在生者与死者之间:古代晚期绘画肖像的使用、再利用与模仿

IF 0.7 2区 历史学 0 ARCHAEOLOGY Journal of Roman Archaeology Pub Date : 2022-10-17 DOI:10.1017/S1047759422000319
Grace Stafford
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引用次数: 0

摘要

摘要在古代,木和布上的彩绘肖像很常见,被视为真实逼真的图像。它们价格合理、便携且令人向往,是一种重要的表现形式,但很少在埃及以外的考古记录中幸存下来。本文以一种不需要图像本身生存的方式来研究绘画肖像画。它分析了公元4世纪至公元4世纪地下墓穴中使用、重复使用和模仿画像的证据。通过检查肖像的设置和附件的遗迹,它们在墙上留下的阴影,以及其他媒体上模仿面板画的肖像。这篇文章考虑了为什么彩绘肖像在葬礼上如此有效,以及它们可能与国内肖像画有什么联系。并通过“方形动画”现象探讨了面板肖像模仿的发展
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Between the living and the dead: use, reuse, and imitation of painted portraits in Late Antiquity
Abstract Painted portraits on wood and cloth were common in the ancient world and prized as authentic and lifelike images. Affordable, portable, and desirable, they were an important form of representation, but rarely survive in the archaeological record outside Egypt. This article approaches the study of painted portraiture in a way that does not necessitate the survival of the images themselves. It analyzes evidence for the use, reuse, and imitation of painted portraits in the catacombs of 4th-c. Rome by examining the remains of settings and attachments for portraits, the shadows left by them on walls, and portraits in other media which imitate panel paintings. The article considers why painted portraits were so effective in funerary contexts and what connection they may have had to domestic portraiture. It also explores the development of panel portrait imitation through the phenomenon of the “square nimbus.”
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CiteScore
0.60
自引率
28.60%
发文量
43
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