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Ludovico Carracci a Roma 罗马的卢多维科·卡拉克奇
Pub Date : 2021-09-13 DOI: 10.5617/acta.9021
Giovanna Perini Folesani
This essay focuses on Ludovico Carracci (1555-1619) and this reputation in Rome in his lifetime and afterwards. Well-known, but often overlooked literary and visual evidence on Ludovico's appreciation in Rome is brought to bear, in order to reassess his contemporary fame, superior to his cousins', as is suggested by works attributed to him in the main seventeenth-century Roman collections. His present-day partial disgrace is the result of a number of changes soon brought about by several factors, including the probability of untold doubts on his religious orthodoxy raising in the early seventeenth-century. His use of German prints especially in his late religious paintings may have a lot to do with this. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
本文主要关注卢多维科·卡拉奇(1555-1619),以及他生前和死后在罗马的声誉。众所周知,但经常被忽视的文学和视觉证据对卢多维科在罗马的欣赏,为了重新评估他同时代的名声,优于他的表兄弟,正如被认为是他的作品在主要的17世纪罗马收藏。他现在的部分耻辱是由几个因素很快带来的一些变化的结果,其中包括对他在17世纪早期的正统宗教的怀疑。他对德国版画的使用,尤其是在他后期的宗教绘画中,可能与此有很大关系。封面:安妮巴尔·卡拉奇(博洛尼亚1560 -罗马1609),《真理与时间的寓言》(约1584-1585)。布面油画| 130,0 x 169,6厘米。(支架,帆布/面板/str外部)| RCIN 404770皇家收藏信托/©伊丽莎白二世女王陛下2021。
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引用次数: 0
Providing evidence in Early Modern Bologna 提供近代早期博洛尼亚的证据
Pub Date : 2021-09-13 DOI: 10.5617/acta.9017
Mattia Biffis
This article provides a scientific introduction to the papers that are collected in the first section of Acta, originating from a workshop on "The Art of Truth: Providing Evidence in Early Modern Bologna" organized at the Norwegian Institute in Rome in October 2019. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
本文对《学报》第一部分收集的论文进行了科学介绍,这些论文来自于2019年10月在罗马挪威研究所组织的“真理的艺术:提供近代早期博洛尼亚的证据”研讨会。封面:安妮巴尔·卡拉奇(博洛尼亚1560 -罗马1609),《真理与时间的寓言》(约1584-1585)。布面油画| 130,0 x 169,6厘米。(支架,帆布/面板/str外部)| RCIN 404770皇家收藏信托/©伊丽莎白二世女王陛下2021。
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引用次数: 0
Danielis ludus: Transforming Clerics in the Twelfth Century 丹尼尔斯·卢德斯:《十二世纪神职人员的转变
Pub Date : 2019-12-31 DOI: 10.5617/acta.7807
N. Petersen
A twelfth-century so-called liturgical drama (preserved in a unique copy of the thirteenth century, preserved in British Library, London), the Danielis ludus (Play of Daniel), based mainly on chapters 5 and 6 from the Book of Daniel has been much discussed in scholarship. It has been seen by scholars, not least Margot Fassler, as a (music) drama intended to establish a role model for young clerics in connection with ecclesiastical attempts at reforming the celebrations for New Year's in Beauvais, the so-called Feast of Fools. In this article, with consideration also of a recent discussion of the New Year's liturgy, I suggest to understand the Danielis ludus as a liturgical ritual transforming the (corporate) identity of the young clerics who were, undoubtedly, involved in its performance. Keywords: liturgy, drama, the sacred, medieval clerics. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
12世纪所谓的礼仪戏剧(保存在13世纪的一个独特的副本中,保存在伦敦的大英图书馆),丹尼尔斯ludus(丹尼尔戏),主要基于但以理书的第5章和第6章,在学术界有很多讨论。学者们,尤其是玛戈特·法斯勒,认为这部(音乐)剧旨在为年轻的神职人员树立榜样,以改革波维的新年庆祝活动,即所谓的愚人节。在这篇文章中,考虑到最近对新年礼仪的讨论,我建议将丹尼尔斯的ludus理解为一种礼仪仪式,它改变了年轻神职人员的(集体)身份,毫无疑问,他们参与了它的表演。关键词:礼仪,戏剧,神圣,中世纪神职人员。封面:蒙克斯唱着《办公室》(Office)和装饰的首字母A。渐进式奥利维坦大师(奥利维坦本笃会的使用),约1430-1439年羊皮纸上的彩绘手稿。意大利,米兰附近的巴乔圣玛利亚修道院,约1400-1775年。Beinecke Ms1184:橄榄岩渐变。循序渐进的。耶鲁大学拜内克珍本书稿图书馆总集。
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引用次数: 2
The Lost shield portraits of Aphrodisias. Reflections on Style and Patronage. 失落的阿佛洛狄西亚斯盾牌肖像。关于风格和赞助的思考。
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6871
Julia Lenaghan
The paper re-examines a series of lost shield portraits discovered by Paul Gaudin in Aphrodisias in 1904-1905. It focuses on three aspects of these objects: the technical details of the carving and choice of model (style), the structural specifications (manufacture), and the subject matter (iconography and theme). It endeavors to place these objects in the context of other shield portraits found more recently at Aphrodisias and to evaluate them in light of recent scholarship on late antique sculpture. It stresses the similarities between these shield portraits and others from the site and reflects on possible contexts for the Aphrodisian shield portraits, considering for the first time the possibility that all of these Aphrodisian shield portraits might have come from the same context.
本文重新审视了保罗·高丹于1904-1905年在阿佛洛狄西亚斯发现的一系列遗失的盾牌肖像。它侧重于这些对象的三个方面:雕刻的技术细节和模型的选择(风格),结构规格(制造)和主题(图像和主题)。它努力将这些物品放在最近在阿芙洛狄西亚斯发现的其他盾牌肖像的背景下,并根据最近关于晚期古董雕塑的学术研究对它们进行评估。它强调了这些盾牌肖像与该遗址的其他肖像之间的相似性,并反映了阿佛洛狄丝盾肖像的可能背景,首次考虑到所有这些阿佛洛狄丝盾肖像可能来自同一背景的可能性。
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引用次数: 0
“The Horrible Lady” in Istanbul: is a public non-Imperial female Portrait possible in the sixth Century AD? 伊斯坦布尔的“恐怖女士”:在公元六世纪,一幅公开的非帝国女性肖像可能吗?
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6870
Siri Sande
In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version, the head is late antique, but the recutting and the scarcity of comparable non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth-century ad is proposed. This article poses two main questions: 1) Is a non-Imperial female portrait in the round possible as late as the sixth century? 2) Could a woman in a period Shen covered dead were the norm, have herself portrayed with uncovered hair?
1963年,伊斯坦布尔考古博物馆购买了一幅来历不明的女性肖像。这显然是从一个更老的脑袋上剪下来的。在它的最终版本中,头像是晚期古董,但这个时期的非帝国女性肖像的重新切割和稀缺性使得更可靠的约会变得困难。这里提出了六世纪前半期。这篇文章提出了两个主要问题:1)一幅非帝国女性的全身像可能出现在6世纪吗?2)一个女人在沈氏时代裹尸是一种常态,她自己会被描绘成没有遮盖头发吗?
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引用次数: 1
Zur Datierung und Deutung der Chlamysfiguren aus rotem Porphyr 用来画出红色斑羚的图样
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6867
M. Bergmann
The article deals with four porphyry statues wearing late antique tunica-chlamys attire in Vienna, Berlin, Ravenna and in the Louvre. By the provenance of two of them and by deals of workmanship they are all clearly linked to the porphyry workshop that the tetrarchs had installed in Egypt. Yet they differ from the main products of this workshop not only by their new costume but also in their overall shape. Whereas the tetrarchs employed local sculptors, who specialized in working hard stone for their new porphyry workshop and the result was a fascinating mixture of imperially commissioned and strong local elements, these chlamydate follow other models of more classical taste. They attest to new imperial instructions given to the workshop. This makes it important to know when this new form of imperial representation was introduced. Suggested dates differ widely this article proposes to date the statues in Ravenna and the Louvre by means of their close typological and stylistic similarities to the statue of Oikoumenios form Aphrodisias, which itself is dated by its portrait, which is the closest known parallel to early Theodosian emperor’s portraits at Aphrodisias and Constantinople. The common link between the locally-produced honorific statues from Aphrodisias, the imperial porphyry workshop in Egypt, and the statue finds in Italy would then be Constantinople, whose sculpture workshops were heavily influenced by those of Aphrodisias. There are reasons to see the statues at Vienna and Berlin as earlier and representing a development o the new iconography. All this seems to correspond with the ideas of U. Gehn and R.R. R. Smith, who posit, that the use of late antique chlamydate and togati for honorific statues developed mainly in the later 4th century and in the east. It may have evolved during and after the reign of Valens, parallel to the intensified lawgiving concerning status marking. There should e parallels to this in the emperor’s ‘Chlamys/Dienstkostüm’. - In the end, there are some remarks on the ‘hand-on-sword’ gesture of the statues.
这篇文章涉及了维也纳、柏林、拉文纳和卢浮宫的四尊穿着晚期古董长袍的斑岩雕像。从其中两件的出处和大量的工艺来看,它们显然都与四分王在埃及建立的斑岩作坊有关。然而,他们不同于这个车间的主要产品,不仅是他们的新服装,而且在他们的整体形状。然而四帝王雇佣了当地的雕刻家,他们专门为他们的新斑岩工作室加工坚硬的石头,结果是一个迷人的混合了帝国委托和强烈的地方元素,这些衣原石遵循其他更古典的品味。它们证明了皇帝给车间下达的新指令。这使得了解这种新的帝国代表形式是何时引入的变得很重要。这篇文章提出了拉文纳和卢浮宫的雕像的年代,通过它们与阿佛洛狄西亚的俄库米尼奥斯雕像的类型学和风格上的相似之处来确定它们的年代,而阿佛洛狄西亚和君士坦丁堡的早期狄奥多西皇帝的肖像是已知最接近的。从阿芙洛狄西亚斯、埃及的皇家斑岩作坊到意大利发现的雕像之间的共同联系是君士坦丁堡,那里的雕塑作坊深受阿芙洛狄西亚斯的影响。有理由认为维也纳和柏林的雕像更早,代表了新肖像学的发展。所有这些似乎都与U. Gehn和R.R. R. Smith的观点相一致,他们认为,使用晚期古代衣原石和togati制作尊敬的雕像主要是在4世纪后期和东方发展起来的。它可能是在瓦伦斯统治期间和之后发展起来的,与强化的关于地位标记的法律并行。在皇帝的“Chlamys/ dienstkost m”中应该有类似的地方。-最后,对雕像的“手握剑”手势有一些评论。
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引用次数: 2
In Search of the Patron: Late Antique Styles in Context 寻找赞助人:语境中的晚期古董风格
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6865
B. Kiilerich
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function and context. The article, therefore, proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programmes, and artworks. In search of the late antique patron, the conclusion reached is that the patron had most impact in the religious domain.
在古代晚期,委托制作艺术品和纪念性装饰的人在很大程度上是不为人知的。即使名字被记录下来,通常也很难判断出赞助人的要求在多大程度上决定了给定作品的视觉特征。由于风格与车间传统和争论有关,因此可以认为,在大多数情况下,赞助人对风格属性的影响有限。事实上,有证据表明,一件作品的风格往往独立于委托或购买它的人。风格受功能和环境的制约。因此,本文提出了一种评估视觉表达的功能范式,定义了三个主要的表现领域:公共纪念碑、宗教项目和艺术品。在对古代晚期赞助人的研究中,得出的结论是赞助人在宗教领域的影响最大。
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引用次数: 1
La scultura in funzione architettonica a Costantinopoli tra V e VI secolo: aspetti tecnici, tipologici e stilistici 五、六世纪君士坦丁堡的建筑雕塑:技术、类型和风格方面
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6866
C. Barsanti, A. Paribeni
Data la complessità e l’ampiezza dell’argomento, s’intende proporre solo alcune riflessioni su quegli ‘episodi’ e quegli esempi, molti ben conosciuti e più volte analizzati, altri invece meno noti, i quali potranno meglio illustrare i momenti più significativi dello sviluppo della scultura architettonica costantinopolitana lungo un percorso che conduce alle straordinarie novità che si manifestano nei primi decenni del VI secolo. É un campo d’indagine assai vasto, che ha alimentato e continua ad alimentare una letteratura critica altrettanto ampia, ricca di saggi e contributi, con approcci e chiavi di lettura variamente declinati, ma che alla somma dei fatti, si rivelano proficuamente complementari.
鉴于这一问题的规模和复杂性,是指只提出一些想法在这些‘episodi’和那些例子,许多众所周知和多次分析,另一些则不太知名,他们可以更好地说明建筑雕塑发展的最重要时刻costantinopolitana长导致的非凡创新开辟了一条道路,在第六世纪的头几十年。这是一个非常广泛的研究领域,它已经并将继续提供同样广泛的批判性文献,丰富了论文和贡献,方法和关键字各不相同,但与事实的总和相辅相成。
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引用次数: 1
The archaeology of “celebrities” in the Greek and Roman worlds. 希腊和罗马世界的“名人”考古学。
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6875
Jonathan M. M. Hall
The debate about the identification of the house of Augustus on the Palatine hill or the controversy surrounding the occupant of Tomb 2 at Vergina or the recently excavated funerary complex at Amphipolis offers more than sufficient evidence for a public fascination with important historical personalities. Yet, at the same time, disciplinary trends in archaeology have sought to emancipate the material record from historicizing narratives and to occlude or decanter the knowing subject. The archaeology of the individual has become, at best, a quaint, antiquarian pursuit and, at worst, a celebration of neo-conservative ideology. This article will consider a series of case-studies from the ancient Greek and Roman worlds with the aim of illuminating the viability - and desirability - of practicing an archaeology of famous individuals.
关于帕拉廷山上奥古斯都故居身份的争论,围绕维尔吉纳2号墓的主人的争论,以及最近在安菲波利斯出土的墓葬群的争论,都为公众对重要历史人物的迷恋提供了足够的证据。然而,与此同时,考古学的学科趋势试图将材料记录从历史化的叙述中解放出来,并封锁或澄清认识主体。往好了说,个人考古学已经变成了一种古色古香的追求,往坏了说,成了对新保守主义意识形态的颂扬。本文将考虑一系列来自古希腊和古罗马世界的案例研究,目的是阐明实践名人考古学的可行性和可取性。
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引用次数: 0
Una singolare bottega di lapicidi bizantini attiva a Hierapolis Efeso e Sardi 在hier波利斯Efeso和Sardi经营着一家独特的拜占教谋杀商店
Pub Date : 2019-03-20 DOI: 10.5617/ACTA.6872
S. Pedone
Upon the background of the study of Byzantine sculpture of the Justinian age (6th century), the present survey focuses on a group of sculptures, partly unpublished, which came to light in recent archaeological campaigns carried out on the basilica complex dedicated to Apostle Philip in Hierapolis Such materials reveal stylistic features similar to those of some fragments coming from the neighboring areas and from the city of Sardis. An exceptional element of comparison is represented here by the large crosses carved on the columns of the Basilica of San Giovanni in Ephesus. This homogeneous group of marble artifacts and their iconographic and executive characteristics are an indicator of the stylistic originality of a workshop mainly active in Hierapolis, but also testify to the mobility of masons and materials in some of the main Christian places of worship of the 6th century.
在研究查士丁尼时代(6世纪)拜占庭雕塑的背景下,本研究的重点是一组雕塑,其中部分未发表,这些雕塑是在最近的考古活动中发现的,这些考古活动是在Hierapolis的腓力使徒大教堂建筑群中进行的,这些材料揭示了与来自邻近地区和撒狄市的一些碎片相似的风格特征。在以弗所圣乔凡尼大教堂的柱子上雕刻的大十字架代表了一个特殊的比较元素。这组相同的大理石工艺品及其图像和执行特征表明了主要活跃在希拉波利斯的车间的风格独创性,但也证明了6世纪一些主要基督教礼拜场所的泥瓦匠和材料的流动性。
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引用次数: 0
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Acta ad archaeologiam et artium historiam pertinentia
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