Actual Problems of Theory and History of Art最新文献_第9页

Terraced Structures in Chinese Architecture Reflected in the Painting of the 10th–13th Centuries 从10 - 13世纪绘画看中国建筑中的梯田结构

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-10-68

Marianna Shevchenko

引用次数: 0

The Murano Diptych. A Late Nineteenth-Century Quest for Early Byzantine Ivory Cover 穆拉诺双连画。19世纪晚期对早期拜占庭象牙封面的探索

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-02-23

Maria Lidova

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Palaeologan Veria: A Peripheral Center under the Perspective of Its Monuments The Case of the Marble Decoration from the Old Metropolitan Cathedral as a Possible Donation by Christian Members of the Seljuk Dynasty 古生物学的真实性:在其纪念碑的视角下的外围中心——旧大都会大教堂的大理石装饰可能是塞尔柱王朝基督徒成员的捐赠

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-02-22

Maria V. Cheimonopoulou

{"title":"Palaeologan Veria: A Peripheral Center under the Perspective of Its Monuments The Case of the Marble Decoration from the Old Metropolitan Cathedral as a Possible Donation by Christian Members of the Seljuk Dynasty","authors":"Maria V. Cheimonopoulou","doi":"10.18688/aa2111-02-22","DOIUrl":"https://doi.org/10.18688/aa2111-02-22","url":null,"abstract":"The restoration work carried out by the Ephorate of Antiquities of Imathia at the Old Metropolitan Cathedral in Veria has restored for the city its most important Byzantine church, a monumental palimpsest that recorded centuries of the history of the city and its people1. The Middle Byzantine three-aisled basilica with transept was renovated by the Despots of Epirus and again during the era of the Palaiologan Dynasty. It was converted into a mosque around the turn of the 17th century and remained Veria’s great imperial mosque until the liberation of the city in 1912 [53, pp. 134–245, 265–271]. The first conservation and exploratory excavation work began in the 1960s [13, pp. 249–250] and continued, albeit limited in scope and duration, until systematic restoration work on the monument eventually began (Ill. 32). This essay presents sculptures that came to light during the first phase of the investigations and the main phase of the restoration of the Old Metropolis in 2011–2015. They form a group with common stylistic features and are associated with a phase of renewal of the church’s liturgical furnishings in the first two decades of the 14th century, when the ecclesiastical seat of Veria was raised from an Archdiocese to a Metropolitan seat [44, pp. 58–59]. The group of sculptures in question was first discovered in the period 1978–1980, when Professor Theocharis Pazaras, curator of antiquities of the newly founded 11th Ephorate of Byzantine Antiquities, noticed characteristic groups of cornices, columns and slabs while arranging the collection of sculptures stored in the twin Ottoman bath [45, p. 161]. In the following years, the group was enriched thanks to the research work conducted by Professor Efthy-","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763445","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

Dionysian Plots from the Sculptural Frieze of the Theater of Nysa in the Context of the Era and the City 从时代和城市的语境看尼萨剧院雕塑的酒神情节

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-01-05

A. A. Korzun

引用次数: 0

New Finds Regarding the Architecture and Sculptures of Ancient Tenea 关于古代特涅亚建筑和雕塑的新发现

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-01-15

Eleni Korka, Michalis Lefantzis, Antonio Corso

引用次数: 1

Clazomenian Sarcophagus from the British Museum: The Semantic Aspects of the Decoration and Shape 大英博物馆克拉索门尼亚石棺:装饰和形状的语义方面

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-01-03

M. N. Nenakhova

引用次数: 1

The Grotesques in the Italian Art of the Late 15th — Early 16th Centuries: Historiography and History 15世纪末至16世纪初意大利艺术中的怪诞:史学与历史

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-06-45

Marina A. Lopukhova

引用次数: 0

Scenes of Daily Life in the Mosaics of Ostia 奥斯蒂亚马赛克中的日常生活场景

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-01-16

Antonio Licordari, Angelo Pellegrino

{"title":"Scenes of Daily Life in the Mosaics of Ostia","authors":"Antonio Licordari, Angelo Pellegrino","doi":"10.18688/aa2111-01-16","DOIUrl":"https://doi.org/10.18688/aa2111-01-16","url":null,"abstract":"Between the end of the 2nd and the beginning of the 1st century B. C., the use of mosaic paving in the main rooms of both public and private buildings became established in Ostia. The technique adopted consisted in the laying of small quadrangular tesserae, generally measuring one centimetre on each side and sometimes, in situations requiring a more valuable work, even less; the material used was limestone, which lent itself to an easy and clean cut for the white tesserae and flint of a dark grey colour for the black ones; local stones were used for the coloured tesserae, while marble was preferred in the opus sectile paving with larger “tiles” (Ill. 19). The use of marble in floors became widespread in the 3rd and 4th centuries. Evidence of this can be found in the Ostian inscriptions, which were quite frequently intentionally broken and squared to fit into coverings2. Obviously, the floor beneath the mosaic needed adequate preparation, which Vitruvius (7, 1, 55) and Pliny (Nat. hist. 36, 186) describe precisely. Specifically, the technical and chronological aspects of the construction of the Ostian mosaics are documented in Becatti [2, p. 250] and Pellegrino [15, pp. 23–26] with previous bibliography. Initially, a simpler type of mosaic with a plain black background and white tesserae, sometimes arranged regularly and sometimes scattered, became popular. Later on, the light-coloured mosaic floor became more common, with geometric and floral decorations obtained with black tesserae. This work was simple and inexpensive to produce. As time went by, the motifs were enriched with figures and scenes in colour, also due to the growing influence of the Hellenistic tradition. The oldest remains, as you can imagine, are not numerous because they have been erased by successive constructions. This phenomenon of demolition and reconstruction in Ostia was not only widespread, but also led to a gradual and noticeable rise in ground level. This situation, common in all ancient cities, is more accentuated in our case than elsewhere: in fact, the flooding of the Tiber and the presence of aquifers made it necessary to periodically raise the ground level in many parts of the settlement, perhaps also as part of an urban renewal project implemented by the colony’s administration. In addition, at the end of the 1st century A. D., legislation issued by the capital’s government specifically required the construction of new and more powerful foundations for the construction of high housing complexes [13, pp. 17–18; 14, pp. 32–34], which entailed raising ground levels [7, pp. 63–97]. However, the use of the stratigraphic method in the excavations has brought to light the evidence that remained buried.","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763209","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

The Frescoes of the Haghpat Monastery in the Historical-Confessional Context of the 13th Century 13世纪历史忏悔背景下的哈格帕特修道院壁画

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-02-21

Z. Hakobyan

{"title":"The Frescoes of the Haghpat Monastery in the Historical-Confessional Context of the 13th Century","authors":"Z. Hakobyan","doi":"10.18688/aa2111-02-21","DOIUrl":"https://doi.org/10.18688/aa2111-02-21","url":null,"abstract":"The Haghpat Monastery is one of the famous ecclesiastical centers of medieval Armenia. It was founded in the 10th century under the Bagratids and was completed in the 13th and early 14th centuries under the Zakharids and their successors [12, pp. 9–88; 22]. One of the unique so-called “Savior” khachkars with a scene of Crucifixion dates back to this very period [22, fig. 19]. The Haghpat monastery is better known for its architecture and sculpture. However, inside the earliest Church of the Holy Sign (Surb Nshan), the fragments of the wall paintings are preserved. For many years, they were under soot and remained almost invisible. There were only general notes on frescoes and paleography [12, pp. 9–88; 7, p. 152; 28, p. 208]. However, recently Christine Lamoureux and Ara Zarian from Italy started the restoration of the frescoes1 and published a book [14]. Now the monument is available for study. The Church of the Holy Sign was built between 976–991 by the king Ashot III Bagratid and his wife Khosrovanush for the glory of their sons. The voluminous sculptures of the princes Smbat and Gurgen are fixed in the niche of the eastern pediment, with the model of the church in their hands [22, fig. 1, 8–9]. A few years earlier, the same patrons had built the Church of the Savior (966) of the Sanahin monastery, a complex paired to Haghpat, with the relief images of the same princes. The frescoes of Haghpat have no exact date. The scholars mentioned the two or three layers of the frescoes and suggested different dates from the 10th–11th to 13th–14th centuries [12, pp. 19, 154; 7, p. 152; 28, pp. 208, 410, 534; 23, pp. 191–192; 17, pp. 270–271; 19, pp. 49–50; 14, pp. 111, 180]. There is every reason to consider the lower layer of the murals to belong to the Bagratids. The upper layer dates to the different periods of the 13th century. Namely, the beginning and the middle of the century, or the turn of the 13th and 14th centuries are mentioned. Also, the alternation of different artistic styles is highlighted. In this case, the stylistic and comparative analysis of the frescoes is of a great importance. However, an equal value has the historical context, which outlines more definite frames of time. Therefore, our aim is to examine the murals of the Haghpat monastery considering the historical background. In the Church of the Holy Sign, big fragments of the frescos have been preserved in the sanctuary and on the southern wall. The semi-dome and the altar wall are decorated and divided into three tiers. An ornamental band presenting the row of blooming buds separates the","PeriodicalId":37578,"journal":{"name":"Actual Problems of Theory and History of Art","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67763325","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: 1

Interpreting Pontormo’s Halberdier: Francesco Guardi or Cosimo I de’ Medici? 解读蓬托尔莫的哈尔伯迪尔:弗朗西斯科·瓜尔迪还是科西莫·德·美第奇?

Actual Problems of Theory and History of Art Pub Date : 2021-01-01 DOI: 10.18688/aa2111-06-47

R. R. Kholev

引用次数: 0