The chapter discusses cultural and social aspects of clothing in Byzantium. Issues addressed are gendering of clothes, female power dressing, elite garments, gendered response to foreign influences, work wear, and clothes as a means of... more
The chapter discusses cultural and social aspects of clothing in Byzantium. Issues addressed are gendering of clothes, female power dressing, elite garments, gendered response to foreign influences, work wear, and clothes as a means of communicating gendered values. A short epilogue presents the refashioning of Byzantine costumes in contemporary fashion. Research is based on a combination of visual, archaeological, and textual sources.
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After a presentation of the Danish architect and archaeologist Ejnar Dyggve's excavations in Thessaloniki in the late antique palace complex (1939), the article turns to the Dano-Norwegian archaeological and art-historical studies in the... more
After a presentation of the Danish architect and archaeologist Ejnar Dyggve's excavations in Thessaloniki in the late antique palace complex (1939), the article turns to the Dano-Norwegian archaeological and art-historical studies in the Rotunda (1953). The local authorities' positive attitude made it possible for Hjalmar Torp to work for four months on the scaffolding inside the monument to examine, describe and make drawings and photographs of the cupola mosaics. Permission was also granted to excavate in the choir of the church. These excavations uncovered remains of holy relics. The forensic report on the contents of the altar relic tomb is published here in full for the first time.
Research Interests: Historiography, Late Antique Archaeology, Late Antiquity, Historiography (in Art History), Relics (Religion), and 14 moreLate Roman Archaeology, Early Christian Archaeology, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Relics and Relic Veneration, Historiography (in Art History), Reliques, Monuments of Thessaloniki, Cult of Relics, Ejnar Dyggve, Rotunda Thessaloniki, and early christian saints relics
The article focuses on female clothing depicted in wall paintings from Pompeii, Herculaneum and Stabiae. A main point is to establish the semantics of costumes and colour: how do the aesthetic spaces of 'real' Pompeian garments worn by... more
The article focuses on female clothing depicted in wall paintings from Pompeii, Herculaneum and Stabiae. A main point is to establish the semantics of costumes and colour: how do the aesthetic spaces of 'real' Pompeian garments worn by professional and working women in the first century intersect with 'ideal' garb represented in mythological and genre scenes? What do the colours chosen for clothing reveal about status and how did the ancient viewers negotiate the shifting meanings of a given hue according to context? I argue that the colours of both real and represented clothing were largely dictated by fabric, with pastel hues for silk and saturated primary hues for wool. The article proposes two interrelated colour domains, each with its particular connotations: saturated basic chromatics for everyday wear and a pastel palette for elite attire.
Research Interests: History of Costume, Pompeii (Archaeology), Fashion History, Costume and Identity, Herculaneum, and 12 morePompeii, Pompeii and Herculaneum, Colour, Roman Art, History of clothing and fashion, Roman Wall Painting, Museo Archeologico Nazionale di Napoli, Meaning of colours in antiquity, Stabiae, Roman Archaeology, Ancient Roman Clothing and Fashion, and representations of women in antiquity
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In recent years, important discoveries have been made at archaeological sites in the Bay of Naples, and scholars have used new approaches such as gender studies and material agency to explore both familiar and less familiar aspects of... more
In recent years, important discoveries have been made at archaeological sites in the Bay of Naples, and scholars have used new approaches such as gender studies and material agency to explore both familiar and less familiar aspects of Pompeii and the surrounding areas. The current special issue of CLARA: Pompeii from the Real to the Ideal focuses on the presentation and interpretation of the archaeological evidence from Pompeii and its impact on later art and culture.
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Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural... more
Dear professors, researchers and students CLARA (Classical Art and Archaeology) is an online, open access and peer-reviewed journal which covers a wide range of topics that can be termed antiquity studies. Hosted by the Museum of Cultural History at the University of Oslo, CLARA aims to publish articles, essays, reviews and special issues of a high academic quality within the field of classical art and archaeology and make them accessible to a wide scholarly public.
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In his formalist art history, Alois Riegl (1858-1905) focuses on figure and ground, light and dark, and tactile versus optical features. Strangely, he shows little interest in colour. Thus, in Stilfragen (1893) and in Spätrömische... more
In his formalist art history, Alois Riegl (1858-1905) focuses on figure and ground, light and dark, and tactile versus optical features. Strangely, he shows little interest in colour. Thus, in Stilfragen (1893) and in Spätrömische Kunstindustrie (1901) artefacts and monuments are discussed as if they were fashioned in black and white. Even when describing mosaics and book illuminations, Riegl refrains from mentioning specific colours. In connection with baroque painting (Die Entstehung der Barockkunst in Rom, 1908) the almost total lack of colour description is even more striking. Although Riegl may have found form to be more objective than colour, and he also relied heavily on black and white reproductions, another explanation for his exclusion of chromatic features could be that he did not see colour well. The article proposes that Riegl may have been among the 8-10 per cent of males who suffer from colour blindness
Research Interests: Art History, Art Theory, Colour Vision, Late Antique Archaeology, Late Antiquity, and 10 moreHistoriography (in Art History), Late Antique Art and Archaeology, Alois Riegl, Color vision deficiency, Color blindness, Kunstwollen, Spätantike, Archeologia Tardoantica, arte e archeologia tardoantica, and Late Roman art
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual... more
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function and context. The article, therefore, proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programmes, and artworks. In search of the late antique patron, the conclusion reached is that the patron had most impact in the religious domain.
Research Interests: History, Archaeology, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, and 13 moreLate Antiquity, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, Ancient Rome, Paleochristian and Late Antique Archaeology, Patronage, Late Antique, Mosaics, Monuments of Thessaloniki, Styles, Patrons, and Style and Meaning in the Late Antique Visual Arts
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Research Interests: Physiognomy, Neuroaesthetics, Alexander the Great, Ancient Emotions, Neurophysiology, and 9 moreAncient Greek and Roman Art, Hellenistic Delos, Greek Sculpture, Hellenistic art, Hellenistic Sculpture, Hellenistic and Roman Art, History of Greek Art, Vilayanur Ramachandran, and Hellenistic Portraiture
In the twenty-first century, famous antique statues have been reinterpreted by artists of very different backgrounds. A characteristic feature of the contemporary artwork is the use of unconventional sculptural materials such as paper,... more
In the twenty-first century, famous antique statues have been reinterpreted by artists of very different backgrounds. A characteristic feature of the contemporary artwork is the use of unconventional sculptural materials such as paper, soap, concrete, polycarbonate and metal cans. In the dialogue called the Cratylus, Socrates explains that 'images are far from possessing the same qualities as the originals they imitate' (432d). Socrates refers to the relationship between an image (eikon) and its human model, but much the same can be said about the relationship between the new images and their ancient art-historical models. Aristotle holds that matter (hyle) is separate from form (eidos). In the contemporary works, the matter is changed-e.g. from marble to hydrostone or from bronze to concrete-but the form is preserved. The antique statue is the underlying thing (Aristotle's hypokeimenon) that persists through the material changes. The article presents some of the ways that European, Asian and American artists, in the second decade of the twenty-first century, transform the appearance of renowned antique statues.
Research Interests: Classical Archaeology, Aristotle, Contemporary Art, History of Sculpture, Classical Reception Studies, and 14 moreReception of Antiquity, Theory of sculpture, Greek Sculpture, Contemporary Sculpture, Plato's Cratylus, Greek and Roman Sculpture, History of Greek Art, Classical Sculpture, Sculptural Form and Surfaces, Classicism and Contemporary Art, contemporary classicism, Antique sculpture, sculptural materials, and hypokeimenon
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This special issue of CLARA titled 'The Classical in Contemporary Art and Visual Culture' focuses on the impact of Greco-Roman antiquity on present day art and culture. Over the last few decades, antique statues have been revived again... more
This special issue of CLARA titled 'The Classical in Contemporary Art and Visual Culture' focuses on the impact of Greco-Roman antiquity on present day art and culture. Over the last few decades, antique statues have been revived again and again, turning up in new guises in contemporary art from all over the globe. In addition to new works based on specific ancient statues, some artists create art that references the past in a more general way. Other artists question the divide between past and present raising the possibility of 'multi-temporality', a phenomenon that will be explored in connection with recent exhibitions. Another aspect of the interaction of antiquity and the contemporary world is the association between luxury brands and antique monuments, fashion brands taking on the role of patrons, paying large sums for the restoration of Roman landmarks. By studying various types of exchanges between the classical and the contemporary, the papers aim to throw light on why artists and designers continue to draw inspiration from ancient art; in short, why antiquity continues to fascinate.
Research Interests: Reception Studies, Cultural Heritage, Contemporary Art, Classical Reception Studies, Ancient Greek and Roman Art, and 11 moreReception of Antiquity, Greek Sculpture, Contemporary Sculpture, Classical Antiquity, Greek Art, Contemporary Culture, Classical reception, Reception of Antiquity in Popular Culture, History of Greek Art, Classicism and Contemporary Art, and contemporary figural sculpture
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Depictions of rainbows in late antique and early Byzantine art follow the normal sequence of the spectral colours, only some bows exclude blue and violet. Another characteristic feature of the late antique rainbow is the inclusion of... more
Depictions of rainbows in late antique and early Byzantine art follow the normal sequence of the spectral colours, only some bows exclude blue and violet. Another characteristic feature of the late antique rainbow is the inclusion of white and the non-spectral hue pink. In order to investigate chromatic characteristics, I use as case studies the comparatively few extant rainbow images of third-to sixth-century date from Thessaloniki, Constantinople, Rome and Ravenna. The rainbows, depicted in a floor mosaic, three illuminated manuscripts and three monumental wall mosaic decorations, are either part of narratives or rainbow-patterned borders used to frame other scenes. To throw light on the chromatic variations, ancient descriptions of rainbows are brought into the discussion and the representations are seen in relation to meteorological research. I propose that the late antique rainbow images follow two visual traditions, both of which can be traced back to the Hellenistic period and both of which are grounded in scientific research. One is the sunrise/sunset rainbow that ranges from red to green. I argue that the exclusion of blue/violet may be due to its being more difficult to see against the sky, the wavelength of violet being closest to the boundary beyond which coloured light tends to look black. The variant type, found especially in the church mosaics, covers the whole spectrum from red via green to violet as well as pink and white. I suggest that the non-spectral pink hues can be understood as the gradations of red that can sometimes be observed in the natural bow and that the white band provides highlight, which combined with a silver line indicates a strong luminance. The dictionary defines a rainbow as 'an arch of colours formed in the sky in certain circumstances, and caused by the refraction and dispersion of the sun's light by rain or other water droplets in the atmosphere. The colours of the
Research Interests: Colour Vision, Meteorology, Visual perception, Late Antiquity, Late Antique Art and Archaeology, and 15 moreColour and Light, Ravenna, Ammianus Marcellinus, San Vitale Ravenna, Byzantine Mosaics, Color Theory, THESSALONIKI, Rainbows, Meaning of colours in antiquity, Late antique mosaics, Monuments of Thessaloniki, Early Byzantine Art, Roman and Late Antique Archeology Huistory of Art, Aristotle's On Meteorology, and early Byzantine aesthetics
We invite proposals for articles for a special issue of CLARA on the use of antiquity in contemporary art, especially in the last two decades. The special issue aims to explore why classical (Greek and Roman) sculpture and other artwork... more
We invite proposals for articles for a special issue of CLARA on the use of antiquity in contemporary art, especially in the last two decades. The special issue aims to explore why classical (Greek and Roman) sculpture and other artwork continue to fascinate artists in the twenty-first century. Background Continuing a trend of the late twentieth century, the early twenty-first century has witnessed an enduring interest in Greek and Roman antiquity and the classical heritage. A growing number of artists of very different backgrounds, including (alphabetically) have created new works of art based on renowned antique statues such as the Venus de Milo, the Nike of Samothrace, the Apollo Belvedere, the Belvedere torso and the Hercules Farnese. While some artists make new versions of ancient sculptures, other artists create new works in a classical style. Classical images, ranging from statues to temples, also turn up in advertising to promote ideas of high quality and excellent taste. In fashion design, brands such as Versace, Chanel and not least Dolce & Gabbana, who in recent collections have presented male and female couture decorated with Greek coins, Sicilian temples and Black-and Red-figure vases, have similarly embraced the classical.
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Mimetophobia, the fear of imitation, in the sense of a negative or sceptical attitude towards resemblance, may have been caused by a too narrow interpretation of the concept mimesis as naturalistic representation and slavish imitation.... more
Mimetophobia, the fear of imitation, in the sense of a negative or sceptical attitude towards resemblance, may have been caused by a too narrow interpretation of the concept mimesis as naturalistic representation and slavish imitation. Greek and Roman texts suggest that mimesis had a wide range of meanings: mimesis as neutral representation; mimesis as lifelikeness; mimesis as naturalism and illusion; mimesis as visualisation (phantasia) and mimesis as artistic repetition. Discussing the term mimesis in connection with ancient art, I propose that the artists used different mimetic modes depending on the function of the images. I further argue that the antique mimesis was "medium-specific", and that the artists were more concerned with material and technical excellence than with imitating natural appearances. Comparing antique and contemporary practices, it is found that the hyperrealistic sculptures of Carole A. Feuerman, John DeAndrea and Ron Mueck are closer to Plato's concept of mimesis as visual deception than any ancient work could ever have been.
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Research Interests:
The article discusses the material and aesthetic qualities of the female stucco saints in the Tempietto Longobardo at Cividale del Friuli (c. AD 750). The stuccoes combine two artistic and technical traditions: marble statuary of antique... more
The article discusses the material and aesthetic qualities of the female stucco saints in the Tempietto Longobardo at Cividale del Friuli (c. AD 750). The stuccoes combine two artistic and technical traditions: marble statuary of antique derivation and figural stucco relief. The surface texture of stucco differs considerably from that of marble: while marble is shiny, stucco tends to be dull. Since colours enhanced the visual impact of the saintly figures in the Tempietto, the polychromy-of which only very faint traces remain-was probably the most important aspect of the sculpture. It is a matter of speculation whether the viewer would have perceived any physical difference in surface appearance between the painted stucco and painted stone when seen from a distance. In order to gain an idea of the aesthetic impact of the reliefs when painted and perhaps gilded, the article presents hypothetical reconstructions of colour based on the wall paintings preserved in the Tempietto. Located in the gastaldaga, the seat of the Longobard king's representative at Cividale del Friuli (Udine), Sa Maria in Valle, better known as the Tempietto Longobardo, served as a palatine chapel. 1 The dedicatory inscription mentions 'pies auctores'. 2 These 'pious founders' were plausibly the Longobard king, Aistulf (749-756), and his wife Giseltrude. Upon the death of Aistulf, Giseltrude became a nun. A local tradition has it that a certain Pertrude, by some scholars identified with Giseltrude, founded the monastery of Sa Maria in Valle. 3 Whatever the case, at least the importance bestowed upon female saints in the decoration of the chapel, and the marked interest in issues of fashion and design evidenced in their vestments, may bespeak the presence of a female patron.
Research Interests: Art History, Material Culture Studies, Early Medieval Archaeology, Medieval Art, Early Medieval Art, and 13 morePolychromy, Polychromy in Ancient Art, Byzantine art, Polychromy of Ancient Sculpture, Painted Stucco Decoration, Policromia, Sculptural polychromy, Italo-Byzantine Art, Longobardi archeologia, Medieval Polychromy, Medieval Polychrome Sculpture, Stucco, and Cividale Del Friuli
The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from... more
The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from various disciplines explore different aspects of sculptural polychromy in marble, glass, stucco, wood and terracotta – from Antiquity to the Renaissance: The multisensory perception of colour, the interplay of colour and texture, the treatment of sculpted surfaces, the importance of gilding and polishes, and the challenges when reconstructing lost polychromy. Combining empirical and theoretical data, the special issue includes hitherto unpublished colour reconstructions and scientific details.
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
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Research Interests: Late Antique and Byzantine Studies, Egyptian Art and Archaeology, Egyptian Archaeology, Late Antique Archaeology, Coptic Studies, and 11 moreLate Antiquity, Late Antique Art and Archaeology, Coptic (Archaeology), Coptic art, Coptic Monasteries, Paleochristian and Late Antique Archaeology, Coptic Wall Paintings, Byzantine Egypt, Late Antique Egypt, Bawit, and Style and Meaning in the Late Antique Visual Arts
Research Interests: Aesthetics, Art History, Late Antique and Byzantine Studies, Art Theory, Abstract Art, and 15 moreLate Antique Archaeology, Visual perception, Late Antiquity, Late Antique Art and Archaeology, Early Christian Art, Theory of ornament, Ravenna, Paleochristian and Late Antique Archaeology, San Vitale Ravenna, Early Christian Mosaics, Late antique mosaics, LATE ANTIQUE ART, Pareidolia, Early Byzantine Mosaics, and Late Roman art
Research Interests: Art History, Late Antique and Byzantine Studies, Saints' Cults, Byzantine Studies, Late Antiquity, and 8 moreColor Perception, Byzantine Mosaics, Color Psychology and Use of Colour, Byzantine art, Early Christian Mosaics, Late Antique Aesthetics, Early Christian Art and Iconography, and Monuments of Thessaloniki
The article discusses Byzantine attire by focusing on imperial and courtly dress from early to late Byzantium, with main emphasis on Constantinopolitan styles. The visual evidence - mosaics and illuminations - is seen in relation to the... more
The article discusses Byzantine attire by focusing on imperial and courtly dress from early to late Byzantium, with main emphasis on Constantinopolitan styles. The visual evidence - mosaics and illuminations - is seen in relation to the written and material sources. Key looks from the sixth to the fifteenth centuries are presented.
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Fashion Theory, Dress Studies, Sociology of Dress, and 37 moreHistory of Dress, Medieval Dress, Material Culture Studies, History of Costume, History of Textiles, Fashion History, Costume and Identity, Byzantine Studies, Byzantine History, Byzantine Iconography, Byzantine Archaeology, Dress and Personal Adornment (Archaeology), Dress and identity, Medieval Art, Costume (Art History), Byzantium, Constantinople, History of Costumes, Late Antiquity and Byzantium (History and Art), Byzantine culture, Daily Life in Byzantium, Byzantine Mosaics, Archaeological textiles and clothing, Colour Terms, Byzantine art, History of clothing and fashion, History and Theory of Dress, Medieval Textiles and Clothing, Bizans Sanatı, Early Byzantine material culture, Arte Bizantina, Byzantine history and archaeology, Byzantine Clothing, Arte Bizantino, Court Fashion, Dress and Personal Adornment, and imperial attire
Research Interests: Art History, Reception Studies, Contemporary Art, History of Sculpture, The Classical Tradition, and 11 moreClassical Reception Studies, Reception of Antiquity, Greek Sculpture, Contemporary Sculpture, Appropriation in Art, Classical reception, Globalization and Contemporary Art, Global Art History, History of Greek Art, Classicism In Art, and Classicism and Contemporary Art
Research Interests: Cultural History, Late Antique and Byzantine Studies, Cultural Heritage, Medieval Archaeology, Byzantine Studies, and 21 moreLate Antiquity, Byzantine History, Byzantine Architecture, Byzantine Archaeology, Medieval Art, Byzantine Architectural Sculpture, Post-byzantine history, Byzantine churches, Athens, Spolia, Byzantine art, Post-byzantine art history, Byzantine and Post Byzantine Art, Medieval church architecture, Reuse of Materials, Il reimpiego in architettura: recupero, trasformazione, uso, Byzantine sculpture, Roman Spolia, Byzantine history and archaeology, Post-byzantine Architecture, and Byzantine Athens
Research Interests: Late Antique Archaeology, Late Antiquity, Historiography (in Art History), Late Roman Empire, Late Roman Archaeology, and 15 moreLate Antiquity and Byzantium (History and Art), Roman Sculpture, Later Roman Empire, Roman, Late Antique and Medieval archaeology in the Balkans, Roman Art, THESSALONIKI, Archaeologists, Monuments of Thessaloniki, Roman Archaeology, Early archaeologists in Nineteenth century, Galerius, Roman Art; Late Antique Art, Emperor Galerius palace, Historiography of Late Antique and Early Christian Art, and Late Roman art
Research Interests: Late Antique and Byzantine Studies, Art and Science, Colour and Light, Byzantine Mosaics, Color Psychology and Use of Colour, and 9 moreTHESSALONIKI, Early Christian Mosaics, Late Antique Aesthetics, Colour Symbolism, Early Byzantine Archaeology, Meaning of colours in antiquity, Wilhelm von BEZOLD, Chevreul, and Color and luminance
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual... more
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and conventions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. Style was conditioned by function and context. The article therefore proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programs and artworks.
Research Interests: Late Antique Archaeology, Late Antiquity, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, and 8 moreAncient Rome, Paleochristian and Late Antique Archaeology, Late Roman and Early Christian Art, Early Christian Mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, Monuments of Thessaloniki, Style and Meaning in the Late Antique Visual Arts, and Monumental topography at Thessaloniki
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, Glass (Archaeology), and 13 moreLate Antique Art and Archaeology, Late Roman Archaeology, Late Antique Architecture, Ancient Glass, Paleochristian and Late Antique Archaeology, Ancient Glass Analysis, Roman Mosaics, Alexandria, Opus Sectile, LATE ANTIQUE ART, Late Antique Egypt, Late Roman History Art and Archaeology, and Egyptianizing style
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Research Interests: Late Antique Archaeology, Cult of Saints, Byzantine Studies, Portraiture, Late Antiquity, and 15 moreByzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Late Roman Archaeology, Late Antique Architecture, Late Antique and Byzantine Art, Late Roman and Early Christian Art, Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Early Christian Mosaics, Early Byzantine Archaeology, Monuments of Thessaloniki, and Archéologie paléochrétienne
Some portraits show Alexander the Great with his neck twisted and head tilted, mostly to the left, occasionally to the right. Similarly, Plutarch and later Sources describe Alexander as having a tilted or twisted neck. This head posture... more
Some portraits show Alexander the Great with his neck twisted and head tilted, mostly to the left, occasionally to the right. Similarly, Plutarch and later Sources describe Alexander as having a tilted or twisted neck. This head posture has been subject to discussion by archaeologists as well as physicians. While most archaeologists believe the posture to be a question of iconography, many physicians have put it down to a physical defect. In fact, in very recent medical publications, Alexander is still presented as suffering from torticollis, twisted neck, a diagnosis launched in the mid-nineteenth century. This study concludes that a potential physical defect is unlikely to have been depicted in the official portraits of Alexander.
Research Interests: Portraits, Portraiture, Greek Archaeology, Alexander the Great, Ancient Greek and Roman Art, and 15 moreGreek Sculpture, Hellenistic art, Hellenistic Sculpture, Hellenistic culture and society, Greek and Roman Portraiture, Greek and Roman Archaeology, Alexander the Great, Alejandro Magno, Alessandro Magno, Greek and Roman Sculpture, History of Greek Art, Hellenistic Portraiture, Torticolis, Congenital Muscular Torticollis, Ancient Physiognomy, Brown's syndrome, and hellenistic portraits
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Ancient Aesthetics, Byzantine Studies, Late Antiquity, and 15 moreLate Antique Art and Archaeology, Late Antique Hagiography, Byzantine Aesthetics, Color Perception, Colour and Light, Late Antiquity and Byzantium (History and Art), Byzantine Mosaics, Byzantine art, THESSALONIKI, Early Christian Martyrs, Late Antique Aesthetics, Meaning of colours in antiquity, Late antique mosaics, Monuments of Thessaloniki, and Early Byzantine Art
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Ostia (Archaeology), Late Roman Empire, and 26 moreLate Antique Art and Archaeology, Late Roman Archaeology, Roman Marble trade and distribution, Late Antique Architectural Decoration, Marbles, Polychromy in Ancient Art, Late Antiquity and Byzantium (History and Art), Paleochristian and Late Antique Archaeology, Later Roman Empire, late antique Rome, Roman Art, Ostia, The Use of Marble and Other Stones, Opus Sectile, Roman Ostia, Late Antique Aesthetics, Marble, Ancient Roman Marbles, Ostia Antica, LATE ANTIQUE ART, Late Antique and Byzantine Archaeology, Architecture and History of Art, Late Antique Ostia, Porfido, Roman and Late Antique Archeology Huistory of Art, Roman Art; Late Antique Art, and arte e archeologia tardoantica
Research Interests: Art History, History of Sculpture, History of Art, Historiography (in Art History), Ancient Greek and Roman Art, and 25 moreLate Antique Sculpture, Greek Sculpture, Polychromy, Polychromy in Ancient Art, Roman Sculpture, Hellenistic Sculpture, Roman Art, Polychromy of Ancient Sculpture, Meaning of colours in antiquity, Greek and Roman Sculpture, Policromia, Sculptural polychromy, Roman Archaeology, The polychromy of Greek and Roman sculpture, The polychromy of Greek and Roman architecture, Polychromie, Medieval Polychromy, Polychrome, Medieval Polychrome Sculpture, Ancient Greek and Roman Polychromy, Historiography of Art History, Archaic Greek Art & Polychromy, Polychromie Médiévale, Ancient Greek Sculpture, and Scultura Policroma
Edited by: Siri Sande, Turid Karlsen Seim, Sebastian Salvadó Contents: Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure Eve D’Ambra – Elite and Mass... more
Edited by: Siri Sande, Turid Karlsen Seim, Sebastian Salvadó
Contents:
Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure
Eve D’Ambra – Elite and Mass Appeal of Roman Imperial Female Portraiture: The Case of Vibia Sabina
Bente Kiilerich – The Barletta Colossos Revisited
Hjalmar Torp – Lo Sfondo Storico-Iconografico dell'Immagine di Cristo nel Tempietto Longobardo a Cividale
Per Jonas Nordhagen – In the Iconographer’s Studio. The Fashioning of New Motif Types in Pre-Iconoclastic Art
Lasse Hodne – Umbra et Figura. La Pittura Fiorentina del Quattrocento e il “Modo Figurativo”
Louis Cellauro – Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
Contents:
Siri Sande – The “Barbarian Princes” in the Ara Pacis Procession and the Origin and Development of the so-called Camillus Coiffure
Eve D’Ambra – Elite and Mass Appeal of Roman Imperial Female Portraiture: The Case of Vibia Sabina
Bente Kiilerich – The Barletta Colossos Revisited
Hjalmar Torp – Lo Sfondo Storico-Iconografico dell'Immagine di Cristo nel Tempietto Longobardo a Cividale
Per Jonas Nordhagen – In the Iconographer’s Studio. The Fashioning of New Motif Types in Pre-Iconoclastic Art
Lasse Hodne – Umbra et Figura. La Pittura Fiorentina del Quattrocento e il “Modo Figurativo”
Louis Cellauro – Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
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The Barletta colossus is the sole large-scale statue in bronze preserved of a late antique emperor; the only comparable image is the even larger, but fragmentary, Constantinian emperor in Rome. According to local tradition, the Barletta... more
The Barletta colossus is the sole large-scale statue in bronze preserved of a late antique emperor; the only comparable image is the even larger, but fragmentary, Constantinian emperor in Rome. According to local tradition, the Barletta colossus depicts the Byzantine emperor Heraclius (610-641). Modern researchers tend to regard this attribution as mere folklore and fiction. But while there is general agreement that the statue does not portray Heraclius, there is no agreement as to whom it may have been intended to portray. About a dozen different emperors have been proposed, suggested dates ranging from the fourth to the eighth century. The present article reviews the evidence and discusses the methodological problems we face when dealing with this enigmatic work.
Research Interests: Portraits, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Portraiture, and 35 moreLate Antiquity, Late Roman Empire, Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Late Antique Sculpture, Byzantine Imperial Ideology, Late Antique and Byzantine Art, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Later Roman Empire, Statues, Roman Art, Byzantine art, Greek and Roman Portraiture, Roman Emperors, Roman Imperial Portraits, Ancient Bronzes, Heraclius, Byzantine emperors, Byzantine Empire, Ancient Bronze Statuary, Early Byzantine Archaeology, Roman statues, Roman Portraiture, Roman Archaeology, Imperial Portraiture, Portrait Statues, Barletta, Portraiture and the Problematic of Representation, Roman Bronze Statuary, Imperial Portraits, Colossal statues, and Late Antique Portraiture
Summary A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and... more
Summary
A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and content of the images they frame. Although a local tradition for wall- and floors mosaic exists in the Tarraconensis, closely comparable material is lacking. ... The commissioner was probably a member of the senatorial aristocracy, here tentatively identified as the provincial governor Lucilius Constantius. Suggested date: 375-400.
A study of the visual characteristics of the Centcelles mosaics reveals that different figurative modes were used to convey the different messages of the figural zones, and that the ornaments were chosen to match the style and content of the images they frame. Although a local tradition for wall- and floors mosaic exists in the Tarraconensis, closely comparable material is lacking. ... The commissioner was probably a member of the senatorial aristocracy, here tentatively identified as the provincial governor Lucilius Constantius. Suggested date: 375-400.
Research Interests: Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, and 17 moreLate Roman Archaeology, Archaeology of Roman Hispania, Ancient Mosaics, Graeco-Roman Mosaics and Wall Paintings, Late roman villas, Early Christian Archaeology, Late Antiquity and Byzantium (History and Art), Late Roman Spain, Later Roman Empire, Roman Hispania Mosaics, Centcelles, Roman Mosaics, Early Christian Mosaics, Hispania romana, Roman Mosaics and Wall Paintings, Late antique mosaics, and Roman Archaeology
Research Interests: Late Antique and Byzantine Studies, Byzantine Studies, Byzantine Archaeology, Medieval Art, Late Antique Art and Archaeology, and 11 moreByzantine Aesthetics, Byzantium, Late Antique and Byzantine Art, Polychromy in Ancient Art, Byzantine Art and Archaeolgy, Byzantine Mosaics, Colour, Byzantine art, Sculptural polychromy, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Medieval Polychromy
The survey discusses wall- and vault mosaics (Centcelles, Rotunda Thessaloniki), floor mosaics (Aquileia, Madaba, Petra), paintings, textiles, sculpture, sumptuary arts (silver, ivory), iconographical themes (martyrs, Christ, baptism,... more
The survey discusses wall- and vault mosaics (Centcelles, Rotunda Thessaloniki), floor mosaics (Aquileia, Madaba, Petra), paintings, textiles, sculpture, sumptuary arts (silver, ivory), iconographical themes (martyrs, Christ, baptism, crucifixion), etc.
Research Interests: Iconography, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Early Christianity, and 28 moreLate Antiquity, Late Antique Art and Archaeology, Early Christian Art, Christian Iconography, Constantinople, Early Christian Archaeology, Paleochristian and Late Antique Archaeology, Aquileia, Early Christian Studies, Medieval Iconography, Early Christianity, Late Antiquity, Pavement Mosaics, Archeologia Tardoantica E Paleocristiana, Archeologia Cristiana, Centcelles, Early Christian baptisteries, THESSALONIKI, Early Christian Archaeology and Art, Early Christian Iconography, Early Christian Mosaics, early Christian sculpture, Early Christian Art and Iconography, Early Christian Archaelogy, Iconografia Cristiana, Arte Paleocristiana, Early Christian and Byzantine Sculpture, Archeologia cristiana e Tardoantica, and Historiography of Late Antique and Early Christian Art
Research Interests: Optics, Art History, Late Antique and Byzantine Studies, Colour Science, Colour Vision, and 41 moreLate Antique Archaeology, Art and Science, Byzantine Studies, Colour Theory, Late Antiquity, History of Art, Byzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Early Christian Art, Ancient Mosaics, Byzantine Aesthetics, Byzantium, Color Perception, Late Antique and Byzantine Art, Colour and Light, Colours, Early Christian Archaeology, Color, Color symbolism, Byzantine Mosaics, Color Theory, Color Psychology and Use of Colour, Colour, Byzantine art, Color Science, Bisanzio, THESSALONIKI, Early Christian Mosaics, Late Antique Aesthetics, Roman Mosaics and Wall Paintings, Early Byzantine Archaeology, Meaning of colours in antiquity, Late antique mosaics, Mosaics, LATE ANTIQUE ART, Pointillism, Wilhelm von BEZOLD, Early Byzantine Art, Chevreul, and Color and luminance
Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 15 moreAncient Near East, Late Roman Empire, Late Antique Art and Archaeology, Ancient Art, Late Roman Archaeology, Roman Syria (Archaeology), Ancient Mosaics, Later Roman Empire, Pavement Mosaics, Ancient Greece, Ancient Music, Iconography, Roman Mosaics, Late antique mosaics, Ancient Music, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Roman Archaeology
Research Interests: Ancient History, Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Ostia (Archaeology), and 16 moreLate Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Roman Marble trade and distribution, Roman Glass, Marbles, Paleochristian and Late Antique Archaeology, Marble Provenance, Ostia, The Use of Marble and Other Stones, Opus Sectile, Roman Ostia, Ancient Roman Marbles, Ostia Antica, Roman Archaeology, and Study of Ancient Marble
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Mesopotamian Archaeology, Late Antique Archaeology, Iconoclasm, and 25 moreByzantine Studies, Late Antiquity, Byzantine Iconography, Imperial Rome, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Ancient Greek and Roman Art, Constantinople, Damnatio Memoriae, Constantine, Ancient Rome, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Byzantine Art and Archaeolgy, Byzantine Mosaics, Roman Art, Byzantine art, Byzantine Iconoclasm, THESSALONIKI, Roman Imperial Portraits, Hagia Sophia, Sargon of Akkad, Scultura greca e romana, and Roman Archaeology
Research Interests: Art History, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Late Roman Empire, and 17 moreLate Antique Art and Archaeology, Late Roman Archaeology, Late Antique Sculpture, Constantine, Ancient Rome, Alois Riegl, Roman Sculpture, Later Roman Empire, Roman Triumph, Archeologia Tardoantica E Paleocristiana, Roman Art, Spätantike, Roman Archaeology, Tardo Antico, The Later Roman Empire, Roman and Late Antique Archeology Huistory of Art, and Roman Art; Late Antique Art
Research Interests: Architecture, Landscape Archaeology, Late Antique Archaeology, Early Christianity, Late Antiquity, and 27 moreSculpture, Greek Archaeology, Early Christian Art, Ancient Topography (Archaeology), Sacred Landscape (Archaeology), Greek Architecture, Early Christian Architecture, Parthenon, Caryatids, Greece, - Christianization and Ancient Christianity, Greek sanctuaries, Archaic Period, Pagan/Christian Relations in the Early Middle Ages, Early Christian Archaeology, Athens, Greek and Roman Art and Architecture, Acropolis, Acropolis of Athens, Erechtheion, Athenian Acropolis, Sanctuaries, Ancient Athens, Athens and Attica, Late Antique and Byzantine Attica, Greek temples, and Erechtheum
Research Interests:
The fragment of Aeschylus' satyr play 'Theoroi" or 'Isthmiastai" concerning satyrs dedicating images of themselves in the sanctuary of Poseidon at Isthmia is of interest to the study of ancient art, insofar as it contains a whole range of... more
The fragment of Aeschylus' satyr play 'Theoroi" or 'Isthmiastai" concerning satyrs dedicating images of themselves in the sanctuary of Poseidon at Isthmia is of interest to the study of ancient art, insofar as it contains a whole range of art historical terms and expressions. Because of the ambiguity of the words eikon, eidolon, morphe, Daidalou mimema, kalligrapton euchan and euktaia kosmon which can denote various kinds of pictorial images, the first part of the fragment (/rg 78a, 1-22) has been the subject of discussions on the part of philologists and, to a lesser degree, historians of classical art. The main question concerns what kind of images the satyrs are presenting-eveiything from painted pinakes, satyr-head ante-fixes and sayr-masks to statuettes has been suggested, but no consensus has been reached. Drawing upon the evidence of the visual arts in the early classicalperiod, it is discussed here whether the votive gfis Aeschylus had in mind were of afar more ambitious kind, namely life-size bronze statues.
Research Interests: Archaeology, Classical Archaeology, Classics, Art History, History of Art, and 11 moreClassical philology, Ancient Greek History, Ancient Greek Iconography, Ancient Greek and Roman Theatre, Ancient Greek and Roman Art, Ancient Greek Language, Greek Philology, Ancient Greek Mythology, Classics: Ancient History and Archaeology, Ancient Greek Literature, and Greek Satyr Play
Research Interests: Aesthetics, Late Antique and Byzantine Studies, Late Antique Archaeology, Neuroaesthetics, Byzantine Studies, and 36 moreLate Antiquity, Byzantine Architecture, Byzantine Archaeology, Ekphrasis, Medieval Art, Late Antique Art and Archaeology, Byzantine Aesthetics, Byzantium, Constantinople, Marbles, Late Antiquity and Byzantium (History and Art), Justinian I, Emperor, Byzantine Art and Archaeolgy, Classical Art - Byzantine Art - Iconology - Visual Studies - Ancient Aesthetics, Byzantine art, Marble Provenance, Bisanzio, The Use of Marble and Other Stones, Hagia Sophia, Opus Sectile, Late Antique Aesthetics, Early Byzantine Archaeology, Marble, Analysis of Hagia Sophia and Its Architecture ,the Walls,the Basilica and Its Decorations., Ancient marble quarries, Ancient Roman Marbles, Ekphrasis, Hermeneutics, Aesthetic Experience, Byzantine history and archaeology, Early Byzantine Art, Study of Ancient Marble, Ekphrastic Poetry, Costantinople, Arte Bizantino, Paul the Silentiary, early Byzantine aesthetics, and marble aesthetics
Research Interests: Late Antique and Byzantine Studies, Word and Image Studies, Greek Epigraphy, Byzantine Studies, Late Antiquity, and 14 moreByzantine Iconography, Byzantine Archaeology, Early Christian Art, Byzantine Epigraphy, Byzantium, Constantinople, Late Antiquity and Byzantium (History and Art), Ravenna, Inscriptions, Byzantine Mosaics, Byzantine art, Early Christian Mosaics, Byzantine Iconography and Semiotics, and Early Byzantine Art
Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 19 moreLate Roman Empire, Roman North Africa (Archaeology), Late Antique Art and Archaeology, Late Roman Archaeology, Roman Iconography, Ancient Mosaics, Ancient Greek and Roman Art, Late Antiquity and Byzantium (History and Art), Later Roman Empire, Pavement Mosaics, Byzantine Mosaics, Roman Art, Byzantine art, ROMAN TUNISIA, Roman Mosaics, Late Antique Aesthetics, Late antique mosaics, Roman Archaeology, and Roman Art; Late Antique Art
Research Interests: Late Antique and Byzantine Studies, Cultural Heritage, Late Antique Archaeology, Medieval Archaeology, Byzantine Studies, and 13 moreLate Antiquity, Byzantine Architecture, Byzantine Archaeology, Medieval Art, Late Antique Art and Archaeology, Archeologia medievale, Spolia, Byzantine Art and Archaeolgy, Byzantine art, Islamic art and architecture, Roman Spolia, Recycling of Building Materials in Antiquity, Spolia, Roman Law, and Byzantine and Medieval Art
Research Interests: Iconography, Late Antique and Byzantine Studies, Late Antique Archaeology, Early Christianity, Byzantine Studies, and 22 moreLate Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Byzantium, Constantinople, Early Christian Archaeology, Paleochristian and Late Antique Archaeology, Roman Sculpture, Early Christianity, Late Antiquity, Roman Sarcophagi, THESSALONIKI, Theodosius, Early Christian Iconography, Archeologia Tardoantica E Cristiana, Early Christian Mosaics, Early Byzantine Archaeology, Late Antique and Byzantine Archaeology, Architecture and History of Art, Roman Archaeology, Early Byzantine Art, and Arte Paleocristiana
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Late Roman Empire, and 17 moreLate Antique Art and Archaeology, Late Roman Archaeology, Roman Iconography, Constantinople, Late Antique and Byzantine Art, Late Antiquity and Byzantium (History and Art), Late Roman Spain, Later Roman Empire, THESSALONIKI, Roman Imperial Portraits, Theodosius, Early Byzantine Archaeology, Early Byzantine material culture, Roman and Late Antiquity Iconography, Early Byzantine Art, late Roman silver, and The Later Roman Empire
Abstract Les saints, tant vivants que dans l’au-delà, forment un sujet actuellement très apprécié des études concernant l’Antiquité tardive. Dans le domaine iconographique, l’ensemble le plus magnifique de saints est représenté par les... more
Abstract
Les saints, tant vivants que dans l’au-delà, forment un sujet actuellement très apprécié des études concernant l’Antiquité tardive. Dans le domaine iconographique, l’ensemble le plus magnifique de saints est représenté par les quinze portraits de martyrs en mosaïque conservés sur la coupole de la Rotonde de Saint-Georges à Thessalonique. Étrangement, le discours contemporain de l’iconographie hagiographique néglige largement ces images exceptionnelles. La raison en est probablement de l’incertitude de leur datation. Pourtant, qu’on les place dans les dernières décennies du ive siècle, aux alentours de 450, ou au début du vie siècle, ces mosaïques fournissent une importante information sur l’origine et le développement de la représentation des saints. Cet article pose le problème de la genèse de l’image individualisée du martyr, en particulier la question de son rattachement à une tradition authentique liée à son portrait funéraire. Une des caractéristiques distinctives des images du monument de Thessalonique est la variété des représentations : les portraits des martyrs sont nettement individualisés, différenciés par âge, chevelure, barbe, traits physiognomoniques, couleurs, etc. Toutefois, indépendamment de la question de l’origine et de l’authenticité de ces portraits, les couleurs particulières des tesselles utilisées pour rendre les chevelures et les yeux montrent que, dans la Rotonde, les mosaïstes ont donné la priorité à une esthétique de “lumière colorée’, principe qui leur a permis de représenter la beauté idéale des hommes saints dans l’au-delà.
Les saints, tant vivants que dans l’au-delà, forment un sujet actuellement très apprécié des études concernant l’Antiquité tardive. Dans le domaine iconographique, l’ensemble le plus magnifique de saints est représenté par les quinze portraits de martyrs en mosaïque conservés sur la coupole de la Rotonde de Saint-Georges à Thessalonique. Étrangement, le discours contemporain de l’iconographie hagiographique néglige largement ces images exceptionnelles. La raison en est probablement de l’incertitude de leur datation. Pourtant, qu’on les place dans les dernières décennies du ive siècle, aux alentours de 450, ou au début du vie siècle, ces mosaïques fournissent une importante information sur l’origine et le développement de la représentation des saints. Cet article pose le problème de la genèse de l’image individualisée du martyr, en particulier la question de son rattachement à une tradition authentique liée à son portrait funéraire. Une des caractéristiques distinctives des images du monument de Thessalonique est la variété des représentations : les portraits des martyrs sont nettement individualisés, différenciés par âge, chevelure, barbe, traits physiognomoniques, couleurs, etc. Toutefois, indépendamment de la question de l’origine et de l’authenticité de ces portraits, les couleurs particulières des tesselles utilisées pour rendre les chevelures et les yeux montrent que, dans la Rotonde, les mosaïstes ont donné la priorité à une esthétique de “lumière colorée’, principe qui leur a permis de représenter la beauté idéale des hommes saints dans l’au-delà.
Research Interests: Portraits, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Cult of Saints, and 42 moreSaints' Cults, Byzantine Studies, Portraiture, Late Antiquity, Byzantine Iconography, Byzantine Archaeology, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Late Antique Hagiography, Byzantine Aesthetics, Graeco-Roman Mosaics and Wall Paintings, Byzantium, Byzantine Hagiography, Late Antique and Byzantine Art, Fayum Mummy portraits, Colour and Light, Early Christian Archaeology, Paleochristian and Late Antique Archaeology, Byzantine Mosaics, Classical Art - Byzantine Art - Iconology - Visual Studies - Ancient Aesthetics, Byzantine art, Greek and Roman Portraiture, Bisanzio, THESSALONIKI, Early Christian Martyrs, Martyrs, Theodosius, Saints, Early Christian Mosaics, Cults of Saints, Early Byzantine Archaeology, Meaning of colours in antiquity, Late antique mosaics, Late antique wall and vault mosaics, Monuments of Thessaloniki, Byzantine history and archaeology, Byzantine wall mosaics, Early Byzantine Art, Portraiture and the Problematic of Representation, Holy Images, and Fayum Portraits
Research Interests: Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, Late Roman Empire, and 29 moreLate Antique Art and Archaeology, Late Roman Archaeology, Antiquity and Late Antiquity, Roman Iconography, Ancient Mosaics, Graeco-Roman Mosaics and Wall Paintings, Late Antique and Byzantine Art, Late roman villas, Late Roman Spain, Roman Spain, Later Roman Empire, Antigüedad Tardía, Pavement Mosaics, Roman Hispania Mosaics, Archeologia Tardoantica E Paleocristiana, Roman Art, Achilles, Roman Mosaics, Villas Romanas, Roman Mosaics and Wall Paintings, Arqueología, Historia Antigua, Antigüedad Tardía, Roma, Hispania, Mundo Ibérico, Late antique mosaics, Mosaics, Roman Portraiture, Roman Archaeology, Floor Mosaics, Mosaici, Theories of the Frame/parergon), and Roman Art; Late Antique Art
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Historiography (in Art History), and 18 moreLate Roman Empire, Late Antique Art and Archaeology, Early Christian Art, Late Roman Archaeology, Late Antique Sculpture, Constantinople, Constantine, Late Antiquity and Byzantium (History and Art), Alois Riegl, Roman Sculpture, Later Roman Empire, Roman Art, Roman Mosaics, Late Antique Aesthetics, Kunstwollen, LATE ANTIQUE ART, Early Byzantine Art, and Style and Meaning in the Late Antique Visual Arts
Research Interests: Classical Archaeology, Art History, Reception Studies, Art Theory, Contemporary Art, and 28 moreHistory of Sculpture, Sculpture, History of Art, Greek Archaeology, Classical Reception Studies, 20th century Italian art, Ancient Greek and Roman Art, Reception of Antiquity, Greek Sculpture, Contemporary Sculpture, Roman Sculpture, Classical Tradition in Modern Culture, Arte Povera, Roman Art, Classicism, Neo-Classicism, Classical reception, Michelangelo Pistoletto, Giulio Paolini, Classicismo, Classical reception in the 20th century, Greek and Roman Sculpture, History of Greek Art, Roman Archaeology, Classicism In Art, Classics and Modern/Contemporary Art, Classicism and Contemporary Art, and modern classicisms
Research Interests:
Research Interests:
Research Interests: Portraits, Aristotle, Physiognomy, Portraiture, Greek Archaeology, and 19 moreAlexander the Great, History of Physiognomy, Ancient Greek and Roman Art, Physiognomics, Greek Sculpture, Portraits of Alexander the Great, Hellenistic art, Hellenistic Sculpture, Greek and Roman Portraiture, Aristoteles, Alexander the Great, Alejandro Magno, Alessandro Magno, Greek Art, Greek and Roman Sculpture, History of Greek Art, Portraiture and the Problematic of Representation, Lysippos, Physiognomonie, Ancient Physiognomy, and Ancient Greek physiognomics
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Roman Religion, Byzantine Studies, Late Antiquity, and 18 moreLate Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Roman Iconography, Greco-Roman Mythology, Late Antique Religion, Ancient Rome, Late Antiquity and Byzantium (History and Art), Later Roman Empire, Roman Art, Ivory Carving, Ivories, Q. Aurelius Symmachus, LATE ANTIQUE ART, Diptych, Late Antique and Byzantine Archaeology, Architecture and History of Art, Roman and Late Antique Archeology Huistory of Art, and Diptych Symmachi and Nicomachi
Abstract Le feuillet en ivoire dit de Consécration ou d’Apothéose, conservé au British Museum à Londres, pose beaucoup de problèmes délicats : quand et où a-t-il été produit ? Qui en est le protagoniste ? Qui en était le commanditaire ?... more
Abstract
Le feuillet en ivoire dit de Consécration ou d’Apothéose, conservé au British Museum à Londres, pose beaucoup de problèmes délicats : quand et où a-t-il été produit ? Qui en est le protagoniste ? Qui en était le commanditaire ? Quel était le sujet du second feuillet du diptyque ? Certains ont voulu identifier le protagoniste à un empereur : Antonin le Pieux, ou Marc Aurèle, ou Julien dit l’Apostat, en plaçant l’ivoire vers 430/486. D’autres l’ont associé à un homme privé : le sénateur Symmaque, décédé en 402, ou Théodose père. J’estime que l’ivoire montre Quintus Aurelius Memmius Symmaque, consul en 485, et que le feuillet perdu était consacré à son beau-fils, le philosophe Boèce. En outre, je propose que le diptyque ait été commandé par les deux fils du Boèce - Fl. Symmaque et Fl. Boèce - en mémoire de la mort par exécution, en 525 environ, de leur père et grand-père.
Le feuillet en ivoire dit de Consécration ou d’Apothéose, conservé au British Museum à Londres, pose beaucoup de problèmes délicats : quand et où a-t-il été produit ? Qui en est le protagoniste ? Qui en était le commanditaire ? Quel était le sujet du second feuillet du diptyque ? Certains ont voulu identifier le protagoniste à un empereur : Antonin le Pieux, ou Marc Aurèle, ou Julien dit l’Apostat, en plaçant l’ivoire vers 430/486. D’autres l’ont associé à un homme privé : le sénateur Symmaque, décédé en 402, ou Théodose père. J’estime que l’ivoire montre Quintus Aurelius Memmius Symmaque, consul en 485, et que le feuillet perdu était consacré à son beau-fils, le philosophe Boèce. En outre, je propose que le diptyque ait été commandé par les deux fils du Boèce - Fl. Symmaque et Fl. Boèce - en mémoire de la mort par exécution, en 525 environ, de leur père et grand-père.
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Early Medieval Archaeology, Byzantine Studies, and 14 moreLate Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Roman Iconography, Early Medieval Art, Boethius, Late Antiquity and Byzantium (History and Art), Later Roman Empire, Early Christianity, Late Antiquity, Roman Sarcophagi, Ivory Carving, Apotheosis, and Diptych
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, and 15 moreClaudian, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Byzantium, Constantinople, Late Antique and Byzantine Art, Late Antique Latin Poetry, Later Roman Empire, Theodosius, Ivory Carving, Barbarians and Romans in Late Antiquity and Early Middle Ages, Stilicho, Diptych, and Late Antique and Byzantine Archaeology, Architecture and History of Art
Research Interests: Late Antique Archaeology, Late Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, and 13 moreAntiquity and Late Antiquity, Late Antique Sculpture, Roman Sculpture, Later Roman Empire, Aphrodisias, Roman Art, Roman and Byzantine Asia Minor, Idealplastik, Roman Marble Sculpture, Scultura greca e romana, Late Roman Sculpture, Roman Archaeology, and Roman and Late Antique Archeology Huistory of Art
Research Interests: Portraits, Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Portraiture, and 20 moreLate Antiquity, Late Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Ancient Greek and Roman Art, Late Antique Sculpture, Paleochristian and Late Antique Archaeology, Roman Sculpture, Later Roman Empire, Aphrodisias, Roman Art, THESSALONIKI, Roman and Byzantine Asia Minor, Roman Asia Minor, Early Byzantine Archaeology, Greek and Roman Sculpture, Roman Portraiture, Roman Archaeology, Roman and Late Antique Archeology Huistory of Art, and Late Antique Portraiture
THE SATYR PORTRAITS IN AESCHYLUS' "THEOROI"- SPITTING IMAGES OR ART HISTORY IN A DIFFERENT KEY? by Bente Kiilerich Abstract The fragment of Aeschylus' satyrplay 'Theoroi" or "Isthmiastai" concerning satyrs dedicating images of... more
THE SATYR PORTRAITS IN AESCHYLUS' "THEOROI"- SPITTING IMAGES OR ART HISTORY IN A DIFFERENT KEY?
by Bente Kiilerich
Abstract
The fragment of Aeschylus' satyrplay 'Theoroi" or "Isthmiastai" concerning satyrs dedicating images of themselves in the sanctuary of Poseidon at Isthmia is of interest to the study of ancient art, insofar as it contains a whole range of art historical
terms and expressions. Because of the ambiguity of the words eikon, eidolon, morphe, Daidalou mimema, kalligrapton euchan and euktaia kosmon which can denote various kinds of pictorial images, the first part of the fragment (frg 78a, 1-22) has been the subject of discussions on the part of philologists and, to a
lesser degree, historians of classical art. The main question concerns what kind of images the satyrs are presenting - everything from painted pinakes, satyr-head antefixes
and satyr-masks to statuettes has been suggested, but no consensus has been reached. Drawing upon the evidence of the visual arts in the early classical period, it is discussed here whether the votive gifts Aeschylus had in mind were of afar more
ambitious kind, namely life-size bronze statues.
by Bente Kiilerich
Abstract
The fragment of Aeschylus' satyrplay 'Theoroi" or "Isthmiastai" concerning satyrs dedicating images of themselves in the sanctuary of Poseidon at Isthmia is of interest to the study of ancient art, insofar as it contains a whole range of art historical
terms and expressions. Because of the ambiguity of the words eikon, eidolon, morphe, Daidalou mimema, kalligrapton euchan and euktaia kosmon which can denote various kinds of pictorial images, the first part of the fragment (frg 78a, 1-22) has been the subject of discussions on the part of philologists and, to a
lesser degree, historians of classical art. The main question concerns what kind of images the satyrs are presenting - everything from painted pinakes, satyr-head antefixes
and satyr-masks to statuettes has been suggested, but no consensus has been reached. Drawing upon the evidence of the visual arts in the early classical period, it is discussed here whether the votive gifts Aeschylus had in mind were of afar more
ambitious kind, namely life-size bronze statues.
Research Interests: Classical Archaeology, Classics, Mimesis, Greek Archaeology, Ancient Greek Religion, and 15 moreAeschylus, Ancient Greek Iconography, Greek Pottery, Ancient Greek and Roman Art, Greek Sculpture, Satyr Play, Greek and Roman Portraiture, Greek Art, Ancient Athens, Greek and Roman Sculpture, History of Greek Art, Greek Bronze Statuary, Mimesis In Visual Art, Greek Satyr Play, and Mímesis
Research Interests: Portraits, Late Antique and Byzantine Studies, Medieval Portraiture, Byzantine Studies, Portraiture, and 20 moreByzantine History, Byzantine Iconography, Byzantine Archaeology, Imperial ideology and representation, Byzantium, Constantinople, Byzantine Mosaics, Byzantine art, Costantinopoli, Komnenoi, Hagia Sophia, Bizans Sanatı, Mosaics, Macedonian Dynasty, Comnenian Dynasty, Byzantine history and archaeology, Byzantine wall mosaics, Costantinople, Byzantine Portraits, and Santa Sofia Di Costantinopoli (Istanbul)
Research Interests: Portraits, Late Antique and Byzantine Studies, Byzantine Studies, Portraiture, Byzantine Iconography, and 21 moreByzantine Archaeology, Imperial ideology and representation, Byzantium, Constantinople, Late Antiquity and Byzantium (History and Art), Byzantine Mosaics, Byzantine art, Bisanzio, Byzantine emperors, Hagia Sophia, Bizans Sanatı, Iconografia bizantina, Bizans, Mosaics, Byzantine history and archaeology, Costantinople, Bizantine Art, Arte Bizantino, Byzantine Portraits, Women In the Byzantine Empire, and Bizans İKonografi
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Late Antique Art and Archaeology, and 16 moreEarly Christian Art, Early Christian Architecture, Late Antique and Byzantine Art, Late Roman and Early Byzantine Syria-Palestine, Early Christian Archaeology, Aquileia, Inscriptions, Pavement Mosaics, Byzantine art, Dedicatory Inscriptions, Early Christian Mosaics, Early Byzantine Archaeology, Early Byzantine material culture, Late antique mosaics, LATE ANTIQUE ART, and Early Christian and Byzantine Epigraphy
Research Interests: Late Antique and Byzantine Studies, Byzantine Studies, Late Antiquity, Byzantine Iconography, Late Byzantine history, and 11 moreByzantine Aesthetics, Byzantium, Constantinople, Late Antiquity and Byzantium (History and Art), Byzantine Mosaics, Byzantine art, Theodore Metochites, Palaeologan Dynasty (1261-1453 CE), The Kariye Camii, Costantinople, and Palaiologan Byzantium
Research Interests: Iconography, Late Antique Archaeology, Early Medieval Archaeology, Early Medieval History, Late Antiquity, and 13 moreMedieval Art, Late Antique Art and Archaeology, Early Medieval Art, Carolingian Art, Late Antique and Byzantine Art, Ravenna, Medieval Iconography, the Longobards, Early Medieval Italy, Early Medieval Period, Theoderic the Great, agilulfo, and ruler images
Research Interests: Art History, Early Medieval Archaeology, Fashion History, Sculpture, Medieval Italy, and 23 moreMedieval Art, Early Medieval Art, Polychromy, Polychromy in Ancient Art, Byzantine dress, Lombard Italy, the Longobards, Art Conservation, Technical Art History, Medieval Polychromy, Polychromy of Ancient Sculpture, Early Medieval Italy, Painted Stucco Decoration, storia dei Longobardi, Longobardi, Policromia, Arte Medievale, Sculptural polychromy, Longobardi archeologia, Medieval Polychromy, Medieval Polychrome Sculpture, Stucco Decoration, Stucco, Polychromie Médiévale, and Scultura Policroma
Research Interests:
Research Interests:
Research Interests: Late Antique and Byzantine Studies, Early Medieval Archaeology, Medieval Archaeology, Metalwork (Archaeology), Byzantine Iconography, and 12 moreMedieval Art, Early Medieval Art, Langobards, Lombard Italy, the Longobards, Langobards, Italy, Early Medieval Italy, Necropoli Longobarde, Barbarians and Romans in Late Antiquity and Early Middle Ages, Longobardi, Longobardi archeologia, and BYZANTIUM AND THE WEST
Research Interests:
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Late Antique Art and Archaeology, and 15 moreLate Roman Archaeology, Roman Syria (Archaeology), Roman Iconography, Ancient Mosaics, Late Roman and Early Byzantine Syria-Palestine, Personifications, Pavement Mosaics, Byzantine Mosaics, Roman Mosaics, Late Antique and Byzantine Jewellery, Early Byzantine Archaeology, Early Byzantine material culture, Late antique mosaics, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Early Byzantine Art
Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Word and Image Studies, Late Antique Archaeology, Late Antiquity, and 9 moreLate Roman Empire, Late Antique Art and Archaeology, Late Roman Archaeology, Constantinople, History of Archaeology, Roman Sculpture, Later Roman Empire, Late Antique and Byzantine Archaeology, Architecture and History of Art, and Roman Archaeology
Research Interests: Late Antique and Byzantine Studies, Late Antique Archaeology, Byzantine Studies, Late Antiquity, Sculpture, and 11 moreLate Roman Empire, Late Antique Art and Archaeology, Byzantium, Late Antique Sculpture, Constantinople, Late Antiquity and Byzantium (History and Art), Roman Sculpture, Byzantine art, Early Byzantine Archaeology, Eastern Roman Empire, and Byzantine sculpture
Research Interests: Hellenistic Bactria, Indian Art, Kushan art and architecture, Greco-Roman World, Gandhara, and 9 moreGreco-Bactrian History, Archaeology of Central Asia in Parthian, Kushan and Sasanian times, Gandhara, East West relations, Gandhara Art, Ancient Indian Art and Architecture, Gandhara Archaeology, Gandharan Buddhist Art, Kushan and Gandhara, and Gandharan Art
A study of the marbles and coloured stones used in the opus sectile decoration of the sumptuous aula from outside the Porta Marina at Ostia, ca. 390.
Research Interests: Aesthetics, Art History, Late Antique and Byzantine Studies, Late Antique Archaeology, Late Antiquity, and 10 moreOstia (Archaeology), History of Art, Late Antique Art and Archaeology, Roman Marble trade and distribution, Roman Glass, Marbles, The Use of Marble and Other Stones, Opus Sectile, Ostia Antica, and Roman Archaeology
... fond of building. On behalf of the arts, Gratitude performs proskynesis in front of Juliana. Golden coins are ... not be, imperial. Still, when it comes to enthronement and proskynesis, the message is less subtle.... more
... fond of building. On behalf of the arts, Gratitude performs proskynesis in front of Juliana. Golden coins are ... not be, imperial. Still, when it comes to enthronement and proskynesis, the message is less subtle. Juliana's elaborate backless ...