrultusunda çeşitli anlamlar kazanmış sembolik figürlerdir. Bu bağlamda çalışmanın amacı Balatlar Kilisesi Mozaiklerinde karşımıza çıkan kuş figürlerinin cinslerini tayin ederek ikonografilerini tarihsel gelişimle birleştirerek Tevrat ve İncil temelli ikonografik yorumlarını tespit etmektir.
本研究的主题是西诺普巴拉特拉尔教堂发掘过程中出土的祭祀马赛克中的鸟类形象及其图像。巴拉特拉尔马赛克由 2016-2021 年间发掘出土的 10 块不同的镶板组成,从其希腊文铭文中可以了解到,这些马赛克是为某些人的献祭而制作的。它们的位置和建造目的是这些马赛克图像最重要的关键点。拜占庭早期的马赛克艺术旨在通过摆脱异教的影响来获得基督教身份,与所有拜占庭早期马赛克艺术一样,巴拉特拉尔教堂的马赛克在有限的区域内以简化和几何形式描绘人物。在巴拉特拉尔马赛克作品中,除了鸟类形象外,没有其他形象装饰,但却有 10 个不同种类的 42 只鸟类形象。在这些马赛克中,有鹰、鸽子、鹧鸪、公鸡/鸡、鸽子、鹦鹉、鹳、鸭和各种鸣禽,根据它们单独或组合在一起的构图,可以看出这些鸟类形象具有不同的图像意义。在此背景下,本研究的目的是确定巴拉特拉尔教堂马赛克中的鸟类形象类型,并通过将其图像学与历史发展相结合,确定其基于《托拉》和《圣经》的图像学解释。
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引用次数: 0
Kuzey Suriye’deki Hierapolis’te (Münbiç) Keşfedilen Dionysos Mozaiği 叙利亚北部希拉波利斯(曼比季)发现狄俄尼索斯马赛克画像
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376681
Komait ABDALLAH, Mouhamad AL-KAIED
In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km northeast of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
2017年,这两幅马赛克的遗骸在叙利亚北部阿勒颇东北60公里的曼比季市被意外发现。这些马赛克似乎是完全消失的同一建筑环境的一部分。保存最好的马赛克有一个非常有趣的主题。这是狄俄尼索斯和他的萨蒂尔、酒神和豹子的场景。还有一幅河神和动物的风景画。最后一个,损坏得很严重,只保留了一个面具,剩下的两个人物和一个双耳罐,在它旁边,有一个提到厄洛斯的铭文。酒神的场景让人想起了公元2世纪末和3世纪初在土耳其的泽格马和安提阿的著名人物。也许,它代表了神的顿悟。其他的场景可能与酒神的肖像有关。根据风格标准,这幅马赛克可以追溯到公元2世纪末和公元3世纪初。它证明了罗马时期酒神崇拜在曼比城(希拉波利斯)的传播。
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引用次数: 0
Roma Kolonisi Augusta Firma’daki Kraliyet Sarayı Plaza de Armas’ın Domus I Mozaikleri - Astigi (Écija, Sevilla, İspanya) - II 罗马殖民地奥古斯塔-费尔马-阿斯蒂吉(西班牙塞维利亚埃西哈)皇宫武器广场 I 号厅的马赛克 - II
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376800
Sergio GARCÍA-DILS DE LA VEGA, Salvador ORDÓÑEZ AGULLA
The Domus I of the Plaza de Armas of the Royal Alcazar of Ecija (Seville, Spain) has been object of archaeological excavations and restoration interventions since 2001, which have revealed that this luxurious urban residence was completely reformed in the Severan period, when several rooms and the central courtyard were decorated with mosaic pavements of different thematic. In 2015 was discovered the so-called mosaic of the Loves of Zeus, which decorate the triclinium of the domus, with several scenes from this mythological cycle, along with Bacchic themes and characters, and the representation of the seasons. In this paper is offered an update on the progress of research relative to this outstanding mosaic.
自2001年以来,西班牙塞维利亚埃西贾皇家城堡广场的Domus I一直是考古发掘和修复干预的对象,这表明这座豪华的城市住宅在塞维兰时期进行了彻底的改造,当时几个房间和中央庭院用不同主题的马赛克人行道装饰。2015年,人们发现了所谓的“宙斯之爱的马赛克”,它装饰着穹顶的三角柱,上面有这个神话周期的几个场景,还有酒神主题和人物,以及季节的代表。本文对这一杰出的镶嵌现象的最新研究进展进行了综述。
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引用次数: 0
Looking Beyond the Obvious: Rereading the Message of the Mosaics 超越表象:重读马赛克的信息
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376760
Maria DE JESUS DURAN KREMER
When we look at the mosaic pavements that have come down to us over the centuries, it is easy to see that many of the patterns chosen were part of a decorative grammar that reflected a world view adapted to the geographical area, the social class and the time when the mosaic was built. The dawn of Christianity in the Roman Empire was no exception: traditional patterns were “adopted” by the new religion, in a discourse adapted to the moment in time and to the local social and political evolution. An adoption which at a certain moment allowed a veiled identification as a follower of the new religion. In the present intervention, the author proposes to present an analysis of the evolution of some of these patterns in the light of the Christianisation in the westernmost part of Lusitania.
当我们观察几个世纪以来流传下来的马赛克人行道时,很容易看出,许多选择的图案都是装饰语法的一部分,反映了一种世界观,这种世界观与地理区域、社会阶层和马赛克建造的时间相适应。基督教在罗马帝国的萌芽也不例外:传统的模式被新宗教“采用”,以适应当时和当地社会和政治演变的话语。在某一时刻允许隐晦地承认自己是新宗教的追随者。在目前的干预中,作者建议根据卢西塔尼亚最西部的基督教化来分析其中一些模式的演变。
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 The dawn of Christianity in the Roman Empire was no exception: traditional patterns were “adopted” by the new religion, in a discourse adapted to the moment in time and to the local social and political evolution. An adoption which at a certain moment allowed a veiled identification as a follower of the new religion.
 In the present intervention, the author proposes to present an analysis of the evolution of some of these patterns in the light of the Christianisation in the westernmost part of Lusitania.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":"170 S369","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Bezemelerin Simetrilerinde Saklı Olan Ortaçağ Kültür İlişkileri 隐藏在装饰对称中的中世纪文化关系
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376768
Mehmet ERBUDAK
We trace the culture on the mosaics of seven medieval civilizations by taking the symmetry of the ornaments found on the mosaics as characteristic evidence for the cultural group in which the artwork is created. We classify the ornaments into 17 wallpaper groups according to their symmetry. Applying the cosine law to the frequency of each symmetry group we calculate the pairwise correlation of the cultural interactions. Finally, a hierarchical cluster analysis is performed on the correlations to find cultural groups that are closely related to each other. The results show the formation of two clusters: The Islamic cluster includes the Arabs and the Seljuk dynasties. The Hellenistic group inspired other Anatolian civilizations and even influenced the Umayyads in Andalusia. These results are consistent with the calculations based on multidimensional scaling. Our work demonstrates the possibility of applying symmetry analysis and statistical methods to the visual arts to reveal valuable details such as the hidden influences in art practice.
我们在七个中世纪文明的马赛克上追踪文化,将马赛克上发现的装饰品的对称性作为创作艺术品的文化群体的特征证据。我们根据其对称性将装饰物分为17组。将余弦定律应用于每个对称群的频率,我们计算了文化相互作用的成对相关性。最后,对相关性进行层次聚类分析,以找到彼此密切相关的文化群体。结果表明,形成了两个集群:伊斯兰集群包括阿拉伯人和塞尔柱王朝。希腊化的群体启发了其他安纳托利亚文明,甚至影响了安达卢西亚的倭马亚人。这些结果与基于多维尺度的计算结果一致。我们的工作展示了将对称分析和统计方法应用于视觉艺术的可能性,以揭示艺术实践中隐藏的影响等有价值的细节。
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引用次数: 0
Some Aspects of Religiosity in Ostia Antica Through Mosaics 从马赛克看奥斯提亚·安提卡的宗教信仰
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376824
Antonio LICORDARI, Francesca LICORDARI, Angelo PELLEGRINO
While mythology is one of the most widespread themes in the mosaics of Ostia Antica (both floor and non-floor), some compositions have a marked importance from a religious and cultic point of view. We intend to examine the mosaic representations of aspects of the Ostian cults, among which that of Mithras stands out in a particular way for its diffusion and for the amplitude of its testimonies. The mosaic undoubtedly had the purpose of immediate visual communication of its contents, also because the religion of Mithras was accepted above all by low-level believers for whom communication through images was more suitable. However, in Ostia, among the followers of the cult, there is evidence of high-ranking personages, perhaps even belonging to the imperial family. Next to that of Mithras we want to highlight the cult of Sabazio, of other oriental divinities in the past traces have been found, sometimes rightly and sometimes wrongly, in the House of the Dioscures, in the House of the Fishes, in the Neptune’s baths and in the opus sectile building of the Marine Gate (4th century AD).
虽然神话是奥斯提亚·安蒂卡马赛克中最广泛的主题之一(包括地板和非地板),但从宗教和邪教的角度来看,一些作品具有显著的重要性。我们打算考察奥斯提亚教派各方面的马赛克表现,其中密特拉教派以一种特殊的方式表现出来,因为它的传播和它的证词的幅度。毫无疑问,马赛克的目的是通过视觉直接传达其内容,也因为密特拉的宗教首先被低层次的信徒所接受,对他们来说,通过图像进行交流更合适。然而,在奥斯提亚,在邪教的追随者中,有证据表明有高级人士,甚至可能属于皇室。在密特拉的旁边,我们想要强调萨巴齐奥的崇拜,在过去的其他东方神的痕迹被发现,有时是正确的,有时是错误的,在迪奥斯科斯的房子里,在鱼的房子里,在海王星的浴场里,在海洋门(公元4世纪)的建筑中。
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引用次数: 0
Villa Gallo Romaine de Séviac - France Approches innovatives visant à la valorisation, à la conservation et à la restauration de pavements de mosaïque antiques exposés en plein air Villa Gallo Romaine de seviac -法国旨在增强、保护和修复暴露在户外的古代马赛克路面的创新方法
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1377336
Paola PERPIGNANI, Paolo RACAGNI
The Gallo-roman villa of Séviac, located in the Municipality of Montréal du Gers in France, was accidentally discovered at the end of the 19th century. The archaeological investigations identified the end of the 4th and the beginning of the 5th century as the period of its greatest splendour. It was a large rural residence that certainly belonged to a high-ranking aristocrat, covering a total area of about 25,000 sqm. In ancient times, it is believed to have mosaic floors with a total area of approximately 1,500 sqm. Currently, the site boasts about 400 sqm of beautiful polychrome mosaics of undoubted technical and stylistic quality. Recently, thanks to the interest of the local authorities, it was decided to invest in the territory through a series of programs aimed at protecting and enhancing the historical, artistic and archaeological heritage of the territory. Through a public competition, a team headed by the Portuguese architect João Luís Carrilho da Graça was selected, as it possessed the specific skills in the required fields. A new fully functional and innovative system of coverage of the entire site was designed and built. After a very complex preliminary diagnostic work, the team, in cooperation with the restoration laboratory of RavennAntica Foundation, designed and then directed the restoration of the entirety of the mosaic floors.
ssamviac的高卢罗马别墅位于法国的montrsamal du Gers市,在19世纪末被偶然发现。考古调查发现,公元4世纪末和5世纪初是它最辉煌的时期。这是一个很大的乡村住宅,肯定属于一个高级贵族,总面积约25000平方米。在古代,它被认为有马赛克地板,总面积约为1500平方米。目前,该网站拥有约400平方米美丽的彩色马赛克,毫无疑问的技术和风格质量。最近,由于当地政府的兴趣,决定通过一系列旨在保护和加强该地区历史、艺术和考古遗产的项目对该地区进行投资。通过公开竞赛,由葡萄牙建筑师jo o Luís Carrilho da grarada领导的团队被选中,因为它拥有所需领域的特定技能。设计和建造了一个覆盖整个场地的功能齐全的创新系统。经过非常复杂的初步诊断工作,该团队与RavennAntica基金会修复实验室合作,设计并指导了整个马赛克地板的修复工作。
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引用次数: 0
The Representation of the Nile on Mosaics: Various Contexts, Various Meanings 尼罗河在马赛克上的表现:不同的语境,不同的含义
0 ARCHAEOLOGY Pub Date : 2023-11-03 DOI: 10.26658/jmr.1376810
Anne-marie GUIMIER-SORBETS
Based on a few examples from different regions of the Roman Empire, we study the representation of the Nile from the end of the Hellenistic period to Late Antiquity. Depending on the case, the river is represented for itself, as a major element of the Egyptian landscape, a pleasant setting that brings benefits and abundance; this landscape, characterized by its flora and fauna, can also be depicted in “Nilotic scenes” with caricatured characters. In other representations, on the other hand, the god Nile is personified and the celebrations offered to him are shown to greet - and guarantee - the abundance of his flood, source of wealth and pleasure. It also happens that the personification of the Nile only serves as an allegory of the river, without wanting to highlight the god. These different iconographic schemes were to be found and intermingled in all regions of the Roman Empire until Late Antiquity. We show how the same iconography can take on, depending on the context, a religious character - when these images are associated with the cults of Egyptian deities, particularly Serapis - or a profane character, essentially in a domestic context. In the early Christian period, the Nile was considered one of the rivers of Paradise, and images of it took on a new meaning for both the commissioners and the faithful. We show how the same iconographic elements were used in different contexts, and how they were adopted, sometimes adapted, to serve different purposes and ideologies.
根据罗马帝国不同地区的一些例子,我们研究了从希腊化时期结束到古代晚期尼罗河的代表。根据不同的情况,河流代表了它自己,作为埃及景观的一个主要元素,一个令人愉快的环境,带来了好处和丰富;这片以动植物为特征的景观,也可以用漫画人物描绘成“尼罗河风景”。另一方面,在其他表现中,尼罗河神被人格化,向他提供的庆祝活动被展示为迎接并保证他的洪水的丰富,财富和快乐的源泉。尼罗河的人格化也只是作为这条河的寓言,而不是为了突出神。这些不同的图像方案在罗马帝国的所有地区都被发现并混合在一起,直到古代晚期。我们展示了同样的图像是如何呈现的,取决于上下文,一个宗教人物——当这些图像与埃及神的崇拜,特别是塞拉皮斯——或者一个世俗的人物,主要是在家庭背景下。在早期的基督教时期,尼罗河被认为是天堂的河流之一,它的图像对专员和信徒都有了新的含义。我们展示了相同的图像元素是如何在不同的背景下使用的,以及它们是如何被采用的,有时是如何适应的,以服务于不同的目的和意识形态。
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Journal of Mosaic Research
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