奥斯蒂亚马赛克中的日常生活场景

Q3 Arts and Humanities
Antonio Licordari, Angelo Pellegrino
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引用次数: 0

摘要

在公元前2世纪末到公元前1世纪初,奥斯提亚开始在公共和私人建筑的主要房间中使用马赛克铺装。采用的技术包括铺设小的四边形块,通常每边测量一厘米,有时,在需要更有价值的工作的情况下,甚至更少;所使用的材料是石灰石,白色的镶嵌石容易切割,黑色的镶嵌石是深灰色的燧石;当地的石头被用于彩色的镶嵌,而大理石则被用于更大的“瓷砖”的opus sectile铺装(il . 19)。大理石地板的使用在3世纪和4世纪开始普及。这方面的证据可以在奥斯提亚的铭文中找到,这些铭文经常被有意地破坏和平方,以适应覆盖物。显然,马赛克下面的地板需要充分的准备,维特鲁威(7,1,55)和普林尼(natist . Pliny)。准确地描述。具体来说,在Becatti[2,第250页]和Pellegrino[15,第23-26页]和先前的参考书目中记载了奥斯提亚马赛克建造的技术和时间方面。最初,一种简单的马赛克风格流行起来,它是纯黑色背景和白色镶嵌,有时排列整齐,有时分散。后来,浅色马赛克地板变得更加普遍,几何和花卉装饰获得了黑色镶嵌。这项工作简单,成本低廉。随着时间的推移,由于希腊传统的影响越来越大,图案上的人物和场景色彩也越来越丰富。你可以想象,最古老的遗迹并不多,因为它们已经被连续的建筑所抹去。这种拆除和重建的现象在奥斯蒂亚不仅普遍存在,而且导致地面水平逐渐明显上升。这种情况在所有古代城市中都很常见,在我们的情况下比在其他地方更为突出:事实上,台伯河的洪水和含水层的存在使得有必要定期提高定居点许多地方的地面水平,这可能也是殖民地管理部门实施的城市更新项目的一部分。此外,在公元1世纪末,首都政府颁布的立法明确要求建造新的更强大的基础,以建造高层住宅群[13,第17-18页;14,第32-34页],这需要提高地面水平[7,第63-97页]。然而,在挖掘中使用地层学方法发现了仍然被埋在地下的证据。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Scenes of Daily Life in the Mosaics of Ostia
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.
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来源期刊
Actual Problems of Theory and History of Art
Actual Problems of Theory and History of Art Arts and Humanities-Visual Arts and Performing Arts
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期刊介绍: Actual Problems of Theory and History of Art conference is an international academic forum held biannually by Lomonosov Moscow State University and Saint Petersburg State University, supported by major Russian museums. The conference takes place alternately in Moscow and Saint Petersburg. In Saint Petersburg, the State Hermitage Museum acts as its permanent partner. In 2018, the conference is held in Moscow, with the State Tretyakov Gallery as partner museum. The conference is dedicated to a wide range of issues related to history and theory of visual arts and architecture, conservation and interpretation of Russian and international cultural heritage, and interaction between academic science and museum experience. The chronological scope of this interdisciplinary forum spans from prehistoric era to contemporary stage. The conference welcomes art historians, culture theorists, archaeologists, art conservators, museum practitioners, and other humanities scholars whose research areas include architecture, visual and decorative arts.
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