- I am an independent Art Historian specializing in Classical and Late Antique Art, committed to Digital Art History an... moreI am an independent Art Historian specializing in Classical and Late Antique Art, committed to Digital Art History and researching, teaching and displaying information to an academic public and a general audience. I was a member of the History of Art Institute of the Faculty of Social Sciences and Humanities, Nova University, Lisbon (FCSH-NOVA), until the 30th of September 2022.
I was a postdoctoral fellow by the Portuguese National Funding Agency for Science, Research and Technology (FCT), and my project developed between 2016 and 2022 was: "Decor in Antiquity in Western Hispania (1st c to 8th c CE) - Sense(s) and Performances: architectural sculpture, mosaics and painting. Supervisor: Justino Maciel ( FCSH-NOVA); Co-supervisors: Patrízio Pensabene (La Sapienza, University of Rome), Alexandra Dardenay (Lecturer in History of Ancient Art and Archaeology at the University of Toulouse, Jean Jaurès). Advisor: Will Wootton (Senior Lecturer in Roman Art).
I hold a degree in History (1987, FCSH-NOVA), a Master's in History of Late Antique Art (2007, FCSH-NOVA) and a PhD in History of Late Antique Art (2011, FCSH-NOVA) with a thesis on Late Antique Capitals found in current Portuguese territory.
I was a History teacher at the Secondary school from 1988 to 2010. In 2008 I lectured for a semester at the History of Art Department of the FCSH-NOVA. From 2010 until 2016, I was a professor in the same department, teaching and supervising undergraduate and graduate students. My students and I developed the first Encontrharte (History of Art Meetings), the opusmusiuum: (http://www.fcsh.unl.pt/cadeiras/opusmusiuum/, a project on Roman mosaics in Portugal and conceived an entrepreneurship project: Findhart: https://prezi.com/bkwwahakstrt/projecto-de-negocio/.
I participated in an ERASMUS and ERASMUS + Mobility in Italy, Spain and Japan. As a member of the AIA (Archaeological Institute of America), I lectured in the US in 2015 and was a Samuel S. Kress Lecturer for 2018/2019 in Canada and the US. I was a Visiting Researcher Associate at King's College, London, in 2017 and a Visiting Scholar at the University of Virginia, Charlottesville, in April 2019.edit
Tese de mestrado, História da Art
Research Interests:
The peninsula of Tróia on the southwestern Atlantic coast of Portugal was the site of an essential Roman industrial complex (Etienne et al. 1994: 8) that developed from the first century CE. It lies on the left bank of the river Sado... more
The peninsula of Tróia on the southwestern Atlantic coast of Portugal was the site of an essential Roman industrial complex (Etienne et al. 1994: 8) that developed from the first century CE. It lies on the left bank of the river Sado opposite the modern city of Setúbal (Caetobriga). Nowadays, the Roman ruins of Tróia, classified as a national monument in 1910, comprise an archaeological site preserving the remains of industrial facilities such as fish-salting factories, balnea, insulae, diverse funerary monuments, and an Early Christian basilica with remarkably well-preserved wall paintings. Relief sculpture, painting, and ceramics reveal both the presence of the Mithras cult and the diffusion of Christianity in Tróia during the third and fourth centuries CE. Tróia slowly declined during Late Antiquity, and in the late fifth to early sixth century CE, life gave way to a vast necropolis.
Research Interests:
DA REUTILIZAÇÃO NA ANTIGUIDADE TARDIA À RECONSTITUIÇÃO NO SÉCULO XXI Palavras-chave capitéis compósitos; Tróia (Grândola, Portugal); escultura arquitectónica (spolia); reconstituição virtual 3D; mármores. Resumo No degrau de uma domus... more
DA REUTILIZAÇÃO NA ANTIGUIDADE TARDIA À RECONSTITUIÇÃO NO SÉCULO XXI Palavras-chave capitéis compósitos; Tróia (Grândola, Portugal); escultura arquitectónica (spolia); reconstituição virtual 3D; mármores. Resumo No degrau de uma domus junto à basílica paleocristã nas ruínas romanas de Tróia (Grândola, Portugal) foi reutilizado um capitel compósito de folhas nervuradas (spolia) na Antiguidade Tardia, meados do século IV. A presença inusitada num degrau de um capitel em mármore branco num degrau, de uma tipologia pouco frequente na Península Ibérica romana (Hispânia) conduziu a um estudo sobre as circunstâncias da sua reutiliza
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No texto articulam-se diferentes faces da mesma realidade: a investigação, o ensino e a divulgação da História da Arte da Antiguidade Clássica e Tardia (séculos VIII a.C.–VIII d.C.), em geral e em Portugal. O objectivo é actualizar o seu... more
No texto articulam-se diferentes faces da mesma realidade: a investigação, o ensino e a divulgação da História da Arte da Antiguidade Clássica e Tardia (séculos VIII a.C.–VIII d.C.), em geral e em Portugal. O objectivo é actualizar o seu estado da arte clarificando conceitos como Antiguidade Clássica e Tardia, esclarecendo convenções como as cronologias, alcançando noções histórico-geográficas como a de Mediterrâneo, avaliando o impacto cultural e artístico da herança greco-romana e do Cristianismo, preparando o nascimento da Europa. A abordagem é a da História da Arte como um olhar demorado e interdisciplinar sobre o objecto artístico pro- pugnando a discussão estética e a atitude criativa. Por último, ambiciona-se mostrar o dinamismo da investigação em História da Arte da Antiguidade Clássica e Tardia (séculos I a VIII) na Hispânia Ocidental e, mais precisa- mente, na província romana da Lusitânia cujo espaço corresponde hoje em grande parte a Portugal.
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Research Interests:
This paper addresses the most recent concerns with the preservation and value of the mosaic pavements of the late Roman Villa of Santiago da Guarda, municipality of Ansião, central Portugal. The 299 m2 of mosaic pavements were only found... more
This paper addresses the most recent concerns with the preservation and value of the mosaic pavements of the late Roman Villa of Santiago da Guarda, municipality of Ansião, central Portugal. The 299 m2 of mosaic pavements were only found in 2002 during construction works at the 15th century Tower and 16th century Palace located at the village of Santiago da Guarda in order to prepare the place for a museum. In 2013, the and the public would have the opportunity to visit there at the very same place, as layers of a living palimpsest, the pars urbana and the mosaic pavements of the late Roman villa dated to the 4th or 5th century CE, the late medieval tower and the walls and some pavements of an aristocratic manor of the Modern times. Despite the general good condition of the mosaic pavements, there are two main problems urging intervention that will be discussed in this paper. The mosaics preservation, the on going investigation on the mainly geometric compositions of the mosaics as well as of the remains of painting are important assets to value the place and to enhance its ability to attract a wider audience.
Research Interests:
O Complexo Monumental de Santiago da Guarda inaugurado no início do século XXI apresenta, portanto, um conjunto arquitectónico único em Portugal permitindo visitar, no mesmo sítio, mais de 1500 anos de História e de Arte constituindo um... more
O Complexo Monumental de Santiago da Guarda inaugurado no início do século XXI apresenta, portanto, um conjunto arquitectónico único em Portugal permitindo visitar, no mesmo sítio, mais de 1500 anos de História e de Arte constituindo um autêntico palimpsesto vivo. Neste trabalho, apresenta-se o espaço do Museu do século XXI onde se pode caminhar sobre os mosaicos e vestígios de pintura romanos pelos menos datados do século IV; apresentam-se exemplos de composições de mosaico e sua projecção visual e justifica-se a excepcionalidade histórica do Complexo Monumental.
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11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH 20TH, 2009, BURSA TURKEY Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the... more
11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH 20TH, 2009, BURSA TURKEY Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era
Research Interests: Iconography and Art
For some years, we have dedicated ourselves to studying the Roman mosaic, its inventory, conservation and restoration. We have made known in several studies that the Roman mosaics coming from archaeological sites of the present Portuguese... more
For some years, we have dedicated ourselves to studying the Roman mosaic, its inventory, conservation and restoration. We have made known in several studies that the Roman mosaics coming from archaeological sites of the present Portuguese territory, which are found in situ or in collections of museums and individuals. However, thanks to the support of the Regional Museum of Archeology D. Diogo de Sousa and the work of ar- archaeological intervention of the team of “Salvamento de Bracara Augusta”, we have given greater prominence to the study of the Roman mosaics that are in the territory of the old Conuentus Bracaraugustanus. We aim to gather together the mosaic heritage of this Conuentus and undertake a systematic scientific and technological study within a corpus: “The Corpus of Roman mosaics in the Conuentus Bracaraugustanus”. In this paper, we intend to present the work we have been developing and what we want to increase to continue this project.
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Research Interests:
No âmbito dos trabalhos realizados pela equipa do CAL e do PFM na área do Parque Florestal de Monsanto, foram efectuadas prospecções a antigas pedreiras de calcário. Localizaram-se afloramentos de sílex em várias zonas do parque e na sua... more
No âmbito dos trabalhos realizados pela equipa do CAL e do PFM na área do Parque Florestal de Monsanto, foram efectuadas prospecções a antigas pedreiras de calcário. Localizaram-se afloramentos de sílex em várias zonas do parque e na sua envolvência, efectuando-se diversas recolhas de amostras geológicas que posteriormente foram sujeitas a análises laboratoriais no Departamento de Geologia da Faculdade de Ciências da Universidade de Lisboa. A partir dos dados obtidos, confrontou-se as recolhas de materiais geológicos com os arqueológicos, provenientes das intervenções de campo realizadas nos anos 40, 50 e 60 do século passado, nas manchas de ocupação humana, datadas do Neolítico e Calcolítico, da área ocidental do actual Parque, bem como outros recolhidos em trabalhos recentes (2014, Neto et al), realizados na Travessa das Dores. Das comparações físicas e diagenéticas que resultaram entre eles tentou-se aferir a origem do sílex usado nos locais arqueológicos.
O resultado da análise das lâminas delgadas entre o material geológico e o arqueológico, apontam para o esperado, ou seja, características texturais semelhantes para os materiais de sílex provenientes de alguns povoados, com os das pedreiras das suas redondezas, no entanto verifica-se determinadas divergências entre si que ora damos a conhecer.
O resultado da análise das lâminas delgadas entre o material geológico e o arqueológico, apontam para o esperado, ou seja, características texturais semelhantes para os materiais de sílex provenientes de alguns povoados, com os das pedreiras das suas redondezas, no entanto verifica-se determinadas divergências entre si que ora damos a conhecer.
Research Interests:
This paper addresses the most recent concerns with the preservation and value of the mosaic pavements of the late Roman Villa of Santiago da Guarda, municipality of Ansião, central Portugal. The 299 m2 of mosaic pavements were only found... more
This paper addresses the most recent concerns with the preservation and value of the mosaic pavements of the late Roman Villa of Santiago da Guarda, municipality of Ansião, central Portugal. The 299 m2 of mosaic pavements were only found in 2002 during construction works at the 15th century Tower and 16th century Palace located at the village of Santiago da Guarda in order to prepare the place for a museum. In 2013, the and the public would have the opportunity to visit there at the very same place, as layers of a living palimpsest, the pars urbana and the mosaic pavements of the late Roman villa dated to the 4th or 5th century CE, the late medieval tower and the walls and some pavements of an aristocratic manor of the Modern times.
Despite the general good condition of the mosaic pavements, there are two main problems urging intervention that will be discussed in this paper. The mosaics preservation, the on going investigation on the mainly geometric compositions of the mosaics as well as of the remains of painting are important assets to value the place and to enhance its ability to attract a wider audience.
Despite the general good condition of the mosaic pavements, there are two main problems urging intervention that will be discussed in this paper. The mosaics preservation, the on going investigation on the mainly geometric compositions of the mosaics as well as of the remains of painting are important assets to value the place and to enhance its ability to attract a wider audience.
Research Interests:
In 2015, during an archaeological intervention made by the team from the Lisbon’s Archaeological Center (CAL), a sig- nificant group of stone materials was collected at the Rua da Conceição, no 75-77, in Lisbon. This set of materials is... more
In 2015, during an archaeological intervention made by the team from the Lisbon’s Archaeological Center (CAL), a sig- nificant group of stone materials was collected at the Rua da Conceição, no 75-77, in Lisbon. This set of materials is of great interest not only for a typological and functional analysis but also for a lithological study.
From the observation of the various stone materials it was possible to outline a fairly comprehensive work method in order to settle a typology for the pieces, suggest their possible functionalities and categorize the type of stone used regarding the building, the covering of pavements and walls and the architectural decoration of structures related to the Cryptoporticus of Roman Lisbon.
This methodological approach involves a conceptual reflection on the role of the covering and architectural decoration in the Roman world, a final stage in the building theory according to Vitruuius.
The initial informations we aim to introduce are a first step in a work in progress designed to be organized and disputed, adjustable and through, accounted for and comparative, continuously reviewed and assessed evaluated. To extract and to produce are long-lasting, complex and challenging tasks in the Roman world.
Keywords: Lithology, coverings, arquitectural decoration, cryptoporticus, Roman Lisbon
From the observation of the various stone materials it was possible to outline a fairly comprehensive work method in order to settle a typology for the pieces, suggest their possible functionalities and categorize the type of stone used regarding the building, the covering of pavements and walls and the architectural decoration of structures related to the Cryptoporticus of Roman Lisbon.
This methodological approach involves a conceptual reflection on the role of the covering and architectural decoration in the Roman world, a final stage in the building theory according to Vitruuius.
The initial informations we aim to introduce are a first step in a work in progress designed to be organized and disputed, adjustable and through, accounted for and comparative, continuously reviewed and assessed evaluated. To extract and to produce are long-lasting, complex and challenging tasks in the Roman world.
Keywords: Lithology, coverings, arquitectural decoration, cryptoporticus, Roman Lisbon
Research Interests:
This paper will briefly describe an online academic project about Roman mosaics in Portugal created by students and a teacher during the Spring Semester 2011 at the Faculty of Social Sciences and Humanities, NOVA University, Lisbon. The... more
This paper will briefly describe an online academic project about Roman mosaics in Portugal created by students and a teacher during the Spring Semester 2011 at the Faculty of Social Sciences and Humanities, NOVA University, Lisbon. The project is titled “Opusmusiuum- Roman Mosaics in Portugal” and just as the muses have inspired the work of mosaics, students were enthusiastically involved in making their idea come to light i.e. preparing quality information about Roman mosaics found in Portugal either in situ or in museums for a website catalogue. The contents would be displayed to students, researchers and lay public through short vi- deos, audio recordings and short texts. Eventually, this website would fulfil a gap in the specialized Portuguese literature on this topic.
On June 2011, Professor José Maria Blázquez Martínez attended the V. International Symposium of the Mosaic Corpus of Türkiye in Kahramanmaraş, Turkey, where a group of Portuguese and Spanish researchers met. His enthusiasm for the potentialities of the study of mosaics and the joy for new discoveries have always motivated students and colleagues to continue investigation. In Kahramanmaraş, his inspiring example made me think about academia as an exciting place were ideas are born and shared, a challenging environment I would call, a “teachers’ lab.” The “Opusmusiuum- Roman Mosaics in Portugal” project was the result of a teachers’ lab and now that seven years have passed since it was devised in a classroom I think that its goals, achievements (though incomplete) and values of good scientific practice are worthy of paying tribute to an inspiring Profes- sor. Like Professor Blázquez, we persevere in this task hoping one day the Opusmusiuum will meet its public.
On June 2011, Professor José Maria Blázquez Martínez attended the V. International Symposium of the Mosaic Corpus of Türkiye in Kahramanmaraş, Turkey, where a group of Portuguese and Spanish researchers met. His enthusiasm for the potentialities of the study of mosaics and the joy for new discoveries have always motivated students and colleagues to continue investigation. In Kahramanmaraş, his inspiring example made me think about academia as an exciting place were ideas are born and shared, a challenging environment I would call, a “teachers’ lab.” The “Opusmusiuum- Roman Mosaics in Portugal” project was the result of a teachers’ lab and now that seven years have passed since it was devised in a classroom I think that its goals, achievements (though incomplete) and values of good scientific practice are worthy of paying tribute to an inspiring Profes- sor. Like Professor Blázquez, we persevere in this task hoping one day the Opusmusiuum will meet its public.
Research Interests:
Atti del XIII Congreso Internacional de la AIEMA.“Estudios sobre mosaicos antiguos y medievales” Luz Neira Jiménez (Ed.). - Roma: «L’ERMA» di BRETSCHNEIDER, 2016, pp. 252-258. The “Domus dos Repuxos” or “House of the Fountains" is... more
Atti del XIII Congreso Internacional de la AIEMA.“Estudios sobre mosaicos antiguos y medievales” Luz Neira Jiménez (Ed.). - Roma: «L’ERMA» di BRETSCHNEIDER, 2016, pp. 252-258.
The “Domus dos Repuxos” or “House of the Fountains" is located in the Roman city of Conimbriga (Coimbra, Portugal). It is one of the most magnificent Roman houses that was unfortunately doomed to destruction when it was cast out of the perimeter of the city wall, built probably in the end of the 3rd c. CE to protect Conimbriga from the barbaric invasions. Among the mosaics that embellish the “Domus dos Repuxos” pavements, there is an accommodation with the so-called “Deer Hunt Mosaic“ still in situ. This pavement is composed of four geometric panels surrounding the central square panel that comprises a medallion with the “Deer Hunt” scene designed in a rotational form. This pavement was studied by Professor Bairrão Oleiro in 1993 and was dated to the last quarter of the 2nd c CE and beginning of the 3rd c CE.
This study will focus on the design of the so-called “Deer Hunt” scene depicted in the medallion of the “Domus dos Repuxos”. Our research will concentrate on the general process of conceiving figured scenes inside curved geometric forms and give special attention to the rotational drawing of the “Deer Hunt “scene. Roman mosaics developed great interest in reproducing not only figured scenes but also geometric patterns inside medallions. Therefore, a curved geometric figure seemed to be a creative base to perform geometric delusional effects and an attractive means of displaying a certain scene, story or narrative. The crucial feeling of movement showed in this mosaic stands on the lay out of the characters in the curved form of the medallion just as the first animation experiments would do centuries afterwards (i.e.Phenakistoscope, Zootrope, Praxinoscope). With the use of digital technologies, we aim to highlight the scenes in this medallion and to understand the perspectives of the narratives. Could this be an experiment on motion picture? What were their intentions, achievements and limitations?
The “Domus dos Repuxos” or “House of the Fountains" is located in the Roman city of Conimbriga (Coimbra, Portugal). It is one of the most magnificent Roman houses that was unfortunately doomed to destruction when it was cast out of the perimeter of the city wall, built probably in the end of the 3rd c. CE to protect Conimbriga from the barbaric invasions. Among the mosaics that embellish the “Domus dos Repuxos” pavements, there is an accommodation with the so-called “Deer Hunt Mosaic“ still in situ. This pavement is composed of four geometric panels surrounding the central square panel that comprises a medallion with the “Deer Hunt” scene designed in a rotational form. This pavement was studied by Professor Bairrão Oleiro in 1993 and was dated to the last quarter of the 2nd c CE and beginning of the 3rd c CE.
This study will focus on the design of the so-called “Deer Hunt” scene depicted in the medallion of the “Domus dos Repuxos”. Our research will concentrate on the general process of conceiving figured scenes inside curved geometric forms and give special attention to the rotational drawing of the “Deer Hunt “scene. Roman mosaics developed great interest in reproducing not only figured scenes but also geometric patterns inside medallions. Therefore, a curved geometric figure seemed to be a creative base to perform geometric delusional effects and an attractive means of displaying a certain scene, story or narrative. The crucial feeling of movement showed in this mosaic stands on the lay out of the characters in the curved form of the medallion just as the first animation experiments would do centuries afterwards (i.e.Phenakistoscope, Zootrope, Praxinoscope). With the use of digital technologies, we aim to highlight the scenes in this medallion and to understand the perspectives of the narratives. Could this be an experiment on motion picture? What were their intentions, achievements and limitations?
Research Interests:
The acantus plant had a powerful meaning in Greek and Roman decoration and would adorn capitals and mosaics in very distinctive ways. The depiction of the acanthus made part of the Roman taste for gardens, plants, trees, flowers, birds... more
The acantus plant had a powerful meaning in Greek and Roman decoration and would adorn capitals and mosaics in very distinctive ways.
The depiction of the acanthus made part of the Roman taste for gardens, plants, trees, flowers, birds flying around, a world surrounded by fences as an attempt to control this natural paradise as it can be noticed in Livia's Villa luxurious paintings. (Palazzo Massimo, Roma).
Inspired by the acanthus motive, this paper comments on the idea of paradise as a garden and reflects on the original concept of the world as a paradise and how this notion determined the image and perception of the world in Late Antiquity namely with Cosmas Indicopleustès ( 6th c CE).
Inspired by a global idea of Decoration, this paper compares the representation of the acanthus in Roman sculpture and mosaics in current Portuguese territory.
Note: the pdf is in a reversed order i.e. the beginning of the text is in the final page. Sorry!
The depiction of the acanthus made part of the Roman taste for gardens, plants, trees, flowers, birds flying around, a world surrounded by fences as an attempt to control this natural paradise as it can be noticed in Livia's Villa luxurious paintings. (Palazzo Massimo, Roma).
Inspired by the acanthus motive, this paper comments on the idea of paradise as a garden and reflects on the original concept of the world as a paradise and how this notion determined the image and perception of the world in Late Antiquity namely with Cosmas Indicopleustès ( 6th c CE).
Inspired by a global idea of Decoration, this paper compares the representation of the acanthus in Roman sculpture and mosaics in current Portuguese territory.
Note: the pdf is in a reversed order i.e. the beginning of the text is in the final page. Sorry!
Research Interests:
Research Interests:
The purpose of this presentation is the study of a mosaic belonging to the frigidarium pavement of a bath complex built next to the largest fish-salting workshop in the Roman industrial centre of Tróia, in Portugal. Tróia was a... more
The purpose of this presentation is the study of a mosaic belonging to the frigidarium pavement of a bath complex built next to the largest fish-salting workshop in the Roman industrial centre of Tróia, in Portugal.
Tróia was a prosperous roman emporion located in a narrow peninsula separated from the western coast by the river Sado, strategically situated south of the Roman city of Olisipo (Lisbon), close to the city of Caetobriga (Setúbal) and administratively linked to Salacia (Alcácer do Sal), a ciuitas of the Roman province of Lusitania. The Roman occupation of this settlement dates back to the first century A.D. and lasted until the sixth century A.D.
This study aims to virtually reconstruct the geometric mosaic that paved the baths frigidarium. Since the mosaic of the frigidarium was discovered, at the end of the nineteenth century, no efforts have been made to consistently study this mosaic pavement, and hardly any literature exists about it. Therefore, the architectural and stylistic study of the mosaic is expected to contribute significantly to the comprehension of this pavement and the baths it belongs to. The geometric decorative pattern will be an element of comparison to other mosaics in baths integrated in industrial centres.
This mosaic in a bath complex next to a salt-fishing workshop is another example of the perfect Roman link between negotium and otium.
Tróia was a prosperous roman emporion located in a narrow peninsula separated from the western coast by the river Sado, strategically situated south of the Roman city of Olisipo (Lisbon), close to the city of Caetobriga (Setúbal) and administratively linked to Salacia (Alcácer do Sal), a ciuitas of the Roman province of Lusitania. The Roman occupation of this settlement dates back to the first century A.D. and lasted until the sixth century A.D.
This study aims to virtually reconstruct the geometric mosaic that paved the baths frigidarium. Since the mosaic of the frigidarium was discovered, at the end of the nineteenth century, no efforts have been made to consistently study this mosaic pavement, and hardly any literature exists about it. Therefore, the architectural and stylistic study of the mosaic is expected to contribute significantly to the comprehension of this pavement and the baths it belongs to. The geometric decorative pattern will be an element of comparison to other mosaics in baths integrated in industrial centres.
This mosaic in a bath complex next to a salt-fishing workshop is another example of the perfect Roman link between negotium and otium.
Research Interests:
Main features of the Roman city of Conimbriga in Central Portugal.
The Encyclopedia of Ancient History, Wiley Encyclopedia, 2015
The Encyclopedia of Ancient History, Wiley Encyclopedia, 2015
Research Interests:
L’espace sculpté: L’iconographie de l’sculpture architectonique da la ville romaine du Rabaçal (Portugal) La ville romaine du Rabaçal est une des plus monumentales villes romaines de l'Antiquité Tardive au Portugal. La Ville a été... more
L’espace sculpté: L’iconographie de l’sculpture architectonique da la ville romaine du Rabaçal (Portugal)
La ville romaine du Rabaçal est une des plus monumentales villes romaines de l'Antiquité Tardive au Portugal. La Ville a été construite construite au milieu du IVe siècle et on pense qu'elle a été abandonnée au début du Ve siècle. Miguel Pessoa est l'archéologue responsable pour tous les travaux d'excavation dans la villa que depuis 1984 se succèdent tous les mois de Juillet. Cette contribution a l’objective de montrer et décrire quelques exemples, les plus étonnantes, de la sculpture architectonique de la plus importante suite de la pars urbana de la villa romaine du Rabaçal, le triclinium. Cette sculpture est très vive et les thèmes préférées sont celles inspirées par la nature: des fouilles d'acanthe, des fruits; aussi des motives de l'architecture comme des colonnes et des entablements e quelques objets spéciaux comme la corne d’abondance et le vase. Cette étude vaudra bien analyser les influences dans le décor, les choix faits par le propriétaire de la villa et établir une relation entre deux mondes: la nature extérieure – comme un macrocosme – et sa représentation dans le monde construite par l'homme – le microcosme de l'architecture et de la sculpture de la pars urbana du Rabaçal.
La ville romaine du Rabaçal est une des plus monumentales villes romaines de l'Antiquité Tardive au Portugal. La Ville a été construite construite au milieu du IVe siècle et on pense qu'elle a été abandonnée au début du Ve siècle. Miguel Pessoa est l'archéologue responsable pour tous les travaux d'excavation dans la villa que depuis 1984 se succèdent tous les mois de Juillet. Cette contribution a l’objective de montrer et décrire quelques exemples, les plus étonnantes, de la sculpture architectonique de la plus importante suite de la pars urbana de la villa romaine du Rabaçal, le triclinium. Cette sculpture est très vive et les thèmes préférées sont celles inspirées par la nature: des fouilles d'acanthe, des fruits; aussi des motives de l'architecture comme des colonnes et des entablements e quelques objets spéciaux comme la corne d’abondance et le vase. Cette étude vaudra bien analyser les influences dans le décor, les choix faits par le propriétaire de la villa et établir une relation entre deux mondes: la nature extérieure – comme un macrocosme – et sa représentation dans le monde construite par l'homme – le microcosme de l'architecture et de la sculpture de la pars urbana du Rabaçal.
Research Interests:
“Stone, place and object: Complicity between Man and Nature: examples from “Monte da Pedra” (“The Mountain of Stone”, Alentejo, Portugal) and Faro (Algarve, Portugal).” – 1st Int. Conf. “Harmony of Nature and Spirituality in Stone”, Kragujevac, 17-18 March 2011. Kragujevac, Serbia, pp. 101-105; more
The present communication aims to present a brief outline of the studies on architectural sculpture or architectural decor during Late Antiquity in current Portuguese territory. Architectural sculpture develops a very interesting role... more
The present communication aims to present a brief outline of the studies on architectural sculpture or architectural decor during Late Antiquity in current Portuguese territory.
Architectural sculpture develops a very interesting role during Classical Antiquity. Its presence in the architecture of temples since Etruscan and Greek times contributes to a fertile relationship between sculpture and architecture. This convenient proximity was theorized by Vitruvius.
Late Antiquity is no doubt a very important moment in the History of Art. Specifically in the Iberian Peninsula from the 3rd/4th until the 8th century, Art goes through a complex process of innovation and adaptation greatly determined by the growing presence of Christianity.
Therefore, we shall present some examples of continuity and innovation in the forms of Architectural Sculpture during Late Antiquity in current Portuguese territory and also consider the profound relations between architecture and decorative elements
(Architectural sculpture, painting, mosaic).
Keywords
Architectural sculpture; Architecture; Decor; Late Antiquity; Continuity; Innovation.
Architectural sculpture develops a very interesting role during Classical Antiquity. Its presence in the architecture of temples since Etruscan and Greek times contributes to a fertile relationship between sculpture and architecture. This convenient proximity was theorized by Vitruvius.
Late Antiquity is no doubt a very important moment in the History of Art. Specifically in the Iberian Peninsula from the 3rd/4th until the 8th century, Art goes through a complex process of innovation and adaptation greatly determined by the growing presence of Christianity.
Therefore, we shall present some examples of continuity and innovation in the forms of Architectural Sculpture during Late Antiquity in current Portuguese territory and also consider the profound relations between architecture and decorative elements
(Architectural sculpture, painting, mosaic).
Keywords
Architectural sculpture; Architecture; Decor; Late Antiquity; Continuity; Innovation.
Research Interests:
The aim of the present work is to analyze the shape and outline the meaning and evolution of the vase’s iconography on roman mosaics belonging to Classic Antiquity (second and third centuries A. D.) and Late Antiquity (third/fourth... more
The aim of the present work is to analyze the shape and outline the meaning and evolution of the vase’s iconography
on roman mosaics belonging to Classic Antiquity (second and third centuries A. D.) and Late Antiquity (third/fourth centuries to seventh /eighth centuries A. D.) found in current portuguese territory.
A formal and typological comparison of the vases’ representation on pavement mosaics will be performed relating
them to their composition context. Thus, it will be possible to understand the plural iconographic meaning of the
vase and its evolution since Classic Antiquity to Late Antiquity.
The iconographic changes of this motive are noticeable above all by the transition of its significance as an attribute
(Dionysian and Mitraic) to a sign-image progressively autonomous during Late Antiquity.
The iconographic presence of the vase at this two Antiquity stages is explained by the way it symbolizes the fundamental
and everlasting human interrogations and paradoxes: life, death, eternity, the human and the divine, body
and soul.
Keywords: Vase, Cantharus, Crater, Attribute, Image-sign, Continuity.
on roman mosaics belonging to Classic Antiquity (second and third centuries A. D.) and Late Antiquity (third/fourth centuries to seventh /eighth centuries A. D.) found in current portuguese territory.
A formal and typological comparison of the vases’ representation on pavement mosaics will be performed relating
them to their composition context. Thus, it will be possible to understand the plural iconographic meaning of the
vase and its evolution since Classic Antiquity to Late Antiquity.
The iconographic changes of this motive are noticeable above all by the transition of its significance as an attribute
(Dionysian and Mitraic) to a sign-image progressively autonomous during Late Antiquity.
The iconographic presence of the vase at this two Antiquity stages is explained by the way it symbolizes the fundamental
and everlasting human interrogations and paradoxes: life, death, eternity, the human and the divine, body
and soul.
Keywords: Vase, Cantharus, Crater, Attribute, Image-sign, Continuity.
Research Interests:
We can find in the Roman Province of Lusitania an unusual type of Capital with straight leaves and a free calathus perhaps belonging to the fourth century A.D. It is found in Emerita Augusta and in Beja. And some other examples in... more
We can find in the Roman Province of Lusitania an unusual type of Capital with straight leaves and a free calathus perhaps belonging to the fourth century A.D.
It is found in Emerita Augusta and in Beja. And some other examples in Malaga. It seems to be a specific prodution from the south of Lusitania.
To what kind of building was this type of capital produced?
It is found in Emerita Augusta and in Beja. And some other examples in Malaga. It seems to be a specific prodution from the south of Lusitania.
To what kind of building was this type of capital produced?
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Horizontes artísticos da Lusitânia. Dinâmicas da Antiguidade Clássica e Tardia em Portugal. Séculos I a VIII tem um carácter único e marcante pois preenche uma lacuna no panorama multidisciplinar da investigação em Ciências Sociais e... more
Horizontes artísticos da Lusitânia. Dinâmicas da Antiguidade Clássica e Tardia em Portugal. Séculos I a VIII tem um carácter único e marcante pois preenche uma lacuna no panorama multidisciplinar da investigação em Ciências Sociais e Humanas em Portugal e dedica-se a um período cronológico nem sempre olhado com a atenção que merece nem entendido no potencial que detém.
É neste sentido que se torna urgente conhecer os horizontes artísticos lusitanos da Antiguidade Clássica e Tardia recorrendo às contribuições interdisciplinares da Arqueologia, História, Humanidades Digitais, Filosofia, Literatura, Geologia e juntando, de forma inédita, nomes reconhecidos da investigação nacional e internacional e jovens entusiastas guiados por boas práticas de pesquisa. Horizontes artísticos da Lusitânia aposta fortemente na divulgação do património histórico e artístico da província romana da Lusitânia cujo território pertence hoje, em grande parte, a Portugal. De entre os vários locais em estudo destacam-se: Idanha-a-Velha, (Idanha-a-Nova, Beira Baixa), Mértola (Mértola, Baixo Alentejo), Tróia (Grândola, Alentejo Litoral), Santiago da Guarda, (Santiago da Guarda, Ansião, Região Centro) e Frielas (Loures, Estremadura).
Coordenada por Justino Maciel e Filomena Limão, a obra condensa a actualização interdisciplinar realizada por professores especialistas e por jovens investigadores.
Autores Ana Patrícia Magalhães, António Carvalho, Cátia Mourão, Edgar Fernandes, Filomena Limão, Inês Vaz Pinto, Javier A. Domingo, João António d’Almeida Cardoso Carriço, Jorge M. F. Carvalho, Licínia Nunes Correia Wrench, Luís Campos Ribeiro, Mafalda Marcos, M. Justino Maciel, Maria Ángeles Gutiérrez Behemerid, Maria de Fátima Abraços, Maria de Jesus Duran Kremer, Maria do Rosário Laureano Santos, Maria Filomena Molder, Patrícia Brum, Paulo Brázia, Paulo Varela Gomes, Teodora Olteanu Dragu, Vasco Gil Mantas, Vasco Resa, Virgílio Lopes.
É neste sentido que se torna urgente conhecer os horizontes artísticos lusitanos da Antiguidade Clássica e Tardia recorrendo às contribuições interdisciplinares da Arqueologia, História, Humanidades Digitais, Filosofia, Literatura, Geologia e juntando, de forma inédita, nomes reconhecidos da investigação nacional e internacional e jovens entusiastas guiados por boas práticas de pesquisa. Horizontes artísticos da Lusitânia aposta fortemente na divulgação do património histórico e artístico da província romana da Lusitânia cujo território pertence hoje, em grande parte, a Portugal. De entre os vários locais em estudo destacam-se: Idanha-a-Velha, (Idanha-a-Nova, Beira Baixa), Mértola (Mértola, Baixo Alentejo), Tróia (Grândola, Alentejo Litoral), Santiago da Guarda, (Santiago da Guarda, Ansião, Região Centro) e Frielas (Loures, Estremadura).
Coordenada por Justino Maciel e Filomena Limão, a obra condensa a actualização interdisciplinar realizada por professores especialistas e por jovens investigadores.
Autores Ana Patrícia Magalhães, António Carvalho, Cátia Mourão, Edgar Fernandes, Filomena Limão, Inês Vaz Pinto, Javier A. Domingo, João António d’Almeida Cardoso Carriço, Jorge M. F. Carvalho, Licínia Nunes Correia Wrench, Luís Campos Ribeiro, Mafalda Marcos, M. Justino Maciel, Maria Ángeles Gutiérrez Behemerid, Maria de Fátima Abraços, Maria de Jesus Duran Kremer, Maria do Rosário Laureano Santos, Maria Filomena Molder, Patrícia Brum, Paulo Brázia, Paulo Varela Gomes, Teodora Olteanu Dragu, Vasco Gil Mantas, Vasco Resa, Virgílio Lopes.
Research Interests: Roman History, Art History, Digital Humanities, Virtualization, Ancient Philosophy, and 15 moreGraeco-Roman Mosaics and Wall Paintings, Spolia, Roman Sculpture, Iconography and Iconology, Roman Architecture, Roman Mosaics, Arqueología romana / Roman archeology, Roman Lusitania, Roman Portugal, CANTERAS EXPLOTACION MARMOLES LUSITANIA, Ancient Roman Marbles, Roman Spolia, Roman Archaeology, Ancient and Roman Roads, and Philosophy of Humaism
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The work we are presenting is about a commonly designated minor subject in mosaic research, namely the study of moulding (referred as borders, frames or friezes) or border-patterns and its relations with the central panels in mosaics... more
The work we are presenting is about a commonly designated minor subject in mosaic research, namely the study of moulding (referred as borders, frames or friezes) or border-patterns and its relations with the central panels in mosaics global design.The idea for this study aroused from spontaneous questions: why is there always a (one or more) borderline in the edge of mosaics floors and between panels? is there any sort of border-patterns choice or is it a random selection? can border- patterns reflect a certain workshop, influence, origin, or model in mosaic production? are there special combinations between certain central motifs ( figures or geometric) and border-patterns? are some motifs exclusively employed as border-patterns or can they also be used in central panels?
These questions are transversal in the history of Roman mosaic and show a clear association with architecture and painting. Vitruuius stated the principles of classical architecture according to which construction should have its finishing in a distinctive moulding according to the Orders and the convenience of decor. The production of emblemata in Greek and Roman mosaics reflect the profound influence of painting not only in the use of tiny colorful cubes of stone ( opus uermiculatum) giving the effect of paint strokes but also in the visual strategy of placing the emblema in the centre of the floor like a painting. From this moment on, it makes part of the pavement although it is distinctively its focus undoubtedly emphasized by the involving border-pattern.
These questions are transversal in the history of Roman mosaic and show a clear association with architecture and painting. Vitruuius stated the principles of classical architecture according to which construction should have its finishing in a distinctive moulding according to the Orders and the convenience of decor. The production of emblemata in Greek and Roman mosaics reflect the profound influence of painting not only in the use of tiny colorful cubes of stone ( opus uermiculatum) giving the effect of paint strokes but also in the visual strategy of placing the emblema in the centre of the floor like a painting. From this moment on, it makes part of the pavement although it is distinctively its focus undoubtedly emphasized by the involving border-pattern.
Research Interests:
The “Domus dos Repuxos” or “House of the Fountains" is located in the Roman city of Conímbriga ( Coimbra, Portugal). It is one of the most magnificent Roman houses that was unfortunately doomed to destruction when left outside the... more
The “Domus dos Repuxos” or “House of the Fountains" is located in the Roman city of Conímbriga ( Coimbra, Portugal). It is one of the most magnificent Roman houses that was unfortunately doomed to destruction when left outside the perimeter of the city wall built probably in the end of the 3rd c. to protect Conímbriga from the barbaric invasions. Among the mosaics that embellish the “Domus dos Repuxos” pavements, there is an accommodation with the so-called “ Deer Hunt Mosaic “ still in situ. This pavement is composed of four geometric panels surrounding the central square panel comprising a medallion with the “Deer Hunt” scene designed in a rotative form. This pavement was studied by Professor Bairrão Oleiro in 1993 and was dated to the last quarter of the 2nd c and beginning of the 3 rd c.
This study will focus on the design of the so-called “Deer Hunt” scene depicted in the medallion of the “ Domus dos Repuxos”. Our research will concentrate on the general process of conceiving figured scenes inside curved geometric forms and give special attention to the rotative drawing of the “ Deer Hunt “ scene. Roman mosaics developed great interest in reproducing not only figured scenes but also geometric patterns inside medallions. Therefore, a curved geometric figure seemed to be a creative base to perform geometric delusional effects and an attractive means of displaying a certain scene, story or narrative. The crucial feeling of movement showed in this mosaic stands on the lay out of the characters in the curved form of the medallion just as the first animation experiments would do centuries afterwards ( i.e. Phenakistoscope, Zootrope, Praxinoscopeo). With the use of digital technologies we aim to highlight the scenes in this medallion and to understand the perspectives of the narratives. Could this be an experiment on motion picture? What were their intentions, achievements and limitations?
This study will focus on the design of the so-called “Deer Hunt” scene depicted in the medallion of the “ Domus dos Repuxos”. Our research will concentrate on the general process of conceiving figured scenes inside curved geometric forms and give special attention to the rotative drawing of the “ Deer Hunt “ scene. Roman mosaics developed great interest in reproducing not only figured scenes but also geometric patterns inside medallions. Therefore, a curved geometric figure seemed to be a creative base to perform geometric delusional effects and an attractive means of displaying a certain scene, story or narrative. The crucial feeling of movement showed in this mosaic stands on the lay out of the characters in the curved form of the medallion just as the first animation experiments would do centuries afterwards ( i.e. Phenakistoscope, Zootrope, Praxinoscopeo). With the use of digital technologies we aim to highlight the scenes in this medallion and to understand the perspectives of the narratives. Could this be an experiment on motion picture? What were their intentions, achievements and limitations?
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The aim of the lecture is to introduce the historical and artistic heritage of the Roman archaeological site of Tróia (in English“Troy”) located in the Southwestern Atlantic coast of Portugal. Tróia is the name of a peninsula on the left... more
The aim of the lecture is to introduce the historical and artistic heritage of the Roman archaeological site of Tróia (in English“Troy”) located in the Southwestern Atlantic coast of Portugal. Tróia is the name of a peninsula on the left bank of the river Sado and despite having been subject of great interest and considerable studies since the sixteenth century CE, much remains to uncover about this place. Surrounded by an attractive natural environment, Tróia, conceivably an island in Antiquity, became an important Roman industrial complex in the first century BCE. Tróia displays noteworthy fish-salting workshops, diversified examples of architecture such as balnea (with remains of mosaics), insulae, diverse funerary monuments and an Early Christian Basilica with beautiful wall paintings. Although not numerous, the sculpture of Tróia (statuary, architectural sculpture and reliefs) is varied showing the relevance of this peripheral place in the intersection of religious (i.e. the Mithras cult and Christianity) and artistic movements of the Roman world.
Tróia slowly declined through Late Antiquity (late fifth to early sixth century CE) but its historical and artistic legacy remains as one of the most eye-catching issues for the understanding of Antiquity in Portugal.
Tróia slowly declined through Late Antiquity (late fifth to early sixth century CE) but its historical and artistic legacy remains as one of the most eye-catching issues for the understanding of Antiquity in Portugal.