{"title":"泽农的缪斯:从锡拉库萨到瓜达拉哈拉博物馆","authors":"Julia Lenaghan, Patrick Lenaghan","doi":"10.1017/s1047759424000060","DOIUrl":null,"url":null,"abstract":"<p>This article traces a statue, which Zenon of Aphrodisias carved, from Syracuse to its discovery at the Palace of Cogolludo in 2007. The study of this statue of the Muse Euterpe broadly demonstrates the appreciation for a figure from the classical world to Early Modern Europe and focuses attention on two understudied moments in the history of sculpture. It shows that Zenon carved the figure in the 4th c. CE, and its story reveals new connections between sculptors of Aphrodisias and specific patrons of the period. The statue's subsequent history attests to the high regard for ancient art and epigraphy in the Iberian Peninsula in 1500–1700. Since the statue probably belonged to Luis de la Cerda, ninth Duke of Medinaceli, it draws attention to a remarkable patron and a neglected aspect of Spanish cultural history.</p>","PeriodicalId":45533,"journal":{"name":"Journal of Roman Archaeology","volume":"76 1","pages":""},"PeriodicalIF":0.7000,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Muse of Zenon: from Syracuse to the Museum of Guadalajara\",\"authors\":\"Julia Lenaghan, Patrick Lenaghan\",\"doi\":\"10.1017/s1047759424000060\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>This article traces a statue, which Zenon of Aphrodisias carved, from Syracuse to its discovery at the Palace of Cogolludo in 2007. The study of this statue of the Muse Euterpe broadly demonstrates the appreciation for a figure from the classical world to Early Modern Europe and focuses attention on two understudied moments in the history of sculpture. It shows that Zenon carved the figure in the 4th c. CE, and its story reveals new connections between sculptors of Aphrodisias and specific patrons of the period. The statue's subsequent history attests to the high regard for ancient art and epigraphy in the Iberian Peninsula in 1500–1700. Since the statue probably belonged to Luis de la Cerda, ninth Duke of Medinaceli, it draws attention to a remarkable patron and a neglected aspect of Spanish cultural history.</p>\",\"PeriodicalId\":45533,\"journal\":{\"name\":\"Journal of Roman Archaeology\",\"volume\":\"76 1\",\"pages\":\"\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2024-04-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Roman Archaeology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/s1047759424000060\",\"RegionNum\":2,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHAEOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Roman Archaeology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1047759424000060","RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
引用次数: 0
摘要
这篇文章追溯了一尊由阿芙罗狄西亚的泽农雕刻的雕像从锡拉库扎到 2007 年在科戈卢多宫被发现的过程。对这尊缪斯女神尤特佩雕像的研究广泛展示了从古典世界到现代早期欧洲对这尊雕像的欣赏,并重点关注了雕塑史上两个未被充分研究的时刻。研究表明,泽农是在公元前 4 年雕刻的这尊雕像,其故事揭示了阿弗罗狄西亚斯的雕刻家与当时特定赞助人之间的新联系。雕像后来的历史证明了 1500-1700 年伊比利亚半岛对古代艺术和书信的高度重视。由于雕像可能属于第九代梅迪纳凯利公爵路易斯-德拉-塞尔达(Luis de la Cerda),因此它引起了人们对一位杰出赞助人和西班牙文化史中一个被忽视的方面的关注。
The Muse of Zenon: from Syracuse to the Museum of Guadalajara
This article traces a statue, which Zenon of Aphrodisias carved, from Syracuse to its discovery at the Palace of Cogolludo in 2007. The study of this statue of the Muse Euterpe broadly demonstrates the appreciation for a figure from the classical world to Early Modern Europe and focuses attention on two understudied moments in the history of sculpture. It shows that Zenon carved the figure in the 4th c. CE, and its story reveals new connections between sculptors of Aphrodisias and specific patrons of the period. The statue's subsequent history attests to the high regard for ancient art and epigraphy in the Iberian Peninsula in 1500–1700. Since the statue probably belonged to Luis de la Cerda, ninth Duke of Medinaceli, it draws attention to a remarkable patron and a neglected aspect of Spanish cultural history.