重新诠释在开塞利博物馆出版的男性肖像

Yaşar Arli
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引用次数: 0

摘要

在罗马帝国时期的肖像艺术中,最困难的问题是确定一件艺术品的年代,以及它是正式肖像还是私人肖像。一位私人带到博物馆的关于男性头部的讨论,正是在这个方向上。尽管很难根据发型和面相特征确定这块来自开塞利的碎片的年代,它的位置和结构关系都是未知的,但S. Sağlan所暗示的时期也不可能。在我的研究中,一件旨在追溯到Traianus时期的基于发型的Kayseri作品已经按照时间顺序与Traianus的四种肖像类型进行了比较,并说明了为什么它不能追溯到这个时期。此外,“从罗马帝国时期的维斯帕西亚努斯时期开始,真实/现实的面相一直持续到公元前2世纪中叶”这句话也得到了解释,并在完整的范围内对这一历史过程进行了评价。我也支持罗马帝国时期真正意义上的现实主义是从弗拉维安王朝的第一位皇帝开始的,但我用样本解释了这种现实主义与罗马共和时期的真实面相是不一样的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
REINTERPRETATION OF A PUBLISHED MALE PORTRAIT IN KAYSERI MUSEUM
The most difficult question in portrait art of the Roman Imperial Period is dating of a piece of art together with questions whether it is a formal or private portrait. The discussion on the male head brought to the museum by a private person is exactly in this direction. Although it is difficult to date the piece from Kayseri, of which finding place and structure relation are unknown, based on hairstyle and physiognomical features, the period suggested by S. Sağlan is not also possible. Kayseri piece which is intended to be dated to the Traianus period based hairstyle has been compared with four portrait types of Traianus in its chronological order in my study and has been stated why it could not be dated to this period. Additionally, the sentence “Veristic/realistic physiognomy continued until the middles of II century BC starting from Vespasianus time during the Roman Imperial Period” has also been interpreted and this historical process has been evaluated within the scope of integrity. It was also supported by me that realism in the true sense in Roman Imperial Period started with the first emperor of the Flavian Dynasty but it was explained with samples that this realism was not as same as veristic physiognomy during Roman Republican Period.
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